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"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
Señor, 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, señor.
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 communiqué
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 communiqué 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
INDIANA JONES AND THE TEMPLE OF DOOM
STORY BY:
GEORGE LUCAS
SCREENPLAY BY:
WILLARD HUYCK
AND
GLORIA KATZ
TM* & (c) Lucasfilm Ltd., 1984
--------------
FADE IN:
1. INT. "THE DRAGON" NIGHTCLUB - NIGHT 1.
A Chinese GONG SOUNDS and the glittering doors of an art Deco pa-
poda slide open to reveal a mammoth silver stairway down which
rows of beautiful women start descending (BEGIN MAIN TITLES)
The lovely ladies are a mix of races and they sing a strange,
haunting melody -- one might think them a heavenly choir, if it
weren't for their sexy, clinging lame gowns.
2. INT. CLUB ENTRANCE 2.
From the ethereal beauties, we cut to a street urchin's dirty
face: SHORT ROUND is a ten-year-old Chinese kis wearing a beat-
up American baseball cap.
Sneaking into the club, Short Round weaves past the fancy gowns
and silk suits, heading toward the music in the main ballroom.
3. INT. THE BALLROOM 3.
Short Round enters and stares across the smoky nightclub. On the
stage, he sees a giant paper-mache dragon laying curled around
the pagoda.
Now, the dragon's eyes light up, its nostrils exhale smoke and
its enormous jaws open. Out of the dragon's mouth walks the star
of the stage show:
WILLIE SCOTT, a dreamy beauty singing a sultry solo white the or-
chestra wails the accompaniment.
But Short Round's not here to ogle crooning dames. He surveys
the rich Chinese, American and European revelers. Jewels flash
and champagne flows. Short Round finally spots a table of
somber-looking Chinese men in suits.
Short Round chews gum and stares at the men. Then he turns to
go. WU HAN, a waiter with a scar across his cheek, watches Short
Round leave.
4. INT. CLUB ENTRANCE 4.
As Short Round hurries toward the exit, he bumps into a man in a
tuxedo entering the club. Short Round looks up at the man, but
we don't see his face.
Then Short Round is grabbed by the scruff of his neck and a door-
man hustles him out the door, Short Round yelling insults all the
way.
A maitre d' apologizes to the man in the tuxedo and two hat-check
girls smile at him familiarly as he continues into the ballroom.
We notice something incongruous: the man in the tuxedo is wear-
ing work boots caked with mud.
5. INT. THE BALLROOM 5.
The man in the tuxedo stops to watch Willie Scott singing sexily
on the stage. Then he looks around and sees the table of somber
Chinese men that Short Round spotted earlier.
As the man in the tuxedo walks toward the table, he removes a
cigarette from a silver case. He arrives at the table just as
the chorus and orchestra reach a crescendo --
And on the stage, a glistening, muscular slave swings a huge ham-
mer toward an enormous brass gong --
The man in the tuxedo leans to receive a light from a cigarette-
girl and, as the GONG BOOMS, the match flares to reveal his face
for the first time:
It's INDIANA JONES. Elegant in a tuxedo -- dressed to kill. The
TITLES END and over this a legend appears on the screen:
SHANGHAI - 1935
At the table, the four Chinese man in suits stare coldly at Indi-
ana.
LAO
Dr. Jones.
INDIANA
Lao She.
LAO
Nee chin lie how ma?
Lao's men laugh and assume that Indy doesn't understand his joke.
INDIANA
Wah hung how, nee nah? Wah hwey
hung jing chee jah loo nee kao
soo wah shu shu.
LAO SHE looks angry and his men's smiles fade.
LAO
You never told me you spoke my
language, Dr. Jones.
INDIANA
I don't like to show off.
Indiana takes a seat across the table from Shanghai's notorious
crime-lord. Lao is fifty, wealthy enough to now display some
fat, but still muscular from his fight to the top of the garbage
heap.
LAO
For this special occasion, I
ordered champagne and caviar.
Indiana looks at the pile of caviar on the plate in front of him
-- and stubs his cigarette out in it. The cigarette sizzles and
Lao's smiles dies with it.
There's applause as Wille Scott finishes her song. At the
table, Lao stares at Indiana with a strange intensity.
LAO
So, it is true, Dr. Jones? you
found Nurhachi?
INDIANA
Sure, I found him. Then last
night I had a little trouble.
Somebody tried to slit my throat.
Indiana looks across the table at Lao's son, CHEN, who resembles
a bulldog and snarls like one now.
INDIANA (Cont'd)
It was dark, but I think one of
your sons tried to get Nurhachi
without paying for him.
Indy stares pointedly at Chen's recently bandaged hand. Chen
mutters and stands angrily -- Lao barks a command in Chinese and
Chen sits down again.
LAO
You have insulted my son.
INDIANA
Next time I'll cut off more than
his finger.
LAO
Dr. Jones -- I want Nurhachi.
Lao pulls a wad of cash out of his pocket and puts it on the
table. Indiana glances at it.
INDIANA
As I recall the deal was consid-
erably more.
Now a pretty hand slips onto Lao's shoulder and he looks up to
see Willie Scott. Lao kisses her hand. Willie is unaware of the
explosive mood at the table and she smiles flirtaciously at Indi-
ana.
WILLIE
(to Lao)
Aren't you going to introduce
us?
LAO
This is Willie Scott.
(watching Indy)
And this is Indiana Jones, the
famous archaeologist.
Willie sits down between Lao and Indy. She takes out a small
mirror to check her make-up.
LAO (Cont'd)
Dr. Jones found Nurhachi for me
and is about to deliver him --
now.
Lao nods across the table and Indy sees KAO KAN, Lao's second
son, open his coat and remove a silver-plated pistol. Indiana
looks worried. Willie doesn't notice as she fixes her make-up
and coyly teases Indiana.
WILLIE
Well -- I thought archaeologists
were always funny little men
searching for their mummies --
(yelping)
Aaahhh!
She looks down terrified at the knife Indy is poking against her
ribs.
WILLE (Cont'd)
I was only kidding, can't you
take a joke -- ?
(to Lao)
Lao, he's got a knife!
INDIANA
Put the gun away, sonny.
Kao Kan glances at his father. Lao finally nods to his son and
he slips the pistol back into his pocket.
INDIANA
Now I suggest you pay me what you
promised -- or your girlfriend
here is going to be squealing a
new tune.
The ritzy patrons at the tables nearby are unaware of the tawdry
drama quietly unfolding at this table.
Willie eyes the blade and whimpers. She looks imploringly at Lao
and he slowly reaches into his pocket. He puts ten gold coins
next to the cash on the table.
Indy leans forward to look at the gold coins -- so intently that
he fails to notice Kao Kan spilling some powder into Indy's cham-
pagne glass!
INDIANA
Try again Lao -- the deal was
more.
The knife pokes Willie and she whimpers again. Lao reaches into
another pocket and brings out a folded piece of rice paper -- he
opens it and a large diamond and ruby spill out onto the table.
INDIANA (Cont'd)
Bingo...you see, Lao, with a
but of persuasion, even you can
be an honest fellow.
Indy smiles and jabs the knife into the middle of the table.
Then he lifts his champagne glass in a toast to Lao -- who
watches expectantly as Indiana moves the glass toward his lips --
Suddenly Willie stands angrily, jostling Indy's arm so that he
doesn't drink his champagne.
WILLIE
Look at this! He put a hole
in my dress from Paris!
Lao sees Indy put his champagne glass down and he snarls at Wil-
lie --
LAO
Sit down!
Willie quickly obeys. Lao forces a smile at Indy and lifts his
glass to seal the deal --
LAO (Cont'd)
To your health, Dr. Jones.
Lao sips hs champagne and watches hopefully as Indy picks up his
glass and this time Indy does drink the champagne. Then he
reaches for the cash --
But Chen grins and puts a silver snuff bottle next to the cash,
gold and jewels -- he tips the little bottle over and some white
powder spills out of it --
INDIANA
What's that?
LAO
A bonus, Dr. Jones. That is
poison. You just drank the
rest of it.
Indiana examines his champagne glass and sees a residue at the
bottom of it. He swallows and feels sick, wondering it it's fear
or the poison already taking effect.
LAO (Cont'd)
There is an antidote for this
poison. You give me Nurhachi --
I give you the antidote.
Indiana is sweating. Willie looks at him and sees Indy's hand
shaking.
LAO (Cont'd)
The poison works fast, Dr. Jones.
Where is Nurhachi?
Indiana finally reaches into his pocket. Next to the cash, gold,
jewels and poison, Indiana sets down a beautiful small box. Lao
and his men stare hypnotically at the exquisite gold and enamel
box.
WILLIE
(nervously)
This Nurhachi's a very small guy.
Nobody pays any attention to her as Lao reaches for the box.
INDIANA
Inside are the remains of Nur-
hachi -- the first Emperor of the
Manchu Dynasty.
Lao opens the box carefully and stares reverently at the grey
powder inside.
INDIANA (Cont'd)
Now what about the antidote,
Lao.
LAO
(holding the box)
At last I have the ashes of my
sacred ancestor!
WILLIE
So, what's the big deal? Let
me see it --
Qillie grabs Lao's arm and some of the precious ashes spill out
of the gold box. Stunned by this desecration of his ancestor,
Lao grabs Willie by the wrist and twists her arm --
LAO
You fool!
WILLIE
Ow, you're hurting me, you miser-
able little hood!
INDIANA
Let go of her, Lao. And give me
the antidote.
Lao just laughs evilly -- until a waiter moves up behind Lao and
the crimelord suddenly stiffens. He lets go of Willie's wrist
and raises his hands off the table. Chen stops collecting the
money and jewels.
Kao Kan tenses and Indy smiles at Wu Han, the Chinese waiter with
the scar, who is standing behind Lao. Wu Han has a towel over
his hand -- under it, he has a pistol pressed against Lao's
spine.
INDIANA (Cont'd)
(smiling at Wu Han)
I like the service here.
WILLIE
(puzzled)
Hey, he's not a waiter...
INDIANA
No, Wu Han's an old friend I
brought along.
(to Lao)
So, the game's not over. Put
the antidote on the table, Lao.
Lao carefully reaches into his pocket and puts a small glass vial
of liquid next to the cash, gold, jewels, poison and sacred box.
Indy looks relieved as he reaches for the vial of antidote --
then he hears a muffled report! And another!
Wu Han groans and sways. Indy starts to stand but Chen immedi-
ately turns the smoking pistol with the silencer that he used to
kill Wu Han -- Indy sees it pointed at him now and he remains in
his seat.
Kao Kan stands and grabs Wu Han, easing the phoney waiter into
the chair he just vacated. The muffled shooting hasn't attracted
any attention. The nightclub activity continues an Indy speaks
emotionally to his dying friend.
INDIANA
Wu Han -- listen to me -- I'm
going to get you out of here.
In pain, Wu Han looks at Indy and struggles to speak --
WU HAN
Not this time, my friend...
(smiling bravely)
I followed you on many adventures --
but into the great Unknown Mystery,
I go first, Indy...
Wu Han dies and slumps forward. Indiana is shattered by the
death of his old friend.
LAO
Don't be sad, Dr. Jones -- you
will soon join him.
Indy's gaze shifts from his dead friend to Lao's sneering face.
Then Indy sees the murderous Chen giggling perversely. Indy's
anger is compounded by the poison burning in his gut and his vis-
ion of Chen's ugly face blurs into a double image --
Indy stands up unsteadily. Chen assumes he's about to keel over
from the poison -- but Indy suddenly turns and grabs a real wai-
ter at another table. The waiter holds a long skewer of roasted
pigeons that he's just set afire --
Indy grabs the skewer of pigeons flambee and hurls is across the
table! Chen fires and misses -- and screams as the skewer stabs
into his chest and the burning pigeons flame in front of his hor-
rified face!
This the other tables definitely notice. There are screams and
all hell breaks loose. Indiana shoves past Willie and reaches
for the vial on the table --
INDIANA
The antidote -- !
But he's grabbed from behind by Kao Kan. Indy elbows the punk,
reaches back and grabs his head -- and somersaults Kao Kan onto
the table!
As nubmer two son crashes into the table, the impact sends the
Emperor Nurhachi's ashes billowing into Lao's stricken face!
Indiana yells as he sees the vial of antidote rolling across the
table -- and falling!
Indiana dives and catches the antidote just before it hits the
floor -- then Indy's hand is brutally stomped on by one of Lao's
henchmen and the vial rolls away.
Indiana angrily raises his head, smashing it up into the hench-
man's groin -- the man howls like a banshee and hobbles away.
Meanwhile, Willie watches Lao grabbing for cash from the table.
Willie lunges past the pigeon-skewered Chen to snatch the jewels,
but unfortunately Kao Kan knocks them off the table as he leaps
to attack Indy.
Indiana scrambles on his hands and knees after the rolling vial.
People keep kicking it -- he almost has it when Willie runs into
him, trips and lands on her back.
INDIANA
Look out, damn it, I need that
antidote!
WILLIE
Who cares? Where's that diamond!
Gunfire explodes and they both scramble in different directions.
Indy dives through the fleeing nightclub patrons and slides be-
hind a water-spewing fountain. Water kicks up as Indy is shot at
by Lao and his henchmen.
Indy sees the vial of antidote kicked again and it spins across
the marble floor -- feeling the poison, Indy shakes his head
groddily and splashes water on his face.
Meanwhile, Willie is chasing her diamond, shoving through the
panicked crowd. She spots the diamond! Another elegantly
dresses soman is bending to pick it up --
WILLIE
(acidly polite)
Excuse me, but I believe that's
my diamond!
Willie smiles and suddenly kicks the woman in the butt! Willie
reaches to get the diamond but not before the other woman tackles
her.
Behind the fountain, Indiana makes a break -- he runs and dives
on top of a serving cart. The wheeled cart hurtles toward an un-
suspecting gunman, crashes into him from behind and sends him
flying head first into a row of ice buckets.
Nearby, Willie slugs the other lady in the jaw and grabs for the
elusive diamond just as the ice buckets showers ice across the
floor -- which camouflages the diamond!
WILLIE
Aw nuts!
Searching desperately for the jewel, Willie sees the vial of
antidote spinning across the floor --as it slides by, she grabs
it.
INDIANA (O.S.)
Hey,doll! Don't move!
She sees Indy speeding by atop the serving cart. Lao and his
gunmen rush out to block the way. Indy rolls off the cart and
slides behind a potted palm as Lao's men open fire again.
INDIANA (Cont'd)
(shouting to Willie)
Hey, don't go away! I need that!
Willie smiles meanly as she slips the vial down the front of her
dress, thumbs her nose at Indiana and walks away.
INDIANA (Cont'd)
If I wasn't dying, I'd kill her...
Hiding behind the palm tree, Indiana looks around and spots a gi-
ant statue at the side of the stage. Indy makes a break for it.
As the gunmen open fire, Indy springs onto a chair -- jumps onto
a table -- and leaps onto the stage. He grabs the golden broad-
sword from the Chinese warrior statue!
As bullets smash into the statue, Indiana hides behind it. Then
he jumps out and swings the large sword toward the enormous brass
gong.
The crimson cord holding the gong is SLASHED! Indy slings the
sword at his assailants and gives the three-meter-high gong a
helpful shove --
The giant gong rolls and echoes as it crashes down the marble
steps. Indiana ducks behind it as it gains momentum and rolls
across the dance floor.
Using the gong as an enormous shield, Indy evades the gunfire ex-
ploding -- bullets ricochet off the rolling brass gong as Indy
runs behind it.
Ahead, Willie hurries toward an exit -- she hears something and
turns -- her eyes go wide as she sees the mammoth gong bearing
down on her!
Willie yells as Indiana grabs her arm and pulls her behind the
gong with him --
Lao watches amazed as he and his gunmen dodge tables trying to
get better firing positions -- and more henchmen come into the
club now and start firing machine guns!
As bullets clang against the gong, Indiana and Willie run behind
it. Willie hollers as they head directly for a towering, floor-
to-ceiling window!
Indiana grabs Willie around the waist and, after the huge gong
crashes through the stained-glass window, they both fly after it!
6. EXT. "THE DRAGON" NIGHTCLUB - NIGHT 6.
In a shower of sparkling glass, the enormous gong sails out and
crashes down a sloping green-tiled roof. Indiana Jones and Wil-
lie Scott hurtle into the night air after it!
The gong rolls down the roof and they hit the tiles behind it,
Indiana holding onto Willie as they roll one-over-the-other
toward the edge -- Willie screams as they fall into thin air!
Their entwined bodies plummet three stories: ripping through a
third-floor awning, crashing through an old man's mattress on a
second-floor balcony --
Finally they smash through the convertible top of a parked Duesen-
berg and fall into the back seat!
7. INT. THE DUESENBERG 7.
Willie sits up wide-eyed, speechless and amazed to be alive.
Then she sees an equally astonished Short Round looking at them
from the front seat.
SHORT ROUND
Wow! Holy smoke! Crash landing!
INDIANA
Step on it, Short Round!
SHORT ROUND
Okey doke, Indy! Hold onto your
potatoes!
The twelve-year-old Chinese kid turns his baseball cap bill-
backwards and steps on the gas! The tires squeal as the car
roars off --
WILLIE
For crying out loud, a kid's driv-
ing the car?!
INDIANA
Relax, I've been giving him lessons.
8. EXT. THE NIGHTCLUB - NIGHT 8.
The Duesenberg races past the entrace to the nightclub as Lao
and his man rush out and jump into two black sedans. The sedans
screech off in pursuit of the Duesenberg.
9. INT. THE DUESENBERG 9.
As Short Round eagerly swerves around a corner, Willie holds on
for dear life. Indiana suddenly puts his hand down the front of
Willie's dress --
WILLIE
Listen, we just met for crissake!
I'm not that kind of gril!
INDIANA
Don't get your hopes up -- where's
the antidote?
Indiana withdraws his hand, having finally found the vial. He
opens is quickly, tips the vial to his lips and grimaces as he
swallows the stuff.
WILLIE
You don't look very good.
INDIANA
Poison never agrees with me.
(shouting forward)
Pull a right, Short Round, and
head for the Wang Poo bridge!
SHORT ROUND
Check! Gotcha!
As the car accelerates, Indy peers out the back window at their
pursuers. Willie notices her reflection in the side window --
WILLIE
Look at what you've done to me!
I'm a mess! My lipstick's smeared,
I broke two nails, I've got an aw-
ful run in my stocking -- !
Gunfire suddenly explodes, bullets whizz through the canvas top
and the rear window shatters and sprays glass! Willie ducks and
cringes terrified in the corner --
INDIANA
Somehow I think you've got bigger
problems.
Indy grabs his shoulder bag and pulls a pistol out of it. He
pokes the gun through the broken window and starts firing back at
their pursuers -- then he turns and looks ahead.
INDIANA (Cont'd)
There, Shorty! Through the
tunnel!
Through the windows we see the car racing into a tunnel. Lights
from the pursuing cars flash through the rear window and gunfire
echoes in the tunnel.
WILLIE
What're we going to do?! Where're
we going?!
INDIANA
The airport...No, look out,
Short Round! Left, left!
Indy reaches over the front seat and helps Short Round navigate.
10. EXT. A SHANGHAI SQUARE - NIGHT 10.
The Duesenberg tears around the square, followed by Lao's two se-
dans. People on the street dive for cover -- coolies pulling
rickshaws go into hyper-jov --lanterns spanning the street crash
down and are dragged behind the Duesenberg. Bullets exlode and
amazed prostitutes watch the cars zoom past.
11. INT. THE DUESENBERG - NIGHT 11.
The chaotic chase continues -- bullets whine past and the shred-
ded convertible top whips in the wind.
INDIANA
(shouting)
You got the tickets, Short Round?
SHORT ROUND
Sure, Indy -- three tickets!
You, me and Wu Han --
Shorty throws an envelope back and Indy looks at the three
tickets.
INDIANA
(sadly)
Wu Han's not coming, Shorty.
Unaware of what happened at the club, Short Round thinks a mo-
ment.
SHORT ROUND
Don't worry, Indy. Short Round
number one bodyguard now!
Willie reaches for the extra ticket.
WILLIE
I'll take the extra ticket.
(grabbing it
from Indy)
Where's this plane going anyway?
INDIANA
Siam.
WILLIE
Siam? But I'm not dressed for
Siam...
12. EXT. COUNTRY HIGHWAY - NIGHT 12.
Leaving behind the squalid port, the Duesenberg flies along the
highway through the trees. In a moment, Lao's two sedans race
by.
13. EXT. NANG TAO AIRFIELD - NIGHT 13.
The Duesenberg swings around a curve and skids through gravel to-
ward the airfield. In the distance there is a small terminal but
Short Round wheels the car toward the cargo area --
A two-engine passenger plane is revving its motors and the last
passengers are boarding. The Duesenberg squeals to a stop and
Indy jumps out with Willie and Short Round right on his heels.
A contingent of airport Military Police move to bar their way
until WEBER, a heavy-set Englishman, runs up pufffing and shout-
ing.
WEBER
No, no, they're all right!
Let them through please.
INDIANA
Thanks, Weber.
WEBER
Dr. Jones, this is positively the
last time our airline can hold a
plane for you. Now you must hurry!
While Short Round grabs a small bag out of the car, Weber and a
stewardess take their tickets and rush them all toward the air-
plane.
Meanwhile, the two sedans skid to a stop and Lao and his son Kao
Kan jumpsout with their henchmen. The puzzled military police
advance on them usspiciously --
Realizing he's outnumbered, Lao instructs his men to stay back
and to put away their weapons.
14. EXT. THE AIRPLANE 14.
Willie and Short Round charge up the ladder and onto the plane.
Indy pauses at the top of the steps to give Lao a cocky farewell
salute. Indy boards the plane and the co-pilot slams the door.
15. EXT. THE AIRFIELD 15.
The plane starts taxiing. By the cars, Lao is buffeted by the
prop wash as he angrily watches the plane roll away. Behind Lao,
his son, Kao Kan, stares at the plane taking off -- a look on Kao
Kan's face indicates that he hasn't given up yet...
The plane lifts off the airfield, silhouetted against the clouds
and the first light of dawn.
CUT TO:
16. EXT. THE DKY - MORNING 16.
The sun flashes above the horizon and the plane banks through
white billowing clouds at it heads west.
17. INT. THE PLANE 17.
A door opens at the rear of the plane and Indiana Jones exits
wearing more familiar attire: a beat-up leather jacket over a
khaki shirt and a snap-brim hat. He passes a dozen passengers as
he moves up the aisle carrying his rolled-up tuzedo.
In the first row, Willie is busy fixing her make-up. Shorty sits
in the seat across the aisle from her. Indy comes up and drops
his tuxedo onto the floor.
Willie sees him hook his coiled bullwhip over a coat-peg.
WILLIE
So, what're you supposed to be,
a lion tamer?
INDIANA
Since I was nice enough to let
you tag along, why don't you give
your mouth a rest? Okay, doll?
Indy pats her leg -- she removes his hand and reaches down and
picks up his tuxedo coat. She slips it on.
WILLIE
I'm freezing. What do you mean,
tag along? From the minute you
walked into that nightclub, you
haven't been able to keep your
eyes off me.
INDIANA
Oh yeah?
He smiles and tips his hat down over his eyes to go to sleep...
18. INT. THE COCKPIT 18.
At the same moment, the Chinese co-pilot tips his hat up off his
eyes -- and looks scared to death! He exclaims in Chinese --
CO-PILOT (*subtitled*)
Good lord!
He and the pilot see two biplanes materialize out of the clouds
and dive directly toward them! Suddenly, machine gunfire erupts!
PILOT (*subtitled)
Dive for the clouds! Dive!
19. EXT. THE SKY - DAY 19.
The DC-3 banks into the clouds as the two biplanes attack. In
the back seat of the first biplane, we see Kao Kan watching the
DC-3 like a hawk about to bring down a sparrow.
20. INT. THE COCKPIT 20.
The biplanes swoop past both sides of the plane and bursts of
gunfire rip along the fuselage.
CO-PILOT (*subtitled)
They hit a fuel line!
PILOT (*subtitled*)
Reduce speed -- get everyone out
of the plane!
21 INT. THE PASSENGER CABIN 21.
As the air battle rages, the passengers are tossed about and some
start screaming. Short Round peers out a window.
SHORT ROUND
Lao send planes to kill Indy!
Willie shakes Indy's arm but he continues snoring under his hat.
WILLIE
Wake up! It's the drug he drank
to stop the poison --
The cockpit door bursts open and the Chinese co-pilot exits to
make an announcement -- he smiles and speaks in CHINESE, then he
smiles and speaks in FRENCH --
Willie looks lost until the Chinese co-pilot smiles again and
speaks in ENGLISH --
CO-PILOT
Please to remain calm. We start
passing out parachutes now --
The co-pilot hurries toward the rear. Willie looks petrified as
a stewardess rushes up and hands her a parachute.
WILLIE
You got to be kidding! No! No,
I can't!
The pilot hurries out of the cockpit and grabs his parachute as
he heads toward the back.
WILLIE (Cont'd)
Wait -- who's flying the plane?!
She opens the door to the cockpit --
WILLIE (Cont'd)
Nobody's flying the plane ...
22. EXT. THE SKY - DAY 22.
The DC-3 smokes through the clouds. Passengers are bailing out
-- parachutes billowing. As one of the fighters swoops through
the parachutes, Kao Kan searches the faces -- then he points at
the DC-3.
KAO KAN
(into the radio)
Jones! Indiana Jones!
The two planes roar off and start strafing the DC-3 again.
23. INT. THE PASSENGER CABIN 23.
The co-pilot has a parachute on and is trying to get Short Round
into one.
CO-PILOT
Put it on! What's wrong with
you? You've got to jump!
SHORT ROUND
No, can't leave Indy!
Short Round suddenly butts the co-pilot in the stomach with his
head. The co-pilot yells and falls out the door. Short Round
sees the co-pilot's parachute billow. Then Willie rushes up.
WILLIE
Give me that parachute, I
changed my mind --
She grabs the parachute and starts to fight Shorty over it--
SHORT ROUND
No, this last one! It's for Indy!
They scuffle until the parachute skids across the floor. Short
Round jumps for it -- the parachute falls out the door and Short
Round starts to fall out after it!
Willie grabs him by the seat of his pants and hauls him back from
the abyss!
24. EXT. THE SKY - DAY 24.
The fighters peel off toward the DC-3 with their guns flaming in
another attack.
25. INT. THE PASSENGER CABIN 25.
Short Round tries to wake Indy again. Finally, Shorty grabs
Indy's bag, pulls his holster out of it and runs toward the back.
Indy continues to sleep -- until bullets smash the window by his
head and a fire extinguisher is hit and starts spraying into
Indy's face.
He finally awakens and jumps up. He looks around is disbelief at
the battle-torn, nearly-empty airplane.
INDIANA
(groggily)
We there yet?
Indiana sees Shorty shooting his pistol out the side door as the
planes swoop by again. Out of ammo, Shorty throws the gun
angrily at the passing plane.
Indiana picks up his whip and attaches it to his belt as Willie
runs over to him.
WILLIE
There's nobody flying the plane!
26. INT. THE COCKPIT 26.
The door flies open and Indy rushes in with Willie behind him.
Indy appraises the situation quickly and jumps into the pilot's
seat with total confidence --
WILLIE (Cont'd)
You know how to fly?
Indy surveys the control panels, the myraid of dials and switches --
INDIANA
No.
(hopefully)
Do you?
27. INT. THE PASSENGER CABIN 27.
Willie runs screaming out of the cockpit, her last hope shatter-
ed. Shorty is pulling something out of the cargo compartment --
he's found a machine gun and sets it up on a short tripod.
SHORT ROUND
Come here, lady, hold this and
shut up please!
He pulls Willie down to the floor and shoves her the ammunition
belt that's draped toward the gun. Then Shorty jumps behind the
machine gun --
As the first fighter appears off their side, Short Round blasts
out the open door! The machine gun explodes to life, chewing
bullets, smoking and spitting shells at Willie --
Willie hollers terrified by manages to feed the ammo belt as
Short Round sights the blazing machine gun -- suddenly he shoops!
Willie sees the fighter hit -- it smokes and veers away -- and
then EXPLODES!
SHORT ROUND
I get it!
WILLIE
You got it!
The second plane swoops down and Short Round blasts away. This
time as he swivels the gun, he misses and hits one of the DC-3's
own engines and it explodes!
SHORT ROUND
Oh oh -- big mistake!
28. INT. THE COCKPIT 28.
Trying to figure out the controls, Indy looks up to see their en-
gine explose into flames --
INDIANA
(angrily)
Short Round, what in the hell
are you doing?
Suddenly the DC-3 emerges out of a cloud and Indy sees they are
headed directly for a mountain! He pulls back hard on the con-
trols as a rocky peak looms lethally in front of them.
29. EXT. THE SKY - DAY 29.
The DC-3 lifts at the last second and smashes some snow off the
uppermost pinnacle as it clears the mountain by inches!
Kao Kan's fighter is glued to the DC-3's tail and continues to
strafe -- but the fighter pilot pulls up too late -- and the
fighter explodes as it hits the peak of the mountain!
30. INT. THE PASSENGER CABIN 30.
Indy rushes out of the smoking cockpit to find Willie and Short
Round crawling out from under the debris that's fallen on them.
Then Indy spots something in the wreckage --
He pulls at some yellow canvas and Willie sees as sign: EMERGENCY
LIFE RAFT. Indy drags the folded canvas over to the open door.
WILLIE
Are you crazy, a lift raft?! We're
not sinking, we're crashing!
INDIANA
Get over here, damn it! Short Round,
come on, grab onto me tight!
Willie sees Short Round rush over to Indiana and grab him around
the waist from behind. Willie finally jumps up and runs over --
WILLIE
Wait for me!
She throws her arms around Indy's neck so that she and Shorty are
both hugging him from behind. Indy clutches the folded lift raft
in front of him and surveys the mountainside rushing close be-
neath the skinking airplane --
Finally, an instant before the plane will hit, Indy dives and
pulls the inflation cord!
31. EXT. THE SKY 31.
As the smoking DC-3 screams out of control toward the mountain,
skimming the rocky snow-covered slopes, we see the lift raft
spilling out the open door --
The raft pops into its full shape, acting now as a spoiler, soar-
ing against the rushing wind and finally crashing and bouncing
against the snowy mountainside.
In the distance, we see the DC-3 finally kiss the earth and ex-
plode in a cloud of flame against a rocky escarpment -- metal and
earth mushrooming in a million directions!
32. EXT. THE MOUNTAINSIDE 32.
As the raft rockets down the snow, Indiana clutches the front and
Willie and Short Round hold on for dear life on either side of
him.
The raft plummets down the mountain, crossing the timber-line and
entering a forest. Bouncing over a snow-hidden log, the raft
shoots directly for a tree --
Indiana pulls on the perimeter rope, rolls on his side and man-
ages to swerve the raft so it caroms offthe snow-drifted side of
the tree trunk.
Continuing its downhill run, the raft smashes across a small
steam, sending silvery water spraying.
As the raft skids below the snow-level, it starts bouncing over
rocky ground and its three passengers' teeth start chattering.
33. EXT. A BLUFF 33.
The yellow raft crashes through a tangle of bushes and then plum-
mets toward a bluff! The raft goes airborne over a small bluff
and lands with a splash in a slow-moving river.
34. EXT. THE RIVER 34.
The life raft drifts down the river and Indy looks around and
smiles cockily at Willie and Short Round --
Their faces don't show gratitude, but horror -- Indy hears some-
thing and turns to see:
35. EXT. WHITE WATER RAPIDS 35.
The raft is heading directly toward a surging stretch of treach-
erous rapids. Indiana looks less cocky as he and Willie and
Short Round hold on again for dear life!
The raft plunges into the roaring torrent, bouncing over rock-
swollen waves, twisting and spinning through narrow gaps. The
three helpless passengers are drenched in the thundering cascades
of white water.
Willie is hallering, Short Round hangs on wide-eyed and even Indy
looks terrified as the raft crashes down the rapids. Finally,
after one heart-stopping bounce, the raft seems to slow.
36. EXT. RIVER CLEARING 36.
The raft drifts out of the main part of the river and glides to-
ward a clearing. Its three soaked and bedraggled passengers lie
motionless in the bottom.
Indy's hand drags alongside the raft, his fingers leaving a trail
in the almost still water. Battered and exhausted, but always
Indy's "bodyguard", Shorty looks over at him worriedly --
SHORT ROUND
Indy?
INDIANA
Okay, Shorty.
Indy looks over at Willie who is moaning.
INDIANA (Cont'd)
You all right?
WILLIE
No... I'm not cut out for the
kind of life you lead.
(moaning)
Oh no...I ripped my dress. Where
are we anyway?
The raft floats to a gentle stop -- we see it nudge against a
pair of dark feet. Indy squints up into the sun and sees some-
thing.
INDIANA
India...
WILLIE
Holy cow -- India? How do you
know we're in --
She rolls over and yelps as she looks up at the bizarre, painted
face of a SHAMAN. Silhoutted against the blazing sun, the skin-
ny little old man in a loincoloth stares down at them in the raft.
An eerie wind rises and howls. The old man places his palms to-
gether and moves his hands up to touch his forehead. Willie and
Short Round watch mystified as Indiana returns the old shaman's
silent greeting.
CUT TO:
37. EXT. THE MAYAPORE HILLS - DAY 37.
Indya and Short Round follow the shaman and four peasants down a
gutted path through barren rolling hills. Willie is out of her
milieu, stumbling along this forlorn landscape in high heels,
tuxedo jacket and disheveled lame gown.
