"RAIDERS OF THE LOST ARK" (1981)

RAIDERS OF THE LOST ARK

Screenplay by Lawrence Kasdan

Story by George Lucas

REVISED THIRD DRAFT AUGUST 1979

This screenplay is the property of MEDWAY PRODUCTIONS, INC. And is intended solely for company Personnel. Distribution to any Unauthorized persons is prohibited.

MEDWAY PRODUCTIONS, INC. P.O. BOX 8669 Universal City, CA. 95608 (213) 760-3800

FADE IN:

The dense, lush rainforests 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 isfollowed by this:

PERU

1936

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

He turns and yellsat the Indians in Quechua, his anger giving an indicationof his own fears. The party reaches a break in the canyonwall and takes the trail through it.

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

The entire party isstruck 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 aimbut Indy restrains it in a muscular grip.

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

Satipo watches thisconfrontation with some concern.

He turns back to thetrail. 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 THE APPROACH TO THETEMPLE 2

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

The two Indians jabber inQuechua, 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 ofa Chachapoyan demon. The Indian is so frightened no soundcomes out when he screams. He turns and runs silently away.

Indian #2 calls tohis friend. Getting no response, he steps in that direction.A huge macaw, flushed from the undergrowth, screamsand 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 elaboratefrieze. The entrance - round, open and black - has been designed to look like open jaws.

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

Indy fixes them withan 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’seyes are shining as they dart between the floorplan and Satipo.

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

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

His right hand slides up under the back of his leather jacket and emerges graspingthe handle of a neatly curled bullwhip. With the same fluidmove that brings Indy’s body around to face the Peruvian,the whip uncoils to its full ten foor lengeth and flashesout.

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

Indy gives the whipa short pull and Barranca’s arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca isamazed, 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 armin a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives onemore short jerk on the whip handle and Barranca’s gun fires. Barranca falls dead.

Indy looks quicklyat Satipo, who is shocked and frightened. He raises his armsin supplication.

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

Indy and Satipo, carrying a torch, walk up the slightly inclined, tubularpassage from the main entrance. The interior is wet anddark, hanging with plant life and stalactites. Theirechoing footsteps intermittently overpower the sounds of louddripping, whistling air drafts and scampering claws.

4 HALL OF SHADOWS 4

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

Indy doesn’t noticeand disappears into another shadow, emerging with twomore tarantulas on his back.

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

Indy begins pickingup little pocket-sized artifacts from the niches and ledgesof the Temple. He continues to do this as the men penetratethe Temple. His collecting is quick and expert, evaluatingthe pieces in an instant, discarding some, stuffing others intohis clothes, and never stopping his forward progress.

5 CHAMBER OF LIGHT 5

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

Indy picks up a stick and throws it through the shaft of light. Giant spikesspring 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. Asthe spikes slowly retract, Indy pulls it free and seats theremains gently on the floor.

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

6 STAIRWAY 6

Indy and Satipo comedown stone stairs to a tight landing. Framing the entryare a carefully strung network of dead vines, each somehowhooked into the wall, narrowing the opening even more.

He lowers the torchto 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 thelanding, then steps onto the skeletons, which make a cracking noise under his feet.

7 FOYER OF THE SANTUARY 7

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

Indy stands stilllooking at the hall.

They begin walkingdown 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 whipacross the floor. Fifteen feet of it cuts open beneaththe lash, falling away to reveal a black pit as wide as thehall. 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 roofof the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on thewhip. From the other side he swings the whip back to Satipo,who throws Indy the torch. Satipo swings across.

When they are bothstanding on solid floor there is a moment of quiet in whichthey hear, from far, far below-- SPLASH! Indy wedges the whiphandle into the wall and leaves it strung to the beamfor quick retreat.

8 THE SANTUARY 8

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

Two torches, manyyears old, are in holders by the door. Indy takes one down andlights it. He gives the regular torch to Satipo.

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

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

Torch in hand, Indybeings his careful walk across the sanctuary. Steppingonly on the white tiles, he almost appears to be doinga martial arts kata. Before each big move he waves the torchin front of him head to toe, looking at the flame. Halfwayout, he sees something on the floor and kneels to look atit.

A dead bird lies onone of the white tiles. Its body is riddled with littledeadly darts. This has great significance to Indy and he stands with even greater caution. Hewaves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burnmark 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 restson 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 bouncesit a couple times in his palm concentrating. It’sclear he wants to replace the idol with the bag as smoothlyas possible. His hand seems ready to do that once, when hestops, takes a breath and loosens his shoulder muscles.Now he sets himself again. And makes the switch! The idol isnow in his hand, the bag on the pedestal. For a long momentit sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION ofsteadily increasing volume as some huge mysterious mechanismrumbles into action deep in the temple.

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

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

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

Indy hesitates, eyeing the rumbling walls.

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

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

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

IN THE FOYER, Indyruns in full stride to the edge of the pit and broad jumps intospace. He doesn’t make it. His body hits the far side of thepit and he begins to slide out of view. Only wild clawingwith 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 OFLIGHT, 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 theChamber of Light CLANG! And an abrupt, sickening renditionof SATIPO’S LAST SCREAM. Indy runs up the steps. The rumblingsound grows louder.

AT THE CHAMBER OFLIGHT, 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 withthe dead Satipo; spikes protrude from several vital spotsin the Peruvian’s body. Indy removes the idol from Satipo’spocket and moves quickly out the other side.

10 THE INCLINED PASSAGE 10

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

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

WHAT HE SEES. Looming above him are three figures. Two are HOVITOS WARRIORS infull battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy’s attention. He is atall, impressive white man, dressed in a full safari outfitincluding pith helmet. His name is EMILE BELLOQ. His face isthin, powerful; his eyes hypnotic; his smile charming, yetlethal. 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 extends hishand. Indy looks at it, then produces the idol and hands itto Belloq. Belloq extends his other hand, smiling. Indy handsover his gun. Belloq sticks it in his jacket.

With that, Belloqturns dramatically and holds the idol high for all the Hovitosto see and says something in Hovitos. There is a murmurof recognition and all the Indians, including Belloq’sescorts, prostrate themselves upon the ground, heads down.

Indy is immediatelyup and running toward the edge of the clearing.

AT THE EDGE OF THECLEARING, Indy disappears into the foliage. An instantlater, the leaves are peppered with a rain of poison dartsand spears.

Indy runs like hellthrough steadily falling terrain. And always close behind,a swift gang of angry Hovitos. Occasionally theyget close enough to send a dart or spear whizzing past Indy’shead.

An amphibian planesits in the water beneath a green cliff. Sitting on the wingis JOCK, the British pilot. Indy breaks out of some distantbrush and runs along the path at the top of the cliff.

