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.  91608           (213)  760-3800
 
               ----------------------------------------------------
 
       FADE IN:
 
1      EXT.  PERU - HIGH JUNGLE - DAY                          1
 
       The dense, lush rain forests of the eastern slopes of
       the Andes, the place known as "The Eyebrow of the Jun-
       gle".  Ragged, jutting canyon walls are half-hidden by
       the thick mists.
 
       The MAIN TITLE is followed by this:
 
                                  PERU
                                  1936
 
       A narrow trail across the green face of the canyon.  A
       group of men make their way along it.  At the head of
       the party is an American, INDIANA JONES.  He wears a
       short leather jacket, a flapped holster, and a brimmed
       felt hat with a weird feather stuck in the band.  Behind
       him come two Spanish Peruvians, SATIPO and BARRANCA.
       Bringing up the rear are five Yagua INDIANS.  They act
       as porters and are wrangling the two heavily-packed
       llamas.  The Indians become increasingly nervous.  They
       speak to each other in bursts of Quechua.  The American,
       who is known to his friends as Indy, glances back at them.
 
                                   BARRANCA
                                   (irritated)
                     They're talking about the Curse
                     again!
 
       He turns and yells at the Indians in Quechua, his anger
       giving an indication of his own fears.  The party reaches
       a break in the canyon wall and takes the trail through it.
 
       When they emerge, their destination is revealed to them
       in the distance.  Beyond a thick stand of trees is the
       vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,
       2000 years old.
 
       The entire party is struck by the sight.  The Indians,
       terrified now, chatter away.  Suddenly the three at the
       back turn and run, dropping their packs as they go.  Bar
       ranca yells at the fleeing Indians and pulls his pistol
       out.  He starts to raise his arm to aim but Indy restrains
       it in a muscular grip.
 
                                   INDY
                     No.
 
       Barranca looks evilly at Indy's hand upon him.  Indy re-
       leases him and smiles in a friendly way.
 
                                  INDY
                    We don't need them.
 
       Satipo watches this confrontation with some concern.
 
                                  BARRANCA
                    I do not carry supplies.
 
                                  INDY
                    We'll leave them.  Once we've got
                    it, we'll be able to reach the plane
                    by dusk.
 
       He turns back to the trail.  Satipo gets the two remaining
       Indians moving behind Indy.  Satipo and Barranca then have
       a fast, silent communication:  Barranca indicates his de-
       sire to slit Indy's throat; Satipo gives him a look that
       says "Be patient, you idiot".
 
 
2      THE APPROACH TO THE TEMPLE                              2
 
       The party fans out to fight their way through the en-
       twined trees that guard the temple.  Visibility is cut to
       five feet in the heavy mist.  Satipo extracts a short,
       native dart from a tree and examines the point gingerly
 
                                  SATIPO
                             (showing Indy)
                    The Hovitos are near.  The poison
                    is still fresh...three days.  They're
                    following us, I tell you.
 
                                  INDY
                    If they knew we were here, they would
                    have killed us already.
 
       The two Indiana jabber in Quechua, near hysteria.  Bar-
       ranca is sweating profusely, eyes darting.  He yells at
       the Indians in Quechua to "shut up".
 
       In the undergrowth, there is slithering movement.
 
       Indian #1 draws aside a branch and is faced with a hor-
       rific stone sculpture of a Chachapoyan demon.  The Indian
       is so frightened no sound comes out when he screams.  He
       turns and runs silently away.
 
       Indian #2 calls to his friend.  Getting no response, he
       steps in that direction.  A huge macaw, flushed from the
       undergrowth, screams and flies away.  Indian #2 does ex-
       actly the same thing, never to be seen again.
 
       Indy, Satipo and Barranca, just clearing the trees, look
       back in that direction.  They all turn to face the Temple.
 
       It is dark and awesome.  Vegetation curls from every
       crevice, over each elaborate frieze.  The entrance--
       round, open and black--has been designed to look like
       open jaws.
 
                                  INDY
                    So this is where Forrestal cashed in.
 
                                  SATIPO
                    A friend of yours?
 
                                  INDY
                    Competitor.  He was good, very good.
 
                                  BARRANCA
                                  (nervous)
                    No one has ever come out of there alive.
                    Why should we put our faith in you?
 
       Indy takes the weird feather from the band of his hat.
       From around its point, he slips a tightly rolled piece
       of parchment.  Barranca and Satipo exchange a quick "So
       that's where is was!" look.  They all kneel as Indy
       spreads out the parchment.  On it is one-half of a crude
       floorplan of the Temple.
 
                                  INDY
                    No one ever had what we have...
                    partners.
 
       Indy fixes them with an expectant stare.  Satipo produces
       a similar, but folded, piece of parchment.  He lays it--
       the other half of the floorplan--next to Indy's.  They
       all regard it for a moment, then Indy stands and walks
       toward the Temple.  Barranca's eyes are shining as they
       dart between the floorplan and Satipo.
 
                                  INDY
                               (back turned)
                    Assuming that pillar there marks
                    the corner and...
 
       Barranca is suddenly on his feet, quietly drawing his pis-
       tol.  He raises it toward Indy as Satipo realizes with
       alarm what he's doing.  Too late.  Indy's head turns and
       he sees Barranca.
 
       Indy's next move is amazing, graceful and fast, yet
       totally unhurried.  His right hand slides up under the back
       of his leather jacket and emerges grasping the handle of
       a neatly curled bullwhip.  With the same fluid move that
       brings Indy's body around to face the Peruvian, the whip
       uncoils to its full ten foot length and flashes out.
 
       The fall of the whip (the unplaited strip at the end of
       the lash) wraps itself around Barranca's hand and pistol.
       He could not drop the gun now if he tried.
 
       Indy gives the whip a short pull and Barranca's arm in
       jerked down, where it involuntarily discharges the gun
       into the dirt.  Barranca is amazed, but feels some slack
       in the whip and immediately raises the gun toward Indy
       again, cocking it with his free hand.
 
       Indy's face goes hard.  And sad.
 
       Indy sweeps his arm in a wide arc.  Barranca spins around,
       enclosed in the whip, his gun hand stuck tight against
       his body.  Indy gives one more short jerk on the whip
       handle and Barranca's gun fires.  Barranca falls dead.
 
       Indy looks quickly at Satipo, who is shocked and fright-
       ened.  He raises his arms in supplication.
 
                                  SATIPO
                    I knew nothing!  He was crazy!
                    Please!
 
       Indy looks him over, then nods.  He frees the whip from
       Barranca's body and picks up the man.  His eyes sweep
       the surrounding woods.
 
                                   INDY
                    Let's go. 
 
 
3      INT. TEMPLE - INCLINED PASSAGE - DAY                    3
 
       Indy and Satipo, carrying a torch, walk up the slightly
       inclined, tubular passage from the main entrance.  The
       interior is wet and dark, hanging with plant life and
       stalactites.  Their echoing footsteps intermittently
       overpower the sounds of loud dripping, whistling air
       drafts and scampering claws.
 
 
4      HALL OF SHADOWS                                         4
 
       Indy leads the way down a twisting hallway, Satipo's
       torch barely lighting his way from behind.  Indy dis-
       appears in a shadow and when he reappears a moment later
       a huge black tarantula is crawling up the back of his
       jacket.  Indy doesn't notice and disappears into another
       shadow, emerging with two more tarantulas on his back.
 
       Satipo sees them and makes a frightened grunting sound.
       Indy looks at him, sees what he's pointing at and cas-
       ually brushes all three spiders off with his rolled
       whip, as he would a fly.  Satipo pirouettes for an in-
       spection and Indy flicks one off the Peruvian's back.
 
       Indy begins picking up little pocket-sized artifacts from
       the niches and ledges of the Temple.  He continues to
       do this as the men penetrate the Temple.  His collecting
       is quick and expert, evaluating the pieces in an instant,
       discarding some, stuffing others into his clothes, and
       never stopping his forward progress.
 
 
5      CHAMBER OF LIGHT                                        5
 
       The men reach an arch in the hall.  The small chamber
       ahead, which interrupts the hall, is brightly lit by a
       shaft of sunlight from high above.  Indy stops, looks
       it over.
 
                                  SATIPO
                    What's wrong?  Are you lost?
 
       Indy picks up a stick and throws it through the shaft
       of light.  Giant spikes spring together from the sides
       of the chamber with a ferocious CLANG!  And impaled on
       the spikes are the remains of a white man, half-fleshed,
       half skeleton, in explorer-type grab.  Indy reaches out
       and takes hold of the man's carcass.  As the spikes slowly
       retract, Indy pulls it free and seats the remains gently
       on the floor.
 
                                  INDY
                    Forrestal.
 
                                  SATIPO
                                  (gulps)
                    We can go no further.
 
                                  INDY
                    Now, Satipo, we don't want to be
                    discouraged by every little thing.
 
       Indy steps sideways into the chamber.  His back pressed
       against the very points of the retracted spikes, he moves
       along the edge of the light beam, and steps clear on the
       other side.  Satipo grimaces and begins sweating his way
       through.
 
 
6      STAIRWAY                                                6
 
       Indy and Satipo come down stone stairs to a tight land-
       ing.  Framing the entry are a carefully strung network of
       dead vines, each somehow hooked into the wall, narrowing
       the opening even more.
 
                                   INDY
                           (taking torch)
                    Let me see that.
 
       He lowers the torch to the floor of the landing.  The
       landing is carpeted with human skeletons, one on top of
       another, all squashed flat as cardboard.  Satipo gasps.
       Indy looks up at the ceiling of the landing, then steps
       onto skeletons, which make a cracking noise under his feet.
 
                                  INDY
                    Try not to touch the vines.
                    
 
7      FOYER OF THE SANTUARY                                   7
 
       The men are in a high, straight hallway 50 feet long.
       The door at the end is flooded with sunlight.
 
                                  SATIPO
                    Senor, I think we are very close.
 
       Indy stands still looking at the hall.
 
                                  SATIPO
                                (impatient)
                    Let us hurry.  There is nothing
                    to fear here.
 
                                  INDY
                    That's what scares me.
 
       They begin walking down the hall side by side.  Satipo
       has inched a little ahead.  Suddenly his lead foot comes
       down and through the floor!  As Satipo begins to pitch
       forward, Indy grabs him by the belt and pulls him back.
       They both look down at the "floor".
 
       Indy swings his whip across the floor.  Fifteen feet of
       it cuts open beneath the lash, falling away to reveal
       black pit as wide as the hall.  The illusory floor was
       made of dust-covered cobwebs.  Satipo picks up a stone
       and drops it down the pit.  No sound.  The two men ex-
       change glances.  Indy looks up at the high roof of the
       hall.  He swings the whip up around a support beam, tests
       its strength with a pull and swings over the pit on the
       whip.  From the other side he swings the whip back to
       Satipo, who throws Indy the torch.  Satipo swings across.
       When they are both standing on solid floor there is a
       moment of quiet in which they hear, from far, far below--
       SPLASH!  Indy wedges the whip handle into the wall and
       leaves it strung to the beam for quick retreat.
 
 
8      THE SANTUARY                                            8
 
       A large, domed room.  Ten evenly-spaced skylights send
       their shafts of sunlight down to a unique tiled floor:
       white and black tiles laid out in a lovely, intricate
       pattern.  Indy and Satipo stand at the door and look
       across the wide room at the altar.  There, in the supreme
       hallowed spot, is a tiny jeweled figurine, Indy's real
       objective.
 
       Two torches, many years old, are in holders by the door.
       Indy takes one down and lights it.  He gives the regular
       torch to Satipo.
 
                                   SATIPO
                     There's plenty of light, amigo.
 
       Indy kneels and uses the unlit end of the torch to reach
       out and tap a white tile.  It is solid.  He taps a black
       tile.  There is a whizzing sound and a tiny dark sticks
       in the torch.  Satipo points to the wall nearby: there is
       a recessed hole there.
 
                                   SATIPO
                     From that hole!
 
       Indy nods, stands and looks around the sanctuary.  The
       entire room is honey-comed with the same kind of hole.
       Satipo sees it too and is properly impressed.
 
                                   INDY
                     You wait here.
 
                                   SATIPO
                     If you insist, senor.
 
       Torch in hand, Indy begins his careful walk across the
       sanctuary.  Stepping only on the white tiles, he almost
       appears to be doing a martial arts kata.  Before each
       big move he waves the torch in front of him head to toe,
       looking at the flame.  Halfway out, he sees something
       on the floor and kneels to look at it.
 
       A dead bird lies on one of the white tiles.  Its body is
       riddled with little deadly darts.  This has great signi-
       ficance to Indy and he stands with even greater caution.
       He waves the torch ahead of him and at waist height an
       air current whips at the flame.  Indy ducks under it and
       leaves a burn mark on the white tile beneath it.
 
       Satipo watches, wide-eyed and mystified.
 
       Indy reaches the altar.  The tiny idol looks both fierce
       and beautiful.  It rests on a pedestal of polished stone.
       Indy looks the whole set-up over very carefully.  From
       his jacket he takes a small, canvas drawstring bad.  He
       begins filling it with dirt from around the case of the
       altar.  When he has created a weight that he thinks ap-
       proximates the weight of the idol, he bounces it a couple
       times in his palm concentrating.  It's clear he wants to
       replace the idol with the bag as smoothly as possible.
       His hand seems ready to do that once, when he stops, takes
       a breath and loosens his shoulder muscles.  Now he sets
       himself again.  And makes the switch!  The idol is now in
       his hand, the bag on the pedestal.  For a long moment it
       sits there, then the polished stone beneath the bag drops
       five inches. This sets off an AURAL CHAIN REACTION of
       steadily increasing volume as some huge mysterious mechanism
       rumbles into action deep in the temple.
 
       Indy spins and starts his kata back across the sanctuary
       at four times the speed.
 
       Satipo's eyes widen in terror.  He turns and runs.
 
 
9      THE RETREAT - INTERCUTTING INDY AND SATIPO              9
 
       The sanctuary has begun to rumble and shake in response
       to the mysterious mechanism.  Just as Indy goes out the
       door, a rock shakes loose from the wall and rolls onto the
       tiles floor.  Immediately, a noisy torrent of poison darts
       filles the room.
 
       IN THE FOYER, Satipo swings across the pit.  He makes it
       just as the whip comes undone from the beam, leaving Indy
       without an escape.  Satipo, extremely nervous, regards
       the whip a moment then turns back to face Indy, who has
       run up to the far side of the pit.
 
                                   SATIPO
                     No time to argue.  Throw me the
                     idol, I throw you the whip.
 
       Indy hesitates, eyeing the rumbling walls.
 
                                   SATIPO
                     You have no choice!  Hurry!
 
       Indy concurs with that assessment.  He tosses the idol
       across the pit to Satipo.  Satipo stuffs it in the front
       pocket of his jacket, gives Indy a look, then drops the
       whip on the floor and runs.
 
                                   SATIPO
                     Adios, amigo!
 
       Indy grimaces.  He had a feeling this might happen.  He
       looks around.
 
       AT THE VINED LANDING, Satipo flies through like a chubby
       ballet dancer and takes the steps five at a time.
 
       IN THE FOYER, Indy runs in full stride to the edge of the
       pit and broad jumps into space.  He doesn't make it.  His
       body hits the far side of the pit and he begins to slide
       out of view.  Only wild clawing with his fingers at the
       edge of the pit stops his descent.  With just the tips
       of his fingers over the edge, he begins pulling himself up.
 
       AT THE CHAMBER OF LIGHT, Satipo has slowed down.  He begins
       to edge carefully around the light shaft.
 
       AT THE VINED LANDING, Indy sails through sideways and rolls
       to a stop at the bottom of the steps.  His whip is grasped
       in his hand.  As he raises himself, he hears, from above
       the giant spikes of the Chamber of Light CLANG! and an
       abrupt, sickening rendition of SATIPO'S LAST SCREAM.  Indy
       runs up the steps.  The rumbling sound grows louder.
 
       AT THE CHAMBER OF LIGHT, Indy slides to a stop.  The
       spikes have retracted, taking Satipo's body to one side.
       Indy edges into the chamber with his back to the shaft
       of light.  Soon he is face to face with the dead Satipo;
       spikes protrude from several vital spots in the Peruvian's
       body.  Indy removes the idol from Satipo's pocket and
       moves quickly out the other side.
 
                                   INDY
                     Adios.
 
 
10     THE INCLINED PASSAGE                                    10
 
       Indy shoots out of a cut-off hallway and turns toward the
       exit.  The rumbling is very loud and now we see why:
       right behind Indy a huge boulder comes roaring around a
       corner of the passage, perfectly form-fitted to the passage-
       way.  It obliterates everything before it, sending the sta-
       lactites shooting ahead like missles.  Indy dashes for
       the light of the exit.  His hat flies off his head.  Almost
       immediately it is crushed by the boulder.  Indy dives out
       the end of the passage as the boulder slams to a perfect
       fit at the entrance, sealing the Temple.
 
 
11     EXT.  FRONT OF THE TEMPLE - DAY                         11
 
       Indy lies on the ground, gasping for air.  A shadow falls
       across him and he looks up.
 
       WHAT HE SEES.  looming above him are three figures.  Two
       are HOVITOS WARRIORS in full battle paint and loin cloths.
       They carry long blow guns.  But the man in the center draws
       Indy's attention.  He is a tall, impressive white man,
       dressed in full safari outfit including pith helmet.  His
       name is EMILE BELLOQ.  His face is thin, powerful; his eyes
       hypnotic; his smile charming, yet lethal.  His heavily
       French-accented speech is deep, mellifluous, wonderful.
       Back beyond Belloq and his two escorts, thirty more Hovitos
       Warriors hover at the edge of the trees.
 
                                   BELLOQ
                     Dr. Jones, you choose the wrong
                     friends.  This time it will cost you.
 
       Belloq extends his hand.  Indy looks at it, then pro-
       duces the idol and hands it to Belloq.  Belloq extends
       his other hand, smiling.  Indy hands over his gun.  Belloq
       sticks it in his jacket.
 
                                   BELLOQ
                     And you thought I'd given up.
 
                                   INDY
                            (eyeing the Hovitos)
                     Too bad they don't know you like
                     I do, Belloq.
 
                                   BELLOQ
                                   (smiles)
                     Yes, too bad.  You could warn
                     them...if only you spoke Hovitos.
 
       With that, Belloq turns dramatically and holds the idol
       high for all the Hovitos to see and says something in
       Hovitos.  There is a murmur of recognition and all the
       Indians, including Belloq's escorts, prostrate themselves
       upon the ground, heads down.
 
       Indy is immediately up and running toward the edge of the
       clearing.
 
                                   BELLOQ
                                (in Hovitos)
                     Kill him!
 
       AT THE EDGE OF THE CLEARING, Indy disappears into the
       foliage.  An instant later, the leaves are peppered with
       a rain of poison darts and spears.
 
 
12     EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY      12
 
       Indy runs like hell through steadily falling terrain.
       And always close behind, a swift gang of angry Hovitos.
       Occasionally they get close enough to send a dart or
       spear whizzing past Indy's head.
 
 
13     EXT. THE URUBAMBA RIVER - DUSK                          13
 
       An amphibian plane sits in the water beneath a green cliff.
       Sitting on the wing is JOCK, the British pilot.  Indy
       breaks out of some distant brush and runs along the path
       at the top of the cliff.
 
                                   INDY
                               (yelling)
                     Get it going!  Get it going!
 
       Jock hops in and fires up the plane's engines.  Indy
       reaches a spot on the cliff above the place, glances
       back, them jumps into the river.  He comes up, swims
       to the plane and grabs a strut.
 
                                   INDY
                     GO!
 
       Jock starts the plane moving across the water as Indy
       walks across the wing and falls into the passenger com-
       partment.
 
 
14     OMIT                                             OMIT   14
 
 
15     OMIT                                             OMIT   15
 
 
16     INT. JOCK'S PLANE - DUSK                                16
 
       Indy relaxes and lies across the seat, a big smile on
       his face.  One hand drops to the floor of the cabin and
       Indy jumps, hitting his head.  On the floor of the cabin
       is a huge boa constrictor.  Indy tries to get his whole
       body onto the seat.  Jock sees what's happening.
 
                                   JOCK
                     Don't mind his.  That's Reggie.
                     Wouldn't hurt a soul.
 
                                   INDY
                     I can't stand snakes.
 
                                   JOCK
                     The world's full of them, you know.
 
                                   INDY
                     I hate them.
 
                                   JOCK
                     Come on now, Sport, show a little
                     of the old backbone.
 
 
17     EXT. JOCK'S PLANE - TWILIGHT                            17
 
       It soars off over the dark jungle.
 
 
18     INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY         18
 
       It's authum and the pretty, New England campus out Indy's
       window reflects it in dazzling color.  A few weeks be-
       fore the start of classes.  Activity just picking up.
       Some students about.
 
       Indy is at a bookcase near the window and he looks
       quite different in this setting.  His outfit is tweedy,
       slightly rumpled in the professional style.  Part of his
       attention is focused in a book and he wears glasses to
       see the fine print.  The office is cramped, absolutely
       innundated with books, maps, etchings and archeological
       artifacts.  In fact, the only neat spot in the room right
       now is Indy's desk, which has been cleared off expressly
       for the benefit of--
 
       MARCUS BRODY, the Curator of the National Museum in Wash-
       ington, D.C.  Brody is examining the small artifacts Indy
       pocketed on his way into the Peruvian Temple.  He occasion-
       ally uses a jeweller's eyepiece to get a closer look.  But
       he is distracted, his concerns elsewhere, and it is this
       that his old friend Indy senses from across the room.
 
                                   BRODY
                     Do you think the idol will ever
                     show up?
 
                                   INDY
                     I don't know.  Just because Belloq
                     had it doesn't mean he kept it.
 
       Indy snaps the book closed and puts it on the shelf.
       He takes his glasses off and focuses on Brody.  At the
       windowed door to his office, two pretty Coeds pause for
       a moment, look in at their sexy Archeology professor,
       giggle and disappear.
 
