RAIDERS OF THE LOST ARK
Screenplay by Lawrence Kasdan
Story by
George Lucas
REVISED THIRD DRAFT
AUGUST 1979
This screenplay is the property of
MEDWAY PRODUCTIONS, INC.
And is intended solely for company Personnel. Distribution to any Unauthorized persons is prohibited.
MEDWAY PRODUCTIONS, INC.
P.O. BOX 8669
Universal City, CA. 95608 (213) 760-3800
FADE IN:
1
1
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!
When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation- enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS, 2000 years old. 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. 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.
2.
INDY We don’t need them.
Satipo watches this confrontation with some concern.
BARRANCA I do not carry supplies.
INDY We’ll leave them. Once we’ve got it, we’ll be able to reach the plane by dusk.
He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his desire to slit Indy’s throat; Satipo gives him a look that says “Be patient, you idiot”
2
2
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 Indians jabber in Quechua, near hysteria. Barranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to “shut up”.
In the undergrowth, there is slithering movement.
Indian #1 draws aside a branch and is face with a horrific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away. 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.
3.
Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple. It is dark and awesome. Vegatation curls from every crevice, over each elaborate frieze. The entrance - round, open and black - has been designed to look like open jaws.
INDY So this is where Forrestal cashed in.
SATIPO A friend of yours?
INDY Competitor. He was good, very good.
BARRANCA
(nervous) No one has ever come out of there alive. Why should we put our faith in you?
Indy takes the weird feather from the band of his hat. From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick “So that’s where is was!” look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude 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.
4.
His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy’s body around to face the Peruvian, the whip uncoils to its full ten foor lengeth and flashes out. The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca’s hand and pistol. He could not drop the gun now if he tried. Indy gives the whip a short pull and Barranca’s arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand.
Indy’s face goes hard. And sad.
Indy sweeps his arm in a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca’s gun fires. Barranca falls dead. Indy looks quickly at Satipo, who is shocked and frightened. He raises his arms in supplication.
SATIPO I knew nothing! He was crazy! Please!
Indy looks him over, then nods. He frees the whip from Barranca’s body and picks up the man. His eyes sweep the surrounding woods.
INDY
Let’s go.
3
3
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.
4
4
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.
5.
Indy doesn’t notice and disappears into another shadow, emerging with two more tarantulas on his back.
Satipo sees them and makes a frightened grunting sound. Indy looks at him, sees what he’s pointing at and casually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an inspection and Indy flicks one off the Peruvian’s back. Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant, discarding some, stuffing others into his clothes, and never stopping his forward progress.
5
5
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 garb. Indy reaches out and takes hold of the man’s carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor.
INDY
Forrestal.
SATIPO
(gulps) We can go no further.
INDY Now, Satipo, we don’t want to be discouraged by every little thing.
Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. Satipo grimaces and begins sweating his way through.
6
STAIRWAY
6
6.
Indy and Satipo come down stone stairs to a tight landing. Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more.
INDY (taking the torch)
Let me see that.
He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps. Indy looks up at the ceiling of the landing, then steps onto the skeletons, which make a cracking noise under his feet.
INDY Try not to touch the vines.
7
7
FOYER OF THE SANTUARY
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 beings to pitch forward, Indy grabs him by the belt and pulls him back. They both look down at the “floor”. Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal a black pit as wide as the hall. The illusory floor was made of dust- covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men exchange glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across.
7.
When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below-- SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat.
8
8
THE SANTUARY
A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor: white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the alter. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy’s real objective. Two torches, many years old, are in holders by the door. Indy takes one down and lights it. He gives the regular torch to Satipo.
SATIPO There’s plenty of light, amigo.
Indy kneels and uses the unit end of the torch to reach out and tap a white tile. It is solid. He taps a black tile. There is a whizzing sound and a tiny dart sticks in the torch. Satipo points to the wall nearby: there is a recessed hole there.
SATIPO From that hole!
Indy nods, stands and looks around the sanctuary. The entire room is honey-combed with the same kind of hole. Satipo sees it too and is properly impressed.
INDY You wait here.
SATIPO If you insist, senor.
Torch in hand, Indy beings his careful walk across the sanctuary. Stepping only on the white tiles, he almost appears to be doing a martial arts kata. Before each big move he waves the torch in front of him head to toe, looking at the flame. Halfway out, he sees something on the floor and kneels to look at it. A dead bird lies on one of the white tiles. Its body is riddled with little deadly darts. This has great significance to Indy and he stands with even greater caution. He waves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burn mark on the white tile beneath it.