She hears the old shaman talking to Indy and catches up with them
to find out what's going on.
WILLIE
(to Indiana)
What'd he say?
INDIANA
He told me they knew I was coming
here.
WILLIE
What do you mean -- how?
INDIANA
The old man saw it in a dream.
WILLIE
Dream -- nightmare is more like it.
INDIANA
He said that's whey they were at
river -- they were waiting for
the plane to fall down.
He looks at her bewildered face and smiles faintly. As they
walk, a hot wind swirls dust around them, a wind slowly ravaging
what soil is left in this terribly blighted region.
CUT TO:
38. EXT. MAYAPORE - DAY 38.
At the base of the hills, Mayapore village does nothing to re-
lieve the awful sense of devastation. A desolate road runs
through the village, along which groups of ptiifully poor vil-
lagers stare at the strangers being brought in.
Hopeless women lift buckets from a dry well -- finding only sand.
Skinny miserable dogs skulk between the decrepit village huts,
eyed by the patient vultures lurling in scraggly trees.
Indiana notices the wretched peasants staring at Short Round,
some of them pointing at him, a few haggard women shedding tears
down their wrinkled faces as the little Chinese boy passes.
There is no sign of children in the village and Short Round grows
frightened by the odd attention. He moves closer to Indy as they
pass the devastated population.
CUT TO:
39. RXT. MAYAPORE VILLAGE - AFTER SUNSET 39.
Black clouds clot across the blood-red sky as darkness falls.
Indiana, Willie and Short Round sit tensely on a shabby rug.
Above their heads, there is a thatched roof, but there are no
walls.
The dying sunset silhouettes them and the half-dozen elders seat-
ed in the dirt around them. A grey-haired man, the village
CHIEFTAIN, gives quiet commands to the women who scuttle in and
set wooden plates in front of the three visitors. No plates are
places in front of the elders.
WILLIE
(quietly to Indy)
I hope this means we're going to
get some dinner.
Indiana sees the painted shaman, who sits next to the chieftain,
watching Willie. The women bring in a bowl from which they scoop
tiny portions of grey gruel onto three plates.
To this the women add a few grains of yellowed rice and a with-
ered ,molding piece of fruit. Willie looks aghast at the unappe-
tizing combination.
WILLIE
(quietly)
God, I am starving, but I can't
eat this...
INDIANA
That's more food than these people
eat in a week.
(pointedly)
They're starving, too...
Willie looks around at the emaciated faces and feels like crawl-
ing into a hole.
WILLIE
I'm sorry, I -- here, please.
She picks up her plate and gently hands it back to the women.
The chieftain finally speaks to them --
CHIEFTAIN
You will rest here before you go
on.
INDIANA
We'd appreciate that. This was an
unexpected detour. We'll have to go
to Delhi now and find a flight west.
SHORT ROUND
(smiling)
Indy is taking me to America.
All eyes are on Short Round. Puzzled by this strange attention,
Shorty's smile fades nervously.
INDIANA
I'm a professor. I have to re-
turn to the university. Can you
give us a guide to take us to Delhi?
The chieftain indicates a young villager sitting near them.
CHIEFTAIN
Sanju will guide you.
INDIANA
Thank you.
The old shaman speaks now for the first time.
SHAMAN
On the way to Delhi, you will
stop at Pankot.
INDIANA
(puzzled)
Pankot isn't on the way to Delhi.
SHAMAN
You will go to palace there.
INDIANA
Hasn't the Pankot palace been de-
serted since the Mutiny of 1857?
SHAMAN
(darkly)
No. Now there is new Maharajah --
and palace is powerful again.
The shaman looks around at his unfortunate people.
SHAMAN (Cont'd)
It is Pankot Palace that kills my
village.
INDIANA
I don't understand. What's hap-
pened here?
SHAMAN
The evil starts in Pankot. Then
like monsoon, it moves darkness
over all country.
INDIANA
What evil?
SHAMAN
They came from Palace and took
sivalinga from out village.
Willie looks over at Indiana --
WILLIE
Took what?
INDIANA
It's a sacred stone in a shine
that's supposed to protect a
village.
SHAMAN
It is why Krishna brought you here.
INDIANA
(politely firm)
Nobody brought us here. Our plane
crashed. We were shot down by --
SHAMAN
(interrupting)
No. We pray to Krishna to help us
find the stone. It was Krishna who
made you fall from sky -- so you can
got to Pankot Palace. To find siva-
linga -- and bring back to us.
Indy's about to object -- then he looks at the sad chieftain, the
elders and peasants who are watching him helplessly. And he sees
again the dark steady eyes of the old shaman.
CUT TO:
40. EXT. MAYAPORE VILLAGE - NIGHT 40.
Torches falre eerily and dogs howl as the peasants accompany the
shaman, elders and three visitors out ot the edge of the dark
village. Short Round walks beside Indy.
SHORT ROUND
Indy, they make out plane crash?
To get you here?
INDIANA
It's just superstition, Shorty.
Like a ghost story.
Short Round looks plenty scared as they all stop walking. The
shaman motions and the men with torches circle around a pile of
rocks to illuminate them. The shaman makes a gesture of devotion
to the primitive shrine and Indy speaks to the village chieftain.
CHIEFTAIN
Yes.
Indiana seems skeptical as he kneels to study the shrine. On top
of the pile of rocks, there is a carved niche. The niche is
empty but an indentation indicates the conical shape of the stone
that was stolen.
INDIANA
Was the stone very smooth?
(he sees the
chieftain nod)
It was probably brought here from
a sacred river.
SHAMAN
(joining Indy and
the chieftain)
Long ago -- before my father's
father.
INDIANA
And it had three lines painted
across it?
(seeing the
shaman nod)
The lines represent the three
levels of the universe. I've seen
stones like the one you lost.
Indy stands slowly. Willie is beside him looking at the shrine.
WILLIE
I don't understand how losing one
rock could destroy this village.
(whispering to Indy)
Is it really powerful?
Indy gives a doubtful smile. He turns again to the old shaman.
INDIANA
But why would the Maharajah take
this sacred stone?
SHAMAN
They say we must pray to their
evil god. We say we will not.
The old shaman looks off and fights the tears in his eyes as he
starts speaking in Hindi.
INDIANA
(translating)
He says that when the sacred stone
was taken the village wells dried
up first and then the river stopped.
Indy turns and asks the shaman a question in Hindi. The shaman
answers in Hindi.
INDIANA
(translating)
He says their crops dies and then
the animals died.
The shaman walks to the edge of the torchlight and looks out into
the darkness as he continues speaking emotionally in Hindi --
INDIANA
(translating)
And then they took their children.
WILLIE
Their children?
She looks at Short Round and finally understands the sorrowful
faces always watching him. Indy asks another question in Hindi
and the shaman continues his story --
INDIANA
(translating)
He says one night there was a fire
in the fields. The men went to
fight it. When they came back,
they heard the women crying in the
darkness. And the children were
gone.
The shaman walks slowly toward Indiana.
SHAMAN
You will find them when you find
sivlalinga.
INDIANA
I'm sorry, I don't know how I can
help you here.
The shaman and the chieftain stare and Indiana, refusing to accept
that.
INDIANA (Cont'd)
The English authorities who con-
trol this area are the only ones
who can help you.
CHIEFTAIN
They do not listen.
INDIANA
I have friends in Delhi and I will
make sure they investigate this...
SHAMAN
No, you will got to Pankot...
The old man speaks again in his own tongue and Indy looks dis-
turbed.
WILLIE
What'd he say now?
INDIANA
It was destined that I came here --
and the future cannot be changed...
Indy looks ath the shaman and the torchlight reflected in his
eyes.
CUT TO:
41. EXT. MAYAPORE - NIGHT 41.
Suddenly we're rushing headlong down a dark dirt path seen from
the POV of somebody running in terror. We hear heavy breathing
-- above we see the scraggly trees blowing against the full moon
as an eerie wind rises and howls. We continue crashing through
the dying fields tward the dark village...
42. INT. INDIANA'S HUT - NIGHT 42.
The wind swirls into the hut and Indiana's eyes open. He lies
still a moment and then sits up slowly. He sees Short Round
sleeping nearby.
Sensing something strange, Indy gets to his feet. He steps
around Short Round and goes to the door of the hut.
43. EXT. THE HUT - NIGHT 43.
Indy walks against the rising wind and looks around. The village
is asleep and seems deserted. Then he turns and sees something.
We follow small bare feet stumbling through the dust...
Indy sees an emaciated child in rag running out of the darkness.
Indiana moves forward and the child runs toward him. Indy grabs
the little boy as he falls into his arms.
CUT TO:
44. INT. THE SHAMAN'S HUT - NIGHT 44.
A few minutes later, the little boy is lying unconscious on a
blanket. Elders crouch around him. Indy is kneeling and watches
the shaman wet the boy's forehead with a rag and drip water onto
his lips.
The little boy's eyes open and he begins to revive. Shrot Round
And Willie watch from a corner as the little boy looks at all the
faces peering down at him.
The little boy's arm moves and he reaches out to Indy rather than
any of the others. Indy takes his small hand and sees that the
boy's fingers are cut and bruised -- his fingers open and drop
something into Indy's hand.
The little boy tries to whisper. Indy has to lean close to hear
as the little boy's lips move again --
LITTLE BOY
Sankara...
A mother rushes into the hut now and kneels and hugs her little
boy. His skinny arms go around her as they are reunited. Indy
stands slowly and looks at what the little boy gave him --
It is a small tattered piece of cloth: an old fragment of a mini-
ature painting. Indiana looks at it with an expression of recog-
nition and apprehension...
INDIANA
Sankara...
45. EXT. THE VILLAGE - MORNING 45.
The camera follows Indiana -- he's walking fast and determinded-
ly. Villagers trot alongside of him, trying to keep up with is
pace as he questions thm in Hindi.
Indy approaches two large elephants and sees their guide Sajnu
trying to politely drag Willie toward one of them.
INDIANA
Damn it , Willie, get on -- we've
got to move out!
Willie's head comes up over the back of the elephant as she's
helped from below -- there is a look of sheer terror on her face.
WILLIE
Whoa! Easy now -- nice elephant...
Waiting by the second elephant, Short Round sees Indy coming and
runs up to him --
SHORT ROUND
I ride with you, Indy?
INDIANA
Nope, you got a little surprise
over there, Shorty.
Short Round runs around the big elephant and sees a baby elephant
being brought out. He can't believe his luck --
SHORT ROUND
Oh boy!
Meanwhile Sajnu goads Willie's elephant over. The villagers look
grief stricken and many are crying as they watch the three stran-
gers' departure.
WILLIE
(to Short Round)
This is the first time anybody
ever cried when I left.
SHORT ROUND
They don't cry about you. They
cry about the elephants leaving.
WILLIE
Figures...
SHORT ROUND
They got no food to feed them. So
they taking the elephants away to
sell them.
Indy lumbers over on his elephant.
INDIANA
All right, let's go. I want to get
to Pankot before tomorrow night.
She looks at Indiana as he rides past.
WILLIE
Pankot?! I thought we were going
to Delhi! Hey, wait a minute!
(looking at
the villagers)
Can't somebody take me to Delhi?!
I don't want to go to Pankot!
Sajnu guides her elephant and Willie lurches forward --
WILLIE (Cont'd)
(yelling)
Indiana! Damn it! Why'd you
change your mind? What did that
kid tell you last night?!
Indy ignores her hollering. The elephants move off through the
crowds of pitiful villagers. Indy sees the elders, chieftain and
the old shaman who brings his hands up to his forehead as Indy
rides past.
CUT TO:
46. EXT. THE COUNTRYSIDE - DAY 46.
The elephants move across the desolate countryside toward the
distant hills.
47. EXT. THE TRAIL 47.
Indiana rides the lead elephant. Sajnu passes on foot guiding
Willie's elephant. With the tuxedo jacket wrapped around her
waist, Willie is dabbing perfume behind her ears.
WILLIE
(to her elephant)
I think you need this more than
me.
Willie leans forward and puts perfume behind the elephant's ears.
Grimacing at the animal's smell she simply dumps the rest of the
perfume on the elephant's back.
Willie yelps when the elephant's trunk comes back, sniffs the
foriegn fragrance and suddenly trumpets in disgust.
WILLIE (Cont'd)
What're you complaining about,
this is expensive stuff!
CUT TO:
48. EXT. LOWER JUNGLES - DAY 48.
From a cliff, we see the elephants below passing into the lower
jungles.
Spotting something on an overhanging tree branck, Short Round
stands up precariously on the baby elephant's back. He pulls a
vine from the tree as they pass under it. Plopping down onto the
baby elephant's back, he picks the wild fruit from the vine --
SHORT ROUND
Here you go, lunch time!
The baby elephant's trunk comes back and takes the fruit. Shorty
looks up in the sky.
SHORT ROUND (Cont'd)
Indy, look!
Indiana and Willie look up and see hundreds of enormous winged
creatures flapping across the afternoon sky.
WILLIE
Those are very big bird.
Sajnu says something and Indiana nods.
INDIANA
Those aren't birds -- those are
giant bats.
Willie shudders as she watches the bats.
CUT TO:
49. EXT. THE HILLS - AFTERNOON 49.
An enormous sun silhouettes the three elephants trekking west-
ward.
CUT TO:
50. EXT. A RIVER - LATER AFTERNOON 50.
The three elephants stand sucking up river water with their
trunks. Seated on the huge beasts, Willie, Short Round and Indi-
ana watch the thirsty animals.
WILLIE
They must be pretty dumb to drink
that awful-looking water.
In response, Willie's elephant calmly lifts its trunk and sprays
her in the face. Short Round and Indy laugh as Willie sits
soaked and shocked.
INDIANA
I think maybe we'll camp here.
CUT TO:
51. EXT. THE RIVER - SUNSET 51.
A plume of water sprays. The three elephants submerge in a deep,
wide spot in the river. Indy wades in the current with his shirt
off. He and the guide splash water on the weary animals.
Short Round laughs and plays with the baby elephant. Wrapped in
its trunk, he's swung in the air and lands on the elephant's
back. Shorty makes a swan dive back into the water and the baby
elephant gives him a shower when he surfaces.
52. EXT. UPRIVER 52.
Thirty yards upstream, birds and monkeys chatter in a tree. In
the shady river beneath, Willie surfaces cooly and wipes hair
from her eyes. She hums contendedly.
Indiana wanders up the riverbank in his dripping trousers. He
notices Willie's wet clothes spread over a tree limb hanging low
over the water and then he sees Willie paddling around.
INDIANA
Hey, Willie -- I think you better
get out now.
WILLIE
Stark naked? You wish... If you're
trying to seduce me, Dr. Jones,
this is a very primitive approach.
INDIANA
Me seduce you? Honey, you're the
one who took your clothes off.
(shrugging)
I just came over to remind you
that you never know what else
might be in the water.
WILLIE
Somehow I feel safer in here.
As Indy turns and starts off, Willie reaches up to the tree
branch above her head and grabs her underwear. At this moment we
notice something awful:
A BOA CONSTRICTOR is moving out along the branch, the enormous
snake slithering over Willie's clothes.
Willie watches Indiana walk away as she reaches up for her dress
-- her hands feel something strange -- not the dress and not the
tree limb --
Willie looks up and sees that she's pulling on a snake! She
SCREAMS as the boa constrictor falls off the t-ee on top of her!
Indy hears the scream and hears Willie calling to him. He runs
back toward the river. Stopping on the riverbank, he sees Willie
backing away in the water -- Indiana's already starting to pull
his boots off --
WILLIE
Indy! Help me!
INDIANA
Don't worry, I'm coming in! What
is it?
WILLIE
A snake!
Suddenly Indiana freezes and a strange look corsses his face --
INDIANA
A what...?
WILLIE
A SNAKE!!
He finally sees the boa constrictor thrashing in the water close
to Willie. He leaves his boots on.
WILLIE (Cont'd)
Hurry, help me out of here!
What're you waiting for?!
INDIANA
Uh, listen -- Willie -- I got a
better idea.
WILLIE
What?!
INDIANA
First of all -- don't panic!
Willie suddenly screams as the boa constrictor wraps around her
arm --
WILLIE
It's got me ! Indy, help me!
Indy runs along the riverbank, trying to get closer to her, but
not about to jump into the river (due to his aversion to snakes
-- see Episode One: "Raiders of the Lost Ark").
INDIANA
Don't let it pull you deeper!
WILLIE
It's pulling me deeper!
INDIANA
Don't let it curl around you!
WILLIE
It's curling around me! Damn it,
stop talking and do something!
The snake is wrapping around her body and neck -- her head is
barely above water --
On the riverbank, Indy reaches down and grabs a piece of wood.
But as he watches the repulsive reptile, he starts to sweat and
his fear and loathing overpower him --
WILLIE (Cont'd)
What's wrong?! Indy please help
me!
Indy groans and bolsters his courage -- he takes two steps into
the water -- but the complex is to strong and he can't go any
further. He drops the piece of wood...
INDIANA
Listen, Willie. Do exactly what
I tell you now.
WILLIE
What?!
INDIANA
Can you move your arm?
WILLIE
Just one arm!
INDIANA
Okay, I want you to lift your hand --
and pet the snake.
WILLIE
PET IT??!!
INDIANA
Yes, stroke it right along the
maxillary and precaudal verte-
brae.
WILLIE
THE WHAT?!
INDIANA
Pet it on the head! Go on, pet
it!
In the water, Willie is whimpering as she lifts her hand and
starts petting the snake coiling around her pale body.
WILLIE
Oh -- my -- god -- it's going to
crush me!
INDIANA
Keep stroking it!
Willie keeps rubbing her hand along the snakes head and back and
it slowly stops thrashing in the water.
INDIANA (Cont'd)
What's happening?
WILLIE
It's starting to let go!
INDIANA
That's good -- you're doing fine.
Grimacing as she stares at the ugly serpent's head, Willie keeps
stroking it.
WILLIE
It's letting fo. I think it's --
I think it's going to sleep!
Indiana looks relieved. He sees the snake starting to drift away
from Willie and she starts paddling back to shore, collecting her
floating clothes along the way.
Holding her dripping dress against herself, she walks out of the
water toward Indy who smiles at her weakly.
INDIANA
See -- I got you out...
She slows and hauls off and punches him in the mouth. Indy holds
his jaw as she walks away infuriates.
WILLIE
Thanks for nothing! I hate snakes!
INDIANA
(looking at
the water)
I know the feeling...
CUT TO:
53. EXT. THE CAMPSITE - NIGHT 53.
By firelight, we see Sajnu feeding the big elephants while Short
Round feeds and talks to the baby elephant --
SHORT ROUND
You come to America with me, and
we can get job in the circus --
you like that?
The baby elephant trumpets affirmitively.
A ways off, Willie stands wrapped in a blanket watching Shorty
and the elephant as she dries her hair by a campfire. Now Indy
comes up and drops an armload of wood for yet another fire.
WILLIE
Where'd you find your little body-
guard?
INDIANA
I met Short Round when he tried
to pick my pocket.
Indiana kneels and arranges the wood.
INDIANA (Cont'd)
Shorty's family was killed when
they bombed Shanghai. He was
living on the streets.
WILLIE
(smiling)
He'll be okay. He's a good kid.
Indy strikes a match and lights the new fire.
WILLIE (Cont'd)
All these fires -- you expecting
more snakes, Dr. Jones?
She smiles snidely and continues drying her hair.
INDIANA
By the way, how'd you end up in
Shanghai?
WILLIE
Well, when my nightclub career was
run over by the Depression, some
pinhead convinced me that "a girl
could go places in the Orient..."
So, look where I got.
Indy picks up a blanket and spreads it on the ground.
INDIANA
What about the future?
WILLIE
Oh, that's easy -- I'm going to
latch onto a good-looking, in-
credibly rich prince.
Indy lies down on the blanket.
INDIANA
I'd like to find one of those
myself.
WILLIE
(raising an eyebrow)
Oh really?
INDIANA
Yeah, but he's got to be dead and
buried for a couple of thousand years.
(smiling)
Fortune and glory...
WILLIE
Is that what you're hoping to find
at this palace, Dr. Jones?
INDIANA
Maybe...
Indy reaches into his pocket and removes the old piece of cloth.
WILLIE
What's that?
She walks over to where he's lying down and sits on a boulder.
He hands her the cloth and she looks at it by the firelight.
INDIANA
Something that kid gave me last
night. It's a piece of an old
manuscript.
Willie sees a crude drawing in reds, blue and gold.
INDIANA (Cont'd)
The drawing shows a priest named
Sankara who lived centuries ago.
WILLIE
What does the writing say?
INDIANA
It's Sanskrit. It tells the story
of Sankara climbing Mt. Kalisa
where he met the Hindu god Shiva.
WILLIE
(examining it)
That's Shiva? What's he giving
the Priest?
INDIANA
Legend says he told Sankara to go
forth and combat evil. To do that
he gave him five sacred stones that
had magical powers.
WILLIE
(looking at Indy)
You mean magical like the rock that
was stolen from that village?
Indy looks at her meaningfully.
INDIANA
It could be.
Willie seems frightened. She hands him the piece of cloth and
stands up.
WILLIE
(quietly)
Fortune and glory...sweet dreams,
Dr. Jones.
She picks up a blanket and starts off.
INDIANA
I think you should sleep closer.
(seeing her sus-
picious look)
I meant for safety.
WILLIE
(smiling)
I'd be safer sleeping with
that snake.
She steps over to a tree by the fire where her clothes are dry-
ing. Indy watches her pull her dried clothes from the lower
branches.
She reaches up to remove another piece of her clothing -- it's
stuck to the tree and she looks up and yanks it. Suddenly the
piece of clothing moves!
Two enormous winds open and the hideous face of a GIANT BAT
screeches and hisses at Willie! She screams hysterically as the
bat flaps against her, biting and scratching at her before it fi-
nally takes off.
The bat flies off into the darkness and Indy chuckles as he
watches Willie shanking as she backs slowly toward the fire --
WILLIE
Did you see it?! It was one
of those bats!
(staring into
the darkness)
God, what else is out there...?!
She quickly picks up her blanket and lays it out very close to
Indy.
INDIANA
Couldn't keep away, huh?
WILLIE
Just try and control yourself.
Indiana watches her lie down and wrap herself in her blanket.
then he rolls over and tips his hat down over his eyes to get
some well-deserved shut-eye.
In a moment, however, we see something grotesque and snake-like
slide into frame and move towards Indy -- finally, we realize
it's an elephant's trunk. The trunk nudges Indy's shoulder.
INDIANA
(without looking)
Still scared? Okay, Willie, you
can get closer if you want...
The elephant's trunk moves closer and nuzzles Indy's neck.
INDIANA
Honey, I knew you'd be the first
one to give in...
Now, we see that Short Round is guiding the baby elephant's trunk
with a prod. Willie watches, stifling a laugh as the elephant's
trunk sniffs Indiana's ear --
INDIANA (Cont'd)
You're going to start something
I'm going to have to finish.
(moaning)
Okay, doll, you asked for it.
Indiana rolls over, lifts his hat and hollers! He nearly jumps
out of his pants as he stares into the elephant's trunk. Willie
and Short Round dissolve into laughter.
CUT TO:
54. EXT. THE JUNGLE - DAY 54.
Tall, vine-covered trees sway in the wind. Beneath them, the el-
ephants plough through the dense tropical forest. The sounds of
the teeming jungle multiply as Short Round surveys the distant
hills.
SHORT ROUND
Indy, look!
INDIANA
That's it. Pankot Palace.
Willie looks off at the resplendent while Moghul-style palace ri-
sing in the distance above the jungle.
CUT TO:
55. EXT. A JUNGLE CLEARING - LATER 55.
Their Mayapore guide walks toward the camera and suddenly looks
frightened. He barks commands and the elephants stop. Indiana
jumps down an joins the fearful guide.
They stare at a small statue of a malevolent goddess with eight
arms. Around the goddess's neck, a carved necklace displays
small human heads -- her eight hands hold other heads by their
hair.
Indiana moves closer to the statue as the terrified guide backs
away. Indy is fascinated by the ritual objects adorning it:
leaves, dead birds, rodents and turtles. Indiana grimaces as he
lifts a necklace of real pierced human fingers...
WILLIE (O.S.)
Why are we stopping here?
Indiana goes back and joins the scared, jabbering guide who is
helping Willie down from the elephant. Short Round jumps down.
SHORT ROUND
What you look at, Indy?
INDIANA
Just a statue.
WILLIE
What's the guide talking about?
He hasn't said a word the whole
trip.
Indy listens to the agitated guide and then speaks a few words in
Hindi back to him. They watch the distressed guide trun the ele-
phants and start away with them as fast as possible.
WILLIE
He's afraid of something.
INDIANA
He said he couldn't take us any
farther. He has to go sell the
elephants.
WILLIE
You mean we have to walk the rest
of the way?
Willie moans and follows Indy. Short Round watches the elephants
trudging away. The little elephant turns and looks back. Short
Round quickly wipes a tear from his face.
CUT TO:
56. EXT. A PALACE APPROACH - AFTERNOON 56.
Indiana and Short Round hike up a rock-paved road beside a high
wall. Exhausted, carrying her high heels, Willie trudges along
behind them.
WILLIE
-- shot at, fallen out of a plane,
nearly drowned, squashed by a snake,
attacked by a bat -- I smell like
an elephant!
(yelling)
I tell you I'm not going to make it!
Indiana finally stops. He walks back to Willie, suddenly picks
her us in his arms and starts carrying her the remaining way.
Willie is surprised and puzzled.
INDIANA
Any more complaints?
WILLIE
(smiling faintly)
Yeah, I wish you'd thought of this
sooner...
She doesn't seem to mind being carried by Indy. He arrives at
the entrance to the palace and puts her down -- she stands close
to him and he gently smoothes the collar of her dress.
INDIANA
It doesn't feel like there's been
any permanent damage.
She smiles at him again and then turns around -- and whistles as
she sees Pankot Palace: a sprawling, monumental mixture of Mo-
ghul and Rajput styles, the palace is an extravaganza of Princely
architecture.
57. EXT. A BRIDGE 57.
The three travelers start across a marble bridge toward the main
entrance. Lined along the bridge, palace guards stand with
lances.
As the threesome passes, the first Rajput guard snaps noisily to
attention and Willie jumps. As Willie continues across the
bridge, the other guards snap to attention in sequence and she
grins, enjoying the attention.
58. INT. THE OUTER COURTYARD 58.
Short Round and Willie follow Indiana through a dark archway into
a glittering courtyard. The palace seems deserted and forebod-
ing.
INDIANA
Hello?...(hello?)...(hello?)
Indy's voice echoes off the marble facades -- three enormous Raj-
put guards with curved swords in their sashes appear silently at
opposite sides of the courtyard.
WILLIE
(frightened)
Hi...(hi)...(hi)...
Then, a tall severe-looking Indian in an English suit material-
izes out of the shadows and comes forward slowly. CHATTAR LAL
appraises the intruders suspiciously:
He sees a whoozy beauty in a weary evening gown; a dirty Chinese
kid with a baseball cap; a rugged-looking American carrying a
bullwhip...
CHATTAR LAL
I would say you look rather lost.
(disdainfullt)
But then I cannot imagine where
in the world the three of you
would look at home...
INDIANA
(smiling evenly)
Lost? No, we're not lost. We're
on our way to Delhi. This is Miss
Scott -- and Mr. Round. My name's
Indiana Jones.
CHATTAR LAL
(surprised)
Dr. Jones? The eminent archae-
ologist?
WILLIE
Hard to believe, isn't it...?
CHATTAR LAL
I remember first hearing your name
when I was studying at Oxford. I
Am Chattar Lal, Prime Minister for
His Highness the Maharajah of Pankot.
He bows and Willie sort of curtsies.
CHATTAR LAL (Cont'd)
Welcome to Pankot Palace.
59. INT. PANKOT PALACE - AFTERNOON 59.
They walk along the marble halls, past dazzling walls inlaid with
pieces of mirror and semi-precious stones. Fountains spray in
ivory countyards and they gaze in awe at the ornate splendour.
As Willie walks with Shorty she appraises the chronolgoical
portraits of the Pankot Prices that line the hall. Dissipated
faces, elegant faces, evil faces -- she reacts to them.
WILLIE
(to Short Round)
How'd you like to run into him in
a dark alley...that one's kind of
cute...I could see myself married
to a prince like that...
Ahead of them Chattar Lal walks with Indy and questions him
suspiciously --
CHATTAR LAL
The plane crash and your journey
here sound -- most incredible.
WILLIE
You should have been there...
INDIANA
We'd appreciate it if the Mahara-
jah would let us stay tonight.
We'll be on out way in the morn-
ing.
CHATTAR LAL
I am only his humble servant, but
the Maharajah usually listens to
my advice.
WILLIE
Is that him?
They've come to the last in the row of Princes portraits. Wil-
lie stops and looks up disappointedly at a picture of an aged,
immensely corpulent Rajput prince.
WILLIE (Cont'd)
(politely)
He's not exactly what we call
"a spring chicken".
CHATTAR LAL
No, no, that is Uhmed Singh, the
present Maharajah's late father.
WILLIE
Oh -- good. And maybe the pres-
ent Marahajah is a little younger?
And thinner?
Two female servants approach silently and bow.
CHATTAR LAL
They will escort you to your rooms
now. You will be provided with
fresh clothes. Tonight you will
be dining with His Highness.
WILLIE
Dinner? And with a prince?! My
luck is changing. But look at
me -- my god, I've to to get
ready!
She hurried off with one of the servants toward her room. Chat-
tar Lal smiles cooly at Indiana --
CHATTAR LAL
Eight o'clock in the Pleasure
Pavilion.
CUT TO:
60. EXT. THE PLEASURE PALIVION - NIGHT 60.
An extraordinary gold dome rises in the middle of the eleaborate
gardens. The Pleasure Pavilion is ablaze with torch lights,
flickering candles and exotic music.
Indiana comes out of the palace with Short Round. Indy has on a
tweed jacket and a nectie -- his university professor's outfit.
Short Round has been cleaned up, but still sports his baseball
cap.
Willie joins them, looking stunning is a silk Western-styled
gown. She's also been loaned some Moghul jewelry which sparkles
on her neck and arms.
INDIANA
You look like a princess.
Willie's flattered by the first nice thing Indy's said to her.
WILLIE
It's sort of like being in heaven.
They cross the garden toward the pavilion and Willie's eyes are
like a kid's at Christmas.
61. INT. THE PLEASURE PAVILION 61.
As they enter, Indiana gives a half-dressed dancing girl the
once-over as she spins to the music of drums and "vinhas".
INDIANA
(smiling)
I've always had a weakness for
folk dancing.
WILLIE
(snidely)
She might get away with that act
here, but she'd never make it in
a real nightclub.
They walk among the rich court ministers and Indian merchants.
Chattar Lal approaches with a British cavalry captain in unifrom.
CHATTAR LAL
We are fortunate tonight to have
some many unexpected guests. his
is Captain Phillip Blumburtt.
Blumburtt bows to Willie and Indiana.
CHATTAR LAL (Cont'd)
Captain Blumburtt and his troops
are here to check up on the
"natives".
CAPT. BLUMBURTT
(politely)
Just a routine inspection tour.
CHATTAR LAL
The British worry so about their
Emprie -- it makes us feel like
well-cared-for children.
WILLIE
Listen, Mr. Lal, what do you call
the Maharajah's wife?
CHATTAR LAL
His Highness has not yet taken a
wife.
WILLIE
(happily)
No? Well, I guess he just hasn't
met the right woman...
As Willie chatters on with the Prime Minister, Indiana wanders
off. He moves to a wall where bronze statues and strange devo-
tional objects are displayed.
CAPT. BLUMBURTT
(joining Indy)
Interested in local curios?
INDIANA
No. But I am interested in the
occult. And this is a krtya.
Indiana picks up a small clay figurine and examines it.
CAPT. BLUMBURTT
(grimacing)
Charming.
INDIANA
It's like the voodoo dolls of West
Africa. The kryta represents your
enemy -- and gives you complete
power over him.
CAPT. BLUMBURTT
That God all that mumbo jumbo
rubbish is disappearing.
INDIANA
You think so?
CAPT. BLUMBURTT
Of course. Admittedly, it's taken
time. Britian's controlled India
for almost two hundred eyars now.
Indiana smiles at the somewhat pompous bureaucrat.
INDIANA
You're hanging on better here
than you did in America.
CAPT. BLUMBURTT
(smiling sourly)
This is a different situation, Dr.
Jones. These people are like
children. We have to lead them
slowly into the twentieth century.
Indiana puts the doll down and looks over at Chattar Lal and
Willie.
INDIANA
The Prime Minister doesn't seem
that naive.
CAPT. BLUMBURTT
No, he's a very shrewd old boy.
Power behind the throne and all
that. He actually runs this whole
province.
Indy and the Prime Minister exchange distant looks as Willie
comes back over to Indiana. She talks to him conspiratorially --
WILLIE
I think this Maharajah is swim-
ming in money. Maybe coming here
wasn't such a bad idea.
Blumburtt finds these Americans quite suspect and seems relieved
when he hears a drum.
CAPT. BLUMBURTT
I believe we're being called to
dinner.
WILLIE
Finally!
As the drum beats the assembled guests move toward a long, low
table surrounded by colorful pillows. Short Round follows with a
little monkey he's found perched on his arm.
As everyone stands around the table, Chattar Lal makes an an-
nouncement in Hindi and then in English --
CHATTAR LAL
His Supremem Highness, guardian of
Rajput tradition -- the Maharajah
of Pankot -- Zalim Singh.
