indianajonesandtheraidersofthelostark.txt

                                "RAIDERS OF THE LOST ARK"

                                      Screenplay by

                                     Lawrence Kasdan

                                         Story by

                                       George Lucas

               FADE IN:

               EXT. PERU - HIGH JUNGLE - DAY

               The dense, lush rain forests of the eastern slopes of the 

               Andes, the place known as "The Eyebrow of the Jungle". Ragged, 

               jutting canyon walls are half-hidden by the thick mists.

               The MAIN TITLE is followed by this:

                                           PERU

                                           1936

               A narrow trail across the green face of the canyon. A group 

               of men make their way along it. At the head of the party is 

               an American, INDIANA JONES. He wears a short leather jacket, 

               a flapped holster, and a brimmed felt hat with a weird feather 

               stuck in the band. Behind him come two Spanish Peruvians, 

               SATIPO and BARRANCA. Bringing up the rear are five Yagua 

               INDIANS. They act as porters and are wrangling the two heavily-

               packed llamas. The Indians become increasingly nervous. They 

               speak to each other in bursts of Quechua. The American, who 

               is known to his friends as Indy, glances back at them.

                                     BARRANCA

                              (irritated)

                         They're talking about the Curse again!

               He turns and yells at the Indians in Quechua, his anger giving 

               an indication of his own fears. The party reaches a break in 

               the canyon wall and takes the trail through it.

               When they emerge, their destination is revealed to them in 

               the distance. Beyond a thick stand of trees is the vegetation-

               enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS.

               The entire party is struck by the sight. The Indians, 

               terrified now, chatter away. Suddenly the three at the back 

               turn and run, dropping their packs as they go. Barranca yells 

               at the fleeing Indians and pulls his pistol out. He starts 

               to raise his arm to aim but Indy restrains it in a muscular 

               grip.

                                     INDY

                         No.

               Barranca looks evilly at Indy's hand upon him. Indy releases 

               him and smiles in a friendly way.

                                     INDY

                         We don't need them.

               Satipo watches this confrontation with some concern.

                                     BARRANCA

                         I do not carry supplies.

                                     INDY

                         We'll leave them. Once we've got it, 

                         we'll be able to reach the plane by 

                         dusk.

               He turns back to the trail. Satipo gets the two remaining 

               Indians moving behind Indy. Satipo and Barranca then have a 

               fast, silent communication: Barranca indicates his desire to 

               slit Indy's throat; Satipo gives him a look that says "Be 

               patient, you idiot".

               THE APPROACH TO THE TEMPLE

               The party fans out to fight their way through the entwined 

               trees that guard the temple. Visibility is cut to five feet 

               in the heavy mist. Satipo extracts a short, native dart from 

               a tree and examines the point gingerly

                                     SATIPO

                              (showing Indy)

                         The Hovitos are near. The poison is 

                         still fresh... three days. They're 

                         following us, I tell you.

                                     INDY

                         If they knew we were here, they would 

                         have killed us already.

               The two Indiana jabber in Quechua, near hysteria. Barranca 

               is sweating profusely, eyes darting. He yells at the Indians 

               in Quechua to "shut up".

               In the undergrowth, there is slithering movement.

               Indian #1 draws aside a branch and is faced with a horrific 

               stone sculpture of a Chachapoyan demon. The Indian is so 

               frightened no sound comes out when he screams. He turns and 

               runs silently away.

               Indian #2 calls to his friend. Getting no response, he steps 

               in that direction. A huge macaw, flushed from the undergrowth, 

               screams and flies away. Indian #2 does exactly the same thing, 

               never to be seen again.

               Indy, Satipo and Barranca, just clearing the trees, look 

               back in that direction. They all turn to face the Temple.

               It is dark and awesome. 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 pistol. 

               He raises it toward Indy as Satipo realizes with alarm what 

               he's doing. Too late. Indy's head turns and he sees Barranca.

               Indy's next move is amazing, graceful and fast, yet totally 

               unhurried. His right hand slides up under the back of his 

               leather jacket and emerges grasping the handle of a neatly 

               curled bullwhip. With the same fluid move that brings Indy's 

               body around to face the Peruvian, the whip uncoils to its 

               full ten 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 frightened. 

               He raises his arms in supplication.

                                     SATIPO

                         I knew nothing! He was crazy! Please!

               Indy looks him over, then nods. He frees the whip from 

               Barranca's body and picks up the man. His eyes sweep the 

               surrounding woods.

                                     INDY

                         Let's go.

               INT. TEMPLE - INCLINED PASSAGE - DAY

               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.

               HALL OF SHADOWS

               Indy leads the way down a twisting hallway, Satipo's torch 

               barely lighting his way from behind. Indy disappears in a 

               shadow and when he reappears a moment later a huge black 

               tarantula is crawling up the back of his jacket. Indy doesn't 

               notice and disappears into another shadow, emerging with two 

               more tarantulas on his back.

               Satipo sees them and makes a frightened grunting sound. Indy 

               looks at him, sees what he's pointing at and casually brushes 

               all three spiders off with his rolled whip, as he would a 

               fly. Satipo pirouettes for an inspection and Indy flicks one 

               off the Peruvian's back.

               Indy begins picking up little pocket-sized artifacts from 

               the niches and ledges of the Temple. He continues to do this 

               as the men penetrate the Temple. His collecting is quick and 

               expert, evaluating the pieces in an instant, discarding some, 

               stuffing others into his clothes, and never stopping his 

               forward progress.

               CHAMBER OF LIGHT

               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.

               STAIRWAY

               Indy and Satipo come down stone stairs to a tight landing. 

               Framing the entry are a carefully strung network of dead 

               vines, each somehow hooked into the wall, narrowing the 

               opening even more.

                                     INDY

                              (taking 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.

               FOYER OF THE SANCTUARY

               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 exchange glances. Indy looks 

               up at the high roof of the hall. He swings the whip up around 

               a support beam, tests its strength with a pull and swings 

               over the pit on the whip. From the other side he swings the 

               whip back to Satipo, who throws Indy the torch. Satipo swings 

               across. When they are both standing on solid floor there is 

               a moment of quiet in which they hear, from far, far below - 

               SPLASH! Indy wedges the whip handle into the wall and leaves 

               it strung to the beam for quick retreat.

               THE SANCTUARY

               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 significance 

               to Indy and he stands with even greater caution. He waves 

               the torch ahead of him and at waist height an air current 

               whips at the flame. Indy ducks under it and leaves a burn 

               mark on the white tile beneath it.

               Satipo watches, wide-eyed and mystified.

               Indy reaches the 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 approximates the weight of 

               the idol, he bounces it a couple times in his palm 

               concentrating. It's clear he wants to replace the idol with 

               the bag as smoothly as possible. His hand seems ready to do 

               that once, when he stops, takes a breath and loosens his 

               shoulder muscles. Now he sets himself again. And makes the 

               switch! The idol is now in his hand, the bag on the pedestal. 

               For a long moment it sits there, then the polished stone 

               beneath the bag drops five inches. This sets off an AURAL 

               CHAIN REACTION of steadily increasing volume as some huge 

               mysterious mechanism rumbles into action deep in the temple.

               Indy spins and starts his kata back across the sanctuary at 

               four times the speed.

               Satipo's eyes widen in terror. He turns and runs.

               THE RETREAT - INTERCUTTING INDY AND SATIPO

               The sanctuary has begun to rumble and shake in response to 

               the mysterious mechanism. Just as Indy goes out the door, a 

               rock shakes loose from the wall and rolls onto the tiles 

               floor. Immediately, a noisy torrent of poison darts fills 

               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.

               THE INCLINED PASSAGE

               Indy shoots out of a cut-off hallway and turns toward the 

               exit. The rumbling is very loud and now we see why: right 

               behind Indy a huge boulder comes roaring around a corner of 

               the passage, perfectly form-fitted to the passageway. It 

               obliterates everything before it, sending the stalactites 

               shooting ahead like missiles. Indy dashes for the light of 

               the exit. His hat flies off his head. Almost immediately it 

               is crushed by the boulder. Indy dives out the end of the 

               passage as the boulder slams to a perfect fit at the entrance, 

               sealing the Temple.

               EXT. FRONT OF THE TEMPLE - DAY

               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 produces the 

               idol and hands it to Belloq. Belloq extends his other hand, 

               smiling. Indy hands over his gun. Belloq sticks it in his 

               jacket.

                                     BELLOQ

                         And you thought I'd given up.

                                     INDY

                              (eyeing the Hovitos)

                         Too bad they don't know you like I 

                         do, Belloq.

                                     BELLOQ

                              (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.

               EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY

               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.

               EXT. THE URUBAMBA RIVER - DUSK

               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 compartment.

               INT. JOCK'S PLANE - DUSK

               Indy relaxes and lies across the seat, a big smile on his 

               face. One hand drops to the floor of the cabin and Indy jumps, 

               hitting his head. On the floor of the cabin is a huge boa 

               constrictor. Indy tries to get his whole body onto the seat. 

               Jock sees what's happening.

                                     JOCK

                         Don't mind him. That's Reggie. 

                         Wouldn't hurt a soul.

                                     INDY

                         I can't stand snakes.

                                     JOCK

                         The world's full of them, you know.

                                     INDY

                         I hate them.

                                     JOCK

                         Come on now, Sport, show a little of 

                         the old backbone.

               EXT. JOCK'S PLANE - TWILIGHT

               It soars off over the dark jungle.

               INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY

               It's autumn and the pretty, New England campus out Indy's 

               window reflects it in dazzling color. A few weeks before the 

               start of classes. Activity just picking up. Some students 

               about.

               Indy is at a bookcase near the window and he looks quite 

               different in this setting. His outfit is tweedy, slightly 

               rumpled in the professional style. Part of his attention is 

               focused in a book and he wears glasses to see the fine print. 

               The office is cramped, absolutely inundated with books, maps, 

               etchings and 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 Washington, D.C. Brody 

               is examining the small artifacts Indy pocketed on his way 

               into the Peruvian Temple. He occasionally uses a jeweler's 

               eyepiece to get a closer look. But he is distracted, his 

               concerns elsewhere, and it is this that his old friend Indy 

               senses from across the room.

                                     BRODY

                         Do you think the idol will ever show 

                         up?

                                     INDY

                         I don't know. Just because Belloq 

                         had it doesn't mean he kept it.

               Indy snaps the book closed and puts it on the shelf. He takes 

               his glasses off and focuses on Brody. At the windowed door 

               to his office, two pretty Coeds pause for a moment, look in 

               at their sexy Archeology professor, giggle and disappear.

                                     INDY

                         Getting it away from those Indians 

                         would be a neat trick

                              (a hard look)

                         I hope they got him.

               A young male graduate student, Indy's TEACHING ASSISTANT, 

               taps on the door and then pushes his way in with an armload 

               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 buy them as usual. No questions 

                         asked.

                                     INDY

                         Then what's wrong?

                                     BRODY

                         I brought along some people today.

                                     INDY

                         What kind of people?

                                     BRODY

                         Government.