                                   INDY
                     Getting it away from those Indians
                     would be a neat trick
                              (a hard look)
                     I hope they got him.
 
       A young male graduate student, Indy's TEACHING ASSISTANT,
       taps on the door and then pushes his way in with an arm-
       load of reference books.  Indy helps him find a spot
       for them.
 
                                   TEACHING ASSISTANT
                     I couldn't get the McNabe, Professor.
                     Someone's got it checked out 'til
                     next month when classes start.
 
                                   INDY
                     That's all right, Phil.  Thanks
                     a lot.
 
                                   TEACHING ASSISTANT
                                    (eager to please)
                     Will there be anything else?
 
                                   INDY
                     No.  I'll see you Thursday.
 
       The Teaching Assistant leaves.  Brody is scowling as
       he examines the last of the artifacts.
 
                                   INDY
                     Hey, if you don't like them, I can
                     always return them.
 
                                   BRODY
                     No, they're beautiful.  The Museum
                     will but them as usual.  No ques-
                     tions asked.
 
                                   INDY
                     Then what's wrong?
 
                                   BRODY
                     I brought along some people today.
 
                                   INDY
                     What kind of people?
 
                                   BRODY
                     Government.
 
                                   INDY
                              (concerned)
                     Government?
 
                                   BRODY
                     Don't worry, it's not about your
                     business.
                          (indicates the artifacts)
                     They're from the Army.
 
                                   INDY
                     I've already served.
 
                                   BRODY
                     Army Intelligence.  They're looking
                     for Abner.
 
 
19     INT.  INDY'S LECTURE HALL/CLASSROOM - DAY               19
 
       Indy's course--a combination of archeology and anthro-
       pology--is taught in this amphitheater-type lecture hall.
       His desk and lectern hold large reference books; black-
       boards line the wall.  Bones, maps, charts festoon the
       walls.
 
       Indy leans against his desk talking with Brody and two
       uniformed Army officers, COLONEL MUSGROVE and MAJOR
       EATON, who are situated around the first seats in the
       classroom.
 
                                   MUSGROVE
                     --But you did study under Professor
                     Ravenwood at the University of Chicago?
 
                                   INDY
                                   (nods)
                     We haven't spoken in ten years.
                     I'm afraid we had a bit of a fall-
                     ing out.
 
                                   EATON
                     You know nothing of his whereabouts?
 
                                   INDY
                                (negative)
                     Just rumors.  Somewhere in Asia, last
                     I heard.
 
       Musgrove and Eaton exchange a look; they're disappointed.
 
                                   EATON
                              (to Musgrove)
                     Maybe Dr. Jones can make sense of it.
 
       Again the military men have a silent communication, de-
       ciding what to reveal.
 
                                   MUSGROVE
                     Well...you must understand, Dr. Jones,
                     this is all strickly confidential.
 
                                   INDY
                     I understand.
 
                                   MUSGROVE
                     Yesterday, one of our European sec-
                     tions intercepted a Nazi communique
                     from Cairo to Berlin.  We don't
                     quite know what to make of it.
 
       Musgrove takes a sheet from his briefcase.
 
                                   MUSGROVE
                     Here it is--"Tanis development pro-
                     ceeding.  Acquire headpiece, Staff
                     of Ra, General Tengtu Hok, Shanghai.
                     Locate Abner Ravenwood, U.S."
 
       Brody is excited.  He looks at Indy.
 
                                   BRODY
                     Tanis.  They must have discovered
                     the lost ruins.
 
       Indy contemplates this big news; he's impressed.
 
                                   INDY
                              (to himself)
                     Tanis.  Ain't that somethin'!
 
                                   EATON
                     Frankly, we're a little suspicious...
                     An American being mentioned so prom-
                     inently in a secret Nazi cable.
 
                                   INDY
                     Ah, Ravenwood's no Nazi.
 
                                   EATON
                     Then what do they want him for?
 
                                   INDY
                     They're looking for the headpiece
                     to the Staff of Ra.
 
                                   MUSGROVE
                             (indicates his sheet)
                     But it says here that's in China.
 
                                   INDY
                     Only half of it.  Ravenwood had
                     the other half.
 
                                   EATON
                     What would the Nazis want with
                     this--this Staff of Ra?
 
                                   BRODY
                     I can tell you that.  Over the last
                     two years the Nazis have had teams
                     of archeologists running around the
                     world looking for all kinds of re-
                     ligious artifacts.
 
                                   MUSGROVE
                     That's right.  Hitler's a nut on
                     the subject.  Crazy.  He's obsessed
                     with the occult.
 
                                   EATON
                     What is this Staff of Ra, anyway?
 
                                   INDY
                     It all has to do with the Ark of
                     the Covenant.
                     (the Army guys look mystified)
                     The chest the Hebrews used to carry
                     around the Ten Commandments.
 
       Now it's the Army men who are impressed.
 
                                   INDY
                     An Egyptian pharoah stole the Ark
                     from Jerusalem and took it back to
                     the city of Tanis.  A short time
                     later, Tanis was consumed by the
                     desert in a sandstorm that lasted
                     a year.  But before that, the Phar-
                     oah had had the Ark hidden away in
                     a secret chamber called the Well of
                     the Souls.  Which is where the Staff
                     of Ra comes in.
 
       Indy moves to the blackboard and makes a quick sketch
       to give a rough idea of the system as he describes it.
       (And we get a glimpse of what an interesting and enthu-
       siastic teacher he must be)
 
                                   INDY
                     Now this was rather clever.  The
                     Staff was really just a big stick--
                     oh, I don't know, say like this--
                      (he indicates about six feet)
                     --no one really knows for sure.  Any-
                     way, it was capped by an elaborate
                     headpiece with a carving of the sun
                     at the top.  What you had to do was
                     take the Staff to a special map room
                     in Tanis--it had the whole city laid
                     out in miniature on the floor.  When
                     you placed the Staff in a certain
                     spot in this room, at a certain time
                     of day, the sun would shine through
                     a hole here in the headpiece and then
                     send a beam of light down here--to
                     the map--giving you the location of
                     the Well of the Souls...
 
                                   MUSGROVE
                     ...where the Ark of the Covenant
                     was kept.
 
                                   INDY
                                 (nods)
                     Which is probably what the Nazis
                     are after.
 
                                   EATON
                     What's this Ark look like?
 
                                   INDY
                     Look like?  Why, it's right here...
 
       Indy pulls a big format book from the stack on his lectern
       and flips through the pages until he finds a large color
       print.  The other men gather to look.
 
       THE PRINT fills the screen.
 
       It shows a Biblical battle.  The Israelite Army is van-
       quishing an opposition force.  At the forefront of the
       Israelite ranks, two men carry the Ark of the Covenant,
       a beautiful gold chest, crowned by two sculptured gold
       angels.  The men do not touch the Ark itself; rather
       they carry it by use of two long wooden poles which pass
       through rings in the corners of the Ark.  The painting
       is very dramatic, full of smoke, tumult and sinewy dying
       men.  But the most astounding thing in the picture is the
       brilliant jet of white light and flame issuing from the
       wings of the angels.  It pierces deep into the ranks of
       the retreating enemy, wreaking devastation and terror.
 
                                   EATON
                     Good God!
 
                                   INDY
                     Yes.  That's what the Hebrews thought.
 
                                   MUSGROVE
                     What's that supposed to be coming
                     out of there?
 
                                   INDY
                     Who knows...lightning...fire...the
                     power of God.
 
                                   EATON
                     I'm beginning to understand Hitler's
                     interest in this thing.
 
                                   INDY
                     Oh yes.  The Bible tells of it level-
                     ing mountains and wasting entire re-
                     gions.  Moses promised that when the
                     Ark was with you, "your enemies will
                     be scattered and your foes fell be-
                     fore you".
                                 (pause)
                     An army which carries the Ark before
                     it is invincible.
 
       Eaton and Musgrove exchange worried looks.
 
                                   INDY
                     Oh, there's one other thing that
                     Hitler undoubtably believes about
                     the Ark...
                         (a long pregnant pause)
                     It's said that the Lost Ark will be
                     recovered at the time of the coming
                     of the True Messiah.
 
                                   MUSGROVE
                     Dr. Jones, you've been very helpful.
                     I hope we can call on you again if
                     we have questions.
 
                                   INDY
                     Most certainly.
 
       Brody and Indy exchange a look as they all shake and
       Brody starts to leave with the Army men.
 
 
20     EXT.  FRONT DOOR, INDY'S HOUSE - NIGHT                  20
 
       INdy's English Tudor, upper middle class hoem.  Quite
       toney; well beyond the financial reach of an honest
       college professor.  Marcus Brody has already rung the
       bell.  Indy opens the door.  He is dressed in a tuxedo.
 
                                   BRODY
                     I've got to talk to you.
 
                                   INDY
                     This isn't really a good time.
 
                                   BRODY
                     Indy, it's important.
 
                                   INDY
                     All right.  Come on in.
 
 
21     INT. FOYER, INDY'S HOUSE                                21
 
       The lush tone continues here in Art Deco and shiny marble.
       Indy motions Brody toward the study to one side.
 
                                   INDY
                     I'll be in in a minute.
 
       As Brody passes the entrance to the expansive living room,
       he spots a beautiful, silk-gowned Harlow-type lounging on
       the sofa in front of a roaring fire.  She is sipping cham-
       pagne.
 
 
22     INT. STUDY, INDY'S HOUSE                                22
 
       Brody enters the book-lined, dark-wooded study.  He paces
       for a moment before the fire which is dying in the fire-
       place, then spots something and goes over to Indy's big
       desk.  The surface is covered with open books, monographs,
       maps and drawings--all about the Ark of the Covenant.
       Brody smiles; he knows his friend very well.  Indy comes
       in, closing the door behind him.  Brody turns to him with
       a triumphant expression.
 
                                   BRODY
                     They want you to go for it.  And
                     they'll pay.
 
                                   INDY
                                  (smiles)
                     Good work, Marcus.  I had a feeling
                     this would happen.  And, of course,
                     the Museum gets the Ark when we're
                     done.
 
                                   BRODY
                                  (smiles)
                     Of course.
 
       Indy's manner is vigorous, agressive.
 
                                   INDY
                     Okay, here's the way it's gonna be.
                     First, I'll high-tail it to Shanghai
                     and get the piece from General Hok.
                     Then I think I know where I can find
                     Ravenwood.  If only I can get--
 
                                   BRODY
                     General Hok's a tough customer.  They
                     don't call him the Wild Boar for nothing.
                     And he's tied in with the Japanese.
 
                                   INDY
                     I'll worry about that when the time
                     comes.  My only hope is to find the
                     Well of the Souls before the Nazis do.
 
                                                        WIPE TO:
 
 
23     EXT.  IN THE AIR - DAY/NIGHT                            23
 
       A Pan Am Clipper flies west over the Pacific.
 
                                                        WIPE TO:
 
 
24     INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY               24
 
       Indy is barely into the front seat of a dilapidated
       Ford as the driver, BUZZ KEHOE, is peeling out into
       traffic.  In the back seat is a Chinese named BANG
       CHOW.  Kehoe zigs crazily through traffic with only
       his left hand as he reaches over to shake with Indy.
 
                                   KEHOE
                     Buzz Kehoe, Army Intelligence.
                     You've met Bang Chow.
 
                                   INDY
                     What's the hurry?
 
                                   KEHOE
                     Some German agents got here two
                     hours ago.  Luckily, Bang was able
                     to have them detained at Customs.
                     We'll have to hurry.
 
 
25     OMIT                                             OMIT   25
 
 
26     OMIT                                             OMIT   26
 
 
27     OMIT                                             OMIT   27
 
 
28     OMIT                                             OMIT   28
 
 
29     EXT.  HOK'S STREET - DAY                                29
 
       Kehoe's car emerges from an alley.  Down the block is
       Tengtu Hok's modest, walled palace.  Kehoe's car slows
       a bit and Bang steps from the moving car with a small
       black suitcase in his hand.  While he heads down the
       street toward Hok's place, Kehoe's car continues across
       the street and into an alley on the other side.
 
 
30     EXT.  HOK'S STREET - IN FRONT OF PALACE - DAY           30
 
       A Mercedes limousine appears round a corner and squeals
       to a stop at the front gate of the palace, which is manned
       by a sturdy Chinese Gateman.  There are three Germans in-
       side, one the driver.
 
 
31     EXT.  ALLEY BEHIND HOK'S MUSEUM - DAY                   31
 
       Kehoe, alone now, pushes a trash container casually into
       position to hide a newly created hole in the rear wall of
       Hok's Museum where several stone blocks have been removed.
       He looks around and ambles back to the car.
 
 
32     INT.  HOK'S PALACE - ENTRY HALL                         32
 
       The three Germans wait impatiently in a magnificent foyer.
       A chime sounds and huge double doors open to reveal TENGTU
       HOK, flanked by two uniformed Japanese Soldiers and a
       roved Chinese Advisor.  He wears a fantastic gold orna-
       mental robe.  Despite the majesty, however, nothing can
       disguise the fact that Hok is basically a wild, fat bar-
       barian; an animal.  Hok and his escort group bow in what
       is the beginning of a long welcoming ceremony.  The Germans
       exchange impatient glances but decide they should play it
       as it comes.  They bow.
 
 
33     INT. HOK'S MUSEUM                                       33
 
       No person in sight.  Instead, we see a magnificent dis-
       play of ancient artifacts.  Glass cases hold the velvet-
       couched pieces at random spots on the shining marble
       floor.  We hear an odd sound.  Near the floor on the rear
       wall of the museum, a steel ventilation grate moves.  A
       hand slides it gently across the marble.  Indy sticks his
       head out and looks around.
 
 
34     INT.  HOK'S PALACE - TEA ROOM                           34
 
       The three Germans are being served tea and exotic deli-
       cacies.  A pleased Tengtu Hok watches from a throne-cushion.
       When the tray of tiny delicacies is presented to him, he
       takes a massive handful, crushing them together on their
       way to his smiling mouth.
 
 
35     INT.  HOK'S MUSEUM                                      35
 
       A huge golden gong, seven feet in diameter, is suspended
       from the ceiling by a hook.  An enormous hammer hangs
       poised above it, from which emanate myraid tiny threads
       which run up and across the ceiling, then down to the
       various display cases.  Indy looks up at the gong, then
       continues his quick, quiet foray among the cases.  Be-
       yond him, a high window.
 
 
36     INT.  HOK'S PALACE - TEA ROOM                           36
 
       Hok and his visitors stand to go.  The German's pleased
       expressions make it clear they're finally on their way
       to the museum.
 
 
37     INT.  HOK'S MUSEUM                                      37
 
       Indy arrives at his destination.  The lovely, carved gold
       section of the headpiece is nested on purple velvet in a
       glass case.  At the bottom of the piece is a round hollow
       where the staff would fit.  There is a grunting sound be-
       hind Indy and he spins, already reaching for his revolver.
 
       A fierce Japanese Samurai is running at Indy full speed
       down an aisle of display cases.  His sword is raised over
       his shoulder ready to cut Indy in half.  He's six feet a-
       way when Indy's gun levels and fires twice, blasting him
       backwards.  Indy is still looking over his gun when an-
       other samurai sword comes down from the side and knocks
       the pistol brutally out of Indy's grip; his hand avoids
       amputation by a quarter of an inch.
 
       An amazed Indy backs away from the crossing aisle as the
       Second Samurai steps in to face him, sword raised.  Indy
       backs away into an open space and his bullwhip appears
       in his hand.  He gives it one savage CRACK! to announce
       its arrival and the Samurai slows down, eyeing it curiously.
       The Samurai does not look unhappy about this confrontation.
       How pure it is--The Sword versus The Whip.
 
 
38     EXT.  HOK'S PALACE - SECOND FLOOR WALKWAY - DAY         38
 
       Tengtu Hok and the Germans have obviously heard something.
       They are hurrying along the walkway at the side of the
       building, Hok in the lead.  Up ahead is the foot bridge
       which crosses from the palace to the museum entrance over
       a moat.
 
 
39     EXT.  STREET IN FRONT OF THE PALACE - DAY               39
 
       The Lovely Mercedes limousine blows up.
 
 
40     EXT.  HOK'S PALACE - SECOND FLOOR WALKWAY - DAY         40
 
       The Germans spin toward the blast.  Drawing weapons, they
       run back to investigate.  Hok follows them, confused.
 
 
41     INT.  HOK'S MUSEUM                                      41
 
       Indy and the Samurai face each other.  They're both breath-
       ing hard from previous, no-contact passes at each other.
       Now Indy begins swinging the whip over his head again.  It
       whizzes out toward the Samurai's face.  The Samurai takes
       two lightning-quick cuts at the leather, but misses.  Indy
       swings for the Samurai's feet; the Japanese jumps nimbly,
       slashing at the whip.  Indy does it again.  The Samurai
       hops it.  Once more.  The Samurai is concentrating on hop-
       ping it.
 
       Indy sees it.  The split second he wants.  The whip flashes
       up from the floor and wraps solidly and irrevocably around
       the Samurai's neck.  Indy gives it a murderous pull and
       the Samurai is dead on his feet.
 
 
42     EXT.  HOK'S PALACE - SECOND FLOOR WALKWAY - DAY         42
 
       Hok and the three Germans are looking d-wn at the flaming
       remains of the Mercedes.  A look of concern crosses Hok's
       face.  He turns and runs back toward his beloved museum.
 
 
43     INT.  HOK'S MUSEUM                                      43
 
       Indy is at the case containing the headpiece.  He smashes
       the glass with a samurai sword, reaches in and grabs the
       piece.  Immediately, behind him, the huge hammer falls
       and the sound of the gong thunders through the museum.
 
 
44     EXT.  HOK'S PALACE - SECOND FLOOR WALKWAY - DAY         44
 
       At the sound of the gong, the running Hok skids to a halt
       with a crazed expression on his face.  He disappears for
       two seconds in an alcove and emerges holding a big, black
       Thompson Submachine Gun.  He runs across the foot bridge
       and is just barely over it when it blows up.  Hok, safe,
       looks behind him in amazement and then turns to the museum.
 
 
45     INT.  HOK'S MUSEUM                                      45
 
       The double doors at the entrance slam open to reveal Hok.
       Indy is halfway along an unprotected wall back to his ven-
       tilation entry route.  Hok opens up on him, cutting off
       his retreat.  Indy jumps behind a marble column, which is
       promptly blasted with machine gun fire.
 
       Indy looks above him, sees the giant disk of the gong.
       Reaching up, pushing with tremendous effort, he maneuvers
       it off the hook.  It bounces down to the floor on its side,
       chipping the marble with its monstrous weight.  Indy stead-
       ies it and then puts his whole body into rolling it across
       the room toward the window.  As it starts to roll, Indy
       slips behind it and runs across the room with it.
 
       Hok can see the rolling gong.  He opens up on it.
       The vicious cacophony of machine gun fire is joined by
       the musical reports of bullets hitting the gong and ri-
       cocheting away.  Very, very noisy.
 
       Behind the gong, Indy gauges his move.  As the gong is
       about to be stopped by a marble bench, Indy talks a long
       stride onto the bench and dives through the glass of the
       high window.  Hok's bullets hit the wall.
 
 
46     EXT.  ROOF - DAY                                        46
 
       Indy lands in a shower of glass on the jutting roof of
       the museum's first floor.  He rolls to a crouch and is
       immediately being fired upon.  The Germans, cut off from
       the museum, are standing on the palace walkway firing at
       him.  Indy takes off fast for the rear of the museum.
 
 
47     EXT.  ALLEY BEHIND MUSEUM - DAY                         47
 
       Kehoe, craning to locate Indy, has the Ford rolling slowly
       along the back of the museum.  Bang scouts from the back
       seat.  Indy appears on the roof at a run, gauges the move-
       ment of the car and jumps from the roof of the museum to
       the roof of the sedan.  Unfortunately, the roof of the
       old car can't take it and Indy's legs knife right on
       through to the interior, where he scares the hell out of
       Kehoe.
 
 
48     INT.  KEHOE'S CAR - DAY                                 48
 
       Indy squirms his way down into the front seat.
 
                                   KEHOE
                     Jesus!  Are you all right!
 
                                   INDY
                            (he's felt better)
                     Great.  Got it.
 
       Kehoe guns it, throwing Indy back against the cushions.
 
                                   KEHOE
                     What now?
 
                                   INDY
                     I've got to get to Nepal.
 
 
49     OMIT                                             OMIT   49
 
                                                        WIPE TO:
 
 
50     EXT.  DC-3 IN THE AIR - DUSK                            50
 
       The plane flies west into the sunset.
 
 
51     INT.  DC-3 - NIGHT                                      51
 
       Under a meager seat light, Indy is pouring over a jour-
       nal article by Abner Ravenwood and related map of Nepal.
 
       A few rows back, across the aisle, a trenchcoated Euro-
       pean Spy eyes Indy.
 
                                                        WIPE TO:
 
 
52.    INT.  "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT         52
 
       A huge stuffed raven, wings spread wide, is mounted be-
       hind the long bar in the noisy, crowded saloon.  A lively
       mix of patrons is represented in the late hour tableau:
       Nepalese natives, fierce Sherpa mountain guides, sleazy
       international smugglers and fugitives, and, of course,
       mountain climbers from every corner of the earth.  A tall
       Nepalese, MAHDLO, is the bartender.
 
       In a corner near the fireplace trouble breaks out
       suddenly between the groups at two neighboring tables.
       Ferocious representatives from each table--one a wild-
       looking SHERPA, the other a muscular Australian CLIMBER--
       jump up to face each other.  As the two contenders stand
       poised for action, their respective supporters shift in
       their places, fondling lethal ice axes and clubs.
 
                                   SHERPA
                     Gmoiska!  Shurga rintoik!
 
                                   CLIMBER
                     Aye!  That'll be your last word.
 
       The bar has quieted ominously and so we hear with startling
       clarity when--a door behind the bar slams open with a huge
       BANG! and some Presence, too small to be seen as it moves
       through the forest of towering patrons, makes a beeline
       for the troubled corner of the bar.  A path clears for it.
 