All eyes are on two solid silver doors which open -- and through
which now walks the MAHARAJAH ZALIM SINGH. Everyone is bowing,
including Indiana and Willie, who looks amazed --
WILLIE
That's the Maharajah -- that kid?!
INDIANA
Maybe he likes older women.
Indeed, Zalim Singh is only thirteen. Outfitted in silver and
gold brocade, festooned with enormous jewels, the litlle Mahara-
jah gazes imperiously at the bowing crowd -- and then glares at
Short Round.
Indy sees Short Round chewing gum, staring antagonistically at
the Maharajah. Indy pushes SHort Round into a bowing position.
The Maharajah finally sits down on golden pillows. He nods and
his guests take their seats. Indiana sees Willie's dreams of
queendom have vanished.
INDIANA
Cheer up, you lost your prince,
but dinner's on the way.
WILLIE
I've never been so hungry in my
life...
Servants appear with silver platters of steaming food. They
place a platter in front of Willie and she stares at it in amaze-
ment:
It's a whole raosted boar, replete with a decorative arrow pierc-
ing its bloated stomach and tiny broiled baby bores placed around
it as if they were suckling on their well-cooked mother.
WILLIE
(grimacing)
My god, sort of grusome, isn't
it...?
Seeing the meat being served, Indiana looks across the table at
Blumburtt who seems equally puzzled. Meanwhile, the little Maha-
rajah whispers to his Prime Minsiter. Then Chattar Lal speaks to
the table --
CHATTAR LAL
His Highness wants me to welcome
his visitors. Especially the
renowned Dr. Jones from America.
Indy bows slightly toward the Maharajah.
INDIANA
We are honored to be here.
Servants put down another platter. Willie stares at an enormous
steaming boa constrictor on the platter. With a flash of a
knife, a servant slits the huge snake and exposes a mass of
squirming, live baby eels inside...
WILLIE
Suddenly I'm not so hungry...
Meanwhile, Indiana is chatting poleitely with the Prime Minister.
INDIANA
I had a question, Mr. Prime Mini-
ster. I was examining some of the
Maharajah's artifacts.
CHATTAR LAL
A very fine collection of very old
pieces, don't you think?
INDIANA
Yes, very fine. But not all of the
pieces look old. Some were carved
recently and look like images used
by the Thuggees to worship the god-
des Kali.
At the emntion of the Thuggees, the Indians at the table quiet,
as it a taboo has been broken. Chattar Lal glares at Indiana.
CHATTAR LAL
Dr. Jones, you know very well that
the Thuggee cult has been dead for
nearly a century.
CAPT. BLUMBURTT
Of course. The Thuggees were an
obscenity that worshipped Kali
with human sacrifices. The Brit-
ish Army wiped them out about the
time of the Mutiny of 1857.
Short Round avoids the dinner by feeding it to his little monkey
as he listens to the scary conversation.
The talk is bad enough, but Willie finds the food unbelievable!
A servant leans overher shoulder and places a six-inch long BUG
on her plate!
Willie whimpers quietly as she watches the fat merchant next to
her lift one of the black, shiny baked-beetles -- and crack it in
two! The man proceeds to enthusiastically suck the gooey innards
out.
MERCHANT
(looking at Willie)
But you're not eating!
WILLIE
(weakly)
I uh -- had bugs for lunch.
Meanwhile, Indiana continues to politely needle Chattar Lal.
INDIANA
I suppose stories of the Thuggees
die hard.
CHATTAR LAL
There are no stories anymore.
INDIANA
Well, I don't know... we came here
from a small village and the peas-
ants there told us that the Pankot
Palace was growing powerful again
-- becuase of some ancient evil.
Indiana smiles and shrugs.
CHATTAR LAL
(sneeringly)
Their stories are just fear and
folklore.
INDIANA
(cooly)
Maybe.. but how do you explain
The Thuggee shrine I saw right
below the palace?
Indy catches a glance between the little Maharajah and the prime
minister, who answers slowly --
CHATTAR LAL
The local peasants are just as
superstitious. You're very ob-
servant, Dr. Jones. But you're
beginning to worry Capt. Blum-
burtt.
Blumburtt's phlegmatic attitude has changed to curiosity.
CAPT. BLUMBURTT
I'm not worried, Prime Minister,
just interested.
During their conversation, Willie listens to beetles SNAPPING and
she watches revolted as the other dinner guests suck the gooey
insides out of the bugs.
WILLIE
(to Short Round)
Give me your hat...
SHORT ROUND
What for?
WILLIE
I'm going to puke in it...
Meanwhile, Indy continues ingenously with Chattar Lal.
INDIANA
You know the villagers also
claimed that this palace stole
something from them.
CHATTAR LAL
Dr. Jones, it our country a guest
does not usually insult his host.
INDIANA
Sorry, I thought we were just talking
about folklore.
CAPT. BLUMBURTT
(trying to make peace)
I'm sure it's nothing. Just ru-
mors.
(but interested)
What was it they claimed was
stolen?
INDIANA
Something magical. A sacred rock.
CHATTAR LAL
(condescendingly)
There, you see, Captain. A rock!
INDIANA
When they lost this rock their
fields and animals dies. They
also said their children were
taken from them.
CHATTAR LAL
I think that's enough of this
nonsense, Dr. Jones...
Indiana smiles faintly at Chattar Lal's anger. Across the table,
Willie looks pale and motions to the waiter.
WILLIE
So you have something, you know,
simple -- like soup or something?
The servant goes off and returns with a covered bowl. He uncov-
ers it and Willie looks at a soup with a dozen eyeballs floating
in it.
MERCHANT
Looks delicious!
WILLIE
I wanna go home...
Willie whimpers and tears start down her cheeks.
INDIANA
(to Chattar Lal)
I was dubious muself at first.
Then something connected -- the
village's rock and the old legend
of the Sankara Stones...
CHATTAR LAL
(controlling himself)
Dr. Jones, we are all vulnerable
to vicious rumors. I seem to re-
member that in Honduras you were
accused of being a grave robber
rather than a scientist.
INDIANA
(shrugging)
The newspapers exaggerated the
incident
CHATTAR LAL
And didn't the Sultan of Madagas-
car threaten to cut your head off
if you ever returned to his coun-
try?
INDIANA
That was a misunderstanding.
CHATTAR LAL
(smiling)
Exactly what we have here, Dr.
Jones.
MAHARAJAH
I have heard the terrible stories
of the evil Thuggee cult...
When the little Marahajah speaks it surprises everyone and there
is silence.
MAHARAJAH (Cont'd)
I thought the stories were told
to frighten children. Later, I
learned that the Thuggee cult was
once real and did unspeakable
things.
The Marahajah looks at Indiana.
MAHARAJAH (Cont'd)
I am ashamed of what happened here
so many years ago. We keep these
objects -- to remind us that this
will never again happen in my
kingdom!
INDIANA
(after a moment)
I'm sorry if I've offended you.
Now, more trays are whisked in by servants.
MERCHANT
Ah, dessert!
Short Round's monkey suddenly screeches and takes off. Willie
closed here eyes in dread - but curiosity gets the best of her
and she looks -- it's worse than she could imagine:
Plates full of small, dead monkey heads! (*Production note: be-
cause of his extremely sensitive nature, the director has reque-
ted that these monkey heads be simulated).
The tops of the monkey's skulls have been cut off and sit loose
like little covers. Willie watches in utter dismay as the Maha-
rajah and his guests remove the skull-tops and start dipping
spoons into what's inside --
MERCHANT (Cont'd)
Chilled monkey brains!
Willie keels over, crashing backwards in a dead faint!
CUT TO:
62. INT. A PALACE HALL - LATER 62.
Women servants help a woobly-kneed Willie toward her room.
63. EXT. THE PELASURE GARDEN - NIGHT 63.
Hundreds of lanters illuminate the garden where after dinner
drinks are served, cigars lighted and hookah pipes puffed on.
Indiana comes out of the pavilion into the garden with Capt.
Blumburtt and they talk quietly.
CAPT. BLUMBURTT
Rather bizarre menu, woundn't you
say?
INDIANA
Even if they were trying to scare
us away, a devout Hindu would
never touch meat.
(looking around)
Makes you wonder what these people
are...
Now, the little Maharajah comes over with his retinue and he
reaches for Indy's whip which Short Round is carrying.
MAHARAJAH
I have seen this thing. What is
it, Dr. Jones?
SHORT ROUND
Hey, nobody touches Indy's whip!
Short Round grabs for it, but Indiana restrains him.
INDIANA
We're guests here, Shorty.
The Maharajah glares are Short Round and five the whip to Indy.
MAHARAJAH
You will show me how it works
please.
Indy bows to the little prince and smiles ironically --
INDIANA
You wish is my command, your
Highness.
While Short Round watches angrily, Indiana walks across the gar-
den and unfurls the whip. Indy sees a servant lighting a candle.
Suddenly the whip flies and CRACKS like a pistol shot. The
candle disappears! Indiana whirls and CRACKS the whip again,
snagging a flower out of a dancing girl's hair.
The Maharajah reacts like any kid -- he shoops happily.
MAHARAJAH
That is wonderful! Please teach
me how!
Short Round sulks as he listens to Indiana instructing the Maha-
rajah on how to hold the whip. As the young prince practises the
grip, Indy notices Chattar Lal slip behind a fountain to talk to
a dark figure in robes who appears.
Indiana sees Chattar Lal bow to the dark figure -- and Indy
catches a glimpse of the stranger's pale face and dark hollow
eyes. Then the robled apparition seems to disappear.
Meanwhile everyone watches respectfully as the Maharajah unfurls
the whip for his first attempt. He flings the whip but it flies
back and snaps -- biting his own cheek.
There's a stunned silence -- then Short Round laughs at the
little prince who is holding his wounded cheek. The incensed Ma-
rahajah suddenly flashes the whip as Short Round.
Short Round grabs the end of it and pulls hard -- the whip is
tugged taut between the two hostile boys. As they draw near each
other, Short Round sees something weird:
The little Maharajah's eyes begin glowing yelloe and he hisses
softly in a strange voice. Nobody else sees or hears the bizarre
transformation...
Indiana finally intercedes -- he grabs Short Round by the neck.
INDIANA
Okay, Short Round, let go of it.
Short Round lets go and Indy gently takes the whip back from the
little prince.
INDIANA (Cont'd)
The Turks say that a whip can be
an enemy even to its owner. If
you get some rope, it'll be easier
to learn with, your Highness.
Now, I think we'll say goodnight.
The Maharajah and Short Round stare hostiley at each other as
Indy recoils his whip.
CUT TO:
64. INT. A PALACE HALL - NIGHT 64.
Short Round walks beside Indiana down the shadowy hall toward
their room. Short Round has Indy's whip curled around his shoul-
der. The little fellow yawns and shakes his head.
SHORT ROUND
That little Maharajah think he
big stuff.
INDIANA
You don't like him do you?
SHORT ROUND
Next time I flatten him! Did you
see his eyes?
INDIANA
No.
SHORT ROUND
Indy, they glow like fire and get
real crazy! Then he talk in this
real scary voice!
Indy tousles Short Round's hair.
INDIANA
He was afraid of you. He knows a
tough guy when he sees one.
SHORT ROUND
(not so shure)
Yeah, that's what happened...
They reach their room and Short Round opens the door.
INDIANA
I better see how Willie is.
Short Round shakes his head scornfully as Indy crosses the hall
and knocks on another door. After a moment, the door opens and
Willie is standing there in a tempting nightgown.
INDIANA
I brought you something.
He holds up something wrapped in a piece of silk.
WILLIE
(disgusted)
Not leftovers?
INDIANA
No -- real food.
Willie opens the bundle suspiciously -- then her hace lights up
as she examines the breads and fruits inside.
WILLIE
Oh, it is real food...it's
beautiful.
She bites happily into a piece of fruit -- its juice runs down
her chin and Indy wipes it off gently with his hand. The mouth
deliberately seductive and Willie is not displeased.
WILLIE (Cont'd)
You're nice. Listen, I'm taking
applications -- how'd you like to
be my palace slave?
INDIANA
(smiling)
Wearing your jewels to be, prin-
cess?
Indy touches her necklace -- then his hand caresses her neck and
ear. She shivers slightly and speaks softly.
WILLIE
Yeah -- and nothing else.
(smiling)
That shock you?
INDIANA
(shaking his head)
I'm a scientist. I like doing
research on certain "nocturnal
activities" --
She smiles and puts a grape to his lips. He opens his mouth
takes it and chews it.
WILLIE
You mean like love rituals...
He swallows the grape and they move toward each other slowly to
kiss, revealing the passion that's simmering.
INDIANA
And mating customs...
They kiss again more heatedly.
WILLIE
Primitive sexual practices?
INDIANA
You're taling to an authority
in that area.
They kiss again hungrily --
WILLIE
You're dying to come into my room,
aren't you?
INDIANA
You want me so bad, why don't you
invite me?
WILLIE
Too proud to admit you're crazy
about me, Dr. Jones?
INDIANA
I think you're too used to get-
ting you own way, Willie...
They kiss yet again -- and Indy breaks it off, just to show he's
still in control. He backs away toward his room.
WILLIE
(watching him)
We'll see who gives in first --
I'll leave my door open.
INDIANA
Don't catch cold.
WILLIE
Dr. Jones -- ?
Indy stops by his door and sees Willie smiling as she holds up
five fingers --
WILLIE (Cont'd)
Five minutes... you'll be back
over here in five minutes...
INDIANA
You're dreaming, Willie. You want
to make it real, just knock on my
door.
He winks. She waves. But neither one will surrender first.
Willie does into her room, leaving the door ajar. Indy opens his
door.
65. INT. INDIANA'S SUITE 65.
Indy comes in and closes the door -- leaving it open a crack. He
stands and listens, waiting for her to come over.
66. INT. WILLIE'S SUITE 66.
Willie stands likewise by her door, waiting to hear Indy come
back over.
67. INT. INDIANA'S SUITE 67.
Indiana shrugs and walks over to a couch and starts taking off
his tweed jacket and necktie --
INDIANA
Five minutes... fat chance.
68. INT. WILLIE SUIT 68.
Willie moves around her lavish suite, turning down lights, creating
a romantic effect, checking herself in a mirror --
WILLIE
(confidently)
Five minutes, Dr. Jones...
69. INT. INDIANA'S SUITE 69.
Indy undresses in the magnificently decorated room: wall paint-
ings show palace scenes and landscapes; life-size figures
dance and there are full-scale portraits or Rajput princes and
prancing horses. But Indy's more concerned with lust than with
art.
INDIANA
(muttering)
...want me to be her palace slave!
He picks up his whip and smiles, considering using it on her.
Then he just grubles and tosses the bullwhip onto the couch.
70. INT. WILLIE'S SUITE 70.
Lying in bed in a seductive pose, Willie waits for Indy to show
up and she starts to look worried. She grabs a clock and shakes
it to see if it's working. She taps her fingers irritably won-
dering in her charm has failed...
71. INT. INDIANA'S SUITE 71.
We see another clock ticking. Looking annoyed, Indy tosses a
boot at it and the clock falls on its face, setting of the
alarm.
On the chaise lounge in front of Indy's bed, Short Round moves
groggily and sees Indy turning off the alarm.
SHORT ROUND
(half asleep)
Get to sleep Indy -- I stay up
and keep eye on things...
INDIANA
Okay, Shorty ... see you in the
morning...I'm going to have a
little -- word with Willie.
Indy finally shakes his head and gives in to his animal
instincts. He buttons his shirt, puts his boots back on and
grabs his leather jacket.
As he puts on his jacket he walks past the life-sized paintings of
armed gaurds standing in silent vigil. Suddenly we see something
frightening behind him: one of the wall paintings sees to come
to life!
A large figure in robes and a turban looms out from the wall and
lifts a silk cord -- the figure wraps the cord suddenly around
Indiana's neck!
The huge assassin stands behind Indy, twisting the cord even
tighter around his neck. As Indy attempts to break free he
sees the assassin's face is a mirror -- and a strange yellow
light glowing in the killer's eyes.
72. INT. WILLIE'S SUITE 72.
Willie's finally had enough waiting and she gets out of beg petu-
lantly.
WILLIE
He's not coming...I can't be-
lieve it...
She walks across the room and opens the door. She looks out
the empty hall -- and her resolve starts to weaken --
WILLIE (Cont'd)
Well...
(bracing herself)
No! I'm not going over there...
She comes back into her room and kicks the door closed.
WILLIE (Cont'd)
Sleep tight, Dr. Jones!
(suddenly melancholy)
I could've been your greatest ad-
venture...
73. INT. INDIANA'S SUITE 73.
Indy shoves the assassin backwards, ramming the big man into the
wall. The assassin maintains his deathgrip -- while on the
chaise, Short Round sleeps through it all!
Gasping futilely for air, Indy sinks slowly to his knees - his
eyes bulge and he stares at the tiny, smiling skulls at the ends
of the death-cord wrapped around the assassin's fists.
Indiana sinks lower and then feels something -- desperately he
grabs a brass pot on the floor by the handle and swings it with
his last strength, smashing it up into the assassin's head with
a skull-crushing clang!
The assassin is stunned and Indiana curls forward pulling him
into a somersault and sening him flying over his back. The ass-
assin crashes on his sping next to the chaise. Short Round still
doesn't wake up.
Indiana rips the cord from around his neck and gasps for breath.
He sees the assassin pulling a knife. Indiana dives as the knife
flies through the air and slams into the wall.
Indiana grabs his whip, rolls and lands on his feet. As the ass-
assin tries to retreat, Indy unleashes his whip -- it CRACKS and
wraps around the killer's neck.
The big man struggles, pulling on the whip, trying to release it
from his throat -- and Indiana holds fast, watching the killer
gasping for air now as his face turns red.
Suddenly the assassin does a full-blown backward sommersault
which rips the whip out of Indy's hand. The assassin has an in-
stant to grin victoriously --
Until he sees that the whip handle is arching toward the ceiling
where is gets caught on the revolving fan! The surprised assass-
in it tugged upwards -- and the whip twists around the ceiling
fan like fishing-line around a fishing-reel--
And like a doomed flounder, the assassin is slowly reeled up and
dragged toward the ceiling, his toes lifting off the floor.
The assassin screams as he is hanged! His legs twitch in
his death throes -- and below him, Short Round finally wakes up.
Always Indiana's protector, Shorty instictively leaps off the
couch and draws a small dagger --
SHORT ROUND
Don't worry, Indy! Where are
they?!
Short Round spins a 360 , then looks up and does a double-take
seeing the dead assassin twisting slowly around the ceiling fan.
Indy takes Short Rund by the shoulders and turns him away from
the grisly sight.
INDIANA
It's okay, it's over -- go turn
off the fan.
Short goes over and turns off the fan -- the assassin's body
drops and Indy recoils his whip. Suddenly they hear a hideous
scream -- Willie!
74. INT. WILLIE'S SUITE 74.
In a tight close-up: Willie screams again. She's lying in bed
looking down at something --
Moving up her shapely leg, a green and black, monstrous-looking
insect crawls onto her stomach and Willie stops breather. Immo-
bilized by fear, Willie watches in silent agony as the hideous
insect climbs slowly up her breast and slithers toward her neck.
Across the suite, the doors burst open and Indiana rushes in.
Shorty is behind him, carrying Indy's whip. Indiana leaps on a
stools and slides up to the bed to save WIllie --
Then he spots the giant insect crawling on her and decides to
have some fun.
INDIANA
This a cheap trick to get me over
here?
Willie speaks with desperate, fearful precision --
WILLIE
No -- don't you see -- crawling --
INDIANA
What -- the bug?
Willie is petrified and shaking.
WILLIE
Get -- the -- bug -- off!
INDIANA
Gee, I wouldn't want to touch an
ugly critter like that!
SHORT ROUND
(grinning)
Uh uh -- me neither!
Willie looks at the man-of-action like he's insane. Then she
feels the bug crawling onto her cheek --
WILLIE
Oh no -- oh no!!
INDIANA
(studying the bug)
You know, Willie, I'll bet he's
mad because they were eating his
friends for dinner.
WILLIE
Please -- oh please, I'm going to
die! Get it off!
Indiana shrugs and leans over and casually swats the horrible bug
off her face. He and Short Round watch the insect skid across
the floor -- and suddenly disappear as if by magic!
Puzzled, they wander toward the wall, leaving Willie behind,
bathed in sweat, staring at the ceiling --
WILLIE
What did I do to deserve this
trip?!
Kneeling by the wall, Short Round examines the baseboard --
SHORT ROUND
It went under. Hey, I feel
wind, Indy.
Indiana knocks on the wall and considers the hollow sound. He
moves back and looks at the whole wall. Behind him, Willie moves
past --
WILLIE
I'm packing! I'm getting out of
here right now tonight!
She dashes behind a screen to start getting dressed. Meanwhile
Indy feels the marble walls. He moves to a niche in which there
is a small statue of Ganesha, the friendly elephant god.
Indiana lifts the statue -- and a panel in the wall opens slow-
ly. Short Round looks amazed. Indy watches the light fall
across the far wall of a tunnel as the door opens slowly.
Indy peers into the tunnel at an old wall painting. Spiderly San-
skrit calligraphy runs under a flanking illustration of a prince
bowing before a god.
INDIANA
*(He reads aloud an inscription
in Sanskrit).
SHORT ROUND
What does it mean, Indy?
INDIANA
(translating)
"Follow in the footsteps of
Shiva. Do not betray his truth."
Indy takes out the piece of cloth the boy gave him in Mayapore,
the similarities are striking. It is also a picture of Shiva
Sankara.
INDIANA
*(He repeats aloud the inscrip-
tion also written on the cloth)
Over behind the screen, Willie's getting into some silk pants with
an Indian-style brocade bodice top --
WILLIE
I don't care if I have to walk to
Delhi, I'm -- hey!
She notices Indy and Short Round bending to enter the dark tunnel
behind the wall.
WILLIE (Cont'd)
Wait a minute! What're you --
where're you going?!
Indy pokes his head back into the room --
INDIANA
Lock your door and don't leave
until we get back.
He disappears behind the wall and Willie looks worried.
75. INT. A PALACE TUNNEL - NIGHT 75.
Indy and Short Round enter the secret passage and move forward
slowly into the inky darkness.
SHORT ROUND
I don't think we suppose to be in
here, Indy...
They creep slowly down the dark tunnel. It grows smaller and Indy
ducks his head.
SHORT ROUND (Cont'd)
I step on something.
Their footsteps crunch on the tunnel floor.
INDIANA
You're right, there's something
all over the floor...
Even Short Round has to duck and Indy finally kneels to his
hands and knees.
INDIANA (Cont'd)
We'll have to crawl.
As they crawl, their hands and knees continue to crunch on what-
ever it is littering the ground.
SHORT ROUND
Indy, the floor -- there is some-
thing alive!
Indiana gets a match out of his pocket. He snaps it with his
thumb and the match flares -- a hideous insectarium: a living
collection of the world's ugliest antropods, hexapods and arch-
nids.
SHORT ROUND
Holy smoke -- I'm scared, Indy!
Indiana turns and sees something else --
INDIANA
There's a chamber here. Come on --
Indy finds an oil lamp on the wall and lights it. Short Round
happily scampers into the chamber and Indy follows him. Suddenly
the door slides shut -- trapping them inside!
76. INT. THE CHAMBER 76.
Indiana lights a match and finds another oil lamp. He and Short
Round look for a way to open the door that closed behind them,
but they have no luck.
INDIANA
Damn!
Then they hear Willie's voice echoing down the short tunnel.
WILLIE (O.S.)
Hey -- where are you?!
77. INT. WILLIE'S SUITE 77.
Back in the suite, Willie stands by the entrance to the secret
passage, peering into the dark tunnel --
WILLIE (Cont'd)
Indiana Jones?! Are you in there?!
78. INT. THE CHAMBER 78.
Indy mutters irritably to himself --
INDIANA
Yes, we're in here...
He looks everywhere for something to open the door. Short
Round spots a loose brick and moves it --
SHORT ROUND
Indy, I found a --
Suddenly they hear a rumble and Indy turns to see the opposite
wall moving -- the spikes start appearing! Their lethal points
protrude from the wall as it starts closing in toward Indy and
Short Round.
SHORT ROUND (Cont'd)
Indy -- !
Shorty points up and Indiana sees more spikes descending from the
ceiling! Indy turns toward the door and shouts --
INDIANA
Uh -- Willie?!
(louder)
Willie, you better get down here!
79. INT. WILLIE'S SUITE 79.
Willie listens and looks scared --
WILLIE
(shouting back)
What?!
INDIANA (O.S.)
Willie, come here! Hurry up,
we're in trouble!!
SHORT ROUND (O.S.)
Willie, help!!
Willie is frightened, confused and jumping around --
80. INT. THE SPIKE CHAMBER 80.
The deadly spikes inch slowly toward them from the wall and ceil-
ing. They start pounding on the door and shout --
INDIANA
Willie, damn it! Get down here,
NOW
81. INT. WILLIE'S SUITE 81.
Willie finds the courage to finally whimper and step into the
dark passage --
WILLIE
Oh hell -- I bet I get all dirty
again!
82. INT. THE TUNNEL 82.
Willie starts down the dark tunnel toward the chamber.
INDIANA (O.S.)
WILLIE?!
WILLIE
I'm coming, what's the rush?!
Ohh! What's that?! There's
stuff all over the floor! I
can't see a thing!
83. INT. THE SPIKE CHAMBER 83.
They hear her coming and Indy watches nervously as the spikes
draw even closer --
INDIANA
Move, Willie! Faster!
84. INT. THE TUNNEL 84.
Willie crawls and crunches on the littered floor --
WILLIE
It's all wet and icky! Aaahh --
things are moving!!
She sees the low lamp by the door to the chamber.
SHORT ROUND (O.S.)
Please, Willie!
She grabs the lamp and turns it up so it burns brighter. She
looks around -- and SCREAMS!! She sees the sickening, swarming
mass of glistening insects crawling toward her, attracted by the
light --
WILLIE
(hysterical)
There's bugs! Bugs all over!
Help! Help me!
INDIANA (O.S.)
Willie, open the door! GET US
OUT OF HERE!
Willie pounds on the door --
WILLIE
OPEN THE DOOR! LET ME IN!!
85. INT. THE SPIKE ROOM 85.
The spikes close in --
INDIANA
GET US OUT! Willie, shut up and
listen! There's got to be a ful-
crum release! Look around!
WILLIE (O.S.)
A what?!
86. INT. THE TUNNEL 86.
Willie whines and frantically searches the wall. Insects are
crawling and jumping on her and she kicks at them!
INDIANA (O.S.)
A fulcrum release lever!
WILLIE
I can't find any lever! Help me
Indy!
87. INT. THE SPIKE CHAMBER 87.
Indiana and Short Round are backed against the wall and the
spikes are a foot away and moving in --
INDIANA
Look around, Willie! There's got to
be a liever hidden somewhere! Come
on, you can do it!
88. INT. THE TUNNEL 88.
Insects drop onto Willie from the ceiling and fly at her as she
flattens against the wall. Then her elbow hits something -- a
loose stone. She claws at it and it falls out of the wall
leaving a hole.
WILLIE
There's a hole! I found a square
hole!
INDIANA (O.S.)
That's it -- the release lever --
look inside!
WILLIE
I am -- it looks horrible!
The hole is revolting : covered with squirming insects, it also
oozes some kind of glistening mucus.
INDIANA (O.S.)
Reach inside!
Willie moves her hand toward the nauseating hole then pulls back.
WILLIE
I can't, Indy! I can't!
89. INT. THE SPIKE TUNNEL 89.
Indiana turns his head sideways and sucks in his breath, but the
deadly spikes are poking into his leater jacket now --
INDIANA
The lever! Willie, do it! NOW!
90. INT. THE TUNNEL 90.
Willie screams and jams her hand into the gross hole --
WILLIE
Oh God, it's soft -- it's moving!
INDIANA (O.S.)
Willie!
91. INT. THE SPIKE CHAMBER 91.
Short Round is frightened to death and crying --
SHORT ROUND
Willie, help us! Hurry!
92. INT. THE TUNNEL 92.
She hears Short Round crying and twists her hand in the disgust-
ing hole. Suddenly the door springs open! Willie pulls her hand
out and stares in horror -- her hand and arm are covered with
greenish slimey mung!
93. INT. THE SPIKE CHAMBER 93.
The spikes suddenly retract, disappearing into the wall and clos-
ing. Indy pulls Willie inside the chamber and the door slams
shut again. Willie dances around, yelling about the hideous slime
on her arm.
WILLIE
Get is off me -- get it off!
Indy helps her wipe it off. Willie falls back against the door.
WILLIE (Cont'd)
You left me out there! What in
the hell were you doing in here?!
I want to leave this place right
now!!
She sees the same lever that Short Round pulled earlier and grabs
for it. Indiana dives and manages to stop her from activating
the spikes agian.
INDIANA
Not that one! We had enought of
that one, thank you...
He looks around and spots a small rock protruding from the wall.
Cautiously, praying htat it won't activate another booby trap,
Indy pushes the rock.
A large door opens on the other side of the chamber -- a soft
wind howls past outside the chamber.
94. INT. THE WIND TUNNEL 94.
Indiana, Short Round and Willie exit the spike chamber and head
down a larger tunnel through which a roaring wind intermittantly
blows, howling eerily like a note of gloomy music.
Indiana follows a curve in the tunnel and they see light approaching.
The wind holws another dramatic note which gales past them as
they reach the mouth of the tunnel.
Indiana is joined by Willie and Short Round. They all stop in
astonishment at the sight below them:
95. INT. THE TEMPLE OF DEATH 95.
As the camera pulls back, the mouth of the wind tunnel in which
they are standing becomes just a small hole overlooking the stag-
gering vastness of the incredible TEMPLE OF DEATH.
The colossal subterranean temple has been carved out of a solid
mass of rock. A vaulting cathedral-like ceiling is supported by
rows of carved stone columns.
Balconies overlook the temple floor. Pillared halls leading to
dark side chambers. Moving out of these chambers, hundreds of
faithful worshippers chant as they enter the temple.
Mammoth stone statues of elephants, lions and demi-gods (half/man,
half/animal monstrosities) loom above the swelling crowds or wor-
shippers.
As the wind howls out of the tunnel high above the temple, the
worshippers chant in response to the strange tunnel music.
96. INT. THE TUNNEL 96.
The moaning wind rushes past Indiana, Willie and Short Round as
they watch the mystery cult below bowing toward an enormous altar
at the far end of the temple.
This altar is a platform jutting out from the stone wall of the
cavern. Separating the worshippers from this altar is a wide
crevasse out of which wisps of smoke rise occasionally.
97. INT. THE ALTAR 97.
On the other side of the crevasse, evil-looking priests
materialize out of clouds of swirling smoke. The priests carry
smoke-billowing urns to a giant stone statue.
Now, we see the hideous protectress of the temple, the obscenely
malevolent ombect of the cult's devotion: the bloodthirsty god-
dess KALI!
The red-eyed priests bow at the base of the statue and gaze
reverently at their KALI MA. Skulls surround her stone feet
carved serpents twist up her legs, while around her waist there
is a guresome belt of human hands.
Naked to the hips, Kali's hair falls about her four arms. In her
hand, she holds a sword, in the second the severed head of a
giant.With her other hands she encourages her worshipers, who
are chanting louder and louder!
Kali's face is loathsome: her earrings are two corpses. Her
evil tongue extends out of her twisted mouth and what looks like
read blood flows over her long fangs and down her naked breasts.
98. INT. THE WIND TUNNEL 98.
Watching from the high opening, Willie looks disgusted.
WILLIE
What is it...?
INDIANA
It's a Thuggee ceremony. They're
whorshipping Kali, the goddess of
Death and Destruction.
99. INT. THE TEMPLE OF DEATH 99.
A huge drum sounds three times and the chanting stops. The
silence is chilling as another robed figure appears out of the
some on the altar.
This is MOLA RAM, the High Priest of the Thugge cult. Mola
Ram's red-rimmed eyes glare from the sunken sockets in his
sinister face. Here is a man who looks as vile and diabolic
as the unholy goddess rising behind him.
Up in the wind tunnel, Indy stares down at the High Priest and
realizes that is was Mola Ram he saw conferring with Chattar Lal
in the palace garden.
As the drum booms three times more, Mola Ram lifts one arm
up from his emaciated body and suddenly there is a scream!
All heads turn toward an unfortunate, struggling Indian begin
dragged out by priests. The man's face and body are wildly
painted. He screams again as he's tied onto a square iron frame
laying atop a large flat stone.
Mola Ram steps forward to the stretched-out victim and the Indian
looks up into the High Priest's grotesque face --
Suddenly Mola Ram's hand shoots out toward the man's chest -- and
pierces it! The High Priests hand sinks into the victim's
writing body and rips out his living heart!
100. INT. THE WIND TUNNEL 100.
Willie covers her mouth --
WILLIE
Oh my God! He ripped out his --
he killed him!
INDIANA
No...the heart's still beating!
101. INT. THE ALTAR 101.
Indeed, the bloody heart is still beating in Mola Ram's hand!
He lifts the heart into the air and the worhippers begin the chant.
THE MULTITUDE
Jai ma Kali, jai ma Kali!
Stranger still, the sacrificial victim is still alive -- there is
no evidence of a gash on his chest, only a reddish mark The
priests add chains to the iron frame and carry the victim over
toward a hoist hanging over the crevasse.
The man thrashes about helplessly on the iron frame as it is up
ended and then lowered with the victim hanging face down --
As the sacrificial victim looks down into the crevasse below --
he screams -- and we see the molten lava bubbling crimson at the
bottom of the chasm!