                                     INDY

                              (concerned)

                         Government?

                                     BRODY

                         Don't worry, it's not about your 

                         business.

                              (indicates the 

                              artifacts)

                         They're from the Army.

                                     INDY

                         I've already served.

                                     BRODY

                         Army Intelligence. They're looking 

                         for Abner.

               INT. INDY'S LECTURE HALL / CLASSROOM - DAY

               Indy's course - a combination of archeology and anthropology - 

               is taught in this amphitheater-type lecture hall. His desk 

               and lectern hold large reference books; blackboards line the 

               wall. Bones, maps, charts 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 falling 

                         out.

                                     EATON

                         You know nothing of his whereabouts?

                                     INDY

                              (negative)

                         Just rumors. Somewhere in Asia, last 

                         I heard.

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

                                     EATON

                              (to Musgrove)

                         Maybe Dr. Jones can make sense of 

                         it.

               Again the military men have a silent communication, deciding 

               what to reveal.

                                     MUSGROVE

                         Well... you must understand, Dr. 

                         Jones, this is all strictly 

                         confidential.

                                     INDY

                         I understand.

                                     MUSGROVE

                         Yesterday, one of our European 

                         sections intercepted a Nazi communique 

                         from Cairo to Berlin. We don't quite 

                         know what to make of it.

               Musgrove takes a sheet from his briefcase.

                                     MUSGROVE

                         Here it is - "Tanis development 

                         proceeding. Acquire headpiece, Staff 

                         of Ra, General Tengtu Hok, Shanghai. 

                         Locate Abner Ravenwood, U.S."

               Brody is excited. He looks at Indy.

                                     BRODY

                         Tanis. They must have discovered the 

                         lost ruins.

               Indy contemplates this big news; he's impressed.

                                     INDY

                              (to himself)

                         Tanis. Ain't that somethin'!

                                     EATON

                         Frankly, we're a little suspicious... 

                         An American being mentioned so 

                         prominently in a secret Nazi cable.

                                     INDY

                         Ah, Ravenwood's no Nazi.

                                     EATON

                         Then what do they want him for?

                                     INDY

                         They're looking for the headpiece to 

                         the Staff of Ra.

                                     MUSGROVE

                              (indicates his sheet)

                         But it says here that's in China.

                                     INDY

                         Only half of it. Ravenwood had the 

                         other half.

                                     EATON

                         What would the Nazis want with this - 

                         this Staff of Ra?

                                     BRODY

                         I can tell you that. Over the last 

                         two years the Nazis have had teams 

                         of archeologists running around the 

                         world looking for all kinds of 

                         religious artifacts.

                                     MUSGROVE

                         That's right. Hitler's a nut on the 

                         subject. Crazy. He's obsessed with 

                         the occult.

                                     EATON

                         What is this Staff of Ra, anyway?

                                     INDY

                         It all has to do with the Ark of the 

                         Covenant.

                              (the Army guys look 

                              mystified)

                         The chest the Hebrews used to carry 

                         around the Ten Commandments.

               Now it's the Army men who are impressed.

                                     INDY

                         An Egyptian pharaoh stole the Ark 

                         from Jerusalem and took it back to 

                         the city of Tanis. A short time later, 

                         Tanis was consumed by the desert in 

                         a sandstorm that lasted a year. But 

                         before that, the Pharaoh 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 enthusiastic teacher 

               he must be).

                                     INDY

                         Now this was rather clever. The Staff 

                         was really just a big stick - oh, I 

                         don't know, say like this -

                              (he indicates about 

                              six feet)

                         no one really knows for sure. 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 vanquishing 

               an opposition force. At the forefront of the Israelite ranks, 

               two men carry the Ark of the Covenant, a beautiful gold chest, 

               crowned by two sculptured gold angels. The men do not touch 

               the Ark itself; rather they carry it by use of two long wooden 

               poles which pass through rings in the corners of the Ark. 

               The painting is very dramatic, full of smoke, tumult and 

               sinewy dying men. But the most 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 leveling 

                         mountains and wasting entire regions. 

                         Moses promised that when the Ark was 

                         with you, "your enemies will be 

                         scattered and your foes fell before 

                         you".

                              (pause)

                         An army which carries the Ark before 

                         it is invincible.

               Eaton and Musgrove exchange worried looks.

                                     INDY

                         Oh, there's one other thing that 

                         Hitler 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.

               EXT. FRONT DOOR, INDY'S HOUSE - NIGHT

               Indy's English Tudor, upper middle class home. 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.

               INT. FOYER, INDY'S HOUSE

               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 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 champagne.

               INT. STUDY, INDY'S HOUSE

               Brody enters the book-lined, dark-wooded study. He paces for 

               a moment before the fire which is dying in the fireplace, 

               then spots something and goes over to Indy's big desk. The 

               surface is covered with open books, monographs, maps and 

               drawings - all about the Ark of the Covenant. Brody smiles; 

               he knows his friend very well. Indy comes in, closing the 

               door behind him. Brody turns to him with a triumphant 

               expression.

                                     BRODY

                         They want you to go for it. And 

                         they'll pay.

                                     INDY

                              (smiles)

                         Good work, Marcus. I had a feeling 

                         this would happen. And, of course, 

                         the Museum gets the Ark when we're 

                         done.

                                     BRODY

                              (smiles)

                         Of course.

               Indy's manner is vigorous, aggressive.

                                     INDY

                         Okay, here's the way it's gonna be. 

                         First, I'll high-tail it to Shanghai 

                         and get the piece from General Hok. 

                         Then I think I know where I can find 

                         Ravenwood. If only I can get -

                                     BRODY

                         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:

               EXT. IN THE AIR - DAY / NIGHT

               A Pan Am Clipper flies west over the Pacific.

                                                                   WIPE TO:

               INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY

               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.

               EXT. HOK'S STREET - DAY

               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.

               EXT. HOK'S STREET - IN FRONT OF PALACE - DAY

               A Mercedes limousine appears round a corner and squeals to a 

               stop at the front gate of the palace, which is manned by a 

               sturdy Chinese Gateman. There are three Germans inside, one 

               the driver.

               EXT. ALLEY BEHIND HOK'S MUSEUM - DAY

               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.

               INT. HOK'S PALACE - ENTRY HALL

               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 robed 

               Chinese Advisor. He wears a fantastic gold ornamental robe. 

               Despite the majesty, however, nothing can disguise the fact 

               that Hok is basically a wild, fat barbarian; an animal. Hok 

               and his escort group bow in what is the beginning of a long 

               welcoming ceremony. The Germans exchange impatient glances 

               but decide they should play it as it comes. They bow.

               INT. HOK'S MUSEUM

               No person in sight. Instead, we see a magnificent display of 

               ancient artifacts. Glass cases hold the velvet-couched pieces 

               at random spots on the shining marble floor. We hear an odd 

               sound. Near the floor on the rear wall of the museum, a steel 

               ventilation grate moves. A hand slides it gently across the 

               marble. Indy sticks his head out and looks around.

               INT. HOK'S PALACE - TEA ROOM

               The three Germans are being served tea and exotic delicacies. 

               A pleased Tengtu Hok watches from a throne-cushion. When the 

               tray of tiny delicacies is presented to him, he takes a 

               massive handful, crushing them together on their way to his 

               smiling mouth.

               INT. HOK'S MUSEUM

               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 myriad tiny threads which run 

               up and across the ceiling, then down to the various display 

               cases. Indy looks up at the gong, then continues his quick, 

               quiet foray among the cases. Beyond him, a high window.

               INT. HOK'S PALACE - TEA ROOM

               Hok and his visitors stand to go. The German's pleased 

               expressions make it clear they're finally on their way to 

               the museum.

               INT. HOK'S MUSEUM

               Indy arrives at his destination. The lovely, carved gold 

               section of the headpiece is nested on purple velvet in a 

               glass case. At the bottom of the piece is a round hollow 

               where the staff would fit. There is a grunting sound behind 

               Indy and he spins, already reaching for his revolver.

               A fierce Japanese Samurai is running at Indy full speed down 

               an aisle of display cases. His sword is raised over his 

               shoulder ready to cut Indy in half. He's six feet away when 

               Indy's gun levels and fires twice, blasting him backwards. 

               Indy is still looking over his gun when another samurai sword 

               comes down from the side and knocks the pistol brutally out 

               of Indy's grip; his hand avoids amputation by a quarter of 

               an inch.

               An amazed Indy backs away from the crossing aisle as the 

               Second Samurai steps in to face him, sword raised. Indy backs 

               away into an open space and his bullwhip appears in his hand. 

               He gives it one savage CRACK! to announce its arrival and 

               the Samurai slows down, eyeing it curiously. The Samurai 

               does not look unhappy about this confrontation. How pure it 

               is - The Sword versus The Whip.

               EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

               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.

               EXT. STREET IN FRONT OF THE PALACE - DAY

               The Lovely Mercedes limousine blows up.

               EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

               The Germans spin toward the blast. Drawing weapons, they run 

               back to investigate. Hok follows them, confused.

               INT. HOK'S MUSEUM

               Indy and the Samurai face each other. They're both breathing 

               hard from previous, no-contact passes at each other. Now 

               Indy begins swinging the whip over his head again. It whizzes 

               out toward the Samurai's face. The Samurai 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 hopping it.

               Indy sees it. The split second he wants. The whip flashes up 

               from the floor and wraps solidly and irrevocably around the 

               Samurai's neck. Indy gives it a murderous pull and the Samurai 

               is dead on his feet.

               EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

               Hok and the three Germans are looking down at the flaming 

               remains of the Mercedes. A look of concern crosses Hok's 

               face. He turns and runs back toward his beloved museum.

               INT. HOK'S MUSEUM

               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.

               EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY

               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.

               INT. HOK'S MUSEUM

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

               Indy is halfway along an unprotected wall back to his 

               ventilation entry route. Hok opens up on him, cutting off 

               his retreat. Indy jumps behind a marble column, which is 

               promptly blasted with machine gun fire.

               Indy looks above him, sees the giant disk of the gong. 

               Reaching up, pushing with tremendous effort, he maneuvers it 

               off the hook. It bounces down to the floor on its side, 

               chipping the marble with its monstrous weight. Indy steadies 

               it and then puts his whole body into rolling it across the 

               room toward the window. As it starts to roll, Indy slips 

               behind it and runs across the room with it.

               Hok can see the rolling gong. He opens up on it. The vicious 

               cacophony of machine gun fire is joined by the musical reports 

               of bullets hitting the gong and ricocheting away. Very, very 

               noisy.

               Behind the gong, Indy gauges his move. As the gong is about 

               to be stopped by a marble bench, Indy talks a long stride 

               onto the bench and dives through the glass of the high window. 

               Hok's bullets hit the wall.

               EXT. ROOF - DAY

               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.

               EXT. ALLEY BEHIND MUSEUM - DAY

               Kehoe, craning to locate Indy, has the Ford rolling slowly 

               along the back of the museum. Bang scouts from the back seat. 