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

Jock starts the plane moving across the water as Indy walks across the wing andfalls into the passenger compartment.

14 OMIT 14

15 OMIT 15

Indy relaxes and lies across the seat, a big smile on his face. One hand dropsto the floor of the cabin and Indy jumps, hitting hishead. 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.

It soars off overthe dark jungle.

It’s autumn and thepretty, New England campus out Indy’s window reflects itin 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 thissetting. His outfit is tweedy, slightly rumpled in the professional style. Part of his attention is focused in a bookand he wears glasses to see the fine print. The office is cramped, absolutelyinnundated with books, maps, etchings andarcheological artifacts. In fact, the only neat spot in the room right now is Indy’s desk, which has been cleared off expressly for the benefit of--

MARCUS BRODY, theCurator of the National Museum in Washington D.C. Brody is examining the small artifacts Indy pocketed on his wayinto the Peruvian Temple. He occasionally uses a jeweller’seyepiece 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.

Indy snaps the bookclosed and puts it on the shelf. He takes his glasses off andfocuses 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.

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

The Teaching Assistant leaves. Brody is scowling as he examines the lastof the artifacts.

Indy’s course - acombination of archeology and anthropology - is taught in this amplitheater-typelecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps,charts fasten on the walls.

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

Musgrove and Eatonexchange a look; they’re disappointed.

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

Musgrove takes a sheet from his briefcase.

Brody is excited.He looks at Indy.

Indy contemplatesthis big news; he’s impressed.

Now it’s the Armymen who are impressed.

Indy moves to theblackboard and makes a quick sketch to give a rough idea of thesystem as he describes it. (And we get a glimpse of what aninteresting and enthusiastic teacher he must be)

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

THE PRINT fills thescreen.

It shows a Biblicalbattle. The Israelite Army is vanquishing an opposition force.At the forefront of the Israelite ranks, two men carry theArk of the Covenant, a beautiful gold chest, crowned bytwo sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles whichpass through rings in the corners of the Ark. The paintingis 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 ofthe angels. It pierces deep into the ranks of the retreatingenemy, wrecking devastation and terror.

Eaton and Musgroveexchange worried looks.

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

Indy’s English Tudor, upper middle class home. Quitetoney; 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.

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

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

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

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

Indy’s manner is vigorous, aggressive.

A Pan Am Clipper flies west over the Pacific.

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

In the back seat isa Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake withIndy.

25 OMIT 25

26 OMIT 26

27 OMIT 27

28 OMIT 28

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

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

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

The three Germanswait impatiently in a magnificent foyer. A chime sounds and huge double doors open to revealTENGTUHOK, flanked by two uniformed Japanese Soldiers and a roved Chinese Advisor. Hewears a fantastic gold ornamental robe. Despite the majesty,however, nothing can disguise the fact that Hok is basicallya wild, fat barbarian; an animal.Hok and his escort groupbow 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.

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

The three Germansare being served tea and exotic delicacies. A pleased Tengtu Hokwatches 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.

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 emanatemyraid tiny threads which run up and across the ceiling,then down to the various display cases. Indy looks up at thegong, then continues his quick, quiet foray among the cases. Beyond him, a high window.

Hok and his visitorsstand to go. The Germans’ pleased expressions make itclear they’re finally on their way to the museum.

Indy arrives at hisdestination. The lovely, carved gold section of the headpiece is nested on purple velvet in a glass case. At thebottom 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 JapaneseSamurai is running at Indy full speed down an aisle of displaycases. His sword is raised over his shoulder ready tocut Indy in half. He’s six feet away when Indy’s gun levelsand fires twice, blasting him backwards. Indy is still looking over his gun when another samurai sword comes down from theside and knocks the pistol brutally out of Indy’s grip; hishand avoids amputation by a quarter of an inch.

An amazed Indy backsaway from the crossing aisle as the Second Samurai stepsin to face him, sword raised. Indy backs away into an openspace 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 aboutthis confrontation. How pure it is - The Sword versus The Whip.

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

The lovely Mercedeslimousine blows up.

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

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

Indy swings for theSamurai’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. Thesplit second he wants. The whip flashes up from the floor andwraps solidly and irrevocably around the Samurai’s neck. Indygives it a murderous pull and the Samurai is dead onhis feet.

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

Indy is at the casecontaining the headpiece. He smashes the glass with a samuraisword, reaches in and grabs the piece. Immediately, behindhim, the huge hammer falls and the sound of the gong thundersthrough the museum.

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

The double doors atthe entrance slam open to reveal Hok.

Indy is halfway along an unprotected wall back to his ventilation entryroute. Hok opens up on him, cutting off his retreat. Indy jumpsbehind a marble column, which is promptly blasted with machinegun fire.

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

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

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

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 rearof the museum.

Kehoe, craning tolocate Indy, has the Ford rolling slowly along the back ofthe museum. Bang scouts from the back seat. Indy appears on theroof at a run, gauges the movement of the car and jumps fromthe 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 hellout of Kehoe.

Indy squirms his waydown into the front seat.

Kehoe guns it, throwing Indy back against the cushions.

49 OMIT 49

The plane flies westinto the sunset.

Under a meager seatlight, Indy is pouring over a journal article by Abner Ravenwoodand a related map of Nepal.

A few rows back, across the aisle, atrenchcoated European Spy eyes Indy.

A huge stuffed raven, wings spread wide, is mounted behind the long bar in thenoisy, 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 cornerof the earth. A tall Nepalese, MAHDLO, is the bartender.

In a corner near thefireplace trouble breaks out suddenly between the groupsat two neighboring tables. Ferocious representatives fromeach table - one a wild-looking SHERPA, the other a muscularAustralian CLIMBER - jump up to face each other. As thetwo contenders stand posed for action, their representativesupporters shift in their places, fondling lethal iceaxes and clubs.

The bar has quietedominously 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 forestof towering patrons, makes a beeline for the troubled cornerof the bar. A path clears for it.

The Sherpa and theClimber are about to kill each other when the Presence arrivesdirectly 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 theirchests. She is angry as hell. The patrons shrink under her gaze.

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

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

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

She hits him witha solid right to the jaw, knocking him off the barstool on thefloor. He rubs his jaw and smiles up at her.

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

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

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

She looks around thesaloon.

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

Indy takes a longtime to answer.

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 hasbrought up to slap him.

Indy releases herarms.

That stops her.

Marion nods.

Indy feels tired,defeated. Marion is pleased.

Indy has to smileat her glee.

She pours herselfanother as Indy watches, amused.

Marion looks at himthoughtfully, takes a drink.

Marion thinks, nodsslowly.

A huge smile lightsup Marion’s face.

Marion sneers andthey smile together.

Indy nods, gets upto go.