102. INT. THE WIND TUNNEL 102.
Willie closes her eyes but Indy and Short Round watch horrified
as the iron frame is lowered -- and the bloody heart continues to
beat in Mola Ram's hand -- and the molten lava burns and flickers
as the screaming victim is lowered deeper into the crevasse.
103. INT. THE TEMPLE 103.
The weird paint on the victim's face starts to smoke and sizzle --
the man's skin blisters as he's lowered within feet of the
lava. His flesh smokes and he screams one last time as his body
bursts into flame.
The iron frame sinks and submerges into the boiling fiery lava.
104. INT. THE ALTAR 104.
Above the crevasse, Mola Ram continues to hold the heart in
his hand -- the heart is smoking and bursts into flames - and
disappears!
105. INT. THE TEMPLE 105.
The iron frame is raised out of the lava -- the metal glows
like a branding iron, but there is no trace of the sacrificed
victim.
106. INT. THE WIND TUNNEL 106.
As the wind howls again, Willie and Short Round look sickened and
appalled by the ceremony. Even Indy seems shaken by what they
are witnessing.
THE MULTITUDE
Jai ma Kali, jai ma Kali!
107. INT. THE ALTAR 107.
Moal Ram raises both hands and his voice echoes strange incanta-
tions. Behind him, three priests carry cloth-wrapped objects to-
ward the altar.
108. INT. THE WIND TUNNEL 108.
Willie is crying and her voice is shoking as she turns awa from
the hideous ritual --
WILLIE
Let's go! Let's get out of here!
INDIANA
Quiet!
109. INT. THE ALTAR 109.
The priests reverently unwrap three conical pieces of
crystallized quartz. The place the three stones below the sta-
tue of Kali and slowly the smoke around the altar swirls --
The smoke is drawn to the three stones and they actually start in-
haling the piraling smoke. The smoke disappears into the stones
and the air clears. Then the three stones start to glow a
haunting incandescent white.
110. INT. THE WIND TUNNEL 110.
Short Round looks scared. Willie is still crying -- Indy waits,
horrified but fascinated.
INDIANA
The village knew their rock was
magic -- but they didn't know it
was one of the lost Sankara Stones...
SHORT ROUND
Why they glow like that?
INDIANA
Legend says that when the stones
are brought together the diamonds
inside of them will glow.
Willie wipes her eyes and becomes more interested --
WILLIE
Diamonds...?
111. INT. THE ALTAR 111.
The Sankara Stones shimmer brightly, and inside the crystallized
quartz, the enormous sparkling diamonds of legend are now re-
vealed.
Mola Ram stands facing Kali with his arms outstretched and
kneels and bows and then walks off the altar and disappears.
112. INT. THE WIND TUNNEL 112.
Indiana sees the woshippers below start to leave the temple. He
looks at Willie and Short Round.
INDIANA
Okay -- now listen -- you wait here
and keep quiet. Shorty, keep an
eye on her.
Short Round nods and hands Indy his bullwhip and shoulder bag.
Willie sees Indiana peering down at the sheer drop below the
mouth of the wind tunnel.
WILLIE
Wait -- what're you doing?
INDIANA
I'm going down.
WILLIE
Down? Down there?! Are you
crazy --!
INDIANA
I'm not leaving without those
stones.
WILLIE
You're gonna get killed chasing
after your damn fortune and
glory!
INDIANA
(looking at her)
Maybe...someday.
(smiling)
Not today.
SHORT ROUND
I keep my eye peeled, Indy.
Indiana nods and looks down at the now empty temple. Then he
slips down from the mouth of the wind tunnel.
113. INT. THE TEMPLE WALL 113.
Indiana skillfully clumbs down an enormous tmeple column -- find-
ing footholds on stone cobras, carved lions and the stone breasts
of dancing girls. Slowly, he makes his way down and swings across
a balcony.
114. INT. THE BALCONY 114.
Indiana walks quietly along the balcony overlooking the temple.
He stops -- between him and the altar is the crevasse with the
lava bubbling fire at the bottom.
Indiana looks across the gulf and sees another column near the
altar at the top of which stone elephants are perched. Indy
curls his whip and suddenly lets it fly --
The whip cracks and its end wraps tightly around the tusk of one
of the stone elephants. From the balcony, Indy tugs the whip
taut, takes a breath and runs --
115. INT. THE CREVASSE 115.
Indiana leaps and swings out on the whip, arching down and up,
over the chasm of fiery lava in a spectacular curving jump!
116. INT. THE LATAR 116.
Indy lands on his feet and turns to release the whip. Short
Round waves to Indy that the coast is clear. Indy snaps the whip
-- it releases from the elephant tusk and drops.
Recurling the whip, Indy attaches it to his belt and moves to-
ward the towering statue of Kali. The three Sankara stones start
to glow and Indiana approaches them cautiously.
Reaching the stones, Indy's face is lighted by them. He notices
that one of them (sthe stone from Mayapore village) has strange
lines painted across it.
Suspiciously, Indy touches the stone, but it doesn't burn. He
lifts it carefully and peers into it. The enormous diamond
sparkles inside. He places the stone in his shoulder bag and
reaches for the others.
117. INT. THE WIND TUNNEL 117.
Short Round and Willie watch apprehensively as Indiana bags the
three stones.
118. INT. THE ALTAR 118.
Indiana backs away and looks up at the horrific statue of Kali.
It seems to be watching him. He turns and is about to go when he
hears something --
It sounds like a voice and Indy is afraid to turn -- could it be
Kali? The he hears other noises echoing and turns slowly. Real-
alizing the sounds are coming from behind the altar, Indy moves
around it toward the back.
119. INT. THE WIND TUNNEL 119.
Short Round and Willie are mystified as they see Indiana dissap-
pear behind the altar.
WILLIE
Oh hell, where's he going?
Short Round looks worried. Then the wind rushes past them quickly
and howls its somber musical note. However, the wind sounds dif-
ferent this time, its tone quavering slightly.
Short Round is puzzled and looks around. He feeezes when he sees
two shadowy figures coming down the tunnel toward them -- the
bodies causing the tone of the wind to shift eerily --
Willie notices Short Round pulling a dagger from his belt -
WILLIE
What're you -- ?
Suddenly she turns and screams as two huge Thuggee guards rush
at them! One grabs at Short Round but the kid slashes the
guard's hand with his dagger.
Willie tries to get past the other guard, but he snatches her by
the arm and pulls her toward him -- from her training at the Col-
lege of Hard Knocks, Willie successfully knees the big man in the
balls.
WILLIE (Cont'd)
Keep your paws off, letch!
The man groans and sinks to his knees. Willie sees that Short
Round is in trouble. She runs over, leaps onto the back of the
other guard and starts ripping his hair out.
Short Round picks up his fallen dagger. The big guard lurches
backwards and smashes Willie into the rocky wall of the tunnel.
Willie falls to the floor.
Short Round approaches, holding the man at bay with his dagger.
Willie turns as the other guard, the one she kneed, crawls toward
her -- Willie scoops up some dirt and throws it. The man claws
at his eyes and Willie jumps up.
SHORT ROUND
Run Willie!
Willie starts to run and Short Round backs away, keeping the
guard at a distance with his dagger. Suddenly the guard cries out
in Hindi and dives at Short Round.
Panicking, Shorty tries to run after Willie -- but he's tripped.
The guard has Short Round by the foot and drags him back. Willie
looks around and stops running. She sees Short Round is caught.
SHORT ROUND (Cont'd)
No! Run! Go get help!
Willie hesitates, then runs down the tunnel. Meanwhile, a mam-
moth hand clutches Short Round's throat -- the giant guard lifts
Shorty completely off the ground and the kid looks terrified and
helpless as he dangles in the air...
120. INT. CHAMBER BEHIND ALTAR 120.
Indiana enters the dark chamber behind the altar. The only il-
lumination is the back-light streaming around the silhouetted
statue of Kali.
Indy slowly crosses a narrow stone bridge and moves toward a cy-
lindrical shaft of light rising up from what appears to be an
enormous hole.
Indy hears voices and the clink of metal against rock as he con-
tinues forward. The ground is dark in front of the large hole.
He edges toward the precipice and the light rising up illuminates
the look of shock on his face as he peers down into Hell...
121. INT. THE THUGGEE MINES 121.
Indy looks into a deep pit around which concentric paths leads off
into numerous narrow tunnels. Crawling out of these burrows,
scrawny children drag sacks of dirt and rock. Other hollow-eyed
children pull these sacks to mine cars waiting on rails.
Straining to lift the rocks into the mine cars, several of the
children slip and fall. Bare-chested Thuggee guards shout at the
enslaves children and kick those who've fallen.
For these children there would seem to be only one hope -- death
-- an end to their travail.
Indiana edges around the hole, looking into the ghastly mine and
feeling as if he's discovered an inferno of misery as grotesque
as Dante's.
Indy shifts the bag of stones on his shoulder. He hesitates and
considers his choice: he has the Sankara Stones and can leave
with them now...
But Indy hears the pleading cries of one child and peers down to
see a burly Thuggee guard beating the pitiful little slave. Indy
gets angrier and angrier as he watches.
He finally steps over the grabs a boulder. He lifts it and
flings it down into the mine --
122. INT. THE MINE 122.
We see Indiana above and the boulder hurtling down -- it crashes
onto the head of the Thuggee guard who hits the ground like a
sack of cement!
12. INT. THE CHAMBER 123.
Indy sees the startled slave children looking up at him in shock.
He smiles victoriously at the Thuggees below who've run over to
see what happened.
Indy's smile seems to fade as his anger turns to surprise as he
feels something unnerving:
Dirt is crumbling away from the rim of the hole, a small
landslide starting beneath his feet. Suddenly the floor gives
way and Indy slips!
The entire rim of the hole shears off and Indy topples with it
and plunges down into the mine toward the assembled guards who
scatter -- Indy yells as he falls and it echoes...
CUT TO:
124. INT. A CELL - NIGHT 124.
Indiana's yell continues to echo -- his head jerks suddenly --
Indy jolts awake as if coming out of a nightmare, awakened by his
own reverberating shout.
Indy is lying on the rocky floor of a dark cave/cell. He lifts
his hands and discovers that they are chained. In the murky
light, he sees Short Round sitting in chains across the cell.
SHORT ROUND
Indy -- you knocked out when you
fall. You okay?
Indiana nods groggily. He sees a young slave worker in rags sit-
ting near Short Round. Through the iron bars of the cell, Indy
sees the children slaving in the mine tunnels.
SHORT ROUND
(indicating the kid)
This is Nainsukh -- from the vil-
lage. They bring him here to dig
in the mines.
INDIANA
Why?
NAINSUKH
Children are small -- we can work
in tunnels. Now I am too old.
SHORT ROUND
What they do to you now?
NAINSUKH
I pray to Shiva -- let me die.
But I do not. Now -- now the
evil of Kali take me.
SHORT ROUND
How?
NAINSUKH
They will make me drink blood of
Kali. Then I fall into black
sleep of Kali Ma...
INDIANA
What is that?
NAINSUKH
I become like them. I be alive --
nut like in nightmare. You drink
the blood, you not wake up from
nightmare of Kali Ma.
There's a noise and they see two guards and a priest outside the
cell. Nainsukh cowers in the darkness at the back of the cell,
like a trapped animal awaiting the inevitable.
CUT TO:
125. INT. A MINE TUNNEL - NIGHT 125.
Indiana and Short Round are pushed down a tunnel by guards. They
are stopped at a door and shoved inside.
126. INT. MOLA RAM'S CHAMBER 126.
Indiana and Short Round stumble into the chamber. It is a terri-
fying gallery of occult yantras, ritualistic statues and grisly
icons of the evil Thuggee sect.
Grotesque statues of Kali's baleful minions line the walls. In a
corner, there is another statue of Kali herself, draped with
flowers, necklaces of real human skills and slithering belts of
live snakes.
Fresh blood has been splashed over the statue and at its base are
the three Sankara Stones recovered from Indiana. Mola Ram sits
in a yoga position near the statue of Kali.
Mola Ram opens his eyes and he sees Indiana and Short Round
standing in chains before him.
MOLA RAM
You were caught trying to steal
the Sankara Stones.
INDIANA
(shrugging)
Nobody's perfect. The way I
heard it, you stole one of them
from a small village.
Mola Ram stands and gazes transfixed at the stones glowing on the
altar.
MOLA RAM
There were five stones in the
beginning. Over the centuries
they were dispersed by wars,
sold off by thieves like you...
INDIANA
Two are still missing.
MOLA RAM
No. They are here -- somewhere.
A century ago when the British
raided this temple and butchered
my people, a loyal priest his the
last two stones down here in the
catacombs.
INDIANA
That's what you've got these chil-
dren -- these slaves digging for?
MOLA RAM
They dig for the gems to support
our cause. They also search for
the last two stones. Soon we will
have all five Sankara Stones and
the Thuggees will be all powerful!
INDIANA
Nobody can say you don't have a
vivid imagination.
MOLA RAM
You do not believe me? You will,
Dr. Jones. You will become a true
believer.
The door opens and Mola Ram bows slightly as the little Maharajah
enters. Indy looks surprised and Short Round tenses.
MOLA RAM (Cont'd)
Your Highness will witness the
thief's conversion.
Mola Ram nods and two guards grab Indy. They drag him struggling
to a rock and chain him to it. Short Round scuffles as he's
pulled aside to watch.
Remembering the High Priest's earlier open-heart surgery, Indi-
ana looks worried as Mola Ram approaches him --
MAHARAJAH
You will not suffer. I recently
became of age and tasted the blood
of Kali.
Now the young initiate comes forward and Indiana looks startled --
it's Nainsukh. He is wearing robes and his eyes are glowing
strangely. Nainsukh hands Mola Ram a hollow human skull full of
blood!
The guards hold Indiana's head back and force his mouth open.
Mola Ram tips the skull and blood spills out of its death-
grinning jaws and flows into Indiana's mouth. Indy gags --
Suddenly he spits the blood, spraying Mola Ram and the little
Maharajah. Looking at his blood-splattered clothes, the Mahara-
jah is furious.
MOLA RAM
Hold him!
The little prince's eyes glow angrily and he hisses at Indy --
MAHARAJAH
You will learn to obey because
you are powerless!
The little Maharajah pulls a small krtya from his robes -- Indy
sees that the doll has been crudely fashioned to resemble him.
MAHARAJAH (Cont'd)
I control you now!
The Maharajah turns and sticks the doll into a flaming urn. In-
diana suddenly cries out and twists in pain as he is burned! The
little prince smiles evilly and puts the doll back into his
robes.
Then he goes over to where Indy's whip and bag have been laid.
He grabs the bullwhip.
MAHARAJAH (Cont'd)
You told me that a whip could be
an enemy to its owner. We shall
see! Turn him over!
As the guards turn Indy face down, they rip off his jacket and
chain his ahnds to the rock. The Maharajah uncurls the whip -- he
notices Short Round smiling snidely --
Suddenly the Maharajah cracks the whip -- it lashes out and cuts
into Short Round's shoulder. Blood appears and Short Round looks
stunned by the lash and by the fact the Marahajah knows who to
use the whip.
MAHARAJAH (Cont'd)
As Dr. Jones suggested, I have
been practicing.
The little Maharajah whirls and lashes the whip again. Indiana
jerks as the bullwhip rips through his shirt and tears open his
flesh. The Maharajah lashes again and again -- blood spurts
across Indy's tattered shirt.
As the whipping continues- Short Round jumps as if he is also be-
ing beaten. His eyes fill with tears as he watches Indy suffer.
Finally, the little Maharajah lets the whip fall limp. As the
Maharajah approaches Indy, Short Round lunges as him angrily but
the guards restrain him.
Indiana groans as he's turned over. Blood trickles from his
mouth and he stares up hatefully at Mola Ram.
MOLA RAM
The British in India will be
slaughtered. Then we will over-
run the Moslems and force their
"Allah" to bow to Kali.
Mola Ram is once again given the human skull by a priest and he
lifts it toward Indy's face --
MOLA RAM (Cont'd)
And then the Hebrew God will fall
and finally the Christian God will
be cast down and forgotten.
Indy's head is held back and Mola Ram spills the blood -- it
flows out of the mouth of the skull into Indy's mouth.
MOLA RAM (Cont'd)
Soon Kali Ma will rule the world!
Indy's eyes look horrified as the blood flows from the skull down
his choking throat -- some of the blood spills and falls to the
floor --
We see the very earth trembling as the evil spreads -- a fissure
appears beneath Indy's feet and a small line of crimson lava
oozes out and smiles evilly across the floor...
CUT TO:
127. INT. WILLIE'S SUITE - NIGHT 127.
Diaphanous curtains billow silently into the moonlighted room.
Two exotic birds sit on a golden perch, their eyes clicking
watchfully. Suddenly the brids shriek and flap away --
Willie stumbles through the secret door and falls into the room.
Insects cover her and she shimpers as she knocks them off. She
manages to stagger to her feet and she heads for the door.
128. INT. THE PALACE - NIGHT 128.
Willie rushes out of her room and runs through the deserted pal-
ace looking for help. She flies down the moonlit corridors, past
the huge wall paintings.
She stops by a courtyard and calls out desperately, but there is
no one around. She backs away down a hallway and then jumps --
seeing something in a mirror: a face looms behind her and she
screams!
Willie whirls and sees Chattar Lal, the Prime Minister, approach-
ing her.
WILLIE
Oh my God, you scared me! Listen,
you've got to help. We found this
tunnel --
Captain Blumburtt comes around a corner and interrupts --
CAPT. BLUMBURTT
(to Chattar Lal)
Jones isn't in his room. Miss
Scott -- my troops are leaving at
dawn if you want us to escort you
to Delhi --
WILLIE
No -- you can't go! Something aw-
ful's happened. They've got Short
Round and I think Indy's been --
CAPT. BLUMBURTT
What?
WILLIE
We found a tennel that leads to a
temple below the palace! Please,
come with me, I'll show you!
The two men exchange dubious looks. Willie grabs Blumburtt by
the arm and they start down the hall.
CHATTAR LAL
Miss Scott, you're not making any
sense.
WILLIE
I'm afraid they'll kill them! We
saw horrible things down there --
they had a human sacrifice and they
ripped a man's heart out!
CAPT. BLUMBURTT
Who?
WILLIE
It's some kind of cult! And they've
got the sacred stones that Indy was
searching for.
CHATTAR LAL
I sense the fumes of opium in all
this. Prehaps Miss Scott picked
up the habit in Shanghai.
WILLIE
What're you talking about -- I'm
not a dope fiend! I saw it! I'll
show you!
129. INT. WILLIE'S SUITE 129.
She leads them into her suite. Willie points to the dark opening
in the wall. Blumburtt picks up an oil lamp and holds it toward
the opening -- suddenly he jumps back as Indiana emerges!
INDIANA
(smiling faintly)
What're we playing, hid and seek?
They're all startled. Willie looks relieved and rushes over to
Indy and puts her arms around him.
WILLIE
Oh, Indy, you got away! Tell them
what happened, they won't believe
me --
He puts his arms around her and feels her trembling from fear and
anger. He walks her to the bed and helps her sit down --
INDIANA
It's okay. You're all right now.
WILLIE
They think I'm insane. Tell them
I'm not, Indy. Please -- help me ...
The awful events have taken their toll and Willie covers her face
and cries like a scared kid. Indy gets her to lie down on the
bed. He sits beside her and smiles and touches her hair --
INDIANA
Hey, I thought you were supposed
to be a real tropper. Willie?
He wipes the tears from her face and she holds his hand --
WILLIE
(quietly)
What?
INDIANA
You've got to go to sleep now.
WILLIE
(softly)
I want to go home...
INDIANA
I don't blame you... this hasn't
been what you'd call a fun vaca-
tion...
She smiles a little despite herself and he touches her cheek.
He eyes are already closing and he stands up.
A servant is entering the suite to take care of Willie. She cov-
sers her with a blanket and start dropping the mosquito netting
as Indy walks off toward the verandah with Blumburtt and Chattar
Lal.
130. EXT. THE VERANDAH - DAWN 130.
The first light is breaking over the mountain peaks. Coming out
onto the verandah, Indy and the other two men see the cavalry
troops breaking camp below and readying their horses and trucks.
INDIANA
I've spent by life crawling around
in caves and tunnels -- I shouldn't
have let somebody like Willie go
in there with me.
CAPT. BLUMBURTT
Miss Scott panicked?
INDIANA
When she saw the insects she passed
out cold. I carried her back to
her room. She was sleeping when I
re-entered the tunnel to look
around.
CHATTAR LAL
As she slept, she undoubtedly had
nightmares.
Indiana looks at him and nods.
INDIANA
Then she must have run out of the
room and you found her.
CAPT. BLUMBURTT
Did you discover anything in that
tunnel, Dr. Jones?
Indiana stares into the rising sun.
INDIANA
Nothing. Just a dead end. That
tunnel's been deserted for years.
A sergeant-major shouts up to Blumburtt that the troops are
ready.
CAPT. BLUMBURTT
Well, Mr. Prime Minister, my re-
port will duly note that we
found nothing unusual here in
Pankot.
CHATTAR LAL
I'm sure that will please the
Maharajah, Captain.
CAPT. BLUMBURTT
(to Indiana)
As I said before, we'd be happy to
escort you to Delhi.
INDIANA
Thanks, but I don't think Willie is
ready to travel yet.
CUT TO:
131. EXT. THE PALACE ROAD - MORNING 131.
Dust swirls as the British cavalry moves off with their Highland
Pipers at the head playing a military bagpipe tune. Capt. Blum-
burtt comes out of the palace and gets into an open car.
Blumburtt's car moves off behind the cavalry and then the supply
trucks follow.
132. INT. WILLIE'S SUITE 132.
The whine of the bagpipes is eerily muted in the dark room.
Through the gently swaying mosquito netting, we see Willie asleep
on the bed.
Then through her side of the gauzy netting, we see the door
opening across the room. Indiana enters quietly and moves toward
the bed, his eyes fixed on Willie's sleeping body.
Indy sits down on the bed slowly. Willie turns in her sleep and
opens her eyes. Through the mosquito netting she sees Indy sit-
ting with his back to her.
WILLIE
Indy? Did you walk to them?
INDIANA
Yes.
WILLIE
So now they believe me.
INDIANA
Yes, they believe you.
Indiana speaks in a strange monotone.
WILLIE
Then they'll send the soldiers
down into the temple...
Willie looks at Indiana's back and continues quietly.
WILLIE (Cont'd)
I was scared to death last night
when I thought they were going to
kill you.
INDIANA
No... they won't kill me.
WILLIE
(smiling faintly)
You know you've been nothing but
trouble since I hooked up with
you -- but I have to admit I'd
miss you if I lost you...
Now Indiana starts to turn slowly.
INDIANA
You won't lose me, Willie...
She sees him turn and his face slowly comes toward the mosquito
netting -- his face pushes into the netting and Willie looks
stunned as Indy's mouth opens --
He starts hissing grotesquely, smoke billows out of his mouth and
the mosquito netting BURNS OPEN to expose his terrifying face
moving toward Willie --
She is forzen with fear and unable to utter a sound as Indy's
malevolent face looms at her -- and then she notices his eyes --
his eyes glowing a hellish luminscent yellow!
Willie SCREAMS!!
She suddenly bolts from the bed and tries to run -- Indiana goes
into a rage, ripping the mosquito netting from the bed as he fol-
lows her.
INDIANA
No! I've found it -- you can't --
Kali knows!
Willie tries the door but it's locked. She sees Indiana moving
toward her ranting incoherently as he smashes a vase out of his
way --
INDIANA
-- been too many lies -- there's no
god's heaven -- just -- the horror!
I've seen it -- life preying on
life!
Willie cowers in a corner, horrified by the transformation she
sees in Indiana. Shouting and pacing Indy holds his head against
the pain of his terrible thoughts --
INDIANA
-- rivers -- destroying mountains --
a comet in space -- exploding!
(holding his head)
Aaahh! -- the screams -- pitiful
people -- their pain -- the hate --
and greed -- always greed!
The light throws his shadow over Willie -- a giant shadow float-
ing back and forth over her as she cries in the corner, unable to
fight the evil devouring Indiana.
INDIANA
-- but I've found -- Kali's touch!
Death -- no more lies -- the death
I've been searching for!
(shouting)
Quit crying! She can hear you --
Kali knows fear -- don't you under-
stand -- Kali is freedom!
Indiana stops pacing and Willie freezes in terror. Now a bizarre
yellow light wipes across the room. Indiana turns and watches
silently as two Thuggee guards emerge from a secret doorway
that's opened --
The shadows of the Thuggee guards loom over Willie and she
SCREAMS again!
CUT TO:
133. INT. THE TEMPLE OF DEATH - DAY 133.
A sea of frightening faces once again intones the horrible sacri-
ficial chant. Among the shorshippers, the little Maharajah sits
on a riased platform. Like the other believers, he stares across
the crevasse at the altar of Kali Ma.
The wailing wind howls out of the high tunnel and the terrifying
chanting reaches a fever pitch.
134. INT. THE TMEPLE ALTAR 134.
And once again the three sacred Sankara Stones glow magically.
Mola Ram materializes evilly amidst the swirling smoke and he
begins chanting in Sanskrit.
Beside the altar, half-clad female acolytes pass in front of the
robed priests -- with their fingers the women paint two white
lines across the priests' foreheads.
An acolyte moves in front of Chattar Lal -- the Prime Minister is
now dressed in robes. As the devotional markings are painted on
his forehead, Chattar Lal translates the High Priest's speech to
Indiana who stands next to him.
CHATTAR LAL
Mola Ram is telling the faithful
of out victory. He says the
British have left the palace,
which proves Kali Ma's new power.
INDIANA
Yes, I understand.
Indiana bows his head to receive the mystical markings. He lis-
tens to Mola Ram's rantings -- Indy's eyes are ominously vacant
as he stares up at the hideous statue of Kali.
135. INT. MINE TUNNELS - DAY 135.
Beneath the temple, down in the bowels of the mountain, the piti-
ful children dig at the earth with their fingers. A FAT GUARD
slouches down the tunnel, flogging malingerers with a aleather
strap.
Short Round sweats next to the others, clawing at the rocks,
doomed to work with them now in their search for the last wo
Sankara Stones.
The leather strap suddenly flays Short Round's back and he barely
manages not to scream out in pain. The fat guard passes -- Short
Round and the other kids pull a large rock which suddenly comes
loose out of the wall -- !
They fall back and see they've exposed a vein of molten lava!
Hearing their shouts, the fat guard returns -- yelling at their
stupidity, he whips them and shoves them aside brutally.
Short Round see the fat guard's eyes glowing fiercely in anger.
Suddenly the fissure shoots out steam and spews some molten lava
over the guard's legs.
The guard screams and falls to the ground, thrashing about, try-
ing to kick the searing lava off his smoking flesh.
As the other kids cower, Short Round's humane instincts cause him
to jump forward to help the guard who moments earlier was beating
him --
Short Round tosses dirt on the guard's legs and grabs a gunny
sack and starts rubbing the lava off. Shorty notices something
strange:
The guard's eyes, which were glowing yellow before, are now dim-
ming and returning to normal. The moaning guard looks at Shorty
thankfully and then looks around as if waking from a nightmare --
SHORT ROUND
(to another slave kid)
His eyes -- they go out.
Other guards appear and lift the guard -- suddenly he starts
struggling against the guards not wanting to return to the night-
mare of Kali --
FAT GUARD
(as he's dragged away)
No! NO!
SHORT ROUND
The pain -- the pain makes him wake up!
(thinking quickly)
Indy! I can make Indy wake up!
But the other guards push and beat the children back to work.
Short Round is shoved against a wall and groans -- he reaches over
and grabs a large rock, lifting it defiantly --
But rather than heaving it at the guard, Short Round smashes the
rock down on the leg chains binding him to the other children.
Shorty beats at the chain with the rock, determined to escape.
SHORT ROUND
Indy!
136. INT. THE TEMPLE OF DEATH 136.
The wind moans and joins Mola Ram's voice echoing maniacally over
the multitude gathered in the enormous temple. On his throne,
the little Maharajah listens transfixed.
137. INT. THE ALTAR 137.
Chattar Lal watches Indiana staring hypnotically at the High
Priest as he speaks --
CHATTAR LAL
You understand what he tells us?
INDIANA
Kali Ma protects us now and for-
ever, and we must pledge our
devotion by worshipping her with
an offering of flesh and blood!
Suddenly htere is a heart-rending scream of terror and the
priests draf forward the next sacrificial victim --
Indiana's glowing eyes watch emotionlessly as Willie is brought
out. Dressed in a Rajput maiden's outfit, Willie has been jewel-
ed and draped with flowers -- a strange contrast as she struggles
desperately.
CHATTAR LAL
Your friend has seen and she has
heard -- now she will not talk.
As Willie is dragged past she sees Indy and calls to him --
WILLIE
Indy! Help me! Indy?!
Willie is shocked seeing that Indiana remains impassive and un-
caring as she's dragged to her death.
CHATTAR LAL
(to Indy)
This will prove your devotion to
Kali.
Indiana looks away from Willie's terrified face and stares up
adoringly at the monstrous statue of his goddess Kali.
138. INT. THE MINE 138.
In the dark tunnel, a rock smashes down onto a chain -- and
breaks it! Short Round is exhausted. He looks around furtively
and sees a guard approaching.
Short Round takes a chance -- he dives and rolls across the
tunnel. He ducks behind a mine car full of rocks being pushed
out by two chained children.
The guard lumbers past unsuspectingly as Short Round makes his
escape using the moving mine car as cover.
139. INT. THE ALTAR 139.
Up in the temple, Willie continues to struggle as her legs are
strapped to the iron sacrifical frame. Chattar Lal grabs her
hand and ties it down. Willie's free hand reaches out imploring-
ly toward Indiana --
WILLIE
(hoarsely)
Please, God, don't let them do
this to me -- help me, Indy!
He reaches out slowly and Willie grabs his hand tightly. Indy
looks into her eyes and then stares at her hand -- and slowly
lifts it and starts tying it to the iron frame.
WILLIE (Cont'd)
No -- no!
Willie cries is disbelief as Indiana calmly betrays her.
140. INT. THE MINES BELOW 140.
Short Round races up a tunnel and then flattens himself behind a
corner. He peers anxiously into a large carven and sees two
guards walking away.
When the coast is clear, Short Round darts across the cavern to a
long wooden ladder tilted up against a wall. Short Round looks
up the high ladder and sees a kid with a sack of rocks descending
from a burrow-hole half-way up the wall.
The exhausted kid nearly collapses at the bottom -- then jumps
seeing Short Round. Shorty motions for him to keep quiet.
Amaxed, the kid watches Short Round scramble up the ladder.
Shorty continues until he is high above the floor.
Dirty faces stare out of the high burrow as Short Round stops
climbing. The kids are astonished as Short Round suddenly grunts
and kicks the ladder away from the wall!
The high ladder falls in an arc and what seem like sure suicide
slowly resembles a mini-Indiana Junes stunt as Short Round swings
to the other side of the falling ladder --
Short Round holds on for dear life as the ladder crashes against
the opposite cavern wall -- giving Short Round access to the
roof-hole that leads up to the temple!
Short Round scurries up the ladder and pulls himself up into the
chamber behind the altar. He looks at the light flaring around
the statue of Kali --
SHORT ROUND
Indy -- !
141. INT. THE TEMPLE OF DEATH 141.
Chains clank and gears grind as the sacrificial frame is raised
over the crevasse. Stretched out on it, Willie looks horrified
as she hangs suspended face down above the boiling lava!
The frame and victim descend slowly into the crevasse and the
crowd around the little Maharajah changs louder.
142. INT. THE REAR CHAMBER 142.
Short Round dashes across the dark chamber behind the altar. He
peers out and sees Willie disappearing into the crewasse! He
sees Indiana watching impassively --
SHORT ROUND
No -- Indy -- wake up!
Then Shorty sees a flaming torch hanging on a wall bracket and he
has an idea.
143. INT. THE ALTAR 143.
Short Round suddenly darts out onto the altar and Mola Ram sees
him and yells. Several priests grab for Shorty. He eludes the
first priest, smashes the second in the stomach with his head,
and runs like a little quarterback toward the fiery torch --
Short Round snatches the torch from the wall and charges toward
Indiana. Seeing him coming, Indy's eyes start glowing yellow and
when Short Round runs up to him, Indiana suddenly swings and
backhands the little guy brutally across the face!
The torch flies out of Shorty's hand as he's knocked against at
wall by Indy's vicious blow -- Short Round wipes a little blood
from his chin and stares at his hero in wounded disbelief.
Chattar Lal watches approvingly -- a priest moves toward Shorty.
Chattar Lal looks back toward the crevasse --
Willie hangs on the lowering frame, heat waves rising up now to
scald her skin and she chokes as the sulphuric air burns her
lungs!
Meanwhile Short Round is crawling backwards across the floor with
a look of terror on his face -- Indiana stalks him, hissing,
snarling, his eyes lgowing --
Short Round springs to his feet and tries to run -- Indy grabs
him and pulls him -- Shorty's hand grabs for another wall torch
and just manages to yank it free!
Indiana spins Short Round and clutches his throat. As Indy
strangles him, Short Round struggles and finally jams the torch
into Indy's side. The fiery torch burns Indy, smoking as it
sears his flesh, and he yells in pain.
SHORT ROUND
Wake up! It's just a nightmare,
Indy! Wake up, please Indy!
Indiana writhes in pain and Short Round sees the evil yellow glow
in Indy's eyes getting dimmer and finally going out. Now it
seems like theold Indiana staring at him --
SHORT ROUND (Cont'd)
Indy, you back?