8.
Satipo watches, wide-eyed and mystified.
Indy reaches the alter. The tiny idol looks both fierce and beautiful. It rests on a pedestal of polished stone. Indy looks the whole set-up over very carefully. From his jacket he takes a small, canvas drawstring bag. He begins filling it with dirt from around the case of the alter. When he has created a weight that he thinks approximates the weight of the idol, he bounces it a couple times in his palm concentrating. It’s clear he wants to replace the idol with the bag as smoothly as possible. His hand seems ready to do that once, when he stops, takes a breath and loosens his shoulder muscles. Now he sets himself again. And makes the switch! The idol is now in his hand, the bag on the pedestal. For a long moment it sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION of steadily increasing volume as some huge mysterious mechanism rumbles into action deep in the temple. Indy spins and starts his kata back across the sanctuary at four times the speed.
9
9
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 tile’s floor. Immediately, a noisy torrent of poison darts fills the room. IN THE FOYER, Satipo swings acorss the pit. He makes it just as the whip comes undone from the beam, leaving Indy without an escape. Satipo, extremely nervous, regards the whip a moment then turns back to face Indy, who has run up to the far side of the pit.
SATIPO No time to argue. Throw me the idol, I throw you the whip.
Indy hesitates, eyeing the rumbling walls.
SATIPO You have no choice! Hurry!
Indy concurs with that assessment. He tosses the idol across the pit to Satipo. Satipo stuffs it in the front pocket of his jacket, gives Indy a look, then drops the whip on the floor and runs.
SATIPO
Adios, amigo!
9.
Indy grimaces. He had a feeling this might happen. He looks around.
AT THE VINED LANDING, Satipo flies through like a chubby ballet dancer and takes the steps five at a time.
IN THE FOYER, Indy runs in full stride to the edge of the pit and broad jumps into space. He doesn’t make it. His body hits the far side of the pit and he begins to slide out of view. Only wild clawing with his fingers at the edge of the pit stops his descent. With just the tips of his fingers over the edge, he begins pulling himself up. AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins to edge carefully around the light shaft. AT THE VINED LANDING, Indy sails through sideways and rolls to stop at the bottom of the steps. His whip is grasped in his hand. As he raises himself, he hears, from above the giant spikes of the Chamber of Light CLANG! And an abrupt, sickening rendition of SATIPO’S LAST SCREAM. Indy runs up the steps. The rumbling sound grows louder. AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes have retracted, taking Satipo’s body to one side. Indy edges into the chamber with his back to the shaft of light. Soon he is face to face with the dead Satipo; spikes protrude from several vital spots in the Peruvian’s body. Indy removes the idol from Satipo’s pocket and moves quickly out the other side.
INDY
Adios.
10
10
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.
11
11
EXT. FRONT OF THE TEMPLE - DAY
Indy lies on the ground, gasping for air. A shadow falls across him and he looks up.
10.
WHAT HE SEES. Looming above him are three figures. Two are HOVITOS WARRIORS in full battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy’s attention. He is a tall, impressive white man, dressed in a full safari outfit including pith helmet. His name is EMILE BELLOQ. His face is thin, powerful; his eyes hypnotic; his smile charming, yet lethal. His heavily French-accented speech is deep, mellifluous, wonderful. Back beyond Belloq and his two escorts, thirty more Hovitos Warriors hover at the edge of the trees.
BELLOQ Dr. Jones, you choose the wrong friends. This time it will cost you.
Belloq extends his hand. Indy looks at it, then produces the idol and hands it to Belloq. Belloq extends his other hand, smiling. Indy hands over his gun. Belloq sticks it in his jacket.
BELLOQ And you thought I’d given up.
INDY (eyeing the Hovitos) Too bad they don’t know you like I do, Belloq.
BELLOQ
(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.
11.
12
12
EXT. THE JUNGLE - INDY’S RUN - VARIOUS SPOTS - 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.
13
13
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, then jumps into the river. He comes up, swims to the plane and grabs a strut.
INDY
GO!
Jock starts the plane moving across the water as Indy walks across the wing and falls into the passenger compartment.
14
14
OMIT
15
15
OMIT
16
16
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.
12.
JOCK The world’s full of them, you know.
INDY
I hate them.
JOCK Come on now, Sport. Show a little of the old backbone.
