                                                                1.



                                                       FADE IN:


1   EXT. PERU - HIGH JUNGLE - DAY                                    1

    The dense, lush rain forests of the eastern slopes of the
    Andes, the place known as “The Eyebrow of the Jungle”.
    Ragged, jutting canyon walls are half-hidden by the thick
    mists.

    The MAIN TITLE is followed by this:

    PERU

    1936

    A narrow trail across the green face of the canyon. A group
    of men make their way along it. At the head of the party is
    an American, INDIANA JONES. He wears a short leather
    jacket, a flapped holster, and a brimmed felt hat with a
    weird feather stuck in the band. Behind him come two
    Spanish Peruvians, SATIPO and BARRANCA. Bringing up the
    rear are five Yagua INDIANS. They act as porters and are
    wrangling the two heavily-packed llamas. The Indians become
    increasingly nervous. They speak to each other in bursts of
    Quechua. The American, who is known to his friends as Indy,
    glances back at them.

                      BARRANCA
                 (irritated)
            They’re talking about the Curse
            again!

    He turns and yells at the Indians in Quechua, his anger
    giving an indication of his own fears. The party reaches a
    break in the canyon wall and takes the trail through it.

    When they emerge, their destination is revealed to them in
    the distance. Beyond a thick stand of trees is the
    vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,
    2000 years old.

    The entire party is struck by the sight. The Indians,
    terrified now, chatter away. Suddenly the three at the back
    turn and run, dropping their packs as they go. Barranca
    yells at the fleeing Indians and pulls his pistol out. He
    starts to raise his arm to aim but Indy restrains it in a
    muscular grip.

                      INDY
            No.
                                                             2.


    Barranca looks evilly at Indy’s hand upon him. Indy
    releases him and smiles in a friendly way.

                      INDY
            We don’t need them.

    Satipo watches this confrontation with some concern.

                      BARRANCA
            I do not carry supplies.

                      INDY
            We’ll leave them. Once we’ve got
            it, we’ll be able to reach the
            plane by dusk.

    He turns back to the trail. Satipo gets the two remaining
    Indians moving behind Indy. Satipo and Barranca then have a
    fast, silent communication: Barranca indicates his desire
    to slit Indy’s throat; Satipo gives him a look that says
    “Be patient, you idiot”


2   EXT. THE APPROACH TO THE TEMPLE                               2

    The party fans out to fight their way through the entwined
    trees that guard the temple. Visibility is cut to five feet
    in the heavy mist. Satipo extracts a short, native dart
    from a tree and examines the point gingerly.

                      SATIPO
                 (showing Indy)
            The Hovitos are near. The poison is
            still fresh -- three days. They’re
            following us, I tell you.

                      INDY
            If they knew we were here, they
            would have killed us already.

    The two Indians jabber in Quechua, near hysteria. Barranca
    is sweating profusely, eyes darting. He yells at the
    Indians in Quechua to “shut up”.

    In the undergrowth, there is slithering movement.

    Indian #1 draws aside a branch and is face with a horrific
    stone sculpture of a Chachapoyan demon. The Indian is so
    frightened no sound comes out when he screams. He turns and
    runs silently away.
                                                            3.


Indian #2 calls to his friend. Getting no response, he
steps in that direction. A huge macaw, flushed from the
undergrowth, screams and flies away. Indian #2 does exactly
the same thing, never to be seen again.

Indy, Satipo and Barranca, just clearing the trees, look
back in that direction. They all turn to face the Temple.

It is dark and awesome. Vegatation curls from every
crevice, over each elaborate frieze. The entrance - round,
open and black - has been designed to look like open jaws.

                  INDY
        So this is where Forrestal cashed
        in.

                  SATIPO
        A friend of yours?

                  INDY
        Competitor. He was good, very good.

                  BARRANCA
             (nervous)
        No one has ever come out of there
        alive. Why should we put our faith
        in you?

Indy takes the weird feather from the band of his hat. From
around its point, he slips a tightly rolled piece of
parchment. Barranca and Satipo exchange a quick “So that’s
where is was!” look. They all kneel as Indy spreads out the
parchment. On it is one-half of a crude floor plan of the
Temple.

                  INDY
        No one ever had what we have --
        partners.

Indy fixes them with an expectant stare. Satipo produces a
similar, but folded, piece of parchment. He lays it - the
other half of the floorplan - next to Indy’s. They all
regard it for a moment, then Indy stands and walks toward
the Temple. Barranca’s eyes are shining as they dart
between the floorplan and Satipo.

                  INDY
             (back turned)
        Assuming that pillar there marks
        the corner and --
                                                                4.


    Barranca is suddenly on his feet, quietly drawing his
    pistol. He raises it toward Indy as Satipo realizes with
    alarm what he’s doing. Too late. Indy’s head turns and he
    sees Barranca.

    Indy’s next move is amazing, graceful and fast, yet totally
    unhurried.

    His right hand slides up under the back of his leather
    jacket and emerges grasping the handle of a neatly curled
    bullwhip. With the same fluid move that brings Indy’s body
    around to face the Peruvian, the whip uncoils to its full
    ten foor length and flashes out.

    The fall of the whip (the unplaited strip at the end of the
    lash) wraps itself around Barranca’s hand and pistol. He
    could not drop the gun now if he tried.

    Indy gives the whip a short pull and Barranca’s arm is
    jerked down, where it involuntarily discharges the gun into
    the dirt. Barranca is amazed, but feels some slack in the
    whip and immediately raises the gun toward Indy again,
    cocking it with his free hand.

    Indy’s face goes hard. And sad.

    Indy sweeps his arm in a wide arc. Barranca spins around,
    enclosed in the whip, his gun hand stuck tight against his
    body. Indy gives one more short jerk on the whip handle and
    Barranca’s gun fires. Barranca falls dead.

    Indy looks quickly at Satipo, who is shocked and
    frightened. He raises his arms in supplication.

                      SATIPO
            I knew nothing! He was crazy!
            Please!

    Indy looks him over, then nods. He frees the whip from
    Barranca’s body and picks up the man. His eyes sweep the
    surrounding woods.

                        INDY
            Let’s go.


3   INT. TEMPLE - INCLINED PASSAGE - DAY                             3
                                                                5.


    Indy and Satipo, carrying a torch, walk up the slightly
    inclined, tubular passage from the main entrance. The
    interior is wet and dark, hanging with plant life and
    stalactites. Their echoing footsteps intermittently
    overpower the sounds of loud dripping, whistling air drafts
    and scampering claws.


4   INT. HALL OF SHADOWS                                             4

    Indy leads the way down a twisting hallway, Satipo’s torch
    barely lighting his way from behind. Indy disappears in a
    shadow and when he reappears a moment later a huge black
    tarantula is crawling up the back of his jacket.

    Indy doesn’t notice and disappears into another shadow,
    emerging with two more tarantulas on his back.

    Satipo sees them and makes a frightened grunting sound.
    Indy looks at him, sees what he’s pointing at and casually
    brushes all three spiders off with his rolled whip, as he
    would a fly. Satipo pirouettes for an inspection and Indy
    flicks one off the Peruvian’s back.

    Indy begins picking up little pocket-sized artifacts from
    the niches and ledges of the Temple. He continues to do
    this as the men penetrate the Temple. His collecting is
    quick and expert, evaluating the pieces in an instant,
    discarding some, stuffing others into his clothes, and
    never stopping his forward progress.


5   INT. CHAMBER OF LIGHT                                            5

    The men reach an arch in the hall. The small chamber ahead,
    which interrupts the hall, is brightly lit by a shaft of
    sunlight from high above. Indy stops, looks it over.

                      SATIPO
            What’s wrong? Are you lost?

    Indy picks up a stick and throws it through the shaft of
    light. Giant spikes spring together from the sides of the
    chamber with a ferocious CLANG! And impaled on the spikes
    are the remains of a white man, half-fleshed, half
    skeleton, in explorer-type garb. Indy reaches out and takes
    hold of the man’s carcass. As the spikes slowly retract,
    Indy pulls it free and seats the remains gently on the
    floor.

                      INDY
            Forrestal.
                                                                6.


                      SATIPO
                 (gulps)
            We can go no further.

                      INDY
            Now, Satipo, we don’t want to be
            discouraged by every little thing.

    Indy steps sideways into the chamber. His back pressed
    against the very points of the retracted spikes, he moves
    along the edge of the light beam, and steps clear on the
    other side. Satipo grimaces and begins sweating his way
    through.


6   INT. STAIRWAY                                                    6

    Indy and Satipo come down stone stairs to a tight landing.
    Framing the entry are a carefully strung network of dead
    vines, each somehow hooked into the wall, narrowing the
    opening even more.

                      INDY
                 (taking the torch)
            Let me see that.

    He lowers the torch to the floor of the landing. The
    landing is carpeted with human skeletons, one on top of
    another, all squashed flat as cardboard. Satipo gasps. Indy
    looks up at the ceiling of the landing, then steps onto the
    skeletons, which make a cracking noise under his feet.

                      INDY
            Try not to touch the vines.


7   INT. FOYER OF THE SANTUARY                                       7

    The men are in a high, straight hallway 50 feet long. The
    door at the end is flooded with sunlight.

                      SATIPO
            Senor, I think we are very close.

    Indy stands still looking at the hall.

                      SATIPO
                 (impatient)
            Let us hurry. There is nothing to
            fear here.

                      INDY
            That’s what scares me.
                                                                7.


    They begin walking down the hall side by side. Satipo has
    inched a little ahead. Suddenly his lead foot comes down
    and through the floor! As Satipo beings to pitch forward,
    Indy grabs him by the belt and pulls him back. They both
    look down at the “floor”.

    Indy swings his whip across the floor. Fifteen feet of it
    cuts open beneath the lash, falling away to reveal a black
    pit as wide as the hall. The illusory floor was made of
    dust-covered cobwebs. Satipo picks up a stone and drops it
    down the pit. No sound. The two men exchange glances. Indy
    looks up at the high roof of the hall. He swings the whip
    up around a support beam, tests its strength with a pull
    and swings over the pit on the whip. From the other side he
    swings the whip back to Satipo, who throws Indy the torch.
    Satipo swings across.

    When they are both standing on solid floor there is a
    moment of quiet in which they hear, from far, far below --
    SPLASH! Indy wedges the whip handle into the wall and
    leaves it strung to the beam for quick retreat.


8   INT. THE SANCTUARY                                               8

    A large, domed room. Ten evenly-spaced skylights send their
    shafts of sunlight down to a unique tiled floor: white and
    black tiles laid out in a lovely, intricate pattern. Indy
    and Satipo stand at the door and look across the wide room
    at the alter. There, in the supreme hallowed spot, is a
    tiny jeweled figurine, Indy’s real objective.

    Two torches, many years old, are in holders by the door.
    Indy takes one down and lights it. He gives the regular
    torch to Satipo.

                      SATIPO
            There’s plenty of light, amigo.

    Indy kneels and uses the unit end of the torch to reach out
    and tap a white tile. It is solid. He taps a black tile.
    There is a whizzing sound and a tiny dart sticks in the
    torch. Satipo points to the wall nearby: there is a
    recessed hole there.

                      SATIPO
            From that hole!

    Indy nods, stands and looks around the sanctuary. The
    entire room is honey-combed with the same kind of hole.
    Satipo sees it too and is properly impressed.

                         INDY
                                                                8.


            You wait here.

                      SATIPO
            If you insist, senor.

    Torch in hand, Indy beings his careful walk across the
    sanctuary. Stepping only on the white tiles, he almost
    appears to be doing a martial arts kata. Before each big
    move he waves the torch in front of him head to toe,
    looking at the flame. Halfway out, he sees something on the
    floor and kneels to look at it.

    A dead bird lies on one of the white tiles. Its body is
    riddled with little deadly darts.

    This has great significance to Indy and he stands with even
    greater caution. He waves the torch ahead of him and at
    waist height an air current whips at the flame. Indy ducks
    under it and leaves a burn mark on the white tile beneath
    it.

    Satipo watches, wide-eyed and mystified.

    Indy reaches the alter. The tiny idol looks both fierce and
    beautiful. It rests on a pedestal of polished stone. Indy
    looks the whole set-up over very carefully. From his jacket
    he takes a small, canvas drawstring bag. He begins filling
    it with dirt from around the case of the alter. When he has
    created a weight that he thinks approximates the weight of
    the idol, he bounces it a couple times in his palm
    concentrating. It’s clear he wants to replace the idol with
    the bag as smoothly as possible. His hand seems ready to do
    that once, when he stops, takes a breath and loosens his
    shoulder muscles. Now he sets himself again. And makes the
    switch! The idol is now in his hand, the bag on the
    pedestal. For a long moment it sits there, then the
    polished stone beneath the bag drops five inches. This sets
    off an AURAL CHAIN REACTION of steadily increasing volume
    as some huge mysterious mechanism rumbles into action deep
    in the temple.

    Indy spins and starts his kata back across the sanctuary at
    four times the speed.


9   INT. THE SANCTUARY - THE RETREAT - INTER CUTTING INDY AND        9
    SATIPO

    The sanctuary has begun to rumble and shake in response to
    the mysterious mechanism. Just as Indy goes out the door, a
    rock shakes loose from the wall and rolls onto the tile’s
    floor. Immediately, a noisy torrent of poison darts fills
    the room.
                                                           9.


IN THE FOYER, Satipo swings acorss the pit. He makes it
just as the whip comes undone from the beam, leaving Indy
without an escape. Satipo, extremely nervous, regards the
whip a moment then turns back to face Indy, who has run up
to the far side of the pit.

                  SATIPO
        No time to argue. Throw me the
        idol, I throw you the whip.

Indy hesitates, eyeing the rumbling walls.

                  SATIPO
        You have no choice! Hurry!

Indy concurs with that assessment. He tosses the idol
across the pit to Satipo. Satipo stuffs it in the front
pocket of his jacket, gives Indy a look, then drops the
whip on the floor and runs.

                  SATIPO
        Adios, amigo!

Indy grimaces. He had a feeling this might happen. He looks
around.

AT THE VINED LANDING, Satipo flies through like a chubby
ballet dancer and takes the steps five at a time.

IN THE FOYER, Indy runs in full stride to the edge of the
pit and broad jumps into space. He doesn’t make it. His
body hits the far side of the pit and he begins to slide
out of view. Only wild clawing with his fingers at the edge
of the pit stops his descent. With just the tips of his
fingers over the edge, he begins pulling himself up.

AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins
to edge carefully around the light shaft.

AT THE VINED LANDING, Indy sails through sideways and rolls
to stop at the bottom of the steps. His whip is grasped in
his hand. As he raises himself, he hears, from above the
giant spikes of the Chamber of Light CLANG! And an abrupt,
sickening rendition of SATIPO’S LAST SCREAM. Indy runs up
the steps. The rumbling sound grows louder.

AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes
have retracted, taking Satipo’s body to one side. Indy
edges into the chamber with his back to the shaft of light.
Soon he is face to face with the dead Satipo; spikes
protrude from several vital spots in the Peruvian’s body.
Indy removes the idol from Satipo’s pocket and moves
quickly out the other side.
                                                                10.


                       INDY
             Adios.


10   INT. THE INCLINED PASSAGE                                        10

     Indy shoots out of a cut-off hallway and turns toward the
     exit. The rumbling is very loud and now we see why: right
     behind Indy a huge boulder comes roaring around a corner of
     the passage, perfectly form-fitted to the passageway. It
     obliterates everything before it, sending the stalactites
     shooting ahead like missiles. Indy dashes for the light of
     the exit. His hat flies off his head. Almost immediately it
     is crushed by the boulder. Indy dives out the end of the
     passage as the boulder slams to a perfect fit at the
     entrance, sealing the Temple.


11   EXT. FRONT OF THE TEMPLE - DAY                                   11

     Indy lies on the ground, gasping for air. A shadow falls
     across him and he looks up.

     WHAT HE SEES. Looming above him are three figures. Two are
     HOVITOS WARRIORS in full battle paint and loin cloths. They
     carry long blow guns. But the man in the center draws
     Indy’s attention. He is a tall, impressive white man,
     dressed in a full safari outfit including pith helmet. His
     name is EMILE BELLOQ. His face is thin, powerful; his eyes
     hypnotic; his smile charming, yet lethal. His heavily
     French-accented speech is deep, mellifluous, wonderful.
     Back beyond Belloq and his two escorts, thirty more Hovitos
     Warriors hover at the edge of the trees.

                       BELLOQ
             Dr. Jones, you choose the wrong
             friends. This time it will cost
             you.

     Belloq extends his hand. Indy looks at it, then produces
     the idol and hands it to Belloq. Belloq extends his other
     hand, smiling. Indy hands over his gun. Belloq sticks it in
     his jacket.

                       BELLOQ
             And you thought I’d given up.

                       INDY
                  (eyeing the Hovitos)
             Too bad they don’t know you like I
             do, Belloq.

                       BELLOQ
                                                             11.


                  (smiles)
             Yes, too bad. You could warn them -
             - if only you spoke Hovitos.

     With that, Belloq turns dramatically and holds the idol
     high for all the Hovitos to see and says something in
     Hovitos. There is a murmur of recognition and all the
     Indians, including Belloq’s escorts, prostrate themselves
     upon the ground, heads down.

     Indy is immediately up and running toward the edge of the
     clearing.

                       BELLOQ
                  (in Hovitos)
             Kill him!

     AT THE EDGE OF THE CLEARING, Indy disappears into the
     foliage. An instant later, the leaves are peppered with a
     rain of poison darts and spears.


12   EXT. THE JUNGLE - INDY’S RUN - VARIOUS SPOTS - DAY            12

     Indy runs like hell through steadily falling terrain. And
     always close behind, a swift gang of angry Hovitos.
     Occasionally they get close enough to send a dart or spear
     whizzing past Indy’s head.


13   EXT. THE URUBAMBA RIVER - DUSK                                13

     An amphibian plane sits in the water beneath a green cliff.
     Sitting on the wing is JOCK, the British pilot. Indy breaks
     out of some distant brush and runs along the path at the
     top of the cliff.

                       INDY
                  (yelling)
             Get it going! Get it going!

     Jock hops in and fires up the plane’s engines. Indy reaches
     a spot on the cliff above the place, glances back, then
     jumps into the river. He comes up, swims to the plane and
     grabs a strut.

                       INDY
             GO!

     Jock starts the plane moving across the water as Indy walks
     across the wing and falls into the passenger compartment.
                                                             12.


14   INT. JOCK’S PLANE - DUSK                                      14

     Indy relaxes and lies across the seat, a big smile on his
     face. One hand drops to the floor of the cabin and Indy
     jumps, hitting his head. On the floor of the cabin is a
     huge boa constrictor. Indy tries to get his whole body onto
     the seat. Jock sees what’s happening.

                       JOCK
             Don’t mind him. That’s Reggie.
             Wouldn’t hurt a soul.

                       INDY
             I can’t stand snakes.

                       JOCK
             The world’s full of them, you know.

                       INDY
             I hate them.

                       JOCK
             Come on now, Sport. Show a little
             of the old backbone.


15   EXT. JOCK’S PLANE - TWILIGHT                                  15

     It soars off over the dark jungle.


16   INT. INDY’S OFFICE, SMALL EASTERN COLLEGE - DAY               16

     It’s autumn and the pretty, New England campus out Indy’s
     window reflects it in dazzling color. A few weeks before
     the start of classes. Activity just picking up. Some
     students about.

     Indy is at a bookcase near the window and he looks quite
     different in this setting. His outfit is tweedy, slightly
     rumpled in the professional style. Part of his attention is
     focused in a book and he wears glasses to see the fine
     print. The office is cramped, absolutely inundated with
     books, maps, etchings and archaeological artifacts. In
     fact, the only neat spot in the room right now is Indy’s
     desk, which has been cleared off expressly for the benefit
     of--
                                                         13.


MARCUS BRODY, the Curator of the National Museum in
Washington D.C. Brody is examining the small artifacts Indy
pocketed on his way into the Peruvian Temple. He
occasionally uses a jeweler's eyepiece to get a closer
look. But he is distracted, his concerns elsewhere, and it
is this that his old friend Indy senses from across the
room.

                  BRODY
        Do you think the idol will ever
        show up?

                  INDY
        I don’t know. Just because Belloq
        had it doesn’t mean he kept it.

Indy snaps the book closed and puts it on the shelf. He
takes his glasses off and focuses on Brody. At the windowed
door to his office, two pretty COEDS pause for a moment,
look in at their sexy Archeology professor, giggle and
disappear.