Suddenly a priest grabs Short Round and pulls him off Indiana.
INDIANA
No! Give him to me!
Short Round is firghtened as Indy grabs him from the priest.
Indy lifts Short Round into the air --
SHORT ROUND
No, Indy, no!
He sets Short Round down on the brink of the crevasse an inch
from doom. Shorty looks down at the lava and is terrified.
Indiana finally flahses him a quick smile and winks!
Then Indiana whirls and punches the priest in the face! Short
Round cheers, realizing that Indiana is back.
SHORT ROUND (Cont'd)
We got to help Willie!
Indiana springs into action, stopping another priest with a quick
punch in the stomach. Then he rushes over to the crankwheel and
pulley platform. Indy jumps onto it, yanking one priest off who
spills onto the floor.
A second priest, who works the controls lowering the sacrificial
frame, sees Indy and releases the crankwheel --
Down in the crevasse, Willie screams as the iron frame suddenly
plummets toward the fulminating lava!
On the platform, the priest lunges at Indiana -- Indy uses the
man's own momentum to throw him over his head. Indy then dives
for the crankwheel and manages to stop it --
Down in the crevasse, the fram jolts to a stop only yards above
the spumes of fiery lava. The heat is so intense now that Wil-
lie's clothes start smoking and she passes out...
On the platform above, Indiana cranks furiously, raising the sa-
crificial frame.
144. INT. THE TEMPLE 144.
The chanting stops at the Kali worshippers notice the battle on
the altar. The little Maharajah looks concerned and leaves,
shoving through the crowd behind his bodyguards.
145. INT. THE ALTAR 145.
Mola Ram shouts at his priests and another one of them runs to-
ward Indy on the platform. Short Round dives and tackles the
priest.
Chattar Lal finally leaps onto the crankwheel platform and Indy
sees him pull a dagger. He slashes at Indiana and Indy has to
let go of the crankwheel -- the gears scream and the chains
screech!
Below in the crevasse, the iron frame plunges again toward the
crimson lava!
On the platform, Indy hears the frame lowering and looks pan-
icked. Chattar Lal slahses again with the dagger -- keeping Indy
away from the cogwheel mechanism --
Indy suddenly kicks the dagger from Chattar Lal's hand slugs him
in the stomach and dives toward the cogwheel mechanism. He grabs
a iron rod and throws it into the gears --
the gears mangle the iron rod but finally grind to a stop. Indi-
ana grabs the crankwheel and starts winding it up furiously.
Meanwhile, Short Round jumps onto the platform with Indy and
grabs a long wrench. He starts swinging the wrench, keeping the
last priests off the platfrom.
The sacrificial frame finally rises up into view and Indiana
grabs it and swings it over onto the platform. He looks at Wil-
lie anxiously as he releases her bindings --
Willie moans and moves her head. Indy pulls her off the frame
and she starts coughing. Gasping for breath, Willie ervives as
fresh air flows into her lungs.
Finally Willie opens her eyes and she sees Indiana. Then she
notices something else and manages to cry out hoarsely --
WILLIE
Look out -- !
Chattar Lal grabs a pistol from an unconscious guard and Indiana
whirls to see him pointing it -- Indy kicks the gun from his hand
and suddenly Chattar Lal starts shouting in a terrifying voice --
Chattar Lal's eyes glow as he lunges suicidally at Indiana, at-
tempting to take Indy with him as he dives from the platform!
Crashing into Indy, Chattar Lal knocks both of them back onto the
sacrificial frame which swings out over the crevasse --
Indy manages to dive off the frame just in time. He grabs hold
of the platform as the crankwheel screams and the frame falls!
Looking up from the depths of the crevasse, we see the frame with
Chattar Lal on it plummeting downward into the sulphurous smoke!
The frame finally crashes, splashing into the molten lava.
Chattar Lal's body explodes inot flame friefly -- his flesh is
broiled off in an instant -- we glimpse a skeleton momentarily --
and then all is consumed and obliterated by the blazing lava.
scramble over to Short Round who jumps off the platform and they
follow him across the altar.
Indy sees Mola Ram quickly collecting the sacred Sankara Stones.
Indiana rushes over and spins Mola Ram around --
He slugs the High Priest in the face and Mola Ram keels over
backwards against the statue of Kali. Short Round helps stuff
the Sankara Stones into Indiana's shoulder bag.
146. INT. THE REAR CHAMBER 146.
Short Round, Willie and Indiana rush across the chamber behind
the altar. They run over to the ladder and start climbing down
into the mines.
147. INT. THE MINES
Willie follows Short Round. Indiana jumps down last and pulls
the ladder away, letting it crash to the floor so they won't be
followed.
They draw the attention of the slave children working in the tun-
nels around the cavern. But it's the sight of the approaching
guard that worries Indy --
INDIANA
Come on, quick!
They duck into one of the tunnels. As they hide, Indy watches
the guard passing.
WILLIE
What're we going to do?
Indiana looks around at the silent, frightened children who've
stopped working in the tunnel and his anger darkens --
INDIANA
We're going to get them out
of here -- !
Then he looks at the bag holding the Sankara Stones and grows
still more determined --
INDIANA (Cont'd)
And then we're going to get these
out of here -- !
(seething)
And somehow I'm going to see this
place destroyed.
148. INT. THE CAVERN - MOMENTS LATER 148.
A gaurd passing hears a voice and stops --
INDIANA (O.S.)
Ah, sir? Excuse me --
The guard turns and looks amazed to see Indy smiling at him from
the mouth of the tunnel.
INDIANA (Cont'd)
Listen, I'm from the union and I'd
like to talk about the working
conditions here. Could you step
inside a minute?
Indy smiles again and disappears into the tunnel. In astonished
rage, the guard draws his sword and goes after Indy into the tun-
nel -- there's a pause and then we hear the guard yell!
149. INT. THE TUNNEL 149.
Willie flattens against the wall as Indiana catapaults the big
guard past her back into the mine where he's set upon bu a horde
of rebellious slave children.
The kids swarm over the guard like jackalas and we see Short Round
pull a key from the struggling guard's robe.
CUT TO:
150. MONTAGE - THE MINES 150.
A key is twisted and the chains are pulled from kids' legs...
Elsewhere, more chains are unlocked and rattle free. Liberated
kids spill out of the tunnels...
A guard is tripped and attacked by a horde of ex-slaves...
In another location, kids wrap captured guards in layers of
chains...
High up on a ledge, a fleeing gaurd skids to a stop when he sees
kids charging at him. He sees more kids rushing from behind him.
The guard scrams as he dives off the ledge...
(END MONTAGE)
151. INT. BEHIND THE ALTAR - DAY 151.
Freed children scramble up numerous ladders to escape the mines
below. They follow the mass of children moving toward the front
altar.
152. INT. THE ALTAR 152.
On the altar, under the statue of Kali, Willie and Short Round
are helping Indy and some of the bigger children rip down a
long wooden panel decorated with hideous Kali figures.
The childrens' escape is blocked by the chasm separating the
altar from the deserted sorshippers' area of the temple. The
swelling crowds of children push and teeter dangerously on the
edge of the fire pit.
Indiana and the others carry the wooden panel through the crowd
toward the chasm. They stand it up and when Indy gives thw word
they drop it --
The panel crashes across the chasm forming a plank across which
the children now begin running to safety.
153. INT. BEHIND THE ALTAR 153.
The last of the children scramble up the ladders and run toward
the front of the altar.
154. INT. THE ALTAR 154.
The childrens' bare feet stomp across the wooden plank -- below
them the lava of the fire pit bubbles and shows outbursts of
flame.
Indy stares at the plank and sees that it's starting to smoke
from the intese heat rising up.
On the far side of the plank, the children safely across scatter
through the deserted temple toward freedom.
Willie and Short Round help the last kids out onto the plank --
Indy sees one child's foot break though the smoldering wood --
the kid in front pulls the child to safety.
Willie and Short Round start to go out onto the plank but Indy
shouts at them --
INDIANA
No, wait!
He runs over and pulls them aside -- he steps out onto the plank
and takes a few steps to test it -- suddenly the plank bursts
into flame in the middle.
Indy takes one more step -- and then the plank breaks! Indy
dives back to the ledge of the altar and Willie and Short Round
grab him and pull him up and the wooden plank plummets into the
fiery chasm.
WILLIE
What're we going to do?!
INDIANA
There's got to be another way out.
CUT TO:
155. INT. A TUNNEL 155.
Indiana, Willie and Short Round run through the deserted mine
tunnels. They hear a rumbling noise and Indy leads them down a
side tunnel. They stop and peer into a quarry.
156. INT. THE QUARRY CAVERN 156.
A large cavern is the depository for the mine cars rolling in
with loads of rock. Emaciated children (still unaware of the re-
volt and the other childrens' escape) break their backs shoving
the heavily-loaded mine cars.
Thuggee guards supervise the deadening work, while others oper-
ate the pulley-and-hoist system used to drag the cars up the
sloped dump ramp.
Behind this operation, a thunderous waterfall cascades into a
huge cistern. From there, chutes deply the rushing water to
power the large conveyor belt below it.
As the cars rise up the ramp, they tip and spill rocks onto the
conveyor belt which carries them toward an awesome stone cylinder
that rolls relentlessly , crushing the rocks into sand.
From the side tunnel, Indiana watches the noisy operation.
INDIANA
Those empty cars have got to go
out of the mines.
Willie and Short Round watch the children push the empty mine
cars. The cars gain momentum and roll away down two dark tun-
nels.
INDIANA (Cont'd)
Come on, let's see if we can
catch a ride...
Tey duck out of the tunnel and run for cover behind a slag heap.
Loaded mine cars roaring down from the mines hurtle past them and
crash to a stop against the cars in front.
INDIANA (Cont'd)
Okay, Shorty -- go!
He pushes Short Round who darts out after a mine car roars past
and dodges across the tracks before the next one descends. Indy
pushes Willie into position and holds her ready --
WILLIE
I can't!
INDIANA
Go!
After another car crashes past, Indy shoves her. Willie runs out
-- her shoe gets stuck and she freezes in the tracks! Willie
sees a rock-filled car blasting down out of a tunnel directly
toward her!
Indiana dives, knocking Willie safely to the ground on the other
side of the tracks -- the heavy car hurtles past and crashes into
the cars in front.
Indy pulls Willie behind a massive wooden post holding up the
dump ramp and they hide from a passing gaurd.
INDIANA
We've got to get across to the
empty cars. Wait here until I
signal you.
They watch him run and hurdle a pile of lumber, bound up three
steps and duck behind a tool shack on the platform. Indy reaches
out and grabs one of the passing slave children.
They see Indy put his hand over the kid's mouth and whisper to
him. He releases the kid who sneaks away, alerting the other
children who start making their escapes into side tunnels.
Now Indy motions to Short Rounds and Willie to follow. As they
start to move out they freeze dead in their tracks and Indy
motions again angrily --
INDIANA
Come on!
Willie and Short Round see a guard coming up the steps on the
other side of the platform. As the man rises he gets taller and
taller -- until they see it's a Thuggee giant coming up behind
Indiana.
INDIANA (Cont'd)
Come one, what's wrong?
SHORT ROUND
Behind you!
Indiana turns and looks into the bare chest of the seven-foot
tall guard. Indy has to look up to see the man's mean-looking
face.
INDIANA
I see the problem...
Indiana suddenly punches the giant in the stomach -- the giant
does not flinch, he just belches rudely.
Indiana growls and winds up to take a killer swing -- he steps
back, cocks his arm -- and suddenly turns and runs away.
No dummy, Indy dashes over and picks up a piece of wood. The
giant starts toward him. Indy drops the wood and looks around
for a much larger piece of wood.
As the giant stalks toward him, Indiana raises the large piece of
lumber -- Indy suddenly groans, drops the wood and clutches his
stomach. Willie and Short Round looks startled --
WILLIE
What happened?
Short Round shakes his head. They see Indy recover from the
spasm as the giant rushes him. Indy jumps aside, landing on a
loaded mine car that is passing by.
The car is being dragged up the dump ramp and the giant jumps out
onto it after Indiana. Indy quickly grabs a rock and, as the
giant rushes him, Indy smashes the rock against the big man's
skull!
Unfortunately, it's the rock that shatters and not the skull.
Indy dives to the other end of the mine car and lifts a large
boulder.
Suddenly Indy drops the boulder and grabs him arm, feeling a
shooting pain again. Then he yells as he feels yet another stab-
bing pain in his left leg.
WILLIE
What's wrong with him?
Shorty is convused and worried -- and then he sees something! He
looks up and there on a rock-cut balcony over the cavern is the
little Maharajah!
The little prince clutches the clay krtya doll that represents
Indy. He jabs it in the leg with a long sapphire-tipped turban
pin.
On the mine car, Indy yells and grabs his right leg, which
collapses beneath him. Short Round takes off. He dashes under
the platform toward a bucket-chain carrying spent water back up
to the cistern.
Short Round leaps over the pool of water and grabs onto a bucket.
He rises up on this make-shift elevator toward the rock balcony
and the malicious little Maharajah.
Meanwhile, Indy is on the brink of unconsciousness as the giant's
massive hands throttle his neck. Indy's head hangs over the end
of the mine car and suddenly his eyes widen --
The car with Indy and the giant reaches the peak of the dump ramp
and its upended -- spilling both of them and a shower of rocks
down the conveyor belt!
Down below, Willie dodges wooden pillars and weaves around
quarry equipment, trying to follow Indy's battle with the giant.
She trips and swears angrily --
Willie pushes and empty mine car out of her way -- an empty mine
car! She runs back and starts shoving the mine car along the
rails toward the conveyor belt.
WILLIE
I got one! Indy, I got one!
Near the waterfall, Short Round ascends on the rising bucket
chain. Up on the balcony, the little Maharajah chuckles evilly as
he watches Indiana on the conveyor belt --
The Maharajah lifts the clay doll and viciously jabs the pin in
the back of it!
On te conveyor, Indiana gets to his feet and then yells as a
stabbing pain lacerates his back! He falls and writhed helpless-
ly as the giant staggers up the rocky conveyor belt toward him.
Willie shoves the mine car forward. She sees Indy's desperate
situation as he's pulled along the conveyor toward the rock
crusher!
WILLIE
Indy, look out!
She looks up and sees Short Round leap from the bucket-chain onto
the balcony. The little Maharajah's eyes glow fiendishly as he
lifts the clay doll -- and jabs the pin into the doll's face.
On the conveyor belt, Indy yells agonizingly and clutches his
stabbed face! Behind him, rocks explode as they're crushed and
pulverized by the mammoth roller.
In front of Indy, the Thuggee giant grabs a pick-axe as the con-
veyor slides past a tool bin. The giant approaches Indy with it.
Short Round dashes across the balcny and tackles the Maharajah.
They fall and fight like mortal enemies. Short Round sees the
little Maharajah's eyes glowing as he punches him in the face.
Only a few feet away from the rock-smashing roller, Indy is still
on his back on the conveyor belt, thrashing in pain, feeling the
Maharajah's pin piercing his face. The giant raises the pick-axe
above his head and it about to split Indiana in two!
On the balcony, the Maharajah drops the doll and Short Round
dives for it -- he grabs the clay doll and pulls out the pin!
On the conveyor belt, Indiana is suddenly released from the
and looks up to see the giant swinging the pick-axe. Indy rolls
aside at the last minute!
The pick-axe cleaves into the conveyor belt and the giant lurches
forward -- Indy gives him a helpful kick, sending the giant
flying toward the rock-crusher as Indy jumps off the conveyor
belt!
Seeing the huge roller looming in front of him, the giant crawls
desperately against the movement of the conveyor belt -- but he
gets snagged!
The sash around his waist gets caught under the rolling cursher
and he's dragged back under it feet first. The Thuggee giant
screams hideously as his body is rolled over and squashed by the
enormous stone wheel!
On the balcony, Short Round is jabbing the pin into the squirming
little Maharajah. The little pricne's eyes still glow yellow as
he hollers --
SHORT ROUND
How you like bing pin cushion,
Mr. Rajah-ha-ha?
The little prince rolls on the ground and tries to fight off
Short Round who keeps jabbing him -- suddenly the Maharajah
swings and the pin is accidentally rammed clear through his hand!
Shorty sees the pin sticking through both sides of the kid's
hand. The Maharajah stares at his pierced hand, gasping in
astonishment.
Short Round notices the yellow glow dying out of the Maharajah's
eyes -- just as Indy's eyes cleared after he was released from
Kali's trance.
MAHARAJAH
Please -- pull it out!
Short Round yanks the pin out of the little prince's hand. The
Maharajah looks like he's jsut awakened from a bag dream.
SHORT ROUND
It was the black sleep of Kali...
MAHARAJAH
They made me do evil things...
may lord Krishna forgive me.
Meanwhile, Indy runs along the catwalk above the conveyor belt.
He jumps and grabs onto a cross-bard -- he kicks out with his feet
and knocks a quarry guard off the catwalk.
The guard flies through the air and topples into the sand pit
where he thrashes around blindly under the sand falling from the
crusher.
Across the cavern, Willie shoves the rolling mine car toward the
balcony.
WILLIE
Get down here, Shorty! I got us
a ride!
Willie shirls as another quarry guard rushes toward her. She
yanks the iron brake-handle off the mine car and holds it threat-
eningly like a baseball bat --
WILLIE (Cont'd)
Come on, let's see hoe hand your
head is!
Up on the rock balcony, Short Round lowers himself over the edge.
The little Maharajah grabs his arm --
MAHARAJAH
Please -- listen -- to go out
you must take the left tunnel.
Shorty looks at him and he knows he's telling the truth.
SHORT ROUND
Thanks pal.
MAHARAJAH
I'm going to try to find the
English soldiers.
SHORT ROUND
Good luck.
Short Round slips over the edge and slides down a wet stalactite
to the floor of the cavern.
There he finds Willie swinging the brake-handle and smashing the
guard in the gut. The man doubles in pain -- Willie kicks his
putt and he splashes into the pool of water.
WILLIE
I don't appreciate being cooked
like a french fry!
SHORT ROUND
Willie, come on!
Willie starts pushing the empty mine car with Short Round.
SHORT ROUND (Cont'd)
You do pretty good for a girl!
Across the quarry, Mola Ram and six temple guards run out onto a
high platform next to the waterfall. Mola Ram sees Willie and
Short Round pushing the mine cat.
Mola Ram shouts to his men -- two of them pull pistols and open
fire!
Bullets ricochet off the mine car and Short Round shoves Willie
to the far side of the car where they both take cover.
Meanwhile, up on a catwalk, a guard slices a sword through the
air and Indiana ducks! The sword slashes into a wooden railing
and the guard tries frantically to pull it out --
Indiana slams kis knee up into the guard's stomach and then
smashes his fist down on his neck -- the man collapses. Indy
hears more gunfire.
Indiana rushes along the catwalk toward the platform above. He
edges against the wall below the platform, staying out of sight
as he unfurls his whip.
One of Mola Ram's guards fires again from the high platform and
Indiana lashes the whip -- the whip wraps around the gunman's
arm and Indy yanks on it --
The gunman topples through the air and crashes down onto the cat-
walk. Indy grabs the gun. He kicks the guard off the catwalk
and the man falls into the waterfall pool.
As the other guards fire down at him, Indiana dodges along the
catwalk and fires back at them. A bullet explodes near Mola Ram
and he ducks back --
Meanwhile, Short Round and Willie have the mine car rolling and
they jump into it --
SHORT ROUND
Indy! Hurry!
Indiana spots the rolling mine car racing across the quarry. Indy
takes off and runs along the catwalk -- bullets explode around
him, splintering wood. Indy reaches the end of the catwalk --
Suddenly he dives into the air and catches hold of a block and
tacke! Indy skids along the pulley system, sliding down a cable
toward the mine car in which Short Round and Willie are riding.
Bullets whiz past as Indiana sails in the air above the speeding
mine car - when they are in sync, Indy lets go and drops into the
mine car next to Willie and Short Round!
Mola Ram rushes forward and watches the speeding mine car rolling
down the track toward the tunnels --
MOLA RAM
They've stolen the Sankara
Stones -- they must be stopped!
In the speeding mine car, Indy sees the tracks separating in two
directions -- one back into the quarry, the other toward two tun-
nels that lead out of the mines.
Indiana lifts a shovel from the floor of the car and swings it
just in time -- he hits a switch which CLANGS as they speed by
and the car is shunted tipsy-turvy onto the track toward the two
tunnels.
Willie hangs on as the car tears down the track toward the tunnel
on the right -- and Short Round looks worried --
SHORT ROUND
No, Indy, it's left tunnel.
But it's too late and they all hold on as the mine car shoots
donw into the darkness of the echoing tunnel.
157. INT. THE TUNNEL 157.
The wind rushes past Indiana as the car descends into the tunnel
and picks up speed. Willie hangs on with Short Round -- the mine
car roars around a curve and flies fater along the rails.
158. INT. THE QUARRY 158.
Back in the quarry, Mola Ram supervises the guards as they shove
empty cars toward the tunnel. Carrying long Khyber rifles, they
jump aboard the cars. The first one rolls into the dark tunnel
and the second car speeds after it.
159. INT. THE TUNNEL ENTRANCE 159.
The two Thuggee cars shoot past, descending into the darkness in
pursuit of the infidels who stole the Sankara Stones.
160. INT. THE TUNNEL 160.
The mine car hurtles past. Indy sits in front, pulling back on
the brake-lever to control their speed and keep them from careen-
ing off the tracks.
Expecting trouble, Short Round peers over the back end of the
car. Willie ducks low, watching the heavy beams flashing danger-
ously close above their heads.
Then Willie's eyes go wide and she groans in terror like a girl
on a roller coaster as the mine car suddenly plunges downward,
taking their stomachs with it.
A gunshot rings out and Short Round sees the first Thuggee car
appear around a curve behind them. Mola Ram's gunmen start
blasting. Bullets ricochet off the mine car and Indy yells back
to Short Round.
INDIANA
Come here and take the brake!
Short ROund scurries forward and grabs the brake from Indy.
INDIANA (Cont'd)
Slow on the curves or we'll fly
off the tracks!
SHORT ROUND
Read you loud and clear, Indy!
Short Round grins as he holds the brake -- Willie realized that
this is Shorty's idea of a good time!
161. INT. THE CAVERN 161.
Up in the quarry, gunmen push a third car toward the tunnel, but
Mola Ram stops them. He shouts and they turn and look instead
toward the waterfall and huge cistern....
162. INT. THE TUNNEL 162.
Indiana is crouched in the back of the zooming mine bar blasting
away with the pistol he captured in the quarry.
A gunman in the car behind returns his fire, the explosions
lighting up the tunnle walls.
Indy aims and fires again -- the gunman is hit and knocked back
in the car. Another guard with a Khyber rifle moves up to the
front and starts firing.
Meanwhile, as the car goes into a hard turn, Short Round rides
the brake -- beneath the car we see the brake-pad scraping on the
metal wheel.
The tunnel gets lower and Indy has to duck under each beam flying
over and can only pop up to fire between the low beams.
The rifleman in the car behind is relading. Then he lifts his
rifle -- Indy pops up simultaneously and shoots!
The gunman is hit, his rifle flies up and his head smashes
against the beam hurtling above! Screaming horribly, the gunman
is knocked from the speeding car like a broken doll.
163. INT. THE CAVERN 163.
Up in the quarry, Mola Ram's men swing sledge hammers, bashing
away at the rock supports under the huge water-filled cistern.
164. INT. THE TUNNEL 164.
Indiana runs out of bullets. He sees the car behind getting
closer. He tosses the pistol and hits a Thuggee in the head.
Another Thuggee retrieves Indy's pistol and starts reloading it.
Suddenly Indy is being shot at by his own gun and he yells to
Short Round
INDIANA
Let up on the brake!
SHORT ROUND
What?!
Indy shoves past Willie and takes the brake level from Shorty.
INDIANA
Let her go! Our only chance is
outrunning them!
WILLIE
What above the curves?!
Short Round looks scared as Indy released the brake and the car
hurtles toward a curve. They grab the sides of the car as it tips
precariously. Behind them, the curve throws the gunmen from side
to side in the car following.
SHORT ROUND
Indy, look out!
A sharper curve looms ahead and Indy shoves the brake completely
off!
WILLIE
What're you doing?! We're going
too fast!!
Willie closes her eyes as they rocket toward the curve. In the
car behind, the Thugge guard at the brake also shoves the brake
off -- and looks extremely worried.
Indy's car hits the curve and the centrifugal force lifts the in-
side wheels off the rails!
INDIANA
Get over on the other side!
Willie and Short Round jumps over to his side as the car whips
around the curve! Indy looks back and sees the car pursuing them
is also taking the curve at full speed --
Suddenly the Thuggee car swereves dangerously, the weight shifts
too much to the outside -- and the car derails!
The car bounces off the tracks and flies through the air into a
siding where is CRASHES against a stone wall in an EXPLOSION of
rock and metal!
Pieces of debris pommel the drive of the second Thuggee car and
he quickly grabs for the brake to slow down and avoid the same
fate!
In the lead car, Indy smiles smugly as Willie opens her eyes.
INDIANA
One down, one to go!
165. INT. THE CAVERN ABOVE 165.
Mola Ram's guards continue to bash away with sledge hammers at
the rock supports under the mammoth cistern. One of the supports
starts to crumble --
From above, we see the cistern list to one side and water laps
dangerously over the edge as the huge tank creaks and sawsy.
166. INT. THE TUNNEL 166.
Indiana and Short Round heft a railroad tie out of th bottom of
the car and Willie watches them lift it onto the back --
As gunfire continues to explode from the car behind them, Indiana
and Short ROund shove the railroad tie off the back of the car --
The wooden railroad tie falls and bounces back across the tracks.
The gunmen in the car behind spit it and yell in panic --
Indy and Willie watch the car behind crash into the railroad tie
-- but the tie just skids, catches and bounces up and out of the
way like a huge tumbling matchstick!
WILLIE
Anymore ideas...?
INDIANA
Yeah -- this time you're gonna
help!
167. INT. THE CAVERN 167.
The sledgehammers continue -- until two of the rock supports give
way! There are shouts as the guards run for cover.
Mola Ram stands on a platform watching the huge cistern slowly
keel over -- the noise is incredible as the colossal tank crashes
to the ground!
Suddenly a half-million gallons of water explode across the cav-
cern and surge in a tidal wave toward the tunnels!
168. INT. THE TUNNEL 168.
The walls of the tunnel flash past and curves appear suddenly out
of the darkness as the hair-raising chase continues --
Short Round and Willie struggle to help Indy lift a large boulder
from the bottom of the speeding mine car.
The cars descend again into a stretch of much lower tunnel where
the beams flash past inches above them. Indy judges the beams --
INDIANA
Okay -- one -- two -- NOW!
All three of them groan as they raise the boulder and shove it
off the back of the car -- ducking instantly to avoid being de-
capitated by the next beam!
Looking back, they see the gunmen pop up between the beams -- and
they see the looks of terror on the gunmen's faces as they see
the boulder in front of them!
The Thuggee car hits the boulder and upends! The guards scream
horribly as the car tumbles end over end, slamming against the
tunnel walls, getting ripped to shreds so that finally only
pieces of metal, wheels and debris fly like a meteorite shower
down the tunnel!
Willie whoops for joy and hugs Indy who smiles modestly --
INDIANA
Okay, Shorty, hit the brakes!
Short Round dives for the front of the car and ahppily pulls the
brake lever -- it doesn't work! Short Round yanks on it harder
-- the brake level suddenly breaks off!
SHORT ROUND
Indy!!
Indy sees Short Round holding up the broken brake lever! Indy
crawls quickly toward Shorty while Willie holds on for dear life!
Completely out of control, the car hurtles down a decline into a
section where the tunnel if larger again --
Indiana bends over the front of the car and looks underneath. He
sees the brake tension hanging loose from the brake-pad. Indiana
pulls himself back up and looks at Willie and Short Round.
INDIANA
Grab onto me -- I'm going to try
and slow us down from underneath!
Willie looks terrified but helps Short Round grab onto Indy's arm
and the back of his jacket. He skips over the front of the car
and swings a leg underneath --
Indy is inches above the rails and the rocky ground blurring be-
neath the car as he tries to kick at the brake-pad. His feet
fall and he bumps along, dragged dangerously for a moment --
Indy manages to find a foothold on the undercarriage of the car.
As they hold onto him, Indy kicks again and his foot hits the
brake-pad. He shoves it and slowly the pad closes against the
spinning wheel...
WILLIE
Oh no!
Willie and Short Round look up and see that the tunnel is ending
ahead and the track dead-ends into a stone wall!
INDIANA
What's wrong?
He looks around -- and sees the car rocketing directly toward the
stone wall!
Indy's foot starts kicking in high-gear underneath the car -- he
slams at the brake-pad with all his strength -- the pad screeches
against the spinning wheeel and starts sparking!
The car seems to slow as it shoots toward the end of the tunnel.
Indy groans and pushes hard against the smoking brake-pad.
The car slows more and more until it runs down the last few yards
to the dead-end and rolls gently to a stop, just nudgeing Indy's
back against the wall....
INDIANA
Ouch...
Willie looks faint as Indiana gets to his feet and Shorty jumps
out of the car. They help Willie out and she stands shakily --
WILLIE
I'm okay -- I'm fine -- I love to
flirt with death...
Indiana sees that the tunnel ahead continues without any more
tracks. Then they hear something --
A strange rumbling sound echoing down the tunnel from behind
them. The walls seem to reverberate. Looking worried, they
start walking away down the tunnel.
They walk faster as the noise behind them becomes louder and they
keep glancing over their shoulders --
WILLIE
What's that?...Indy?!
Indiana isn't sure and he pulls Willie by the arm and all three of
them start jogging.
The rumbling behind them sounds increasingly ominous and finally
they start running full tilt. They rush down the tunnel and the
awful noise becomes defening! Willie looks around again and
slows suddenly --
Willie stops dead in her tracks -- paralyzed -- awestruck --
DOOMED!
Willie sees a monster wall of water (released from the quarry) as
it thunders around a curver -- a mammoth tidal wave crashing spec-
tacularly against the opposite tunnel wall!
A veritable "tsunami" caroming off the tunnel wall and spewing
furiously forward like a hydrous Juggernaut!
WILLIE
(frozen in
her tracks)
Oh... shit...
Indiana and Short Round notice that Willie's sloed and they stop
running -- they also see the cataclysm of water crashing down the
tunnel toward them.
Indy runs back and grabs Willie. All three of them take off,
running faster than they've ever run in their lives!
The tidal wave smashes forward, booming behind them and Indiana
realizes quickly that they're going to lose this race. Suddenly
he sees a small side-tunnel in a bend ahead --
INDIANA
There! Dive!
They lunge toward the hole and Short Round dives in it first.
Indiana shoves Willie into the hole and jumps in after her just
as the colossal tidal wave explodes past!
169. INT. THE CHUTE 169.
The small tunnel drops precipitously and they slide down, shower-
ed by the small side-current of water that's broken off from the
main force.
170. INT. A LARGE TUNNEL 170.
They rolls and tumble out of the small chute into a larger tunnel.
The roar of the tidal wave sounds distant and receding as they
catch their breath.
INDIANA
Lucky I found a short cut. Look,
there's a light at the end of the
tunnel...
Suddenly an EXPLOSION! They turn and see the thundering tidal
wave crashing around a curve and cascading down the tunnel behind
them again!
WILLIE
Some short cut!
They all holler in unison and start running like bats out of hell
toward the daylight. The towering wall of water surges relent-
lessley after them --
The tidal wave looms up to annihilate them as they race to the
mouth of the tunnel -- and Willie SCREAMS! Indy grabs her and
all three of the flail their arms to keep from losing their bal-
ance!
171. EXT. THE TUNNEL EXIT - DAY 171.
The tunnel exits midway up a cliff and the three totter precari-
ously on the brink looking down at a 300 foot sheer drop to
a gorge below!
Indiana swings Willie onto a narrow ledge on one side and pushes
Short Round after her -- he jumps himself to the other side just
as the tidal wave crashes past them!
The water bursts out of the tunnel -- the gusher spews forth from
the cliffside into the air as if Hoover Dam just broke lose!
Short Round and Willie balance on the narrow ledge on one side of
the geyser -- Indy is perches on the ledge on the other side of
the incredible eruption of water.
Willie gets vertigo looking down into the gorge where the water
crashes at the bottom. There crocodiles are disturbed and
slither angrily.
Indy looks up and sees a rope bridge swinging about twenty feet
above Willie and Short Round. Indy shouts across the blasting
water --
INDIANA
Willie -- the bridge! Climb up
to the bridge!
Willie looks frightened.
SHORT ROUND
Nothing to it -- follow me!
He edges along the narrow ledge toward the bridge and Willie
follows him. Once under the bridge, they start climbing up the
rocks to it.
Meanwhile, Indiana is scaling the cliff face to get over the
water geyser to the other side. He grabs at scrub brush and
finds a few perilous footholds as he makes his way to the bridge.
172. EXT. THE ROPE BRIDGE 172.
Willie and Short Round pull themselves up at the end of the
bridge. Behind them a dark tunnel runs back into the mines.
What's in front of them is hardly more reassuring --
The rope bridge across the gorge is a century old and defintely
wasn't built by army engineers. Laying across the two bottom
rope-spans, worm-eaten and moldy boards offer risky footings.
Vertical side ropes connect the bottom rope-spans to the two up-
per ropes that constitute the dangerous hand-railings.
Short Round steps tentatively out onto the bridge. It holds him
and he turns and smiles at Willie --
SHORT ROUND
Easy like pie! Kid's stuff!