               Indy appears on the roof at a run, gauges the movement of 

               the car and jumps from the roof of the museum to the roof of 

               the sedan. Unfortunately, the roof of the old car can't take 

               it and Indy's legs knife right on through to the interior, 

               where he scares the hell out of Kehoe.

               INT. KEHOE'S CAR - DAY

               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.

                                                                   WIPE TO:

               EXT. DC-3 IN THE AIR - DUSK

               The plane flies west into the sunset.

               INT. DC-3 - NIGHT

               Under a meager seat light, Indy is pouring over a journal 

               article by Abner Ravenwood and related map of Nepal.

               A few rows back, across the aisle, a trenchcoated European 

               Spy eyes Indy.

                                                                   WIPE TO:

               INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT

               A huge stuffed raven, wings spread wide, is mounted behind 

               the long bar in the noisy, crowded saloon. A lively mix of 

               patrons is represented in the late hour tableau: Nepalese 

               natives, fierce Sherpa mountain guides, sleazy international 

               smugglers and fugitives, and, of course, mountain climbers 

               from every corner of the earth. A tall Nepalese, MAHDLO, is 

               the bartender.

               In a corner near the fireplace trouble breaks out suddenly 

               between the groups at two neighboring tables. Ferocious 

               representatives from each table - one a wild-looking SHERPA, 

               the other a muscular Australian CLIMBER - jump up to face 

               each other. As the two contenders stand 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 

                         tomorrow.

               Mahdlo is hesitant, but lays the axe handle on the bar and 

               goes out. Indy has been barely aware of him. Now he settles 

               again on the 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 digging. 

                         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 that 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 or cares. But I'll go. And 

                         when I do, they'll know me. 'Cause 

                         I'm going to go back in style. With 

                         money. A goddamn lady!

                                     INDY

                         Where you gonna get it?

                                     MARION

                         If I knew that, you think I'd still 

                         be running this dive?

               Indy looks at her, thinking. Under his gaze, she blushes, 

               for reasons only she understands. She looks into her glass 

               and, for a moment, she softens.

                                     MARION

                         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 

                         Schenectady.

                                     INDY

                         I can only say I'm sorry so many 

                         times.

               Marion looks at him thoughtfully, takes a drink.

                                     MARION

                         You really have money? You don't 

                         look rich.

                              (Indy nods)

                         I may be able to locate some of his 

                         things. I know who's got them. What 

                         do you want?

                                     INDY

                         A bronze piece, about this size. In 

                         the shape of the sun. Probably broken 

                         off at the bottom. Has a little hole 

                         in it, off-center. Does that sound 

                         familiar?

               Marion thinks, nods slowly.

                                     INDY

                         Do you know where it is?

                                     MARION

                         Maybe. How much?

                                     INDY

                         Three thousand. American.

                                     MARION

                              (negative)

                         That'll get me back, but not in style. 

                         This doodad must be pretty important.

                                     INDY

                         Maybe.

               A huge smile lights up Marion's face.

                                     MARION

                         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 thousand 

                         here.

                              (Indy hesitates)

                         You want trust, give some. I want to 

                         smell your money.

               Indy thinks about this a moment, then reaches inside his 

               shirt and pulls 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 for 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 discipline herself.

                                     MARION

                         Get out of my place.

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

               back -

                                     INDY

                         Tomorrow.

               He's gone. Marion stares after him, thinking. She takes a 

               drink. Then slowly, her hand comes up to loosen 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.

               EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT

               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:

               INT. "THE RAVEN" - NIGHT

               Marion stands before the fire that is shrinking in the 

               fireplace. She jabs at it abstractedly with a poker, thinking. 

               Suddenly tears well up in her eyes. She lets the poker slip 

               from her hand, wipes away the tears. She walks across the 

               room to the end of the bar, still cluttered with bottles and 

               glasses, and stops at the pile of American money Indy has 

               left. She takes the chain from around her neck and lets the 

               medallion slide off it into her hand. She places it on the 

               bar next to the pile of money, thinking. Then, having reached 

               some decision, she picks up the pile of bills, walks up the 

               back of the bar and pulls a small wooden box from under the 

               bar. She flips open the top, puts the cash inside and closes 

               the top. She leaves the box on the bar and starts back toward 

               the medallion. The front door of the saloon bursts open and 

               Four Bad Men come in. Marion, halfway between the valuable 

               possessions and not wishing to draw attention to either, 

               stops where she is.

               The Four Bad Men who advance on her are:

               1.) the obvious leader, a short, vile, sadistic German in 

               spectacles by the name of BELZIG.

               2.) a 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 same thing your friend Dr. Jones 

                         wanted. Surely he told you there 

                         would be other interested parties.

               Marion shakes her head.

                                     BELZIG

                         Ah, the man is nefarious. I hope for 

                         your sake he has not yet acquired 

                         it.

                                     MARION

                         Why, are you willing to offer more?

                                     BELZIG

                         Almost certainly. Do you still have 

                         it?

                                     MARION

                         No. But I know where it is.

               Belzig's smile fades at this news. He's not a patient sort. 

               Marion is chilled by the look. She turns and moves to the 

               shelf of bottles behind her, reaching high for one, very 

               near the large stuffed raven. 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 tomorrow 

                         when Jones is here and we'll have an 

                         auction?

               Belzig gives her a cold look then turns and walks over toward 

               the fireplace. As soon as his back is turned, the Second 

               Nazi grabs the nearest whiskey bottle and takes a quick pull. 

               In so doing, he leaves the medallion completely exposed. 

               Marion is aware of this as she looks at him. But he quickly 

               puts the bottle down again, obscuring the medallion, when 

               Belzig speaks from the fireplace.

                                     BELZIG

                         I'm afraid an auction is not possible.

                              (pause)

                         Your fire is dying here, Fraulein.

                              (a beat, then 

                              threatening)

                         Why don't you tell us where the piece 

                         is right now?

                                     MARION

                         Listen, Herr Mac, I don't know who 

                         you're used to dealing with, but no 

                         one tells me what to do in my place.

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

               head.

                                     BELZIG

                         Americans! You're all alike. Fraulein 

                         Ravenwood. I'll show you 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 bullwhip wraps 

               around the middle of the poker and tears it out of Belzig's 

               hands. The poker sails high across the room, free of the 

               whip, and lands in the heavy curtains that cover one window. 

               The curtains immediately burst into flame.

               The four Bad Men look in surprise toward the front entrance. 

               Indy is poised there, the whip in his right hand, a .45 

               automatic raised toward them in his left.

                                     INDY

                         Hello.

               Now everything begins to happen very fast -

               The Mongolian had just come around the bar at the end opposite 

               the medallion. He dives back to crouch behind the end of the 

               bar, raising his 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 burning 

               fragment drops to the top of the bar, which immediately lights 

               up, fueled by the spilled alcohol. Full whiskey bottles 

               explode like Molotov cocktails.

               Rolling on the floor, Indy and the Giant Sherpa are fighting 

               for control of Indy's .45. Belzig sees this and 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. Without 

               hesitation he picks up the metal medallion, palming it. 

               Immediately there is a sickening searing sound and Belzig's 

               expression changes from joy to agony. He screams in pain and 

               tries to shake the red-hot medallion from his skin. Marion 

               opens up and the bar starts to splinter in front of Belzig. 

               The medallion comes free of Belzig's hand and rolls across 

               the floor.

               Belzig has had enough. In excruciating pain, he turns, sees 

               a window, runs and dives through the glass.

               An exhausted Indy uses his whole body to upend the Giant 

               Sherpa, who lands hard on his back. They are surrounded by 

               flames.

               EXT. "THE RAVEN" - SNOW BANK - NIGHT

               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.

               INT. "THE RAVEN" - NIGHT

               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 moving among 

               the burning furniture.

                                     INDY

                         Let's get out of here!

                                     MARION

                         Not without that piece you want!

                                     INDY

                         It's here?

               Marion nods, kicks aside a burning chair. Another burning 

               beam falls from the roof. Indy pulls Marion close to him 

               protectively.

                                     INDY

                         Forget it! I want you out of here. 

                         Now!

               He 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!

               EXT. CAIRO - VARIOUS SHOTS - DAY

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

               skyline. Then we're closer, in the narrow, exotic streets, 

               teeming with life: fierce-looking men in tattered galabiyas, 

               black-gowned women with veiled faces, ragged, barefoot 

               children.

               INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)

               Indy and Marion have been welcomed like family into the 

               crowded home of SALLAH, his wife FAYAH, and their NINE 

               CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, 

               appears, at first glance, to be the power in the house. 

               Sallah, a small, cheerful, energetic fellow in his forties 

               defers to his wife in all matters of little importance. 

               Suddenly the general liveliness at the children's table 

               escalates into pandemonium, attracting the attention of the 

               adults.

                                     FAYAH

                         Silence!

                              (there is silence)

                         Why do you forget yourselves?

               The gaggle of grinning off-spring parts to reveal in their 

               midst - a MONKEY. It is munching some flat Arab bread.

                                     FAYAH

                         What is this? Who brought this animal 

                         in?

               All the children chatter their innocence at once. The Monkey 

               chatters too; it's an entertainer. The Monkey jumps from the 

               children's table to the adults' and struts slowly up toward 

               Marion, who thinks it's the cutest thing she ever saw. When 

               it reaches her, it takes off its turban and does a deep, 

               grand bow to her. She is delighted and takes the Monkey into 

               her arms. The Monkey kisses her cheek. The children laugh.

                                     MARION

                         Why, thank you. I like you too.

                                     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.

               EXT. COURTYARD - SALLAH'S HOUSE - NIGHT

               Indy and Sallah sit in the small, protected courtyard. Sallah 

               holds the two sections of the headpiece, the medallion and 

               the base, and has for the first time fitted them together. 

               They fit perfectly and complete the headpiece. He peruses 

               the markings on the headpiece quizzically. Indy is cleaning 

               and loading a .45 automatic.

                                     INDY

                         I knew the Germans would hire you, 

                         Sallah. They couldn't have an 

                         excavation in the desert without the 

                         best digger in Egypt.

                                     SALLAH

                         All Arabs look alike to them, Indy.

                                     INDY

                         Tell me about the map room at Tanis.

                                     SALLAH

                         We found it three days ago. I broke 

                         through myself.

                                     INDY

                         Those Nazis are moving awfully fast.

                                     SALLAH

                         The Frenchman is helping them.

               Indy reacts.

                                     INDY

                         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.

               EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY

               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. Talking 

                         that way about our baby. He's got 

                         your looks, too.

                                     INDY

                         And your brains.

               As Indy and Marion turn a corner, the Monkey seems to notice 

               something and immediately jumps from Marion's shoulder and 

               hurries off at a frantic pace down the street.

                                     MARION

                              (looking disappointed)

                         Hey! Hey!... where're you going?

                                     INDY

                              (dragging Marion on)

                         He'll be OK. Come on. Come on.

               EXT. ANOTHER CAIRO STREET - DAY

               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.

               EXT. ANOTHER BUSY CAIRO STREET - DAY

               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.