17
17
EXT. JOCK’S PLANE - TWILIGHT
It soars off over the dark jungle.
18
18
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 innundated with books, maps, etchings and archeological artifacts. In fact, the only neat spot in the room right now is Indy’s desk, which has been cleared off expressly for the benefit of-- MARCUS BRODY, the Curator of the National Museum in Washington D.C. Brody is examining the small artifacts Indy pocketed on his way into the Peruvian Temple. He occasionally uses a jeweller’s eyepiece to get a closer look. But he is distracted, his concerns elsewhere, and it is this that his old friend Indy senses from across the room.
BRODY Do you think the idol will ever show up? INDY I don’t know. Just because Belloq had it doesn’t mean he kept it.
Indy snaps the book closed and puts it on the shelf. He takes his glasses off and focuses on Brody. At the windowed door to his office, two pretty COEDS pause for a moment, look in at their sexy Archeology professor, giggle and disappear.
13.
INDY Getting it away from those Indians would be a neat trick. (a hard look) I hope they got him.
A young male graduate student, Indy’s TEACHING ASSISTANT, taps on the door and then pushes his way in with an arm-load of reference books. Indy helps him find a spot for them.
TEACHING ASSISTANT I couldn’t get the McNabe,
Professor. Someone’s got it checked out ‘till next month when classes start. INDY That’s all right, Phil. Thanks a lot.
TEACHING ASSISTANT
(eager to please) Will there be anything else?
INDY No. I’ll see you Thursday.
The Teaching Assistant leaves. Brody is scowling as he examines the last of the artifacts.
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.
14.
INDY (concerned)
Government?
BRODY Don’t worry, it’s not about your business. (indicates the artifacts) They’re from the Army.
INDY I’ve already served.
BRODY Army Intelligence. They’re looking for Abner.
19
19
INT. INDY’S LECTURE HALL/CLASSROOM - DAY
Indy’s course - a combination of archeology and anthropology - is taught in this amplitheater-type lecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps, charts fasten on the walls. Indy leans against his desk talking with Brody and two uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, who are situated around the first seats in the classroom.
MUSGROVE ...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.
15.
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.
16.
EATON Then what do they want him for?
(MORE) INDY Only half of it. Ravenwood had the other half. EATON What would the Nazis want with this - this Staff of Ra? INDY They’re looking for the headpiece to the Staff of Ra. MUSGROVE (indicates his sheet) But it says here that’s in China. 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 pharoah stole the Ark from Jerusalem and took it back to the city of Tanis. A short time later, Tanis was consumed by the desert in a sandstorm that lasted a year.
17.
INDY(cont'd) But before that, the Pharoah had the Ark hidden away in a secret chamber called the Well of the Souls. Which is where the Staff of Ra comes in.
Indy moves to the blackboard and makes a quick sketch to give a rough idea of the system as he describes it. (And we get a glimpse of what an interesting and enthusiastic teacher he must be)
INDY Now this was rather clever. The Staff was really just a big stick - oh, I don’t know, say like this - (he indicates about six feet) - no one really knows for sure. Anyway, it was capped by an elaborate headpiece with a carving of the sun at the top. What you had to do was take the Staff to a special room in Tanis - it had the whole city laid out in miniature on the floor. When you placed the Staff in a certain spot in the room, at a certain time of day, the sun would shine through a hole here in the headpiece and then send a beam of light down here - to the map - giving you the location of the Well of the Souls... 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.
18.
It shows a Biblical battle. The Israelite Army is vanquishing an opposition force. At the forefront of the Israelite ranks, two men carry the Ark of the Covenant, a beautiful gold chest, crowned by two sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles which pass through rings in the corners of the Ark. The painting is very dramatic, full of smoke, tumult and sinewy dying men. But the most astonishing thing in the picture is the brilliant jet of white light and flame issuing from the wings of the angels. It pierces deep into the ranks of the retreating enemy, wrecking devastation and terror.
EATON
Good God!
INDY Yes. That’s what the Hebrews thought. MUSGROVE What’s that supposed to be coming out of there? INDY Who knows... lightning... fire... the power of God. EATON I’m beginning to understand Hitler’s interest in this thing. INDY Oh yes. The Bible tells of it leveling mountains and wasting entire regions. Moses promised that when the Ark was with you, “your enemies will be scattered and your foes fell before you”. (pause) An army which carries the Ark before it is invincible.
Eaton and Musgrove exchange worried looks.