Suddenly the board under him breaks! Willie grabs Short Round
before he falls into the abyss! Looking pale and less cocky,
Short Round starts out again and Willie follows his carefully.
They continue stepping across the bridge cautiously, a feat made
more difficult by the bridge's constant swaying and the hear-
stopping up and down movement.
Behind them, Indy finally pulls himself up from under the bridge.
He stands up and sees Willie and Short Round halfway across
already. Then he hears something and turns quickly -- he takes
his whip out and ducks to the side of the tunnel as two Thuggee
guards rush out.
Indy cracks the whip, catching the first guard around the neck --
the guard spills forward and trips the second guard. The first
man tries to stand but Indiana kicks him in the head.
The second guard gets to his feet and seings his sword -- Indy
ducks, slams him in the stomach and dives for the first guard's
sword. He grabs it and rolls aside quickly as the second gaurd
attempts to slice him in two!
Indy gets to his feet and immediately finds himself about to en-
gage in a sword duel with the enraged Thuggee guard. Indy looks
at the unfamiliar sword, hefts it, and tries to quickly decide
the best way to use it --
Suddenly the guard shouts and charges. Indy decides shouting
must be the "de rigueur" technique and shouts back loudly -- the
two swords CLANG and spark as the duel erupts.
Indy flails and feints and the Thuggee guard lunges and slashes.
Indy finally gains the upper hand and dispatches the Thuggee
guard who slumps defeated into the dirt.
Keeping the sword, Indy starts out onto the bridge, walking as
quickly as possible across the rickety span. He hears shouting
ahead and looks worried then temple guards appear at the far end
of the bridge.
The guards suprise Willie and Shorty as they finally get across
the bridge. Struggling futilely with the guards, Willie shouts
at Indiana --
WILLIE
Indy -- looks out behind you!
Indy sees more Thuggee guards rushing out of the tunnel behind
him. He turns and sees two of the tmeple guards who captured
Willie and Short Round coming across the bridge in front of him.
Indy stands helpless in the middle of the swaying bridge with
guards approaching from both sides, and nothing but heaven above
and the rocky gorge hundreds of feet below!
A wind comes up and the High Priest, Mola Ram, appears on the far
end of the bridge. He stands with the guards who hold Willie and
Short Round.
The wind whips around Indy and he staggers unsteadily on the
swaying bridge as he watches Mola Ram --
INDIANA
Let my friends go!
Mola Ram shouts in Hindi and the guards start to move toward Indy
from both sides of the bridge.
INDIANA (Cont'd)
That's far enough!
MOLA RAM
You are in no position to give
orders, Dr. Jones.
Indiana indicates the bag over his shoulder --
INDIANA
You want the stones, let them go
and call off your guards!
Mola Ram motions and the guards move farther out on both sides of
the bridge -- suddenly Indiana swings the sword and it cuts into
one of the bottom rope-spans!
The rope is half-severed and frays slowly under the tension!
MOLA RAM
Impressive, Dr. Jones. But I
don't believe you would kill
yourself!
Mola Ram motions again the his guards (looking more nervous now)
step farther out onto the bridge, mvoing closer to Indy from both
sides.
Indy swings the sword again, cutting into the other rope-span!
It, too, is now partially severed and frays slowly. The bridge
jolts and Indy and the guards sway precariously!
Suddenly Mola Ram shoves Short Round out onto the bridge. The
High Priest draws a dagger and pushes Willie onto the swaying
span, holding the knife behind them both.
MOLA RAM (Cont'd)
Your friends will die with you!
In different times this would be called a Mexican stand-off
Indiana looks at the guards in front and behind him. He sees
Willie and Short Round out on the bridge now with Mola Ram at
their backs.
INDIANA
Then I guess we're all going to
take a big dive!
Indy and Short Round's eyes meet -- and the kid realizes that his
hero isn't kidding. Willie looks at Shout Round anxiously -- she
notices that Shorty is surreptitiously wrapping his foot around a
rope support.
Petrified, Willie also secretly wraps her foot around a rope and
does likewise with her arm --
MOLA RAM
Give me the stones!
INDIANA
Mola Ram -- you're about to meet
Kali -- in Hell!
Indiana swings the sword with all his might -- it whooshes
through the air and slashes clear through the top and bottom
ropes --!
Immediately Mola Ram's guards start to flee in panic -- too late!
Indiana swings the sword again and the two ropes on the other
side are severed --
The rope bridge is sheared in two! It breaks in the middle and
both halves fall apart! The guards scream horribly in the air as
they plunge down into the rocky gorge!
Willie and Short Round cling to their established footholds and
fall with the bridge toward the wall of the gorge. Mola Ram
spills forward, clutching desperately at the ropes and slats --
Below them, Indiana has latched onto a rope and swings with the
bridge as it hits the gorge wall and hangs vertically now, dang-
ling from its moorings at the top.
There's an instant of suspended animation as all who remain alive
realize they are alive. Short Round and Willie cling near the
top of the now vertical bridge.
Below them, Mola Ram clutches onto one of the main ropes while
directly above him the last of his guards holds on for dear life.
Short Round and Willie struggle upwards, clutching ropes and
stepping on slats. Finally, Short Round heaves himself up onto
solid ground and turns to help Willie up.
Meanwhile, dangling below on the bridge, Indy reaches up and
grabs Mola Ram's leg. The High Priest kicks and tries to break
Indy's grip. He kicks again and smashes Indy in the face.
Indy won't let go. Suddenly the High Priest reaches up and grabs
his own Thuggee guard and yanks his down by the front of his
shirt --
Mola Ram shoves the luckless guard down onto Indy, trying to
dislodge him by sacrificing the screaming Thuggee. Indy manages
to hang on. The Thuggee is less fortunate and falls screaming to
his death.
Then Mola Ram looks across the gorge and yells. Indy sees a dozen
of the last Thuggee guards streaming out of the tunnel -- only
to be stranded on the far side of the now bridgeless gorge.
Indy starts climbing up after Mola Ram again. He grabs at the
back of Mola Ram's robe and pull him down. Slipping, Mola Ram
turns and it's Indy's chance to punch Mola Ram in the face.
Mola Ram's eyes are glowing yellow and he's shouting incoherent-
ly. He grabs the strap of Indy's shoulder bag and stamps on In-
dy's hand -- Indy falls!
Indiana slips downward, scrambling to catch hols of something --
meanwhile, Mola Ram now has the bag with the Sankara Stones.
Indy finally stops his downward slide and dangles dangerously
near the bottom of the bridge.
Across the gorge, the Thuggee guards run up a path to a small
gove of trees growing on a plateau above the gorge. The guards
have bows and arrows and take firing positions --
At the top of the bridge, Mola Ram keeps climbing until rocks
start poundinghim from above -- Willie and Short Round pely him
with rocks which he tries to block with his arm.
Indiana starts to climb again, using all his strength. He
reaches for a wooden slat -- suddenly a flaming arrow smashes
into the wood!
Indy turns in amazement and sees more flaming arrows rocketing
across the chasm directy for him!
Across the gorge, by the grove of trees, a Thuggee priest yells
orders to the archers who continue to launch the flaming arrows.
Indiana crawls up as the bridge starts to burn from the continu-
ing bursts of fiery arrows. At the top, Mola Ram reaches up des-
perately for a hand old -- Willie smashes his hand with a rock!
The High Priest yells in pain and slips down to where Indy slugs
him again in the face! They struggle as the fire burns up from
beneath them.
On the cliff above the fallen bridge, Willie watches the fire
rising toward Indy and Mola Ram as they fight. Short Round turns
and sees something --
SHORT ROUND
Willie, look!
They see horses galloping through a narrow pass -- the British
cavalry is returning. Captain Blumburtt and the first troops draw
up their forses and dismount quickly.
A fussilade of flaming arrows force the British to take cover --
they quickly start firing back at the Thuggees with rifles.
As the battle above the gorge continues, Indy and Mola Ram fight
below on the dangling bridge --
Indiana sees the High Priest's eyes begin glowing and he hisses
insanely. Mola Ram's hand thrusts out toward Indiana's chest and
Indy yells in pain --
Indy looks down and writhes terrified as he sees Mola Ram's hand
starting to enter his chest (as it entered the victim's chest
during the temple sacrifice)!
Mola Ram's finger are inching into Indy's body -- Indy clutches
at Mola Ram's piercing hand, trying to keep the deadly fingers
away from his heart.
Slowly, Indy is able to push Mola Ram's hand away and his fingers
withdraw from Indy's chest. Indiana suddenly slugs the High
Priest in the face and grabs for the bag of Sankara Stones --
MOLA RAM
No, the stones are mine!
INDIANA
You're betrayed Shiva. *(He re-
peats in Sanskrit Sankara's warn-
ing)
As Indy pronounces the magical words, the bag begins glowing and
starts to burn Mola Ram as he clutches it -- the stones begin to
spill out of the bag and the High Priest grabs from them.
INDIANA (Cont'd)
*(He repeats Sankara's warning
in Sanskrit)
The blazing stones sear Mola Ram's flesh and he screams in pain.
The light suddenly dies in his eyes and for one instant he looks
at Indy as if awakened from a nightmare --
Mola Ram loses his balance and Indy grabs for the stones. He
manages to clutch only one of them as Mola Ram screams and falls!
Indy sees the stone in his hand suddenly cool. He watches Mola
Ram plummeting downward into the chasm and finally crashing into
the jagged rocks at the bottom.
The irritated crocodiles are disturbed once more -- but soon wel-
come the meal that just dropped in. Jaws flash and teeth rip at
the High Priest's likeless corpse.
And Indy's bag with the Sankara Stones sinks into the murkly cur-
rent and disappears down the river ...
173. EXT. THE CLIFF 173.
Indiana crawls up the burning bridge and Willie and Short Round
reach for him at the top. They pull him up onto the cliff and
they all look around exhausted --
Across the gorge, more British troops emerge from the mine tun-
nels to subdue the remaining Thuggee guards on that side.
Finally the little Maharajah comes out of the dark mine tunnel.
He sees Short Round across the gorge -- and bows to thank him for
his help. On the other side, Short Round waves his cap, saluting
him back.
Willie stands at the edge of the gorge looking down into the riv-
er far below.
WILLIE
I guess Mola Ram got what he
wanted.
INDIANA
Not quite.
She sees Indy reach into his pocket. He pulls something out
slowly -- as she watches he reveals a crystal stone --
INDIANA (Cont'd)
The last Sankara Stone.
Short Round watches Willie take it carefully from Indiana. She
gazes at it and looks delighted --
WILLIE
And the diamond hidden inside...
Willie holds the stone up to the sun and it sparkles and flashes
CUT TO
174. EXT. THE MAYAPORE HILLS - DAY 174.
The sun flares and silhouettes three figures coming over a
hilltop. Behinf them we see more smaller silhouettes appearing
over the rise.
Indiana, Willie and Short Round walk back down the dirt road into
Mayapore -- followed by a multitude of children returning to
their homeland.
Willie looks at the changed landscape and seems astonished: the
barren countryside has been reborn. They see streams flowing
beneath green trees, flowers blooming and peasants harvesting
golden grain in the fields.
175. EXT. MAYAPORE VILLAGE 175.
Indiana, Willie and Short Round lead the children down the
village road. Ahead they see villagers rebuilding their primi-
tive dwellings.
Now they hear shouts of joy from the peasants. The children
returning home start running to meet their parents who are rush-
ing out to greet them.
There is laughter and tears as families are reunited. Indiana
sees the old shaman approaching with the chieftain and the
village elders.
The shaman touches his fingers to his forehead and bows. The
three travelers return his greeting and the shaman is quite moved
as he speaks to Indiana --
SHAMAN
We know you are coming back --
(indicating the
countryside)
-- when life returns to our village.
WILLIE
It's a real miracle.
SHAMAN
Now you see the magic of the
"rock" you bring back.
The old shaman smiles wisely at Indiana. Indy takes the stone
out of his bag and unwraps it.
INDIANA
Yes, I've seen its power
Willie watches the shaman take it reverently and bow to them.
The shaman joins the elders and they walk to the village's small
sacred mound. Indy and Willie stay back. They see him kneel and
replace the stone in its niche.
INDIANA
The last Sankara Stone.
WILLIE
And they don't even know what
it really is.
INDIANA
(smiling at her)
Well, you didn't get your prince,
and there goes your diamond.
WILLIE
You didn't do so well yourself.
Finding that stone could've got-
ten you all the fortune and
glory you were talking about.
INDIANA
It's still a long way to Delhi.
Who knows what might happen.
She looks at him like he's crazy.
WILLIE
Oh no, I'm finding a native guide
who knows the way. No more de-
tours for me, thank you Dr. Jones.
She turns and starts walking away continuing to complain --
WILLIE (Cont'd)
If you think I'm going to Delhi
or anyplace else with you, after
all the trouble you've gotten me
into...
Suddenly the bullwhip CRACKS and wraps around her waist. Star-
tled Willie looks angry as Indiana reels her in, pulling her to-
ward him and into his arms. But when he finally kisses her, she
doesn't seem to mind at all...
Short Round shakes his head, but looks sort of pleased. When he
turns away, his face lights up!
Short Round runs toward the sunset, toward the three elephants
being brought back to the village. The baby elephant starts
walking faster, as if he recognizes Short Round running out to
meet him...
THE END
INDIANA JONES AND THE LAST CRUSADE
Screenplay
by
JEFF BOAM
Story
by
GEORGE LUCAS
and
MENNO MEYJES
FADE IN:
EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY
A mountain peak dominates the landscape.
TITLES BEGIN.
Riders on horseback cross the desert. From this distance they appear to be a
company of Army Cavalry Soldiers.
CLOSER ANGLES ON THE RIDERS
reveal only details of saddles, hooves and uniforms. The riders are silhouetted
against the rising sun as they ride into an ancient CLIFF PUEBLO.
The OFFICER IN COMMAND raises his hand halting his troops.
OFFICER
Dis-mount!
RIDERS climb down from their mounts... and only now do we realize that
this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The
"Commanding Officer" is only their SCOUTMASTER, Mr. Havelock.
One of the Scouts, a pudgy kid named HERMAN, steps away from his horse,
bends over and pukes. The other Scouts rag on him.
FIRST SCOUT
Herman's horsesick!
A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored
hair and the no-nonsense expression common to kids whose curiosity and appetite
for knowledge exceed what they teach in school. Additionally, he has adorned his
uniform with an authentic HOPI INDIAN WOVEN BELT.
SCOUTMASTER
Chaps, don't anybody wander off.
Some of the passageways in here
can run for miles.
Two Boy Scouts climb up the rocky base of the cliff.
INT. THE PASSAGEWAY - DAY
The two boys head down the passageway. It's dark, and the temperature drops
several degrees. Spiders have built huge webs that get caught in the boys' hair.
HERMAN appears very uncertain as to the wisdom of this enterprise, but he's
drawn on by his companion's adventurous curiosity.
CONTINUED:
HERMAN
I don't think this is such a good
idea.
LAUGHTER is HEARD; the Blond Scout pulls Herman forward toward its source.
The VOICES GROW LOUDER now as the boys get closer to their source. The light
of kerosene lanterns dances on the tunnel walls ahead. The boys approach
cautiously, careful to stay hidden.
HERMAN
What is it?
This is what they see:
FOUR MEN digging with shovels and pick-axes. They have broken into one of the
pueblo's SECRET CHAMBERS... called "Kivas."
The men are ROUGH RIDER (his name describes his dress), ROSCOE (a Bowery
Boy bully of 14) and HALFBREED (with straight black hair that cascades over his
shoulders).
And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT
FEDORA HAT. He has his back turned to us, but we would be willing to bet
anything that this is INDLANA JONES.
However, when the man turns, and his face is illuminated by the lantern's glow,
we are shocked to discover that it is someone else.
We'll call him FEDORA.
TITLES END.
The TWO BOYS are mesmerized by what they see.
Now we realize that the Blond Scout is actually young INDIANA JONES.
FEDORA
Alfred, did you get anything yet?
MAN
Nothing. Dig in.
Two of the men stand and look at ROSCOE who steps forward holding a box in his
hands.
ROSCOE
Hey, I've got something!
Whoops from the other men.
ROSCOE
I got something, Garth!
CONTINUED: (2)
ROSCOE rushes forward and gives FEDORA the box. Fedora steps toward a
lantern resting on a rock.
ROSCOE
I got something... I got something
right here.
More whoops from the other men.
FEDORA puts the box on the rock next to the lantern. HALFBREED pushes
ROSCOE as he jumps with excitement. ROUGH RIDER steps forward to look at the
box as Fedora opens it.
ROSCOE
(more whoops; then)
Oh, look at thatl
(more whoops)
We're richl We're rich!
HALFBREED
Shut up. Shut up.
FEDORA takes a BEJEWELED CROSS from the box and holds it aloft. Fedora's
comrades practically salivate at the sight of it.
ROSCOE (O.S.)
Well, we're rich, ain't we?l
INDY takes off his hat and looks down at the o.s. action.
HERMAN
Indy? Indy? What are they doing?
Indiana? Indiana?
INDY
Shhhl
FEDORA blows dust from the Cross, turning it in his hand, silently appraising its
beauty... and its value. He seems aloof from the others; somehow superior to
them.
HALFBREED
Hey, we got to find more stuff
to bring back.
INDY stays hidden, but is astounded by what he sees.
INDY
(hushed; urgent)
It's the Cross of Coronadol
Cortes gave it to him in 15201
CONTINUED: (3)
FEDORA continues to admire the Cross, then places it on the rock next to its box
and the lantern.
INDY turns back to observe the men.
INDY
That Cross is an important artifact.
It belongs in a museum.
A look of resolve comes into INDY's expression, and he turns back toward
HERMAN.
INDY
Run back and find the others.
Tell Mister Havelock that there
are men looting in the caves.
HERMAN doesn't seem to be listening. Instead, he watches in wide-eyed horror
as a SNAKE SLITHERS ACROSS HIS LAP.
INDY
Have him bring the sheriff.
INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps.
INDY
It's only a snake.
INDY grabs HERMAN's scout scarf and pulls him closer.
INDY
Did you hear what I said?
HERMAN
Right. Run back. Mister Havelock.
The Sheriff. What, what are you
gonna do?
INDY
I don't know... I'll think of
something.
INDY releases the scarf, gives HERMAN a pat and Herman dashes off. Indy sees
the Cross on the rock next to the lantern. As the Robbers continue to search for
additional valuables, Indy is able to work his way unseen to within arm's reach of
the Cross...
FEDORA looks over at the men digging in a hole b.g.
FEDORA
Dig with your hands.
INDY picks up the Cross.
CONTINUED: (4)
FEDORA (O . S . )
Not with your mouth.
As FEDORA stands watching the other men digging, INDY puts the Cross in his
pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy's
feet break a wooden beam, attracting the men's attention.
ROSCOE
He's got our thing!
HALFBREED
Get 'im!
The three Robbers are so eager to get their hands on INDY, they almost knock
each other over in the attempt.
Only FEDORA is unperturbed. He casts a disgusted glance in
the direction of his fleeing companions—then sets off
after INDY.
EXT. THE CLIFFS - DAY
INDY EMERGES from the darkness of the Pueblo into the brightness of day.
He pauses—squints—shields his eyes—looks in all directions.
INDY
Mister Havelock! Anybody
Everybody's lost but me!
He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. ROUGH RIDER,
HALFBREED, and ROSCOE are quick to appear and run after him.
FEDORA
There he isl
MEN
(AD-LIBS)
Let's go! Let's get him! Let's
go!
Indy jumps from one rock to another; the SCOUT TROOP HORSES are below. Indy
puts two fingers in his mouth and WHISTLES for his horse, who trots over. Indy
puts the Cross in his belt.
INDY PREPARES TO JUMP into the saddle. Hesitates. Then... he JUMPS. But
the horse moves exactly at the wrong moment and Indy lands flat on his feet in a
standing position. The impact sends a shock wave up his body that rattles his
back teeth. Indy stands up and successfully mounts his horse.
FEDORA AND HIS MEN ARRIVE at the roof's edge in time to see INDY climb into
the saddle and gallop off.
CONTINUED:
INDY
Hyahl Hyah!
ROSCOE
Hey! Come back here!
FEDORA puts two fingers in his mouth and WHISTLES... and A VINTAGE TRUCK
AND AUTOMOBILE come ROARING OUT from behind the Pueblo (Driven by two
more gang members). Now we glimpse...
THE MAN IN THE PANAMA HAT
The passenger in the car. His face is concealed by the hat's wide brim. His arm
is out the window, however, and we see an olive-colored hand protruding from
the sleeve of an expensive white linen suit. He gestures to the Robbers, now in
the truck.
PANAMA HAT
Come on. Get him!
INDY SPURS his mount on to greater speeds but the autos not only keep pace
with his horse... they begin to squeeze in on it.
Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched
low and leaning forward in the saddle, his heart pounding, his adrenalin
pumping.
INDY VEERS OFF in a new direction—toward a RAILROAD TRACK.
EXT. A CIRCUS TRAIN - DAY
The train is barreling down the track. INDY rides up beside it. He glances over
his shoulder and sees the car and truck gaining on him. No other choice... he
LEAPS FROM HORSE TO TRAIN.
He clings to the side of a BOXCAR, as HALFBREED and ROUGH RIDER leap from
the truck onto the train.
HALFBREED tries to grab INDY, but Indy leaps onto another boxcar. Halfbreed
runs after him but Indy leaps from the boxcar onto some covered boxes stacked
on a flatcar.
INDY loses his balance but regains it. With HALFBREED and ROUGH RIDER still
running after him, Indy enters the trap door of...
INT. THE REPTILE CAR - DAY
and finds himself CRAWLING on a CATWALK suspended from the car's ceiling.
Several feet below are NUMEROUS VATS containing all manner of reptiles:
Alligators, crocodiles, giant lizards, etc.
CONTINUED:
Then, HALFBREED ENTERS through the trap door—followed by ROUGH RIDER.
Halfbreed grabs hold of INDY's feet, but Indy kicks at him and he loses his grasp.
INDY crawls away, toward an opening on the opposite side. HALFBREED grabs at
Indy's feet again; Indy rolls away and we SEE large bins of squirming snakes.
The combined weight of the three people is more than the catwalk was intended
for, and the BOLTS BEGIN TO RIP FROM THE CEILING.
Everyone holds their breath, afraid to make another move. Too late. SEVERAL
BOLTS TEAR FREE. HALFBREED and ROUGH RIDER SCREAM... but it's Indy's
end of the catwalk that DROPS DOWN... PLUNGING INDY to the floor of the car.
He lands hard, with a SPLASH into a vat of water... where he finds himself eye-
to-eye with an—
ENORMOUS ANACONDA
The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex.
INDY
Oh...
INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT.
INDY
Oh... Oh...
Hundreds of slippery, squirming snakes. INDY sinks into them. They cover him.
Engulf him. Almost smother him.
INDY jumps out of the side of the vat, freeing himself.
INDY locates a clean-out door at the bottom of the car and uses it to escape.
HALFBREED, meanwhile, tries to open the closed window of the car. He groans.
ROUGH RIDER moves to assist him.
ROUGH RIDER
Here, let me.
EXT. THE TRAIN- DAY
INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks
worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and
tosses it away.
ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at
him. Roscoe grabs onto the side of the reptile car as Indy moves on to...
EXT. A FLATCAR - DAY
INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a
long stick with a hook on it. He reaches forward and trips Indy, who falls onto
the roof of the rhino boxcar.
INT. THE RHINO BOXCAR - DAY
as a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE
BLACK RHINOCEROS.
EXT. THE RHINO BOXCAR - DAY
ROSCOE grabs INDY by the ankle and yanks him off his feet. The two struggle,
rolling from side to side, coming perilously close to rolling right off the edge.
Things get even more serious when Roscoe PULLS A KNIFE.
IN THE BOXCAR BELOW
... THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the
commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS
HORN THROUGH THE ROOF.
BACK TO THE ROOFTOP
as the horn SMASHES through the wood only inches from INDY's head. Indy and
Roscoe stare at the horn in amazement as they continue to struggle.
SMASH! The horn comes up again—RIGHT BETWEEN INDY'S LEGS.
INDY
Holy smokes!
INDY kicks ROSCOE away. Roscoe rolls to the edge of the car but keeps from
falling. Indy flips over onto his stomach.
EXT. THE REPTILE CAR - DAY
The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The
door is pushed open and HALFBREED and ROUGH RIDER hurry out of the car.
EXT. THE RHINO BOXCAR - DAY
INDY gets to his feet—looks ahead—sees a WATER TANK alongside the track
directly up ahead. Indy gets an idea...
In an instant, he calculates his approach—times the distance—and LEAPS for
the tank's WATER SPOUT.
CONTINUED:
He catches it perfectly... but his velocity causes the water spout to ROTATE A
FULL 360 DEGREES. With INDY hanging on, feet kicking, the water spout
deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks
up to see FEDORA walking toward him.
FEDORA
Come on, kid. There's no way
out of this.
As INDY edges away from FEDORA, a portion of the STOCKCAR'S ROOF
COLLAPSES and Indy FALLS THROUGH into the car below.
INT. THE STOCKCAR - DAY
INDY CRASHES down from above. Dust rises.
INDY
Ohhh!
INDY's eyes take a moment to adjust to the dark. A bit of sunlight leaks in
through the cracks between the boards.
Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet... an
AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust
swirls up into the shafts of sunlight.
And INDY has one more surprise in store: The Cross of Cortes has been dislodged
from his belt during the fall...
INDY glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He
carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY.
INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP
flying back and HITTING INDY IN THE FACE... CUTTING his chin.
The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and
tries again. This time—success! The WHIP CRACKS SHARPLY. The Lion
BELLOWS and SWATS the air... and steps back.
INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs
away even more. Indy inches forward—bends down (never taking his eyes off
the Lion)—picks up the Cross—and steps back again, sweat pouring down his
face.
But now... how to get out?
He looks up at the opening through which he fell and sees FEDORA LOOKING
DOWN AT HIM. Fedora extends his hand.
FEDORA
Toss up the whip.
EXT. THE ROOFTOP OF STOCKCAR
FEDORA, assisted by HALFBREED and ROUGH RIDER, "reels" INDY out of the
Stockcar as the Lion ROARS and lunges and Indy screams.
The men, including ROSCOE, pull INDY through the hole in the roof. He stands to
face them as ROUGH RIDER points a gun in his direction.
FEDORA
You've got heart, kid.
(indicates Cross)
But that belongs to me.
INDY
(takes Cross from his belt)
It belongs to Coronado.
FEDORA
(overlapping)
Coronado is dead. And so are all
his grandchildren.
INDY
This should be in a museum.
ROSCOE
Now give me thatl
ROSCOE makes a grab for the Cross—but INDY doesn't let go. A tug-of-war
ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS
AROUND Roscoe's hand.
ROSCOE SCREAMS BLOODY MURDER—releases his grip on the Cross and tries
to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO
THE NEXT CAR.
FEDORA
Don't let him get awayl
INDY swings down to the caboose. He sees a sign above the caboose door reading
"DR. FANTASY'S MAGIC CABOOSE."
INDY
Magic?
He glances back at the men and quickly opens the door to the caboose, stepping
inside.
FEDORA puts out his arm, gesturing for the others not to follow INDY.
FEDORA
Hold it. Make sure he doesn't
double back.
INT. THE CABOOSE - DAY
which contains the circus MAGIC EQUIPMENT. INDY rushes to the rear door of
the caboose but can't open it. He hears FEDORA coming, and dives into a MAGIC
BOX.
FEDORA
Okay, kid. out of the box.
Now.
FEDORA smiles confidently and advances toward the box. The box unexpectedly
collapses; all four sides flop away... revealing NOTHING. INDY has completely
vanished.
FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back.
He turns and discovers that the caboose door is open. He rushes out onto the
balcony and sees:
INDY RUNNING along the tracks, turning up a street of modest clapboard houses.
FEDORA
Damn.
EXT. STREET - SMALL TOWN - DAY
as INDY runs from the railroad tracks and approaches his house we see the name
"JONES" painted on the mailbox.
INDY
Dad!
INT. THE HOUSE - DAY
INDY bursts through the front door holding the Cross in his hand. A Husky
BARKS as Indy runs past in search of his father.
INDY
Dad!
INDY
Dad!
INT. THE STUDY - DAY
INDY charges in. The study is cluttered with books. Pictures, charts and maps
clearly reflect the father's passion for Medieval studies.
PROFESSOR HENRY JONES is absorbed at his desk. In fact, he is studying a very
ancient parchment volume which lies open on the desk. The page shows a
beautifully illuminated picture of what might be a stained-glass window. The
sketch incorporates a series of Roman numerals. The Professor is not just
studying it, he is copying it into his own notebook.
CONTINUED:
We never get to see the PROFESSOR's face in this scene.
So INDY CHARGES IN.
INDY
Dad!
HENRY
Out!
INDY
It's important!
HENRY
Then wait—count to twenty.
INDY
No, Dad. You listen to me—
HENRY
(now he shouts)
Junior!
No question who is the boss here. INDY gulps, his look says "What am I going to
do with this guy?" And obeys—
starts counting, VERY, VERY FAINTLY.
INDY
One, two, three, four...
Now we see what HENRY is concentrating on. We see his hand
sketching; then, he holds up one finger.
HENRY
In Greek.
INDY's reaction:
INDY
(louder, in Greek)
One... two... three... four...
An ancient car is heard arriving. Perhaps INDY glimpses it going past the
window. Anyway, it stops outside the house. Two men sit in the front seat.
HERMAN sits in the rear, BLOWING A TRUMPET.
INDY's reaction: Trouble!
HENRY is just finishing the sketch.
HENRY
May he who illuminated this...
illuminate me...
INT. THE FRONT ROOM - DAY
The study door is just closing, INDY closing it behind him... just as HERMAN
comes through the front door, still playing the trumpet.
INDY reaches for the trumpet, pulling it from HERMAN's mouth. Herman
continues to spit—right into Indy's face. Indy flinches.
HERMAN
I brought the Sheriff.
HERMAN means the SHERIFF, who now enters the house.
INDY
Just the man I want to see! Now,
there were five or six of them.
SHERIFF
(interrupting)
All right, son.
INDY
(overlapping)
... they came after... me...
SHERIFF
You still got it?
INDY
Well, yes, sir. It's right here!
INDY shows the CROSS, more or less handing it to the SHERIFF to make his
point. The Sheriff takes it casually.
SHERIFF
I'm glad to see that... because
the rightful owner of this Cross
won't press charges, if you give
it back.
FEDORA enters the house, followed by ROSCOE, ROUGH RIDER and HALFBREED.
He politely removes his hat and holds it in his hand. He nods at INDY in a
friendly manner.
SHERIFF
He's got witnesses, five or six
of them.
The SHERIFF and FEDORA are in Cahoots
The SHERIFF hands the Cross to FEDORA. ROSCOE reaches in and takes it from
Fedora, then runs out the door.
ROSCOE
Yahoo!
CONTINUED:
As ROSCOE runs outside INDY sees—through the screen door—the MAN IN
THE PANAMA HAT waiting patiently beside the car that is parked out front.
Roscoe approaches and gives the Man the Cross—the Man hands Roscoe some
money in exchange.
The SHERIFF tips his hat and leaves.
SHERIFF
Good day.
FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic
man-to-man way.
FEDORA
You lost today, kid, but that
doesn't mean you have to like it.
Then, FEDORA takes off his hat and takes a step towards INDY. He holds the hat
by the crown, and puts it on Indy's head, a show of respect and admiration for
the boy. The hat blocks Indy's face.
CLOSE ON THE TOP OF THE FEDORA HAT
The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL
GROWN INDIANA JONES.
And... POW!... he's punched in the face while his arms are pinned behind his
back.
FADE IN TITLE: "PORTUGUESE COAST—1938"
PANAMA HAT
Small world, Doctor Jones.
INDY
Too small for two of us.
THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF
CORONADO from Indy's belt.
PANAMA HAT
This is the second time I've had
to reclaim my property from you—
INDY
That belongs in a museum—
PANAMA HAT
So do you.
(he moves his eyeline)
Throw him over the side.
THE DECK OF A PORTUGUESE CARGO SHIP
It's NIGHT. RAIN POURS down. We're in the middle of a violent STORM AT SEA.
Thirty-foot waves crash across the deck.
The TWO PORTUGUESE SAILORS (who have Indy's arms pinned behind his back)
propel INDY across the deck toward the rail.
As they pass a BUNDLE OF FUEL DRUMS, INDY uses the Two Sailors as leverage
to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold
the drums together.
INDY jabs his elbows into the stomachs of the startled Sailors and rushes toward
the MAN IN THE PANAMA HAT.
PANAMA HAT sees INDY coming and hurries toward the ladder that leads up to
the bridge. Indy withstands the force of waves crashing on the deck and makes
his way to where Panama Hat is climbing the ladder. He pulls him off the ladder
from behind the two men fall down on the deck. Indy takes the cross back from
Panama Hat.
A sailor delivers a powerful blow to Indy's face, sending the cross flying out of
his grip and skittering across the deck. Indy grabs a crowbar and fends off two
sailors who attack him from the sides.
INDY sees that the Cross is about to be swept overboard. He lunges for it.
He SNATCHES UP the Cross only to be knocked down to the deck by a giant wave.
He struggles to his feet, managing to avoid the giant fuel drums sliding across the
deck around him.
SEVERAL MORE DRUMS come INDY's way. He sidesteps them all.
PANAMA HAT
Grab him, he's getting away!
Grab him!