               EXT. A SMALL BAZAAR - DAY

               Indy and Marion have reached a tiny square, made even more 

               cramped by its use as a small bazaar. They have started 

               working their way through the crowd when several Bad Arabs 

               and a German Agent begin to converge on them. Indy immediately 

               sees what's happening and pulls the bull whip from his jacket. 

               The first Bad Arab to reach them gets hit in the mouth by 

               the handle of the whip. Now all hell breaks loose, with Bad 

               Arabs, Innocent Shoppers, baskets of fruit and tables of 

               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.

               EXT. BETWEEN THE BUILDINGS - DAY

               Marion runs along the narrow space and soon encounters a 

               five foot wall. She flops over it. The Bad Arab is right on 

               her heels. He reaches the wall and vaults over. On the other 

               side of the wall, the Bad Arab lands in a crouch, looks ahead 

               and doesn't see Marion. Immediately a heavy earthen pot 

               smashes over his head, putting him out. Marion steps from an 

               alcove and starts to run toward the street at the other end 

               of the walkway. Suddenly another Bad Arab and a new German 

               Agent appear in the street at that end. Before they can spot 

               her, Marion retreats to the alcove again. There is a huge 

               rattan basket sitting there. Marion climbs in and closes the 

               top above her.

               The only witness: The Monkey, who is now perched on the fire 

               foot wall.

               EXT. THE SMALL BAZAAR - DAY

               Chaos. An entire booth of pots and pans collapses on a Bad 

               Arab and a German Agent as Indy whips away a support.

               EXT. BETWEEN THE BUILDINGS - DAY

               The chattering Monkey leads a German Agent and two Bad Arabs 

               to Marion's hiding place, gesturing maniacally.

               EXT. THE SMALL BAZAAR - DAY

               Indy ducks under the swinging blade of a huge Arabian sword 

               and kicks the Bad Arab Swordsman in the groin.

               EXT. SIDE STREET - DAY

               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!

               EXT. THE SMALL BAZAAR - DAY

               Indy has heard her. He looks across the square as the basket 

               and its escorts disappear beyond a building. One last Bad 

               Arab rises before him. Indy's whip flashes and the Bad Arab's 

               robe falls down to his ankles. Indy frantically pushes his 

               way through the panicked mass of humanity in the direction 

               the basket has gone.

               EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE 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 particularly crowded alley, Indy 

               leaps up onto a wall for a clearer view. Whatever he sees 

               gives him an idea and he cuts between two buildings rather 

               than following the basket.

               EXT. DESERTED ALLEY - DAY

               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.

               EXT. DESERTED SQUARE - DAY

               Indy rounds the corner and is immediately driven back by 

               machine gun fire. Taking cover, he gets quick, intermittent 

               glimpses of this scene: At the far corner of the large, 

               deserted square is a canvas-covered truck. Two Bad Arabs are 

               hurrying toward is with a large rattan basket 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.

               EXT. BACK OF THE TRUCK - DAY

               What Indy cannot see is that the basket lands among an ominous 

               load of German munitions, dynamite and firearms. The truck 

               immediately peels out.

               EXT. DESERTED SQUARE - DAY

               The German Agent has stopped firing in order to drive. He 

               floors it, aiming for a street at the corner of the square. 

               Indy uses the lull to take careful aim at the German Agent's 

               profile and fire off three careful shots. The German Agent 

               is hit, blasted dead against the steering wheel. The speeding 

               truck swerves, hits a wall, rolls over and explodes in an 

               enormous, multi-leveled eruption as its contents ignite. 

               Several surrounding buildings are leveled.

               Indy, blown back across the square, looks on, astounded and 

               horror-stricken.

                                     INDY

                         Marion.

               INT. ARAB BAR - NIGHT

               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 pockets. 

               Indy notices them now with a bleary glance. He decides he's 

               in no shape to kill or be killed and moves with them across 

               the room, taking his bottle with him. The Arab patrons take 

               this in and mind their own business.

               The occupant of the smoke-shrouded corner table becomes 

               visible only as Indy reaches there: it is Emile Belloq. He 

               is drinking wine.

                                     INDY

                         Belloq.

                                     BELLOQ

                         Good evening, Dr. Jones.

                                     INDY

                         I ought to kill you right now.

                                     BELLOQ

                         It was not I who brought the girl 

                         into this dirty business.

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

                                     BELLOQ

                         Sit down, please, before you fall 

                         down. We can behave as civilized 

                         people. I'm afraid it will be your 

                         last opportunity.

               Indy sits, glancing at the German Henchmen, who settle nearby, 

               just out of earshot.

                                     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 vigorous 

                         in Shanghai. Unfortunately, our friend 

                         the Wild Boar had taken the precaution 

                         of making several copies of the piece.

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

               with disdainful amusement.

                                     BELLOQ

                         How odd that 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 shadowy 

                         reflection of you. But it would have 

                         taken only a nudge to make you the 

                         same as me, to push you out of the 

                         light.

               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 what 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 yourself 

                         fortunate that your involvement 

                         concludes here.

                                     INDY

                         Tell me, did you get away with the 

                         idol?

                                     BELLOQ

                              (negative)

                         I was lucky to get away with my life. 

                         The Hovitos proved quite narrow-minded 

                         about the whole matter.

               Indy takes a drink.

                                     INDY

                         You know, if it's God you want to 

                         talk to, maybe I can arrange it.

                                     BELLOQ

                              (smiles)

                         You have not changed. But, please, 

                         do not reach for your weapon until 

                         you are ready to die.

               The front door of the bar slams open and all nine of SALLAH'S 

               CHILDREN scamper in and over to a surprised Indy. Two of the 

               smallest hop into his lap.

                                     LITTLE SON

                         Uncle Indy, we have been looking for 

                         you.

                                     LITTLE DAUGHTER

                         Come home now, Uncle. Hurry!

               Suddenly the Arab patrons of the bar take an intense interest 

               in the situation, shifting their weapons.

                                     INDY

                         Yes. Yes, I'll come now.

               Indy stands up. The German Henchmen 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.

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

               Indy climbs into the cab of Sallah's truck with a smiling 

               Sallah as the children pile into the back. Sallah pulls out.

                                     SALLAH

                         I thought we would find you there.

                              (indicating the kids)

                         Better than the United States Marines, 

                         eh?

                                     INDY

                              (nods)

                         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.

               INT. SALLAH'S HOUSE

               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 continue 

               on the sun medallion.

                                     AMIR

                              (reading)

                         "And one jamir to honor the Hebrew 

                         God whose Ark this is."

               Indy, still holding the date, exchanges a long look with 

               Sallah.

                                     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 laughing 

               to Sallah and doesn't see as the Monkey's paw comes up, 

               slowly, takes another date and begins to withdraw. Suddenly 

               the paw is stricken with palsy and the unseen Monkey goes 

               into its death throws. Sallah watches the paw as though 

               hypnotized. Finally the paw slips from sight and we hear a 

               solid THUMP! on the floor. Sallah walks around the table and 

               looks at the floor. The Monkey lies dead among a mess of 

               date pits.

               Indy is in a happy world of his own. He throws his date high 

               in the air. He positions himself under it and waits for it 

               to drop in. Here it comes. Right on target. As it's about to 

               disappear into Indy's mouth, Sallah's hand flashes in and 

               grabs it. Indy looks mystified and disappointed. Sallah 

               motions toward the dead Monkey.

                                     SALLAH

                         Bad dates.

               EXT. DESERT ROAD - MORNING

               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.

               EXT. RISE ABOVE THE TANIS DIGS - MORNING

               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.

               EXT. THE TANIS DIGS - MORNING

               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.

               EXT. AMONG THE TENTS - MORNING

               Indy and Sallah move stealthily among the tents. Indy carries 

               a smooth wooden staff almost seven feet tall. They stop 

               between two tents and look across a path at the entrance to 

               the map room. What appeared to be a mound of dirt is actually 

               the roof on the ancient building. The hole/entrance is a 

               five-foot square skylight. Indy looks around, then walks 

               casually to the edge of the hole and looks inside. Sallah 

               joins him, producing a length of rope from his robes. Indy 

               drops the staff into the unseen map room as Sallah ties the 

               rope around on oil drum. When it's secure, Indy wastes no 

               time disappearing down it into the map room.

               INT. MAP ROOM

               Indy is down the twenty feet to the floor of the room in 

               seconds. He tugs on the rope and it immediately gets pulled 

               up. Indy looks around with real wonder and excitement. The 

               room is lovely, with elaborate wall carvings and frescoes, 

               all lit by the bright stream of sunlight flooding in from 

               above. This beam of light leads Indy's eye to the far end, 

               and the room's truly remarkable feature: built into the floor 

               in meticulous relief is a miniature stone model of the ancient 

               city of Tanis. Already, the sunlight has worked its way down 

               the far wall and is edging onto the miniature of the city. 

               On the floor, to the skylight side of the miniature, is an 

               elaborate line created by embedded mosaic tiles. The evenly 

               spaced slots in the line, each accompanied by a symbol of a 

               time of year, are for the base of the staff. Indy pulls the 

               headpiece from his robes - it has been welded together - and 

               reaches for the staff.

               EXT. ABOVE THE MAP ROOM - DAY

               An extremely nervous Sallah has the gathered rope in his 

               hands and is trying to appear casual as he inches back toward 

               the oil drum. There is now a good bit of activity going on 

               up here.

                                     JEEP GERMAN (O.S.)

                         Hey! You, the skinny one!

               Sallah jumps about three feet. The JEEP GERMAN is standing 

               in an open space ten yards away looking at Sallah.

                                     JEEP GERMAN

                         Yes, you. What are you doing there?

               Sallah gestures his innocence.

                                     JEEP GERMAN

                         Well bring that rope over here, you 

                         cur.

               The Jeep German starts back toward his major concern: his 

               jeep is stuck in some sand beyond the next tent. Some Arab 

               Workers are trying in vain to budge it. Now another German 

               has backed his truck up to it. Sallah can think of nothing 

               to do expect obey. With a worried glance at the map room, be 

               begins untying the rope from the oil drum.

               INT. THE MAP ROOM

               Indy is examining the results of Belloq's work. Red paint 

               marks one of the miniature buildings in the layout and a 

               white calibrated tape has been strung from that building 

               back to a miniature of the map room. Now Indy begins examining 

               the mosaic base line for the staff. Sunlight has moves further 

               down across the miniature.

               EXT. IN THE CAMP - DAY

               Sallah watches nervously as his precious rope is pulled taut 

               between the pulling truck and the stuck jeep. He doesn't 

               notice that he has chosen to stand next to a large, steaming 

               kettle of food until -

                                     HUNGRY GERMAN (O.S.)

                         Bring us some of that!

               He points to the kettle. Sallah looks frantically from the 

               rope, back to the skylight of the map room, to the kettle of 

               food.

                                     HUNGRY GERMAN

                         Now, idiot!

               Sallah picks up some serving pieces and gets to work.