Indy thinks aboutthis a moment, then reaches inside his shirt and pulls outcash from a money belt. He lays five grand on the bar.

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

Indy looks into hereyes, then leans over the bar and kisses her deeply. When thekiss 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.

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

He’s gone. Marionstares after him, thinking. She takes a drink. Then slowly,her hand comes up to loose the scarf that is draped around herthroat. It falls away, revealing her graceful neck abovethe 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 shecan see it in her hand, then looks thoughtfully afterIndy.

Indy sits thinkingat the wheel of an old car. Finally, he puts the car in gearand drives away.

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

Marion stands beforethe fire that is shrinking in the fireplace. She jabsat it abstractedly with a poker, thinking. Suddenlytears well up in her eyes. She lets the poker slip from herhand, wipes away the tears. She walks across the room tothe end of the bar, still cluttered with bottles and glasses,and stops at the pile of American money Indy has left. Shetakes the chain from around her neck and lets the medallionslide off it into her hand. She places it on the bar next tothe pile of money, thinking. Then, having reached some decision, she picks up the pile of bills, walks up the back of thebar and pulls a small wooden box from under the bar. Sheflips 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 FourBad Men come in. Marion, halfway between the valuable possessions and not wishing to draw attention to either, stops whereshe is.

The Four Bad Men whoadvance on her are:

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

2) a trenchcoatedSECOND NAZI.

3) a ratty-lookingNEPALESSE and

4) a mean MONGOLIAN.The second NAZI and the MONGOLIAN both carry submachine gungs.

The Mongolian andthe Nepalese poke around, checking to make sure there’s no oneelse there.

Down at the end ofthe 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 shakes herhead.

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

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

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

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

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

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

He motions with hishand. The Mongolian moves up behind Marion and lifts herroughly 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 fromthe fireplace. In his hand is the poker, its end glowing orange. He advances on Marion. Marion stops yelling, her eyeswiden in terror.

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

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

The tip of the pokeris five inches from Marion’s nose when there is a loud CRACK!and the fall of Indy’s bullwhip wraps around the middleof the poker and tears it out of Belzig’s hands. The poker sails high across the room, free of the whip, and lands inthe 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.

Now everything begins to happen very fast-

The Mongolian hadjust come around the bar at the end opposite the medallion. He dives back to crouch behind the end of the bar, raising hissubmachine gun.

Belzig and the Second German dive behind the tables near the bar. The Nepaleseis slower to leave Marion, he draws a Luger. Indy’s .45barks 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 bulletssmash bottles behind the bar and thud into the raven.

Marion flattens outon the floor behind the bar as bullets hit above her. Shereaches up, snatches the axe handle from where Mahdlo leftit, and begins crawling down the lengthof the bar toward-

The Mongolian, whosticks his submachine gun out and fires blindly in Indy’sdirection.

Indy is in a crouchbehind a table, trying to get a shot at someone. He doesn’tnotice in the din and confusion when the door bursts open.

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

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

Fire has completelyengulfed the curtains and is working across the ceilingon decorative yak skin bunting. A burning fragment drops tothe top of the bar, which immediately lights up, fueledby the spilled alcohol. Full whiskey bottles explode likeMolotov 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 isrising from cover with the submachinegun in hand.

Both the Giant Sherpa and Indy hear this. The Giant Sherpa exchanges an alarmedlook 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 andthe .45 slides away. Indy jumps up and kicks the Giant Sherpa, who barely seems to feel it. He grabs Indy and flips himeffortlessly onto a table.

Belzig now has a clear shot at Indy. He raises hisLugar.

Marion, at the endof the bar, finally gets the hand of the Mongolian’s submachinegun. It roars to life in the general direction of the ceiling.

Belzig runs for cover as Marion gets control of the gun and levels it. Belzigdives around the end of the bar opposite Marion. When he hasset 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-blackenedsun-shaped medallion! His eyes widen. He cannot believe hisgood fortune. Without hesitation he picks up the metal medallion, palming it.

Immediately thereis a sickening searing sound and Belzig’s expression changesfrom joy to agony. He screams in pain and tries to shake thered-hot medallion from his skin. Marion opens up and the barstarts to splinter in front of Belzig. The medallion comesfree 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 Indyuses his whole body to upend the Giant Sherpa, who landshard on his back. They are surrounded by flames.

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.

Marion throws downthe empty submachine gun and moves through the flames to thecenter 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.

At the end of thebar, the Mongolian has come back to life. He shakes out hishead, then reaches inside his coat and pulls out a Mauserpistol.

Indy smashes a chairover the head of the Giant Sherpa and the huge creaturegoes down.

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

Marion stands beneath her stuffed raven with theBaretta.

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

Marion nods, kicksaside a burning chair. Another burning beam falls from theroof. Indy pulls Marion close to him protectively.

He beings draggingher out.

She breaks away fromhim, darts back and picks the hot medallion up in theloose cloth of her blouse.

She holds up the medallion possessively.

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 tatteredgalabiyas, black- gowned women withveiled face, ragged, barefoot children.

58 OMIT 58

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

Suddenly the generalliveliness at the children’s table esculates into pandemonium, attracting the attention of the adults.

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

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

60 OMIT 60

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

Indy reacts.

Sallah finds it hardto 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.

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

Indy and Marion arebriskly walking along one of Cairo’s busy bazaar streets. Vendors with fine cloth, pottery, baskets, jewelry, etc linethe street. Marion has the Monkey from Sallah’s house onher shoulder.

As Indy and Marionturn 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.

The Monkey is seenrunning around another corner and jumps into the waiting arms of MONKEY MAN, who appears to be like a beggar with a dirtyturban and an eye patch. MONKEY MAN immediately hurriesdown the street and passes into a building. In the building are two GERMAN AGENTS. MONKEY MAN and the MONKEY bothgive the Heil Hitler salute and engage in quick talk.

MONKEY MAN quicklyleaves the two GERMAN AGENTS and gets back to the street. Heis obviously shadowing Indy and Marion. Indy and Marion arejust now passing by and the MONKEY MAN ducks back behindsome baskets.

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

Indy and Marion havereached a tiny square, made even more cramped by its useas a small bazaar. They have started working their waythrough the crowd when several Bad Arabs and a German Agentbegin to converge on them. Indy immediately sees what’s happening and pulls the bull whip from his jacket. Thefirst Bad Arab to reach them gets hit in the mouth by the handle of the whip.

Now all hell breaksloose, with Bad Arabs, Innocent Shoppers, baskets of fruit andtables of good flying every which way in the constricted space.

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

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, pointsat Marion. The Monkey jumps off his shoulder and followsMarion.