Indy turns around and pummels two sailors with one punch. Indy sees a large
Stevedore's hook above him and he climbs up on crates to reach it. He grabs a
hold of the hook and uses it to swing all the way across the deck, narrowly
avoiding a huge wave behind him. He jumps into the rollicking ocean, still
holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling directly
onto a crate of TNT. The crate explodes, causing the entire ship to blow, sending
an enormous orange fireball into the sky.
LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER
as bits of debris fall from the sky like rain.
INDY BOBS UP
in the water amid the debris, holding the Cross in his hand. He grabs for
something to keep him afloat. It turns out to be one of the ship's LIFE
PRESERVERS. INDY loops his arm through the preserver.
CONTINUED:
Only now do we see the FADED LETTERING on the preserver revealing the
destroyed ship's name and city of port:
VAZQUEZ de CORONADO
BARCELONA
A SHREDDED PANAMA HAT floats past.
EXT. COLLEGE - DAY
Students walk along brick, tree-lined paths.
INDY (V.O .)
Archaeology is...
INT. COLLEGE LECTURE HALL - DAY
DISSOLVE TO:
INDY, dressed in professorial tweeds, stands before his class. He turns to the
blackboard with a piece of chalk and writes the word: "FACT."
INDY
... the search for fact. Not truth.
If it's truth you're interested
in, Doctor Tyree's Philosophy
class is right down the hall.
Laughter.
INT. CORRIDOR - DAY
INDY
So forget any ideas you've got
about lost cities, exotic travel,
and digging up the world. Eve
do not follow maps to buried
treasure and "X" never, ever,
marks the spot.
MARCUS BRODY approaches Indy's classroom. He peers through the window in
the door to see INDY completing his lecture.
INDY
Seventy percent of all archaeology
is done in the library. Research.
Reading.
INT. LECTURE HALL - DAY
BRODY enters the lecture hall and stands at the rear of the room.
CONTINUED:
INDY
We cannot afford to take mythology
at face value.
The BELL RINGS. INDY stands at his desk as students begin to disperse. A
pretty coed puts a note on the desk.
INDY
Next week: "Egyptology." Starting
with the excavation of Naukratis
by Blinders Petrie in 1885. I will
be in my office if anybody's got
any problems for the next hour
and a half.
BRODY approaches as the last of the students leaves the lecture hall.
INDY
Marcus!
(slaps his pocket)
I did it!
BRODY
You've got itl
INDY removes the cloth-wrapped Cross from his desk. He places it on the desk
and takes off his glasses as BRODY examines the Cross.
INDY
You know how long I've been
looking for that?!
BRODY
All your life.
INDY
All my life!
BRODY
Well done, Indy. Very well done,
indeed This will find a place
of honor in our Spanish collection.
INDY gathers up his books and makes his way toward the door.
INDY
We can discuss my honorarium over
dinner and champagne tonight.
He turns back toward BRODY, now holding the Cross.
INDY
Your treat.
BRODY
Yes. My treat.
INT. INDY'S OUTER OFFICE - DAY
Bursting with STUDENTS, all competing for his attention at once: "Professor
Jones! " "Doctor Jonesl " etc., etc.
INDY
Shush! Shush! Shushl
INDY shoulders his way to the desk of his secretary, an overwhelmed Teaching
Assistant named IRENE.
IRENE
Doctor Jones! I'm so glad you're
back! Your mail is on your desk.
Here are your phone messages.
MALE STUDENT
Doctor Jones, you promised...
Doctor Jones—
IRENE
This is your appointment schedule.
And these term papers still haven't
been graded.
INDY takes the term papers then turns to enter his PRIVATE OFFICE. Students
once again CLAMOR for his attention: "Doctor Jones!" "Wait, Doctor Jonesl"
"My grade!" "Sign my registration card!"
INDY silences the mob with a raised hand.
INDY
(very efficiently)
Okay. Irene, put everyone's name
on a list, in the order they
arrived, and I'll see each and
every one of them in turn.
The Students descend upon poor IRENE, each claiming to be first. INDY slips into
his -
PRIVATE OFFICE
where he goes to his desk and finds a thick envelope with a foreign postmark on it.
INDY
(softly; reading)
"Venice, Italy."
Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it
open and STEPS OUT INTO THE GARDEN.
EXT. SIDE OF COLLEGE BUILDING - DAY
INDY escapes through the garden.
EXT. FRONT OF COLLEGE BUILDING - DAY
INDY walks briskly toward the street; smiling, erUoying his freedom. As he
arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him.
MAN (O.S.)
Doctor Jonesl
THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN."
The First Man steps behind Indy.
MAN
Doctor Jones?
INT. PENTHOUSE APARTMENT - DAY
INDY is ushered into a large Art Deco apartment and left alone. Numerous
museum-quality artifacts are displayed around the room. Indy takes this
opportunity to examine them.
After a moment, WALTER DONOVAN enters from across the room. During the
brief time that the door is open, we HEAR a COCKTAIL PARTY going on in the
next room: VOICES and SOFT PIANO MUSIC.
DONOVAN strides across the room toward INDY. Although in his late fifties,
Donovan has the broad shoulders and trim physique of a much younger man.
Dressed in a tuxedo, he exudes both confidence and power.
DONOVAN
I trust your trip down was
comfortable, Doctor Jones. My
men didn't alarm you, I hope.
He shakes hands with INDY.
DONOVAN
My name is Donovan. Walter Donovan.
INDY
I know who you are Mr. Donovan.
Your contributions to the museum
over the years have been extremely
generous. Some of the pieces in
your collection here are very
impressive.
DONOVAN
Well, like yourself, Doctor Jones,
I have a passion for antiquities.
(beat)
Have a look over here. This might
interest you.
CONTINUED:
DONOVAN goes to a table where an object is wrapped in cloth. He throws back
the cloth revealing a flat STONE TABLET—about two feet square, inscribed with
letters and symbols.
INDY looks impressed. He puts on his glasses to make a closer examination.
INDY
Well, it's sandstone. Christian
symbol. Early Latin text. Mid-
Twelfth Century, I should think.
DONOVAN
That was our assessment as well.
INDY
Where did this come from?
DONOVAN
My engineers unearthed it in the
mountain region north of Ankara
while excavating for copper.
(beat)
Can you translate the inscription?
Translating the inscription is no easy matter, even for someone as knowledgeable
as INDY.
INDY
(stumbling through it)
"... who drinks the water I shall
give him, says the Lord, will have
a spring inside him welling up
for eternal life. Let them bring
me to your holy mountain in the
place where you dwell.
Donovan pours champagne into several fluted glasses as Indy reads.
INDY
Across the desert and through
the mountain to the Canyon of
the Crescent Moon, to the Temple
where the cup that—"
Suddenly INDY stops and looks up at DONOVAN with a startled expression.
INDY
"Where the cup that holds the
blood of Jesus Christ resides
forever. "
(CONT'D)
CONTINUED: (2)
DONOVAN
(reverently)
The Holy Grail, Doctor Jones.
The chalice used by Christ during
the Last Supper. The cup that
caught His blood at the Crucifixion
and was entrusted to Joseph of
Arimathaea.
INDY rubs his chin with a dubious expression as he takes the glass of champagne
DONOVAN now offers him.
INDY
The Arthur Legend. I've heard
this bedtime story before.
DONOVAN
Eternal life, Doctor Jones! The
gift of youth to whoever drinks
from the Grail.
(beat)
Oh, now that's a bedtime story I'd
like to wake up to!
INDY
An old man's dream.
DONOVAN
Every man's dream.
(beat)
Including your father's, I believe.
INDY stiffens slightly at the mention of his father, nods.
INDY
Grail lore is his hobby.
He's a teacher of Medieval
Literature. The one the students
hope they don't get.
The door opens and MRS. DONOVAN steps into the room. She's a matronly
woman in an expensive evening gown.
MRS. DONOVAN
Walter, you're neglecting our
guests.
DONOVAN
Be along in a moment, dear.
He leans over and kisses her cheek. MRS. DONOVAN sighs to herself and returns
to the party. INDY, meanwhile, has turned his attention back to the Grail Tablet,
obviously hooked by its archaeological promise. He moistens his finger with
champagne and rubs it over the tablet. DONOVAN steps up next to Indy.
CONTINUED: (3)
DONOVAN
Hard to resist, isn't it? The
Holy Grail's final resting place
described in detail!
INDY
What good is it? This Grail
Tablet speaks of deserts and
mountains and canyons. Pretty
vague. Where do you start
looking? Maybe if the Tablet were
intact, you'd have something to
go on. But the entire top
portion is missing.
DONOVAN
Just the same, an attempt to
recover the Grail is currently
underway.
INDY has to shake his head at DONOVAN's apparent lack of judgment.
DONOVAN
Let me tell you another "bedtime
story, " Doctor Jones.
After the Grail was entrusted
to Joseph of Arimathaea, it
disappeared and was lost for a
thousand years before it was found
again by three Knights of the
First Crusade. Three brothers,
to be exact.
INDY
I've heard this one as well.
Two of these brothers walked out
of the desert one hundred and
fifty years after having found
the Grail and began the long
journey back to France. But
only one of them made it. And
before dying of extreme old
age, he supposedly imparted
his tale to a—to a Franciscan
friar, I think.
DONOVAN
Not "supposedly," Doctor Jones.
DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle
pages. INDY views the manuscript with considerable interest.
CONTINUED: (4)
DONOVAN
This is the manuscript in which
the friar chronicled the Knight's
story... it doesn't reveal on
location of the Grail, I'm afraid...
but the Knight promised that two
"markers" that had been left
behind would.
(indicates the Tablet)
This Tablet is one of those
"markers." It proves the Knight's
story is true. But as you pointed
out—it's incomplete.
(beat)
Now, the second "marker" is
entombed with the Knight's dead
brother. Our project leader
believes that tomb to be located
within the city of Venice, Italy.
(beat)
As you can now see, Doctor Jones,
we're about to complete a great
quest that began almost two
thousand years ago. We're only
one step away.
INDY
That's usually when the ground
falls out from underneath your
feet.
DONOVAN
You could be more right than you
know.
INDY
Yes?
DONOVAN
We've hit a snag. our project
leader has vanished. Along with
all his research. Uh, we received
a cable from his colleague, Doctor
Schneider, who has no idea of his
whereabouts or what's become of
him.
(beat)
I want you to pick up the trail
where he left off. Find the man
and you will find the Grail.
CONTINUED: (5)
INDY
You've got the wrong Jones, Mister
Donovan. Why don't you try my
father?
DONOVAN
(after a pause)
We already have. Your father is
the man who's disappeared.
EXT. A RESIDENTIAL STREET - DAY
A FORD COUPE speeds down the tree-lined street.
EXT. PROFESSOR HENRY JONES' HOUSE - DAY
The Ford coupe pulls up in front of the house. INDY climbs from the car and
hurries up the walkway. BRODY is a step behind.
BRODY
Your father and I have been
friends since time began. I've
watched you grow up, Indy. And
I've watched the two of you grow
apart.
(beat)
I've never seen you this concerned
about him before.
They climb the porch and notice that the front door is ajar. They exchange a
quick look of concern as they enter.
INT. THE HOUSE - LATE AFTERNOON
INDY approaches the half-open front door.
INDY
Dad?
(to BRODY)
He's an academic A bookworm.
He's not a field mans
He pushes open the door. He enters the house and calls out.
INDY
Dad? Dad?
INDY opens one half of the curtains dividing the hall from the sitting room.
We see the place has been ransacked.
CONTINUED:
BRODY sees INDY's face and opens the other half.
BRODY
Dear God.
They walk into the room.
BRODY
What has the old fool got
himself into now?
INDY
I don't know. But whatever it
is, he's in over his head!
BRODY picks up some mail from Henry's cluttered desk.
INDY
Dad?
BRODY
It's today's mail. And it's been
opened.
INDY turns and sees the pile of torn papers and envelopes. Then something hits
him.
INDY
Mail! That's it, Marcus!
He immediately empties his pockets of his own mail taken earlier in the day from
his college office and finds the envelope with the Venice postmark.
INDY
(as he tears it open)
Venice, Italy!
BRODY
What is it?
INDY uncovers a small book. It looks like a JOURNAL or
DIARY. Indy flips through it: Page after page of
handwritten notes and drawings. BRODY glances at it with
great curiosity.
INDY
It's Dad's Grail Diary. Every
clue he ever followed. Every
discovery he made. A complete
record of his search for the Holy
Grail. This is his whole life.
Why would he have sent this to me?
CONTINUED: (2)
BRODY
I don't know. But someone must
want it pretty badly.
INDY
Do you believe, Marcus?
As INDY asks the question, he turns to a PAINTING on the wall: A depiction of
Christ on the Cross, his blood being captured in a golden chalice.
A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting
to their deaths over a high cliff. One Crusader, however, floats safely in midair
because he holds the Grail in his hands.
INDY
Do you believe the Grail actually
exists?
BRODY
The search for the Cup of Christ
is the search for the divine in all
of us.
BRODY sees that INDY is unsatisfied by this response.
BRODY
But if you want facts, Indy, I
have none to give you. At my age,
I'm prepared to take a few things
on faith.
INDY
Call Donovan, Marcus. Tell him
I'll take that ticket to Venice
now.
BRODY
I'll tell him we'll take two.
EXT. AIRFIELD - DAY
A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN
CORPORATE LOGO. BRODY peers inside to DONOVAN and INDY.
BRODY
Tell me, what's going to happen
when we get to Venice?
DONOVAN
(overlapping)
Don't worry. Doctor Schneider will
be there to meet you.
CONTINUED:
BRODY
(overlapping)
Schneider?
DONOVAN
(overlapping)
I maintain an apartment in Venice,
at your disposal.
BRODY
Oh, well. That's good. Thank
you.
BRODY and DONOVAN shake hands. INDY steps from the back seat of the limo.
He turns back to Donovan and shakes his hand.
DONOVAN
Doctor Jones. Good luck. Be
very careful. Don't trust anvbody.
INT. AIRLINER - FLYING - DAY
INDY opens the Grail Diary and thoughtfully turns through the pages. He stops
at one page and glances at a PENCIL SKETCH of what might be a stained-glass
window. Below the sketch is a SERIES OF NUMBERS.
EXT. THE PRIVATE AIRLINER - FLYING - DAY
SUPERIMPOSED over a MAP that traces a course from New York City to Venice,
Italy.
DISSOLVE TO:
EXT. VENICE - BOAT LANDING - DAY
INDY and BRODY disembark from the Water Bus onto the Boat Landing as other
Gondoliers steer their boats in the water.
INDY
Ah, Venice...
BRODY
Yes. Uh, how will we recognize
this Doctor Schneider when we
see him?
INDY
I don't know. Maybe he'll know
us.
CONTINUED:
Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes
that are bright and intelligent.
ELSA
Doctor Jones?
INDY
Yes?
ELSA
I knew it was you—
She looks at him with an appraising expression that is brazenly flirtatious.
ELSA
—you have your father's eyes.
INDY is instantly attracted to her.
INDY
And my mother's ears. But the
rest belongs to you.
ELSA
Looks like the best parts have
already been spoken for.
INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat.
ELSA
Marcus Brody?
BRODY
That's right.
The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY.
ELSA
(introducing herself)
Doctor Elsa Schneider.
INDY's grin fades. BRODY registers a look of surprise.
BRODY
Uh... how do you do?
CUT TO:
EXT. VENICE CANAL - DAY
INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on
either side.
CONTINUED:
ELSA
The last time I saw your father
we were in the library. He was
very close to tracking down the
Knight's Tomb. I've never seen
him so excited. He was as giddy
as a schoolboy.
INDY
Who? Attila the Professor? He
was never giddy, even when he was
a schoolboy!
INDY can't take his eyes off ELSA. Perhaps he's feeling a bit like a schoolboy
himself right now. As they cross over a bridge to the opposite side of the canal,
Indy steals a flower from a street vendor. He holds it out to Elsa.
INDY
Fraulein—will you permit me?
ELSA
I usually don't.
INDY
I usually don't either.
ELSA
In that case, I permit you.
INDY gives her the flower.
INDY
It would make me very happy.
ELSA
But I'm already sad—by tomorrow
it will have faded.
INDY
Tomorrow I'll steal you another.
BRODY
(cutting in)
I hate to interrupt you—but the
reason we're here—
ELSA
(interrupting)
Yes. I have something to show
you.
She hands a slip of paper to INDY.
CONTINUED: (2)
ELSA
I left your father working in
the library. He sent me to the
map section to fetch an ancient
plan of the city. When I got back
to his table—he'd gone—with
all his papers—except for that
scrap which I found near his chair.
INDY extends the scrap of paper to BRODY.
INDY
Roman numerals.
EXT. VENICE PIAZZA - DAY
ELSA leads INDY and BRODY into the large piazza. People walk about and sit at
tables in front of a large building.
ELSA
Here is the library.
They have arrived at the front steps of the library.
INDY
That doesn't look much like a
library.
BRODY
It looks like a converted church.
ELSA leads the way inside.
INT. THE LIBRARY - DAY
INDY, BRODY and ELSA enter, their heels CLICKING across the marble floor.
We notice, along with INDY and BRODY, that the library contains many stained-
glass windows.
ELSA
In this case it's the literal
truth. We're on holy ground.
These columns over here...
She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling.
ELSA
... were brought back as spoils
of war after the sacking of
Byzantium during the Crusades.
CONTINUED:
INDY glances at the Columns, then notices a Stained-Glass Window that depicts a
Knight of the Crusades. Indy lingers for a moment in front of the window.
ELSA
Now please excuse me. The library's
closing in a few moments. I'll
arrange for us to stay a little
longer.
The minute ELSA is out of earshot.
INDY
Marcus—I've seen this window
before.
BRODY
Where?
INDY whips out the Grail Diary and opens it to the sketch he noticed in the
airplane.
INDY
Right here. In Dad's Diary.
You see?
BRODY glances at the Diary, then at the window—noticing that the Roman
numerals in question have been worked into the window's design.
BRODY
Look, Indy. The Roman numerals!
INDY
Dad was onto something here!
BRODY
Well, now we know the source of
the numbers, but we still don't
know what they mean.
INDY and BRODY now see ELSA approaching. Indy quickly tucks the Diary back
into his pocket.
INDY
(explaining to Brody)
My dad sent me this Diary for a
reason. Until we find out why,
I suggest we keep it to ourselves.
ELSA
Find something?
INDY doesn't reply. He's looking in five directions at once. His eyes moving
across the walls and ceilings—charged with the thrill of discovery.
CONTINUED: (2)
BRODY
(to ELSA)
Uh, yes. Three, seven and tent
That window seems to be the source
of the Roman numerals.
ELSA
My God, I must be blind
INDY
Dad wasn't looking for a book
about the Knight's Tomb... he was
looking for the Tomb itself
ELSA wears a blank expression.
INDY
Don't you get it? The Tomb is
somewhere in the library! You
said yourself it used to be a
church! Look.
INDY's eyes travel up one of the four huge marble columns.
INDY
Three.
INDY looks again to the stained-glass window. He points.
INDY
Three!
INDY has discovered that each Column is numbered with a Roman Numeral. Indy
hurries away toward Column VII. All BRODY and ELSA can do now is try to keep
up with him.
INDY
Seven.
He points again to the stained-glass window.
INDY
Seven... Ten.
He looks down to the scrap of paper in his hands.
INDY
And ten. Now where's the ten?
Look around for the ten.
INDY walks past aisles of book-lined shelves. He stops, turns, then looks down.
CONTINUED: (3)
INDY
Three, seven and ten.
He climbs a spiral staircase leading up to a LOFT and looks down at BRODY and
ELSA. The floor beneath their feet is an elaborate tile design containing a huge
"X"—visible only from this higher angle.
INDY
Ten.
(wryly; to himself)
"X" marks the spot.
INDY rushes down the staircase and goes to the CENTER TILE where the two
sides of the X intersect. He blows dust away from the tile and tries to pry it up,
but cannot.
INDY rushes past BRODY to a cordon held in place by a brass stand underneath
the stained-glass window.
INDY raises the brass stand and timing his actions, hits the tile precisely as the
Librarian stamps a book. The Librarian regards the stamper curiously.
INDY continues to pound at the tile as the Librarian resumes his stamping, still
puzzled by the SOUND ECHOING through the library.
Finally INDY breaks the tile. As he bends to remove the pieces of broken tile, a
TWO-FOOT SQUARE HOLE IS REVEALED.
Cold air and a wet, rancid smell escape from the hole.
INDY
Bingo.
ELSA
You don't disappoint, Doctor Jones.
You're a great deal like your
father.
INDY
Except he's lost, and I'm not.
ELSA
Lower me down.
INDY is impressed with Elsa's spirit, and cooperates agreeably—holding her by
the hands and lowering her into the hole. When her feet finally touch ground
below, Indy releases his grip on her and slips the Grail Diary to BRODY.
INDY
Look after this for me, will you?
Then INDY disappears into the hole.
INT. CATACOMBS BELOW LIBRARY - DAY
INDY jumps down a steep step. He reaches back to help ELSA.
INDY
Come on.
INDY and ELSA glance around. This is really a horrid place. Dark and dank.
foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory
four-leaf clover design.
INDY and ELSA inspect markings carved onto the walls.
ELSA
Pagan symbols. Fourth or Fifth
Century.
INDY
Right. Six hundred years before
the Crusades.
ELSA
The Christians would have dug
their own passages and burial
chambers centuries later.
INDY takes the lighter from her and lights their way down a dark passageway.
INDY
That's right. If there's a
Knight of the First Crusade
entombed down here, that's where
we'll find him.
INT. LIBRARY - DAY
THREE MEN carrying guns make their way down the spiral staircase toward an
unsuspecting BRODY. One of the Men, KAZIM, raises his gun and brings it down
hard on Brody's head.
BRODY
Ohhhh. . .
KAZIM gestures with his gun toward the now-unconscious BRODY. The other two
men take Brody's hands and drag him into one of the book-lined aisles.
INT. ANOTHER PART OF THE CATACOMBS - DAY
DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque
skeletal remains with rotting linen stretched across blackened bones.
INDY holds the lighter up as he and ELSA inspect symbols carved into the walls.
CONTINUED:
ELSA spots a symbol cut into the wall that she doesn't recognize. As she blows
away some cobwebs:
ELSA
What's this one?
INDY only has to give it a quick glance to know.
INDY
The Ark of the Covenant.
ELSA
Are you sure?
INDY
(deadpan)
Pretty sure.
INDY holds the lighter up and he and ELSA enter another dark passageway.
ANOTHER PART OF THE CATACOMBS
INDY steps to the wall and runs his hand over the stone. He scrapes the cobwebs
away to reveal the ROMAN NUMERAL "X."
INDY
Watch out.
ELSA now holds the lighter as INDY rams his shoulder into the wall. The wall
collapses on impact and Indy falls through into another room.
ANOTHER ROOM - THE CATACOMBS
as INDY falls through the hole in the wall onto rocks surrounded by bubbling,
green, slimy liquid. More skeletons surround him, resting in their carved niches.
ELSA holds the lighter as she peers in at him through the hole in the wall.
INDY
Petroleum. I could sink a well
down here and retire.
INDY reaches up and tears a piece of cloth from one of the skeletons, which
breaks apart and falls into the oil-slick water.
INDY uses the scrap of cloth and a bone to fashion a crude torch, which he then
dips into the oily water.
INDY
Give me the lighter.
ANOTHER PART OF THE CATACOMBS
Using the cloth-wrapped bone torch to guide their way, INDY and ELSA come
upon a NARROW PASSAGEWAY. The water is knee-deep and TEEMING WITH
RATS. Thousands of them Crawling on one another's backs. SQUEALING.
Squirming. Thrashing in the water.
INDY
Oh, rats...
ELSA gasps as the rats scamper between her legs.
INDY moves forward through the rat-infested water as ELSA follows, still gasping
in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out
to Elsa.
INDY
Come onl
She gasps once again, terrified. INDY lifts her and carries ELSA as he moves
forward.
THE CATACOMBS - THE HOLE IN THE WALL
KAZIM and his men step to the opening Indy made earlier and shine their
flashlights through to the rat-infested water.
ANOTHER PART OF THE CATACOMBS
More rat-infested water as ELSA, now walking again, follows INDY through
another passageway lined with skulls and bones.
INDY reaches for a wall to steady himself and inadvertently grabs a skeleton. A
bone comes loose in his hand as rats scurry about and leap at him from all
directions.
He takes a moment to compose himself, then steps across the water to ELSA's
side. He steps into the water, then reaches up to help Elsa do the same.
INDY
Come here.
LARGE BURIAL CHAMBER
The chamber is flooded with black, briny water.
INDY
Look. . .
In the center of the chamber, jutting up above the water, is what amounts to an
"island altar" on which SEVERAL ANCIENT COFFINS rest. They move toward the
altar.
CONTINUED:
INDY and ELSA begin to inspect the ornately carved COFFINS like the scholars of
antiquity that they are. These are big oak caskets held together by straps of
etched brass.
INDY
It must be one of these...
ELSA
Look at the artistry of these
carvings and the scrollwork.
One coffin is elevated above the others.
ELSA
It's this one.
Together they begin to push on the lid—STRAINING and GROANING until it
slides away and BANGS against the stone platform.
INSIDE THE COFFIN
lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. INDY and ELSA look
in...Elsa gasps.
INDY
This is itl we found it! Look—
the engraving on the Shield. It's
the same as on the Grail Tablets
The Shield is the Second Marker!
INDY unfolds a piece of paper and holds it over the shield.
ELSA
What's that?
INDY
It's a rubbing Dad made of the
Grail Tablet.
The missing portion of the rubbing is completed by the shield.
ELSA
Just like your father—giddy
as a schoolboy.
INDY laughs.
ELSA
Wouldn't it be wonderful if he
were here now to see this?
INDY
(chuckles)
He never would have made it past
the rats! He hates rats! He's
scared to death of them!
CLOSE - A HAND
as it lights a match.
PULL BACK TO REVEAL KAZIM dropping the lighted match into the oil-slick
water.
INDY AND ELSA
ELSA holds the torch. INDY looks around. Listens. Something is wrong. And
then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls.
This is followed by THOUSANDS OF RATS FLEEING from around the corner of the
Narrow Passageway, STAMPEDING toward ELSA and INDY—SHRIEKING and
SQUEALING as they approach.
The rats literally wash over them—like a rodent tidal wave—in their efforts to
escape a:
HUGE ORANGE BALL OF FIRE
ROARING around the corner hurtling towards them—feeding on the oil slick;
consuming the oxygen.
ELSA SCREAMS.
INDY
Get back! Back against the wall.
INDY braces his back against the altar and TOPPLES THE COFFIN with his feet.
It CRASHES against the stone platform and SPLASHES into the water.
INDY
Quick! Under it!
They jump into the water beside the bobbing, overturned coffin.
INDY
Air pocket!
ELSA hesitates. INDY literally DUNKS her and pushes her underneath.
UNDER THE COFFIN
ELSA surfaces into the air pocket created by the coffin, SPUTTERING and
SPITTING.
Now INDY pops up into the air pocket. He looks at ELSA—they are both soaking
wet.
INDY
Don't wander off.
CONTINUED:
ELSA
What?
INDY disappears under the water and swims out from under the coffin.
ELSA
What?
UNDER THE WATER
INDY swims, looking for an escape route.
UNDER THE COFFIN
The rats are beginning to force their way inside, swimming through the water
and climbing on ELSA, who squirms and screams in terror.
INDY pops back up through the water.
INDY
I think I've found a way out.
Deep breath.
ELSA groans. They take a deep breath and both dive under the water.
EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY
The perfect picture postcard—St. Mark's Square and the Grand Canal beyond.
Cafe customers are startled to see INDY and ELSA climb out of the sewer, wet
and smelly. Indy looks around at the postcard-perfect setting and smiles.
INDY
(wryly)
Ah, Venicel
Indy's delight, however, is short-lived since KAZIM and TWO OTHER TURKISH
AGENTS are running towards them with drawn guns.
He grabs ELSA by the hand and the two of them run down the dock and LEAP
INTO A MOTORBOAT.
INT. THE MOTORBOAT - DAY
INDY fires up the engine and pulls away from the dock... but not before a
Turkish Agent JUMPS in with him.
ELSA grabs the wheel and begins to steer the boat while INDY and the Turk trade
punches.
EXT. THE HARBOR - DAY
Indy's Speedboat BOUNCES across the choppy waters heading in the direction of
the DOCKED STEAMSHIP.
KAZIM and his men rush to TWO MORE SPEEDBOATS tied to the dock.
They chase after INDY.
INDY grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in
the Agent's hand. It FIRES.
As INDY fights with the Turk, he becomes aware of the Speedboats behind him
and two enormous Freighters ahead of him, joined together by two giant ropes.
INDY, having gained the advantage, leans on top of the Turkish Agent.
INDY
(to ELSA)
Are you crazy?! You don't go
between them!
ELSA can barely hear INDY over the noise of the motor.
ELSA
Go between them? Are you crazy?!
INDY finally delivers the punch that sends the Turkish Agent flying overboard.
Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN
the two Freighters, now being pushed even closer together by a Tugboat.
INDY
I said go around!
ELSA
You said go between them!
INDY
I said don't go between them!
It's purely academic at this point since the hulls of the the two Freighters loom
up on either side of them like cavern walls.
EXT. FULL SHOT - THE HARBOR - DAY
One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat
containing KAZIM veers off and goes around.
EXT. BETWEEN THE TWO FREIGHTERS - DAY
It's a race for daylight as the two Freighters drift ever closer to one another.
Indy's Speedboat just manages to squeeze through the gap. But the Enemy
Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO
THE AIR and SPLASHING back down into the water.
INDY AND ELSA
spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear
racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at
INDY and ELSA.
KAZIM'S SPEEDBOAT
matches Indy's move for move.
FULL SHOT - THE HARBOR
The two boats race across the water nearly side-by-side. A CHATTERING
MACHINE GUN from Kazim's boat SPLINTERS the wood of Indy's boat, until
finally the rear of the boat CATCHES ON FIRE.
The machine gun runs out of ammunition. KAZIM puts it down and takes control
of the wheel from one of the Turkish Agents in the boat with him.
As Indy's boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of
ANOTHER STEAMER, Kazim's boat draws up alongside and hits them. INDY
steps into Kazim's boat. He knocks one of the Turkish Agents to the deck, then
turns his attention to KAZIM. The two men trade punches as the boat spins
helplessly in the churning water.
ELSA
No!!
INDY kicks KAZIM in the face, knocking him into the water, then pulls him back
into the boat, now being SUCKED THROUGH THE CHURNING WATER toward the
Steamer's giant propeller blades.
INDY
Why are you trying to kill us?
KAZIM
Because you're looking for the
Holy Grail.
INDY
My father was looking for the
Holy Grail. Did you kill him
too?
KAZIM
No.
INDY
Where is he? Talk—or you're
dead. Damn it, tell me! Tell
me!
KAZIM
If you don't let go, Doctor Jones,
we'll both die.
CONTINUED:
INDY
Then we'll die.
KAZIM
My soul is prepared. How's yours?
By now half the boat has been chopped up into matchwood and the blades are
getting closer.
INDY
This is your last chance.
KAZIM
No, Doctor Jones. It's yours!
The wind of the blades is on their necks. INDY grabs KAZIM just in time and
jumps... into the motorboat, driven by ELSA, which gets alongside in the nick of
time.
INDY
All right! Where's my father
KAZIM
If you let me go, I will tell you
where he is.
INDY
Who are you?
KAZIM
My name is Kazim.
INDY
And why were you trying to kill
me?
KAZIM
The secret of the Grail has been
safe for a thousand years. And
for all that time the Brotherhood
of the Cruciform Sword has been
prepared to do anything to keep
it safe.
KAZIM pulls back his shirt to reveal a birthmark... or is it a tattoo? Whatever it
is, it's a cruciform sword; a Christian cross which tapers down, like the blades of
a broadsword.
KAZIM
Let me get off at this jetty.
The boat is close to the edge of the canal. INDY gives ELSA a nod, telling her to
bring the boat in. KAZIM steps ashore.
CONTINUED: (2)
KAZIM
Ask yourself, why do you seek
the Cup of Christ? Is it for His
glory, or for yours?
INDY
I didn't come for the Cup of
Christ. I came to find my father.
KAZIM
In that case, God be with you in
your quest. Your father is being
held in the Castle of Brunwald on
the Austrian-German border.
KAZIM walks away.
INT. VENICE APARTMENT - DAY
CLOSE ON THE WATER-SOAKED PAPER IMPRESSION: The rubbing taken from
the shield of the Grail Knight.
BRODY is giving it careful study while he dabs the lump on the back of his head
with an ice pack.
INDY
How's the head?
BRODY
It's better, now I've seen this.
It's the name of a city.
"Alexandretta?" Hmmm...
INDY, wearing a bathrobe, leans over to study the impression.
INDY
The Knights of the First Crusade
laid siege to the city of
Alexandretta for over a year.
The entire city was destroyed.
BRODY lowers the ice pack from his head and looks at INDY.
INDY
The present city of Iskenderun
is built on its ruins. Marcus—
you remember what the Grail
Tablet said. "Across the desert
and through the mountain to the
Canyon of the Crescent Moon."
(pause)
But where exactly?
CONTINUED:
BRODY
Your father would know. Your
father did know. Look. He
made a map.
BRODY picks up the Grail Diary.
BRODY
He must have pieced it together
from clues scattered through the
whole history of the Grail Quest.
A map with no names.
INSERT: A PENCIL-DRAWN MAP
It covers two pages of the Diary. BRODY's finger moves across it.