                  INDY
        Getting it away from those Indians
        would be a neat trick.
             (a hard look)
        I hope they got him.

A young male graduate student, Indy’s TEACHING ASSISTANT,
taps on the door and then pushes his way in with an arm-
load of reference books. Indy helps him find a spot for
them.

                  TEACHING ASSISTANT
        I couldn’t get the McNabe,
        Professor. Someone’s got it checked
        out ‘till next month when classes
        start.

                  INDY
        That’s all right, Phil. Thanks a
        lot.

                  TEACHING ASSISTANT
             (eager to please)
        Will there be anything else?

                  INDY
        No. I’ll see you Thursday.

The Teaching Assistant leaves. Brody is scowling as he
examines the last of the artifacts.
                                                             14.


                       INDY
             Hey, if you don’t like them, I can
             always return them.

                       BRODY
             No, they’re beautiful. The Museum
             will buy them as usual. No
             questions asked.

                       INDY
             Then what’s wrong?

                       BRODY
             I brought along some people today.

                       INDY
             What kind of people?

                       BRODY
             Government.

                       INDY
                  (concerned)
             Government?

                       BRODY
             Don’t worry, it’s not about your
             business.
                  (indicates the artifacts)
             They’re from the Army.

                       INDY
             I’ve already served.

                       BRODY
             Army Intelligence. They’re looking
             for Abner.


17   INT. INDY’S LECTURE HALL - CLASSROOM - DAY                    17

     Indy’s course - a combination of archaeology and
     anthropology - is taught in this amphitheater-type lecture
     hall. His desk and lectern hold large reference books;
     blackboards line the wall. Bones, maps, charts fasten on
     the walls.

     Indy leans against his desk talking with Brody and two
     uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON,
     who are situated around the first seats in the classroom.

                       MUSGROVE
                                                        15.


        -- but you did study under
        Professor Ravenwood at the
        University of Chicago?

                  INDY
             (nods)
        We haven’t spoken in ten years. I’m
        afraid we had a bit of a falling
        out.

                  EATON
        You know nothing of his
        whereabouts?

                  INDY
             (negative)
        Just rumors. Somewhere in Asia,
        last I heard.

Musgrove and Eaton exchange a look; they’re disappointed.

                  EATON
             (to Musgrove)
        Maybe Dr. Jones can make sense of
        it.

Again, the military men have a silent communication,
deciding what to reveal.

                  MUSGROVE
        Well -- you must understand, Dr.
        Jones, this is all strictly
        confidential.

                  INDY
        I understand.

                  MUSGROVE
        Yesterday, one of our European
        sections intercepted a Nazi
        communique from Cairo to Berlin. We
        don’t quite know what to make of
        it.

Musgrove takes a sheet from his briefcase.

                  MUSGROVE
        Here it is - “Tanis development
        proceeding. Acquire headpiece,
        Staff of Ra, General Tengtu Hok,
        Shanghai. Locate Abner Ravenwood,
        U.S.”
                                                   16.


Brody is excited. He looks at Indy.

                  BRODY
        Tanis. They must have discovered
        the lost ruins.

Indy contemplates this big news; he’s impressed.

                  INDY
             (to himself)
        Tanis. Ain’t that somethin’!

                  EATON
        Frankly, we’re a little suspicious
        -- An American being mentioned so
        prominently in a secret Nazi cable.

                  INDY
        Ah, Ravenwood’s no Nazi.

                  EATON
        Then what do they want him for?

                  INDY
        They’re looking for the headpiece
        to the Staff of Ra.

                  MUSGROVE
             (indicates his sheet)
        But it says here that’s in China.

                  INDY
        Only half of it. Ravenwood had the
        other half.

                  EATON
        What would the Nazis want with this
        - this Staff of Ra?

                  BRODY
        I can tell you that. Over the last
        two years the Nazis have had teams
        of archaeologists running around
        the world looking for all kinds of
        religious artifacts.

                  MUSGROVE
        That’s right. Hitler’s a nut on the
        subject. Crazy. He’s obsessed with
        the occult.

                  EATON
        What is this Staff of Ra, anyway?
                                                        17.


                  INDY
        It all has to do with the Ark of
        the Covenant.
             (the Army guys look
             mystified)
        The chest the Hebrews used to carry
        around the Ten Commandments.

Now it’s the Army men who are impressed.

                  INDY
        An Egyptian pharaoh stole the Ark
        from Jerusalem and took it back to
        the city of Tanis. A short time
        later, Tanis was consumed by the
        desert in a sandstorm that lasted a
        year.

                  INDY
        But before that, the Pharaoh had
        the Ark hidden away in a secret
        chamber called the Well of the
        Souls. Which is where the Staff of
        Ra comes in.

Indy moves to the blackboard and makes a quick sketch to
give a rough idea of the system as he describes it. (And we
get a glimpse of what an interesting and enthusiastic
teacher he must be)

                   INDY
        Now this was rather clever. The
        Staff was really just a big stick -
        - oh, I don’t know, say like this -
        -
             (he indicates about six
             feet)
        -- no one really knows for sure.
        Anyway, it was capped by an
        elaborate headpiece with a carving
        of the sun at the top. What you had
        to do was take the Staff to a
        special room in Tanis -- it had the
        whole city laid out in miniature on
        the floor. When you placed the
        Staff in a certain spot in the
        room, at a certain time of day, the
        sun would shine through a hole here
        in the headpiece and then send a
        beam of light down here -- to the
        map -- giving you the location of
        the Well of the Souls --
                                                        18.


                  MUSGROVE
        -- where the Ark of the Covenant
        was kept.

                  INDY
             (nods)
        Which is probably what the Nazis
        are after.

                  EATON
        What’s this Ark look like?

                  INDY
        Look like? Why, it’s right here --

Indy pulls a big format book from the stack on his lectern
and flips through the pages until he finds a large color
print. The other men gather to look.

THE PRINT fills the screen.

It shows a Biblical battle. The Israelite Army is
vanquishing an opposition force. At the forefront of the
Israelite ranks, two men carry the Ark of the Covenant, a
beautiful gold chest, crowned by two sculptured gold
angels. The men do not touch the Ark itself; rather they
carry it by use of two long wooden poles which pass through
rings in the corners of the Ark. The painting is very
dramatic, full of smoke, tumult and sinewy dying men. But
the most astonishing thing in the picture is the brilliant
jet of white light and flame issuing from the wings of the
angels. It pierces deep into the ranks of the retreating
enemy, wrecking devastation and terror.

                    EATON
        Good God!

                  INDY
        Yes. That’s what the Hebrews
        thought.

                  MUSGROVE
        What’s that supposed to be coming
        out of there?

                  INDY
        Who knows -- lightning -- fire --
        the power of God.

                  EATON
        I’m beginning to understand
        Hitler’s interest in this thing.
                                                               19.


                       INDY
             Oh yes. The Bible tells of it
             leveling mountains and wasting
             entire regions. Moses promised that
             when the Ark was with you, “your
             enemies will be scattered and your
             foes fell before you”.
                  (pause)
             An army which carries the Ark
             before it is invincible.

     Eaton and Musgrove exchange worried looks.

                       INDY
             Oh, there’s one other thing that
             Hitler undoubtedly believes about
             the Ark --
                  (a long, pregnant pause)
             It’s said that the Lost Ark will be
             recovered at the time of the coming
             of the True Messiah.

                       MUSGROVE
             Dr. Jones, you’ve been very
             helpful. I hope we can call on you
             again if we have questions.

                       INDY
             Most certainly.

     Brody and Indy exchange a look as they all shake and Brody
     starts to leave with the Army men.


18   EXT. FRONT DOOR - INDY’S HOUSE - NIGHT                          18

     Indy’s English Tudor, upper middle   class home. Quite toney;
     well beyond the financial reach of   an honest college
     professor. Marcy Brody has already   rung the bell. Indy
     opens the door. He is dressed in a   tuxedo.

                       BRODY
             I’ve got to talk to you.

                       INDY
             This isn’t really a good time.

                       BRODY
             Indy, it’s important.

                       INDY
             All right. Come on in.
                                                             20.


19   INT. FOYER - INDY’S HOUSE                                     19

     The lush tone continues here in Art Deco and shiny marble.
     Indy motions Brody toward the study to one side.

                       INDY
             I’ll be in in a moment.

     As Brody passes the entrance to the expansive living room,
     he spots a beautiful, silk-gowned Harlow-type lounging on
     the sofa in front of a roaring fire. She is sipping
     champagne.


20   INT. STUDY - INDY’S HOUSE                                     20

     Brody enters the book-lined, dark-wooded study. He paces
     for a moment before the fire which is dying in the
     fireplace, then spots something and goes over to Indy’s big
     desk. The surface is covered with open books, monographs,
     maps and drawings - all about the Ark of the Covenant.
     Brody smiles; he knows his friend very well.

     Indy comes in, closing the door behind him. Brody turns to
     him with a triumphant expression.

                       BRODY
             They want you to go for it. And
             they’ll pay.

                        INDY
                   (smiles)
             Good work, Marcus. I had a feeling
             this would happen. And, of course,
             the Museum gets the Ark when we’re
             done.

                       BRODY
                  (smiles)
             Of course.

     Indy’s manner is vigorous, aggressive.

                       INDY
             Okay, here’s the way it’s gonna be.
             First, I’ll high-tail it to
             Shanghai and get the piece from
             General Hok. Then I think I know
             where I can find Ravenwood. If only
             I can get --

                       BRODY
                                                             21.


             General Hok’s a tough customer.
             They don’t call him the Wild Boar
             for nothing. And he’s tied in with
             the Japanese.

                       INDY
             I’ll worry about that when the time
             comes. My only hope is to find the
             Well of the Souls before the Nazis
             do.

                                                        WIPE TO:


21   EXT. IN THE AIR - DAY - NIGHT                                 21

     A Pan Am Clipper flies west over the Pacific.

                                                        WIPE TO:


22   INT. KEHOE’S CAR - SHANGHAI AIRPORT - DAY                     22

     Indy is barely into the front seat of a dilapidated Ford as
     the driver, BUZZ KEHOE, is peeling out into traffic.

     In the back seat is a Chinese named BANG CHOW. Kehoe zings
     crazily through traffic with only his left hand as he
     reaches over to shake with Indy.

                       KEHOE
             Buzz Kehoe, Army Intelligence.
             You’ve met Bang Chow.

                       INDY
             What’s the hurry?

                       KEHOE
             Some German agents got here two
             hours ago. Luckily, Bang was able
             to have them detained at Customs.
             We’ll have to hurry.


23   EXT. HOK’S STREET - DAY                                       23

     Kehoe’s car emerges from an alley. Down the block is Tengtu
     Hok’s modest, walled palace. Kehoe’s car slows a bit and
     Bang steps from the moving car with a small black suitcase
     in his hand. While he heads down the street toward Hok’s
     place, Kehoe’s car continues across the street and into an
     alley on the other side.
                                                             22.


24   EXT. HOK’S STREET - IN FRONT OF THE PALACE - DAY              24

     A Mercedes limousine appears round a corner and squeals to
     a stop at the front gate of the palace, which is manned by
     a sturdy Chinese Gateman. There are three Germans inside,
     one the driver.


25   EXT. ALLEY BEHIND HOK’S MUSEUM - DAY                          25

     Kehoe, alone now, pushes a trash container casually into a
     position to hide a newly created hole in the rear wall of
     Hok’s Museum where several stone blocks have been removed.
     He looks around and ambles back to the car.


26   INT. HOK’S PALACE - ENTRY HALL                                26

     The three Germans wait impatiently in a magnificent foyer.
     A chime sounds and huge double doors open to reveal TENGTU
     HOK, flanked by two uniformed Japanese Soldiers and a roved
     Chinese Advisor. He wears a fantastic gold ornamental robe.
     Despite the majesty, however, nothing can disguise the fact
     that Hok is basically a wild, fat barbarian; an animal. Hok
     and his escort group bow in what is the beginning of a long
     welcoming ceremony. The Germans exchange impatient glances
     but decide they should play it as it comes. They bow.


27   INT. HOK’S MUSEUM                                             27

     No person in sight. Instead, we see a magnificent display
     of ancient artifacts. Glass cases hold the velvet-couched
     pieces at random spots on the shining marble floor. We hear
     an odd sound. Near the floor on the rear wall of the
     museum, a steel ventilation grate moves. A hand slides it
     gently across the marble. Indy sticks his head out and
     looks around.


28   INT. HOK’S PALACE - TEA ROOM                                  28

     The three Germans are being served tea and exotic
     delicacies. A pleased Tengtu Hok watches from a throne-
     cushion. When the tray of tiny delicacies is presented to
     him, he takes a massive handful, crushing them together on
     their way to his smiling mouth.


29   INT. HOK’S MUSEUM                                             29
                                                             23.


     A huge golden gong, seven feet in diameter, is suspended
     from the ceiling by a hook. An enormous hammer hangs poised
     above it, from which emanate myraid tiny threads which run
     up and across the ceiling, then down to the various display
     cases. Indy looks up at the gong, then continues his quick,
     quiet foray among the cases. Beyond him, a high window.


30   INT. HOK’S PALACE - TEA ROOM                                  30

     Hok and his visitors stand to go. The Germans’ pleased
     expressions make it clear they’re finally on their way to
     the museum.


31   INT. HOK’S MUSEUM                                             31

     Indy arrives at his destination. The lovely, carved gold
     section of the headpiece is nested on purple velvet in a
     glass case. At the bottom of the piece is a round hollow
     where the staff would fit. There is a grunting sound behind
     Indy and he spins, already reaching for his revolver.

     A fierce Japanese Samurai is running at Indy full speed
     down an aisle of display cases. His sword is raised over
     his shoulder ready to cut Indy in half. He’s six feet away
     when Indy’s gun levels and fires twice, blasting him
     backwards. Indy is still looking over his gun when another
     samurai sword comes down from the side and knocks the
     pistol brutally out of Indy’s grip; his hand avoids
     amputation by a quarter of an inch.

     An amazed Indy backs away from the crossing aisle as the
     Second Samurai steps in to face him, sword raised. Indy
     backs away into an open space and his bullwhip appears in
     his hand. He gives it one savage CRACK! to announce its
     arrival and the Samurai slows down, eyeing it curiously.
     The Samurai does not look unhappy about this confrontation.
     How pure it is - The Sword versus The Whip.


32   EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY                32

     Tengtu Hok and the Germans have obviously heard something.
     They are hurrying along the walkway at the side of the
     building, Hok in the lead. Up ahead is the foot bridge
     which crosses from the palace to the museum entrance over a
     moat.


33   EXT. STREET IN FRONT OF THE PALACE - DAY                      33

     The lovely Mercedes limousine blows up.
                                                                24.


34   EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY                   34

     The Germans spin toward the blast. Drawing weapons, they
     run back to investigate. Hok follows them, confused.


35   INT. HOK’S MUSEUM                                                35

     Indy and the Samurai face each other. They’re both
     breathing hard from previous, no-contact passes at each
     other. Now Indy begins swinging the whip over his head
     again. It whizzes out toward the Samurai’s face. The
     Samurai take two lightning-quick cuts at the leather, but
     misses.

     Indy swings for the Samurai’s feet; the Samurai jumps
     nimbly, slashing at the whip. Indy does it gain. The
     Samurai hops it. Once more. The Samurai is concentrating on
     hopping it.

     Indy sees it. The split second he wants. The whip flashes
     up from the floor and wraps solidly and irrevocably around
     the Samurai’s neck. Indy gives it a murderous pull and the
     Samurai is dead on his feet.


36   EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY                   36

     Hok and the three Germans are looking down at the flaming
     remains of the Mercedes. A look of concern crosses Hok’s
     face. He turns and runs back toward his beloved museum.


37   INT. HOK’S MUSEUM                                                37

     Indy is at the case containing the headpiece. He smashes
     the glass with a samurai sword, reaches in and grabs the
     piece. Immediately, behind him, the huge hammer falls and
     the sound of the gong thunders through the museum.


38   EXT. HOK’S PALACE - SECOND FLOOR WALKWAY - DAY                   38

     At the sound of the gong, the running Hok skids to a halt
     with a crazed expression on his face. He disappears for two
     seconds in an alcove and emerges holding a big, black
     Thompson Submachine Gun. He runs across the foot bridge and
     is just barely over it when it blows up. Hok, safe, looks
     behind him in amazement and then turns to the museum.


39   INT. HOK’S MUSEUM                                                39
                                                             25.


     The double doors at the entrance slam open to reveal Hok.

     Indy is halfway along an unprotected wall back to his
     ventilation entry route. Hok opens up on him, cutting off
     his retreat. Indy jumps behind a marble column, which is
     promptly blasted with machine gun fire.

     Indy looks above him, sees the giant disk of the gong.
     Reaching up, pushing with tremendous effort, he maneuvers
     it off the hook. It bounces to the floor on its side,
     chipping the marble with its monstrous weight. Indy
     steadies it and then puts his whole body into rolling it
     across the room toward the window. As it starts to roll,
     Indy slips behind it and runs across the room with it.

     Hok can see the rolling gong. He opens up on it. The
     vicious cacophony of machine gun fire is joined by the
     musical reports of bullets hitting the gong and ricocheting
     away. Very, very noisy.

     Behind the gong, Indy gauges his move. As the gong is about
     to be stopped by a marble bench, Indy takes a long stride
     onto a bench and dives through the glass of the high
     window. Hok’s bullets hit the wall.


40   EXT. ROOF - DAY                                               40

     Indy lands in a shower of glass on the jutting roof of the
     museum’s first floor. He rolls to a crouch and is
     immediately being fired upon. The Germans, cut off from the
     museum, are standing on the palace walkway firing at him.
     Indy takes off fast for the rear of the museum.


41   EXT. ALLEY BEHIND HOK’S MUSEUM - DAY                          41

     Kehoe, craning to locate Indy, has the Ford rolling slowly
     along the back of the museum. Bang scouts from the back
     seat. Indy appears on the roof at a run, gauges the
     movement of the car and jumps from the roof of the museum
     to the roof of the sedan. Unfortunately, the roof of the
     old car can’t take it and Indy’s legs knife right on
     through to the interior, where he scares the hell out of
     Kehoe.


42   INT. KEHOE’S CAR - DAY                                        42

     Indy squirms his way down into the front seat.

                       KEHOE
             Jesus! Are you all right?
                                                               26.


                       INDY
                  (he’s felt better)
             Great. Got it.

     Kehoe guns it, throwing Indy back against the cushions.

                         KEHOE
             What now?

                       INDY
             I’ve got to get to Nepal.

                                                        WIPE TO:


43   EXT. DC-3 IN THE AIR - DUSK                                     43

     The plane flies west into the sunset.


44   INT. DC-3 - NIGHT                                               44

     Under a meager seat light, Indy is pouring over a journal
     article by Abner Ravenwood and a related map of Nepal.

     A few rows back, across the aisle, a trench coated European
     Spy eyes Indy.

                                                        WIPE TO:


45   INT. “THE RAVEN” SALOON - PATAN - NEPAL - NIGHT                 45

     A huge stuffed raven, wings spread wide, is mounted behind
     the long bar in the noisy, crowded saloon. A lively mix of
     patrons is represented in the late hour tableau: Nepalese
     natives, fierce Sherpa mountain guides, sleazy
     international smugglers and fugitives, and, of course,
     mountain climbers from every corner of the earth. A tall
     Nepalese, MAHDLO, is the bartender.

     In a corner near the fireplace trouble breaks out suddenly
     between the groups at two neighboring tables. Ferocious
     representatives from each table, one a wild-looking SHERPA,
     the other a muscular Australian CLIMBER, jump up to face
     each other. As the two contenders stand posed for action,
     their representative supporters shift in their places,
     fondling lethal ice axes and clubs.

                       SHERPA
             Gmoiska! Shurga rintoik!

                         CLIMBER
                                                            27.


        Aye! That’ll be your last word.

The bar has quieted ominously and so we hear with startling
clarity when a door behind the bar slams open with a huge
BANG! and some Presence, too small to be seen as it moves
through the forest of towering patrons, makes a beeline for
the troubled corner of the bar. A path clears for it.

The Sherpa and the Climber are about to kill each other
when the Presence arrives directly between them: she is
MARION RAVENWOOD, twenty-five years old, beautiful, if a
bit hard-looking. At this moment, however, that look does
not hurt. She is not intimidated by the combatants; she
jabs accusatory fingers into their chests. She is angry as
hell. The patrons shrink under her gaze.