       The Sherpa and the Climber are about to kill each other
       when the Presence arrives directly between them:  she is
       MARION RAVENWOOD, twenty-five years old, beautiful, if a
       bit hard-looking.  At this moment, however, that look
       does not hurt.  She is not intimidated by the combatants;
       she jabs accusatory fingers into their chests.  She is
       angry as hell.  The patrons shrink under her gaze.
 
                                   MARION
                     That does it!  I've been patient
                     with you no-goods long enough.  I'm
                     not open at 2 o'clock for myself,
                     you know.  It's all for you.  And
                     how do you repay me:  Trouble and
                     noise and blood on my floor!  I
                     won't have it.  Everybody out! Out!
                     Out!  We're closed.  Closed!  Do your
                     killing outside!  And don't leave any
                     bodies on the porch!
 
       The place clears quickly.  Stragglers and grumblers are
       given special attention by Marion and Mahdlo, who has
       come from behind the bar carrying a big axe handle.
       Mahdlo herds the crows out the front door as Marion turns
       and walks behind the bar.
 
       A scowl on her lovely face, she has just begun clearing
       the bar of glasses when she notices one remaining Patron
       huddled over a glass at the far end of the bar.  Grimacing
       in exasperation, she heads that way like a locomotive.
 
                                   MARION
                     Hey you, deaf one!  I said out of
                     my place.  I don't mean next Easter,
                     I mean now--
 
       She is almost on him when Indy looks up smiling.  Marion
       stops, stares, shocked.
 
                                   INDY
                     Hello, Marion.
 
       She hits him with a solid right to the jaw, knocking him
       off the barstool on the floor.  He rubs his jaw and
       smiles up at her.
 
                                   INDY
                     Nice to see you, too.
 
                                   MARION
                     Get up and get out.
 
                                   INDY
                             (getting up)
                     Take it easy.  I'm looking for
                     your father.
 
                                   MARION
                                (bitterly)
                     Well you're two years too late.
 
       Indy's attitude changes instantly.  This is sad news.  He
       is silent for a long time.  Mahdlo comes in the front door
       and hurries forward when he sees Indy with Marion.  He
       looks to her for guidance, but she stays him with a gesture.
 
                                   MARION
                     Go home, Mahdlo.  I'll see you to-
                     morrow.
 
       Mahdlo is hesitant, but lays the axe handle on the bar and
       goes out.  Indy has been barely aware of him.  Now he set-
       tles again on the barstool.  Marion has a vindictive look.
       She'll let him stay, but she wants to inflict as much pain
       as possible.
 
                                   INDY
                     What happened?
 
                                   MARION
                     Avalanche.  Up there.  He was dig-
                     ging.  What else?  He spent his
                     whole life digging.  Dragging me all
                     over this rotten earth.  For what?
 
                                   INDY
                     Do you find him?
 
                                   MARION
                     Hell no.  He's buried where he was
                     working.  Probably preserved real
                     good, too.  In the snow.
 
       Suddenly the hardness cracks.  She is on the verge of
       tears and does not want him to see them.  She turns away
       and takes a whiskey bottle from the shelf, then turns
       back to pout herself a drink.
 
                                   INDY
                     Not a bad way to go.  Doing what
                     he loved.
 
                                   MARION
                                (vitriolic)
                     Don't give me taht stuff!  What
                     do you know?
                            (she takes a drinks)
                     I'm the one that was left in a bad
                     way.  He didn't have a penny.  Guess
                     how I lived, Mister Jones.  I worked
                     here.  And I wasn't the bartender.
                             (another swallow)
                     Finally the guy that owned the joint
                     went crazy.  Snow crazy.  They took
                     his away screaming.  As they dragged
                     him out, he said the place was all
                     mine for life.
 
       She looks around the saloon.
 
                                   MARION
                     Can you imagine a more evil curse?
                                  (pause) 
                     So far, it's working.
 
                                   INDY
                     Why not leave?  Go back to the States.
 
                                   MARION
                     I'll go back.  I'll get there.  Not
                     that there's a soul there who knows
                     my name of cares.  But I'll go.  And
                     when I do, they'll know me.  'Cause
                     I'm going to go back in style.  With
                     money.  A soddamn lady!
 
                                   INDY
                     Where you gonna get it?
 
                                   MARION
                     If I knew that, you think I'd still
                     be running this dive?
 
       Indy looks at her, thinking.  Under his gaze, she blushes,
       for reasons only she understands.  She looks into her
       glass and, for a moment, she softens.
 
                                   MARION
                     I'll tell you something Indy.  I've
                     learned to hate you in the last ten
                     years.  But somehow, no matter how
                     much I hated you, I always knew that
                     someday you'd come through that door.
                     I never doubted that.  Something made
                     is inevitable.
                                 (hopefully)
                     Why are you here...now...tonight?
 
       Indy takes a long time to answer.
 
                                   INDY
                     I need one of the pieces your father
                     collected.
 
       Marion's eyes go icy.  She swings at him again with her
       right, but this time he catches her at the wrist.  Then
       he stops her left, which she has brought up to slap him.
 
                                   MARION
                     You son-of-a-bitch!  You know what
                     you did to me, to my life?  This
                     is your handiwork.
 
                                   INDY
                     I never meant to hurt you.
 
                                   MARION
                     I was a child!
 
                                   INDY
                     You knew what you were doing.
 
                                   MARION
                     I was in love.
 
                                   INDY
                     I guess that depends on your
                     definition.
 
                                   MARION
                     It was wrong.  You knew it.
 
       Indy releases her arms.
 
                                   INDY
                     Look, I did what I did.  I don't
                     expect you to be happy about it.
                     But maybe we can do each other
                     some good.
 
                                   MARION
                     Why start now?
 
                                   INDY
                     Shut up and listen for a second.  I
                     want that piece your father had.
                     I've got money.
 
       This stops her.
 
                                   MARION
                     How much?
 
                                   INDY
                     Enough to get you back to the States.
                     Where are his things?
 
                                   MARION
                     Gone.  I sold it all.  It was all
                     junk.  The junk he wasted his life on.
 
                                   INDY
                     Everything?
 
       Marion nods.
 
                                   INDY
                               (giving up)
                     That's too bad.
 
       Indy feels tired, defeated.  Marion is pleased.
 
                                   MARION
                     You look disappointed.  I like
                     that.  How's it feel?
 
       Indy has to smile at her glee.
 
                                   MARION
                         (nods at his empty glass)
                     What are you drinking?
 
                                   INDY
                     Seltzer.
 
                                   MARION
                         (refilling his glass)
                     Real man's drink.  Me, I like scotch.
                     And I like bourbon.  And vodka and
                     gin.  I'm not much for brandy.  I'm
                     off that.
 
       She pours herself another as Indy watches, amused.
 
                                   INDY
                     You're a tough broad now, aren't you?
 
                                   MARION
                     It's no act, pal.  This ain't Sche-
                     nectady.
 
                                   INDY
                     I can only say I'm sorry so many
                     times.
 
       Marion looks at him thoughtfully, takes a drink.
 
                                   MARION
                     You really have money?  You don't
                     look rich.
                               (Indy nods)
                     I may be able to locate some of his
                     things.  I know who's got them.
                     What do you want?
 
                                   INDY
                     A bronze piece, about this size.  In
                     the shape of the sun.  Probably
                     broken off at the bottom.  Has a
                     little hole in it, off-center.
                     Does that sound familiar?
 
       Marion thinks, nods slowly.
 
                                   INDY
                     Do you know where it is?
 
                                   MARION
                     Maybe.  How much?
 
                                   INDY
                     Three thousand.  American.
 
                                   MARION
                                 (negative)
                     That'll get me back, but not in
                     style.  This doodad must be pretty
                     importnat.
 
                                   INDY
                     Maybe.
 
       A huge smile lights up Marion's face.
 
                                   MARION
                     I knew it would happen eventually.
                     I knew it.  Something had to go my way.
                         (pours herself another drink)
                     I've got to think this out.  I'm
                     used to bargaining with yaks.
 
                                   INDY
                     Okay, five thousand.  That's all I
                     can give you now.  I can get you more
                     when you land in the States.
 
                                   MARION
                     You word, huh?
                              (Indy nods)
                     Just like you said you'd be back last
                     time?  That was your word too.
 
                                   INDY
                     I'm back, aren't I?
 
       Marion sneers and they smile together.
 
                                   INDY
                     You can trust me.
 
                                   MARION
                     Come back tomorrow.
 
                                   INDY
                     Why?
 
                                   MARION
                     Because I said so, that's why.  It's
                     about time I called the shots in this
                     relationship.
 
       Indy nods, gets up to go.
 
                                   MARION
                     Wait a minute.  Leave the five thou-
                     sand here.
                             (Indy hesitates)
                     You want trust, give some.  I want to
                     smell your money.
 
       Indy thinks about this a moment, then reaches inside his
       shirt and pulls cash from a money belt.  He lays five grand
       on the bar.
 
                                   INDY
                     I trust you.
 
                                   MARION
                     You're an idiot.
 
                                   INDY
                     I've heard that.
 
       Indy starts fro the door. Marion takes another think.
       She is getting high.
 
                                   MARION
                     Hold it.  Come here.
 
                                   INDY
                               (moving back)
                     Bossy, aren't you?
 
                                   MARION
                     That's right.  Give me a kiss.
 
       Indy looks into her eyes, then leans over the bar and
       kisses her deeply.  When the kiss ends, their faces are
       very close.  Marion is flushed.  She liked it and would
       like more.  She raises her glass between them to disci-
       pline herself.
 
                                   MARION
                     Get out of my place.
 
       Indy smiles and walks to the front door.  Then, without
       looking back--
 
                                   INDY
                     Tomorrow.
 
       He's gone.  Marion stares after him, thinking.  She takes
       a drink.  Then slowly, her hand comes up to loose the
       scarf that is draped around her throat.  It falls away,
       revealing her graceful neck above the dipping top of her
       blouse.  Hanging there on a gold chain against her white
       skin is a sun-shaped golden medallion.  The bottom looks
       broken off.  Marion lifts the medallion so she can see it
       in her hand, then looks thoughtfully after Indy.
 
 
53     EXT.  STREETS OUTSIDE "THE RAVEN" - NIGHT               53
 
       Indy sits thinking at the wheel of an old car.  Finally,
       he puts the car in gear and drives away.
 
       Across the street, the shadow in a doorway comes to life.
       A dark form steps out to look at Indy's departing car;
       it is the European Spy from the DC-3.  He hurries off
       in the opposite direction.
 
                                                        DISSOLVE TO:
 
 
54     INT.  "THE RAVEN" - NIGHT                               54
 
       Marion stands before the fire that is shrinking in the
       fireplace.  She jabs at it abstractedly with a poker,
       thinking.  Suddenly tears well up in her eyes.  She lets
       the poker slip from her hand, wipes away the tears.  She
       walks across the room to the end of the bar, still clut-
       tered with bottles and glasses, and stops at the pile of
       American money Indy has left.  She takes the chain from
       around her neck and lets the medallion slide off it into
       her hand.  She places it on the bar next to the pile of
       money, thinking.  Then, having reached some decision, she
       picks up the pile of bills, walks up the back of the bar
       and pulls a small wooden box from under the bar.  She flips
       open the top, puts the cash inside and closes the top.
       She leaves the box on the bar and starts back toward
       the medallion.  The front door of the saloon bursts
       open and Four Bad Men come in.  Marion, halfway between
       the valuable possessions and not wishing to draw
       attention to either, stops where she is.
 
       The Four Bad Men who advance on her are:
 
       1.) the obvious leader, a short, vile, sadistic German
       in spectacles by the name of BELZIG.
       2.) a trenchcoated SECOND NAZI.
       3.) a ratty-looking NEPALESE and
       4.) a mean MONGOLIAN.  The second NAZI and the MONGOLIAN
           both carry submachine guns.
 
                                   BELZIG
                     Good evening, Fraulein.
 
                                   MARION
                     The bar's closed.
 
                                   BELZIG
                     We are not thirsty.
 
       The Mongolian and the Nepalese poke around, checking
       to make sure there's no one else there.
 
       Down at the end of the bar, the medallion lies partially
       hidden by surrounding glasses and bottles.  The Second
       Nazi stops very near it, but turns his back to it to face
       Belzig and Marion.
 
                                   MARION
                     What do you want?
 
                                   BELZIG
                     The name thing your friend Dr. Jones
                     wanted.  Surely he told you there would
                     be other interested parties.
 
       Marion shakes her head.
 
                                   BELZIG
                     Ah, the man is nefarious.  I hope
                     for your sake he has not yet acquired
                     it.
 
                                   MARION
                     Why, are you willing to offer more?
 
                                   BELZIG
                     Almost certainly.  Do you still have it?
 
                                   MARION
                     No.  But I know where it is.
 
       Belzig's smile fades at this news.  He's not a patient sort.
       Marion is chilled by the look.  She turns and moves to the
       shelf of bottles behind her, reaching high for one, very
       near the large stuffed raven.  He hand lingers there a
       moment and we see--
 
       From an angle behind the stuffed raven, that the left wing
       spread hides a Baretta automatic pistol.  Marion's hand is
       very near it, but withdraws with only a whiskey bottle as
       the Mongolian walks toward her behind the bar.
 
       Marion opens the bottle before Belzig, who watches her
       intently.
 
                                   MARION
                     How 'bout a drink for you and your
                     men?
 
       The Second Nazi lights up at this suggestion.  Belzig gives
       him a withering look.
 
                                   BELZIG
                     We will stick to the business at hand,
                     Fraulein.
 
                                   MARION
                                  (tough)
                     Fine.  Why don't you come back to-
                     morrow when Jones is here and we'll
                     have an auction?
 
       Belzig gives her a cold look then turns and walks over to-
       ward the firplace.  As soon as his back is turned, the
       Second Nazi grabs the nearest whiskey bottle and takes a
       quick pull.  In so doing, he leaves the medallion completely
       exposed.  Marion is aware of this as she looks at him.  But
       he quickly puts the bottle down again, obscuring the medal-
       lion, when Belzig speaks from the fireplace.
 
                                   BELZIG
                     I'm afraid an auction is not possible.
                                  (pause)
                     Your fire is dying here, Fraulein.
                        (a beat, then threatening)
                     Why don't you tell us where the
                     piece is right now?
 
                                   MARION
                     Listen, Herr Mac, I don't know who
                     you're used to dealing with, but
                     no one tells me what to do in my
                     place.
 
       Belzig, still looking in the fire, sneers and shakes
       his head.
 
                                   BELZIG
                     Americans!  You're all alike.  Frau-
                     lein Ravenwood.  I'll show you want
                     I'm used to.
 
       He motions with his hand.  The Mongolian moves up behind
       Marion and lifts her roughly over the top of the bar,
       knocking over bottles and spilling liquor.  He deposits
       her on the other side, where the Nepalese and the Second
       Nazi flank her and hold her cruelly, arms behind her back.
       Marion raises a ruckus.
 
       Belzig turns from the fireplace.  In his hand is the poker,
       its end glowing orange.  He advances on Marion.  Marion
       stops yelling, her eyes widen in terror.
 
                                   MARION
                     Wait!  I can be reasonable--
 
                                   BELZIG
                     That time is passed.
 
       The glowing poker point moves inexorably across the room
       toward Marion's face.
 
                                   MARION
                     You don't need that.  I'll tell you
                     everything!
 
                                   BELZIG
                     Yes, I know you will.
 
       Belzig has no intention of stopping now.  The glowing tip
       is approaching Marion's face.  The Nepalese watches with
       savage glee.
 
       The tip of the poker is five inches from Marion's nose
       when there is a loud CRACK! and the fall of Indy's bull-
       whip wraps around the middle of the poker and tears it
       out of Belzig's hands.  The poker sails high across the
       room, free of the whip, and lands in the heavy curtains
       that cover one window.  The curtains immediately burst
       into flame.
 
       The four Bad Men look in surprise toward the front en-
       trance.  Indy is poised there, the whip in his right
       hand, a .45 automatic raised toward them in his left.
 
                                   INDY
                     Hello.
 
       Now everything begins to happen very fast--
 
       The Mongolian had just come around the bar at the end
       opposite the medallion.  He dives back to crouch behind
       the end of the bar, raising his submachine gun.
 
       Belzig and the Second German dive behind tables near the
       bar.  The Nepalese is slower to leave Marion, he draws a
       Luger.  Indy's .45 barks and the Nepalese dies spinning
       against the bar.  Indy fires in the direction of the
       Mongolian.
 
       Marion swings up over the top of her bar.  Belzig fires at
       her, but his bullets smash bottles behind the bar and thud
       into the raven.
 
       Marion flattens out on the floor behind the bar as bullets
       hit above her.  She reaches up, snatches the axe handle
       from where Mahdlo left it, and begins crawling down the
       length of the bar toward--
 
       The Mongolian, who sticks his submachine gun out and fires
       blindly in Indy's direction.
 
       Indy is in a crouch behind a table, trying to get a shot
       at someone.  He doesn't notice in the din and confusion
       when the door bursts open.  An incredible, fearsome GIANT
       SHERPA, almost seven feet tall, soars in and tackles Indy
       from behind.  The whip flies from Indy's hand as he and
       the Giant Sherpa roll across the floor, upsetting furniture.
 
       The Mongolian, seeing this, stands up confidently.  Marion
       rises behind him and bashes him over the head with the axe
       handle.  He goes down and out.
 
       Fire has completely engulfed the curtains and is working
       across the ceiling on decorative yak skin bunting.  A burn-
       ing fragment drops to the top of the bar, which immediately
       lights up, fueled by the spilled alcohol.  Full whiskey
       bottles explode like Molotov cocktails.
 
       Rolling on the floor, Indy and the Giant Sherpa are fight-
       ing for control of Indy's .45.  Belzig sees this and shouts
       to the Second Nazi, who is rising from cover with submachine
       gun in hand.
 
                                   BELZIG
                     Shoot them both!
 
                                   SECOND NAZI
                     He's our man!
 
                                   BELZIG
                     Do as I say!
 
       Both the Giant Sherpa and Indy hear this.  The Giant
       Sherpa exchanges an alarmed look with Indy and together
       they swing the .45 around toward the surprised Second
       Nazi.  Two blasts blow him away.
 
       That done, Indy brings a brass spittoon down on the Giant
       Sherpa's wrist and the .45 slides away.  Indy jumps up and
       kicks the Giant Sherpa, who barely seems to feel it.  He
       grabs Indy and flips him effortlessly onto a table.
 
       Belzig now has a clear shot at Indy.  He raises his luger.
 
       Marion, at the end of the bar, finally gets the hand of
       the Mongolian's submachine gun.  It roars to life in the
       general direction of the ceiling.
 
       Belzig runs for cover as Marion gets control of the gun
       and levels it.  Belzig dives around the end of the bar
       opposite Marion.  When he has set himself, he peeks up over
       the edge of the scorched bar.  The alcohol fire has moved
       down the bar and now, much to Belzig's surprise, he finds
       himself staring at the fire-blackened sun-shaped medallion!
       His eyes widen.  He cannot believe his good fortune.  With-
       out hesitation he picks up the metal medallion, palming it.
       Immediately there is a sickening searing sound and Belzig's
       expression changes from joy to agony.  He screams in pain
       and tries to shake the red-hot medallion from his skin.
       Marion opens up and the bar starts to splinter in front of
       Belzig.  The medallion comes free of Belzig's hand and
       rolls across the floor.
 
       Belzig has had enough.  In excruciating pain, he turns,
       sees a window, runs and dives through the glass.
 
       An exhausted Indy uses his whole body to upend the Giant
       Sherpa, who lands hard on his back.  They are surrounded
       by flames.
 
 
55     EXT.  "THE RAVEN" - SNOW BANK - NIGHT                   55
 
       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.
 
 
56     INT.  "THE RAVEN" - NIGHT                               56
 
       Marion throws down the empty submachine gun and moves
       through the flames to the center of the bar where she left
       the box with the five grand.  She finds the remains of the
       box and its contents:  a shapeless pile of ash and charred
       wood.
 
                                   MARION
                     Unbelievable!
 
       At the end of the bar, the Mongolian has come back to life.
       He shakes out his head, then reaches inside his coat and
       pulls out a Mauser pistol.
 
       Indy smashes a chair over the head of the Giant Sherpa and
       the huge creature goes down.
 
       The Mongolian points his Mauser through the smoke and flame
       at Indy.  Suddenly, the Mongolian is shot dead.
 
       Marion stands beneath her stuffed raven with the Baretta.
 
       Indy moves quickly through the flames, his eyes scanning
       the floor.  He picks up his bullwhip and his crumpled felt
       hat.  He peers through the smoke till he spots Marion mov-
       ing among the burning furniture.
 
                                   INDY
                     Let's get out of here!
 
                                   MARION
                     Not without that piece you want!
 
                                   INDY
                     It's here?
 
       Marion nods, kicks aside a burning chair.  Another burning
       beam falls from the roof.  Indy pulls Marion close to him
       protectively.
 
                                   INDY
                     Forget it!  I want you out of here.
                     Now!
 
       He begins dragging her out.
 
                                   MARION
                                (pointing)
                     There!
 
       She breaks away from him, darts back and picks the hot
       medallion up in the loose cloth of her blouse.
 
                                   INDY
                     Let's go!
 
                                   MARION
                               (looking around)
                     You burned down my place!
 
                                   INDY
                               (figuratively)
                     I owe you plenty!
 
                                   MARION
                               (literally)
                     You owe me plenty!
 
                                   INDY
                               (smiles)
                     You're something!
 
                                   MARION
                     I am something.  And I'll tell you
                     exactly what--
 
       She holds up the medallion possessively.
 
                                   MARION
                     I'm your partner!
 
 
57     EXT.  CAIRO - VARIOUS SHOTS - DAY                       57
 
       First we see the sprawl, the soaring minarets, the an-
       cient skyline.  Then we're closer, in the narrow, exotic
       streets, teeming with life:  fierce-looking men in tattered
       galabiyas, black-gowned women with veiled faces, ragged,
       barefoot children.
 