               INT. THE MAP ROOM

               The moment has arrived. Even the tension of the circumstances 

               cannot distract Indy from the purity of what he is about to 

               do. All his calculations are adjustments complete, Indy takes 

               the Staff of Ra and places it - CLINK! - in the right 

               depression on the base line. This is as active and exciting 

               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 shadow of 

               the metal sun. And by some trick of ancient artistry, this 

               one building responds to the sunlight like none of the others. 

               The golden light permeates it: it seems to glow. The building 

               is in a direct line with Belloq's - all the Frenchman's other 

               calculations were right - but it is a foot and a half beyond 

               it.

               EXT. IN THE CAMP - DAY

               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.

               INT. MAP ROOM

               Indy is on his knees at the miniature city, a special tape 

               measure in his hand. Indy has the tape strung from Belloq's 

               mistaken spot to his own correct spot. He gets his reading, 

               leaps up and crosses to the erect staff. He pulls the 

               headpiece off the staff and hides it in his robes. He quickly 

               breaks the wooden staff in two and throws the pieces behind 

               a pile of debris. Then he moves quickly to beneath the 

               skylight.

                                     INDY

                              (stage whisper)

                         Sallah.

                              (he waits, then louder)

                         Sallah!

               More waiting. Nothing. Indy looks around for some alternative 

               means of escape. The room doesn't offer any. He looks up at 

               the skylight again.

                                     INDY

                              (loudest)

                         Sallah!

               A long pause. Then something comes down. A makeshift rope. 

               Really just a bunch of clothing tied together - tunics, robes, 

               pants. But what we see first and most prominently, the first 

               section of Indy's escape rope, is a bright Nazi flag. Indy 

               beams and climbs.

               EXT. ABOVE THE MAP ROOM - DAY

               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 (O.S.)

                         Hey, you! More water over here!

               Sallah glances at Indy, Then hurries back in that direction. 

               The Hungry German focuses on Indy.

                                     HUNGRY GERMAN

                         Why aren't you at the digs? Come 

                         here!

               Indy bows in wild subservience and hurries off in the opposite 

               direction.

                                     HUNGRY GERMAN

                              (yelling after him, 

                              irritated)

                         No, dummkopf, I said come!

               EXT. BETWEEN TWO TENTS - DAY

               Indy hustles between the tents. Up ahead, two German Officers 

               stop to talk, blocking his exit. He moves along the side of 

               one of the tents until he finds an opening and slips inside.

               INT. THE TENT

               Indy finds himself in a tent set up for rather comfortable 

               living. He has just started to cross it when he hears a loud, 

               excited grunting. He turns toward the sound. In the corner, 

               tied to a chair and gagged is Marion. Indy rushes to her, 

               snatches the gag from her mouth and embraces her. They kiss, 

               deep and long.

                                     INDY

                         I 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 doing 

                         this. But the whole thing will be 

                         shot if you don't just sit here 

                         quietly. They haven't hurt you in 

                         the last twenty-four hours, they 

                         aren't going to start now. I'll be 

                         back to get you in no time.

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

               EXT. SAND DUNE OUTSIDE DIGS - DAY

               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.

               EXT. DIFFERENT DUNE - DAY

               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!

               EXT. INDY'S DIG - DAY

               Omar's truck is parked at the spot 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.

               INT. COMMAND TENT - TANIS DIGS - NIGHT

               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 premature 

                         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 

                         expects progress. You led me to 

                         believe -

                                     BELLOQ

                         Nothing. I have made no promises. I 

                         said only that it looked very 

                         favorable. Perhaps the Ark will still 

                         be found in an adjoining chamber. 

                         Based on the information in our 

                         possession, my calculations were 

                         correct. Perhaps some bit of evidence 

                         still eludes us. Perhaps

                                     GOBLER

                         Perhaps the girl can help us.

               Belloq shoots him an angry look.

                                     SHLIEMANN

                         My feeling exactly. She was in 

                         possession of the original piece for 

                         years. She may know much.

                              (really evil)

                         If properly motivated...

                                     BELLOQ

                         I tell you, she knows nothing useful.

                                     SHLIEMANN

                         I'm surprised to find you squeamish. 

                         That is not your reputation. But it 

                         needn't concern you. I have the 

                         perfect man for this kind of work.

               Shliemann signals Gobler, who steps outside the tent a moment, 

               calls someone and then reappears. Belloq looks warily at the 

               entrance. After a moment Belzig enters, reeking villainy. 

               When his eyes find Shliemann, his superior, he snaps a crisp 

               "Heil, Hitler!" at him, holding his palm rigid a long time, 

               exposing a burned scar in the prefect shape of the sun 

               medallion.

               EXT. INDY'S DIG - NIGHT

               In the eerie conjunction of moonlight and torchlight, Indy 

               and the other men step back in awe of their discovery: there, 

               flush with the bottom of their pit, is a heavy stone entry 

               door to an underground chamber. Special prying tools are 

               produced. With two men assigned to each of the two long tools, 

               they work in unison to open the vault. They open it a foot 

               and the 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 capable 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.

               INT. THE WELL OF THE SOULS

               Fifteen torches have been dropped to the floor of the chamber, 

               combining to make a good-sized clear zone. Smoke begins to 

               fill the room. Several canisters of oil have been lowered 

               into this space. Now, a large wooden crate is lowered slowly 

               by rope. Rope handles are attached to each end of the crate.

               Up at the hole, Indy gives Sallah a reassuring pat, takes a 

               breath, and swings carefully onto a rope hanging from the 

               hole. Despite his care, he swings a bit and his feet hit the 

               stone pillar which is so near the entry. Surprisingly, the 

               pillar actually 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.

               INT. MARION'S TENT

               Belloq has been talking to the still-bound Marion. He has 

               removed her gag. He is impatient, angry, uncomfortable. Caught 

               between two forces.

                                     BELLOQ

                         Believe me, you made a mistake. If 

                         you would just give me something to 

                         placate them. Some bit of information.

                                     MARION

                         I swear to you, I know nothing more. 

                         I have no loyalty to Jones. He's 

                         brought me only trouble.

               He wants to believe her.

                                     BELLOQ

                         I cannot control them.

               Marion's frightened look shifts suddenly to the entrance of 

               the tent. There are 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.

               EXT. INDY'S DIG - JUST BEFORE DAWN

               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.

               INT. THE WELL OF THE SOULS

               Indy and Sallah are on the altar. Pushing together with all 

               their strength, the heavy stone top of the protective chest 

               begins to slide away. Indy and Sallah exchange slightly wary 

               but very excited looks, then continue to push. As the Ark 

               begins to be exposed, the air seems to almost vibrate, to 

               become electrostatically charged. We hear what sounds like a 

               low HUM. The sea of snakes around the altar draws back further 

               from this presence.

               As the top of the stone chest is pushed completely off and 

               slams down beside it, we see THE LOST ARK OF THE COVENANT. 

               It is awesomely beautiful, breathtaking. 4 feet long, 2.5 

               feet wide and 2.5 feet high. It's height, however, is 

               increased by the two sculptured gold angels mounted facing 

               each other on the top. Though the body of the Ark is acacia 

               wood, it has been overlaid with gold. An elaborate gold crown 

               surrounds the top edge and gold carrying rings are attached 

               to each corner.

               Sallah is mesmerized by the sight. His hand starts to reach 

               out and touch one of the angels, but Indy grabs it.

                                     INDY

                         Don't touch it! Never touch it!

               The wooden crate stands open next to the stone chest. Now 

               Indy extracts the wooden poles from its rings and begins 

               fitting them through the rings in the Ark. This takes some 

               maneuvering by the two men, but soon they are able to lift 

               the Ark clear of the stone chest and into the wooden crate. 

               They extract the poles, fasten the top of the crate and stick 

               the poles through the rings of the wooden crate. They start 

               back toward the space under the hole.

               The fire strips have begun to dwindle, as have some of the 

               torches. The snakes move slowly in toward the clear spaces. 

               Indy and Sallah eye them nervously as they hurry along with 

               their heavy load. Under the hole, they hurriedly attach ropes 

               to the wooden crate and it is pulled up. Indy's concentration 

               is on the tide of snakes.

                                     INDY

                         Hurry up! Why did it have to be 

                         snakes?

               Sallah takes the next rope and climbs quickly out of the 

               Well. Indy has picked up a torch and now throws it at a pool 

               of snakes who are too close for his comfort. He turns and 

               takes hold of the exit rope. He gives it a first tug and it 

               falls down into the Well, landing partly beyond the ring of 

               fire where 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.

               EXT. INDY'S DIG - DAWN

               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.

               INT. WELLS OF THE SOULS

               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 desperately as he 

               struggles to his feet trying to unload her.

                                     MARION

                         Don't put me down!

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

                                     BELLOQ

                         The girl was mine!

                                     SHLIEMANN

                         She is of no use to us. Only our 

                         mission for the Fuhrer matters.

               Shliemann glances meaningfully around at the other Nazis.

                                     SHLIEMANN

                         I wonder sometimes, Monsieur, if you 

                         have that clearly in mind.

               Belloq feels how much he is the outsider, his own 

               vulnerability. He backs down with the wisdom of survival. He 

               turns to look down at Indy and Marion. His manner is gallant.

                                     BELLOQ

                         Goodbye, mademoiselle.

                              (a pause, then with 

                              respect)

                         Indiana Jones... adieu!

               Belloq and the others step back from the hole and unseen 

               Nazis slam the heavy stone door into place. Marion screams. 

               Her scream is accompanied by -

               A huge WHOOSH! as air is sucked out and the chamber is sealed. 

               Half of the torches still burning go out with the sound. The 

               remaining torches continue to extinguish at punctuating 

               intervals throughout the following action and the snakes 

               immediately flood into the newly-darkened spaces. Indy puts 

               Marion down and snatches up two burning torches. He hands 

               one to Marion.

                                     INDY

                         Don't panic. There's plenty of time 

                         for that later. Wave that at anything 

                         that slithers.

               Indy holds his torch out like a lantern and begins a slow O-

               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. Indy 

               continues his slow turn.

                                     MARION

                         Whatever you're doing, do it faster.

                                     INDY

                              (he spots something)

                         There!

               His head whips around, looking at the pillars around the 

               room. He sees what he wants. He grabs one of the oil 

               canisters, looks back to the spot on the wall he's chosen 

               and splashes oil on the floor in that direction, then lights 

               it. A path opens toward that wall.

                                     INDY

                         Come on!

               Marion is frozen in her spot. Indy drags her after him. He 

               splashes oil the rest of the way to the wall. It lights and 

               Indy pulls Marion over to the wall. He pours the remaining 

               oil in a circle around them, creating a safe zone there.

                                     INDY

                         Stay here!

                                     MARION

                              (grabbing him)

                         Where are you going?

                                     INDY

                         I'll be back in a minute. We're going 

                         through this wall.

               Marion looks at the wall, which looks like all the rest to 

               her. She thinks he's crazy.

                                     INDY

                         Just keep your eyes open and get 

                         ready to run. No matter what happens 

                         to me.

                                     MARION

                              (panicked)

                         What do you mean?