                  MARION
        That does it! I’ve been patient
        with you no-goods long enough. I’m
        not open at 2 o’clock for myself,
        you know. It’s all for you. And how
        do you repay me: Trouble and noise
        and blood on my floor! I won’t have
        it. Everybody out! Out! Out! We’re
        closed. Closed! Do your killing
        outside! And don’t leave any bodies
        on the porch!

The place clears quickly. Stragglers and grumblers are
given special attention by Marion and Mahdlo, who has come
from behind the bar carrying a big axe handle. Mahdlo herds
the crowd out the front door as Marion turns and walks
behind the bar.

A scowl on her lovely face, she   has   just begun clearing the
bar of glasses when she notices   one   remaining Patron
huddled over a glass at the far   end   of the bar. Grimacing
in exasperation, she heads that   way   like a locomotive.

                  MARION
        Hey you, deaf one! I said out of
        place. I don’t meant next Easter, I
        mean now --

She is almost on him when Indy looks up smiling. Marion
stops, stares, shocked.

                  INDY
        Hello, Marion.

She hits him with a solid right to the jaw, knocking him
off the bar stool on the floor. He rubs his jaw and smiles
up at her.
                                                        28.


                  INDY
        Nice to see you, too.

                  MARION
        Get up and get out.

                  INDY
             (getting up)
        Take it easy. I’m looking for your
        father.

                  MARION
             (bitterly)
        Well you’re two years too late.

Indy’s attitude changes instantly. This is sad news. He is
silent for a long time. Mahdlo comes in the front door and
hurries forward when he sees Indy with Marion. He looks to
her for guidance, but she stays him with a gesture.

                  MARION
        Go home, Mahdlo. I’ll see you
        tomorrow.

Mahdlo is hesitant, but lays the axe handle on the bar and
goes out. Indy has been barely aware of him. Now he settles
again on the bar stool. Marion has a vindictive look.
She’ll let him stay, but she wants to inflict as much pain
as possible.

                  INDY
        What happened?

                  MARION
        Avalanche. Up there. He was
        digging. What else? He spent his
        whole life digging. Dragging me all
        over this rotten earth. For what?

                  INDY
        Did you find him?

                  MARION
        Hell no. He’s buried where he was
        working. Probably preserved real
        good, too. In the snow.

Suddenly the hardness cracks. She is on the verge of tears
and does not want him to see them. She turns away and takes
a whiskey bottle from the shelf, then turns back to pour
herself a drink.

                  INDY
                                                        29.


        Not a bad way to go. Doing what he
        loved.

                  MARION
             (vitriolic)
        Don’t give me that stuff!

                  MARION
        What do you know?
             (she takes a drink)
        I’m the one that was left in a bad
        way. He didn’t have a penny. Guess
        how I lived, Mister Jones. I worked
        here. And I wasn’t the bartender.
             (another swallow)
        Finally the guy that owned the
        joint went crazy. Snow crazy. They
        took him away screaming. As they
        dragged him out, he said the place
        was all mine for life.

She looks around the saloon.

                  MARION
        Can you imagine a more evil curse?
             (pause)
        So far, it’s working.

                  INDY
        Why not leave? Go back to the
        States.

                  MARION
        I’ll go back. I’ll get there. Not
        that there’s a soul there who knows
        my name of cares. But I’ll go. And
        when I do, they’ll know me. ‘Cause
        I’m going to go back in style. With
        money. A goddamn lady!

                  INDY
        Where you gonna get it?

                  MARION
        If I knew that, you think I’d still
        be running this dive?

Indy looks at her, thinking. Under his gaze, she blushes,
for reasons only she understands. She looks into her glass
and, for a moment, she softens.

                  MARION
                                                        30.


        I’ll tell you something, Indy. I’ve
        learned to hate you in the last ten
        years. But somehow, no matter how
        much I hated you, I always knew
        that someday you’d come through
        that door. I never doubted that.
        Something made it inevitable.
             (hopefully)
        Why are you here -- now -- tonight?

Indy takes a long time to answer.

                  INDY
        I need one of the pieces your
        father collected.

Marion’s eyes go icy. She swings at him again with her
right, but this time he catches her at the wrist. Then he
stops her left, which she has brought up to slap him.

                  MARION
        You son-of-a-bitch! You know what
        you did to me, to my life? This is
        your handiwork.

                  INDY
        I never meant to hurt you.

                  MARION
        I was a child!

                  INDY
        You knew what you were doing.

                  MARION
        I was in love.

                  INDY
        I guess that depends on your
        definition.

                  MARION
        It was wrong. You knew it.

Indy releases her arms.

                  INDY
        Look, I did what I did. I don’t
        expect you to be happy about it.
        But maybe we can do each other some
        good.

                  MARION
                                                     31.


        Why start now?

                  INDY
        Shut up and listen for a second. I
        want that piece your father had.
        I’ve got money.

That stops her.

                    MARION
        How much?

                  INDY
        Enough to get you back to the
        States. Where are his things?

                  MARION
        Gone. I sold it all. It was all
        junk. The junk he wasted his life
        on.

                  INDY
        Everything?

Marion nods.

                  INDY
             (giving up)
        That’s too bad.

Indy feels tired, defeated. Marion is pleased.

                  MARION
        You look disappointed. I like that.
        How’s it feel?

Indy has to smile at her glee.

                  MARION
             (nods at his empty glass)
        What are you drinking?

                    INDY
        Seltzer.

                  MARION
             (refilling his glass)
        Real man’s drink. Me, I like
        scotch. And I like bourbon. And
        vodka and gin. I’m not much for
        brandy. I’m off that.

She pours herself another as Indy watches, amused.
                                                   32.


                  INDY
        You’re a tough broad now, aren’t
        you?

                  MARION
        It’s no act, pal. This ain’t
        Schenectady.

                  INDY
        I can only say I’m sorry so many
        times.

Marion looks at him thoughtfully, takes a drink.

                  MARION
        You really have money? You don’t
        look rich.
             (Indy nods)
        I may be able to locate some of his
        things. I know who’s got them. What
        do you want?

                  INDY
        A bronze piece, about this size. In
        the shape of the sun. Probably
        broken off at the bottom. Has a
        little hole in it, off-center. Does
        that sound familiar.

Marion thinks, nods slowly.

                  INDY
        Do you know where it is?

                  MARION
        Maybe. How much?

                  INDY
        Three thousand. American.

                  MARION
             (negative)
        That’ll get me back, but not in
        style. This doodad must be pretty
        important.

                  INDY
        Maybe.

A huge smile lights up Marion’s face.

                  MARION
                                                           33.


        I knew it would happen eventually.
        I knew it. Something had to go my
        way.
             (pours herself another
             drink)
        I’ve got to think this out. I’m
        used to bargaining with yaks.

                  INDY
        Okay. Five thousand. That’s all I
        can give you now. I can get you
        more when you land in the States.

                  MARION
        Your word, huh?
             (Indy nods)
        Just like you said you’d be back
        last time? That was your word too.

                  INDY
        I’m back, aren’t I?

Marion sneers and they smile together.

                  INDY
        You can trust me.

                  MARION
        Come back tomorrow.

                  INDY
        Why?

                  MARION
        Because I said so, that’s why. It’s
        about time I called the shots in
        this relationship.

Indy nods, gets up to go.

                  MARION
        Wait a minute. Leave the five
        thousand here.
             (Indy hesitates)
        You want trust, give some. I want
        to smell your money.

Indy thinks about this a moment, then reaches inside his
shirt and pulls out cash from a money belt. He lays five
grand on the bar.

                  INDY
        I trust you.
                                                                34.


                       MARION
             You’re an idiot.

                       INDY
             I’ve heard that.

     Indy starts for the door. Marion takes another drink. She’s
     getting high.

                       MARION
             Hold it. Come here.

                       INDY
                  (moving back)
             Bossy, aren’t you?

                       MARION
             That’s right. Give me a kiss.

     Indy looks into her eyes, then leans over the bar and
     kisses her deeply. When the kiss ends, their faces are very
     close.

     Marion is flushed. She liked it and would like more. She
     raises her glass between them to discipline herself.

                       MARION
             Get out of my place.

     Indy smiles and walks to the front door. Then, without
     looking back-

                         INDY
             Tomorrow.

     He’s gone. Marion stares after him, thinking. She takes a
     drink. Then slowly, her hand comes up to loose the scarf
     that is draped around her throat. It falls away, revealing
     her graceful neck above the dipping top of her blouse.
     Hanging there on a gold chain against her white skin is a
     sun-shaped golden medallion. The bottom looks broken off.
     Marion lifts the medallion so she can see it in her hand,
     then looks thoughtfully after Indy.


46   EXT. STREETS OUTSIDE “THE RAVEN” - NIGHT                         46

     Indy sits thinking at the wheel of an old car. Finally, he
     puts the car in gear and drives away.
                                                                35.


     Across the street, the shadow in a doorway comes to life. A
     dark form steps out to look at Indy’s departing car; it is
     the European Spy from the DC-3. He hurries off in the
     opposite direction.

                                                    DISSOLVE TO:


47   INT. “THE RAVEN” - NIGHT                                         47

     Marion stands before the fire that is shrinking in the
     fireplace. She jabs at it abstractedly with a poker,
     thinking. Suddenly tears well up in her eyes. She lets the
     poker slip from her hand, wipes away the tears. She walks
     across the room to the end of the bar, still cluttered with
     bottles and glasses, and stops at the pile of American
     money Indy has left. She takes the chain from around her
     neck and lets the medallion slide off it into her hand. She
     places it on the bar next to the pile of money, thinking.
     Then, having reached some decision, she picks up the pile
     of bills, walks up the back of the bar and pulls a small
     wooden box from under the bar. She flips open the top, puts
     the cash inside and closes the top. She leaves the box on
     the bar and starts back toward the medallion. The front
     door of the saloon bursts open and Four Bad Men come in.
     Marion, halfway between the valuable possessions and not
     wishing to draw attention to either, stops where she is.

     The Four Bad Men who advance on her are:

     1) the obvious leader, a short, vile, sadistic German in
     spectacles by the name of BELZIG.

     2) a trench coated SECOND NAZI.

     3) a ratty-looking NEPALESSE and

     4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both
     carry sub machine guns.

                       BELZIG
             Good evening, Fraulein.

                       MARION
             The bar’s closed.

                       BELZIG
             We are not thirsty.

     The Mongolian and the Nepalese poke around, checking to
     make sure there’s no one else there.
                                                         36.


Down at the end of the bar, the medallion lies partially
hidden by surrounding glasses and bottles. The Second Nazi
stops very near it, but turns his back to it to face Belzig
and Marion.

                  MARION
        What do you want?

                  BELZIG
        The same thing your friend Dr.
        Jones wanted. Surely he told you
        there would be other interested
        parties.

Marion shakes her head.

                  BELZIG
        Ah, the man is nefarious. I hope
        for your sake he has not yet
        acquired it.

                  MARION
        Why, are you willing to offer more?

                  BELZIG
        Almost certainly. Do you still have
        it?

                  MARION
        No. But I know where it is.

Belzig’s smile fades at this news. He’s not a patient sort.
Marion is chilled by the look. She turns and moves to the
shelf of bottles behind her, reaching high for one, very
near the large stuffed raven. Her hand lingers there a
moment and we see -

From an angle behind the stuffed raven, that the left wing
spread hides a Baretta automatic pistol. Marion’s hand is
very near it, but withdraws with only a whiskey bottle as
the Mongolian walks toward her behind the bar.

Marion opens the bottle before Belzig, who watches her
intently.

                  MARION
        How ‘bout a drink for you and your
        men?

The Second Nazi lights up at this suggestion. Belzig gives
him a withering look.

                  BELZIG
                                                           37.


        We will stick to the business at
        hand, Fraulein.

                  MARION
             (tough)
        Fine. Why don’t you come back
        tomorrow when Jones is here and
        we’ll have an auction?

Belzig gives her a cold look then turns and walks toward
the fireplace. As soon as his back is turned, the Second
Nazi grabs the nearest whiskey bottle and takes a quick
pull. In so doing, he leaves the medallion completely
exposed. Marion is aware of this as she looks at him. But
he quickly puts the bottle down again, obscuring the
medallion, when Belzig speaks from the fireplace.

                  BELZIG
        I’m afraid an auction is not
        possible.
             (pause)
        Your fire is dying here, Fraulein.
             (a beat, then
             threatening)
        Why don’t you tell us where the
        piece is right now?

                  MARION
        Listen, Herr Mac, I don’t know who
        you’re used to dealing with, but no
        one tells me what to do in my
        place.

Belzig, still looking in the fire, sneers and shakes his
head.

                  BELZIG
        Americans! You’re all alike.
        Fraulein Ravenwood. I’ll show you
        what I’m used to.

He motions with his hand. The Mongolian moves up behind
Marion and lifts her roughly over the top of the bar,
knocking over bottles and spilling liquor. He deposits her
on the other side, where the Nepalese and the Second Nazi
flank her and hold her cruelly, arms behind her back.
Marion raises a ruckus.

Belzig turns from the fireplace. In his hand is the poker,
its end glowing orange. He advances on Marion. Marion stops
yelling, her eyes widen in terror.

                  MARION
                                                           38.


        Wait! I can be reasonable --

                  BELZIG
        That time is passed.

The glowing poker point moves inexorably across the room
toward Marion’s face.

                  MARION
        You don’t need that. I’ll tell you
        everything!

                  BELZIG
        Yes, I know you will.

Belzig has no intention of stopping now. The glowing tip is
approaching Marion’s face. The Nepalese watches with savage
glee.

The tip of the poker is five inches from Marion’s nose when
there is a loud CRACK! and the fall of Indy’s bullwhip
wraps around the middle of the poker and tears it out of
Belzig’s hands. The poker sails high across the room, free
of the whip, and lands in the heavy curtains that over one
window. The curtains immediately burst into flame.

The four Bad Men look in surprise toward the front
entrance. Indy is poised there, the whip in his right hand,
a .45 Automatic raised toward them in his left.

                  INDY
        Hello.

Now everything begins to happen very fast-

The Mongolian had just come around the bar at the end
opposite the medallion. He dives back to crouch behind the
end of the bar, raising his sub machine gun.

Belzig and the Second German dive behind the tables near
the bar. The Nepalese is slower to leave Marion, he draws a
Luger. Indy’s .45 barks and the Nepalese dies spinning
against the bar. Indy fires in the direction of the
Mongolian.

Marion swings up over the top of her bar. Belzig fires at
her, but his bullets smash bottles behind the bar and thud
into the raven.

Marion flattens out on the floor behind the bar as bullets
hit above her. She reaches up, snatches the axe handle from
where Mahdlo left it, and begins crawling down the length
of the bar toward-
                                                        39.


The Mongolian, who sticks his sub machine gun out and fires
blindly in Indy’s direction.

Indy is in a crouch behind a table, trying to get a shot at
someone. He doesn’t notice in the din and confusion when
the door bursts open.

An incredible, fearsome GIANT SHERPA, almost seven feet
tall, soars in and tackles Indy from behind. The whip flies
from Indy’s hand as he and the Giant Sherpa roll across the
floor, upsetting furniture.

The Mongolian, seeing this, stands up confidently. Marion
rises behind him and bashes him over the head with the axe
handle. He goes down and out.

Fire has completely engulfed the curtains and is working
across the ceiling on decorative yak skin bunting. A
burning fragment drops to the top of the bar, which
immediately lights up, fueled by the spilled alcohol. Full
whiskey bottles explode like Molotov cocktails.

Rolling on the floor, Indy and the Giant Sherpa are
fighting for control of Indy’s .45. Belzig sees this and
shout to the Second Nazi, who is rising from cover with the
sub machine gun in hand.

                  BELZIG
        Shoot them both!

                  SECOND NAZI
        He’s our man!

                  BELZIG
        Do as I say!

Both the Giant Sherpa and Indy hear this. The Giant Sherpa
exchanges an alarmed look with Indy and together they swing
the .45 around toward the surprised Second Nazi. Two blasts
blow him away.

That done, Indy brings a brass spittoon down on the Giant
Sherpa’s wrist and the .45 slides away. Indy jumps up and
kicks the Giant Sherpa, who barely seems to feel it. He
grabs Indy and flips him effortlessly onto a table.

Belzig now has a clear shot at Indy. He raises his Lugar.

Marion, at the end of the bar, finally gets the hand of the
Mongolian’s sub machine gun. It roars to life in the
general direction of the ceiling.
                                                             40.


     Belzig runs for cover as Marion gets control of the gun and
     levels it. Belzig dives around the end of the bar opposite
     Marion. When he has set himself, he peeks up over the edge
     of the scorched bar. The alcohol fire has moved down the
     bar and now, much to Belzig’s surprise, he finds himself
     staring at the fire-blackened sun-shaped medallion! His
     eyes widen. He cannot believe his good fortune. Without
     hesitation he picks up the metal medallion, palming it.

     Immediately there is a sickening searing sound and Belzig’s
     expression changes from joy to agony. He screams in pain
     and tries to shake the red-hot medallion from his skin.
     Marion opens up and the bar starts to splinter in front of
     Belzig. The medallion comes free of Belzig’s hand and rolls
     across the floor.

     Belzig has had enough. In excruciating pain, he turns, sees
     a window, runs and dives through the glass.

     An exhausted Indy uses his whole body to upend the Giant
     Sherpa, who lands hard on his back. They are surrounded by
     flames.


48   EXT. THE RAVEN - SNOW BANK - NIGHT                            48

     Belzig has his burned hand stuck deep in the snow. Now he
     withdraws it, steaming, and scurries off into the night
     like a wounded animal.


49   INT. THE RAVEN - NIGHT                                        49

     Marion throws down the empty sub machine gun and moves
     through the flames to the center of the bar where she left
     the box with the five grand. She finds the remains of the
     box and its contents: a shapeless pile of ash and charred
     wood.

                       MARION
             Unbelievable!

     At the end of the bar, the Mongolian has come back to life.
     He shakes out his head, then reaches inside his coat and
     pulls out a Mauser pistol.

     Indy smashes a chair over the head of the Giant Sherpa and
     the huge creature goes down.

     The Mongolian points his Mauser through the smoke and flame
     at Indy. Suddenly, the Mongolian is shot dead.

     Marion stands beneath her stuffed raven with the Baretta.
                                                         41.


Indy moves quickly through the flames, his eyes scanning
the floor. He picks up his bullwhip and his crumpled felt
hat. He peers through the smoke till he spots Marion moving
among the burning furniture.

                  INDY
        Let’s get out of here!

                  MARION
        Not without that piece you want!

                  INDY
        It’s here?

Marion nods, kicks aside a burning chair. Another burning
beam falls from the roof. Indy pulls Marion close to him
protectively.

                  INDY
        Forget it! I want you out of here.
        Now!

He beings dragging her out.

                  MARION
             (pointing)
        There!

She breaks away from him, darts back and picks the hot
medallion up in the loose cloth of her blouse.

                    INDY
        Let’s go!

                  MARION
             (looking around)
        You burned down my place!

                  INDY
             (figuratively)
        I owe you plenty!

                  MARION
             (literally)
        You owe me plenty!

                  INDY
             (smiles)
        You’re something.

                  MARION
        I am something. And I’ll tell you
        exactly what-
                                                             42.


     She holds up the medallion possessively.

                       MARION
             I’m your partner!


50   EXT. CAIRO - VARIOUS SHOTS - DAY                              50

     First we see the sprawl, the soaring minarets, the ancient
     skyline.

     Then we’re closer, in the narrow, exotic streets, teeming
     with life: fierce-looking men in tattered galabiyas, black-
     gowned women with veiled face, ragged, barefoot children.


51   INT. DINING ROOM - SALLAH’S HOUSE - OLD CAIRO                 51

     Indy and Marion have been welcomed like family into the
     crowded home of SALLAH, his wife FAYAH, and their NINE
     CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman,
     appears, at first glance, to be the power in the house.
     Sallah, a small, cheerful, energetic fellow in his forties
     defers to his wife in all matters of little importance.

     Suddenly the general liveliness at the children’s table
     escalates into pandemonium, attracting the attention of the
     adults.

                       FAYAH
             Silence!
                  (there is silence)
             Why do you forget yourselves?