 
58     OMIT                                             OMIT   58
 
 
59     INT.  DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)          59
 
       Indy and Marion have been welcomed like family into the
       crowded home of SALLAH, his wife FAYAH, and their NINE
       CHILDREN (ages 4 - 18).  Fayah, a huge, imposing woman,
       appears, at first glance, to be the power in the house.
       Sallah, a small, cheerful, energetic fellow in his for-
       ties defers to his wife in all matters of little importance.
       Suddenly the general liveliness at the children's table
       escalates into pandemonium, attracting the attention of
       the adults.
 
                                   FAYAH
                     Silence!
                           (there is silence)
                     Why do you forget yourselves?
 
       The gaggle of grinning off-spring parts to reveal in their
       midst--a MONKEY.  It is munching some flat Arab bread.
 
                                   FAYAH
                     What is this?  Who brought this
                     animal in?
 
       All the children chatter their innocence at once.  The
       Monkey chatters too; it's an entertainer.  The Monkey
       jumps from the children's table to the adults' and struts
       slowly up toward Marion, who thinks it's the cutest thing
       she ever saw.  When it reaches her, it takes off its tur-
       ban and does a deep, grand bow to her.  She is deligthed
       and takes the Monkey into her arms.  The Monkey kisses
       her cheek.  The children laugh.
 
                                   MARION
                     Why, thank you.  I like you too.
 
                                   FAYAH
                     Then it shall be welcome in our house.
 
                                   MARION
                     Oh, no!  You don't have to have it
                     around if you don't want it--
 
                                   SALLAH
                               (cheerfully)
                     All of Allah's creatures are welcome
                     here.  You please us by letting us
                     please you.
 
 
60     OMIT                                             OMIT   60
 
 
61     EXT.  COURTYARD - SALLAH'S HOUSE - NIGHT                61
 
       Indy and Sallah sit in the small, protected courtyard.
       Sallah holds the two sections of the headpiece, the medal-
       lion and the base, and has for the first time fitted them
       together.  They fit perfectly and complete the headpiece.
       He peruses the markings on the headpiece quizzically.  Indy
       is cleaning and loading a .45 automatic.
 
                                   INDY
                     I knew the Germans would hire you,
                     Sallah.  They couldn't have an ex-
                     cavation in the desert without the
                     best digger in Egypt.
 
                                   SALLAH
                     All Arabs look alike to them, Indy.
 
                                   INDY
                     Tell me about the map room at Tanis.
 
                                   SALLAH
                     We found it three days ago.  I
                     broke through myself.
 
                                   INDY
                     Those Nazis are moving awfully fast.
 
                                   SALLAH
                     The Frenchman is helping them.
 
       Indy reacts.
 
                                   INDY
                     Belloq.  So he got away from the
                     Indians.  This is going to be
                     more interesting that I thought.
 
                                   SALLAH
                     I'm afraid this has put the Germans
                     close to finding the Well of the Souls.
 
                                   INDY
                          (indicates the headpiece)
                     Even Belloq won't be able to find it
                     without that.  Can you make anything
                     of those markings?  They're nothing
                     I'm familiar with.
 
                                   SALLAH
                          (shakes his head "no")
                     But I know someone who might.  You
                     can go to see him tomorrow.
                          (a worried expression)
                     Indy...something bothers me.
 
                                   INDY
                     What is it, my friend?
 
       Sallah finds it hard to say.  When he finally speaks, his
       words are accompanied by a strange, eerie, foreboding rush
       of wind through the courtyard.  Just a coincidence we might
       suppose.
 
                                   SALLAH
                     It is the Ark.  If it is there, at
                     Tanis...It is not something man was
                     meant to disturb...Death has always
                     surrounded it.  It is not of this
                     earth.
 
       The wind dies down.  Indy shakes off a chill and stares
       thoughtfully at his friend.
 
 
62     EXT.  HEAVILY TRAFFICKED CAIRO STREET - DAY            62
 
       Indy and Marion are briskly walking along one of Cairo's
       busy bazaar streets. Vendors with fine cloth, pottery,
       baskets, jewelry, etc line the street.  Marion has the
       Monkey from Sallah's house on her shoulder.
 
                                   INDY
                     Do you really need that monkey?
 
                                   MARION
                     I'm surprised at you, Indy. Talk-
                     ing that way about our baby.  He's
                     got your looks, too.
 
                                   INDY
                     And your brains.
 
       As Indy and Marion turn a corner, the Monkey seems to
       notice something and immediately jumps from Marion's
       shoulder and hurries off at a frantic pace down the street.
 
                                   MARION
                         (looking disappointed)
                     Hey!  Hey!... where're you going?
 
                                   INDY
                             (dragging Marion on)
                     He'll be OK.  Come on.  Come on.
 
 
63     EXT.  ANOTHER CAIRO STREET - DAY                        63
 
       The Monkey is seen running around another corner and
       jumps into the waiting arms of MONKEY MAN, who appears
       to be like a beggar with a dirty turban and an eye patch.
       MONKEY MAN immediately hurries down the street and passes
       into a building. In the building are two GERMAN AGENTS.
       MONKEY MAN and the MONKEY both give the Heil Hitler salute
       and engage in quick talk.
 
       MONKEY MAN quickly leaves the two GERMAN AGENTS and gets
       back to the street. He is obviously shadowing Indy and
       Marion. Indy and Marion are just now passing by the MONKEY
       MAN ducks back behind some baskets.
 
 
64     EXT.  ANOTHER BUSY CAIRO STREET - DAY                   64
 
       Indy and Marion are passing under a balcony where a lone
       GERMAN AGENT stands watch. After they pass, the AGENT nods
       to some BAD ARABS who are hiding in the shadows of the
       street.  In a moment, Indy and Marion pass by the break.
       Monkey Man turns and looks up at a roof further down the
       alley.  He waves with his hand.  Someone up there waves
       back.
 
 
65     EXT.  A SMALL BAZAAR - DAY                              65
 
       Indy and Marion have reached a tiny square, made even
       more cramped by its use as a small bazaar.  They have
       started working their way through the crowd when several
       Bad Arabs and a German Agent begin to converge on them.
       Indy immediately sees what's happening and pulls the bull
       whip from his jacket.  The first Bad Arab to reach them
       gets hit in the mouth by the handle of the whip.  Now all
       hell breaks loose, with Bad Arabs, Innocent Shoppers, bas-
       kets of fruit and tables of goods flying every which way
       in the constricted space.
 
                                   INDY
                               (to Marion)
                     Run!  Get out of here!
 
       Indy catches a dagger-wielding Bad Arab around the legs
       with the whip and flips him.  Marion is reluctant to leave
       Indy.
 
                                   INDY
                     Go, dammit!  Go!
 
       Marion goes.  She runs off between two buildings.  A Bad
       Arab takes off after her.  Monkey Man, now standing at
       the edge of the square, points at Marion.  The Monkey
       jumps off his shoulder and follows Marion.
 
 
66     EXT.  BETWEEN THE BUILDINGS - DAY                       66
 
       Marion runs along the narrow space and soon encounters a
       five foot wall. She flops over it.  The Bad Arab is
       right on her heels.  He reaches the wall and vaults over.
       On the other side of the wall, the Bad Arab lands in a
       crouch, looks ahead and doesn't see Marion.  Immediately
       a heavy earthen pot smashes over his head, putting him
       out.  Marion steps from an alcove and starts to run to-
       ward the street at the other end of the walkway.  Suddenly
       another Bad Arab and a new German Agent appear in the
       street at that end.  Before they can spot her, Marion
       retreats to the alcove again.  There is a huge rattan
       basket sitting there.  Marion climbs in and closes the
       top above her.
 
       The only witness:  The Monkey, who is now perched on the
       fire foot wall.
 
 
67     EXT.  THE SMALL BAZAAR - DAY                            67
 
       Chaos.  An entire booth of pots and pans collapses on a
       Bad Arab and a German Agent as Indy whips away a support.
 
 
68     EXT.  BETWEEN THE BUILDINGS - DAY                       68
 
       The chattering Monket leads a German Agent and two Bad
       Arabs to Marion's hiding place, gesturing manically.
 
 
69     EXT.  THE SMALL BAZAAR - DAY                            69
 
       Indy ducks under the swinging blade of a huge Arabian
       sword and kicks the Bad Arab Swordsman in the groin.
 
 
70     EXT.  SIDE STREET - DAY                                 70
 
       The German Agent leads the way as the two Bad Arabs carry
       the huge basket above their heads.  The basket top has
       been fastened closed, but Marion is making a fuss inside.
       At the place where the street cuts across the far side
       of the bazaar, Marion is able to wedge the top open one
       inch and screams--
 
                                   MARION
                     Indy-y-y-y!
 
 
71     EXT.  THE SMALL BAZAAR - DAY                            71
 
       Indy has heard her.  He looks across the square as the
       basket and its escorts disappear beyond a building.  One
       last Bad Arab rises before him.  Indy's whip flashes and
       the Bad Arab's robe falls down to his ankles.  Indy fran-
       tically pushes his way through the panicked mass of human-
       ity in the direction the basket has gone.
 
 
72     EXT.  THE FOOT CHASE - INTERCUTTING INDY AND THE        72
       MOVING BASKET - DAY
 
       The Bad Guys move the basket as fast as they can through
       streets, alleys and passageways thick with people.  Indy
       always seems to round a corner just in time to catch a
       glimpse of the basket before it disappears around a new
       corner.  Indy must fight a flow of humanity as powerful
       as an ocean riptide.  Finally, at the head of one par-
       ticularly crowded alley, Indy leaps up onto a wall for
       a clearer view.  Whatever he sees gives him an idea and
       he cuts between two buildings rather than following
       the basket.
 
 
73     EXT.  DESERTED ALLEY - DAY                              73
 
       Two Bad Arabs come running down the Alley with the basket
       between them.  Suddenly, Indy's whip flashes out sending
       both Arabs and the basket tumbling.  Indy steps into view,
       his .45 trained on the sprawled Arabs, and looks at the
       basket.  The top has come flying off and the contents have
       clattered onto the cobblestone:   inside is not Marion,
       but a load of contraband pistols, rifles and ammo.  Indy is
       advancing on the trembling Bad Arabs with an ugly look
       when suddenly he hears Marion scream around the corner.
 
 
74     EXT.  DESERTED SQUARE - DAY                             74
 
       Indy rounds the corner and is immediately driven back by
       machine gun fire.  Taking cover, he gets quick, inter-
       mittent glimpses of this scene:  At the far corner of the
       large, deserted square is a canvas-covered truck.  Two
       Bad Arabs are hurrying toward is with a large rattan bas-
       ket between them, Marion screaming inside.  A German Agent
       is covering their retreat with a machine gun from the cab
       of the truck.  Indy runs up to see the rattan basket
       being heaved into the back of the truck.
 
 
75     EXT.  BACK OF THE TRUCK - DAY                           75
 
       What Indy cannot see is that the basket lands among an
       ominous load of German munitions, dynamite and firearms.
       The truck immediately peels out.
 
 
76     EXT.  DESERTED SQUARE - DAY                             76
 
       The German Agent has stopped firing in order to drive.  He
       floors it, aiming for a street at the corner of the square.
       Indy uses the lull to take careful aim at the German Agent's
       profile and fire off three careful shots.  The German Agent
       is hit, blasted dead against the steering wheel.  The speed-
       ing truck swerves, hits a wall, rolls over and explodes in
       an enormous, multi-leveled eruption as its contents ignite.
       Several surrounding buildings are leveled.
 
       Indy, blown back across the square, looks on, astounded and
       horror-stricken.
 
                                   INDY
                     Marion.
 
 
77     INT.  ARAB BAR - NIGHT                                  77
 
       A dark, smoke-filled den on iniquity.  The patrons,
       almost all fearsome Arabs, sit in small shadowy groups
       around the room.  Indy stands at the bar finishing off
       a fifth of bourbon.  He is drunk.  The ARAB BARTENDER
       places a new bottle of expensive bourbon in front of him.
       Indy eyes is queerly.
 
                                   ARAB BARTENDER
                     The gentleman in the corner sent it.
                     He would like you to join him.
 
                                   INDY
                          (doesn't even look)
                     Too bad.  I'm drinking alone.
 
       The Arab Bartender does a take, looking at the three,
       tough GERMAN HENCHMEN who have surrounded Indy from out
       of the smoke, their hands stuffed in bulging trenchcoat pock-
       ets.  Indy notices them now with a bleary glance.  He
       decides he's in no shape to kill or be killed and moves
       with them across the room, taking his bottle with him.
       The Arab patrons take this in and mind their own business.
 
       The occupant of the smoke-shrouded corner table becomes
       visible only as Indy -eaches there:  it is Emile Belloq.
       He is drinking wine.
 
                                   INDY
                     Belloq.
 
                                   BELLOQ
                     Good evening, Dr. Jones.
 
                                   INDY
                     I ought to kill you right now.
 
                                   BELLOQ
                     It was not I who brought the girl
                     into this dirty business.
 
       Indy knows its true; that's what's tearing him up.
 
                                   BELLOQ
                     Sit down, please, before you fall
                     down.  We can behave as civilized
                     people.  I'm afraid it will be your
                     last opportunity.
 
       Indy sits, glancing at the German Henchmen, who settle
       nearby, just out of earshot.
 
                                   INDY
                     Not a very private place for a murder.
 
                                   BELLOQ
                              (looking around)
                     These Arabs will not interfere in
                     the white man's business.  They do
                     not care if we kill each other off.
                     (takes a sip of wine, refers to it)
                     Terribly difficult finding a decent
                     vintage here.  You were quite vig-
                     orous in Shanghai.  Unfortunately,
                     our friend the Wild Boar had taken
                     the precaution of making several
                     copies of the piece.
 
       Indy registers this as he takes a drink.  Belloq watches
       him with disdainful amusement.
 
                                   BELLOQ
                     How odd that is should end this way
                     for us, after so many...stimulating
                     encounters.  I almost regret it.
                     Where shall I find a new adversary
                     so close to my own level?
 
                                   INDY
                     Try the local sewer.
 
                                   BELLOQ
                     I know you despise me.  We always
                     hate in others that which we most
                     fear in ourselves.  And you and I
                     are very much alike.
 
                                   INDY
                     Now you're getting nasty.
 
                                   BELLOQ
                     We have always done the same kind of
                     work.  Our methods have not differed
                     as much as you pretend.  I am a sha-
                     dowy reflection of you.  But it would
                     have taken only a nudge to make you
                     the same as me, to push you out of
                     the light.
 
       There's a certain amount of truth to this; the recognition
       of it flickers across Indy's bleary eyes.  Belloq sees
       it there.
 
                                   BELLOQ
                     You know it to be true!  How nice.
                     And how ironic the timing.
 
       Belloq leans forward, eyes shining, voice suddenly different.
 
                                   BELLOQ
                     Do you realize that the Ark is?
                              (very intense)
                     It's a transmitter.  A radio for
                     talking to God!  And now it is
                     within my grasp.
 
                                   INDY
                     What about your boss, Der Fuhrer?
                     I thought he was waiting to take
                     possession.
 
       Belloq glances into the gloom at the German Henchmen.
 
                                   BELLOQ
                                  (quieter)
                     When the time is right.  When I am
                     finished with it.
 
                                   INDY
                     I hope your friends are patient.
                     Dangerous work, Belloq.
 
                                   BELLOQ
                     Yes.  Very.  You may consider your-
                     self fortunate that your involve-
                     ment concludes here.
 
                                   INDY
                     Tell me, did you get away with
                     the idol?
 
                                   BELLOQ
                                 (negative)
                     I was lucky to get away with my
                     life.  The Hovitos proved quite
                     narrow-minded about the whole matter.
 
       Indy takes a drink.
 
                                   INDY
                     You know, if it's God you want to
                     talk to, maybe I can arrange it.
 
                                   BELLOQ
                                  (smiles)
                     You have not changed.  But, please,
                     do not reach for your weapon until
                     you are ready to die.
 
       The front door of the bar slams open and all nine of
       SALLAH'S CHILDREN scamper in and over to a surprised
       Indy.  Two of the smallest hop into his lap.
 
                                   LITTLE SON
                     Uncle Indy, we have been looking
                     for you.
 
                                   LITTLE DAUGHTER
                     Come home now, Uncle. Hurry!
 
       Suddenly the Arab patrons of the bar take an intense in-
       terest in the situation, shifting their weapons.
 
                                   INDY
                     Yes.  Yes, I'll come now.
 
       Indy stands up.  The German Henchmen and poised.  Belloq
       eyes the Arab patrons and signals for the Henchmen to relax.
 
                                   BELLOQ
                     Next time, Indiana Jones, it will take
                     more than children to save you.
 
       The children usher Indy out.
 
 
78     INT.  SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT     78
 
       Indy climbs into the cab of Sallah's truck with a smiling
       Sallah as the children pile into the back.  Sallah pulls out.
 
                                   SALLAH
                     I thought we would find you there.
                              (indicating the kids)
                     Better than the United States Ma-
                     rines, eh?
 
                                   INDY
                                   (nods)
                     Thanks you.
                                   (grave)
                     Marion's dead.
 
                                   SALLAH
                     Yes, I know.  I am sorry.
                                   (pause)
                     More reason than ever to beat the
                     bastards.
                              (he touches Indy)
                     Life goes on, Indy.
                           (indicates the kids again)
                     There is the proof.
 
       Indy looks back there, nods.
 
                                   SALLAH
                     I have much to tell you, Indy.
 
***************************** PAGE 51 MISSING *****************************
 
81     (CONTINUED)                                             81
 
       Fayah brings in a tray of food and puts it on the table.
       The bowl of dates is in one corner.  As Fayah leaves the
       room, the Monkey slips out of Sallah's lap and disappears
       under the table.  Indy leans over the food tray, his hand
       hovering over the dates.  But he chooses some cheese and
       bread instead.
 
                                   INDY
                     And they made the calculation in
                     the map room?
 
                                   SALLAH
                               (nods vigorously)
                     This morning.  Belloq and the boss
                     German, Shliemann.  When they came
                     out of the map room, we were given
                     a new spot in which to dig...out
                     away from the camp.
 
                                   INDY
                               (resigned)
                     The Well of the Souls.
 
       Sallah nods, moves to the food.  He picks up a date, then
       changes his mind and drops it, taking a bunch of grapes
       instead.  Indy picks up a chicken leg in one hand and a
       date in the other, his mind distracted.  Fayah enters
       the room just in time to see Indy flip the date high into
       the air and try to catch it in his mouth.  It bounces off
       his chin and falls to the floor.  Indy looks sheepishly at
       Fayah.  Fayah picks up the fallen date and puts it in the
       dirty ash tray she is now removing.  Amir speaks in a 
       slow, raspy voice without looking up.
 
                                   AMIR
                     Come.  Look.
 
       The two men go and huddle over the old man.  The Monkey
       peeks up over the edge of the table at the array of food.
       He picks up a date and disappears below the table.  Amir
       points to some markings on the lower part of the headpiece.
 
                                   AMIR
                     This is a warning...not to disturb
                     the Ark of the Covenant.
 
                                   INDY
                     Just want I need.
 
       The Monkey's paw comes up over the edge of the table and
       grabs another date.
 
                                   INDY
                     How 'bout the height of the staff?
                     Did Belloq get it off of there?
 
                                   AMIR
                     Yes...it is here.
 
       Indy, nervous, goes back to the food tray, picks up another
       date.  When he turns back to the men, the Monkey's paw
       grabs another date.
 
       We see the headpiece in closeup on the table.  Amir's crooked
       fingers trace a line of markings along the bottom section
       to the break in the piece.
 
                                   AMIR
                     It says it is...ten jamirs high...
 
                                   SALLAH
                     About seventy-five inches.
 
                                   AMIR
                     Wait!  I am not finished...
 
       Amir's finger moves across the break as the markings con-
       tinue on the sun medallion.
 
                                   AMIR
                                (reading)
                     "And one jamir to honor the Hebrew
                     God whose Ark this is."
 
       Indy, still holding the date, exchanges a long look with
       Sallah.
 
                                   INDY
                     You said their top section was blank.
                     Are you absolutely sure?
 
       Sallah nods.
 
                                   INDY
                     Belloq's staff is seven and a half
                     inches short.  They're digging in
                     the wrong spot!
 
       Sallah and Indy begin to laugh.  Amir gives them a glance
       and returns to his wine.  Sallah leans over and kisses the
       old man.
 
                                   SALLAH
                                 (to Amir)
                     A home run, my friend, grand slam!
                                 (to Indy)
                     We have a saying--"A little luck is
                     better than much smartness."  Indy,
                     pardner, you are very lucky fellow.
 
       Indy hoots.  Then he takes the data in his hand and flips
       it high in the air.  He opens his mouth to catch it, but
       it doesn't come down.  He has inadvertently thrown it into
       a bowl of a hanging lamp.  This makes the men laugh even
       harder.
 
       Indy goes over and picks up another date.  He turns laugh-
       ing to Sallah and doesn't see as the Monkey's paw comes up,
       slowly, takes another date and begins to withdraw.  Sudden-
       ly the paw is stricken with palsy and the unseen Monkey
       goes into its death throws.  Sallah watches the paw as
       though hypnotized.  Finally the paw slips from sight and
       we hear a solid THUMP! on the floor.  Sallah walks around
       the table and looks at the floor.  The Monkey lies dead
       among a mess of date pits.
 
       Indy is in a happy world of his own.  He throws his date
       high in the air.  He positions himself under it and waits
       for it to drop in.  Here it comes.  Right on target.  As
       it's about to disappear into Indy's mouth, Sallah's hand
       flashes in and grabs it.  Indy looks mystified and disap-
       pointed.  Sallah motions toward the dead Monkey.
 
                                   SALLAH
                     Bad dates.
 