               Too late. Indy runs back through the path of flames to the 

               center of the room. Snakes strike 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 beyond 

               it with terror-widened eyes, then up through the increasing 

               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 is on the side of the pillar away 

               from Marion. The pillar moves, showering dust. Indy looks at 

               the chamber wall five feet away, takes a breath and swings 

               his legs up against it. He is now braced between pillar and 

               wall.

                                     MARION (O.S.)

                              (screaming)

                         Where are you?!

               Snakes are moving in force up the pillar toward Indy's 

               dwindling torch. Indy grasps the pillar for dear life, 

               grimaces with exertion and pushes against the wall with all 

               he's got. The pillar begins to break loose of the ceiling, 

               then stops. Indy's eyes are on the torch. It is just a spot 

               of flame now. Snakes are sliding up toward his hands. Indy 

               again pushes against the wall and 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 appears 

               like an apparition out of the void.

                                     INDY

                         Come on!

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

               INT. THE CATACOMBS

               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 sarcophagi; 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.

               EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY

               Indy and Marion peek out into the light from the shadows of 

               an abandoned excavation. Before them is the improvised 

               airstrip serving the digs: a crude runway, a tent supply 

               depot, two fuel tank trucks. Down by the fuel trucks a German 

               Mechanic is looking skyward. Now Indy and Marion look there 

               too, drawn by the roaring sound of -

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

               to landing.

               Now a new figure approaches the German Mechanic. It is Gobler; 

               he yells to the mechanic, indicating the plane.

                                     GOBLER

                         Get is gassed immediately! It has an 

                         important cargo to take out!

               In the distance, the Flying Wing lands and rolls toward the 

               men. Gobler spins and heads back toward the main camp, which 

               is hidden from view by a rise. Indy and Marion watch him go.

                                     INDY

                         When the Ark gets loaded, we're 

                         already going to be on that plane.

               The Flying Wing rolls up into the space near the fuel trucks. 

               The German Mechanic puts blue blocks in front of the tires 

               as the engines continue to roar.

               Indy and Marion run in a crouch to a hiding spot closer to 

               the plane, near the supply tent. Suddenly, a Second German 

               Mechanic appears behind them. He is as surprised as they 

               are, but recovers quickly and swings a big monkey wrench at 

               Indy. Indy grabs the swinging arm and the two men tumble out 

               into the open, wrestling. Marion remains hidden, moving fast 

               among the crates.

               The first German Mechanic, who is just pulling the fuel hose 

               from the tank truck to the plane, sees the combatants and 

               runs to help his countryman. He is almost upon them when 

               Indy puts the Second German away with a devastating left - 

               right - left combination. He turns to find the first German 

               Mechanic flying at him. The roll toward the rear of the Flying 

               Wing and its lethally spinning reversed propellers.

               In the cockpit of the Flying Wing, the Pilot has been fiddling 

               with his gauges just prior to shutting off his engines. Now 

               he notices the fight going on outside.

               The fistfight between Indy and the German Mechanic has taken 

               on a new stomach-tightening dimension. The men are fighting 

               and flailing in and out between the spinning props at the 

               back of the plane's wings. Each man comes within inches of 

               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, rotating around its one still-

               blocked set of tires. Marion grabs onto the cockpit to keep 

               from slipping into the props. She bends into the cockpit, 

               trying to pull the Pilot's body off the throttle. No luck. 

               She grimaces and climbs inside. Her shoulder bumps the top 

               of the cockpit; it slides tightly shut above her.

               Under the moving wing, Indy delivers a knockout rightcross 

               to the German Mechanic which sends him staggering back toward 

               a roaring propeller. Indy's grimace registers the man's demise 

               and a fine mist of blood wafts toward him. Indy spins toward 

               the sound of crumpling metal and sees -

               The other prop 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.

               EXT. THE COMMAND TENT - DAY

               Three Armed Nazis stand guard around the wooden crate 

               containing the Ark. It is sitting near the flopped-open 

               entrance to the Command Tent and there is furious activity 

               going on here. Belloq, Shliemann, Gobler, Belzig and assorted 

               Aides are packing up all the papers and personal items in 

               preparation for a hasty departure.

               A large crowd of Arab Diggers 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 explosion. 

               Al eyes turn toward the rise that hides the airstrip. A huge 

               fireball floats into view over there. Everyone starts running 

               toward it. Shliemann yells at Belzig and the Armed Nazis.

                                     SHLIEMANN

                         Stay with the Ark!

               EXT. THE RISE ABOVE AIRSTRIP - DAY

               Almost all the Arabs and Germans in the digs have congregated 

               here and are staring at the burning remains of the Flying 

               Wing. Belloq and Shliemann arrive just as the second fuel 

               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 wreckage 

               with an odd, suspicious look. Finally, he turns and leaves, 

               passing a nearby stack of barrels. When he has passed, Sallah 

               appears from among the barrels. He searches the crowd for 

               his people and starts a broken field run along some tents to 

               avoid a group of Germans and is running flat-out when someone 

               sticks out a leg and sends him flipping. Sallah, dust all 

               over his face, looks angrily toward the concealed culprit. 

               At once, a flashing white grin splits his darkened face. 

               Indy and Marion, splotched with soot and oil, are hiding in 

               the flap of a tent. Sallah runs into their arms and the three 

               embrace warmly. When they break -

                                     SALLAH

                         Holy smoke, my friends! I am so 

                         pleased you are not dead.

                                     MARION

                         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.

               EXT. AMONG THE TENTS - DAY

               Sallah, Indy and Marion run into a hiding spot behind some 

               water barrels near the Command Tent. They peek out at this 

               activity -

               In the big space near the Command Tent is parked an open 

               German staff car; inside is a Blond Driver and an Armed Guard. 

               Directly behind it is a canvas-topped troop truck. At this 

               moment, Belloq and Shliemann are supervising the careful 

               placement of the crated Ark in the back of the truck. When 

               it is securely placed inside, we hear an ominous marching 

               sound and Nine Armed Nazis appear at a trot from between 

               some tents and climb into the back of the truck with the 

               Ark.

               Behind the water barrels, Sallah and Marion exchange hapless 

               looks, But Indy just concentrates on -

               The scene by the truck: Belloq and Shliemann are about to 

               climb into the front staff car when they pause to check out 

               the final component of the convoy. Rolling into place behind 

               the truck is another open staff car. But this one is special - 

               mounted in the back is a big, black machine gun, manned by a 

               Gunner. At the wheel of the car is Gobler and next to him 

               sits Belzig.

               Sallah and Marion look at Indy. Belloq and Shliemann climb 

               in the back seat of the front car and the caravan pulls out. 

               Indy watches it go, thinking hard.

                                     INDY

                         You two get back to Cairo quick and 

                         get us transportation to England - a 

                         plane, a ship, anything.

                                     MARION

                         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.

               EXT. AT THE EDGE OF THE DIGS - DAY

               From among the tents, Indy suddenly bursts into view, happily 

               astride a magnificent white Arabian stallion. He gallops off 

               across the desert.

               EXT. THE DESERT (VARIOUS SHOTS) - DAY

               Indy cuts cross-country avoiding the road the convoy has 

               taken. He leaps gullies, climbs dunes, slides down slopes. 

               Soon the convoy comes into view far below him. He tears along 

               a parallel ridge, like an Indian shadowing a wagon train.

               EXT. DESERT ROAD - DAY

               The convoy is entering rougher country. The narrow mountain 

               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.

               EXT. MOUNTAIN ROAD - DAY

               The Blond Driver of the front staff car sees the truck move 

               up on him in the rearview mirror and speeds up. Belloq, 

               Shliemann and the Armed Guard in the car twist around to 

               look at the struggle in the truck. The Blond Driver begins 

               what will be a continuing preview of the twists in the road. 

               He turns his wheel sharply and takes the lead car around a 

               bend.

               In the cab of the truck, Indy and the Truck Driver stop their 

               fight temporarily and cooperate in turning the steering wheel. 

               The truck barely stays on the road.

               A full view reveals the incredible geography of this ride. 

               The convoy 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 accidentally 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 barely 

               makes the hairpin turn there, delivering a destructive blow 

               to the guard rail that has been placed there. The guard rail 

               is now bent.

               In the cab of the truck, Indy and the Truck Driver again 

               stop trying to choke each other long enough to negotiate the 

               turn together. The bumper of the truck hits the broken guard 

               rail and sends it flying off the cliff. The truck, however, 

               holds the road.

               In the rear car, 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, putting 

               even more pressure on the Blond Driver.

               Along the back of the truck, Armed Nazis are edging up toward 

               the cab, three on each side. They hang on as the truck rounds 

               a corner and goes into a straightaway that leads through a 

               short tunnel.

               In the cab, Indy has been concentrating on the lead staff 

               car. Now, just before entering the tunnel, he looks in the 

               side view mirror and sees the Nazis on his side. A quick 

               glance to the other mirror reveals the others. As the truck 

               sweeps into the tunnel, we see Indy just start to turn his 

               steering wheel - he 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 climbing up 

               over the top of the truck.

               In the lead car, the Blond Driver is being pressed hard by 

               Indy, who now edges up to bump them from the rear. Suddenly 

               the Armed Guard next to the Driver sees the two Armed Nazis 

               appear on the top of the truck. Without thinking, he starts 

               to point them out to Shliemann, then realizes his stupidity.

               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 

               alone, 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. Belloq 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 Sergeant 

               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 reaching 

               level ground again. Just as the staff car is about to make 

               the turn, Indy smashes them from behind. The staff car flies 

               off the road and down a twenty foot embankment. Indy takes 

               the truck speeding down the road and off toward Cairo.

               In the staff car, the occupants are bruised but safe. 

               Shliemann points at the departing truck and yells at the 

               Blond Driver. The staff car fishtails out of its sandy resting 

               place and takes off after the truck.

               EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY

               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.

               EXT. OMAR'S SQUARE - DAY

               When the truck clears the narrow street, it is in a small 

               square. Omar's garage is gaping open on the opposite side. 

               Indy hits the brakes and the truck skids across the square 

               and into the garage. The garage door slams shut and tenting 

               drops from the building to hide the door. Various Arabs, 

               friends of Omar, rush out with fruit carts and baskets and 

               set up a mini-bazaar in seconds. Two Arab Boys sweep the 

               tracks of the truck into oblivion. They throw aside their 

               brooms just as the staff car appears from the narrow street. 

               Belloq and Shliemann look around desperately as the Blond 

               Driver steers the car through the square and out the other 

               side.

               EXT. CAIRO DOCKS - NIGHT

               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:

               EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT

               The Bantu Wind is bathed in moonlight as it cuts across even 

               seas.

               INT. INDY'S CABIN - NIGHT

               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 

                         recapture in this life, but that 

                         isn't one of them.

                                     INDY

                         What would you like to recapture?

                                     MARION

                              (after a long pause)

                         Nothing. That is the way it is.

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

               down.

                                     INDY

                         Did I ever say I was sorry I burned 

                         down your tavern?

               She turns so their lips are very close.

                                     MARION

                         No. Then again, I burned up that 

                         plane.