Marion runs alongthe narrow space and soon encounters a five foot wall. She flopsover it. The Bad Arab is right on her heels. He reachesthe wall and vaults over. On the other side of the wall, the BadArab 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 runtoward the street at the other end of the walkway. Suddenlyanother Bad Arab and a new German Agent appear in the streetat that end. Before they can spot her, Marion retreats tothe 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.

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

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

Indy ducks under theswinging blade of a huge Arabian sword and kicks the BadArab Swordsman in the groin.

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

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

- DAY

The Bad Guys movethe basket as fast as they can through streets, alleys andpassageways 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 mustfight a flow of humanity as powerful as an ocean riptide. Finally, at the head of one particularly crowded alley, Indyleaps 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.

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

Indy is advancingon the trembling Bad Arabs with an ugly look when suddenlyhe hears Marion scream around the corner.

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 isa canvas-covered trunk. Two Bad Arabs are hurrying toward itwith 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 therattan basket being heaved into the back of the truck.

What Indy cannot seeis that basket lands among an ominous load of German munitions, dynamite and firearms. The truck immediately peelsout.

The German Agent hasstopped firing in order to drive. He floors it, aimingfor a street at the corner of the square. Indy uses the lullto take careful aim at the German Agent’s profile and fire offthree careful shots. The German Agent is hit, blasted deadagainst the steering wheel. The speeding truck swerves, hitsa wall, rolls over and explodes in an enormous, multi-leveled eruption as its contents ignite. Several surroundingbuildings are leveled.

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

A dark, smoke-filledden on iniquity. The patrons, almost all fearsome Arabs, sitin small shadowy groups around the room. Indy stands at thebar finishing off a fifth of bourbon. He is drunk. The ARABBARTENDER places a new bottle of expensive bourbon in front ofhim.

Indy eyes it queerly.

The Arab Bartenderdoes a take, looking at the three, tough GERMAN HENCHMEN whohave surrounded Indy from out of the smoke, their handsstuffed in bulging trenchcoat pockets. Indy notices themnow with a bleary glance. He decides he’s in no shape to killor be killed and moves with them across the room, taking hisbottle with him. The Arab patrons take this in and mind their own business.

(MORE)

The occupant of thesmoke-shrouded corner table becomes visible only as Indyreaches there: it is Emile Belloq. He is drinking wine.

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

Indy sits, glancingat the German Henchmen, who settle nearby, just out ofearshot.

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

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

Belloq leans forward, eyes shining, voice suddenly different.

Belloq glances inthe gloom at the German Henchmen.

Indy takes a drink.

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

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

Indy stands up. TheGerman Henchmen are poised. Belloq eyes the Arab patrons andsignals for the Henchmen to relax.

The children usherIndy out.

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

Indy looks back there, nods.

79 ************************************* PAGE 53 MISSING 79

80 ************************************* 80

81 (CONTINUED) 81

Fayah brings in atray of food and puts it on the table. The bowl of dates is inone corner. As Fayah leaves the room, the Monkey slips out ofSallah’s lap and disappears under the table. Indy leansover the food tray, his hand hovering over the dates. But hechooses some cheese and bread instead.

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

The two men go andhuddle over the old man. The Monkey peeks up over the edge ofthe 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.

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

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

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

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

Indy, still holdingthe date, exchanges a long look with Sallah.

Sallah nods.

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

Indy hoots. Then hetakes the date in his hand and flips it high in the air. Heopens 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 andpicks 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 strickenwith palsy and the unseen Monkey goes into its death throws. Sallah watches the paw as though hypnotized. Finallythe paw slips from sight and we hear a solid THUMP! on thefloor. Sallah walks around the table and looks at the floor.The Monkey lies dead among a mess of date pits.

Indy is in a happyworld 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 looksmystified and disappointed. Sallah motions toward thedead Monkey.

Two old trucks comedown a narrow mountain road and onto the flat surface of thedesert.

Further out into thedesert, the one in the lead, Sallah’s truck, stops and thesecond one, Omar’s truck, pulls up beside it. There arehalf dozen Arab Diggers in Omar’s truck. Indy, dressed as anArab, gets out of the cab of Sallah’s truck and moves overto confer with OMAR, another old friend. They point off intothe desert and reach some conclusion. Indy gives him a paton the back; Omar turns off the road and drives into the desert with his workers. Indy hops back in the car of Sallah’struck with Sallah.

As they move downthe road we see that the back of the truck holds three otherArab Diggers.

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

WHAT HE SEES. TheTanis 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 themain digs, a crude airstrip has been created. Sallah points to what appears to be a mound of dirt with a hole in itnear the center of the activity.

Sallah points outinto 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 thereand a bulldozer is lumbering noisily toward it.

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 theother two Arab Diggers. Sallah’s truck goes behind a tentand when it appears on the other side, Indy and Sallah aregone.

Indy and Sallah movestealthily among the tents. Indy carries a smooth wooden staff almost seven feet tall. They stop between two tentsand look across a path at the entrance to the map room. Whatappeared 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 thehole and looks inside. Sallah joins him, producing a lengthof rope from his robes. Indy drops the staff into the unseen map room as Sallah ties the rope around an oil drum. Whenit’s secure, Indy wastes no time disappearing downit into the map room.

Indy is down the twenty feet to the floor of the room in seconds. He tugs onthe rope and it immediately gets pulled up. Indy looks around with real wonder and excitement. The room is lovely, withelaborate wall carvings and frescoes, all lit by the bright stream of sunlight flooding in from above. This beam oflight leads Indy’s eye to the far end, and the room’s trulyremarkable feature: built into the floor in meticulous reliefis 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 linecreated by embedded mosaic tiles. The evenly spaced slotsin the line, each accompanied by a symbol of a time of year,are for the base of the staff. Indy pulls the headpiece fromhis robes -- it has been welded together -- and reaches for thestaff.

An extremely nervousSallah has the gathered rope in his hands and is tryingto appear casual as he inches back toward the oil drum. Thereis now a good bit of activity going on up here.

Sallah jumps aboutthree feet. The JEEP GERMAN is standing in an open space tenyards away looking at Sallah.

Sallah gestures hisinnocence.

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

Indy is examiningthe 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 ofthe map room. Now Indy begins examining the mosaic base line forthe staff. Sunlight has moved further down across the miniature.

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

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

Sallah picks up someserving pieces and gets to work.

The moment has arrived. Even the tension of the circumstances cannot distract Indyfrom the purity of what he is about to do. All his calculations are adjustments complete, Indy takes the Staff of Ra andplaces it -- CLINK! -- in the right depression on thebase line. This is as active and exciting moment as any archeologist can dream of and, at heart, that is exactly what Indyis. The sunlight catches the very top of the headpiece andmoves 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 lineof light is broken by the shadow of an ornate sun at thetop of the staff.