     The gaggle of grinning off-spring parts to reveal in their
     midst -- a MONKEY. It is munching some flat Arab bread.

                       FAYAH
             What is this? Who brought this
             animal in?

     All the children chatter their innocence at once. The
     Monkey chatters too; it’s an entertainer. The Monkey jumps
     from the children’s table to the adults’ and struts slowly
     up to Marion, who thinks it’s the cutest thing she ever
     saw. When it reaches her, it takes off its turban and does
     a deep, grand bow to her. She is delighted and takes the
     Monkey into her arms. The Monkey kisses her cheek. The
     children laugh.

                       MARION
             Why, thank you. I like you too.
                                                             43.


                       FAYAH
             Then it shall be welcome in our
             house.

                       MARION
             Oh, no! You don’t have to have it
             around if you don’t want it-

                       SALLAH
                  (cheerfully)
             All of Allah’s creatures are
             welcome here. You please us by
             letting us please you.


52   EXT. COURTYARD - SALLAH’S HOUSE - NIGHT                       52

     Indy and Sallah sit in the small, protected courtyard.
     Sallah holds the two sections of the headpiece, the
     medallion and the base, and has for the first time fitted
     them together. They fit perfectly and complete the
     headpiece. He peruses the markings on the headpiece
     quizzically. Indy is cleaning and loading a .45 automatic.

                       INDY
             I knew the Germans would hire you,
             Sallah. They couldn’t have an
             excavation in the desert without
             the best digger in Egypt.

                       SALLAH
             All Arabs look alike to them, Indy.

                       INDY
             Tell me about the map room at
             Tanis.

                       SALLAH
             We found it three days ago. I broke
             through myself.

                       INDY
             Those Nazis are moving awfully
             fast.

                       SALLAH
             The Frenchman is helping them.

     Indy reacts.

                       INDY
                                                                44.


             Belloq. So he got away from the
             Indians. This is going to be more
             interesting than I thought.

                       SALLAH
             I’m afraid this has put the Germans
             close to finding the Well of the
             Souls.

                       INDY
                  (indicates the headpiece)
             Even Belloq won’t be able to find
             it without that. Can you make
             anything of those markings? They’re
             nothing I’m familiar with.

                       SALLAH
                  (shakes his head “no”)
             But I know someone who might. You
             can go to see him tomorrow.
                  (a worried expression)
             Indy -- something bothers me.

                       INDY
             What it is, my friend?

     Sallah finds it hard to say. When he finally speaks, his
     words are accompanied by a strange, eerie, foreboding rush
     of wind through the courtyard. Just a coincidence we might
     suppose.

                       SALLAH
             It is the Ark. If it is there, at
             Tanis -- It is not something man
             was meant to disturb -- Death has
             always surrounded it. It is not of
             this earth.

     The wind dies down. Indy shakes off a chill and stares
     thoughtfully at his friend.


53   EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY                       53

     Indy and Marion are briskly walking along one of Cairo’s
     busy bazaar streets. Vendors with fine cloth, pottery,
     baskets, jewelry, etc line the street. Marion has the
     Monkey from Sallah’s house on her shoulder.

                       INDY
             Do you really need that monkey?

                       MARION
                                                                45.


             I’m surprised at you, Indy. Talking
             that way about our baby. He’s got
             your looks, too.

                       INDY
             And your brains.

     As Indy and Marion turn a corner, the Monkey seems to
     notice something and immediately jumps from Marion’s
     shoulder and hurries off at a frantic pace down the street.

                       MARION
                  (looking disappointed)
             Hey! Hey! -- where’re you going?

                       INDY
                  (dragging Marion along)
             He’ll be OK. Come on. Come on.


54   EXT. ANOTHER CAIRO STREET - DAY                                  54

     The Monkey is seen running around another corner and jumps
     into the waiting arms of MONKEY MAN, who appears to be like
     a beggar with a dirty turban and an eye patch. MONKEY MAN
     immediately hurries down the street and passes into a
     building. In the building are two GERMAN AGENTS. MONKEY MAN
     and the MONKEY both give the Heil Hitler salute and engage
     in quick talk.

     MONKEY MAN quickly leaves the two GERMAN AGENTS and gets
     back to the street. He is obviously shadowing Indy and
     Marion. Indy and Marion are just now passing by and the
     MONKEY MAN ducks back behind some baskets.


55   EXT. ANOTHER BUSY CAIRO STREET - DAY                             55

     Indy and Marion are passing under a balcony where a lone
     GERMAN AGENT stands watch. After they pass, the AGENT nods
     to some BAD ARABS who are hiding in the shadows of the
     street. In a moment, Indy and Marion pass by the break.
     Monkey Man turns and looks up at a roof further down the
     alley. He waves with his hand. Someone up there waves back.


56   EXT. A SMALL BAZAAR - DAY                                        56
                                                               46.


     Indy and Marion have reached a tiny square, made even more
     cramped by its use as a small bazaar. They have started
     working their way through the crowd when several Bad Arabs
     and a German Agent begin to converge on them. Indy
     immediately sees what’s happening and pulls the bull whip
     from his jacket. The first Bad Arab to reach them gets hit
     in the mouth by the handle of the whip.

     Now all hell breaks loose, with Bad Arabs, Innocent
     Shoppers, baskets of fruit and tables of good flying every
     which way in the constricted space.

                       INDY
                  (to Marion)
             Run! Get out of here!

     Indy catches a dagger-wielding Bad Arab around the legs
     with the whip and flips him. Marion is reluctant to leave
     Indy.

                       INDY
             Go, damnit! Go!

     Marion goes. She runs off between two buildings. A Bad Arab
     takes off after her. Monkey Man, now standing at the edge
     of the square, points at Marion. The Monkey jumps off his
     shoulder and follows Marion.


57   EXT. BETWEEN THE BUILDINGS - DAY                                57

     Marion runs along the narrow space and soon encounters a
     five foot wall. She flops over it. The Bad Arab is right on
     her heels. He reaches the wall and vaults over. On the
     other side of the wall, the Bad Arab lands in a crouch,
     looks ahead and doesn’t see Marion. Immediately a heavy
     earthen pot smashes over his head, putting him out. Marion
     steps from an alcove and starts to run toward the street at
     the other end of the walkway. Suddenly another Bad Arab and
     a new German Agent appear in the street at that end. Before
     they can spot her, Marion retreats to the alcove again.
     There is a huge rattan basket sitting there. Marion climbs
     in and closes the top above her.

     The only witness: the Monkey, who is now perched on the
     five foot wall.


58   EXT. THE SMALL BAZAAR - DAY                                     58

     Chaos. An entire booth of pots and pans collapses on a Bad
     Arab and a German Agent as Indy whips away a support.
                                                              47.


59   EXT. BETWEEN THE BUILDINGS - DAY                               59

     The chattering Monkey leads a German Agent and two Bad
     Arabs to Marion’s hiding place, gesturing manically.


60   EXT. THE SMALL BAZAAR - DAY                                    60

     Indy ducks under the swinging blade of a huge Arabian sword
     and kicks the Bad Arab Swordsman in the groin.


61   EXT. SIDE STREET - DAY                                         61

     The German Agent leads the way as the two Bad Arabs carry
     the huge basket above their heads. The basket top has been
     fastened closed, but Marion is making a fuss inside. As the
     place where the street cuts across the far side of the
     bazaar, Marion is able to wedge the top open one inch and
     screams-

                       MARION
             Indy-y-y-y!


62   EXT. THE SMALL BAZAAR - DAY                                    62

     Indy has heard her. He looks across the square as the
     basket and its escorts disappear beyond a building. One
     last Bad Arab rises before him. Indy’s whip flashes and the
     Bad Arab’s robe falls down to his ankles. Indy frantically
     pushes his way through the panicked mass of humanity in the
     direction the basket has gone.


63   EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING         63
     BASKET - DAY

     The Bad Guys move the basket as fast as they can through
     streets, alleys and passageways thick with people. Indy
     always seems to round a corner just in time to catch a
     glimpse of the basket before it disappears around a new
     corner. Indy must fight a flow of humanity as powerful as
     an ocean riptide. Finally, at the head of one particularly
     crowded alley, Indy leaps up onto a wall for a clearer
     view. Whatever he sees gives him an idea and he cuts
     between two buildings rather than following the basket.


64   EXT. DESERTED ALLEY - DAY                                      64
                                                                48.


     Two Bad Arabs come running down the alley with the basket
     between them. Suddenly, Indy’s whip flashes out sending
     both Arabs and the basket tumbling. Indy steps into view,
     his .45 trained on the sprawled Arabs, and looks at the
     basket. The top has come flying off and the contents have
     clattered onto the cobblestone: inside is not Marion, but a
     load of contraband pistols, rifles and ammo.

     Indy is advancing on the trembling Bad Arabs with an ugly
     look when suddenly he hears Marion scream around the
     corner.


65   EXT. DESERTED SQUARE - DAY                                       65

     Indy rounds the corner and is immediately driven back by
     machine gun fire. Taking cover, he gets quick, intermittent
     glimpses of this scene: At the far corner of the large,
     deserted square is a canvas-covered trunk. Two Bad Arabs
     are hurrying toward it with a large rattan basket between
     them, Marion screaming inside. A German Agent is covering
     the retreat with a machine gun from the cab of the truck.
     Indy runs up to see the rattan basket being heaved into the
     back of the truck.


66   EXT. BACK OF THE TRUCK - DAY                                     66

     What Indy cannot see is that basket lands among an ominous
     load of German munitions, dynamite and firearms. The truck
     immediately peels out.


67   EXT. DESERTED SQUARE - DAY                                       67

     The German Agent has stopped firing in order to drive. He
     floors it, aiming for a street at the corner of the square.
     Indy uses the lull to take careful aim at the German
     Agent’s profile and fire off three careful shots. The
     German Agent is hit, blasted dead against the steering
     wheel. The speeding truck swerves, hits a wall, rolls over
     and explodes in an enormous, multi-leveled eruption as its
     contents ignite. Several surrounding buildings are leveled.

     Indy, blown back across the square, looks on, astonished
     and horror-stricken.

                       INDY
             Marion.


68   INT. ARAB BAR - NIGHT                                            68
                                                         49.


A dark, smoke-filled den on iniquity. The patrons, almost
all fearsome Arabs, sit in small shadowy groups around the
room. Indy stands at the bar finishing off a fifth of
bourbon. He is drunk. The ARAB BARTENDER places a new
bottle of expensive bourbon in front of him.

Indy eyes it queerly.

                  ARAB BARTENDER
        The gentleman in the corner sent
        it. He would like you to join him.

                  INDY
             (doesn’t even look)
        Too bad. I’m drinking alone.

The Arab Bartender does a take, looking at the three, tough
GERMAN HENCHMEN who have surrounded Indy from out of the
smoke, their hands stuffed in bulging trench coat pockets.

Indy notices them now with a bleary glance. He decides he’s
in no shape to kill or be killed and moves with them across
the room, taking his bottle with him. The Arab patrons take
this in and mind their own business.

The occupant of the smoke-shrouded corner table becomes
visible only as Indy reaches there: it is Emile Belloq. He
is drinking wine.

                  INDY
        Belloq

                  BELLOQ
        Good evening, Dr. Jones.

                  INDY
        I ought to kill you right now.

                  BELLOQ
        It was not I who brought the girl
        into this dirty business.

Indy knows its true; that’s what’s tearing him up.

                  BELLOQ
        Sit down, please, before you fall
        down. We can behave as civilized
        people. I’m afraid it will be your
        last opportunity.

Indy sits, glancing at the German Henchmen, who settle
nearby, just out of earshot.
                                                        50.


                  INDY
        Not a very private place for a
        murder.

                  BELLOQ
             (looking around)
        These Arabs will not interfere in
        the white man’s business. They do
        not care if we kill each other off.

                  BELLOQ
             (takes a sip of wine,
             refers to it)
        Terribly difficult finding a
        descent vintage here. You were
        quite vigorous in Shanghai.
        Unfortunately, our friend the Wild
        Boar had taken the precaution of
        making several copies of the piece.

Indy registers this as he takes a drink. Belloq watches him
with disdainful amusement.

                  BELLOQ
        How odd that it should end this way
        for us, after so many --
        stimulating encounters. I almost
        regret it. Where shall I find a new
        adversary so close to my own level?

                  INDY
        Try the local sewer.

                  BELLOQ
        I know you despise me. We always
        hate in others that which we most
        fear in ourselves. And you and I
        are very much alike.

                  INDY
        Now you’re getting nasty.

                  BELLOQ
        We have always done the same kind
        of work. Our methods have not
        differed as much as you pretend. I
        am a shadowy reflection of you. But
        it would have taken only a nudge to
        make you the same as me, to push
        you out of the light.
                                                        51.


There is a certain amount of truth to this; the recognition
of it flickers across Indy’s bleary eyes. Belloq sees it
there.

                  BELLOQ
        You know it to be true! How nice.
        And how ironic the timing.

Belloq leans forward, eyes shining, voice suddenly
different.

                  BELLOQ
        Do you realize what the Ark is?
             (very intense)
        It’s a transmitter.

                  BELLOQ
        A radio for talking to God! And now
        it is within my grasp.

                  INDY
        What about your boss, Der Fuhrer? I
        thought he was waiting to take
        possession.

Belloq glances in the gloom at the German Henchmen.

                  BELLOQ
             (quieter)
        When the time is right. When I am
        finished with it.

                  INDY
        I hope your friends are patient.
        Dangerous work, Belloq.

                  BELLOQ
        Yes. Very. You may consider
        yourself fortunate that your
        involvement concludes here.

                  INDY
        Tell me, did you get away with the
        idol?

                  BELLOQ
             (negative)
        I was lucky to get away with my
        life. The Hovitos proved quite
        narrow-minded about the whole
        matter.

Indy takes a drink.
                                                             52.


                       INDY
             You know, if it’s God you want to
             talk to, maybe I can arrange it.

                       BELLOQ
                  (smiles)
             You have not changed. But, please,
             do not reach for your weapon until
             you are ready to die.

     The front door of the bar slams open and all nine of
     SALLAH’S CHILDREN scamper in and over to a surprised Indy.
     Two of the smallest hop into his lap.

                       LITTLE SON
             Uncle Indy, we have been looking
             for you.

                       LITTLE DAUGHTER
             Come home now, Uncle. Hurry!

     Suddenly the Arab patrons of the bar take an intense
     interest in the situation, shifting their weapons.

                       INDY
             Yes. Yes, I’ll come now.

     Indy stands up. The German Henchmen are poised. Belloq eyes
     the Arab patrons and signals for the Henchmen to relax.

                       BELLOQ
             Next time, Indiana Jones, it will
             take more than children to save
             you.

     The children usher Indy out.


69   INT. SALLAH’S TRUCK - IN FRONT OF ARAB BAR - NIGHT            69

     Indy climbs into the cab of Sallah’s truck with a smiling
     Sallah as the children pile into the back. Sallah pulls
     out.

                       SALLAH
             I thought we would find you there.
                  (indicating the kids)
             Better than the United States
             Marines, eh?

                       INDY
                  (nods)
             Thank you.
                                                        53.


             (grave)
        Marion’s dead.

                  SALLAH
        Yes, I know. I am sorry.
             (pause)
        More reason than ever to beat the
        bastards.
             (he touches Indy)
        Life goes on, Indy.
             (indicates the kids
             again)
        There is the proof.

Indy looks back there, nods.

                  SALLAH
        I have much to tell you, Indy.

Fayah brings in a tray of food and puts it on the table.
The bowl of dates is in one corner. As Fayah leaves the
room, the Monkey slips out of Sallah’s lap and disappears
under the table. Indy leans over the food tray, his hand
hovering over the dates. But he chooses some cheese and
bread instead.

                  INDY
        And they made the calculation in
        the map room?

                  SALLAH
             (nods vigorously)
        This morning. Belloq and the boss
        German, Shliemann. When they came
        out of the map room, we were given
        a new spot in which to dig -- out
        away from the camp.

                  INDY
             (resigned)
        The Well of the Souls.

Sallah nods, moves to the food. He picks up a date, then
changes his mind and drops it, taking a bunch of grapes
instead. Indy picks up a chicken leg in one hand and a date
in the other, his mind distracted. Fayah enters the room
just in time to see Indy flip the date high into the air
and try to catch it in his mouth. It bounces off his chin
and falls to the floor. Indy looks sheepishly at Fayah.
Fayah picks up the fallen date and puts it in the dirty ash
tray she is now removing. Amir speaks in a slow, raspy
voice without looking up.
                                                           54.


                  AMIR
        Come. Look.

The two men go and huddle over the old man. The Monkey
peeks up over the edge of the table at the array of food.
He picks up a date and disappears below the table. Amir
points to some markings on the lower part of the headpiece.

                  AMIR
        This is a warning -- not to disturb
        the Ark of the Covenant.

                  INDY
        Just what I need.

The Monkey’s paw comes up over the edge of the table and
grabs another date.

                  INDY
        How ‘bout the height of the staff?
        Did Belloq get it off of there?

                  AMIR
        Yes -- it is here.

Indy, nervous, goes back to the food tray, picks up another
date. When he turns back to the men, the Monkey’s paw grabs
another date.

We see the headpiece in closeup on the table. Amir’s
crooked fingers trace a line of markings along the bottom
section to the break in the piece.

                  AMIR
        It says it is -- ten jamirs high --

                  SALLAH
        About seventy-five inches.

                  AMIR
        Wait! I am not finished --

Amir’s finger moves across the break as the markings
continue on the sun medallion.

                  AMIR
             (reading)
        “And one jamir to honor the Hebrew
        God whose Ark this is.”

Indy, still holding the date, exchanges a long look with
Sallah.
                                                             55.


                       INDY
             You said their top section was
             blank. Are you absolutely sure?

     Sallah nods.

                       INDY
             Belloq’s staff is seven and a half
             inches short. They’re digging in
             the wrong spot!

     Sallah and Indy begin to laugh. Amir gives them a glance
     and returns to his wine. Sallah leans over and kisses the
     old man.

                       SALLAH
                  (to Amir)
             A home run, my friend, grand slam!
                  (to Indy)
             We have a saying -- “A little luck
             is better than much smartness.”
             Indy, pardner, you are very lucky
             fellow.

     Indy hoots. Then he takes the date in his hand and flips it
     high in the air. He opens his mouth to catch it, but it
     doesn’t come down. He has inadvertently thrown it into a
     bowl of a hanging lamp. This makes the men laugh even
     harder.

     Indy goes over and picks up another date. He turns laughing
     to Sallah and doesn’t see as the Monkey’s paw comes up,
     slowly, takes another date and begins to withdraw. Suddenly
     the paw is stricken with palsy and the unseen Monkey goes
     into its death throws. Sallah watches the paw as though
     hypnotized. Finally the paw slips from sight and we hear a
     solid THUMP! on the floor. Sallah walks around the table
     and looks at the floor. The Monkey lies dead among a mess
     of date pits.

     Indy is in a happy world of his own. He throws his date
     high in the air. He positions himself under it and waits
     for it to drop in. Here it comes. Right on target. As it’s
     about to disappear into Indy’s mouth, Sallah’s hand flashes
     in and grabs it. Indy looks mystified and disappointed.
     Sallah motions toward the dead Monkey.

                       SALLAH
             Bad dates.


70   EXT. DESERT ROAD - MORNING                                    70
                                                                56.


     Two old trucks come down a narrow mountain road and onto
     the flat surface of the desert.

     Further out into the desert, the one in the lead, Sallah’s
     truck, stops and the second one, Omar’s truck, pulls up
     beside it. There are half dozen Arab Diggers in Omar’s
     truck. Indy, dressed as an Arab, gets out of the cab of
     Sallah’s truck and moves over to confer with OMAR, another
     old friend. They point off into the desert and reach some
     conclusion. Indy gives him a pat on the back; Omar turns
     off the road and drives into the desert with his workers.
     Indy hops back in the car of Sallah’s truck with Sallah.

     As they move down the road we see that the back of the
     truck holds three other Arab Diggers.


71   EXT. RISE ABOVE THE TANIS DIG - MORNING                          71

     Indy and Sallah are lying in classic shouting fashion at
     the top of the rise looking down on the Tanis Digs. Down
     behind them, Sallah’s truck is parked with the three Arab
     Diggers.

                       INDY
             My God! They aren’t kidding!