                                     INDY

                         You saved my life.

                                     MARION

                         And you saved mine.

                                     INDY

                         Seems things have worked out kind of 

                         even.

                                     MARION

                         That's the way I like them.

                                     INDY

                         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.

               INT. IN THE HOLD

               The ship's rats are agitated. They tremble and chatter 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.

               INT. INDY'S CABIN - DAY

               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.

               EXT. LOWER DECK - DAY

               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 -

               EXT. THE BRIDGE - DAY

               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!

               EXT. UPPER DECK - DAY

               Indy tears along the deck. He looks over the rail and sees 

               two Nazi rafts already next to the ship.

               EXT. LOWER DECK - DAY

               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 clamber onto 

               the deck and head toward Indy, slamming open doors, rousting 

               Pirates, spouting racial epithets. Indy steps backwards and 

               fades into the maze of the ship.

               EXT. / INT. THE BANTU WINDS (VARIOUS SHOTS) - DAY

               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.

               EXT. THE BRIDGE - DAY

               Captain Katanga watches as his crew is crowded into a circle 

               of Nazis on the wide deck below him. He is surrounded by 

               Belloq, Shliemann, and several Nazis, two of whom are holding 

               Marion. Now the Nazis from the hold appear on the lower deck 

               carrying the crated Ark by means of the long poles. Belloq's 

               eyes shine at the sight.

                                     SHLIEMANN

                         Take it aboard the Wurrfler!

                                     BELLOQ

                         And be very careful!

               The Ark is taken away.

                                     SHLIEMANN

                              (to a Sergeant below)

                         What about Jones?

                                     SERGEANT

                         Not a trace yet, sir!

                                     KATANGA

                         Jones is dead.

               Belloq and Shliemann regard him suspiciously.

                                     KATANGA

                         We killed him. He was of no use to 

                         us. The girl, however, has certain 

                         value where we are headed. She will 

                         bring a very good price. If that 

                         cargo you have taken was your goal, 

                         then go in peace with it. But leave 

                         us the girl. It will reduce our loss 

                         on this trip.

                                     SHLIEMANN

                         Savage. You are not in a position to 

                         ask for anything. We will take what 

                         we wish and then decide whether or 

                         not to blow your ship from the water.

               Belloq steps forward and puts a proprietary hand on Marion's 

               arm, fixing Shliemann with a steady look.

                                     BELLOQ

                         That girl goes with me. It will be 

                         part of my compensation. I'm sure 

                         the Fuhrer would approve.

               Shliemann considers.

                                     BELLOQ

                         If she fails to please me, you can 

                         do with her as you wish.

               This appeals to Shliemann's nature. He signals his agreement 

               with a gesture. Belloq ushers Marion away with her two 

               keepers.

                                                               DISSOLVE TO:

               EXT. "THE WURRFLER" - CONNING TOWER - DAY

               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 struggles to his feet 

               and sloshes through knee-deep water to the base of the conning 

               tower.

               Indy climbs the ladder to the bridge of the conning tower 

               and looks down. The water is rising toward his fast. Indy 

               climbs the ladder to the top of the turret and braces himself 

               between the two uprights there - the 7 foot radio mast and 

               the 20 foot periscope. Still the ocean comes up to meet him. 

               Soon the top of the turret is under water and 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.

               EXT. THE PERISCOPE - AFTERNOON

               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:

               EXT. THE PERISCOPE - DUSK

               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:

               EXT. THE OCEAN - NIGHT

               Several shark fins cut the surface, appearing and disappearing 

               in the bright moonlight. They are shadowing -

               EXT. THE PERISCOPE - NIGHT

               Indy looks through barely open eyes at the sharks running 

               alongside. There is nothing to be done. His eyes close.

                                                                  FADE OUT:

               FADE IN:

               EXT. THE PERISCOPE - NIGHT

               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.

               INT. THE UNDERWATER TUNNEL - NIGHT

               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.

               INT. THE SUB BASE - DOCKING BAY

               The Wurrfler has arrived at an extraordinary base built in 

               the hollow interior of the island. This chamber, with the 

               docking bay, is almost all water. A huge natural cavern, it 

               has been reinforced and enlarged by the Germans.

               The Wurrfler sits surfaced at the dock. The Ark has been 

               unloaded and placed on a cart. Shliemann, Belloq and Marion 

               have just disembarked and been met by a Nazi contingent from 

               the base. Marion looks worse for the trip. Her white nightgown 

               is now ripped and smudged.

               One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann 

               and Belloq. As he speaks to them, we notice that right behind 

               this group, just above a great deal of sub unloading activity, 

               Indy's whip hangs from the periscope. Working Nazis pass 

               within feet of it unaware; the Tall Captain would see it in 

               a moment if he were not so focused on the new arrivals.

                                     TALL CAPTAIN

                              (to Belloq)

                         The tents have been arranged in 

                         accordance with your radioed 

                         instructions, sir.

                                     BELLOQ

                         Good. We must take the Ark there 

                         now.

               Shliemann looks a little unhappy about this exchange, but 

               says nothing. The 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 order 

               and climbs down from the turret to deal with the matter. We 

               hold on the whip for a long moment, until its owner's hand 

               appears and quickly reclaims it.

               INT. TRAIN TUNNEL

               The Ark and its entourage are moving slowly up the tight 

               dark tunnel, their way lit by intermittent lanterns. The 

               tunnel is irregular, but generally about 7 feet wide. It's 

               height varies from an average of about 7 feet to a low of 

               only about 4.5 feet at the points (every 40 feet) where 

               support beams cross the track. The result is that there is 

               only about a foot of clearance above the mine cars at those 

               points; passengers must duck to keep from being hit in the 

               head. Shliemann, looking worried, and Belloq, very excited, 

               are focused on the Ark in the car ahead.

                                     SHLIEMANN

                         I am uncomfortable with the thought 

                         of this -

                              (spitting it out)

                         Jewish ritual. Are you sure it's 

                         necessary?

                                     BELLOQ

                              (playing him)

                         Let me ask you this - Would you be 

                         more comfortable opening the Ark in 

                         Berlin - for the Fuhrer - and finding 

                         out only then if the sacred pieces 

                         of the Covenant are inside? Knowing, 

                         only then, whether you have 

                         accomplished your mission and obtained 

                         the one, true Ark?

               Shliemann doesn't like any of his alternatives. He looks at 

               Belloq with some suspicion as the train comes into bright 

               light.

               INT. COMMAND CENTER

               A second natural cavern, even bigger than the first, has 

               been worked over by the Germans into a rectangular, three-

               story high supply center around a huge, open, center court. 

               Uniformed Nazi Soldiers are everywhere, wrangling supplies 

               and ammunition, monitoring electronic equipment. At the far 

               end of the court, a second train tunnel disappears into the 

               rock.

               Across the open court, Belloq sees his destination: a large, 

               brilliant white silk tent has been erected in the midst of 

               all this hardware. It looks incongruous, and more than a 

               little eerie. It is the Tabernacle.

               INT. TRAIN TUNNEL

               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.

               INT. THE TABERNACLE

               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.

               INT. COMMAND CENTER - END OF TUNNEL

               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.

               INT. THE TABERNACLE

               In the central area with the Ark, Shliemann and the other 

               Nazis wait impatiently, eyeing the Ark with some discomfort. 

               Belloq is not visible, because at the moment he is -

               In the folds of the Tabernacle, the silk of the tents 

               undulating around him. The light is even stranger, the scene 

               almost dreamlike. With the help of the Tall Captain, Belloq 

               lets an extraordinary, gold-embroidered, ceremonial robe 

               fall over his head and onto his body. Belloq looks 

               transported, possessed. The Tall Captain unlatches a wooden 

               case and takes from it a sturdy ivory rod about 5 feet long, 

               elaborately engraved. Belloq takes it from him, turns and 

               slips back through the silk. The Tall Captain stays in the 

               folds.

               Back in the central area, Shliemann and the other Nazis are 

               taken aback by Belloq's appearance in the robe. They exchange 

               looks. From one knot of men there is muttering about "Juden" 

               and such, but when Belloq turns a fiery gaze on them there 

               is immediate silence. Shliemann looks uncertain in this 

               presence.

               Belloq approaches the Ark. He stops a few feet from it and 

               begins murmuring an invocation in Hebrew. After a few moments 

               of this he advances a step and is about to place the ivory 

               rod in a notch under the lid of the Ark itself. The end of 

               the rod is an inch from the notch when -

               Indy steps into the Tabernacle. On his shoulder is a bazooka 

               and it is aimed directly at the Ark.

                                     INDY

                         Hold it.

                              (the Nazi react)

                         One move from anybody and I blow 

                         that box back to Moses.

               Shliemann makes it clear to the other Nazis that Indy is to 

               be obeyed.

                                     BELLOQ

                         Jones, your persistence surprises 

                         even me. You are going to give 

                         mercenaries a bad name.

                                     INDY

                         What about you? Talked to God yet?

                              (Belloq's eyes flash)

                         Where's the girl?

                                     SHLIEMANN

                         Doctor Jones, surely you don't think 

                         you can escape from this base.

                                     INDY

                         That depends on how reasonable we're 

                         all willing to be. All I want is the 

                         girl. We'll keep possession of the 

                         Ark only till we've got safe transport 

                         to England. Then it's all yours.

                                     SHLIEMANN

                         If we refuse?

                                     INDY

                         Then the Ark and some of us are going 

                         up in a big bang. I don't think Hitler 

                         would like that a bit. Now I don't 

                         want to talk about this anymore. 

                         Show me that girl in five seconds or -

               The Tall Captain flies out of the silk and takes Indy down 

               by the neck. The bazooka clatters across the cement floor as 

               two other Nazis help subdue Indy. The three Nazis take Indy's 

               pistol from his holster and raise him roughly in their grasp.

                                     SHLIEMANN

                         Jones, this is the second time I 

                         have seen you looking very foolish.

                                     INDY

                         It's a bad habit. I'm trying to break 

                         it.

               Shliemann draws his Luger.

                                     SHLIEMANN

                         I'll help you. This time I'll kill 

                         you myself.

               Shliemann raises the pistol.

                                     BELLOQ

                         No! Not in the presence of the Ark! 

                         Take him outside.

               Shliemann eyes Belloq, then the Ark. He lowers the pistol, 

               motions for the Nazis to take Indy out ahead of him. They 

               stop a moment only when Belloq speaks.

                                     BELLOQ

                         Indiana Jones, I salute you. I am 

                         even a little sorry you will miss 

                         this moment.

                                     INDY

                         Thanks. If you talk to Him, tell Him 

                         I'm on my way up.

               Shliemann motions them out and follows. Belloq turns back to 

               the Ark, raising the ivory rod.

               INT. COMMAND CENTER

               Shliemann, the Tall Captain, Indy and the two Nazis holding 

               him emerge from the Tabernacle. Shliemann points to a nearby 

               wall and the group starts that way with Shliemann and the 

               Tall Captain slightly ahead.