Indy’s face reflectshis concentration. And then his immense pleasure. He seeswhat he came for.

Out of the miniaturecity, one small building is being lit by a tiny beam of sunlight in the center of the shadow of the metal sun. And bysome trick of ancient artistry, this one building respondsto the sunlight like none of the others. The golden light permeates it: it seems to glow. The building is in a direct linewith Belloq’s -- all of the Frenchman’s other calculationswere right -- but it is a foot and a half beyond it.

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

Indy is on his kneesat the miniature city, a special tape measure in his hand.Indy has the tape strung from Belloq’s mistaken spot to hisown correct spot. He gets his reading, leaps up and crossesto the erect staff. He pulls the headpiece off thestaff and hides it in his robes. He quickly breaks the woodenstaff in two and throws the pieces behind a pile of debris. Thenhe moves quickly to beneath the skylight.

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

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

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

Sallah glances atIndy, then hurries back in that direction. The Hungry Germanfocuses on Indy.

Indy bows in wildsubservience and hurries off in the opposite direction.

Indy hustles betweenthe 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.

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

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

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

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

With the digs behindthem, Indy and Sallah run up to the ridge of the duneand over the top. At the bottom of the far side, Omar’s truckis parked. Omar and his men are waiting.

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

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

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

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.

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

Belloq shoots himan angry look.

Shliemann signalsGobler, 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 hiseyes 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.

In the eerie conjunction of moonlight and torchlight, Indy and the other menstep 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 twomen assigned to each of the two long tools, they work inunison 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 thehole.

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

He breaks off realizing exactly what that carpet is. He blanches. IndianaJones blanches.

Indy drops his torchto the floor of the Well. This is answered by the mosthorrific HISSING imaginable.

WHAT HE SEES. Thatthick dark carpet is moving. It’s alive. It’s thousands andthousands of deadly poisonous snakes -- Egyptian asps. Andthe only thing that seems capable of avoiding this venomousgroundcover is the altar. The snakes ebb and flow nearit, but never encroach on it, as though repelled by some invisible force.

Indy shakes his headand talks to himself.

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

Where Indy’s torchhas landed is a circle of snake-free floor. The snakeshate the flame; they stay away.

Fifteen torches havebeen dropped to the floor of the chamber, combiningto make a good-sized clear zone. Smoke begins to fill theroom. Several canisters of oil have been lowered into thisspace. Now, a large wooden crate is lowered slowly by rope. Ropehandles are attached to each end of the crate.

Up at the hole, Indygives Sallah a reassuring pat, takes a breath, and swingscarefully onto a rope hanging from the hole. Despite hiscare, he swings a bit and his feet hit the stone pillar whichis so near the entry. Surprisingly, the pillar casually moves a bit, showering a light rain of crumbled stone tothe floor below.

Indy lands on thefloor 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 widebeings to open the altar. Behind Indy, Sallah comes quicklydown the rope.

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

102 OMIT 102

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

He wants to believeher.

Marion’s frightenedlook shifts suddenly to the entrance of the tent. There area few new arrivals there -- Shliemann, Govler and Belzig.Belzig carries a black leather case. He steps forward andsmiles at Marion.

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 thesmoke down into the Well.

Indy and Sallah areon the altar. Pushing together with all their strength, theheavy 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 ofsnakes around the altar draws back further from thispresence.

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

Sallah is mesmerizedby the sight. His hand starts to reach out and touch oneof the angels, but Indy grabs it.

The wooden crate stands open next to the stone chest. Now Indy extracts thewooden poles from its rings and begins fitting them throughthe rings in the Ark. This takes some maneuvering by thetwo men, but soon they are able to lift the Ark clear of thestone chest and into the wooden crate. They extract the poles, fasten the top of the crate and stick the poles throughthe rings of the wooden crate. They start back toward the space under the hole.

(MORE)

The fire strips havebegun to dwindle, as have some of the torches. The snakesmove slowly in toward the clear spaces. Indy and Sallah eyethem nervously as they hurry along with their heavy load.Under the hole, they hurriedly attach ropes to the wooden crateand it is pulled up. Indy’s concentration is on the tide ofsnakes.

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 aretoo close for his comfort. He turns and takes hold of theexit rope. He gives it a first tug and it falls down into theWell, landing partly beyond the ring of fire where it instantly disappears in a tangle of angry, hissing asps. Indylooks up at the hole.

Smiling down at himfrom the perimeter of the entry are Belloq, Shliemannand Gobler.

Belloq and the Germans laugh.

Sunlight is floodingthis tableau: Sallah, Omar and his men are being held atbay by ten armed Nazis. The wooden crate sits safely nearby.Belzig and another Nazi have the gagged Marion held in theirrough grasp.

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

Shliemann smiles down at Indy.

Belzig and the Nazimove Marion to the hole and, to Belloq’s surprise, push herin. Marion falls thirty feet screaming. Indy drops the torch, braces, and catches her! Her weight knocks him to theground, 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.

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

Shliemann glancesmeaningfully around at the other Nazis.

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

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

Her scream is accompanied by --

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

Indy holds his torchout like a lantern and begins a slow 360o turn, his eyespeering into the gloom, examining every inch of the wall andceiling.

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

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

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

Marion looks at thewall, which looks like all the rest to her. She thinks he’scrazy.

Too late. Indy runsback through the path of flames to the center of the room.Snakes strike at his flying heels. Indy reaches the base ofthe 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, thenwraps it solidly around the pillar 15 feet up. With thetorch in his mouth, he beings climbing the pillar. It moves ominously under his weight.

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

She looks beyond itwith terror-widened eyes, then up through the increasing smokeat the distant Indy.

Near the top of thepillar, Indy’s hands strain along his taut whip, which hehas moved higher. A snake slithers into view there, inchesfrom Indy’s straining face. Indy turns his head so the torchin his mouth can burn it. The snake falls from the pillar. Indy’s torch is dwindling. Indy works his body around so thathe’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 againstit. He is now braced between the pillar and wall.

Snakes are movingin 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 pillarbegins to break loose of the ceiling, then stops. Indy’seyes are on the torch. It is just a spot of flame now. Snakesare sliding up toward his hands. Indy again pushes againstthe wall and torch falls out of his mouth.

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

There is a momentthat seems an eternity, then Indy appears like an apparitionout of the void.

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

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

They round a cornerand flush a covey of bats. Marion screams.

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

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

Indy and Marion peekout into the light from the shadows of an abandoned excavation. Before them is the improvised airstrip serving thedigs: a crude runway, a tent supply depot, two fuel tanktrucks. Down by the fuel trucks a German Mechanic is lookingskyward. Now Indy and Marion look there too, drawn by theroaring sound of --

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

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

In the distance, theFlying Wing lands and rolls toward the men. Gobler spinsand heads back toward the main camp, which is hidden from viewby a rise. Indy and Marion watch him go.