INDY Oh, there’s one other thing that Hitler undoubtedly believes about the Ark... (a long, pregnant pause) It’s said that the Lost Ark will be recovered at the time of the coming of the True Messiah.
19.
MUSGROVE Dr. Jones, you’ve been very helpful. I hope we can call on you again if we have questions.
INDY Most certainly.
Brody and Indy exchange a look as they all shake and Brody starts to leave with the Army men.
20
20
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. Marcy Brody has already rung the bell. Indy opens the door. He is dressed in a tuxedo.
BRODY I’ve got to talk to you.
INDY This isn’t really a good time.
BRODY Indy, it’s important.
INDY All right. Come on in.
21
21
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 in a moment.
As Brody passes the entrance to the expansive living room, he spots a beautiful, silk-gowned Harlow-type lounging on the sofa in front of a roaring fire. She is sipping champagne.
22
22
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.
20.
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:
23
23
EXT. IN THE AIR - DAY/NIGHT
A Pan Am Clipper flies west over the Pacific.
WIPE TO:
24
24
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.
21.
In the back seat is a Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake with Indy.
KEHOE Buzz Kehoe, Army Intelligence. You’ve met Bang Chow.
INDY What’s the hurry?
KEHOE Some German agents got here two hours ago. Luckily, Bang was able to have them detained at Customs. We’ll have to hurry.
25
25
OMIT
26
26
OMIT
27
27
OMIT
28
28
OMIT
29
29
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.
30
30
EXT. HOK’S STREET - IN FRONT OF THE 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.
31
31
EXT. ALLEY BEHIND HOK’S MUSEUM - DAY
Kehoe, alone now, pushes a trash container casually into a position to hide a newly created hole in the rear wall of Hok’s Museum where several stone blocks have been removed. He looks around and ambles back to the car.
22.
32
32
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 roved Chinese Advisor. He wears a fantastic gold ornamental robe. Despite the majesty, however, nothing can disguise the fact that Hok is basically a wild, fat barbarian; an animal. Hok and his escort group bow in what is the beginning of a long welcoming ceremony. The Germans exchange impatient glances but decide they should play it as it comes. They bow.
33
33
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.
34
34
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.
35
35
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 myraid tiny threads which run up and across the ceiling, then down to the various display cases. Indy looks up at the gong, then continues his quick, quiet foray among the cases. Beyond him, a high window.
36
36
INT. HOK’S PALACE - TEA ROOM
Hok and his visitors stand to go. The Germans’ pleased expressions make it clear they’re finally on their way to the museum.
23.
37
37
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.
38
38
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.
39
EXT. STREET IN FRONT OF THE PALACE - DAY
39
The lovely Mercedes limousine blows up.
40
40
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.
41
41
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 take two lightning- quick cuts at the leather, but misses.
24.
Indy swings for the Samurai’s feet; the Samurai jumps nimbly, slashing at the whip. Indy does it gain. The Samurai hops it. Once more. The Samurai is concentrating on hopping it. Indy sees it. The split second he wants. The whip flashes up from the floor and wraps solidly and irrevocably around the Samurai’s neck. Indy gives it a murderous pull and the Samurai is dead on his feet.
42
42
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.
43
43
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.
44
44
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.
45
45
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 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.
25.
Hok can see the rolling gong. He opens up on it. The vicious cacophony of machine gun fire is joined by the musical reports of bullets hitting the gong and ricocheting away. Very, very noisy. Behind the gong, Indy gauges his move. As the gong is about to be stopped by a marble bench, Indy takes a long stride onto a bench and dives through the glass of the high window. Hok’s bullets hit the wall.
46
46
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.
47
47
EXT. ALLEY BEHIND HOK’S 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.
48
48
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.
26.
49
49
OMIT
WIPE TO:
50
50
EXT. DC-3 IN THE AIR - DUSK
The plane flies west into the sunset.
51
51
INT. DC-3 - NIGHT
Under a meager seat light, Indy is pouring over a journal article by Abner Ravenwood and a related map of Nepal. A few rows back, across the aisle, a trenchcoated European Spy eyes Indy.
WIPE TO:
52
52
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 posed for action, their representative 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.
27.
The Sherpa and the Climber are about to kill each other when the Presence arrives directly between them: she is MARION RAVENWOOD, twenty-five years old, beautiful, if a bit hard- looking. At this moment, however, that look does not hurt. She is not intimidated by the combatants; she jabs accusatory fingers into their chests. She is angry as hell. The patrons shrink under her gaze.