 
82     EXT.  DESERT ROAD - MORNING                             82
 
       Two old trucks come down a narrow mountain road and onto
       the flat surface of the desert.
 
       Further out into the desert, the one in the lead, Sallah's
       truck, stops and the second one, Omar's truck, pulls up
       beside it.  There are half dozen Arab Diggers in Omar's
       truck.  Indy, dressed as an Arab, gets out of the cab of
       Sallah's truck and moves over to confer with OMAR, another
       old friend.  They point off into the desert and reach some
       conclusion.  Indy gives him a pat on the back;  Omar turns
       off the road and drives into the desert with his workers.
       Indy hops back in the cab of Sallah's truck with Sallah.
       As they move down the road we see that the back of the
       truck holds three other Arab Diggers.
 
 
83     EXT.  RISE ABOVE THE TANIS DIGS - MORNING               83
 
       Indy and Sallah are lying in classic shouting fashion at
       the top of the rise looking down on the Tanis Digs.  Down
       behind them, Sallah's truck is parked with the three Arab
       Diggers.
 
                                   INDY
                     My God!  They aren't kidding!
 
       WHAT HE SEES.  The Tanis Digs are laid out below like a
       painting.  Trucks, bulldozers, Arab workers and German
       supervisors are everywhere.  The excavations themselves
       are extensive and somewhat random-holes have been dug
       and then abandoned, foundations and passageways unearthed
       and then deserted.  Beyond the main digs, a crude airstrip
       has been created.  Sallah points to what appears to be a
       mound of dirt with a hole in it near the center of the
       activity.
 
                                   SALLAH
                     There!  That is the map room!
 
                                   INDY
                     What time does the sun hit the map?
 
                                   SALLAH
                     Just after eight.
 
                                   INDY
                     We haven't got much time.  Where are
                     the Germans digging for the Well of
                     the Souls?
 
       Sallah points out into the desert a short way beyond the
       main area of activity.  The desert turns to sand dunes
       out there, the surface undulating into the distance.
       Several trucks and men are out there and a bulldozer is
       lumbering noisily toward it.
 
                                   INDY
                     Okay.  Let's go.
 
 
84     EXT.  THE TANIS DIGS - MORNING                          84
 
       Sallah's truck drives through the camp, one of the Arab
       Diggers at the wheel.  Indy and Sallah are in the back and
       look just like the other two Arab Diggers.  Sallah's
       truck does behind a tent and when it appears on the other
       side, Indy and Sallah are gone.
 
 
85     EXT.  AMONG THE TENTS - MORNING                         85
 
       Indy and Sallah move stealthily among the tents.  Indy car-
       ries a smooth wooden staff almost seven feet tall.  They
       stop between two tents and look across a path at the en-
       trance to the map room.  What appeared to be a mound of
       dirt is actually the roof on the ancient building.  The
       hole/entrance is a five-foot square skylight.  Indy looks
       around, then walks casually to the edge of the hole and
       looks inside.  Sallah joins him, producing a length of
       rope from his robes.  Indy drops the staff into the un-
       seen map room as Sallah  ties the rope around on oil drum.
       When it's secure, Indy wastes no time disappearing down
       it into the map room.
 
 
86     INT.  MAP ROOM                                          86
 
       Indy is down the twenty feet to the floor of the room in
       seconds.  He tugs on the rope and it immediately gets pulled
       up.  Indy looks around with real wonder and excitement.
       The room is lovely, with elaborate wall carvings and fres-
       coes, all lit by the bright stream of sunlight flooding
       in from above.  This beam of light leads Indy's eye to
       the far end, and the room's truly remarkable feature: built
       into the floor in meticulous relief is a miniature stone
       model of the ancient city of Tanis.  Already, the sunlight
       has worked its way down the far wall and is edging onto
       the miniature of the city.  On the floor, to the skylight
       side of the miniature, is an elaborate line created by
       embedded mosaic tiles.  The evenly spaced slots in the line,
       each accompanied by a symbol of a time of year, are for the
       base of the staff.  Indy pulls the headpiece from his robes--
       it has been welded together--and reaches for the staff.
 
 
87     EXT.  ABOVE THE MAP ROOM - DAY                          87
 
       An extremely nervous Sallah has the gathered rope in his
       hands and is trying to appear casual as he inches back to-
       ward the oil drum.  There is now a good bit of activity
       going on up here.
 
                                   JEEP GERMAN OS
                     Hey!  You, the skinny one!
 
       Sallah jumps about three feet.  The JEEP GERMAN is standing
       in an open space ten yards away looking at Sallah.
 
                                   JEEP GERMAN
                     Yes, you.  What are you doing there?
 
       Sallah gestures his innocence.
 
                                   JEEP GERMAN
                     Well bring that rope over here, you
                     cur.
 
       The Jeep German starts back toward his major concern:
       his jeep is stuck in some sand beyond the next tent.
       Some Arab Workers are trying in vain to budge it.  Now
       another German has backed his truck up to it.  Sallah
       can think of nothing to do expect obey.  With a worried
       glance at the map room, be begins untying the rope from
       the oil drum.
 
 
88     INT.  THE MAP ROOM                                      88
 
       Indy is examining the results of Belloq's work.  Red paint
       marks one of the miniature buildings in the layout and a
       white calibrated tape has been strung from that building
       back to a miniature of the map room.  Now Indy begins ex-
       amining the mosaic base line for the staff.  Sunlight has
       moves further down across the miniature.
 
 
89     EXT.  IN THE CAMP - DAY                                 89
 
       Sallah watches nervously as his precious rope is pulled
       taut between the pulling truck and the stuck jeep.  He
       doesn't notice that he has chosen to stand next to a large,
       steaming kettle of food until--
 
                                   HUNGRY GERMAN OS
                     Bring us some of that!
 
       He points to the kettle.  Sallah looks frantically from
       the rope, back to the skylight of the map room, to the
       kettle of food.
 
                                   HUNGRY GERMAN
                     Now, idiot!
 
       Sallah picks up some serving pieces and gets to work.
 
 
90     INT.  THE MAP ROOM                                      90
 
       The moment has arrived.  Even the tension of the circum-
       stances cannot distract Indy from the purity of what he
       is about to do.  All his calculations are adjustments com-
       plete, Indy takes the Staff of Ra and places it--CLINK!--
       in the right depression on the base line.  This is as active
       and exciting a moment as any archeologist can dream of
       and, at heart, that is exactly what Indy is.  The sunlight
       catches the very top of the headpiece and moves within a
       fraction of an inch of the tiny hole in its sun.
 
       The edge of the sunlight moving across the miniature city
       is still a good two feet beyond the spot Belloq has settled
       on.  And now that line of light is broken by the shadow
       of an ornate sun at the top of the staff.
 
       Indy's face reflects his concentration.  And then his
       immense pleasure.  He sees what he came for.
 
       Out of the miniature city, one small building is being
       lit by a tiny beam of sunlight in the center of the sha-
       dow of the metal sun.  And by some trick of ancient artis-
       try, this one building responds to the sunlight like none
       of the others.  The golden light permeates it: it seems
       to glow.  The building is in a direct line with Belloq's--
       all the Frenchman's other calculations were right--but it
       is a foot and a half beyond it.
 
 
91     EXT.  IN THE CAMP - DAY                                 91
 
       Sallah, sweating profusely, has finished serving the line
       of Breakfasting Germans and now heads back to replace the
       kettle and get away.
 
                                   HUNGRY GERMAN
                     Water.  Bring us water.
 
 
92     INT.  MAP ROOM                                          92
 
       Indy is on his knees at the miniature city, a special tape
       measure in his hand.  Indy has the tape strung from Belloq's
       mistaken spot to his own correct spot.  He gets his reading,
       leaps up and crosses to the erect staff.  He pulls the head-
       piece off the staff and hides it in his robes.  He quickly
       breaks the wooden staff in two and throws the pieces behind
       a pile of debris.  Then he moves quickly to beneath the
       skylight.
 
                                   INDY
                               (stage whisper)
                     Sallah.
                          (he waits, then louder)
                     Sallah!
 
       More waiting.  Nothing.  Indy looks around for some alter-
       native means of escape.  The room doesn't offer any.  He
       looks up at the skylight again.
 
                                   INDY
                                 (loudest)
                     Sallah!
 
       A long pause.  Then something comes down.  A makeshift
       rope.  Really just a bunch of clothing tied together--
       tunics, robes, pants.  But what we see first and most
       prominently, the first section of Indy's escape rope, is
       a bright Nazi flag.  Indy beams and climbs.
 
 
93     EXT. ABOVE THE MAP ROOM - DAY                           93
 
       Indy sticks his head out the skylight, sees it clear
       and flops his body out.  Sallah, crouching behind the
       oil drum, immediately starts pulling in the makeshift
       rope.  Sallah stuffs the rope in the oil drum and the
       two men begin waking toward some tents.
 
                                   HUNGRY GERMAN OS
                     Hey, you!  More water over here!
 
       Sallah glances at Indy, Then hurries back in that direc-
       tion.  The Hungry German focuses on Indy.
 
                                   HUNGRY GERMAN
                     Why aren't you at the digs?  Come
                     here!
 
       Indy bows in wild subservience and hurries off in the
       opposite direction.
 
                                   HUNGRY GERMAN
                          (yelling after him, irritated)
                     No, dummkopf, I said come!
 
 
94     EXT.  BETWEEN TWO TENTS - DAY                           94
 
       Indy hustles between the tents.  Up ahead, two German
       Officers stop to talk, blocking his exit.  He moves a-
       long the side of one of the tents until he finds an
       opening and slips inside.
 
 
95     INT.  THE TENT                                          95
 
       Indy finds himself in a tent set up for rather comfort-
       able living.  He has just started to cross it when he
       hears a loud, excited grunting.  He turns toward the sound.
       In the corner, tied to a chair and gagged is Marion.
       Indy rushes to her, snatches the gag from her mouth and
       embraces her.  They kiss, deep and long.
 
                                   INDY
                     I though you were dead.
 
                                   MARION
                     They were throwing me around like
                     a rag doll.
 
                                   INDY
                     They must have switched baskets.
                     Thank god for that!  Bless those
                     bastards.  Have they hurt you?
 
                                   MARION
                     No.  Not since I got here.  They
                     just asked about you--what you knew.
                     The Frenchman's got the hot's for me.
                     I've been playing that along.  Oh,
                     Indy, get me out of here.
 
       Indy pulls out a knife and then stops suddenly, thinking.
 
                                   MARION
                     What's wrong?
 
                                   INDY
                       (putting the knife away)
                     I have to leave you here for a little
                     while.  I know where the Ark is.  If
                     I take you out of here they'll start
                     combing the place for us.
 
                                   MARION
                                  (louder)
                     Cut me loose!
 
                                   INDY
                     Keep your voice down.
 
                                   MARION
                                 (screaming)
                     I said get me out of--
 
       Indy pops the gag back in her mouth.  Her eyes widen in
       fury and she grunts obscenities at him.
 
                                   INDY
                     Look, you don't know how glad I am
                     to see you.  And I don't like do-
                     ing this.  But the whole thing will
                     be shot if you don't just sit here
                     quietly.  They haven't hurt you in
                     the last twenty-four hours, they
                     aren't going to start now.  I'll be
                     back to get you in no time.
 
       He kisses her forehead, jumps up and hurries out of the
       tent.
 
 
96     EXT.  SAND DUNE OUTSIDE DIGS - DAY                      96
 
       With the digs behind them, Indy and Sallah run up to the
       ridge of the dune and over the top.  At the bottom of the
       far side, Omar's truck is parked.  Omar and his men are
       waiting.
 
 
97     EXT.  DIFFERENT DUNE - DAY                              97
 
       This new spot gives Indy a higher, better view of the
       whole scene.  Indy is using a surveyor's instrument to
       take a reading--
 
       WHAT HE SEES.  Looking through the instrument, Indy gets
       a line from the map room through the site where the Nazis
       are digging in the dunes to a spot several dunes over.
       We focus on that virgin spot of well-hidden sand as--
 
                                   INDY
                     There!
 
 
98     EXT.  INDY'S DIG - DAY                                  98
 
       Omar's truck is parked at the stop just viewed from afar.
       Dunes rise on either side.  One of Omar's men has been
       posted as a lookout up on a ridge.  Everybody else--Indy,
       Sallah, Omar, and his men--have begun digging for the
       Wells of the Souls.
 
                                                        DISSOLVE TO:
 
       SAME SCENE, NIGHT.  They continue to dig furiously, all
       of them drenched in sweat.  The hole has grown but this
       is slow, back-breaking work.
 
 
99     INT.  COMMAND TENT - TANIS DIGS - NIGHT                 99
 
       Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide,
       GOBLER, come into the tent, which is full of charts and
       maps, drawings of the Ark, radio equipment, liquor and
       food.  The men have been out digging for the Well all
       day.  They are tired, discouraged, testy.  In all matters,
       Gobler shows his alliance with Shliemann against Belloq
       with small looks and body language.  The Frenchman has
       disappointed them and he is feeling the isolation of a
       scapegoat.  Belloq gets himself a drink as Shliemann towels
       off his face.
 
                                   BELLOQ
                     I cautioned you about being prema-
                     ture with that communique to Berlin.
                     Archeology is not an exact science.
                     If does not adhere to time schedules.
 
                                   SHLIEMANN
                     The Fuhrer is not a patient man.  He
                     demands constant reports and he ex-
                     pects progress.  You led me to be-
                     lieve--
 
                                   BELLOQ
                     Nothing.  I have made no promises.
                     I said only that it looked very
                     favorable.  Perhaps the Ark will
                     still be found in an adjoining
                     chamber.  Based on the informa-
                     tion in our possession, my cal-
                     culations were correct.  Perhaps
                     some bit of evidence still eludes
                     us.  Perhaps
 
                                   GOBLER
                     Perhaps the girl can help us.
 
       Belloq shoots him an angry look.
 
                                   SHLIEMANN
                     My feeling exactly.  She was in
                     possession of the original piece
                     for years.  She may know much.
                               (really evil)
                     If properly motivated...
 
                                   BELLOQ
                     I tell you, she knows nothing use-
                     ful.
 
                                   SHLIEMANN
                     I'm surprised to find you squeamish.
                     That is not your reputation.  But
                     it needn't concern you.  I have the
                     perfect man for this kind of work.
 
       Shliemann signals Gobler, who steps outside the tent a
       moment, calls someone and then reappears.  Belloq looks
       warily at the entrance.  After a moment Belzig enters,
       reeking villiany.  When his eyes find Shliemann, his
       superior, he snaps a crisp "Heil, Hitler!" at him, hold-
       ing his palm rigid a long time, exposing a burned scar in
       the prefect shape of the sun medallion.
 
 
100    EXT.  INDY'S DIG - NIGHT                                100
 
       In the eerie conjunction of moonlight and torchlight, Indy
       and the other men step back in awe of their discovery:
       there, flush with the bottom of their pit, is a heavy
       stone entry door to an underground chamber.  Special pry-
       ing tools are produced.  With two men assigned to each of
       the two long tools, they work in unison to open the vault.
       They open it a foot and the other men rush in to flop the
       heavy door completely open.  Down inside, only blackness.
 
       The men quickly prostrate themselves around the edge of
       the entry to look inside.  Indy and Sallah each take a
       torch and hold them down the hole.
 
       WHAT THEY SEE.  The Well of the Souls is a spooky chamber
       thirty feet deep.  The walls are covered with hieroglyphics
       and carvings.  The roof is supported intermittently by
       stone pillars, the closest of which hits the roof very near
       the entry hole.  The Well is quite large; as Indy and Sallah
       wave their torches, more and more of the room is revealed.
       Now the far end of the chamber comes into view.  There is
       a stone altar down there and on this elaborated carved
       platform is a stone chest, big enough to enclose the Lost
       Ark and protect it from the ravages of time.  This altar
       appears to be the only place on the floor of the Well that
       is not covered by a strange, dark carpet of some kind.
 
                                   INDY
                     The Ark must be in that stone case.
                     What's that gray stuff all over the
                     floor--
 
       He breaks off realizing exactly what that carpet is.  He
       blanches.  Indiana Jones blanches.
 
       Indy drops his torch to the floor of the Well.  This is
       answered by the most horrific HISSING imaginable.
 
       WHAT HE SEES.  That think dark carpet is moving.  It's
       alive.  It's thousands and thousands of deadly poisonous
       snakes--Egyptian asps.  And the only thing that seems ca-
       pable of avoiding this venomous groundcover is the altar.
       The snakes ebb and flow near it, but never encroach on it,
       as though repelled by some invisible force.
 
       Indy shakes his head and talks to himself.
 
                                   INDY
                     Why snakes?  Why did it have to be
                     snakes?  Anything else.
 
       After a moment of this, he stops.  He gathers his energy
       and resolve and gets back to the task.
 
                                   SALLAH
                     Asps.  Very dangerous.
 
       Where Indy's torch had landed is a circle of snake-free
       floor.  The snakes hate the flame; they stay away.
 
                                   INDY
                     Lots of torches.  And oil.  I
                     want a landing strip down there.
 
 
101    INT.  THE WELL OF THE SOULS                             101
 
       Fifteen torches have been dropped to the floor of the
       chamber, combining to make a good-sized clear zone.  Smoke
       begins to fill the room.  Several canisters of oil have
       been lowered into this space.  Now, a large wooden crate
       is lowered slowly by rope.  Rope handles are attached to
       each end of the crate.
 
       Up at the hole, Indy gives Sallah a reassuring pat, takes
       a breath, and swings carefully onto a rope hanging from
       the hole.  Despite his care, he swings a bit and his feet
       hit the stone pillar which is so near the entry.  Surpris-
       ingly, the pillar catually moves a bit, showering a light
       rain of crumbled stone to the floor below.
 
       Indy lands on the floor of the Well.  He looks at the altar
       over a sea of undulating death.  He picks up an oil canister
       and splashes two parallel lines of oil and lights them.  A
       path six feet wide begins to open to the altar.  Behind
       Indy, Sallah comes quickly down the rope.
 
       We begin to INTERCUT all the action in the Well from here
       on with insert shots of the snakes outside the flames.
       Snakes and snakes.  We see: snakes piled and entwined six
       inches deep; mother snakes laying snake eggs; snake eggs
       hatching little snakes; snakes cannibalizing other snakes.
 
 
102    OMIT                                             OMIT   102
 
 
103    INT.  MARION'S TENT                                     103
 
       Belloq has been talking to the still-bound Marion.  He
       has removed her gag.  He is impatient, angry, uncomfort-
       able.  Caught between two forces.
 
                                   BELLOQ
                     Believe me, you make a mistake.  If
                     you would just give me something to
                     placate them.  Some bit of informa-
                     tion.
 
                                   MARION
                     I swear to you, I know nothing more.
                     I have no loyalty to Jones.  He's
                     brought me only trouble.
 
       He wants to believe her.
 
                                   BELLOQ
                     I cannot control them.
 
       Marion's frightened look shifts suddenly to the entrance
       of the tent.  There are new arrivals there--Shliemann,
       Gobler and Belzig.  Belzig carries a black leather case.
       He steps forward and smiles at Marion.
 
                                   BELZIG
                     We meet again, Fraulein.
 
 
104    EXT.  INDY'S DIG - JUST BEFORE DAWN                     104
 
       The sky is just beginning to lighten over the dunes to
       the east, making dangerously obvious the thin column of
       smoke rising from the entrance to the Well.  Omar and his
       men are peering through the smoke down into the Well.
 
 
105.   INT.  THE WELL OF THE SOULS                             105
 
       Indy and Sallah are on the altar.  Pushing together with
       all their strength, the heavy stone top of the protective
       chest begins to slide away.  Indy and Sallah exchange slightly
       wary but very excited looks, then continue to push.  As the
       Ark begins to be exposed, the air seems to almost vibrate,
       to become electrostatically charged.  We hear what sounds
       like a low HUM.  The sea of snakes around the altar draws
       back further from this presence.
 
       As the top of the stone chest is pushed completely off and
       slams down beside it, we see THE LOST ARK OF THE COVENANT.
       It is awesomely beautiful, breathtaking.  4 feet long,
       2.5 feet wide and 2.5 feet high.  It's height, however, is
       increased by the two sculptured gold angels mounted facing
       each other on the top.  Though the body of the Ark is aca-
       cia wood, it has been overlaid with gold.  An elaborate
       gold crown surrounds the top edge and gold carrying rings
       are attached to each corner.
 
       Sallah is mesmerized by the sight.  His hand starts to
       reach out and touch one of the angels, but Indy grabs it.
 
                                   INDY
                     Don't touch it!  Never touch it!
 
       The wooden crate stands open next to the stone chest.  Now
       Indy extracts the wooden poles from its rings and begins
       fitting them through the rings in the Ark.  This takes
       some maneuvering by the two men, but soon they are able
       to lift the Ark clear of the stone chest and into the
       wooden crate.  They extract the poles, fasten the top of
       the crate and stick the poles through the rings of the
       wooden crate.  They start back toward the space under the
       hole.
 
       The fire strips have begun to dwindle, as have some of
       the torches.  The snakes move slowly in toward the clear
       spaces.  Indy and Sallah eye them nervously as they hurry
       along with their heavy load.  Under the hole, they hurried-
       ly attach ropes to the wooden crate and it is pulled up.
       Indy's concentration is on the tide of snakes.
 
                                   INDY
                     Hurry up!  Why did it have to be
                     snakes?
 
       Sallah takes the next rope and climbs quickly out of the
       Well.  Indy has picked up a torch and now throws it at a
       pool of snakes who are too close for his comfort.  He turns
       and takes hold of the exit rope.  He gives it a first tug
       and it falls down into the Well, landing partly beyond the
       ring of fire where is instantly disappears in a tangle of
       angry, hissing asps.  Indy looks up at the hole.
 
                                   INDY
                     What the--
 
       Smiling down at him from the perimeter of the entry are
       Belloq, Shliemann and Gobler.
 
                                   BELLOQ
                     Why, Dr. Jones, whatever are you
                     doing in such a nasty place?
 