     WHAT HE SEES. The Tanis Digs are laid out below like a
     painting. Trucks, bulldozers, Arab workers and German
     supervisors are everywhere. The excavations themselves are
     extensive and somewhat random holes have been dug and then
     abandoned, foundations and passageways unearthed and then
     deserted. Beyond the main digs, a crude airstrip has been
     created. Sallah points to what appears to be a mound of
     dirt with a hole in it near the center of the activity.

                       SALLAH
             There! That is the map room!

                       INDY
             What time does the sun hit the map?

                       SALLAH
             Just after eight.

                       INDY
             We haven’t got much time. Where are
             the Germans digging for the Well of
             the Souls?
                                                             57.


     Sallah points out into the desert a short way beyond the
     main area of activity. The desert turns to sand dunes out
     there, the surface undulating into the distance. Several
     trucks and men are out there and a bulldozer is lumbering
     noisily toward it.

                       INDY
             Okay. Let’s go.


72   EXT. THE TANIS DIGS - MORNING                                 72

     Sallah’s truck drives through the camp, one of the Arab
     Diggers at the wheel. Indy and Sallah are in the back and
     look just like the other two Arab Diggers. Sallah’s truck
     goes behind a tent and when it appears on the other side,
     Indy and Sallah are gone.


73   EXT. AMONG THE TENTS - MORNING                                73

     Indy and Sallah move stealthily among the tents. Indy
     carries a smooth wooden staff almost seven feet tall. They
     stop between two tents and look across a path at the
     entrance to the map room. What appeared to be a mound of
     dirt is actually the roof on the ancient building. The
     hole/entrance is a five-foot square skylight. Indy looks
     around, then walks casually to the edge of the hole and
     looks inside. Sallah joins him, producing a length of rope
     from his robes. Indy drops the staff into the unseen map
     room as Sallah ties the rope around an oil drum. When it’s
     secure, Indy wastes no time disappearing down it into the
     map room.


74   INT. MAP ROOM                                                 74

     Indy is down the twenty feet to the floor of the room in
     seconds. He tugs on the rope and it immediately gets pulled
     up. Indy looks around with real wonder and excitement. The
     room is lovely, with elaborate wall carvings and frescoes,
     all lit by the bright stream of sunlight flooding in from
     above. This beam of light leads Indy’s eye to the far end,
     and the room’s truly remarkable feature: built into the
     floor in meticulous relief is a miniature stone model of
     the ancient city of Tanis. Already, the sunlight has worked
     its way down the far wall and is edging onto the miniature
     of the city. On the floor, to the skylight side of the
     miniature, is an elaborate line created by embedded mosaic
     tiles. The evenly spaced slots in the line, each
     accompanied by a symbol of a time of year, are for the base
     of the staff. Indy pulls the headpiece from his robes it
     has been welded together and reaches for the staff.
                                                                58.


75   EXT. ABOVE THE MAP ROOM - DAY                                    75

     An extremely nervous Sallah has the gathered rope in his
     hands and is trying to appear casual as he inches back
     toward the oil drum. There is now a good bit of activity
     going on up here.

                       JEEP GERMAN (O.S.)
             Hey! You, the skinny one!

     Sallah jumps about three feet. The JEEP GERMAN is standing
     in an open space ten yards away looking at Sallah.

                       JEEP GERMAN
             Yes, you. What are you doing there?

     Sallah gestures his innocence.

                       JEEP GERMAN
             Well bring that rope over here, you
             cur.

     The Jeep German starts back toward his major concern: his
     jeep is stuck in some sand beyond the next tent. Some Arab
     Workers are trying in vain to budge it. Now another German
     has backed his truck up to it. Sallah can think of nothing
     to do except obey. With a worried glance at the map room,
     he begins untying the rope from the oil drum.


76   INT. THE MAP ROOM                                                76

     Indy is examining the results of Belloq’s work. Red paint
     marks one of the miniature buildings in the layout and a
     white calibrated tape has been strung from that building
     back to a miniature of the map room. Now Indy begins
     examining the mosaic base line for the staff. Sunlight has
     moved further down across the miniature.


77   EXT. IN THE CAMP - DAY                                           77

     Sallah watches nervously as his precious rope is pulled
     taut between the pulling truck and the stuck jeep. He
     doesn’t notice that he has chosen to stand next to a large,
     steaming kettle of food until --

                       HUNGRY GERMAN (O.S.)
             Bring us some of that!

     He points to the kettle. Sallah looks frantically from the
     rope, back to the skylight of the map room, to the kettle
     of food.
                                                             59.


                       HUNGRY GERMAN
             Now, idiot!

     Sallah picks up some serving pieces and gets to work.


78   INT. THE MAP ROOM                                             78

     The moment has arrived. Even the tension of the
     circumstances cannot distract Indy from the purity of what
     he is about to do. All his calculations are adjustments
     complete, Indy takes the Staff of Ra and places it --
     CLINK! -- in the right depression on the base line. This is
     as active and exciting moment as any archeologist can dream
     of and, at heart, that is exactly what Indy is. The
     sunlight catches the very top of the headpiece and moves
     within a fraction of an inch of the tiny hole in its sun.
     The edge of the sunlight moving across the miniature city
     is still a good two feet beyond the spot Belloq has settled
     on. And now that line of light is broken by the shadow of
     an ornate sun at the top of the staff.

     Indy’s face reflects his concentration. And then his
     immense pleasure. He sees what he came for.

     Out of the miniature city, one small building is being lit
     by a tiny beam of sunlight in the center of the shadow of
     the metal sun. And by some trick of ancient artistry, this
     one building responds to the sunlight like none of the
     others. The golden light permeates it: it seems to glow.
     The building is in a direct line with Belloq’s, all of the
     Frenchman’s other calculations were right but it is a foot
     and a half beyond it.


79   EXT. IN THE CAMP - DAY                                        79

     Sallah, sweating profusely, has finished serving the line
     of Breakfasting Germans and now heads back to replace the
     kettle and get away.

                       HUNGRY GERMAN
             Water. Bring us water.


80   INT. MAP ROOM                                                 80
                                                             60.


     Indy is on his knees at the miniature city, a special tape
     measure in his hand. Indy has the tape strung from Belloq’s
     mistaken spot to his own correct spot. He gets his reading,
     leaps up and crosses to the erect staff. He pulls the
     headpiece off the staff and hides it in his robes. He
     quickly breaks the wooden staff in two and throws the
     pieces behind a pile of debris. Then he moves quickly to
     beneath the skylight.

                       INDY
                  (stage whisper)
             Sallah.
                  (he waits, then louder)
             Sallah!

     More waiting. Nothing. Indy looks around for some
     alternative means of escape. The room doesn’t offer any. He
     looks up at the skylight again.

                       INDY
                  (loudest)
             Sallah!

     A long pause. Then something comes down. A makeshift rope.
     Really just a bunch of clothing tied together, tunics,
     robes, pants. But what we see first and most prominently,
     the first section of Indy’s escape rope, is a bright Nazi
     flag. Indy beams and climbs.


81   EXT. ABOVE THE MAP ROOM - DAY                                 81

     Indy sticks his head out the skylight, sees it clear and
     flops his body out. Sallah, crouching behind the oil drum,
     immediately starts pulling in the makeshift rope. Sallah
     stuffs the rope in the oil drum and the two men begin
     walking toward some tents.

                       HUNGRY GERMAN (O.S.)
             Hey, you! More water over here!

     Sallah glances at Indy, then hurries back in that
     direction. The Hungry German focuses on Indy.

                       HUNGRY GERMAN
             Why aren’t you at the digs? Come
             here!

     Indy bows in wild subservience and hurries off in the
     opposite direction.

                       HUNGRY GERMAN
                                                             61.


                  (yelling after him,
                  irriated)
             No, dummkopf, I said come!


82   EXT. BETWEEN TWO TENTS - DAY                                  82

     Indy hustles between the tents. Up ahead, two German
     Officers stop to talk, blocking his exit. He moves along
     the side of one of the tents until he finds an opening and
     slips inside.


83   INT. THE TENT                                                 83

     Indy finds himself in a tent set up for rather comfortable
     living. He has just started to cross it when he hears a
     loud, excited grunting. He turns toward the sound. In the
     corner, tied to a chair and gagged is Marion. Indy rushes
     to her, snatches the gag from her mouth and embraces her.
     They kiss, deep and long.

                       INDY
             I thought you were dead.

                       MARION
             They were throwing me around like a
             rag doll.

                       INDY
             They must have switched baskets.
             Thank god for that! Bless those
             bastards. Have they hurt you?

                       MARION
             No. Not since I got here. They just
             asked about you -- what you knew.
             The Frenchman’s got the hot’s for
             me. I’ve been playing that along.
             Oh, Indy, get me out of here.

     Indy pulls out a knife and then stops suddenly, thinking.

                       MARION
             What’s wrong?

                       INDY
                  (putting the knife away)
             I have to leave you here for a
             little while. I know where the Ark
             is. If I take you out of here
             they’ll start combing the place for
             us.
                                                                62.


                       MARION
                  (louder)
             Cut me loose!

                       INDY
             Keep your voice down.

                       MARION
                  (screaming)
             I said get me out of --

     Indy pops the gag back in her mouth. Her eyes widen in fury
     and she grunts obscenities at him.

                       INDY
             Look, you don’t know how glad I am
             to see you. And I don’t like doing
             this. But the whole thing will be
             shot if you don’t just sit here
             quietly. They haven’t hurt you in
             the last twenty-four hours, they
             aren’t going to start now. I’ll be
             back to get you in no time.

     He kisses her forehead, jumps up and hurries out of the
     tent.


84   EXT. SAND DUNE OUTSIDE DIGS - DAY                                84

     With the digs behind them, Indy and Sallah run up to the
     ridge of the dune and over the top. At the bottom of the
     far side, Omar’s truck is parked. Omar and his men are
     waiting.


85   EXT. DIFFERENT DUNE - DAY                                        85

     This new spot gives Indy a higher, better view of the whole
     scene. Indy is using a surveyor’s instrument to take a
     reading.

     WHAT HE SEES. Looking through the instrument, Indy gets a
     line from the map room through the site where the Nazis are
     digging in the dunes to a spot several dunes over. We focus
     on that virgin spot of well-hidden sand as --

                       INDY
             There!


86   EXT. INDY’S DIG - DAY                                            86
                                                             63.


     Omar’s truck is parked at the stop just viewed from afar.
     Dunes rise on either side. One of Omar’s men has been
     posted as a lookout up on a ridge. Everybody else, Indy,
     Sallah, Omar, and his men, have begun digging for the Well
     of the Souls.

                                                    DISSOLVE TO:

     SAME SCENE, NIGHT. They continue to dig furiously, all of
     them drenched in sweat. The hole has grown but this is
     slow, back-breaking work.


87   INT. COMMAND TENT - TANIS DIGS - NIGHT                        87

     Belloq, SHLIEMANN the ranking Nazi, and Shliemann’s Aide,
     GOBLER, come into the tent, which is full of charts and
     maps, drawings of the Ark, radio equipment, liquor and
     food. The men have been out digging for the Well all day.
     They are tired, discouraged, testy. In all matters, Gobler
     shows his alliance with Shliemann against Belloq with small
     looks and body language. The Frenchman has disappointed
     them and he is feelings the isolation of a scapegoat.
     Belloq gets himself a drink as Shliemann towels off his
     face.

                       BELLOQ
             I cautioned you about being
             premature with that communique to
             Berlin. Archeology is not an exact
             science. It does not adhere to time
             schedules.

                       SHLIEMANN
             The Fuhrer is not a patient man. He
             demands constant reports and he
             expects progress. You led me to
             believe --

                       BELLOQ
             Nothing. I have made no promises. I
             said only that it looked very
             favorable. Perhaps the Ark will
             still be found in an adjoining
             chamber. Based on the information
             in our possession, my calculations
             were correct. Perhaps some bit of
             evidence still eludes us. Perhaps -
             -

                       GOBLER
             Perhaps the girl can help us.
                                                             64.


     Belloq shoots him an angry look.

                       SHLIEMANN
             My feeling exactly. She was in
             possession of the original piece
             for years. She may know much.
                  (really evil)
             If properly motivated --

                       BELLOQ
             I tell you, she knows nothing
             useful.

                       SHLIEMANN
             I’m surprised to find you
             squeamish. That is not your
             reputation. But it needn’t concern
             you. I have the perfect man for
             this kind of work.

     Shliemann signals Gobler, who steps outside the tent a
     moment, calls someone and then reappears. Belloq looks
     warily at the entrance. After a moment Belzig enters,
     reeking villiany. When his eyes find Shliemann, his
     superior, he snaps a crisp “Heil, Hitler!” at him, holding
     his palm rigid a long time, exposing a burned scar in the
     perfect shape of the sun medallion.


88   EXT. INDY’S DIG - NIGHT                                       88

     In the eerie conjunction of moonlight and torchlight, Indy
     and the other men step back in awe of their discovery:
     there, flush with the bottom of their pit, is a heavy stone
     entry door to an underground chamber. Special prying tools
     are produced. With two men assigned to each of the two long
     tools, they work in unison to open the vault. They open it
     a foot and the two other men rush in to flop the heavy door
     completely open. Down inside, only blackness.

     The men quickly prostrate themselves around the edge of the
     entry to look inside. Indy and Sallah each take a torch and
     hold them down the hole.
                                                               65.


     WHAT THEY SEE. The Well of the Souls is a spooky chamber
     thirty feet deep. The walls are covered with hieroglyphics
     and carvings. The roof is supported intermittently by stone
     pillars, the closest of which hits the roof very near the
     entry hole. The Well is quite large; as Indy and Sallah
     wave their torches, more and more of the room is revealed.
     Now the far end of the chamber comes into view. There is a
     stone altar down there and on this elaborated carved
     platform is a stone chest, big enough to enclose the Lost
     Ark and protect it from the ravages of time. This altar
     appears to be the only place on the floor of the Well that
     is not covered by a strange, dark carpet of some kind.

                       INDY
             The Ark must be in that stone case.
             What’s that gray stuff all over the
             floor --

     He breaks off realizing exactly what that carpet is. He
     blanches. Indiana Jones blanches.

     Indy drops his torch to the floor of the Well. This is
     answered by the most horrific HISSING imaginable.

     WHAT HE SEES. That thick dark carpet is moving. It’s alive.
     It’s thousands and thousands of deadly poisonous snakes.
     Egyptian asps. And the only thing that seems capable of
     avoiding this venomous ground cover is the altar. The
     snakes ebb and flow near it, but never encroach on it, as
     though repelled by some invisible force.

     Indy shakes his head and talks to himself.

                       INDY
             Why snakes? Why did it have to be
             snakes? Anything else.

     After a moment of this, he stops. He gathers his energy and
     resolve and gets back to the task.

                       SALLAH
             Asps. Very dangerous.

     Where Indy’s torch has landed is a circle of snake-free
     floor. The snakes hate the flame; they stay away.

                       INDY
             Lots of torches. And oil. I want a
             landing strip down there.


89   INT. THE WELL OF THE SOULS                                      89
                                                             66.


     Fifteen torches have been dropped to the floor of the
     chamber, combining to make a good-sized clear zone. Smoke
     begins to fill the room. Several canisters of oil have been
     lowered into this space. Now, a large wooden crate is
     lowered slowly by rope. Rope handles are attached to each
     end of the crate.

     Up at the hole, Indy gives Sallah a reassuring pat, takes a
     breath, and swings carefully onto a rope hanging from the
     hole. Despite his care, he swings a bit and his feet hit
     the stone pillar which is so near the entry. Surprisingly,
     the pillar casually moves a bit, showering a light rain of
     crumbled stone to the floor below.

     Indy lands on the floor of the Well. He looks at the altar
     over a sea of undulating death. He picks up an oil canister
     and splashes two parallel lines of oil and lights them. A
     path six feet wide beings to open the altar. Behind Indy,
     Sallah comes quickly down the rope.

     We begin to INTERCUT all the action in the Well from here
     on with insert shots of the snakes outside the flames.
     Snakes and snakes. We see: snakes piled and entwined six
     inches deep; mother snakes laying snake eggs; snake eggs
     hatching little snakes; snakes cannibalizing other snakes.


90   INT. MARION’S TENT                                            90

     Belloq has been talking to the still-bound Marion. He has
     removed her gag. He is impatient, angry, uncomfortable.
     Caught between two forces.

                       BELLOQ
             Believe me, you made a mistake. If
             you would just give me something to
             placate them. Some bit of
             information.

                       MARION
             I swear to you, I know nothing
             more. I have no loyalty to Jones.
             He’s brought me only trouble.

     He wants to believe her.

                       BELLOQ
             I cannot control them.

     Marion’s frightened look shifts suddenly to the entrance of
     the tent. There are a few new arrivals there, Shliemann,
     Govler and Belzig. Belzig carries a black leather case. He
     steps forward and smiles at Marion.
                                                             67.


                       BELZIG
             We meet again, Fraulein.


91   EXT. INDY’S DIG - JUST BEFORE DAWN                            91

     The sky is just beginning to lighten over the dunes to the
     east, making dangerously obvious the thin column of smoke
     rising from the entrance to the Well. Omar and his men are
     peering through the smoke down into the Well.


92   INT. THE WELL OF THE SOULS                                    92

     Indy and Sallah are on the altar. Pushing together with all
     their strength, the heavy stone top of the protective chest
     begins to slide away. Indy and Sallah exchange slightly
     wary but very excited looks, then continue to push. As the
     Ark begins to be exposed, the air seems to almost vibrate,
     to become electrostatically charged. We hear what sounds
     like a low HUM. The sea of snakes around the altar draws
     back further from this presence.

     As the top of the stone chest is pushed completely off and
     slams down beside it, we see THE LOST ARK OF THE COVENANT.
     It is awesomely beautiful, breathtaking. 4 feet long, 2.5
     feet wide and 2.5 feet high. It’s height, however, is
     increased by the two sculptured gold angels mounted facing
     each other on the top. Though the body of the Ark is acacia
     wood, it has been overlaid with gold. An elaborate gold
     crown surrounds the top edge and gold carrying rings are
     attached to each corner.

     Sallah is mesmerized by the sight. His hand starts to reach
     out and touch one of the angels, but Indy grabs it.

                       INDY
             Don’t touch it! Never touch it!

     The wooden crate stands open next to the stone chest. Now
     Indy extracts the wooden poles from its rings and begins
     fitting them through the rings in the Ark. This takes some
     maneuvering by the two men, but soon they are able to lift
     the Ark clear of the stone chest and into the wooden crate.

     They extract the poles, fasten the top of the crate and
     stick the poles through the rings of the wooden crate. They
     start back toward the space under the hole. The fire strips
     have begun to dwindle, as have some of the torches. The
     snakes move slowly in toward the clear spaces.
                                                               68.


     Indy and Sallah eye them nervously as they hurry along with
     their heavy load. Under the hole, they hurriedly attach
     ropes to the wooden crate and it is pulled up. Indy’s
     concentration is on the tide of snakes.

                       INDY
             Hurry up! Why did it have to be
             snakes?

     Sallah takes the next rope and climbs quickly out of the
     Well. Indy has picked up a torch and now throws it at a
     pool of snakes who are too close for his comfort. He turns
     and takes hold of the exit rope. He gives it a first tug
     and it falls down into the Well, landing partly beyond the
     ring of fire where it instantly disappears in a tangle of
     angry, hissing asps. Indy looks up at the hole.

                       INDY
             What the --

     Smiling down at him from the perimeter of the entry are
     Belloq, Shliemann and Gobler.

                       BELLOQ
             Why, Dr. Jones, whatever are you
             doing in such a nasty place?

     Belloq and the Germans laugh.

                       INDY
             Why don’t you fellows come down
             here? I’ll show you.

                       BELLOQ
             No thank you, my friend.
                  (he glances around him)

                       BELLOQ
             I think we are all very comfortable
             up here.


93   EXT. INDY’S DIG - DAWN                                          93

     Sunlight is flooding this tableau: Sallah, Omar and his men
     are being held at bay by ten armed Nazis. The wooden crate
     sits safely nearby. Belzig and another Nazi have the gagged
     Marion held in their rough grasp.

                       BELLOQ
                  (down to Indy)
                                                             69.


             After all these years, it is most
             considerate of you to aid me in
             this way.

     As Belloq speaks, Shliemann exchanges a look with Belzig.
     Belzig smiles and takes the gag from Marion’s mouth.


94   INT. WELL OF THE SOULS                                        94

     Shliemann smiles down at Indy.