MARION That does it! I’ve been patient with you no-goods long enough. I’m not open at 2 o’clock for myself, you know. It’s all for you. And how do you repay me: Trouble and noise and blood on my floor! I won’t have it. Everybody out! Out! Out! We’re closed. Closed! Do your killing outside! And don’t leave any bodies on the porch!
The place clears quickly. Stragglers and grumblers are given special attention by Marion and Mahdlo, who has come from behind the bar carrying a big axe handle. Mahdlo herds the crowd out the front door as Marion turns and walks behind the bar. A scowl on her lovely face, she has just begun clearing the bar of glasses when she notices one remaining Patron huddled over a glass at the far end of the bar. Grimacing in exasperation, she heads that way like a locomotive.
MARION Hey you, deaf one! I said out of place. I don’t meant next Easter, I mean now--
She is almost on him when Indy looks up smiling. Marion stops, stares, shocked.
INDY Hello, Marion.
She hits him with a solid right to the jaw, knocking him off the 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.
28.
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.
(MORE) 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 Did you find him?
MARION Hell no. He’s buried where he was working. Probably preserved real good, too. In the snow.
Suddenly the hardness cracks. She is on the verge of tears and does not want him to see them. She turns away and takes a whiskey bottle from the shelf, then turns back to pour herself a drink.
INDY Not a bad way to go. Doing what he loved.
MARION
(vitriolic) Don’t give me that stuff!
29.
MARION(cont'd)
What do you know?
(she takes a drink) I’m the one that was left in a bad way. He didn’t have a penny. Guess how I lived, Mister Jones. I worked here. And I wasn’t the bartender. (another swallow) Finally the guy that owned the joint went crazy. Snow crazy. They took him away screaming. As they dragged him out, he said the place was all mine for life.
She looks around the saloon.
MARION Can you imagine a more evil curse? (pause) So far, it’s working. INDY Why not leave? Go back to the States. MARION I’ll go back. I’ll get there. Not that there’s a soul there who knows my name of cares. But I’ll go. And when I do, they’ll know me. ‘Cause I’m going to go back in style. With money. A soddamn lady!
INDY Where you gonna get it?
MARION If I knew that, you think I’d still be running this dive?
Indy looks at her, thinking. Under his gaze, she blushes, for reasons only she understands. She looks into her glass and, for a moment, she softens.
MARION I’ll tell you something, Indy. I’ve learned to hate you in the last ten years. But somehow, no matter how much I hated you, I always knew that someday you’d come through that door. I never doubted that. Something made it inevitable. (hopefully) Why are you here... now... tonight?
30.
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.
That stops her.
31.
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.
32.
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.
33.
INDY Okay. Five thousand. That’s all I can give you now. I can get you more when you land in the States.
MARION Your word, huh? (Indy nods)
Just like you said you’d be back last time? That was your word too.
INDY I’m back, aren’t I?
Marion sneers and they smile together.
INDY You can trust me.
MARION Come back tomorrow.
INDY
Why?
MARION Because I said so, that’s why. It’s about time I called the shots in this relationship.
Indy nods, gets up to go.
MARION Wait a minute. Leave the five thousand here. (Indy hesitates) You want trust, give some. I want to smell your money.
Indy thinks about this a moment, then reaches inside his shirt and pulls out cash from a money belt. He lays five grand on the bar.
INDY
I trust you.
MARION You’re an idiot. INDY I’ve heard that.
34.
Indy starts for the door. Marion takes another drink. She’s getting high.
MARION Hold it. Come here. INDY (moving back) Bossy, aren’t you?
MARION That’s right. Give me a kiss.
Indy looks into her eyes, then leans over the bar and kisses her deeply. When the kiss ends, their faces are very close. Marion is flushed. She liked it and would like more. She raises her glass between them to discipline herself.
MARION Get out of my place.
Indy smiles and walks to the front door. Then, without looking back-
INDY
Tomorrow.
He’s gone. Marion stares after him, thinking. She takes a drink. Then slowly, her hand comes up to loose the scarf that is draped around her throat. It falls away, revealing her graceful neck above the dipping top of her blouse. Hanging there on a gold chain against her white skin is a sun-shaped golden medallion. The bottom looks broken off. Marion lifts the medallion so she can see it in her hand, then looks thoughtfully after Indy.
53
53
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:
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