       Belloq and the Germans laugh.
 
                                   INDY
                     Why don't you fellows come down
                     here?  I'll show you.
 
                                   BELLOQ
                     No thank you, my friend.
                            (he glances around him)
                     I think we are all very comfortable
                     up here.
 
 
106    EXT.  INDY'S DIG - DAWN                                 106
 
       Sunlight is flooding this tableau:  Sallah, Omar and his
       men are being held at bay by ten armed Nazis.  The wooden
       crate sits safely nearby.  Belzig and another Nazi have
       the gagged Marion held in their rough grasp.
 
                                   BELLOQ
                                (down to Indy)
                     After all these years, it is most
                     considerate of you to aid me in
                     this way.
 
       As Belloq speaks, Shliemann exchanges a look with Belzig.
       Belzig smiles and takes the gag from Marion's mouth.
 
 
107    INT.  WELLS OF THE SOULS                                107
 
       Shliemann smiles down at Indy.
 
                                   SHLIEMANN
                     I'm afraid we must be going now, Dr.
                     Jones.  Our prize is awaited in Berlin.
                     But I do not wish to leave you down in
                     that awful place...
                                  (he give a sign)
                     ...all alone.
 
       Belzig and the Nazi move Marion to the hole and, to Belloq's
       surprise, push her in.  Marion falls thirty feet screaming.
       Indy drops his torch, braces, and catches her!  Her weight
       knocks him to the ground, almost into the snakes.  She
       looks around at the snakes, clinging to him more desper-
       ately as he struggles to his feet trying to unload her.
 
                                   MARION
                     Don't put me down!
 
       Up at the hole, there's plenty of dissension.
 
                                   BELLOQ
                     The girl was mine!
 
                                   SHLIEMANN
                     She is of no use to us.  Only our
                     mission for the Fuhrer matters.
 
       Shliemann glances meaningfully around at the other Nazis.
 
                                   SHLIEMANN
                     I wonder sometimes, Monsieur, if you
                     have that clearly in mind.
 
       Belloq feels how much he is the outsider, his own vulner-
       ability.  He backs down with the wisdom of survival.  He
       turns to look down at Indy and Marion.  His manner is gal-
       lant.
 
                                   BELLOQ
                     Goodbye, mademoiselle.
                        (a pause, then with respect)
                     Indiana Jones...adieu!
 
       Belloq and the others step back from the hole and unseen
       Nazis slam the heavy stone door into place.  Marion screams.
       Her scream is accomanied by--
 
       A huge WHOOSH!  as air is sucked out and the chamber is seal-
       ed.  Half of the torches still burning go out with the sound.
       The remaining torches continue to extinguish at punctuating
       intervals throughout the following action and the snakes
       immediately flood into the newly-darkened spaces.  Indy
       puts Marion down and snatches up two burning torches.  He
       hands one to Marion.
 
                                   INDY
                     Don't panic.  There's plenty of time
                     for that later.  Wave that at any-
                     thing that slithers.
 
       Indy holds his torche out like a lantern and begins a slow
       360o turn, his eyes peering into the gloom, examining every
       inch of wall and ceiling.
 
                                   MARION
                     What are you doing?
 
                                   INDY
                     Just watch the floor.
 
       Reminded of the encroaching snakes, Marion waves her torch
       at the nearest edge of their circle.  She looks faint.  In-
       dy continues his slow turn.
 
                                   MARION
                     Whatever you're doing, do it faster.
 
                                   INDY
                            (he spots something)
                     There!
 
       His head whips around, looking at the pillars around the
       room.  He sees what he wants.  He grabs one of the oil
       canisters, looks back to the spot on the wall he's chosen
       and splashes oil on the floor in that direction, then lights
       it.  A path opens toward that wall.
 
                                   INDY
                     Come on!
 
       Marion is frozen in her spot.  Indy drags her after him.
       He splashes oil the rest of the way to the wall.  It lights
       and Indy pulls Marion over to the wall.  He pours the re-
       maining oil in a circle around them, creating a safe zone
       there.
 
                                   INDY
                     Stay here!
 
                                   MARION
                               (grabbing him)
                     Where are you going?
 
                                   INDY
                     I'll be back in a minute.  We're
                     going through this wall.
 
       Marion looks at the wall, which looks like all the rest
       to her.  She thinks he's crazy.
 
                                   INDY
                     Just keep your eyes open and get
                     ready to run.  No matter what happens
                     to me.
 
                                   MARION
                                 (panicked)
                     What do you mean?
 
       Too late.  Indy runs back through the path of flames to
       the center of the room.  Snakes strike as his flying heels.
       Indy reaches the base of the pillar which he touched briefly
       on his original descent.  He uses his torch to clear
       away the scattered snakes climbing on it, then pulls out
       his whip.  He draws it back, then wraps is solidly around
       the pillar 15 feet up.  With the torch in his mouth, he
       begins climbing the pillar.  It moves ominously under his
       weight.
 
       The last two torches still burning on the floor go out.
       Now the only light in the chamber is provided by the torches
       held by Indy and Marion and the dwindling oil flames.  Snakes
       move in and surround the base of Indy's pillar.  The path
       between Marion and the center of the room is overrun.  The
       circle of flame around Marion is dying down.  She looks be-
       yond it with terror-widened eyes, then up through the in-
       creasing smoke at the distant Indy.
 
       Near the top of the pillar, Indy's hands strain along his
       taut whip, which he has moves higher. A snake slithers
       into view there, inches from Indy's straining face.  Indy
       turns his head so the torch in his mouth can burn it.  The
       snake falls from the pillar.  Indy's torch is dwindling.
       Indy works his body around so that he in on the side of
       the pilar away from Marion.  The pillar moves, showering
       dust.  Indy looks at the chamber wall five feet away, takes
       a breath and swings his legs up against it.  He is now
       braced between pillar and wall.
 
                                   MARION OS
                                  (screaming)
                     Where are you?!
 
       Snakes are moving in force up the pillar toward Indy's
       dwindling torch.  Indy grasps the pillar for dear life,
       grimaces with exertion and pushes against the wall with
       all he's got.  The pillar begins to break loose of the
       ceiling, then stops.  Indy's eyes are on the torch.  It
       is just a spot of flame now.  Snakes are sliding up to-
       ward his hands.  Indy again pushes against the wall and
       the torch falls out of his mouth.
 
       The pillar goes!  In the dim light, we see it fall like
       a tree directly at Marion.  Indy rides it down.  The top
       hits the wall three feet from a cringing Marion and smashes
       through to a black chamber beyond. Indy flies off into
       the darkness.  Gone.  Marion clutches her torch at the
       black hole.
 
                                   MARION
                     Indy!  Where are you?!  Please Lord!
 
       There is a moment that seems an eternity, then Indy ap-
       pears like an apparition out of the void.
 
                                   INDY
                     Come on!
 
       He grabs her and helps her over the remains of the wall
       into--
 
 
108    INT.  THE CATACOMBS                                     108
 
       The winding  string of connected chambers is revealed to
       them only a few feet at a time as their torch lights the
       way.
 
                                   MARION
                     The snakes...are they here?
 
                                   INDY
                     I guess not.  I think I'd be dead.
 
                                   MARION
                     Do you know where you're going?
 
                                   INDY
                     Absolutely.
 
                                   MARION
                     Thank god.  Where?
 
                                   INDY
                     Out.
 
       They round a corner and flush a covey of bats.  Marion
       screams.
 
                                   INDY
                     Don't do that.  It scares me.
 
       Marion gives him a look.  They round a corner and begin
       a walk through a maze of chambers that present for their
       inspection:  moldering mummies and stacked 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.
 
                                   INDY
                     Look!
 
       WHAT THEY SEE.  There, coming through the crack in the
       corner of the next chamber, is white blessed sunlight.
 
 
109    EXT.  THE TANIS DIGS - NEAR AIRSTRIP - DAY              109
 
       Indy and Marion peek out into the light from the shadows
       of an abandoned excavation.  Before them is the improvised
       airstrip serving the digs: a crude runway, a tent supply
       depot, two fuel tank trucks.  Down by the fuel trucks a
       German Mechanic is looking skyward.  Now Indy and Marion
       look there too, drawn by the roaring sound of--
 
       A Flying Wing, which is circling over the digs in prepar-
       ation to landing.
 
       Now a new figure approaches the German Mechanic.  It is
       Gobler; he yells to the mechanic, indicating the plane.
 
                                   GOBLER
                     Get is gasses immediately!  It has
                     an important cargo to take out!
 
       In the distance, the Flying Wing lands and rolls toward
       the men.  Gobler spins and heads back toward the main camp,
       which is hidden from view by a rise.  Indy and Marion watch
       him go.
 
                                   INDY
                     When the Ark gets loaded, we're al-
                     ready going to be on that place.
 
       The Flying Wing rolls up into the space near the fuel trucks.
       The German Mechanic puts blue blocks in front of the tires
       as the engines continue to roar.
 
       Indy and Marion run in a crouch to a hiding spot closer to
       the plane, near the supply tent.  Suddenly, a Second German
       Mechanic appears behind them.  He is as surprised as they
       are, but recovers quickly and swings a big monkey wrench
       at Indy.  Indy grabs the swinging arm and the two men tum-
       ble out into the open, wrestling.  Marion remains hidden,
       moving fast among the crates.
 
       The first German Mechanic, who is just pulling the fuel hose
       from the tank truck to the plane, sees the combatants and
       runs to help his countryman.  He is almost upon them when
       Indy puts the Second German away with a devastating left--
       right--left combination.  He turns to find the first German
       Mechanic flying at him.  The roll toward the rear of the
       Flying Wing and its lethally spinning reversed propellers.
 
       In the cockpit of the Flying Wing, the Pilot has been fid-
       dling with his gauges just prior to shutting off his engines.
       Now he notices the fight going on outside.
 
       The fistfight between Indy and the German Mechanic has taken
       on a new stomach-tightening dimension.  The men are fighting
       and flailing in and out between the spinning props at the
       back of the plane's wings.  Each man comes within inches of
       becoming instant mincemeat.
 
       The Pilot slides away the top of his cockpit and stands up.
       He pulls a Luger from his side and points it, waiting for
       a clear shot at Indy.  The German Mechanic kicks Indy away
       from him and the Pilot aims his pistol.  Suddenly, Marion
       appears behind the Pilot, standing on the opposite wing,
       and bashes him over the head with one of the blue blocks
       that was holding the tires.  The Pilot drops down into
       the cockpit, his body falling on the throttle.  The engines
       roar louder, revving up.  The plane begins to roll, rotat-
       ing around its one still-blocked set of tires.  Marion grabs
       onto the cockpit to keep from slipping into the props.  She
       bends into the cockpit, trying to pull the Pilot's body off
       the throttle.  No luck.  She grimaces and climbs inside.
       Her shoulder bumps the top of the cockpit; it slides tight-
       ly shut above her.
 
       Under the moving wing, Indy delivers a knockout rightcross
       to the German Mechanic which sends him staggering back to-
       ward a roaring propeller.  Indy's grimace registers the man's
       demise and a fine mist of blood wafts toward him.  Indy
       spins toward the sound of crumpling metal and sees--
 
       The other top of the Flying Wing slice into a tank truck.
       The airplane fuel inside floods out onto the pavement,
       surrounding the plane.  Indy backpedals away from the plane,
       his eyes searching the scene for Marion.  Suddenly, he is
       shocked to see her in the cockpit.  He runs toward her,
       skidding through the gasoline.
 
                                   INDY
                     Get out!  Get out!
 
       Marion is struggling with the top of the cockpit.  She
       can't budge it.  She's trapped.
 
 
110    EXT.  THE COMMAND TENT - DAY                            110
 
       Three Armed Nazis stand guard around the wooden crate con-
       taining the Ark.  It is sitting near the flopped-open en
       trance to the Commmand Tent and there is furious activity
       going on here.  Belloq, Shliemann, Gobler, Belzig and as-
       sorted Aides are packing up all the papers and personal
       items in preparation for a hasty departure.
 
       A large crowd of Arab Diggers is milling about among the
       tents.  They all want to get a look at the Ark.  Sallah is
       among them.  All at once, there is a earthshaking explo-
       sion.  Al eyes turn toward the rise that hides the air-
       strip.  A huge fireball floats into view over there.  Every-
       one starts running toward it.  Shliemann yells at Belzig
       and the Armed Nazis.
 
                                   SHLIEMANN
                     Stay with the Ark!
 
 
111    EXT.  THE RISE ABOVE AIRSTRIP - DAY                     111
 
       Almost all the Arabs and Germans in the digs have congre-
       gated here and are staring at the burning remains of the
       Flying Wing.  Belloq and Shliemann arrive just as the sec-
       ond fuel truck blows up.  The concussion knocks many of
       the observers flat.  Belloq, Shliemann and Gobler watch
       the scene in alarm.
 
                                   SHLIEMANN
                     Sabotage!
 
                                   BELLOQ
                     We must get the Ark away from this
                     place immediately!
 
                                   SHLIEMANN
                                  (to Gobler)
                     Have it put on the truck.  We'll fly
                     out of Cairo.
 
       Gobler snaps his heels, turns to go.
 
                                   SHLIEMANN
                     And Gobler--
                                 (Gobler stops)
                     -- I want plenty of protection.
 
       Gobler nods and runs off.  Shliemann heads back toward camp.
       Belloq hesitates a long moment, studying the burning wreck-
       age with an odd, suspicious look.  Finally, he turns and
       leaves, passing a nearby stack of barrels.  When he has
       passed, Sallah appears from among the barrels.  He searches
       the crowd for his people and starts a broken field run along
       some tents to avoid a group of Germans and is running flat-
       out when someone sticks out a leg and sends him flipping.
       Sallah, dust all over his face, looks angrily toward the
       concealed culprit.  At once, a flashing white grin splits
       his darkened face.  Indy and Marion, splotched with soot
       and oil, are hiding in the flap of a tent.  Sallah runs in-
       to their arms and the three embrace warmly.  When they break--
 
                                   SALLAH
                     Holy smoke, my friends!  I am so
                     pleased you are not dead.
 
                                   MARION
                     Us too.
 
                                   SALLAH
                         (suddenly remembering)
                     The Ark!  They're taking it on a
                     truck to Cairo.
 
                                   INDY
                     Where is it?
 
       Sallah gestures to follow and all three run off stealthily
       through the mostly deserted camp.
 
 
112    EXT. AMONG THE TENTS - DAY                              112
 
       Sallah, Indy and Marion run into a hiding spot behind some
       water barrels near the Command Tent.  They peek out at this
       activity--
 
       In the big space near the Command Tent is parked an open
       German staff car; inside is a Blond Driver and an Armed
       Guard.  Directly behind it is a canvas-topped troop truck.
       At this moment, Belloq and Shliemann are supervising the
       careful placement of the crated Ark in the back of the
       truck.  When it is securely placed inside, we hear an om-
       inous marching sound and Nine Armed Nazis appear at a
       trot from between some tents and climb into the back of the
       truck with the Ark.
 
       Behind the water barrels, Sallah and Marion exchange hape-
       less looks,  But Indy just concentrates on--
 
       The scene by the truck: Belloq and Shliemann are about to
       climb into the front staff car when they pause to check out
       the final component of the convoy.  Rolling into place be-
       hind the truck is another open staff car.  But this one is
       special--mounted in the back is a big, black machine gun,
       manned by a Gunner.  At the wheel of the car is Gobler and
       next to him sits Belzig.
 
       Sallah and Marion look at Indy.  Belloq and Shliemann climb
       in  the back seat of the front car and the caravan pulls
       out.  Indy watches it go, thinking hard.
 
                                   INDY
                     You two get back to Cairo quick and
                     get us transporation to England--
                     a plane, a ship, anything.
 
                                   MARION
                     What about you?
 
                                   INDY
                     I'm going to get that truck.  I'll
                     meet you at Omar's.  Be ready for me.
 
       Sallah nods.  Marion looks at him like he's nuts.  Indy jumps
       up, looks around desperately.
 
                                   MARION
                     How are you going to get that truck?
 
                                   INDY
                             (still searching)
                     I don't know.  I'm making this up
                     as I go.
 
       He runs away between two tents.
 
 
113    EXT. AT THE EDGE OF THE DIGS - DAY                      113
 
       From among the tents, Indy suddenly bursts into view, hap-
       pily astride a magnificent white Arabian stallion.  He gal-
       lops off across the desert.
 
 
114    EXT.  THE DESERT (VARIOUS SHOTS) - DAY                  114
 
       Indy cuts crosscountry 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.
 
 
115    EXT.  DESERT ROAD - DAY                                 115
 
       The convoy is entering rougher country.  The narrow moun-
       tain road we've seen earlier ascends ahead.  To the side
       of the road are tall boulders.  Suddenly, Indy shoots out
       from between two rocks and rides directly for the truck.
       The Armed Nazis in the back of the truck can see nothing
       because the canvas hides their view.  But Gobler, Belzig
       and the Gunner in the rear staff car have a brief line on
       him.  Belzig points and the Gunner fires away and Indy, the
       bullets kicking up sand near Indy's horse.
 
       The Armed Guard in the cab of the truck leans out to see
       what's happening.  Indy has been riding alongside.  Now
       he stands on the horse and leaps to the cab.  In a second,
       he has flipped the Armed Guard out of the truck.  He slides
       into the cab and begins grappling with the Truck Driver.
       The Truck Driver tries to hit the brakes, but Indy kicks
       his foot away and floors the gas pedal.  The truck doubles
       its speed and shoots onto the steep mountain road.
 
 
116    EXT.  MOUNTAIN ROAD - DAY                               116
 
       The Blond Driver of the front staff car sees the truck move
       up on him in the rearview mirror and speeds up.  Belloq,
       Shliemann and the Armed Guard in the car twist around to
       look at the struggle in the truck.  The Blond Driver begins
       what will be a continuing preview of the twists in the road.
       He turns his wheel sharply and takes the lead car around
       a bend.
 
       In the cab of the truck, Indy and the Truck Driver stop
       their fight temporarily and cooperate in turning the steer-
       ing wheel.  The truck barely stays on the road.
 
       A full view reveals the incredible geography of this ride.
       The convoy in tiny against the spectacular mountainside,
       the cliffs drop hundreds of feet.
 
       At the wheel of the rear car, Gobler swerves to stay on
       the road and accidently sideswipes a boulder.  The Gunner
       perched in the back is flipped head over heels out of the
       car.  Gobler and Belzig are having trouble seeing the road
       through all the dust the convoy is kicking up.
 
       The lead staff car reaches the summit of the road and bare-
       ly makes the hairpin turn there, delivering a destructive
       blow to the guard rail that has been placed there.  The
       guard rail is now bent.
 
       In the cab of the truck, Indy and the Truck Driver again
       stop trying to choke each other long enough to negotiate
       the turn together.  The bumper of the truck hits the bro-
       ken guard rail and sends it flying off the cliff.  The
       truck, however, holds the road.
 
       In the rear car, Gobler and Belzig are trying to see through
       the thick clouds of dust.  Suddenly is clears completely.
       Unfortunately for them, this happens because their car
       has shot out into space at the hairpin turn.  They are
       flying to their final reward.  Belzig, eyes wide behind
       his evil spectacles, screams as he goes.
 
       In the cab of the truck, the Truck Driver is distracted
       by the sight of the flying staff car.  Indy plasters him
       and he tumbles out.
 
       Far, far below, Belzig's staff car explodes on the rocks.
 
       In the back of the truck, a TOUGH SERGEANT takes command
       of the situation.  He picks out six Armed Nazis and motions
       for them to start climbing around the outside of the
       truck to the cab.  With some trepidation the lucky ones
       begin that maneuver.  The truck is swerving like crazy.
 
       In the front staff car, the Armed Guard aims his submachine
       guns back at Indy, alone now in the truck's cab.  Shliemann
       knocks the barrel roughly away.
 
                                   SHLIEMANN
                                   (yelling)
                     If anything happens to that Ark,
                     we're all dead men !  The Fuhrer
                     will see to it!
 
       Indy sees this from the cab and reacts by speeding up, put-
       ting even more pressure on the Blond Driver.
 
       Along the back of the truck, Armed Nazis are edging up to-
       ward the cab, three on each side.  They hang on as the
       truck rounds a corner and goes into a straightaway that
       leads through a short tunnel.
 
       In the cab, Indy has been concentrating on the lead staff
       car.  Now, just before entering the tunnel, he looks in
       the side view mirror and sees the Nazis on his side.  A
       quick glance to the other mirror reveals the others.  As
       the truck sweeps into the tunnel, we see Indy just start
       to turn his steering wheel--he is going to sideswipe the
       walls of the tunnel
 
       At the other end of the tunnel, we hear the roar of the
       two engine and two long, screeching, scraping sounds.  The
       lead staff car shoots out of the tunnel, then the truck,
       its sides cleaned of Nazis.
 
       In the rear of the truck, the Tough Sergeant is looking
       with distaste back at the tunnel.  There remains only him
       and two Armed Nazis with the Ark.  He sends these two climb-
       ing up over the top of the truck.
 
       In the lead car, the Blond Driver is being pressed hard
       by Indy, who now edges up to bump them from the rear.  Sud-
       denly the Armed Guard next to the Driver sees the two Armed
       Nazis appear on the top of the truck.  Without thinking,
       he starts to point them out to Shliemann, then realizes
       his stupidity.
 
       In the cab, Indy has seen this and is at first mystified.
       He checks his sideview mirrors.  Then he figures it out
       and slams on his brakes.  The brakes lock, the wheels burn
       and the truck skids to a dusty halt.  The two Armed Nazis
       fly off the truck, over the cab to the road in front.
       Indy immediately hits the gas again.  The two Armed Nazis,
       just aiming their weapons, get wiped out.
 
       In the rear of the truck, the crated Ark is bouncing all
       along, no one in sight, because--
 
       The Tough Sergeant is on the top of the truck, making his
       way steadily forward.  This guy clearly knows what he's
       doing.  A submachine gun is slung across his back.
 