The Flying Wing rolls up into the space near the fuel trucks. The German Mechanicputs blue blocks in front of the tires as the engines continueto roar.

Indy and Marion runin a crouch to a hiding spot closer to the plane, near thesupply tent. Suddenly, a Second German Mechanic appears behind them. He is as surprised as they are, but recovers quicklyand swings a monkey wrench at Indy. Indy grabs the swingingarm 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 truckto 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 athim. The roll toward the rear of the Flying Wing and itslethally spinning reversed propellers.

In the cockpit ofthe Flying Wing, the Pilot has been fiddling with hisgauges 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 andout between the spinning props at the back of the plane’swings. Each man comes within inches of the becoming instantmincement.

The Pilot slides away the top of his cockpit and stands up. He pulls a Lugar fromhis side and points it, waiting fora clear shot at Indy.The German Mechanic kicks Indy away from him and the Pilotaims his pistol. Suddenly, Marion appears behind the Pilot,standing on the opposite wing, and bashes him over the headwith one of the blue blocks that was holding the tires.The Pilot drops down into the cockpit, his body falling on thethrottle. The engines roar louder, revving up. The plane begins to roll, rotating around its one still-blocked setof tires. Marion grabs onto the cockpit to keep from slippinginto the props. She bends into the cockpit, trying topull the Pilot’s body off the throttle. No luck. She grimacesand 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 finemist of blood wafts toward him. Indy spins toward the sound ofcrumpling metal and sees --

The other top of theFlying Wing slice into a tank truck. The airplane fuel insidefloods out onto the pavement, surrounding the plane. Indy backpedals away from the plane, his eyes searchingthe scene for Marion. Suddenly, he is shocked to see herin the cockpit. He runs toward her, skidding through thegasoline.

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

Three Armed Nazisstand 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 packingup all the papers and personal items in preparation for ahasty departure.

A large crowd of Arab Diggers are milling about among the tents. They all wantto get a look at the Ark. Sallah is among them. All atonce, there is an earthshaking explosion. All eyes turn towardthe rise that hides the airstrip. A huge fireball floats intoview over there. Everyone starts running toward it. Shliemannyells at Belzig and the Armed Nazis.

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

Gobler snaps his heels, turns to go.

Gobler nods and runsoff. Shliemann heads back toward camp. Belloq hesitates along 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 amongthe barrels. He searches the crowd for his people and startsa broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg andsends him flipping. Sallah, dust all over his face, looksangrily 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. Whenthey break --

Sallah gestures tofollow and all three run off stealthily through the mostlydeserted camp.

Sallah, Indy and Marion run into a hiding spot behind some water barrels nearthe 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, Belloqand Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placedinside, we hear an ominous marching sound and Nine Armed Nazisappear at a trot from between some tents and climb into theback of the truck with the Ark.

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

The scene by the truck: Belloq and Shliemann are about to climb into the frontstaff car when they pause to check out the final componentof the convoy. Rolling into place behind the truck is anotheropen 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 Marionlook at Indy. Belloq and Shliemann climb in the back seat of thefront car and the caravan pulls out. Indy watches it go,thinking hard.

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

He runs away betweentwo tents.

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

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.

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 rocksand rides directly for the truck. The Armed Nazis in the backof the truck can see nothing because the canvas hides theirview. But Gobler, Belzig and the Gunner in the rear staff carhave a brief line on him. Belzig points and the Gunner firesaway at Indy, the bullets kicking up sand near Indy’s horse.

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

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

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

A full view revealsthe incredible geography of this ride. The convoy is tinyagainst the spectacular mountainside, the cliffs drop hundredsof feet.

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

The lead staff carreaches the summit of the road and barely makes the hairpinturn there, delivering a destructive blow to the guard railthat has been placed there. The guard rail is now bent.

In the cab of thetruck, Indy and the Truck Driver again stop trying to choke eachother long enough to negotiate the turn together. The bumperof the truck hits the broken guard rail and sends it flyingoff the cliff. The truck, however, holds the road.

In the rear car, Golberand Belzig are trying to see through the thick clouds ofdust. Suddenly is clears completely. Unfortunately forthem, this happens because their car has shot out into spaceat the hairpin turn. They are flying to their final reward.Belzig, eyes wide behind his evil spectacles, screamsas he goes.

In the cab of thetruck, 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 thetruck, a TOUGH SERGEANT takes command of the situation. Hepicks 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 truckis swerving like crazy.

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

Indy sees this fromthe cab and reacts by speeding up, putting even morepressure on the Blond Driver.

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

In the cab, Indy hasbeen concentrating on the lead staff car. Now, just before entering the tunnel, he looks in the side view mirror andsees the Nazis on his side. A quick glance to the othermirror 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 ofthe tunnel, we hear the roar of the two engines and two long, screeching, scraping sounds. The lead staff car shoots outof the tunnel, then the truck, its sides cleaned of Nazis.

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

In the lead car, theBlond Driver is being pressed hard by Indy, who now edgesup to bump them from the rear. Suddenly the Armed Guard nextto the Driver sees the two Armed Nazis appear on the topof the truck. Without thinking, he starts to point them outto Shliemann, then realizes his stupidity.

In the cab, Indy hasseen this and is at first mystified. He checks his side-viewmirrors. 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 cabto the road in front. Indy immediately hits the gas again.The two Armed Nazis, just aiming their weapons, get wipedout.

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

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

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

Then Shliemann yellsto the Armed Guard in the front seat.

The Touch Sergeanthas a line on Indy. He points his gun. The Armed Guard blastsaway at the truck. The Tough Sergeant dies in a hail of bulletsand flies off.

Indy, who has duckedthe gunfire, is confued. But when he sees the Armed Guardup front lower his gun, Indy again floors it and beginsbumping the staff car in earnest.

The road is almostdown 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 speedingdown the road and off toward Cairo.

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

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

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 brakesand 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-bazaarin seconds. Two Arab Boys sweep the tracks of the truckinto oblivion. They throw aside their brooms just as thestaff car appears from the narrow street. Belloq and Shliemannlook around desperately as the Blond Driver steers thecar through the square and out the other side.

The waterfront isdark and misty. An old tramp steamer, THE BANTU WIND, sits bythe pier. Several fierce Black African Pirates, the crewmembers, 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 namedSIMON KATANGA, watches the rail, smoking a pipe.

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

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

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

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

She turns so theirlips are very close.

Marion thinks aboutthis a long time.

She looks into hiseyes. A smile jumps from her lips to his. He kisses her andthey sink slowly to the cot.