                       SHLIEMANN
             I’m afraid we must be going now,
             Dr. Jones. Our prize is awaited in
             Berlin. But I do not wish to leave
             you down in that awful place --
                  (he gives a sign)
             -- all alone.

     Belzig and the Nazi move Marion to the hole and, to
     Belloq’s surprise, push her in. Marion falls thirty feet
     screaming. Indy drops the torch, braces, and catches her!
     Her weight knocks him to the ground, almost into the
     snakes. She looks around at the snakes, clinging to him
     more desperately as he struggles to his feet trying to
     unload her.

                       MARION
             Don’t put me down!

     Up at the hole, there’s plenty of dissension.

                       BELLOQ
             The girl was mine!

                       SHLIEMANN
             She is of no use to us. Only our
             mission for the Fuhrer matters.

     Shliemann glances meaningfully around at the other Nazis.

                       SHLIEMANN
             I wonder sometimes, Monsieur, if
             you have that clearly in mind.

     Belloq feels how much he is the outsider, his own
     vulnerability. He backs down with the wisdom of survival.
     He turns to look down at Indy and Marion. His manner is
     gallant.

                       BELLOQ
             Goodbye, mademoiselle.
                                                        70.


             (a pause, then with
             respect)
        Indiana Jones -- adieu!

Belloq and the others step back from the hole and unseen
Nazis slam the heavy stone door into place. Marion screams.

Her scream is accompanied by --

A huge WHOOSH! as air is sucked out and the chamber is
sealed. Half of the torches still burning go out with the
sound. The remaining torches continue to extinguish at
punctuating intervals throughout the following action and
the snakes immediately flood into the newly-darkened
spaces. Indy puts Marion down and snatches up two burning
torches. He hands one to Marion.

                  INDY
        Don’t panic. There’s plenty of time
        for that later. Wave that at
        anything that slithers.

Indy holds his torch out like a lantern and begins a slow
360o turn, his eyes peering into the gloom, examining every
inch of the wall and ceiling.

                  MARION
        What are you doing?

                  INDY
        Just watch the floor.

Reminded of the encroaching snakes, Marion waves her torch
at the nearest edge of their circle. She looks faint. Indy
continues his slow turn.

                  MARION
        Whatever you’re doing, do it
        faster.

                  INDY
             (he spots something)
        There!

His head whips around, looking at the pillars around the
room. He sees what he wants. He grabs one of the oil
canisters, looks back to the spot on the wall he’s chosen
and splashes oil on the floor in that direction, then
lights it. A path opens toward that wall.

                   INDY
        Come on!
                                                        71.


Marion is frozen in her spot. Indy drags her after him. He
splashes oil the rest of the way to the wall. It lights and
Indy pulls Marion over to the wall. He pours the remaining
oil in a circle around them, creating a safe zone there.

                  INDY
        Stay here!

                  MARION
             (grabbing him)
        Where are you going?

                  INDY
        I’ll be back in a minute. We’re
        going through this wall.

Marion looks at the wall, which looks like all the rest to
her. She thinks he’s crazy.

                  INDY
        Just keep your eyes open and get
        ready to run. No matter what
        happens to me.

                  MARION
             (panicked)
        What do you mean?

Too late. Indy runs back through the path of flames to the
center of the room. Snakes strike at his flying heels. Indy
reaches the base of the pillar which he touched briefly on
his original descent. He uses the torch to clear away the
scattered snakes climbing on it, then pulls out his whip.
He draws it back, then wraps it solidly around the pillar
15 feet up. With the torch in his mouth, he beings climbing
the pillar. It moves ominously under his weight.

The last two torches still burning on the floor go out. Now
the only light in the chamber is provided by the torches
held by Indy and Marion and the dwindling oil flames.
Snakes move in and surround the base of Indy’s pillar. The
path between Marion and the center of the room is overrun.
The circle of flame around Marion is dying down.

She looks beyond it with terror-widened eyes, then up
through the increasing smoke at the distant Indy.
                                                                72.


     Near the top of the pillar, Indy’s hands strain along his
     taut whip, which he has moved higher. A snake slithers into
     view there, inches from Indy’s straining face. Indy turns
     his head so the torch in his mouth can burn it. The snake
     falls from the pillar. Indy’s torch is dwindling. Indy
     works his body around so that he’s in on the side of the
     pillar away from Marion. The pillar moves, showering dust.
     Indy looks at the chamber wall five feet away, takes a
     breath and swings his legs up against it. He is now braced
     between the pillar and wall.

                       MARION (O.S.)
                  (screaming)
             Where are you?!

     Snakes are moving in force up the pillar toward Indy’s
     dwindling torch. Indy grasps the pillar for dear life,
     grimaces with exertion and pushes against the wall with all
     he’s got. The pillar begins to break loose of the ceiling,
     then stops. Indy’s eyes are on the torch. It is just a spot
     of flame now. Snakes are sliding up toward his hands. Indy
     again pushes against the wall and torch falls out of his
     mouth.

     The pillar goes! In the dim light, we see it fall like a
     tree directly at Marion. Indy rides it down. The top hits
     the wall three feet from a cringing Marion and smashes
     through to a black chamber beyond. Indy flies off into the
     darkness. Gone. Marion clutches her torch at the black
     hole.

                       MARION
             Indy! Where are you?! Please Lord!

     There is a moment that seems an eternity, then Indy appears
     like an apparition out of the void.

                          INDY
             Come on!

     He grabs her and helps her over the remains of the wall
     into --


95   INT. THE CATACOMBS                                               95

     The winding string of connected chambers is revealed to
     them only a few feet at a time as their torch lights the
     way.

                       MARION
             The snakes -- are they here?
                                                                73.


                       INDY
             I guess not. I think I’d be dead.

                       MARION
             Do you know where you’re going?

                       INDY
             Absolutely.

                       MARION
             Thank god. Where?

                       INDY
             Out.

     They round a corner and flush a covey of bats. Marion
     screams.

                       INDY
             Don’t do that. It scares me.

     Marion gives him a look. They round a corner and begin a
     walk through a maze of chambers that present for their
     inspection: moldering mummies and stacked sarcophagus; a
     room decorated with a thousand human skulls; a wall
     crawling with huge scabbard beetles. Marion is quite
     naturally a nervous wreck; she jumps when Indy grabs her
     suddenly and points.

                       INDY
             Look!

     WHAT THEY SEE. There, coming through the crack in the
     corner of the next chamber, is white blessed sunlight.


96   EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY                        96

     Indy and Marion peek out into the light from the shadows of
     an abandoned excavation. Before them is the improvised
     airstrip serving the digs: a crude runway, a tent supply
     depot, two fuel tank trucks. Down by the fuel trucks a
     German Mechanic is looking skyward. Now Indy and Marion
     look there too, drawn by the roaring sound of --

     A Flying Wing, which is circling over the digs in
     preparation to landing.

     Now a new figure approaches the German Mechanic. It is
     Gobler; he yells to the mechanic, indicating the plane.

                       GOBLER
                                                           74.


        Get it gassed immediately! It has
        an important cargo to take out!

In the distance, the Flying Wing lands and rolls toward the
men. Gobler spins and heads back toward the main camp,
which is hidden from view by a rise. Indy and Marion watch
him go.

                  INDY
        When the Ark gets loaded, we’re
        already going to be on that plane.

The Flying Wing rolls up into the space near the fuel
trucks. The German Mechanic puts blue blocks in front of
the tires as the engines continue to roar.

Indy and Marion run in a crouch to a hiding spot closer to
the plane, near the supply tent. Suddenly, a Second German
Mechanic appears behind them. He is as surprised as they
are, but recovers quickly and swings a monkey wrench at
Indy. Indy grabs the swinging arm and the two men tumble
out into the open, wrestling. Marion remains hidden, moving
fast among the crates.

The first German mechanic, who is just pulling the fuel
hose from the tank truck to the plane, sees the combatants
and runs to help his countryman. He is almost upon them
when Indy puts the Second German away with a devastating
left, right, left combination. He turns to find the first
German Mechanic flying at him. The roll toward the rear of
the Flying Wing and its lethally spinning reversed
propellers.

In the cockpit of the Flying Wing, the Pilot has been
fiddling with his gauges just prior to shutting off his
engines. Now he notices the fight going on outside.

The fistfight between Indy and the German Mechanic has
taken on a new stomach-tightening dimension. The men are
fighting and flailing in and out between the spinning props
at the back of the plane’s wings. Each man comes within
inches of the becoming instant mincement.
                                                             75.


     The Pilot slides away the top of his cockpit and stands up.
     He pulls a Lugar from his side and points it, waiting for a
     clear shot at Indy. The German Mechanic kicks Indy away
     from him and the Pilot aims his pistol. Suddenly, Marion
     appears behind the Pilot, standing on the opposite wing,
     and bashes him over the head with one of the blue blocks
     that was holding the tires. The Pilot drops down into the
     cockpit, his body falling on the throttle. The engines roar
     louder, revving up. The plane begins to roll, rotating
     around its one still-blocked set of tires. Marion grabs
     onto the cockpit to keep from slipping into the props. She
     bends into the cockpit, trying to pull the Pilot’s body off
     the throttle. No luck. She grimaces and climbs inside. Her
     shoulder bumps the top of the cockpit; it slides tightly
     shut above her.

     Under the moving wing, Indy delivers a knockout right cross
     to the German Mechanic which sends him staggering back
     toward a roaring propeller. Indy’s grimace registers the
     man’s demise and a fine mist of blood wafts toward him.
     Indy spins toward the sound of crumpling metal and sees --

     The other top of the Flying Wing slice into a tank truck.
     The airplane fuel inside floods out onto the pavement,
     surrounding the plane. Indy backpedals away from the plane,
     his eyes searching the scene for Marion. Suddenly, he is
     shocked to see her in the cockpit. He runs toward her,
     skidding through the gasoline.

                       INDY
             Get out! Get out!

     Marion is struggling with the top of the cockpit. She can’t
     budge it. She’s trapped.


97   EXT. THE COMMAND TENT - DAY                                   97

     Three Armed Nazis stand guard around the wooden crate
     containing the Ark. It is sitting near the flopped-open
     entrance to the Command Tent and there is furious activity
     going on here. Belloq, Shliemann, Golber, Belzig and
     assorted Aides are packing up all the papers and personal
     items in preparation for a hasty departure.

     A large crowd of Arab Diggers are milling about among the
     tents. They all want to get a look at the Ark. Sallah is
     among them. All at once, there is an earthshaking
     explosion. All eyes turn toward the rise that hides the
     airstrip. A huge fireball floats into view over there.
     Everyone starts running toward it. Shliemann yells at
     Belzig and the Armed Nazis.
                                                             76.


                       SHLIEMANN
             Stay with the Ark!


98   EXT. THE RISE ABOVE AIRSTRIP - DAY                            98

     Almost all the Arabs and Germans in the digs have
     congregated here and are staring at the burning remains of
     the Flying Wing. Belloq and Shliemann arrive just as the
     second fuel tank blows up. The concussion knocks many of
     the observers flat. Belloq, Shliemann and Gobler watch the
     scene in alarm.

                         SHLIEMANN
             Sabotage!

                       BELLOQ
             We must get the Ark away from this
             place immediately!

                       SHLIEMANN
                  (to Gobler)
             Have it put on the truck. We’ll fly
             out of Cairo.

     Gobler snaps his heels, turns to go.

                       SHLIEMANN
             And Gobler --
                  (Gobler stops)
             -- I want plenty of protection.

     Gobler nods and runs off. Shliemann heads back toward camp.

     Belloq hesitates a long moment, studying the burning
     wreckage with an odd, suspicious look. Finally, he turns
     and leaves, passing a nearby stack of barrels. When he has
     passed, Sallah appears from among the barrels. He searches
     the crowd for his people and starts a broken field run
     along some tents to avoid a group of Germans and is running
     flat-out when someone sticks out a leg and sends him
     flipping. Sallah, dust all over his face, looks angrily
     toward the concealed culprit. At once, a flashing white
     grin splits his darkened face. Indy and Marion, splotched
     with soot and oil, are hiding in the flap of a tent. Sallah
     runs into their arms and the three embrace warmly. When
     they break --

                       SALLAH
             Holy smoke, my friends! I am so
             pleased you are not dead.

                         MARION
                                                             77.


             Us too.

                       SALLAH
                  (suddenly remembering)
             The Ark! They’re taking it on a
             truck to Cairo.

                       INDY
             Where is it?

     Sallah gestures to follow and all three run off stealthily
     through the mostly deserted camp.


99   EXT. AMONG THE TENTS - DAY                                    99

     Sallah, Indy and Marion run into a hiding spot behind some
     water barrels near the Command Tent. They peek out at this
     activity --

     In the big space near the Command Tent is parked an open
     German staff car; inside is a Blond Driver and an Armed
     Guard. Directly behind it is a canvas-topped troop truck.
     At this moment, Belloq and Shliemann are supervising the
     careful placement of the crated Ark in the back of the
     truck. When it is securely placed inside, we hear an
     ominous marching sound and Nine Armed Nazis appear at a
     trot from between some tents and climb into the back of the
     truck with the Ark.

     Behind the water barrels, Sallah and Marion exchange
     hapless looks, but Indy just concentrates on --

     The scene by the truck: Belloq and Shliemann are about to
     climb into the front staff car when they pause to check out
     the final component of the convoy. Rolling into place
     behind the truck is another open staff car. But this one is
     special, mounted in the back is a big, black machine gun,
     manned by a Gunner. At the wheel of the car is Gobler and
     next to him sits Belzig.

     Sallah and Marion look at Indy. Belloq and Shliemann climb
     in the back seat of the front car and the caravan pulls
     out.

     Indy watches it go, thinking hard.

                       INDY
             You two get back to Cairo quick and
             get us transportation to England --
             a plane, a ship, anything.

                       MARION
                                                               78.


             What about you?

                       INDY
             I’m going to get that truck. I’ll
             meet you at Omar’s. Be ready for
             me.

    Sallah nods. Marion looks at him like he’s nuts. Indy jumps
    up, looks around desperately.

                       MARION
             How are you going to get that
             truck?

                        INDY
                   (still searching)
             I don’t know. I’m making this up as
             I go.

    He runs away between two tents.


100 EXT. AT THE EDGE OF THE DIGS - DAY                               100

    From among the tents, Indy suddenly bursts into view,
    happily astride a magnificent white Arabian stallion. He
    gallops off across the desert.


101 EXT. THE DESERT - VARIOUS SHOTS - DAY                            101

    Indy cuts cross-country avoiding the road the convoy has
    taken. He leaps gullies, climbs dunes, slides down slopes.
    Soon the convoy comes into view far below him. He tears
    along a parallel ridge, like an Indian shadowing a wagon
    train.


102 EXT. DESERT ROAD - DAY                                           102

    The convoy is entering rougher country. The narrow mountain
    road we’ve seen earlier ascends ahead. To the wide of the
    road are tall boulders. Suddenly, Indy shoots out from
    between two rocks and rides directly for the truck. The
    Armed Nazis in the back of the truck can see nothing
    because the canvas hides their view. But Gobler, Belzig and
    the Gunner in the rear staff car have a brief line on him.
    Belzig points and the Gunner fires away at Indy, the
    bullets kicking up sand near Indy’s horse.
                                                              79.


    The Armed Guard in the cab of the truck leans out to see
    what’s happening. Indy has been riding alongside. Now he
    stands on the horse and leaps to the cab. In a second, he
    has flipped the Armed Guard out of the truck. He slides
    into the cab and begins grappling with the Truck Driver.
    The Truck Driver tries to hit the brakes, but Inyd kicks
    his foot away and floors the gas pedal. The truck doubles
    its speed and shoots onto the steep mountain road.


103 EXT. MOUNTAIN ROAD - DAY                                        103

    The Blond Driver of the front staff car sees the truck move
    up on him in the rearview mirror and speeds up. Belloq,
    Shliemann and the Armed Guard in the car twist around to
    look at the struggle in the truck. The Blond Driver begins
    what will be a continuing preview of the twists in the
    road. He turns his wheel sharply and takes the lead car
    around a bend.

    In the cab of the truck, Indy and the Truck Driver stop
    their fight temporarily and cooperate in turning the
    steering wheel. The truck barely stays on the road.

    A full view reveals the incredible geography of this ride.
    The convoy is tiny against the spectacular mountainside,
    the cliffs drop hundreds of feet.

    At the wheel of the rear car, Gobler swerves to stay on the
    road and accidentally sideswipes a boulder. The Gunner
    perched in the back is flipped head over heels out of the
    road through all the dust the convoy is picking up.

    The lead staff car reaches the summit of the road and
    barely makes the hairpin turn there, delivering a
    destructive blow to the guard rail that has been placed
    there. The guard rail is now bent.

    In the cab of the truck, Indy and the Truck Driver again
    stop trying to choke each other long enough to negotiate
    the turn together. The bumper of the truck hits the broken
    guard rail and sends it flying off the cliff. The truck,
    however, holds the road.

    In the rear car, Golber and Belzig are trying to see
    through the thick clouds of dust. Suddenly is clears
    completely.

    Unfortunately for them, this happens because their car has
    shot out into space at the hairpin turn. They are flying to
    their final reward. Belzig, eyes wide behind his evil
    spectacles, screams as he goes.
                                                            80.


In the cab of the truck, the Truck Driver is distracted by
the sight of the flying staff car. Indy plasters him and he
tumbles out.

Far, far below, Belzig’s staff car explodes on the rocks.
In the back of the truck, a TOUGH SERGEANT takes command of
the situation. He picks out six Armed Nazis and motions for
them to start climbing around the outside of the truck to
the cab. With some trepidation the lucky ones begin that
maneuver. The truck is swerving like crazy.

In the front staff car, the Armed Guard aims his submachine
gun back at Indy, alone now in the truck’s cab. Shliemann
knocks the barrel roughly away.

                  SHLIEMANN
             (yelling)
        If anything happens to that Ark,
        we’re all dead men! The Fuhrer will
        see to it!

Indy sees this from the cab and reacts by speeding up,
putting even more pressure on the Blond Driver.

Along the back of the   truck, Armed Nazis are edging up
toward the cab, three   on each side. They hang on as the
truck rounds a corner   and goes into a straightaway that
leads through a short   tunnel.

In the cab, Indy has been concentrating on the lead staff
car. Now, just before entering the tunnel, he looks in the
side view mirror and sees the Nazis on his side. A quick
glance to the other mirror reveals the others. As the truck
sweeps into the tunnel, we see Indy just start to turn his
steering wheel, he’s going to sideswipe the walls of the
tunnel.

At the other end of the tunnel, we hear the roar of the two
engines and two long, screeching, scraping sounds. The lead
staff car shoots out of the tunnel, then the truck, its
sides cleaned of Nazis.

In the rear of the truck, the Tough Sergeant is looking
with distaste back at the tunnel. There remains only him
and two Armed Nazis with the Ark. He sends these two
climbing up over the top of the truck.

In the lead car, the Blond Driver is being pressed hard by
Indy, who now edges up to bump them from the rear. Suddenly
the Armed Guard next to the Driver sees the two Armed Nazis
appear on the top of the truck. Without thinking, he starts
to point them out to Shliemann, then realizes his
stupidity.
                                                               81.


    In the cab, Indy has seen this and is at first mystified.
    He checks his side-view mirrors. Then he figures it out and
    slams on his brakes. The brakes lock, the wheels burn and
    the truck skids to a dusty halt. The two Armed Nazis fly
    off the truck, over the cab to the road in front. Indy
    immediately hits the gas again. The two Armed Nazis, just
    aiming their weapons, get wiped out.

    In the rear of the truck, the crated Ark is bouncing all
    along, no one in sight, because --

    The Tough Sergeant is on the top of the truck, making his
    way steadily forward. This guy clearly knows what he’s
    doing. A submachine gun is slung acorss his back.

    The truck and the staff car race through a series of S-
    curves. In the staff car, Belloq and Shliemann spot the
    Tough Sergeant as he reaches the front of the truck’s top
    and begins to lower his submachine gun barrel toward the
    cab. Indy is unaware. Belloq and Shliemann exchange looks.

    Then Shliemann yells to the Armed Guard in the front seat.

    The Touch Sergeant has a line on Indy. He points his gun.
    The Armed Guard blasts away at the truck. The Tough
    Sergeant dies in a hail of bullets and flies off.

    Indy, who has ducked the gunfire, is confused. But when he
    sees the Armed Guard up front lower his gun, Indy again
    floors it and begins bumping the staff car in earnest.