       The truck and the staff car race through a series of
       S-curves.  In the staff car, Belloq and Shliemann spot the
       Tough Sergeant as he reaches the front of the truck's top
       and begins to lower his submachine gun barrel toward the
       cab.  Indy is unaware.  Bellow and Shliemann exchange looks.
       Then Shliemann yells to the Armed Guard in the front seat.
 
       The Tough Sergeant has a line on Indy.  He points his gun.
       The Armed Guard blasts away at the truck.  The Tough Ser-
       geant dies in a hail of bullets and flies off.
 
       Indy, who has ducked at the gunfire, is confused.  But when
       he sees the Armed Guard up front lower his gun, Indy again
       floors it and begins bumping the staff car in earnest.
 
       The road is almost down to a level now.  In the distance--
       Cairo.  The road takes a little dogleg just before reach-
       ing level ground again.  Just as the staff car is about to
       make the turn, Indy smashes them from behind.  The staff
       car flies off the road and down a twenty foot embankment.
       Indy takes the truck speeding down the road and off toward
       Cairo.
 
       In the staff car, the occupants are bruised but safe.
       Shliemann points at the departing truck and yells at the Blond
       Driver.  The staff car fishtails out of its sandy resting
       place and takes off after the truck.
 
 
117    EXT.  OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY          117
 
       Indy has an ever-decreasing lead on the staff car as the
       race thunders into the narrow streets.  People and animals
       leap out of the way; carts and barrels go flying helter
       skelter.  Indy takes the truck down a street so narrow
       there are only inches to spare on each side.  Pedestrians
       jump into doorways.
 
 
118    EXT.  OMAR'S SQUARE - DAY                               118
 
       When the truck clears the narrow street, it is in a small
       square.  Omar's garage  s gaping open on the opposite side.
       Indy hits the brakes and the truck skids across the square
       and into the garage.  The garage door slams shut and tent-
       ing drops from the building to hide the door. Various arabs,
       friends of Omar, rush out with fruit carts and baskets
       and set up a mini-bazaar in seconds.  Two Arab Boys sweep
       the tracks of the truck into obliviion.  They throw aside
       their brooms just as the staff car appears from the narrow
       street.  Belloq and Shliemann look around desperately as
       the Blond Driver steers the car through the square and out
       the other side.
 
 
119    EXT.  CAIRO DOCKS - NIGHT                               119
 
       The waterfront is dark and misty.  An old tramp steamer,
       THE BANTU WIND, sits by the 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 named SIMON KATANGA, watches from
       the rail, smoking a pipe.
 
                                                        DISSOLVE TO:
 
120    EXT.  OPEN SEA - THE MEDITERRANEAN - NIGHT              120
 
       The Bantu Wind is bathed in moonlight as it cuts across
       even seas.
 
 
121    INT.  INDY'S CABIN - NIGHT                              121
 
       Indy comes in, takes off his hat, jacket, whip and holster.
       The door which connects this cabin to the next opens and
       Marion appears.  She is carrying a half-full glass of
       liquor, but what you notice is the long, snow-white, high-
       necked nightgown she is wearing.  It is very prim.  Very
       innocent.  And very sexy.  Marion does a slightly embarrassed
       model's turn for Indy.
 
                                   MARION
                     I have a feeling I'm not the first
                     woman to travel with these pirates.
                     There's a whole wardrobe in there.
 
                                   INDY
                     It's lovely.
 
       Indy sits on the cot, takes off his boots.  He leans back
       against the wall and rubs his eyes.  Marion sits on the
       bed, leans back against the wall with him and looks down
       at her white nightgown.  She chuckles.
 
                                   MARION
                     I feel like a virgin bride in this.
 
                                   INDY
                     That's what you look like.
 
                                   MARION
                              (takes a drink)
                     There are some things you can recap-
                     ture in this life, but that isn't
                     one of them.
 
                                   INDY
                     What would you like to recapture?
 
                                   MARION
                            (after a long pause)
                     Nothing.  That is the way it is.
 
       He watches her closely as she drains her glass and puts
       it down.
 
                                   INDY
                     Did I ever say I was sorry I burned
                     down your tavern?
 
       She turns so their lips are very close.
 
                                   MARION
                     No.  Then again, I burned up that
                     plane.
 
                                   INDY
                     You saved my life.
 
                                   MARION
                     And you saved mine.
 
                                   INDY
                     Seems things have worked out kind of
                     even.
 
                                   MARION
                     That's the way I like them.
 
                                   INDY
                     Maybe we should consider all past
                     accounts closed.
 
       Marion thinks about this a long time.
 
                                   MARION
                     No.  Not yet.
 
                                   INDY
                     What else?
 
       She looks into his eyes.  A smile jumps from her lips to
       his.  He kisses her and they sink slowly to the cot.
 
 
122    INT.  IN THE HOLD                                       122
 
       The ship's rats are agitated.  They tremble and chitter
       at the edges of the compartment, darting about.  Out in
       the center of the hold, sitting all by itself, is the
       crated Ark.   HUM-M-M-M.
 
 
123    INT.  INDY'S CABIN - DAY                                123
 
       Marion awakes with a start, alone in the cot.  Something's
       wrong.  The ship is quiet.  Indy is strapping on his holster.
       He pulls his ship and jacket from a hook.
 
                                   MARION
                     What is it?
 
                                   INDY
                     The engines have shut down.
 
                                   MARION
                     Why?
 
                                   INDY
                     I'm going to find out.
 
 
124    EXT.  LOWER DECK - DAY                                  124
 
       Indy runs toward the bow, then climbs some steps four at
       a time.  A MESSENGER PIRATE is hurrying to get him, but
       flies by him on the steps.  By the time the Pirate stops
       himself, Indy is gone.
 
                                   MESSENGER PIRATE
                     Mister Jones!  The Captain he say--
 
 
125    EXT.  THE BRIDGE - DAY                                  125
 
       Captain Katanga is looking with concern ahead of the ship.
       Indy appears behind him.
 
                                   INDY
                     What's wrong?
 
                                   KATANGA
                     You have most important friends.
 
       Katanga turns quickly, pointing with a sweeping hand.  Indy
       looks.  Arrayed in a rough semicircle around the ship are
       ten German Wolf Submarines.  All of their deck guns are
       manned and trained on the Bantu Wind.  Worse, at least five
       heavily-armed boarding parties in rafts are closing quickly
       on the ship.
 
                                   INDY
                     Holy shit.
 
                                   KATANGA
                                    (fast)
                     I sent my man for you.  You and the
                     girl must disappear.  We have a place
                     in the hold.  Go, my friend!
 
 
126    EXT.  UPPER DECK - DAY                                  126
 
       Indy tears along the deck. He looks over the rail and
       sees two Nazi rafts already next to the ship.
 
 
127    EXT.  LOWER DECK - DAY                                  127
 
       Indy flies down some stairs and starts to round a corner.
       Suddenly he throws himself backwards, out of view.  Three
       uniformed Nazis are clustered near a cabin door holding
       the Messenger Pirate.  Now two more come out of the cabin
       trying to maintain their grasp on a kicking, yelling Marion.
       She is still wearing her white nightgown.  More Nazis clam-
       ber onto the deck and head toward Indy, slamming open doors,
       rousting Pirates, spouting racial epithets.  Indy steps
       backwards and fades into the maze of the ship.
 
 
128    EXT./INT.  THE BANTU WINDS (VARIOUS SHOTS) - DAY        128
 
       The ship is swarming with Nazis.  The Black Pirates are
       herded forward, subjected to rough physical and verbal
       abuse by the Aryan Supermen.  The Pirates are clearly
       under orders not to resist, but not one of these strong
       men likes it.  They'd gladly give their lives to rip the
       throat out of a few Krauts.  In the hold, the door slams
       open and Nazis pour in; they smile at the sight of the
       crated Ark.
 
 
129    EXT.  THE BRIDGE - DAY                                  129
 
       Captain Katanga watches as his crew is crowded into a cir-
       cle of Nazis on the wide deck below him.  He is surrounded
       by Belloq, Shliemann, and several Nazis, two of whom are
       holding Marion.  Now the Nazis from the hold appear on the
       lower deck carrying the crated Ark by means of the long
       poles.  Belloq's eyes shine at the sight.
 
                                   SHLIEMANN
                     Take it aboard the Wurrfler!
 
                                   BELLOQ
                     And be very careful!
 
       The Ark is taken away.
 
                                   SHLIEMANN
                              (to a Sergeant below)
                     What about Jones?
 
                                   SERGEANT
                     Not a trace yet, sir!
 
                                   KATANGA
                     Jones is dead.
 
       Belloq and Shliemann regard him suspiciously.
 
                                   KATANGA
                     We killed him.  He was of no use to
                     us.  The girl, however, has certain
                     value where we are headed.  She will
                     bring a very good price.  If that
                     cargo you have taken was your goal,
                     then go in peace with it.  But leave
                     us the girl.  It will reduce our loss
                     on this trip.
 
                                   SHLIEMANN
                     Savage.  You are not in a position
                     to ask for anything.  We will take
                     what we wish and then decide whether
                     or not to slow your ship from the
                     water.
 
       Belloq steps forward and puts a proprietory hand on Marion's
       arm, fixing Shliemann with a steady look.
 
                                   BELLOQ
                     That girl goes with me.  It will be
                     part of my compensation.  I'm sure
                     the Fuhrer would approve.
 
       Shliemann considers.
 
                                   BELLOQ
                     If she fails to please me, you can
                     do with her as you wish.
 
       This appeals to Shliemann's nature.  He signals his agree-
       ment with a gesture.  Belloq ushers Marion away with her
       two keepers.
 
                                                        DISSOLVE TO:
 
 
130    EXT.  "THE WURRFLER" - CONNING TOWER - DAY              130
 
       The Nazis have returned to their subs.  Shliemann is on
       the bridge with THE WURRFLER'S CAPTAIN and the Captain's
       Aides.  The Captain is an honorable career Navy man.
 
                                   THE WURRFLER'S CAPTAIN
                     Colonel Shliemann, all torpedoes
                     are loaded.
 
       Shliemann nods and continues to stare at the Bantu Wind,
       as does the Captain.  The Pirate crew is all lined across
       the bow.  Towering above the others, standing on the rail,
       proud and defiant, is Katanga.  Shliemann looks at the
       Wurrfler's Captain a moment.
 
                                   SHLIEMANN
                     What do you think, Captain?
 
                                   THE WURRFLER'S CAPTAIN
                                   (earnestly)
                     I think not, Colonel.  Nothing is
                     to be gained.  We are not at war.
 
       Shliemann mulls this, then turns to the hatch.
 
                                   SHLIEMANN
                     ...yet.  Let the vermin live.  We
                     must be on our way.
 
       Shliemann disappears down the hatch.  The Captain is very
       pleased.  A Radioman speaks into his headset, then follows
       the other Aides down the hatch.  In the distance the other
       subs begin to move away from the ship.  The Captain, alone
       on the bridge, looks once more at Katanga.
 
       On the Bantu Wind, Katanga executes what might be taken
       for a salute.
 
       The Wurrfler's Captain smiles, salutes crisply, then goes
       below, pulling the hatch closed.  Immediately, the Wurrfler
       begins to move.  And as it does, we see the rail at the aft
       of the main deck.  From nowhere, a wet sleeve appears and
       a hand grabs the rail!
 
       Indy pulls his dripping body onto the sub's main deck.  He
       has lost his felt hat once and for all.  Other than that,
       his outfit is the same as always, just wetter.  Suddenly,
       water is washing over his feet; the Wurrfler is beginning
       to submerge.  Indy runs through quickly deepening water
       toward the haven of the conning tower.  Halfway there, he
       slips and goes down.  Only by grabbing the base of the
       aftmast light does he keep from being swept away.  He strug-
       gles to his feet and sloshes through knee-deep water to the
       base of the conning tower.
 
       Indy climbs the ladder to the bridge of the conning tower
       and looks down.  The water is rising toward his fast.  Indy
       climbs the ladder to the top of the turret and braces him-
       self between the two uprights there--the 7 foot radio mast
       and the 20 foot periscope.  Still the ocean comes up to
       meet him.  Soon the top of the turret is under water and
       the radio mast is disappearing.  Indy shifts his grip to
       the periscope, working his way up it and hanging on for
       dear life as the ocean whips at his body.  The periscope is
       quickly going under.  Indy hangs on to the top three feet,
       all that remains above.
 
       The forward movement of the sub continues, but, to Indy's
       slowly dawning delight, the dive stops.  No more of the
       periscope goes under.  Indy smiles; it's a pretty good
       smile, too, given the circumstances.  Indy pulls out his
       bullwhip and begins  tying himself to the periscope.
 
 
131    EXT.  THE PERISCOPE - AFTERNOON                         131
 
       The sun warms that part of his body Indy has contrived to
       keep out of the water.  The rest floats out behind.  Indy
       isn't comfortable, but all in all, it's not as terrible
       as he might have feared.
 
                                                        DISSOLVE TO:
 
 
132    EXT.  THE PERISCOPE - DUSK                              132
 
       It's as terrible as Indy might have feared.  He looks
       wasted.  Waterlogged and exhausted.  The wet leather of
       the whip is contracting and he must struggle constantly
       to keep it from cutting into his skin.
 
                                                        DISSOLVE TO:
 
 
133    EXT.  THE OCEAN - NIGHT                                 133
 
       Several shark fins cut the surface, appearing and disap-
       pearing in the bright moonlight.  They are shadowing--
 
 
134    EXT.  THE PERISCOPE - NIGHT                             134
 
       Indy looks through barely open eyes at the sharks running
       alongside.  There is nothing to be done.  His eyes close.
 
                                                        FADE OUT.
 
                                                        FADE IN:
 
 
135    EXT.  THE PERISCOPE - NIGHT                             135
 
       The submarine has stopped.  The water is calm.  The moon
       is bright.  A gentle swell splashes Indy awake.  He blinks,
       tries to regain his senses.  He makes an inventory of his
       body.  Surprised to find himself intact, his spirits lift.
       Some hidden reserve of energy flows through him.  He frees
       his aching arms from the wet leather of his whip, leaving
       only one loop around his waist to hold him to the sub.  He
       rubs his hands and stretches.  Once again, he has survived.
       To fight again.  He looks around.
 
       WHAT HE SEES.  A lovely island.  No sign of man's presence.
       The sub has stopped at the mouth of a wide cove completely
       ringed by tall white rock cliffs.  Suddenly the sub begins
       to move again.  It is headed directly toward the center of
       the cliffs.  Indy holds on, mystified, alert.  When the
       cliffs are very close, the sub begins to dive.
 
                                   INDY
                     Damn!
 
       He thinks hard.  Inspiration hits just before the water.
       Indy flips his leather jacket up over his head and holds
       the jacket out in front of him.  His head is hidden by the
       jacket as he goes under water.
 
 
136    INT.  THE UNDERWATER TUNNEL - NIGHT                     136
 
       The sub enters an underwater tunnel that penetrates into
       the cliffs.  Indy is held to the periscope by his crossed
       legs and the whip.  His impromptu air bubble is working,
       but it's a struggle to maintain it.
 
       The sub begins to cut through think marine vegetation.
       Each dangling growth pulls at Indy's body and slaps at his
       leather bubble.  Now a clump of entwined seaweed rips the
       leather out of his hands and his bubble of air rises away.
       Indy hangs on, holding his breath, but the vegetation gets
       denser.  Finally, it pulls him off the periscope.  The
       sub moves on, disappearing ahead.
 
       Indy rises desperately through the dark water, his hand
       outstretched.  Then, almost simultaneously, hand and head
       hit solid rock.  But no air.  Indy feels along the ceiling
       of rock.  Nothing.  It's all submerged.
 
       Indy dives, stroking deep into the tunnel.  When he has
       descended 15 feet, he grabs a vine and steadies himself.
       His eyes search the dim roof of the tunnel.  He sees his
       last hope in the distance--a small blue circle, an air
       pocket.  He swims for it.
 
       In the air pocket, Indy's head breaks the surface and
       smashes into rock again.  The pocket is only six inches
       deep.  No matter.  Indy loves it.  He'd like to move in.
       He gulps air.
 
 
137    INT.  THE SUB BASE - DOCKING BAY                        137
 
       The Wurrfler has arrived at an extraordinary base built
       in the hollow interior of the island.  This chamber, with
       the docking bay, is almost all water.  A huge natural cav-
       ern, it has been reinforced and enlarged by the Germans.
 
       The Wurrfler sits surfaced at the dock.  The Ark has been
       unloaded and placed on a cart.  Shliemann, Belloq and Marion
       have just disembarked and been met by a Nazi contingent
       from the base.  Marion looks worse for the trip. Her white
       nightgown is now ripped and smudged.
 
       One of the greeting Nazis, a TALL CAPTAIN, salutes Shlie-
       mann and Belloq.  As he speaks to them, we notice that right
       behind this group, just above a great deal of sub unloading
       activity, Indy's whip hangs from the periscope. Working
       Nazis pass within feet of it unaware; the Tall Captain would
       see it in a moment if he were not so focused on the new
       arrivals.
 
                                   TALL CAPTAIN
                                   (to Belloq)
                     The tents have been arranged in accor-
                     dance with your radioed instructions,
                     sir.
 
                                   BELLOQ
                     Good.  We must take the Ark there now.
 
       Shliemann looks a little unhappy about this exchange, but
       says nothing.  The group moves swiftly toward the
       end of a mine train arrangement.  The train, consisting
       of small, separate, electric-powered cars, sits on a track
       which disappears into a tunnel cut in the rock.
 
       On the turret of the Wurrfler, the Wurrfler's Captain lights
       a cigarette as he watches the mine train disappear, then
       returns his attention to the activity on the dock.  He leans
       idly against the periscope, his head two feet below Indy's
       dangling whip.  Something catches his eye, he yells an or-
       der and climbs down from the turret to deal with the matter.
       We hold on the whip for a long moment, until its owner's
       hand appears and quickly reclaims it.
 
 
138    INT.  TRAIN TUNNEL                                      138
 
       The Ark and its entourage are moving slowly up the tight
       dark tunnel, their way lit by intermittent lanterns.  The
       tunnel is irregular, but generally about 7 feet wide.  It's
       height varies from an average of about 7 feet to a low of
       only about 4.5 feet at the points (every 40 feet) where sup-
       port beams cross the track.  The result is that there is
       only about a foot of clearance above the mine cars at those
       points; passengers must duck to keep from being hit in the
       head.  Shliemann, looking worried, and Belloq, very excited,
       are focused on the Ark in the car ahead.
 
                                   SHLIEMANN
                     I am uncomfortable with the thought
                     of this--
                              (spitting it out )
                     --Jewish ritual. Are you sure it's
                     necessary?
 
                                   BELLOQ
                                 (playing him)
                     Let me ask you this--Would you be
                     more comfortable opening the Ark in
                     Berlin--for the Fuhrer--and finding
                     out only them if the sacred pieces
                     of the Covenant are inside?  Knowing,
                     only then, whether you have accom-
                     plished your mission and obtained the
                     one, true Ark?
 
       Shliemann doesn't like any of his alternatives.  He looks at
       Belloq with some suspicion as the train comes into bright light.
 
 
139    INT.  COMMAND CENTER                                    139
 
       A second natural cavern, even bigger than the first, has been
       worked over by the Germans into a rectangular, three-story
       high supply center around a huge, open, center court.  Uni-
       formed Nazi Soldiers are everywhere, wrangling supplies and
       ammunition, monitoring electronic equipment.  At the far end
       of the court, a second train tunnel disappears into the rock.
 
       Across the open court, Belloq sees his destination: a large,
       brilliant white silk tent has been erected in the midst of
       all this hardware.  It looks incongruous, and more than a
       little eerie.  It is the Tabernacle.
 
 
140    INT.  TRAIN TUNNEL                                      140
 
       Indy is making his way up the tunnel.  He hears cars coming
       from up ahead and steps into the shadows.  A mine car passes
       with several laughing Nazis.  Indy continues on his way.
 
 
141    INT.  THE TABERNACLE                                    141
 
       The light in here is lovely, unearthly.  Oil lamps burn.
       The Tabernacle is really several concentric, silk tents,
       which creates a flowing maze effect.  The innermost tent
       has at its center a 3-foot high, tapestry-covered altar.
       Belloq watches with gleaming, obsessed eyes as two Nazis
       carefully lift the actual Ark out of its crate by means
       of the long poles.  The Ark dazzles the eye, seeming to
       glow gold in this strange light.  The two Nazis place it
       carefully on the altar.  Shliemann and some Aides hang
       back. Marion is nowhere to be seen.
 
 
142    INT.  COMMAND CENTER - END OF TUNNEL                    142
 
       Indy makes a fast break from the shadows of the tunnel to
       the protection of a high stack of supplies.  He climbs the
       back of the stack, peeks over and surveys the area.
 
       WHAT HE SEES.  In addition to the Tabernacle, the second
       train tunnel entrance, and all the activity, Indy's glance
       rests momentarily on a large, heavy metal door halfway
       down one wall toward the Tabernacle.  It bears the words,
       in German:  DANGER - MUNITIONS.
 
       Indy continues to scan the scene.
 
 
143    INT.  THE TABERNACLE                                    143
 
       In the central area with the Ark, Shliemann and the other
       Nazis wait impatiently, eyeing the Ark with some discom-
       fort.  Belloq is not visible, because at the moment he is--
 
       In the folds of the Tabernacle, the silk of the tents un-
       dulating around him.  The light is even stranger, the scene
       almost dreamlike.  With the help of the Tall Captain, Belloq
       lets an extraordinary, gold-embroidered, ceremonial robe
       fall over his head and onto his body.  Belloq looks trans-
       ported, possessed.  The Tall Captain unlatches a wooden case
       and takes from it a sturdy ivory rod about 5 feet long, elab-
       orately engraved.  Belloq takes it from him, turns and slips
       back through the silk.  The Tall Captain stays in the folds.
 