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

Marion awakes witha start, alone in the cot. Something’s wrong. The ship isquiet. Indy is strapping on his holster. He pulls his whipand jacket from a hook.

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

Captain Katanga islooking with concern ahead of the ship. Indy appears behindhim.

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

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

Indy flies down somestairs and starts to round a corner. Suddenly he throwshimself backwards, out of view. Three uniformed Nazis areclustered near a cabin door holding the Messanger Pirate.Now two more come out of the cabin trying to maintain theirgrasp on a kicking, yelling Marion. She is still wearing herwhite nightgown. More Nazis clamber onto the deck and headtoward Indy, slamming open doors, rousting Pirates, spoutingracial epithets. Indy steps backwards and fades into the mazeof the ship.

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

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

The Ark is taken away.

Belloq and Shliemannregard him suspiciously.

Belloq steps forwardand puts a proprietory hand on Marion’s arm, fixing Shliemann with a steady look.

Shliemann considers.

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

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

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

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

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.

Shliemann disappearsdown the hatch. The Captain is pleased. A Radioman speaksinto his headset, then follows the other Aides down the hatch. In the distance the other subs begin to move away from theship. The Captain, alone on the bridge, looks once more atKatanga.

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

The Wurrfler’s Captain smiles, salutes crisply, then goes below, pulling thehatch closed. Immediately, the Wurrfler begins to move. Andas it does, we see the rail at the aft of the main deck. Fromnowhere, 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 hatonce and for all. Other than that, his outfit is the sameas always, just wetter. Suddenly, water is washing over his feet; theWurrfler is beginning to submerge. Indy runs throughquickly deepening water toward the haven of the conning tower.Halfway there, he slips and goes down.

Only by grabbing thebase of the aftmast light does he keep from being swept away. He struggles to his feet and sloshes through knee-deepwater 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 thetop 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 theturret is under water and radio mast is disappearing. Indyshifts his grip to the periscope, working his way up it andhanging on for dear life as the ocean whips at his body. The periscope is quickly going under. Indy hangs on to the top threefeet, all that remains above.

The forward movementof 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 himselfto the periscope.

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

It’s as terrible asIndy might have feared. He looks wasted. Waterlogged and exhausted. The wet leather of the whip is contracting and hemust struggle constantly to keep it from cutting into his skin.

Several shark finscut the surface, appearing and disappearing in thebright moonlight. They are shadowing --

Indy looks throughbarely open eyes at the sharks running alongside. There isnothing to be done. His eyes close.

FADE IN:

The submarine hasstopped. 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 findhimself intact, his spirits lift. Some hidden reserve ofenergy flows through him. He frees his aching arms from thewet leather of his whip, leaving only one loop around hiswaist to hold him to the sub. He rubs his hands and stretches.Once again, he has survived. To fight again. He looks around.

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

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

The sub enters anunderwater tunnel that penetrates into the cliffs. Indy is heldto the periscope by his crossed legs and the whip. His improptuair bubble is working, but it’s a struggle to maintainit.

The sub begins tocut through thick marine vegetation. Each dangling growth pulls at Indy’s body and slaps at his leather bubble. Now a clumpof entwined seaweed rips the leather out of his hands and hisbubble of air rises away. Indy hangs on, holding his breath,but the vegetation gets denser. Finally, it pulls him off theperiscope. 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 noair. Indy feels along the ceiling of rock. Nothing. It’s allsubmerged.

Indy dives, strokingdeep into the tunnel. When he has descended 15 feet,he grabs a vine and steadies himself. His eyes search the dimroof 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. Thepocket is only six inches deep. No matter. Indy lovesit. He’d like to move in. He gulps air.

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

The Wurrfler sitssurfaced at the dock. The Ark has been unloaded and placedon 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 greetingNazis, a TALL CAPTAIN, salutes Shliemann and Belloq. As hespeaks 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 ofit unaware; the Tall Captain would see it in a moment if hewere not so focused on the new arrivals.

Shliemann looks alittle unhappy about this exchange, but says nothing. Thegroups 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 atunnel cut in the rock.

On the turret of theWurrfler, the Wurrfler’s Captain lights a cigarette as hewatches 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 fromthe turret to deal with the matter.

We hold on the whipfor a long moment, until its owner’s hand appears and quicklyreclaims it.

The Ark and its entourage are moving slowly up the tight dark tunnel, their waylit 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. Theresult is that there is only about a foot of clearanceabove the mine cars at those points; passengers must duckto keep from being hit in the head. Shliemann, lookingworried, and Belloq, very excited, are focused on the Arkin the car ahead.

Shliemann doesn’tlike any of his alternatives. He looks at Belloq with some suspicions as the train comes into bright light.

A second natural cavern, even bigger than the first, has been worked over by theGermans into a rectangular, three-story high supply centeraround 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 silktent has been erected in the midst of all this hardware.It looks incongruous, and more than a little eerie. It isthe Tabernacle.

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

The light in hereis lovely, unearthly. Oil lamps burn. The Tabernacle is reallyseveral concentric, silk tents, which creates a flowingmaze 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 ofits crate by means of the long poles. The Ark dazzles the eye,seeming to glow gold in this strange light. The two Nazisplace it carefully on the altar. Shliemann and someAides hang back. Marion is nowhere to be seen.

Indy makes a fastbreak from the shadows of the tunnel to the protection of a highstack 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, andall 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 toscan the scene.

In the central areawith 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 theTabernacle, the silk of the tents undulating aroundhim. 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 andonto his body. Belloq looks transported, possessed. The TallCaptain 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.

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

Belloq approachesthe Ark. He stops a few feet from it and begins murmuring aninvocation in Hebrew. After a few moments of this he advancesa step and is about to place the ivory rod in a notch underthe lid of the Ark itself. The end of the rod is an inchfrom the notch when--

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

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

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 draws hisLuger.

Shliemann raises thepistol.

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 onlywhen Belloq speaks.

Shliemann motionsthem out and follows. Belloq turns back to the Ark, raising theivory rod.

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

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

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

Blinding arcs of light shoot out across the Tabernacle instantly killingall the Nazis inside and turning the white silk to flame. Butit is Belloq in his obsession who takes the full blast. Hiswhole body seems lit by a million volt current and, for amoment, his complete form is white, then blue, then maybe green, but it is hard to tell because our eyes are blinded nowtoo. Two aspects of this ghastly, beautiful displayare somehow communicated in the chaos, although the communication is subliminal. First, that Belloq, in the instant ofhis 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 noother. A sound so intense and so odd and so haunting that thesuggestible among us might imagine it were the whisper ofGod.

Chaos. Shliemann andthe Tall Captain have been temporarily blinded by the lightfrom the Tabernacle. Indy makes short work of his two escorts. He bashes their heads together. When only one goes downat this, Indy uses the handle of his bullwhip, which hasappeared instantly in his hand, to put the second one down.