    The road is almost down to a level now. In the distance
    Cairo. The road takes a little dogleg just before reaching
    level ground again. Just as the staff car is about to make
    the turn, Indy smashes them from behind. The staff car
    flies off the road and down a twenty foot embankment. Indy
    takes the truck speeding down the road and off toward
    Cairo.

    In the staff car, the occupants are bruised but safe.
    Shliemann points at the departing truck and yells at the
    Blond Driver. The staff car fishtails out of its sandy
    resting place and takes off after the truck.


104 EXT. OUTSKIRTS OF CAIRO - VARIOUS SHOTS - DAY                    104

    Indy had an ever-decreasing lead on the staff car as the
    race thunders into the narrow streets. People and animals
    leap out of the way; carts and barrels go flying helter
    skelter. Indy takes the truck down a street so narrow there
    are only inches to spare on each side. Pedestrians jump
    into doorways.
                                                            82.


105 EXT. OMAR’S SQUARE - DAY                                      105

    When the truck clears the narrow street, it is in a small
    square. Omar’s garage is gaping open on the opposite side.
    Indy hits the brakes and the truck skids across the square
    and into the garage. The garage door slams shut and tenting
    drops from the building to hide the door. Various Arabs,
    friends of Omar, rush out with fruit carts and baskets and
    set up a mini-bazaar in seconds. Two Arab Boys sweep the
    tracks of the truck into oblivion. They throw aside their
    brooms just as the staff car appears from the narrow
    street. Belloq and Shliemann look around desperately as the
    Blond Driver steers the car through the square and out the
    other side.


106 EXT. CAIRO DOCKS - NIGHT                                      106

    The waterfront is dark and misty. An old tramp steamer, THE
    BANTU WIND, sits by the pier. Several fierce Black African
    Pirates, the crew members, are taking on final stores.

    A small light illuminates the top of the gangplank. In its
    circle, Indy and Marion exchange long, warm embraces with
    Sallah. A short distance away the ship’s Captain, a
    handsome, powerful black named SIMON KATANGA, watches the
    rail, smoking a pipe.

                                                   DISSOLVE TO:


107 EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT                     107

    The Batu Wind is bathed in moonlight as it cuts across the
    even seas.


108 INT. INDY’S CABIN - NIGHT                                     108

    Indy comes in, takes off his hat, jacket, whip and holster.
    The door which connects this cabin to the next opens and
    Marion appears. She is carrying a half-full glass of
    liquor, but what you notice is the long, snow-white, high-
    necked nightgown she is wearing. It is very prim. Very
    innocent. And very sexy. Marion does a slightly embarrassed
    model’s turn for Indy.

                       MARION
             I have a feeling I’m not the first
             woman to travel with these pirates.
             There’s a whole wardrobe in there.

                       INDY
                                                        83.


        It’s lovely.

Indy sits on the cot, takes off his boots. He leans back
against the wall and rubs his eyes. Marion sits on the bed,
leans back against the wall with him and looks down at her
white nightgown. She chuckles.

                  MARION
        I feel like a virgin bride in this.

                  INDY
        That’s what you look like.

                  MARION
             (takes a drink)
        There are some things you can
        recapture in this life, but that
        isn’t one of them.

                  INDY
        What would you like to recapture?

                  MARION
             (after a long pause)
        Nothing. That is the way it is.

He watches her closely as she drains her glass and puts it
down.

                  INDY
        Did I ever say I was sorry I burned
        down your tavern?

She turns so their lips are very close.

                  MARION
        No. Then again, I burned up that
        plane.

                  INDY
        You saved my life.

                  MARION
        And you saved mine.

                  INDY
        Seems things have worked out kind
        of even.

                  MARION
        That’s the way I like them.

                  INDY
                                                              84.


             Maybe we should consider all past
             accounts closed.

    Marion thinks about this a long time.

                       MARION
             No. Not yet.

                       INDY
             What else?

    She looks into his eyes. A smile jumps from her lips to
    his. He kisses her and they sink slowly to the cot.


109 INT. IN THE HOLD                                                109

    The ship’s rats are agitated. They tremble and chitter at
    the edges of the compartment, darting about. Out in the
    center of the hold, sitting all by itself, is the crated
    Ark. HUM-M-M-M.


110 INT. INDY’S CABIN - DAY                                         110

    Marion awakes with a start, alone in the cot. Something’s
    wrong. The ship is quiet. Indy is strapping on his holster.
    He pulls his whip and jacket from a hook.

                       MARION
             What is it?

                       INDY
             The engines have shut down.

                       MARION
             Why?

                       INDY
             I’m going to find out.


111 EXT. LOWER DECK - DAY                                           111

    Indy runs toward the bow, then climbs some steps four at a
    time. A MESSENGER PIRATE is hurrying to get him, but flies
    by him on the steps. By the time the Pirate stops himself,
    Indy is gone.

                       MESSENGER PIRATE
             Mister Jones! The Captain he say --
                                                            85.


112 EXT. THE BRIDGE - DAY                                         112

    Captain Katanga is looking with concern ahead of the ship.
    Indy appears behind him.

                       INDY
             What’s wrong?

                       KATANGA
             You have most important friends.

    Katanga turns quickly, pointing with a sweeping hand. Indy
    looks. Arrayed in a rough semicircle around the ship are
    ten German Wolf Submarines. All of their deck guns are
    manned and trained on the Bantu Wind. Worse, at least five
    heavily-armed boarding parties in rafts are closing quickly
    on the ship.

                       INDY
             Holy shit.

                       KATANGA
                  (fast)
             I sent my man for you. You and the
             girl must disappear. We have a
             place in the hold. Go, my friend!


113 EXT. UPPER DECK - DAY                                         113

    Indy tears along the deck. He looks over the rail and sees
    two Nazi rafts already next to the ship.


114 EXT. LOWER DECK - DAY                                         114

    Indy flies down some stairs and starts to round a corner.
    Suddenly he throws himself backwards, out of view. Three
    uniformed Nazis are clustered near a cabin door holding the
    Messanger Pirate. Now two more come out of the cabin trying
    to maintain their grasp on a kicking, yelling Marion. She
    is still wearing her white nightgown. More Nazis clamber
    onto the deck and head toward Indy, slamming open doors,
    rousting Pirates, spouting racial epithets. Indy steps
    backwards and fades into the maze of the ship.


115 EXT/INT. THE BANTU WIND - VARIOUS SHOTS - DAY                 115
                                                            86.


    The ship is swarming with Nazis. The Black Pirates are
    herded forward, subjected to rough physical and verbal
    abuse by the Aryan Supermen. The Pirates are clearly under
    orders not to resist, but not one of these strong men likes
    it. They’d gladly give their lives to rip the throat out of
    a few Krauts. In the hold, the door slams open and Nazis
    pour in; they smile at the sight of the crated Ark.


116 EXT. THE BRIDGE - DAY                                         116

    Captain Katanga watches as his crew is crowded into a
    circle of Nazis on the wide deck below him. He is
    surrounded by Belloq, Shliemann and several Nazis, two of
    whom are holding Marion. Now the Nazis from the hold appear
    on the lower deck carrying the crated Ark by means of the
    long poles. Belloq’s eyes shine at the sight.

                       SHLIEMANN
             Take it aboard the Wurrfler!

                       BELLOQ
             And be very careful!

    The Ark is taken away.

                       SHLIEMANN
                  (to a Sergeant below)
             What about Jones?

                       SERGEANT
             Not a trace yet, sir!

                       KATANGA
             Jones is dead.

    Belloq and Shliemann regard him suspiciously.

                       KATANGA
             We killed him. He was of no use to
             us. The girl, however, has certain
             value where we are headed. She will
             bring a very good price. If that
             cargo you have taken was your goal,
             then go in peace with it. But leave
             us the girl. It will reduce our
             loss on this trip.

                      SHLIEMANN
                                                               87.


             Savage. You are not in a position
             to ask for anything. We will take
             what we wish and then decide
             whether or not to blow your ship
             from the water.

    Belloq steps forward and puts a proprietary hand on
    Marion’s arm, fixing Shliemann with a steady look.

                       BELLOQ
             That girl goes with me. It will be
             part of my compensation. I’m sure
             the Fuhrer would approve.

    Shliemann considers.

                       BELLOQ
             If she fails to please me, you can
             do with her as you wish.

    This appeals to Shliemann’s nature. He signals his
    agreement with a gesture. Belloq ushers Marion away with
    her two keepers.

                                                      DISSOLVE TO:


117 EXT. THE WURRFLER - CONNING TOWER - DAY                          117

    The Nazis have returned to their subs. Shliemann is on the
    bridge with THE WURRFLER’S CAPTAIN and the Captain’s Aides.
    The Captain is an honorable career Navy man.

                       THE WURRFLER’S CAPTAIN
             Colonel Shliemann, all torpedoes
             are loaded.

    Shielmann nods and continues to stare at    the Bantu Wind, as
    does the Captain. The Pirate crew is all    lined across the
    bow. Towering above the others, standing    on the rail, proud
    and defiant, is Katanga. Shliemann looks    at the Wurrfler’s
    Captain a moment.

                       SHLIEMANN
             What do you think, Captain?

                       THE WURRFLER’S CAPTAIN
                  (earnestly)
             I think not, Colonel. Nothing is to
             be gained. We are not at war.

    Shliemann mulls this, then turns to the hatch.
                                                            88.


                       SHLIEMANN
             -- yet. Let the vermin live. We
             must be on our way.

    Shliemann disappears down the hatch. The Captain is
    pleased. A Radioman speaks into his headset, then follows
    the other Aides down the hatch. In the distance the other
    subs begin to move away from the ship. The Captain, alone
    on the bridge, looks once more at Katanga.

    On the Bantu Wind, Katanga executes what might be taken for
    a salute.

    The Wurrfler’s Captain smiles, salutes crisply, then goes
    below, pulling the hatch closed. Immediately, the Wurrfler
    begins to move. And as it does, we see the rail at the aft
    of the main deck. From nowhere, a wet sleeve appears and a
    hand grabs the rail!

    Indy pulls his dripping body onto the sub’s main deck. He
    has lost his felt hat once and for all. Other than that,
    his outfit is the same as always, just wetter. Suddenly,
    water is washing over his feet; the Wurrfler is beginning
    to submerge. Indy runs through quickly deepening water
    toward the haven of the conning tower. Halfway there, he
    slips and goes down.

    Only by grabbing the base of the aftmast light does he keep
    from being swept away. He struggles to his feet and sloshes
    through knee-deep water to the base of the conning tower.

    Indy climbs the ladder to the bridge of the conning tower
    and looks down. The water is rising toward him fast. Indy
    climbs the ladder to the top of the turret and braces
    himself between the two uprights there - the 7 foot radio
    mast and the 20 foot periscope. Still the ocean comes up to
    meet him. Soon the top of the turret is under water and
    radio mast is disappearing. Indy shifts his grip to the
    periscope, working his way up it and hanging on for dear
    life as the ocean whips at his body. The periscope is
    quickly going under. Indy hangs on to the top three feet,
    all that remains above.

    The forward movement of the sub continues, but, to Indy’s
    slowly dawning delight, the dive stops. No more of the
    periscope goes under. Indy smiles; it’s a pretty good
    smile, too, given the circumstances. Indy pulls out his
    bullwhip and begins tying himself to the periscope.


118 EXT. THE PERISCOPE - AFTERNOON                                118
                                                            89.


    The sun warms that part of his body Indy has contrived to
    keep out of the water. The rest floats out behind. Indy
    isn’t comfortable, but all in all, it’s not as terrible as
    he might have feared.

                                                   DISSOLVE TO:


119 EXT. THE PERISCOPE - DUSK                                     119

    It’s as terrible as Indy might have feared. He looks
    wasted.

    Waterlogged and exhausted. The wet leather of the whip is
    contracting and he must struggle constantly to keep it from
    cutting into his skin.

                                                   DISSOLVE TO:


120 EXT. THE OCEAN - NIGHT                                        120

    Several shark fins cut the surface, appearing and
    disappearing in the bright moonlight. They are shadowing --


121 EXT. THE PERISCOPE - NIGHT                                    121

    Indy looks through barely open eyes at the sharks running
    alongside. There is nothing to be done. His eyes close.

                                                      FADE OUT.

                                                       FADE IN:


122 EXT. THE PERISCOPE - NIGHT                                    122

    The submarine has stopped. The water is calm. The moon is
    bright. A gentle swell splashes Indy awake. He blinks,
    tries to regain his senses. He makes an inventory of his
    body. Surprised to find himself intact, his spirits lift.
    Some hidden reserve of energy flows through him. He frees
    his aching arms from the wet leather of his whip, leaving
    only one loop around his waist to hold him to the sub. He
    rubs his hands and stretches. Once again, he has survived.
    To fight again. He looks around.
                                                               90.


    WHAT HE SEES. A lovely island. No sign of man’s presence.
    The sub has stopped at the mouth of a wide cove completely
    ringed by tall white rock cliffs. Suddenly the sub begins
    to move again. It is headed directly toward the center of
    the cliffs. Indy holds on, mystified, alert. When the
    cliffs are very close, the sub begins to dive.

                       INDY
             Damn!

    He thinks hard. Inspiration hits just before the water.
    Indy flips his leather jacket up over his head and holds
    the jacket out in front of him. His head is hidden by the
    jacket as he goes under water.


123 INT. THE UNDERWATER TUNNEL - NIGHT                               123

    The sub enters an underwater tunnel that penetrates into
    the cliffs. Indy is held to the periscope by his crossed
    legs and the whip. His improptu air bubble is working, but
    it’s a struggle to maintain it.

    The sub begins to cut through thick marine vegetation. Each
    dangling growth pulls at Indy’s body and slaps at his
    leather bubble. Now a clump of entwined seaweed rips the
    leather out of his hands and his bubble of air rises away.
    Indy hangs on, holding his breath, but the vegetation gets
    denser. Finally, it pulls him off the periscope. The sub
    moves on, disappearing ahead.

    Indy rises desperately through the dark water, his hand
    outstretched. Then, almost simultaneously, hand and head
    hit solid rock. But no air. Indy feels along the ceiling of
    rock. Nothing. It’s all submerged.

    Indy dives, stroking deep into the tunnel. When he has
    descended 15 feet, he grabs a vine and steadies himself.
    His eyes search the dim roof of the tunnel. He sees his
    last hope in the distance, a small blue circle, an air
    pocket. He swims for it.

    In the air pocket, Indy’s head breaks the surface and
    smashes into rock again. The pocket is only six inches
    deep. No matter. Indy loves it. He’d like to move in. He
    gulps air.


124 INT. THE SUB BASE - DOCKING BAY                                  124
                                                               91.


    The Wurrfler has arrived at an extraordinary base built in
    the hollow interior of the island. This chamber, with the
    docking bay, is almost all water. A huge natural cavern, it
    has been reinforced and enlarged by the Germans.

    The Wurrfler sits surfaced at the dock. The Ark has been
    unloaded and placed on a cart. Shliemann, Belloq and Marion
    have just disembarked and been met by a Nazi contingent
    from the base. Marion looks worse for the trip. Her white
    nightgown is now ripped and smudged.

    One of the greeting Nazis, a TALL CAPTAIN, salutes
    Shliemann and Belloq. As he speaks to them, we notice that
    right behind this group, just above a great deal of sub
    unloading activity, Indy’s whip hangs from the periscope.
    Working Nazis pass within feet of it unaware; the Tall
    Captain would see it in a moment if he were not so focused
    on the new arrivals.

                       TALL CAPTAIN
                  (to Belloq)
             The tents have been arranged in
             accordance with your radioed
             instructions, sir.

                       BELLOQ
             Good. We must take the Ark there
             now.

    Shliemann looks a little unhappy about this exchange, but
    says nothing. The groups moves swiftly toward the end of a
    mine train arrangement. The train, consisting of small,
    separate, electric-powered cars, sits on a track which
    disappears into a tunnel cut in the rock.

    On the turret of the Wurrfler, the Wurrfler’s Captain
    lights a cigarette as he watches the mine train disappear,
    then returns his attention to the activity on the dock. He
    leans idly against the periscope, his head two feet below
    Indy’s dangling whip. Something catches his eye, he yells
    an order and climbs down from the turret to deal with the
    matter.

    We hold on the whip for a long moment, until its owner’s
    hand appears and quickly reclaims it.


125 INT. TRAIN TUNNEL                                                125
                                                            92.


    The Ark and its entourage are moving slowly up the tight
    dark tunnel, their way lit by intermittent lanterns. The
    tunnel is irregular, but generally about 7 feet wide. It’s
    height varies from an average of about 7 feet to a low of
    only about 4.5 feet at the points (every 40 feet) where
    support beams cross the track. The result is that there is
    only about a foot of clearance above the mine cars at those
    points; passengers must duck to keep from being hit in the
    head. Shliemann, looking worried, and Belloq, very excited,
    are focused on the Ark in the car ahead.

                       SHLIEMANN
             I am uncomfortable with the thought
             of this --
                  (spitting it out)
             -- Jewish ritual. Are you sure it’s
             necessary?

                       BELLOQ
                  (playing him)
             Let me ask you this -- Would you be
             more comfortable opening the Ark in
             Berlin -- for the Fuhrer -- and
             finding out only then if the sacred
             pieces of the Covenant are inside?
             Knowing, only then, whether you
             have accomplished your mission and
             obtained the one, true Ark?

    Shliemann doesn’t like any of his alternatives. He looks at
    Belloq with some suspicions as the train comes into bright
    light.


126 INT. COMMAND CENTER                                           126

    A second natural cavern, even bigger than the first, has
    been worked over by the Germans into a rectangular, three-
    story high supply center around a huge, open, center court.
    Uniformed Nazi Soldiers are everywhere, wrangling supplies
    and ammunition, monitoring electronic equipment. At the far
    end of the court, a second train tunnel disappears into the
    rock.

    Across the open court, Belloq sees his destination: a
    large, brilliant white silk tent has been erected in the
    midst of all this hardware. It looks incongruous, and more
    than a little eerie. It is the Tabernacle.


127 INT. TRAIN TUNNEL                                             127
                                                            93.


    Indy is making his way up the tunnel. He hears cars coming
    from up ahead and steps into the shadows. A mine car passes
    with several laughing Nazis. Indy continues on his way.


128 INT. THE TABERNACLE                                           128

    The light in here is lovely, unearthly. Oil lamps burn. The
    Tabernacle is really several concentric, silk tents, which
    creates a flowing maze effect. The innermost tent has at
    its center a 3-foot high, tapestry-covered altar. Belloq
    watches with gleaming, obsessed eyes as two Nazis carefully
    lift the actual Ark out of its crate by means of the long
    poles. The Ark dazzles the eye, seeming to glow gold in
    this strange light. The two Nazis place it carefully on the
    altar. Shliemann and some Aides hang back. Marion is
    nowhere to be seen.


129 INT. COMMAND CENTER - END OF TUNNEL                           129

    Indy makes a fast break from the shadows of the tunnel to
    the protection of a high stack of supplies. He climbs the
    back of the stack, peeks over and surveys the area.

    WHAT HE SEES. In addition to the Tabernacle, the second
    train tunnel entrance, and all the activity, Indy’s glance
    rests momentarily on a large, heavy metal door halfway down
    one wall toward the Tabernacle. It bears the words in
    German: DANGER - MUNITIONS.

    Indy continues to scan the scene.


130 INT. THE TABERNACLE                                           130

    In the central area with the Ark, Shliemann and the other
    Nazis wait impatiently, eyeing the Ark with some
    discomfort. Belloq is not visible, because at the moment he
    is --

    In the folds of the Tabernacle, the silk of the tents
    undulating around him. The light is even stranger, the
    scene almost dreamlike. With the help of the Tall Captain,
    Belloq lets an extraordinary, gold-embroidered, ceremonial
    robe fall over his head and onto his body. Belloq looks
    transported, possessed. The Tall Captain unlatches a wooden
    case and takes from it a sturdy ivory rod about 5 feet
    long, elaborately engraved. Belloq takes it from him, turns
    and slips back through the silk. The Tall Captain stays in
    the folds.
                                                        94.


Back in the central area, Shliemann and the other Nazis are
taken aback by Belloq’s appearance in the rove. They
exchange looks. From one knot of men there is muttering
about “Juden” and such, but when Belloq turns a fiery gaze
on them there is immediate silence. Shliemann looks
uncertain in this presence.