       Back in the central area, Shliemann and the other Nazis are
       taken aback by Belloq's appearance in the robe.  They ex-
       change looks.  From one knot of men there is muttering about
       "Juden" and such, but when Belloq turns a fiery gaze on them
       there is immediate silence.  Shliemann looks uncertain in
       this presence.
 
       Bellow approaches the Ark.  He stops a few feet from it and
       begins murmuring an invocation in Hebrew.  After a few mo-
       ments of this he advances a step and is about to place the
       ivory rod in a notch under the lid of the Ark itself.  The
       end of the rod is an inch from the notch when--
 
       Indy steps into the Tabernacle.  On his shoulder is a ba-
       zooka and it is aimed directly at the Ark.
 
                                   INDY
                     Hold it.
                            (the Nazi react)
                     One move from anybody and I blow
                     that box back to Moses.
 
       Shliemann makes it clear to the other Nazis that Indy is
       to be obeyed.
 
                                   BELLOQ
                     Jones, your persistence surprises
                     even me.  You are going to give
                     mercenaries a bad name.
 
                                   INDY
                     What about you?  Talked to God yet?
                         (Belloq's eyes flash)
                     Where's the girl?
 
                                   SHLIEMANN
                     Doctor Jones, surely you don't think
                     you can escape from this base.
 
                                   INDY
                     That depends on how reasonable we're
                     all willing to be.  All I want is
                     the girl.  We'll keep possession of
                     the Ark only till we've got safe
                     transport to England.  Then it's
                     all your.
 
                                   SHLIEMANN
                     If we refuse?
 
                                   INDY
                     Then the Ark and some of us are go-
                     ing up in a big bang.  I don't think
                     Hitler would like that a bit.  Now
                     I don't want to talk about this any-
                     more.  Show me that girl in five
                     seconds or--
 
       The Tall Captain flies out of the silk and takes Indy down
       by the neck.  The bazooka clatters across the cement floor
       as two other Nazis help subdue Indy.  The three Nazis take
       Indy's pistol from his holster and raise him roughly in
       their grasp.
 
                                   SHLIEMANN
                     Jones, this is the second time I
                     have seen you looking very foolish.
 
                                   INDY
                     It's a bad habit.  I'm trying to
                     break it.
 
       Shliemann draws his Luger.
 
                                   SHLIEMANN
                     I'll help you.  This time I'll kill
                     you myself.
 
       Shliemann raises the pistol.
 
                                   BELLOQ
                     No!  Not in the presence of the Ark!
                     Take him outside.
 
       Shliemann eyes Belloq, then the Ark.  He lowers the pistol,
       motions for the Nazis to take Indy out ahead of him.  They
       stop a moment only when Belloq speaks.
 
                                   BELLOQ
                     Indiana Jones, I salute you.  I am
                     even a little sorry you will miss
                     this moment.
 
                                   INDY
                     Thanks.  If you talk to Him, tell
                     Him I'm on my way up.
 
       Shliemann motions them out and follows.  Belloq turns back
       to the Ark, raising the ivory rod.
 
 
144    INT.  COMMAND CENTER                                    144
 
       Shliemann, the Tall Captain, Indy and the two Nazis hold-
       ing him emerge from the Tabernacle.  Shliemann points to
       a nearby wall and the group starts that way with Shlie-
       mann and the Tall Captain slightly ahead.
 
 
145    INT.  THE TABERNACLE                                    145
 
       Belloq has the ivory rod inserted in the notch under the
       lid of the Ark.  He utters a short phrase in Hebrew and
       begins to press down on his end of the rod.  The lid of
       the Ark begins to lift.  It's difficult work.  Belloq puts
       his whole weight into one big press on his end and the
       lid opens two feet.
 
       Inside the Ark of the Covenant is a preview of the end of
       the world.  A light so bright, a power so fearsome, a
       charge so jolting, that there is nothing in our world to
       compare to it.  It's as though this magnificent golden
       box has been gathering electric energy for three thousand
       years, waiting for just this crack of the lid to release
       it all in one fast, cleansing explosion of pure force.
 
       Blinding arcs of light shoot out across the Tabernacle
       instantly killing all the Nazis inside and turning the
       white silk to flame.  But it is Belloq in his obsession
       who takes the full blast.  His whole body seems lit by
       a million volt current and, for amoment, his complete
       form is white, then blue, then maybe green, but it is
       hard to tell because our eyes are blinded now too.  Two
       aspects of this ghastly, beautiful display are somehow
       communicated in the chaos, although the communication
       is subliminal.  First, that Belloq, in the instant of
       his destruction, has experienced some kind of sublime,
       transcendental knowledge.  If a death's-head can smile and
       look satisfied, that is how Belloq's incandescent face
       would be described.  Secondly, this event is accompanied
       by a sound like no other.  A sound so intense and so odd
       and so haunting that the suggestible among us might im-
       agine it were the whisper of God.
 
 
146    INT.  COMMAND CENTER                                    146
 
       Choas.  Shliemann and the Tall Captain have been tempo-
       rarily blinded by the light from the Tabernacle.  Indy
       makes short work of his two escorts.  He bashes their
       heads together.  When only one goes down at this, Indy
       uses the handle of his bullwhip, which has appeared in-
       stantly in his hand, to put the second one down.
 
       Shliemann, hand on his eyes, aims his Luger blindly at
       the scuffle.  Indy pushes the Tall Captain at Shliemann,
       who fires on impact, killing the Tall Captain.  Indy knocks
       out Shliemann.
 
       Behind Indy, the brilliant light and weird noise of the
       Ark have suddenly ceased, but the Tabernacle is ablaze
       and the fire has quickly apread to stacks of supplies on
       either side.  Smoke is already starting to fill the cavern.
       Nazis are running around, yelling for firefighting water.
       A burning crate at the side of the Tabernacle is pushed
       over, only to knock over a drum of heavy black oil.  A
       river of flame shoots across the cement.
 
       Indy grabs a rifle with bayonet from the prostrate body
       of one of his former escorts and runs back into the flaming
       Tabernacle.
 
 
147    INT.  THE TABERNACLE                                    147
 
       Indy jumps through the flames into what is now a tent of
       fire.  He looks around at the dead bodies, then at the Ark.
       The lid has slammed down shut again and the Ark shines gold
       in the flames.  Before it, where Belloq once stood, is a
       pile of ash and charred debris.  Indy registers this, then
       continues to scan the scene.
 
                                   INDY
                     Marion!  Marion, can you hear me?
 
       Suddenly, Indy looks as--
 
       The far side of the Tabernacle burns completely away, re-
       vealing Marion, tied spread-eagle between two upright posts.
       Her nightgown is now in tatters, black with soot.  She is
       gagged, but her eyes are screaming, focused on the flaming
       river of black oil which is about to engulf her feet.
 
       Indy rushes toward her, unaware of a uniformed Nazi who
       has appeared from the flames.  Marion looks up to see
       Indy and the Nazi leveling his submachine gun at Indy.
       She motions desperately with her eyes.  Indy dives and
       rolls through the flames just as the Nazi opens fire.
       From the floor, Indy blasts the Nazi.
 
       The river of burning oil is only a foot from Marion.
 
       Indy jumps up and runs toward the bound Marion, his bayo-
       net aimed directly at her.  Her wide eyes flash between
       the flames and the shining balde.  Ecpertly, Indy slashes
       down both sides at Marion, cutting all four bindings.  Mar-
       ion falls backwards, away from the flames, but before she
       hits the ground, Indy is there, catching her in his arms.
       They embrace.  They kiss.  They break.
 
                                   INDY
                     Hi.
 
                                   MARION
                     Oh, Indy!  Thank god you're here.
 
                                   INDY
                     Glad I could make it.
 
       Indy rises, pulling her up with him.  The Tabernacle is
       burning away so fast that soon Indy and Marion will be
       completely exposed.  Indy rushes over and grabs the sub-
       machine gun and a Luger from the dead Nazi.
 
                                   INDY
                     Let's get out of here.
 
                                   MARION
                     What about the Ark?
 
       Ondy stops, startled by her spunky attitude.  He's con-
       sidering their changes.
 
                                   INDY
                     Are you game?
 
                                   MARION
                     Hell yes!  We've made it this far.
 
                                   INDY
                                (grins at her)
                     Okay.  Let's do it.
 
       They approach the altar through the dying flames, Indy
       slinging the submachine gun over hsi back.  The long
       carrying poles are still in place.
 
                                   INDY
                     Whatever you do, don't touch it.
                     Let's put it on the floor.
 
       Marion nods.  Each taking an end with the poles, they lift
       the Ark from the altar and lower it to the floor.  Marion
       grunts under the weight.  Indy registers this, hands her
       the submachine gun.  He pulls out hsi whip, motions her
       back, and sweeps the whip tightly around the body of the
       Ark.  The fall wraps snugly around the plaiting and Indy
       ties it off.  The Ark is now harnessed to the whip handle.
       Indy gives it an experimental pull and the Ark slides across
       the smooth cement.  Indy indicates the direction of the
       second train tunnel.
 
                                   INDY
                     We'll go down that side.  Shoot any-
                     one who looks at us crosseyed.
 
 
148    INT.  COMMAND CENTER                                    148
 
       Two huge stacks of goods are ablaze and the Nazis are having
       trouble getting water to them.  The Nazis main concern at
       this point is an enormous, neat stack of wooden cartridge
       boxes which are piled down the wall from one of the already
       blazing, and now teetering, stacks of general goods.  Ner-
       vous Nazis are moving the heavy cartridge boxes as fast as
       they can, but it's slow work and the threatening fire is
       close.
 
       Indy and Marion make their way along the side of the center
       court, Indy grimacing with the strain of pulling the Ark.
       One Nazi stops directly in front of them, looking at them
       queerly.  Indy knocks his out with the butt of his Luger
       just as Marion is about to fire.
 
       Out in the court, Shliemann has regained his eyesight.  Now
       he crouches, scanning the scene desperately for Indy.  He
       looks into the remains of the Tabernacle and spots the empty
       altar.  Beyond it, the unoccupied posts where Marion was
       bound.
 
       At the entrance to the second train tunnel, Indy and Marion
       struggle to lift the Ark into a mine car.  Marion has the
       submachine gun slung over her back.  The Ark drops heavily
       into the bottom of the car.  The noise attracts the attention
       of five water-carrying Nazis.  They see what's going on and
       reach for their side-arms. Indy grabs Marion, pulls her in
       front of him--as though to use her as a shield--and flips
       the submachine gun, still on her back, toward the Nazis.
       He opens fire, turning Marion's body so he can mow all
       five down.
 
       Shliemann spins around and looks at the tunnel entrance.
       He points at Indy and Marion, who have just hopped into the
       mine car with the Ark.
 
                                   SHLIEMANN
                     Stop them!  Kill them!
 
       A dozen Nazis spin and look at the mine car.  Marion is just
       leveling the submachine gun.  Indy pushes forward the throttle
       and the mine car moves toward the tunnel, picking up speed.
       As the Nazis raise their guns to fire, Marion and Indy both
       open up, peppering the area with lead.  As the mine car is
       about to disappear into the tunnel--
 
                                   INDY
                                (to Marion)
                     Get down!
 
       As the car disappears, bullets pock the entrance of the
       tunnel.  Shliemann runs up with three Nazis.  They jump
       into the next mine car and take off, disappearing into
       the tunnel.
 
       Over at the burning stack of goods, some terrified fire-
       fighters scurry away as the burning pile of general goods
       falls over onto the stack of cartridge boxes.  The wooden
       boxes immediately start burning.  Many of the Nazis just
       want to get out of there, but a couple of disciplined OF-
       FICERS are trying to salvage the situation.  They point to
       the far side of the court, the walls are lines with oil
       and gas drums.
 
                                   OFFICER
                     We must cover the drums!  Protect
                     them from the bullets!
 
 
149    INTERCUTTING Indy and Marion with Shliemann and the Nazis,
       we see a most extraordinary pursuit.  This tunnel is of
       identical design to the first, except more twisty.  This
       early section goes slightly uphill, as though headed for
       the summit of a rollercoaster.  The low cross beams and
       the higher sections in between are causing the Nazis to
       alternately stand and duck in their efforts to get a
       clear shot at the lead car.  One German times it wrong and
       gets whacked.  Indy in unhappy with the speed of his car
       and he's right, the Nazis are moving faster and gaining.
       When both cars are in the same high section, the Nazis blast
       away at them.  The noise is deafening, with barking guns,
       splintering rock, and twanging ricochets contributing to
       the din.  As Marion fires a return volley low over the Ark,
       Indy kicks at the throttle, convinced it is jammed.
 
 
150    INT.  COMMAND CENTER                                    150
 
       The Officers are directing the placement of every move-
       able item in front of the oil drums.  Desks, crates, chairs,
       food, all are heaped in front of the fuel. All the workers
       cast frequent nervous glances back at the burning cartridge
       boxes across the court.  Suddenly the worst begins to hap-
       pen at the cartridge boxes.  Hundreds of thousands of live
       cartridges begin exploding, flying around the court like
       shrapnel.  Hot lead begins to zing off the exposed fuel
       drums, leaving big dents.
 
 
151    INT.  TRAIN TUNNEL - LONG STRAIGHTAWAY                  151
 
       The car with Indy and Marion looks almost sluggish com-
       pared to the pursuing Nazi car as they both make their way
       into an usually long straightaway.  Marion discards her
       empty submachine gun as Indy kicks at his throttle and casts
       a worried look back at Shliemann.
 
       Shliemann, sensing victory, smiles evilly and carefully
       takes aim.  Indy and Marion will be easy targets until they
       reach that approaching low cross beam, which is the crest
       of the rising tunnel.
 
 
152    INT.  COMMAND CENTER - CLOSE ON FUEL DRUM               152
 
       A fuel drum, already pocked by bullets is finally pene-
       trated by high velocity hot lead.  It explodes in a ball
       of flame.  And then its neighbor.  Then all is exploding
       flame.
 
 
153    INT.  TRAIN TUNNEL - LONG STRAIGHTAWAY                  153
 
       Shliemann and his cohorts hear the explosions behind them
       and look back that way.
 
       Indy kicks the throttle one more time and it goes!  Their
       car doubles its speed and shoots under the low cross beam
       at the same instant as--
 
       A huge dragon of all-consuming fire shoots up the tunnel
       behind the Nazis, catches their car and incinerates
       Shliemann and his men.  The tunnel collapses in this section,
       burying the fried Nazis forever.
 
 
154    INT.  TRAIN TUNNEL                                      154
 
       Indy and Marion look back at the low cross beam as the last
       tongue of flame makes it there and then is doused by falling
       rock and dirt.  They look at each other, then turn their
       attention back to their own predicament.  Their mine car is
       going incredible fast as it moves into a downward section
       of wildly twisting tunnel.
 
                                   MARION
                     Slow it down!
 
       Indy is already pulling the throttle.  It moves easily.
       Unfortunately, it is no longer attached to the motor.  The
       mine car is out of control.  After several moments, far
       ahead, appears a circle of bright daylight-- the end of the
       tunnel!  It approaches at a frightening rate.  Indy reaches
       out and grasps Marion's hand.  They exchange looks and then
       turn to look ahead.
 
       THEIR POV.  We're taking this last stretch with them.  It's
       a familiar nightmare.  It has to do with a rollercoaster
       that ends suddenly and disastrously.  The shocking bright-
       ness of sunlight rushes up to engulf us, blinding us in
       its glare.
 
 
155    EXT.  THE ISLAND - END OF TRACKS, DOCK                  155
 
       High up on the slope of the island, Indy and Marion's mine
       car shoots out of the black tunnel and roars down toward
       a little dock at the end of the tracks.
 
       A small Nazi transport launch, carefully disguised as a
       Greek fishing boat, sits bobbing by the dock.  The only
       human:  a Nazi Sentry dressed as a Greek peasant.  He is
       perched on a pile of seed bags which are stacked at the
       very end of the train tracks.  As the mine car barrels
       noisily down toward him, he throws away some burlap to
       reveal a mounted machine gun which he spins quickly around
       toward the approaching mine car.  He opens fire.
 
       In the out-of-control mine car, Indy pulls Marion down with
       him.  They are squashed into the corner trying to avoid con-
       tact with the bounching Ark.  Bullets clang against the out-
       side of the car and whiz inches overhead.  Indy and Marion
       are forced into a tighter and tighter embrace of life.
 
       At the machine gun post, the Nazi Sentry has been firing
       like crazy, but now there is terror in his eyes.  He
       realizes the car is not going to stop.  He lacks faith in
       his stronghold.  Too late.
 
       The mine car smashes into the seed bag bunker.  And right
       on through.  The Nazi Sentry, his machine gun and a dozen
       bursting seed bags are slammed into the ocean in a wild,
       hurtling mass.  The mine car jumps, bounces and spins around,
       then slides to a stop in a cloud of seed at the edge of the
       water.
 
 
156    INT.  COMMAND CENTER                                    156
 
       Fire.  Everywhere.  No sign of life.  A large gaping door-
       way, flames ringing it, blazing into the room beyond.  Hang-
       ing by one hinge there, its metal blasted and jagged, is a
       heavy door with the signed lettering, in German, DANGER -
       MUNITIONS.
 
       The first explosion happens.  It's a baby compared to what's
       coming yet is rocks the earth.  It's terrible.  And then,
       almost immediately, another.  The long, irregular, ever-
       larger chain of explosions begins.
 
 
157    EXT.  THE ISLAND - VARIOUS SHOTS - DAY                  157
 
       The island rumbles and shakes.  From fissures and small
       natural caves, dirt and rock shoot out like spraying water.
       Still the explosion continue.  A huge chuck of white cliff
       falls away into the turbulent sea.  Birds scream and soar,
       afraid to land.
 
       Finally, we settle on a full shot of the island.  We can
       recognize that the small opening high on the slope from
       which a cloud of smoke and dust is billowing is the end
       of the mine tunnel.  And there below it, quite small from
       this distance is the dock.  And the boat that looks like
       a Greek fishing boat.  There can be no mistake even from
       this far away--the boat is chugging out to sea.
 
 
158    INT.  THE PENTAGON - DAY                                158
 
       Indy, Brody, and Marion, looking very stylish, are seated
       in Colonel Musgrove's huge office.  Sun pours in a window,
       through which Washington can be seen sparkling across the
       Potomac.  Everything is neat and clean and regular.  In-
       cluding the three men who are arrayed around the office.
       Two we know--Col. Musgrove and Maj. Eaton.  The third is
       an unnamed Bureaucrat.  He hangs back, smiling and genial,
       his features obscured by the glare of the window.  He doesn't
       say anything, yet you have a sense that the others defer to
       him in the matter at hand.  He is the essence of all that
       is Byzantine and inscrutable in our scrubbed government
       machine.
 
       Indy and Brody are dissatisfied with the way the meeting
       has gone.  Marion, on the other hand, is very happy and
       eager to get out of there.  Eaton's manner is irritatingly
       cheery.
 
                                   MUSGROVE
                     You've done your country a great
                     service.
 
                                   EATON
                     --And we trust you found the settle-
                     ment satisfactory?
 
                                   MARION
                     Quite.
 
                                   EATON
                     Good, good.
                         (glances around at the others)
                     Then I guess that about does it.
 
                                   BRODY
                     When can we have the Ark?
 
       Eaton's glance flicks over to the mysterious Bureaucrat,
       then back to Brody.
 
                                   EATON
                     I thought we answered that.  It's
                     someplace very safe--
 
                                   INDY
                                  (heated)
                     That's a powerful force.  Research
                     should be done--
 
                                   EATON
                     Oh, it will be, Dr. Jones, I assure
                     you.  We have top men working on it
                     right now.
 
                                   INDY
                     Who?
 
                                   EATON
                     Top men.
 
       Indy exchanges a look with Brody.
 
                                   INDY
                     We may be able to help.
 
                                   EATON
                     We appreciate that.  And we won't
                     hesitate to call on you.
 
                                   MUSGROVE
                            (dismissing them)
                     Thank you all.  Thank you again.
 
       Indy looks them over coldly.  He gets up, sullen.
 
 
159    EXT.  PENTAGON STEPS - DAY                              159
 
       Indy, Brody and Marion emerge from the building.  Brody
       bids them farewell and moves off in another direction.
       Marion clings to Indy's arm in an energetic, very feminine
       way, scolding him.
 
                                   MARION
                     --Well they aren't going to tell
                     you, so why don't you just forget
                     it.  I'd think you'd has enough
                     of that damn Ark.  Just put your
                     mind on something else.
 
       Indy stops, looking across the river, his mind occupied.
 
                                   INDY
                     Yeah, like what?
 
       Marion makes a face, then puts her arms around his neck
       and plants a humdinger of a kiss on his mouth.  It goes
       on a while.  Finally they break.
 
                                   INDY
                     It's not the Ark...but it'll have
                     to do.
 
       They move down the steps, smiling.
 
 
160    INT.  GOVERNMENT WAREHOUSE                              160
 
       The Ark of the Covenant sits in a wooden crate.  A wooden
       lid comes down and hides it from view.  The lid is solidly
       nailed to the crate as we read the stenciled message on top--
 
                                  TOP SECRET 
                             ARMY INTEL. #9906753
                                 DO NOT OPEN!
 
       The hammering is completed and hands shift the heavy crate
       onto a dolly.
 
       THE END CREDITS ROLL AS WE SEE--
 
       A Little Old Government Warehouseman begin pushing the
       crated Ark down as aisle.  Soon we see that the aisle is
       formed by huge stacks or crates.  They come in many shapes
       and sizes, but when it comes right down to it, they all
       look like the one that holds the Ark.  All have markings
       like the message we've just seen.  Pretty soon we're far
       enough and high enough away from the Little Old Government
       Warehouseman to see that this is one of the biggest rooms
       in the world.  And it is full.  Crates and crates.  All
       looking alike.  All gathering dust.
 
       And then we notice that the Little Old Government Ware-
       houseman, pushing his new crate ahead of him, has turned
       into another aisle and disappeared from view.
 
                                                        FADE OUT.
 
 
                               THE END.