Shliemann, hand onhis eyes, aims his Luger blindly at the scuffle. Indy pushesthe Tall Captain at Shliemann, who fires on impact, killingthe 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 forfirefighting water. A burning crate at the sideof the Tabernacle is pushed over, only to knock over a drumof heavy black oil. A river of flame shoots across the cement.

Indy grabs a riflewith bayonet from the prostrate body of one of his formerescorts and runs back into the flaming Tabernacle.

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

Suddenly, Indy looksas--

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

Indy rushes towardher, unaware of a uniformed Nazi who has appeared from theflames. Marion looks up to see Indy and the Nazi leveling his submachinegun at Indy. She motions desperately with hereyes. Indy dives and rolls through the flames just as theNazi opens fire. From the floor, Indy blasts the Nazi.

The river of burningoil is only a foot from Marion.

Indy jumps up andruns toward the bound Marion, his bayonet aimed directly ather. Her wide eyes flash between the flames and the shining blade. Expertly, Indy slashes down both sides at Marion, cuttingall four bindings.

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

Indy rises, pullingher up with him. The Tabernacle is burning away so fastthat soon Indy and Marion will be completely exposed.Indy rushes over and grabs the submachine gun and a Luger fromthe dead Nazi.

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

They approach thealtar through the dying flames, Indy slinging the submachinegun over his back. The long carrying poles are still inplace.

Marion nods. Eachtaking an end with the poles, they lift the Ark from the altarand lower it to the floor. Marion grunts under the weight.Indy registers this, hands her the submachine gun. Hepulls out his whip, motions her back, and sweeps the whip tightly around the body of the Ark. The fall wraps snugly aroundthe plaiting and Indy ties it off. The Ark is now harnessedto the whip handle.

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

Two huge stacks ofgoods 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 theheavy cartridge boxes as fast as they can, but it’s slowwork and the threatening fire is close.

Indy and Marion maketheir way along the side of the center court, Indy grimacing with the strain of pulling the Ark. One Nazi stops directlyin front of them, looking at them queerly. Indy knockshim out with the butt of his Lugerjust as Marion is aboutto fire.

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

At the entrance tothe second train tunnel, Indy and Marion struggle to lift theArk into a mine car. Marion has the submachine gun slungover her back. The Ark drops heavily into the bottom ofthe 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 -- asthough to use her as a shield -- and flips the submachine gun,still on her back, toward the Nazis. He opens fire, turningMarion’s body so he can mow all five down.

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

A dozen Nazis spinand look at the mine car. Marion is just leveling the submachinegun. Indy pushes forward the throttle and the mine car moves toward the tunnel, picking up speed. As the Nazis raisetheir guns to fire, Marion and Indy both open up, pepperingthe area with lead. As the mine car is about to disappearinto the tunnel--

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

Over at the burningstack of goods, some terrified firefighters scurryaway as the burning pile of general goods falls over onto thestack of cartridge boxes. The wooden boxes immediatelystart burning. Many of the Nazis just want to get out of there,but a couple of disciplined OFFICERS are trying to salvagethe situation. They point to the far side of the court, thewalls are lines with oil and gas drums.

INTERCUTTING Indyand 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. Thelow cross beams and the higher sections in between are causingthe Nazis to alternately stand and duck in their efforts toget a clear shot at the lead car. One German times it wrong and gets whacked. Indy is unhappy with the speed of his carand he’s right, the Nazis are moving faster and gaining.When both cars are in the same high section, the Nazisblast 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 theArk, Indy kicks at the throttle, convinced it is jammed.

The Officers are directing the placement of every moveable item in front of theoil drums. Desks, crates, chairs, food, all are heaped infront of the fuel. All the workers cast frequent glances back at the burning cartridge boxes across the court. Suddenlythe 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 zingoff the exposed fuel drums, leaving big dents.

The car with Indyand Marion looks almost sluggish compared to the pursuing Nazicar as they both make their way into an unusually long straightaway. Marion discards her empty submachine gun asIndy kicks at his throttle and casts a worried look backat Shliemann.

Shliemann, sensingvictory, smiles evilly and carefully takes aim. Indy and Marionwill be easy targets until they reach that approaching lowcross beam, which is the crest of the rising tunnel.

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

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

Indy kicks the throttle one more time and it goes! Their car doubles its speedand 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.

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

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

After several moments, far ahead, appears a circle of bright daylight-- the endof the tunnel! It approaches at a frightening rate.Indy reaches out grasps Marion’s hand. They exchange looks andthen 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 rollercoasterthat ends suddenly anddisastrously. The shocking brightness of sunlight rushes upto engulf us, blinding us in its glare.

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

A small Nazi transport launch, carefully disguised as a Greek fishing boat, sitsbobbing by the dock. The only human: a Nazi Sentry dressedas a Greek peasant. He is perched on a pile of seed bagswhich are stacked at the very end of the train tracks. As themine care barrels noisily down toward him, he throws awaysome burlap to reveal a mounted machine gun which he spinsquickly 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 carand whiz inches overhead. Indy and Marion are forced into atighter and tighter embrace of life.

At the machine gunpost, the Nazi Sentry has been firing like crazy, but now thereis terror in his eyes. He realizes the car is not going tostop. He lacks faith in his stronghold. Too late.

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

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

The first explosionhappens. It’s a baby compared to what’s coming yet is rocksthe earth. It’s terrible. And then, almost immediately,another. The long, irregular, ever-larger chain of explosionsbegins.

The island rumblesand shakes. From fissures and small natural caves, dirtand rock shoot out like spraying water. Still the explosioncontinues. A huge chunk of white cliff falls away into theturbulent sea. Birds scream and soar, afraid to land.

Finally, we settleon a full shot of the island. We can recognize that thesmall opening high on the slope from which a cloud of smoke anddust is billowing is the end of the mine tunnel. And therebelow it, quite small from this distance is the dock. And theboat that looks like a Greek fishing boat. There can be no mistake even from this far away -- the boat is chugging out tosea.

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

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

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

Indy exchanges a look with Brody.

Indy looks them overcoldly. He gets up, sullen.

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

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

Indy stops, lookingacross the river, his mind occupied.

Marion makes a face,then puts her arms around his neck and plants a humdingerof a a kiss on his mouth. It goes on a while. Finally theybreak.

They move down thesteps, smiling.

The Ark of the Covenant sits in a wooden crate. A wooden lid comes down and hidesit from view. The lid is solidly nailed to the crate as weread the stenciled message on top--

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

THE END CREDITS ROLLAS WE SEE--

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

And then we noticethat the Little Old Government Warehouseman, pushing his new crate ahead of him, has turned into another aisleand disappeared from view.