               INT. THE TABERNACLE

               Belloq has the ivory rod inserted in the notch under the lid 

               of the Ark. He utters a short phrase in Hebrew and begins to 

               press down on his end of the rod. The lid of the Ark begins 

               to lift. It's difficult work. Belloq puts his whole weight 

               into one big press on his end and the lid opens two feet.

               Inside the Ark of the Covenant is a preview of the end of 

               the world. A light so bright, a power so fearsome, a charge 

               so jolting, that there is nothing in our world to compare to 

               it. It's as though this magnificent golden box has been 

               gathering electric energy for three thousand years, waiting 

               for just this crack of the lid to release it all in one fast, 

               cleansing explosion of pure force.

               Blinding arcs of light shoot out across the Tabernacle 

               instantly killing all the Nazis inside and turning the white 

               silk to flame. But it is Belloq in his obsession who takes 

               the full blast. His whole body seems lit by a million volt 

               current and, for a moment, his complete form is white, then 

               blue, then maybe green, but it is hard to tell because our 

               eyes are blinded now too. Two aspects of this ghastly, 

               beautiful display are somehow communicated in the chaos, 

               although the communication is subliminal. First, that Belloq, 

               in the instant of his destruction, has experienced some kind 

               of sublime, transcendental knowledge. If a death's-head can 

               smile and look satisfied, that is how Belloq's incandescent 

               face would be described. Secondly, this event is accompanied 

               by a sound like no other. A sound so intense and so odd and 

               so haunting that the suggestible among us might imagine it 

               were the whisper of God.

               INT. COMMAND CENTER

               Chaos. Shliemann and the Tall Captain have been temporarily 

               blinded by the light from the Tabernacle. Indy makes short 

               work of his two escorts. He bashes their heads together. 

               When only one goes down at this, Indy uses the handle of his 

               bullwhip, which has appeared instantly in his hand, to put 

               the second one down.

               Shliemann, hand on his eyes, aims his Luger blindly at the 

               scuffle. Indy pushes the Tall Captain at Shliemann, who fires 

               on impact, killing the Tall Captain. Indy knocks out 

               Shliemann.

               Behind Indy, the brilliant light and weird noise of the Ark 

               have suddenly ceased, but the Tabernacle is ablaze and the 

               fire has quickly spread to stacks of supplies on either side. 

               Smoke is already starting to fill the cavern. Nazis are 

               running around, yelling for firefighting water. A burning 

               crate at the side of the Tabernacle is pushed over, only to 

               knock over a drum of heavy black oil. A river of flame shoots 

               across the cement.

               Indy grabs a rifle with bayonet from the prostrate body of 

               one of his former escorts and runs back into the flaming 

               Tabernacle.

               INT. THE TABERNACLE

               Indy jumps through the flames into what is now a tent of 

               fire. He looks around at the dead bodies, then at the Ark. 

               The lid has slammed down shut again and the Ark shines gold 

               in the flames. Before it, where Belloq once stood, is a pile 

               of ash and charred debris. Indy registers this, then continues 

               to scan the scene.

                                     INDY

                         Marion! Marion, can you hear me?

               Suddenly, Indy looks as -

               The far side of the Tabernacle burns completely away, 

               revealing Marion, tied spread-eagle between two upright posts. 

               Her nightgown is now in tatters, black with soot. She is 

               gagged, but her eyes are screaming, focused on the flaming 

               river of black oil which is about to engulf her feet.

               Indy rushes toward her, unaware of a uniformed Nazi who has 

               appeared from the flames. Marion looks up to see Indy and 

               the Nazi leveling his 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 bayonet 

               aimed directly at her. Her wide eyes flash between the flames 

               and the shining blade. Expertly, Indy slashes down both sides 

               at Marion, cutting all four bindings. Marion falls backwards, 

               away from the flames, but before she hits the ground, Indy 

               is there, catching her in his arms.

               They embrace. They kiss. They break.

                                     INDY

                         Hi.

                                     MARION

                         Oh, Indy! Thank god you're here.

                                     INDY

                         Glad I could make it.

               Indy rises, pulling her up with him. The Tabernacle is burning 

               away so fast that soon Indy and Marion will be completely 

               exposed. Indy rushes over and grabs the submachine gun and a 

               Luger from the dead Nazi.

                                     INDY

                         Let's get out of here.

                                     MARION

                         What about the Ark?

               Indy stops, startled by her spunky attitude. He's considering 

               their 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 his back. The long carrying 

               poles are still in place.

                                     INDY

                         Whatever you do, don't touch it. 

                         Let's put it on the floor.

               Marion nods. Each taking an end with the poles, they lift 

               the Ark from the altar and lower it to the floor. Marion 

               grunts under the weight. Indy registers this, hands her the 

               submachine gun. He pulls out his whip, motions her back, and 

               sweeps the whip tightly around the body of the Ark. The whip 

               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 anyone 

                         who looks at us crosseyed.

               INT. COMMAND CENTER

               Two huge stacks of goods are ablaze and the Nazis are having 

               trouble getting water to them. The Nazis main concern at 

               this point is an enormous, neat stack of wooden cartridge 

               boxes which are piled down the wall from one of the already 

               blazing, and now teetering, stacks of general goods. Nervous 

               Nazis are moving the heavy cartridge boxes as fast as they 

               can, but it's slow work and the threatening fire is close.

               Indy and Marion make their way along the side of the center 

               court, Indy grimacing with the strain of pulling the Ark. 

               One Nazi stops directly in front of them, looking at them 

               queerly. Indy knocks him out with the butt of his Luger just 

               as Marion is about to fire.

               Out in the court, Shliemann has regained his eyesight. Now 

               he crouches, scanning the scene desperately for Indy. He 

               looks into the remains of the Tabernacle and spots the empty 

               altar. Beyond it, the unoccupied posts where Marion was bound.

               At the entrance to the second train tunnel, Indy and Marion 

               struggle to lift the Ark into a mine car. Marion has the 

               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 OFFICERS 

               are trying to salvage the situation. They point to the far 

               side of the court, the walls are lines with oil and gas drums.

                                     OFFICER

                         We must cover the drums! Protect 

                         them from the bullets!

               INTERCUTTING INDY AND MARION WITH SHLIEMANN AND THE NAZIS

               We see a most extraordinary pursuit. This tunnel is of 

               identical design to the first, except more twisty. This early 

               section goes slightly uphill, as though headed for the summit 

               of a rollercoaster. The low cross beams and the higher 

               sections in between are causing the Nazis to alternately 

               stand and duck in their efforts to get a clear shot at the 

               lead car. One German times it wrong and gets whacked. Indy 

               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.

               INT. COMMAND CENTER

               The Officers are directing the placement of every moveable 

               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 happen at the 

               cartridge boxes. Hundreds of thousands of live cartridges 

               begin exploding, flying around the court like shrapnel. Hot 

               lead begins to zing off the exposed fuel drums, leaving big 

               dents.

               INT. TRAIN TUNNEL - LONG STRAIGHTAWAY

               The car with Indy and Marion looks almost sluggish compared 

               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.

               INT. COMMAND CENTER - CLOSE ON FUEL DRUM

               A fuel drum, already pocked by bullets is finally penetrated 

               by high velocity hot lead. It explodes in a ball of flame. 

               And then its neighbor. Then all is exploding flame.

               INT. TRAIN TUNNEL - LONG STRAIGHTAWAY

               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.

               INT. TRAIN TUNNEL

               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 brightness of sunlight 

               rushes up to engulf us, blinding us in its glare.

               EXT. THE ISLAND - END OF TRACKS, DOCK

               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 contact 

               with the bouncing Ark. Bullets clang against the outside of 

               the car and whiz inches overhead. Indy and Marion are forced 

               into a tighter and tighter embrace of life.

               At the machine gun post, the Nazi Sentry has been firing 

               like crazy, but now there is terror in his eyes. He realizes 

               the car is not going to stop. He lacks faith in his 

               stronghold. Too late.

               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.

               INT. COMMAND CENTER

               Fire. Everywhere. No sign of life. A large gaping doorway, 

               flames ringing it, blazing into the room beyond. Hanging by 

               one hinge there, its metal blasted and jagged, is a heavy 

               door with the signed lettering, in German, "DANGER - 

               MUNITIONS".

               The first explosion happens. It's a baby compared to what's 

               coming yet it rocks the earth. It's terrible. And then, almost 

               immediately, another. The long, irregular, ever larger chain 

               of explosions begins.

               EXT. THE ISLAND - VARIOUS SHOTS - DAY

               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 chunk of white cliff falls 

               away into the turbulent sea. Birds scream and soar, afraid 

               to land.

               Finally, we settle on a full shot of the island. We can 

               recognize that the small opening high on the slope from which 

               a cloud of smoke and dust is billowing is the end of the 

               mine tunnel. And there below it, quite small from this 

               distance is the dock. And the boat that looks like a Greek 

               fishing boat. There can be no mistake even from this far 

               away - the boat is chugging out to sea.

               INT. THE PENTAGON - DAY

               Indy, Brody, and Marion, looking very stylish, are seated in 

               Colonel Musgrove's huge office. Sun pours in a window, through 

               which Washington can be seen sparkling across the Potomac. 

               Everything is neat and clean and regular. Including the three 

               men who are arrayed around the office. Two we know - Col. 

               Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. 

               He hangs back, smiling and genial, his features obscured by 

               the glare of the window. He doesn't say anything, yet you 

               have a sense that the others defer to him in the matter at 

               hand. He is the essence of all that is Byzantine and 

               inscrutable in our scrubbed government machine.

               Indy and Brody are dissatisfied with the way the meeting has 

               gone. Marion, on the other hand, is very happy and eager to 

               get out of there. Eaton's manner is irritatingly cheery.

                                     MUSGROVE

                         You've done your country a great 

                         service.

                                     EATON

                         And we trust you found the settlement 

                         satisfactory?

                                     MARION

                         Quite.

                                     EATON

                         Good, good.

                              (glances around at 

                              the others)

                         Then I guess that about does it.

                                     BRODY

                         When can we have the Ark?

               Eaton's glance flicks over to the mysterious Bureaucrat, 

               then back to Brody.

                                     EATON

                         I thought we answered that. It's 

                         someplace very safe -

                                     INDY

                              (heated)

                         That's a powerful force. Research 

                         should be done -

                                     EATON

                         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.

               EXT. PENTAGON STEPS - DAY

               Indy, Brody and Marion emerge from the building. Brody bids 

               them farewell and moves off in another direction. Marion 

               clings to Indy's arm in an energetic, very feminine way, 

               scolding him.

                                     MARION

                         Well they aren't going to tell you, 

                         so why don't you just forget it. I'd 

                         think you'd had enough of that damn 

                         Ark. Just put your mind on something 

                         else.

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

                                     INDY

                         Yeah, like what?

               Marion makes a face, then puts her arms around his neck and 

               plants a humdinger of a 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.

               INT. GOVERNMENT WAREHOUSE

               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 begins 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 

               Warehouseman, pushing his new crate ahead of him, has turned 

               into another aisle and disappeared from view.

                                                                  FADE OUT:

                                         THE END