Belloq approaches the Ark. He stops a few feet from it and
begins murmuring an invocation in Hebrew. After a few
moments of this he advances a step and is about to place
the ivory rod in a notch under the lid of the Ark itself.
The end of the rod is an inch from the notch when--

Indy steps into the Tabernacle. On his shoulder is a
bazooka and it is aimed directly at the Ark.

                  INDY
        Hold it.
             (the Nazi react)
        One move from anybody and I blow
        that box back to Moses.

Shliemann makes it clear to the other Nazis that Indy is to
be obeyed.

                  BELLOQ
        Jones, your persistence surprises
        even me. You are going to give
        mercenaries a bad name.

                  INDY
        What about you? Talked to God yet?
             (Belloq’s eyes flash)
        Where’s the girl?

                  SHLIEMANN
        Doctor Jones, surely you don’t
        think you can escape from this
        base.

                  INDY
        That depends on how reasonable
        we’re all willing to be. All I want
        is the girl. We’ll keep possession
        of the Ark only till we’ve got safe
        transport to England. Then it’s all
        yours.

                  SHLIEMANN
        If we refuse?

                  INDY
                                                            95.


             Then the Ark and some of us are
             going up in a big bang. I don’t
             think Hitler would like that a bit.
             Now I don’t want to talk about this
             anymore. Show me that girl in five
             seconds or--

    The Tall Captain flies out of the silk and takes Indy down
    by the neck. The bazooka clatters across the cement floor
    as two other Nazis help subdue Indy. The three Nazis take
    Indy’s pistol from his holster and raise him roughly in
    their grasp.

                       SHLIEMANN
             Jones, this is the second time I
             have seen you looking very foolish.

                       INDY
             It’s a bad habit. I’m trying to
             break it.

    Shliemann draws his Luger.

                       SHLIEMANN
             I’ll help you. This time I’ll kill
             you myself.

    Shliemann raises the pistol.

                       BELLOQ
             No! Not in the presence of the Ark!
             Take him outside.

    Shliemann eyes Belloq, then the Ark. He lowers the pistol,
    motions for the Nazis to take Indy out ahead of him. They
    stop a moment only when Belloq speaks.

                       BELLOQ
             Indiana Jones, I salute you. I am
             even a little sorry you will miss
             this moment.

                       INDY
             Thanks. If you talk to Him, tell
             Him I’m on my way up.

    Shliemann motions them out and follows. Belloq turns back
    to the Ark, raising the ivory rod.


131 INT. COMMAND CENTER                                           131
                                                            96.


    Shliemann, the Tall Captain, Indy and the two Nazis holding
    him emerge from the Tabernacle. Shliemann points to a
    nearby wall and the group starts that way with Shliemann
    and the Tall Captain slightly ahead.


132 INT. THE TABERNACLE                                           132

    Belloq has the ivory rod inserted in the notch under the
    lid of the Ark. He utters a short phrase in Hebrew and
    begins to press down on his end of the rod. The lid of the
    Ark begins to lift. It’s difficult work. Belloq puts his
    whole weight into one big press on his end and the lid
    opens two feet.

    Inside the Ark of the Covenant is a preview of the end of
    the world. A light so bright, a power so fearsome, a charge
    so jolting, that there is nothing in our world to compare
    to it. It’s as though this magnificent golden box has been
    gathering electric energy for three thousand years, waiting
    for just this crack of the lid to release it all in one
    fast, cleansing explosion of pure force.

    Blinding arcs of light shoot out across the Tabernacle
    instantly killing all the Nazis inside and turning the
    white silk to flame. But it is Belloq in his obsession who
    takes the full blast. His whole body seems lit by a million
    volt current and, for a moment, his complete form is white,
    then blue, then maybe green, but it is hard to tell because
    our eyes are blinded now too. Two aspects of this ghastly,
    beautiful display are somehow communicated in the chaos,
    although the communication is subliminal. First, that
    Belloq, in the instant of his destruction, has experienced
    some kind of sublime, transcendental knowledge. If a
    death’s-head can smile and look satisfied, that is how
    Belloq’s incandescent face would be described. Secondly,
    this event is accomplished by a sound like no other. A
    sound so intense and so odd and so haunting that the
    suggestible among us might imagine it were the whisper of
    God.


133 INT. COMMAND CENTER                                           133

    Chaos. Shliemann and the Tall Captain have been temporarily
    blinded by the light from the Tabernacle. Indy makes short
    work of his two escorts. He bashes their heads together.
    When only one goes down at this, Indy uses the handle of
    his bullwhip, which has appeared instantly in his hand, to
    put the second one down.
                                                               97.


    Shliemann, hand on his eyes, aims his Luger blindly at the
    scuffle. Indy pushes the Tall Captain at Shliemann, who
    fires on impact, killing the Tall Captain. Indy knocks out
    Shliemann.

    Behind Indy, the brilliant light and weird noise of the Ark
    have suddenly ceased, but the Tabernacle is ablaze and the
    fire has quickly spread to stacks of supplies on either
    side. Smoke is already starting to fill the cavern. Nazis
    are running around, yelling for firefighting water. A
    burning crate at the side of the Tabernacle is pushed over,
    only to knock over a drum of heavy black oil. A river of
    flame shoots across the cement.

    Indy grabs a rifle with bayonet from the prostrate body of
    one of his former escorts and runs back into the flaming
    Tabernacle.


134 INT. THE TABERNACLE                                              134

    Indy jumps through the flames into what is now a tent of
    fire. He looks around at the dead bodies, then at the Ark.
    The lid has slammed down shut again and the Ark shines gold
    in the flames. Before it, where Belloq once stood, is a
    pile of ash and charred debris. Indy registers this, then
    continues to scan the scene.

                       INDY
             Marion! Marion, can you hear me?

    Suddenly, Indy looks as --

    The far side of the Tabernacle burns completely away,
    revealing Marion, tied spread-eagle between two upright
    posts. Her nightgown is now in tatters, black with soot.
    She is gagged but her eyes are screaming, focused on the
    flaming river of black oil which is about to engulf her
    feet.

    Indy rushes toward her, unaware of a uniformed Nazi who has
    appeared from the flames. Marion looks up to see Indy and
    the Nazi leveling his sub machine gun at Indy. She motions
    desperately with her eyes. Indy dives and rolls through the
    flames just as the Nazi opens fire. From the floor, Indy
    blasts the Nazi.

    The river of burning oil is only a foot from Marion.

    Indy jumps up and runs toward the bound Marion, his bayonet
    aimed directly at her. Her wide eyes flash between the
    flames and the shining blade. Expertly, Indy slashes down
    both sides at Marion, cutting all four bindings.
                                                           98.


Marion falls backwards, away from the flames, but before
she hits the ground, Indy is there, catching her in his
arms. They embrace. They kiss. They break.

                  INDY
        Hi.

                  MARION
        Oh, Indy! Thank god you’re here.

                  INDY
        Glad I could make it.

Indy rises, pulling her up with him. The Tabernacle is
burning away so fast that soon Indy and Marion will be
completely exposed. Indy rushes over and grabs the sub
machine gun and a Luger from the dead Nazi.

                  INDY
        Let’s get out of here.

                  MARION
        What about the Ark?

Indy stops, startled by her spunky attitude. He’s
considering their chances.

                  INDY
        Are you game?

                  MARION
        Hell yes! We’ve made it this far.

                  INDY
             (grins at her)
        Okay. Let’s do it.

They approach the altar through the dying flames, Indy
slinging the sub machine gun over his back. The long
carrying poles are still in place.

                  INDY
        Whatever you do, don’t touch it.
        Let’s put it on the floor.

Marion nods. Each taking an end with the poles, they lift
the Ark from the altar and lower it to the floor. Marion
grunts under the weight. Indy registers this, hands her the
sub machine gun. He pulls out his whip, motions her back,
and sweeps the whip tightly around the body of the Ark. The
fall wraps snugly around the plaiting and Indy ties it off.
The Ark is now harnessed to the whip handle.
                                                            99.


    Indy gives it an experimental pull and the Ark slides
    across the smooth cement. Indy indicates the direction of
    the second train tunnel.

                       INDY
             We’ll go down that side. Shoot
             anyone who looks at us cross eyed.


135 INT. COMMAND CENTER                                           135

    Two huge stacks of goods are ablaze and the Nazis are
    having trouble getting water to them. The Nazis’ main
    concern at this point is an enormous, neat stack of wooden
    cartridge boxes which are piled down the wall from one of
    the already blazing, and now teetering, stacks of general
    goods. Nervous Nazis are moving the heavy cartridge boxes
    as fast as they can, but it’s slow work and the threatening
    fire is close.

    Indy and Marion make their way along the side of the center
    court, Indy grimacing with the strain of pulling the Ark.
    One Nazi stops directly in front of them, looking at them
    queerly. Indy knocks him out with the butt of his Luger
    just as Marion is about to fire.

    Out in the court, Shliemann has regained his eyesight. Now
    he crouches, scanning the scene desperately for Indy. He
    looks into the remains of the Tabernacle and spots the
    empty altar. Beyond it, the unoccupied posts where Marion
    was bound.

    At the entrance to the second train tunnel, Indy and Marion
    struggle to lift the Ark into a mine car. Marion has the
    sub machine gun slung over her back. The Ark drops heavily
    into the bottom of the car. The noise attracts the
    attention of five water-carrying Nazis. They see what’s
    going on and reach for their side-arms. Indy grabs Marion,
    pulls her in front of him, as though to use her as a shield
    and flips the sub machine gun, still on her back, toward
    the Nazis. He opens fire, turning Marion’s body so he can
    mow all five down.

    Shliemann spins around and looks at the tunnel entrance. He
    points at Indy and Marion, who have just hopped into the
    mine car with the Ark.

                       SHLIEMANN
             Stop them! Kill them!
                                                           100.


    A dozen Nazis spin and look at the mine car. Marion is just
    leveling the submachine gun. Indy pushes forward the
    throttle and the mine car moves toward the tunnel, picking
    up speed.

    As the Nazis raise their guns to fire, Marion and Indy both
    open up, peppering the area with lead. As the mine car is
    about to disappear into the tunnel.

                       INDY
                  (to Marion)
             Get down!

    As the car disappears, bullets pock the entrance of the
    tunnel. Shliemann runs up with three Nazis. They jump into
    the next mine car and take off, disappearing into the
    tunnel.

    Over at the burning stack of goods, some terrified
    firefighters scurry away as the burning pile of general
    goods falls over onto the stack of cartridge boxes. The
    wooden boxes immediately start burning. Many of the Nazis
    just want to get out of there, but a couple of disciplined
    OFFICERS are trying to salvage the situation. They point to
    the far side of the court, the walls are lines with oil and
    gas drums.

                       OFFICER
             We must cover the drums! Protect
             them from the bullets!

                                                  INTERCUTTING:

    Indy and Marion with Shliemann and the Nazis, we see a most
    extraordinary pursuit. This tunnel is of identical design
    to the first, except more twisty. This early section goes
    slightly uphill, as though headed for the summit of a
    rollercoaster. The low cross beams and the higher sections
    in between are causing the Nazis to alternately stand and
    duck in their efforts to get a clear shot at the lead car.
    One German times it wrong and gets whacked. Indy is unhappy
    with the speed of his car and he’s right, the Nazis are
    moving faster and gaining. When both cars are in the same
    high section, the Nazis blast away at them. The noise is
    deafening, with barking guns, splintering rock, and
    twanging ricochets contributing to the din. As Marion fires
    a return volley low over the Ark, Indy kicks at the
    throttle, convinced it is jammed.


136 INT. COMMAND CENTER                                           136
                                                           101.


    The Officers are directing the placement of every movable
    item in front of the oil drums. Desks, crates, chairs,
    food, all are heaped in front of the fuel. All the workers
    cast frequent glances back at the burning cartridge boxes
    across the court. Suddenly the worst begins to happen at
    the cartridge boxes. Hundreds of thousands of live
    cartridges begin exploding, flying around the court like
    shrapnel. Hot lead begins to zing off the exposed fuel
    drums, leaving big dents.


137 INT. TRAIN TUNNEL - LONG STRAIGHTWAY                          137

    The car with Indy and Marion looks almost sluggish compared
    to the pursuing Nazi car as they both make their way into
    an unusually long straightaway. Marion discards her empty
    sub machine gun as Indy kicks at his throttle and casts a
    worried look back at Shliemann.

    Shliemann, sensing victory, smiles evilly and carefully
    takes aim. Indy and Marion will be easy targets until they
    reach that approaching low cross beam, which is the crest
    of the rising tunnel.


138 INT. COMMAND CENTER - CLOSE ON FUEL DRUM                      138

    A fuel drum, already pocked by bullets is finally
    penetrated by high velocity hot lead. It explodes in a ball
    of flame. And then its neighbor. Then all is exploding
    flame.


139 INT. TRAIN TUNNEL - LONG STRAIGHTWAY                          139

    Shliemann and his cohorts hear the explosions behind them
    and look back that way.

    Indy kicks the throttle one more time and it goes! Their
    car doubles its speed and shoots under the low cross beam
    at the same instant as--

    A huge dragon of all-consuming fire shoots up the tunnel
    behind the Nazis, catches their car and incinerates
    Shliemann and his men. The tunnel collapses in this
    section, burying the fried Nazis forever.


140 INT. TRAIN TUNNEL                                             140
                                                           102.


    Indy and Marion look back at the low cross beam as the last
    tongue of flame makes it there and then is doused by
    falling rock and dirt. They look at each other, then turn
    their attention back to their own predicament. Their mine
    car is going incredibly fast as it moves into a downward
    section of wildly twisting tunnel.

                       MARION
             Slow it down!

    Indy is already pulling the throttle. It moves easily.
    Unfortunately, it is no longer attached to the motor. The
    mine car is out of control.

    After several moments, far ahead, appears a circle of
    bright daylight-- the end of the tunnel! It approaches at a
    frightening rate. Indy reaches out grasps Marion’s hand.
    They exchange looks and then turn to look ahead.

    THEIR POV. We’re taking this last stretch with them. It’s a
    familiar nightmare. It has to do with a roller coaster that
    ends suddenly and disastrously. The shocking brightness of
    sunlight rushes up to engulf us, blinding us in its glare.


141 EXT. THE ISLAND - END OF TRACKS - DOCK                        141

    High up on the slope of the island, Indy and Marion’s mine
    car shoots out of the black tunnel and roars down toward a
    little dock at the end of the tracks.

    A small Nazi transport launch, carefully disguised as a
    Greek fishing boat, sits bobbing by the dock. The only
    human: a Nazi Sentry dressed as a Greek peasant. He is
    perched on a pile of seed bags which are stacked at the
    very end of the train tracks. As the mine care barrels
    noisily down toward him, he throws away some burlap to
    reveal a mounted machine gun which he spins quickly around
    toward the approaching mine car. He opens fire.

    In the out-of-control mine car, Indy pulls Marion down with
    him. They are squashed into the corner trying to avoid
    contact with the bouncing Ark. Bullets clang against the
    outside of the car and whiz inches overhead. Indy and
    Marion are forced into a tighter and tighter embrace of
    life.

    At the machine gun post, the Nazi Sentry has been firing
    like crazy, but now there is terror in his eyes. He
    realizes the car is not going to stop. He lacks faith in
    his stronghold.Too late.
                                                           103.


    The mine car smashes into the seed bag bunker. And right on
    through. The Nazi Sentry, his machine gun and a dozen
    bursting seed bags are slammed into the ocean in a wild,
    hurtling mass. The mine car jumps, bounces and spins
    around, then slides to a stop in a cloud of seed at the
    edge of the water.


142 INT. COMMAND CENTER                                           142

    Fire. Everywhere. No sign of life. A large gaping doorway,
    flames ringing it, blazing into the room beyond. Hanging by
    one hinge there, its metal blasted and jagged, is a heavy
    door with the signed lettering, in German, DANGER -
    MUNITIONS.

    The first explosion happens. It’s a baby compared to what’s
    coming yet is rocks the earth. It’s terrible. And then,
    almost immediately, another. The long, irregular, ever-
    larger chain of explosions begins.


143 EXT. THE ISLAND - VARIOUS SHOTS - DAY                         143

    The island rumbles and shakes. From fissures and small
    natural caves, dirt and rock shoot out like spraying
    water.Still the explosion continues. A huge chunk of white
    cliff falls away into the turbulent sea. Birds scream and
    soar, afraid to land.

    Finally, we settle on a full shot of the island. We can
    recognize that the small opening high on the slope from
    which a cloud of smoke and dust is billowing is the end of
    the mine tunnel. And there below it, quite small from this
    distance is the dock. And the boat that looks like a Greek
    fishing boat.

    There can be no mistake even from this far away, the boat
    is chugging out to sea.


144 INT. THE PENTAGON - DAY                                       144
                                                       104.


Indy, Brody and Marion, looking very stylish, are seated in
Colonel Musgrove’s huge office. Sun pours in a window,
through which Washington can be seen sparkling across the
Potomac. Everything is neat and clean and regular.
Including the three men who are arrayed around the office.
Two we know Col. Musgrove and Maj. Eaton. The third is an
unnamed Bureaucrat. He hangs back, smiling and genial, his
features obscured by the glare of the window. He doesn’t
say anything, yet you have a sense that the others defer to
him in the matter at hand. He is the essence of all that is
Byzantine and inscrutable in our scrubbed government
machine.

Indy and Brody are dissatisfied with the way the meeting
has gone. Marion, on the other hand, is very happy and
eager to get out of there. Eaton’s manner is irritatingly
cheery.

                  MUSGROVE
        You’ve done your country a great
        service.

                  EATON
        --And we trust you found the
        settlement satisfactory?

                  MARION
        Quite.

                  EATON
        Good, good.
             (glances around at the
             others)
        Then I guess that about does it.

                  BRODY
        When can we have the Ark?

Eaton’s glance flicks over to the mysterious Bureaucrat,
then back to Brody.

                  EATON
        I thought we answered that. It’s
        someplace very safe--

                  INDY
             (heated)
        That’s a powerful force. Research
        should be done--

                  EATON
                                                           105.


             Oh, it will be, Dr. Jones, I assure
             you. We have top men working on it
             right now.

                        INDY
             Who?

                        EATON
             Top men.

    Indy exchanges a look with Brody.

                       INDY
             We may be able to help.

                       EATON
             We appreciate that. And we won’t
             hesitate to call on you.

                       MUSGROVE
                  (dismissing them)
             Thank you all. Thank you again.

    Indy looks them over coldly. He gets up, sullen.


145 EXT. PENTAGON STEPS - DAY                                     145

    Indy, Brody and Marion emerge from the building. Brody bids
    them farewell and moves off in another direction.

    Marion clings to Indy’s arm in an energetic, very feminine
    way, scolding him.

                       MARION
             --Well they aren’t going to tell
             you, so why don’t you just forget
             it. I’d think you’d had enough of
             that damn Ark. Just put your mind
             on something else.

    Indy stops, looking across the river, his mind occupied.

                       INDY
             Yeah, like what?

    Marion makes a face, then puts her arms around his neck and
    plants a humdinger of a a kiss on his mouth. It goes on a
    while. Finally they break.

                       INDY
             It’s not the Ark -- but it’ll have
             to do.
                                                           106.


    They move down the steps, smiling.


146 INT. GOVERNMENT WAREHOUSE                                     146

    The Ark of the Covenant sits in a wooden crate. A wooden
    lid comes down and hides it from view. The lid is solidly
    nailed to the crate as we read the stenciled message on
    top.

    TOP SECRET

    ARMY INTEL. #9906753

    DO NOT OPEN!

    The hammering is completed and hands shift the heavy crate
    onto a dolly.

    THE END CREDITS ROLL AS WE SEE.

    A Little Old Government Ware houseman begins pushing the
    crated Ark down an aisle. Soon we see that the aisle is
    formed by huge stacks of crates. They come in many shapes
    and sizes, but when it comes right down to it, they all
    look like the one that holds the Ark. All have markings
    like the message we’ve just seen. Pretty soon we’re far
    enough and high enough away from the Little Old Government
    Ware houseman to see that this is one of the biggest rooms
    in the world. And it is full. Crates and crates. All
    looking alike. All gathering dust.

    And then we notice that the Little Old Government Ware
    houseman, pushing his new crate ahead of him, has turned
    into another aisle and disappeared from view.

                                                      FADE OUT.

    THE END