BRODY
Now, he knew there was a city
with an oasis due east. Here.
He knew the course turned south
through the desert to a river, and
the river led into the mountains.
Here. Straight to the canyon.
He knew everything except where
to begin, the name of the city.
INDY
(solemnly)
Alexandretta. Now we know.
BRODY
Yes. Now we know.
INDY
(rising)
Marcus, get hold of Sallah. Tell
him to meet you in Iskenderun.
INDY closes the Grail Diary and puts it into the pocket of his robe.
BRODY
What about you?
INDY
I'm going after Dad.
INT. INDY'S BEDROOM - DAY
INDY opens the door. His bedroom has been ransacked...the mattress on the
floor, the drawers turned out.
INT. HALLWAY - DAY
INDY approaches another door (Elsa's bedroom) and knocks.
INDY
Elsa?
He goes in.
INT. ELSA'S BEDROOM - DAY
... and finds that Elsa's bedroom is in a similar ransacked state to his own. The
room is empty.
He is worried for her, knocks and calls out:
INDY
Elsa?
He steps into the room and knocks upon the bathroom door.
INDY
Elsa?
He opens the bathroom door, peering inside.
INDY
Elsa?
INT. ELSA'S BATHROOM - DAY
Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as
INDY enters. He retreats back into her bedroom as she reaches up to turn off a
record player sitting on a ledge above the bathtub.
INT. ELSA'S BEDROOM - DAY
ELSA joins INDY, waiting in the ransacked room. she looks around in shock.
ELSA
My room!
INDY
Mine, too.
ELSA
What were they looking for?
She looks to INDY, who pulls the Grail Diary from his pocket.
INDY
This.
CONTINUED:
ELSA
The Grail Diary.
INDY
Uh-huh.
ELSA
You had it? You didn't trust
me!
She looks hurt and beautiful. She comes closer to him.
INDY
I didn't know you.
She's awfully hard to resist.
INDY
At least I let you tag along.
ELSA
Oh, yes. Give them a flower and
they'll follow you anywhere.
INDY
Knock it off. You're not mad.
ELSA
No?
INDY
No. You like the way I do things.
ELSA
It's lucky I don't do things the
same way. You'd still be standing
at the Venice pier.
She stomps her foot angrily. INDY flinches. She starts to walk away but Indy
grabs her.
INDY
Look, what do you think is going
on here? Since I've met you,
I've nearly been incinerated,
drowned, shot at, and chopped into
fish bait. We're caught in the
middle of something sinister here.
My guess is Dad found out more
than he was looking for. And
until I'm sure, I'm going to
continue to do things the way I
think they should be done.
CONTINUED: (2)
He pulls her to him and kisses her.
ELSA
How dare you kiss me!
Now ELSA reaches for INDY and kisses him.
INDY
Leave me alone. I don't like
fast women.
But he embraces her, and ELSA begins to nibble at his ear.
ELSA
And I hate arrogant men.
INDY smiles slyly as they fall to the bed.
EXT. VENICE CANAL - DAY
A GONDOLIER SINGS as he steers his gondola carrying two passengers past
Indy's window.
INT. INDY'S BEDROOM - DAY
INDY lies on top of ELSA, kissing her. He stops for a moment as he hears the
GONDOLIER SINGING.
INDY
Ahh, Venice.
ELSA reaches up and pulls him back down to her.
EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY
A Mercedes-Benz glides through the sharp mountain curves. This is
SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria
toward Salzburg.
EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY
Storm clouds darken the skies. THUNDER EXPLODES in the
distance; lightning flashes. The Mercedes-Benz drives into the courtyard of the
formidable stone castle.
INDY
What do you know about this
place?
ELSA
I know the Brunwalds are famous
art collectors.
INT. MERCEDES-BENZ - DAY
INDY reaches into the back seat and retrieves his bullwhip.
ELSA
What are you going to do?
INDY
Don't know. Think of something.
He glances up to the beret ELSA is wearing. She reaches up and adjusts it.
INT. CASTLE ENTRANCE HALL - DAY
A BUTLER walks to the door and opens it to reveal INDY and ELSA standing
outside in the rain. she now wears Indy's fedora; Indy is wearing Elsa's beret.
BUTLER
Yes?
INDY, followed by ELSA, steps inside, shaking the water from his overcoat. He
adopts a Scottish accent.
INDY
And not before time! Did you
intend to leave us standing on
the doorstep all day? We're
drenched!
As INDY says this he pushes his way past the startled BUTLER, pulling a
handkerchief from the man's pocket. ELSA follows, taking off her coat. INDY
SNEEZES HARD.
INDY
Now look! I've gone and caught
a sniffle.
INDY dabs at his nose with the handkerchief as ELSA looks on in amused
amazement.
BUTLER
(coldly; with
Austrian accent)
Are you expected?
INDY
Don't take that tone with me, my
good man. Now buttle off and tell
Baron Brunwald that Lord Clarence
MacDonald and his lovely assistant
are here to view the tapestries.
(CONT'D)
CONTINUED:
BUTLER
Tapestries?
INDY
Dear me, the man is dense. This
is a castle, isn't it? There are
tapestries?
BUTLER
This is a castle. And we have
many tapestries. But if you're a
Scottish lord, then I am Mickey
Mouse.
INDY
How dare he?!
Simultaneously knocking the BUTLER cold with one slug on the jaw. The Butler
falls against a wall tapestry, sliding down to the floor, out cold.
INT. CASTLE HALLWAY - DAY
INDY and ELSA move cautiously and quietly down the wide, vaulted hallway.
APPROACHING VOICES ARE HEARD. Indy and Elsa creep past a room full of
NAZI SOLDIERS working around a large table with a map atop it..
INDY reacts to the sight of them.
INDY
(to ELSA; softly)
Nazis. I hate these guys.
INDY and ELSA continue down the hallway. Indy carries a gun in his hand and
his whip hangs from his belt. He steps to a closed door and listens.
INDY
This one. I think he's in here.
ELSA
How do you know?
INDY points out an ELECTRICAL WIRE.
INDY
Because it's wired.
He studies the situation for a moment, then decides to enter one of the other
doors. He knocks at the door—there is no response. He looks back at ELSA and
enters.
INT. CASTLE ROOM - DAY
The room is dark and empty. INDY throws open the window shutters and looks
out. RAIN comes down in sheets. There is a wide ledge beneath each window—
but below that is a SHEER DROP. Indy wants to get out onto the window ledge,
which is several yards away.
ELSA
Indy? Indy?
INDY reassures her.
INDY
Don't worry... this is kid's play.
I'll be right back.
He leans out the window and wraps his bullwhip around some wires that protrude
from the castle wall above the next window.
He gives the whip a forceful tug to make certain it will hold his weight.
EXT. THE CASTLE - DAY
INDY SWINGS from the window to the stone gargoyle.
CLOSE ON THE WINDOW LEDGE
A PAIR OF WOODEN SHUTTERS seals the window.
INDY takes hold of the bullwhip with both hands, pushes off with his feet...
swings toward the shuttered window with his feet extended... CRASHING
THROUGH THE WOODEN SHUTTERS as a CLAP OF THUNDER disguises the noise.
INT. THE ROOM - DAY
INDY CRASHES THROUGH SHUTTERS AND GLASS into the room. The broken
shutters hang by their hinges. Rain and cold air whip through the open window.
No sooner does Indy get to his feet, than a VASE COMES CRASHING DOWN ON
THE BACK OF HIS HEAD.
Stunned, INDY sinks to one knee... and Indy's father, PROFESSOR HENRY JONES,
steps out of the shadows.
HENRY
Junior?
INDY gets to his feet.
INDY
(a reflex)
Yes, sirl
CONTINUED:
This reply is a kneejerk reaction on Indy's part. Now they look at each other.
HENRY
It is you Junior!
INDY
(an old familiar
irritation)
Don't call me that, please.
HENRY
(amazed)
But what are you doing here?
INDY
I came to get you! What do you
think?
NAZI VOICES ARE HEARD approaching. INDY and HENRY press themselves
against the wall, Henry still holding the broken vase in his hand.
INDY steps to the window and looks down. HENRY moves to a lamp, holding the
vase under the light for a closer look.
HENRY
(sotto, mumbled)
Late Fourteenth Century, Ming
Dynasty.
HENRY is all about the broken vase which he still holds in his hand. Father and
son get onto crossed lines for a couple of moments.
HENRY
Oh, it breaks the heart.
INDY
(quietly to himself)
And the head.
(to HENRY, aggrievedly)
You hit me, Dad!
HENRY
(referring to the
vase)
I'll never forgive myself—
INDY
(surprised,
misunderstanding)
Don't worry—I'm fine.
HENRY
Thank God!
CONTINUED: (2)
HENRY has clearly been concentrating entirely on the vase... he is examining the
broken end carefully.
HENRY
... it's fake. See, you can tell
by the cross section.
HENRY throws the vase against the wall where it SHATTERS.
INDY
No! Dad, get your stuff. We've
got to get out of here.
HENRY
Well, I am sorry about your head,
though. But I thought you were
one of them.
INDY
Dad, they come in through the
doors.
HENRY
(laughs)
Good point.
INDY steps to the door and stands, listening.
HENRY
But better safe than sorry.
HENRY slides his umbrella through the straps of his bag.
HENRY
Humpf—so I was wrong this time.
But by God, I wasn't wrong when I
mailed you my Diary. You obviously
got it.
INDY
I got it and I used it. We found
the entrance to the catacombs.
HENRY
(excited)
Through the library?
INDY
Right.
HENRY
I knew it. And the tomb of Sir
Richard?
CONTINUED: (3)
INDY nods.
INDY
Found it.
HENRY
(breathless)
He was actually there? You saw
him?
INDY
Well, what was left of him.
HENRY
(trembling with
anticipation)
And his shield... the inscription
on Sir Richard's shield...?
INDY
Alexandretta.
(beat)
It's a great moment in HENRY's life. He turns aside, lost to himself for a
moment, then turns to INDY with joy.
HENRY
Alexandretta... of course... on
the pilgrim trail from the Eastern
Empire. Oh, Junior...
INDY winces, and would interrupt but suddenly it's not the moment.
HENRY
... you did it.
INDY
No, Dad. You did. Forty years.
HENRY
If only I could have been with
you.
INDY
There were rats, Dad.
HENRY
Rats?
INDY
Yeah. big ones. What do the
Nazis want with you Dad?
HENRY
They want my diary.
CONTINUED: (4)
INDY
(interested)
Yeah?
INDY's interest is a moment which becomes important later but for now it passes.
HENRY
I knew I had to get that book as
far away from me as I possibly
could.
INDY's hand moves unconsciously to his pocket. His eyes turn inward.
INDY
(thoughtfully)
Yeah. . .
Then... BAMI The door is kicked open and three NAZIS enter. One is an S.S.
OFFICER. The other two are SOLDIERS with machine guns. HENRY and INDY
raise their hands.
S.S. OFFICER
Doctor Jones!!
HENRY & INDY
Yes!!
S.S. OFFICER
I will take the book now.
INDY/HENRY
(simultaneously)
What book?
S.S. OFFICER
(to INDY)
You have the Diary in your pocket.
HENRY laughs genuinely, believing himself to be laughing at the expense of the
S.S. OFFICER.
HENRY
You doltl Do you think that my
son would be that stupid that
he would bring my Diary all the
way back here?
At which point an awful thought strikes HENRY.
HENRY
You didn't, did you?
(a beat)
You didn't bring it, did you?
CONTINUED: (5)
INDY
Well, uh...
HENRY
You did!!
INDY
Look, can we discuss this later?
HENRY
I should have mailed it to the
Marx Brothers.
INDY
(overlapping)
Will you take it easy....!
HENRY
Take it easy?! Why do you think
I sent it home in the first place?
(points towards
the NAZIS)
So it wouldn't fall into their
hands!!
INDY
I came here to save you.
HENRY
Oh yeah? And who's gonna come to
save you, Junior??
INDY's eyes blazes His nostrils flares He's so pissed off, he literally RIPS A
MACHINE GUN from the hands of one of the startled soldiers... and for a moment
we think he's going to use it on his dad.
INDY
I told you--
He turns and sprays the room with machine gun fire, cutting all three NAZIS to
ribbons and blowing them backwards across the room.
INDY
--don't call me Junior!
HENRY looks shocked and horrified.
HENRY
Look what you did!!
Indy grabs him and pushes him ahead.
HENRY
(aghast)
I can't believe what you just....
INT. CASTLE HALLWAY - DAY
INDY leads HENRY down the hallway as he searches for Elsa.
INDY
Elsa? Elsa?
He opens a door and enters:
INT. FIRST CASTLE ROOM - DAY
INDY and HENRY rush back into the room where ELSA had been left, only to
find: A Nazi COLONEL HOLDING ELSA HOSTAGE.
His name is VOGEL: a vicious-looking, lantern jawed brute. One arm is wrapped
around Elsa's waist, the other hand presses the muzzle of a LUGER behind her
ear.
VOGEL
That's far enough Put down the
gun, Doctor Jones. Put down the
gun or the Fraulein dies.
HENRY
But she's one of them!
ELSA
Indy, please!
HENRY
She's a Nazi!
INDY
What?!
INDY is thrown. He doesn't know what to do. He looks at ELSA, then back to his
father. Everyone is yelling at once:
HENRY
Trust me!
ELSA
Indy, no!
VOGEL
I will kill her!
HENRY
Oh yeah? Go ahead!
INDY
No! Don't Shoot!
CONTINUED:
HENRY
(to Indy)
Don't worry. He won't.
ELSA
Indy, please! Do what he says!
HENRY
And don't listen to her!
VOGEL
Enough! She diesl
VOGEL jams the barrel of the luger painfully into ELSA's neck. Elsa SCREAMS.
INDY
Wait! Waitl
And then Indy gives in. He drops the machine gun to the table and it slides
across, SHATTERING GLASS. HENRY GROANS audibly.
VOGEL releases his grip on ELSA and shoves her toward INDY. She is propelled
directly into his arms. He holds her tightly. She buries her face in his chest.
ELSA
I'm sorry.
INDY comforts her.
INDY
No, don't be.
Her hand slips into his coat pocket and removes the Grail Diary.
ELSA
But you should have listened to
your father.
She steps back next to VOGEL. INDY is stunned. HENRY gives him his most
withering look of reprimand.
INT. BARONIAL ROOM - DAY
A large baronial room decorated with ancient tapestries and suits of armor.
Firelight—from the giant fireplace—dances across the ceiling and walls.
INDY and HENRY are ushered in, hands tied behind back, accompanied by VOGEL
and ELSA and TWO NAZI GUARDS.
ELSA crosses the room toward a high-backed chair facing the fireplace. INDY and
HENRY do not have the advantage of seeing who is sitting in that chair. They
only see a HAND REACH OUT AND TAKE THE BOOK.
CONTINUED:
INDY
(quietly to HENRY)
She ransacked her own room and I
fell for it. How did you know
she was a Nazi?
HENRY
Umh?
INDY
How did you she was a Nazi?
HENRY
She talks in her sleep.
INDY nods, and then the statement catches up with him. He looks at HENRY
with surprise.
HENRY
I didn't trust her. Why did
you?
MAN IN CHAIR
Because he didn't take my advice.
The MAN IN THE CHAIR gets to his feet and turns, revealing himself to be...
WALTER DONOVAN. INDY and HENRY react with stunned expressions.
INDY
Donovan
DONOVAN
Didn't I warn you not to trust
anybody, Doctor Jones?
DONOVAN smiles benignly and flips through the Grail Diary.
HENRY
I misjudged you Walter—I knew
you'd sell your mother for an
Etruscan vase.
But I didn't know you'd sell your
country and your soul to the slime
of humanity.
DONOVAN
(suddenly erupting)
Doctor Schneider There're pages
torn out of thisl
ELSA rushes to DONOVAN's side. she takes the Grail Diary from him. Elsa takes
a look for herself—then glances up at Indy.
CONTINUED: (2)
ELSA
This book contained a map—a
map with no names—precise
directions from the unknown city
to the secret Canyon of the
Crescent Moon.
INDY
So it did.
DONOVAN
Where are these missing pages?
This maps we must have these
pages backs
HENRY gives INDY a look of surprise. Indy smirks.
ELSA
(to Donovan)
You're wasting your breath. He
won't tell us. And he doesn't
have to... it's perfectly obvious
where the pages are...
(looking at Indy)
... he's given them to Marcus
Brody.
HENRY now wears a pained expression.
HENRY
(to Indy)
Marcus?! You didn't drag poor
Marcus along, did you? He's not
up to the challenge.
DONOVAN
He sticks out like a sore thumb.
We'll find him.
INDY
The hell you will. He's got a
two-day head-start on you, which
is more than he needs.
(beat)
Brody's got friends in every town
and village from here to the Sudan.
He speaks a dozen languages, knows
every local custom. He'll blend
in. Disappear. You'll never see
him again. With any luck, he's
got the Grail already.
HENRY looks amazed and impressed.
EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY
BRODY disembarks from the train along with the other PASSENGERS, a cross-
section of ARABS and TUSKS.
BRODY
Does anyone here speak English?
Or even ancient Greek?
A Man in the crowd holds out a cup of water to BRODY.
BRODY
No water, no thank you. No, fish
make love in it.
BRODY continues through the crowd past various STREET VENDORS. A Woman
holds a chicken out to him.
BRODY
Thank you so much. No, I don't
like that. No, I really don't
want... No, no, thank you very
much. No, thank you, madam.
I'm a vegetarian.
The Woman walks away, leaving BRODY alone in the crowd.
BRODY
Does anyone understand a word I'm
saying here?
SALLAH shoulders his way through the mob toward BRODY.
SALLAH
Mister Brodyl
They meet and hug, then begin to walk.
BRODY
Oh, Sallahl What a relief!
SALLAH
(laughs)
Marcus Brody, sir. And where is
Indy?
BRODY
(overlapping)
Oh, he's in Austria. A slight
detour.
SALLAH
You are on your own?
A Woman runs in and tugs on BRODY's coat. He waves her away.
CONTINUED:
BRODY
Yes, but don't panic. Everything's
under control. Have you. . .have
you arranged our supplies?
SALLAH
Oh, yes, of course. But where
are we going?
BRODY
Oh, this map will show you. It
was drawn by, uh...
BRODY searches in his coat pocket for the map as a SINISTER MAN approaches.
SINISTER MAN
Mister Brody?
BRODY puts the map back in his pocket. The SINISTER MAN clicks his heels and
bows quickly.
SINISTER MAN
Welcome to Iskenderun. The
Director of the Museum of
Antiquities has sent a car for
you.
BRODY takes off his hat.
BRODY
Oh, what?... your servant, sir.
SALLAH
And I am his.
SINISTER MAN
Follow me, please.
The man turns and joins a SECOND MAN. BRODY and SALLAH follow them.
BRODY
My reputation precedes me.
SALLAH
There is no museum in Iskenderun.
The SECOND MAN overhears SALLAH. He and his companion turn quickly.
SECOND MAN
Papers please.
SALLAH
Papers?
(laughs)
Of course.
CONTINUED: (2)
SALLAH puts Brody's luggage down and glances at BRODY.
SALLAH
Run.
BRODY does not run. SALLAH pats his clothing, searching for his papers.
BRODY
Yes.
SALLAH
Papers, sir. Got it here.
SALLAH laughs and pulls out a newspaper.
SALLAH
Just finished reading it myself.
(laughs; then, to
Brody)
Run!
BRODY looks confused. SALLAH shows the newspaper to the SECOND MAN.
BRODY
Yes.
SALLAH
Egyptian Mail. Morning edition.
(to Brody)
Run!
BRODY
Did you say...? Uh, uh...
SALLAH puts the newspaper in front of the SECOND MAN's face, then punches
him through the newspaper.
SALLAH
Run!
The SECOND MAN falls, knocking over a vendor's stand. SALLAH and BRODY
begin to run. SALLAH knocks the FIRST MAN into another vendor's stand. The
STAND COLLAPSES on impact.
SALLAH grabs BRODY and pulls him through the crowded streets.
SALLAH
(to Brody; pointing)
Okay, okay, quick, quick, quickl
Hide in that doorl Hide in that
door!
SALLAH points to a DARKENED DOORWAY, hung with a curtain, at the top of a
ramp. BRODY runs up the ramp, throws back the curtain and disappears into
the darkness.
CONTINUED: (3)
Then—METAL DOORS ARE SLAMMED behind Brody and we realize that he has
actually run into the back of a Nazi TROOP TRUCK.
SALLAH runs after the Truck until he reaches a wall, then leans against the wall
dejectedly as the Truck drives away with BRODY inside.
INT. CASTLE ROOM - DAY
The room is dark. Ancient, floor-length drapes cover the windows. A HUGE
FIREPLACE that's nearly large enough for a man to stand upright in dominates
one wall.
The NAZI GUARDS have tied INDY and HENRY back-to-back in a pair of chairs.
ELSA and DONOVAN stand over them. VOGEL enters.
HENRY
Intolerable.
VOGEL
Doctor Schneider. Message from
Berlin. You must return immediately:
a rally at the Institute of Aryan
Culture.
ELSA
So?
VOGEL
Your presence on the platform is
requested... at the highest level.
ELSA
Thank you, Herr Oberst.
(to DONOVAN)
I will meet you at Iskenderun.
DONOVAN
Take this Diary to the Reich
Museum in Berlin. It will show
them our progress, ahead of
schedule. Without a map, I'm
afraid it's no better than a
souvenir.
He hands her the Grail Diary.
VOGEL
(to DONOVAN, meaning
Indy and Henry)
Let me kill them now.
CONTINUED:
ELSA
No. If we fail to recover the
pages from Brody, we'll need them
alive.
DONOVAN
(to VOGEL, with a
helpless shrug)
Always do what the doctor orders.
DONOVAN leads VOGEL out. The NAZI GUARDS follow. Once they are gone,
ELSA turns to INDY.
ELSA
Don't look at me like that—we
both wanted the Grail, I would
have done anything to get it.
You would have done the same.
INDY shakes his head "no."
INDY
I'm sorry you think so.
She runs her hand down the side of his face. INDY pulls away.
INDY and HENRY are still tied back-to-back of course. ELSA bends to speak
quietly into INDY's ear... which is near enough to Henry's ear.
ELSA
(whispers)
I can't forget... how wonderful
it was.
HENRY
Thank you. It was rather wonderful.
She smiles and kisses INDY passionately. HENRY glances back and looks rather
disappointed.
VOGEL appears to remind ELSA of her appointment.
VOGEL
Doctor Schneider! Your car is
waiting.
ELSA
(to INDY, after
finishing the kiss)
That's how Austrians say goodbye.
ELSA exits. VOGEL stays behind for another moment.
CONTINUED: (2)
VOGEL
And this is how we say goodbye in
Germany, Doctor Jones.
VOGEL punches INDY in the jaw. A hard and vicious jab that snaps Indy's head
around.
HENRY
Ohh. . .
VOGEL exits. INDY shakes his head clear.
INDY
(to himself)
Ooooh... I like the Austrian way
better.
HENRY
So did I.
INDY
Let's try and get these ropes
loose. We've got to get to Marcus
before the Nazis do!
HENRY
(confused)
You said he had two days' start.
That he would blend in. Disappear!
INDY
Are you kidding?—I made that
up! You know Marcus—he got
lost once in his own museum!
Indy and Henry are pulling at the ropes with great urgency.
INDY
Can you try and reach into my
left jacket pocket?
HENRY is able to wiggle his hand towards Indy's coat pocket. INDY squirms his
body around towards Henry's hand.
HENRY
What am I looking for?
INDY
My lucky charm.
HENRY
Feels like a cigarette lighter.
CONTINUED: (3)
INDY
Try and burn through the ropes.
HENRY's fingers open the lighter and ignite the flame.
HENRY
Very good.
HENRY yelps as the cigarette lighter burns his hand. He drops the lighter to the
floor. Henry kicks at the lighter, trying to reach it, but cannot. The rug starts to
burn. INDY doesn't know it yet.
HENRY
I ought to tell you something.
INDY
Don't get sentimental now Dad—
save it 'til we get out of here.
HENRY
The floor's on fire! See?!
INDY
(turns and sees)
What???
HENRY
And the chair.
INDY
All right, movel Move! Rock
your Chair. Do what I do.
They begin to rock their chair legs, inching their way off the burning carpet.
EXT. CASTLE - DAY
as ELSA is driven away. VOGEL and DONOVAN remain behind, flanked by NAZI
SOLDIERS .
Another car pulls up and VOGEL holds the door open for DONOVAN who gets into
the rear seat. A LIEUTENANT approaches with a written message for Donovan.
LIEUTENANT
Etwas wichtig, mein Herr.
DONOVAN puts on his glasses to read the message.
DONOVAN
Well, we have Marcus Brody. But
more important, we have the map.
A RADIO OPERATOR steps forward with yet another written message for
DONOVAN.
CONTINUED:
RADIO OPERATOR
Aus Berlin, mein Herr.
DONOVAN
(reading)
"By the personal command of the
Fuhrer. Secrecy essential to
success. Eliminate the American
conspirators."
(to VOGEL)
Germany has declared war on the
Jones boys.
(to DRIVER)
Los fahren.
The car drives off.
INT. CASTLE ROOM - DAY
INDY and HENRY are still in their chairs, tied back-to-back. Indy tries to
communicate with Henry, but each time he calls him, the men turn their heads in
opposite directions.
INDY
Dad!
HENRY
What?
INDY
Dad!
HENRY
What?
INDY
Dad!
Finally they turn their heads in the same direction.
HENRY
What?
INDY
Head for the fireplace!
HENRY
Oh.
BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE
FIREPLACE—the only safe place from the now ROARING FIRE.
CONTINUED:
INDY
I think I can get these ropes
off.
Indy struggles to free his hands. His foot kicks out and accidentally hits a metal
grill that operates a Secret Door.
INDY
Whoopsl
The fireplace floor rotates like a Lazy Susan and Indy and his father find
themselves in the:
INT. RADIO ROOM - DAY
where a NAZI RADIOMAN wearing headphones sits at an elaborate panel of dials,
switches and meters, and a WOMAN stands over a map plotting coordinates.
Their backs are turned to INDY and HENRY.
The floor begins to rotate again, and INDY and HENRY find themselves back in:
INT. CASTLE ROOM - DAY
inside the fireplace, still tied back-to-back.
HENRY
Our situation has not improved.
INDY glances over his shoulder at HENRY.
INDY
Listen Dad... I'm almost free.
INDY's foot hits the grill again... and the fireplace rotates to:
INT. RADIO ROOM - DAY
FOUR NAZI RADIOMEN and the WOMAN are still hard at work with controls and
coordinates. Suddenly the Woman looks up and spots HENRY and INDY. She
screams.
WOMAN
Alarm!
Now the RADIOMEN turn to see HENRY and INDY.
WOMAN
Schnel!!
TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at INDY and HENRY
INT. CASTLE ROOM - DAWN
INDY and HENRY rotate into the room which is now an INFERNO. The carpet,
drapes and furniture are all ablaze.
HENRY
This is intolerable!
INDY
I'm out, Dad!
INDY finally breaks free. And he immediately begins to untie his father.
HENRY
Well done, boy!
INT. RADIO ROOM - DAY
All FOUR RADIOMEN now have their guns drawn. They activate the lever and
begin to rotate through the Secret Door.
INT. CASTLE ROOM - DAY
The RADIOMEN appear in the fireplace on the other side—but there is NO SIGN
OF INDY AND HENRY.
The RADIOMEN move cautiously toward the flame, shielding their faces with one
hand, holding their guns with the other. Is it possible that INDY and HENRY
escaped through these flames?
Not a chance.
They've hidden themselves UP THE CHIMNEY. And now they DROP DOWN,
BEHIND the RADIOMEN.
One of the RADIOMEN grabs INDY by the neck. As they struggle they fall against
the rotating wall and disappear into the next room, leaving a frightened HENRY
behind.
HENRY presses against the wall, which rotates again. As he disappears into the
next room, a DEAD NAZI RADIOMAN swivels into the room. The other NAZIS
rush forward to him.
INT. RADIO ROOM - DAY
INDY picks up a BUST OF HITLER and uses it to jam the rotating wall in place,
sealing the NAZIS inside the burning room.
INT. CASTLE HALLWAY- DAY
Vogel strides purposefully down the hallway. He BARKS an order, and TWO
MORE NAZIS fall into step with him.
INT. RADIO ROOM - DAY
INDY grabs his whip, his leather sack and Henry's case from a table. He hands
the case to HENRY and they begin to run.
INDY
Come on Dad.
INT. SECRET ROOM - DAY
INDY and HENRY step into an empty room.
INDY
Dead end.
HENRY looks horrified by what he's been forced to do as INDY searches
frantically for an exit.
INDY
There's got to be a... a secret
door around. A passageway or
something.
INDY begins to run his hands over the walls—frantic.
HENRY
I find that if I just sit down
and think...
HENRY sits on a chair which tips back, hitting the wall behind it. The floor at
INDY's feet suddenly begins DROPPING AWAYI
INDY grabs a railing to keep from falling, but loses his grip and plunges through
the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs.
INDY
Dad!
HENRY
... the solution presents itself.
HENRY follows INDY down the staircase.
INT. CAVERN/UNDERGROUND HARBOR - DAY
The stairway deposits Indy and Henry into an enormous WATERY CAVERN
beneath the mountain on which the castle was built.
A full-scale Nazi BOAT DOCK has been built inside the cavern. We see
MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc.
INDY
Great. More boats.
CONTINUED:
INDY boards one of the motorboats and STARTS THE MOTOR.
HENRY
Would you say this has been just
another typical day for you? Huh?
HENRY tosses his case at INDY who catches it and angrily throws it back to his
father.
INDY
(ironically)
Ooofl No! It's been better than
most.
INDY moves back to the dock and pushes the boat away. HENRY looks confused.
INDY
Come on, Dad. Come onl
HENRY
What about the boat? We're not
going on the boat?
INT. SECRET ROOM - DAY
VOGEL and the NAZI SOLDIERS enter the room and spot the spiral staircase
leading below. They quickly descend the stairs.
INT. CAVERN/UNDERGROUND HARBOR - DAY
as VOGEL and the NAZI SOLDIERS rush to the dock. Vogel sees that a motorboat
is missing. He orders the Nazi Soldiers into a boat.
VOGEL
Sie alle ins Boat. Schnell!
CAMERA PULLS BACK TO REVEAL a large box which suddenly BREAKS APART
as INDY, now on a motorbike with HENRY in the sidecar, ROARS PAST THE
DOCK, hitting TWO NAZI SOLDIERS who scream as they fall into the river.
VOGEL screams after INDY and HENRY as they drive off.
STRAIGHT CUT TO:
EXT. COUNTRY ROAD - DAY
INDY looks pleased as he drives the motorbike along the road, but HENRY
appears worried.
INDY
Ha!
FOUR NAZI SOLDIERS ON MOTORCYCLES
They chase down the road after INDY and HENRY.
INDY turns the motorbike down a smaller, dusty tree-lined road. HENRY gasps
as he is jostled about in the sidecar. One of the NAZI SOLDIERS gives chase along
a higher road running in the same direction.
EXT. ROAD BARRICADE - DAY
INDY approaches the barricade from one direction as one of the NAZI SOLDIERS
approaches from a higher road.
A GUARD steps from the road station and calls to the vehicles as INDY and
HENRY SMASH THROUGH THE BARRICADE.
GUARD
Halt! Halt!
THE NAZI SOLDIER rides his motorcycle through the other side of the barrier--
IT SHATTERS.
INDY AND HENRY
INDY grabs at a FLAGPOLE as they roar past—it snaps off in his hand.
The NAZI SOLDIER drives his motorcycle toward INDY and HENRY. He
unshoulders his machine gun.
INDY uses the broken flagpole as a lance and knocks the NAZI SOLDIER from his
motorcycle.
THE RIDERLESS MOTORCYCLE
drives on toward the other NAZI SOLDIERS now approaching the guardhouse,
COLLIDING WITH TWO OF THEM.
The remaining NAZI SOLDIER maneuvers his motorcycle around his fallen
comrades and continues the chase.
INDY AND HENRY
As the remaining NAZI SOLDIER rides alongside their motorbike he cocks his gun,
preparing to fire.
INDY quickly jams the remaining portion of the flagpole through the spokes of the
Nazi's front wheel.
The NAZI SOLDIER'S MOTORCYCLE FLIPS THREE TIMES, throwing him high into
the air.
CONTINUED:
INDY glances back and smiles, but the smile fades as he looks forward again to
see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the
way to BERLIN or VENEDIG.
Indy starts down the road marked VENEDIG.
HENRY
Stop!
INDY
What?
HENRY
Stop! Stop!
The motorbike skids to a stop.
HENRY
You're going the wrong Way! We
have to get to Berlin!
INDY
(pointing towards
Venedig)
Brody's this way.
HENRY
My Diary's in Berlin.
INDY
You don't need the Diary, Dad.
Marcus has the map.
HENRY
There is more in the Diary than
just the map.
INDY
All right Dad—tell me.
HENRY
Well, he who finds the Grail must
face the final challenge.
INDY
What final challenge?
HENRY
Three devices of such lethal
cunning.
INDY
Booby traps?
CONTINUED: (2)
HENRY
Oh, yes. But I found the clues
that will safely take us through,
in the Chronicles of St. Anselm.
INDY
But what are they? Can't you
remember?
HENRY
I wrote them down in my Diary so
that I wouldn't have to remember
INDY
Half the German Army's on our
tail and you want me to go to
Berlin? Into the lion's den?
HENRY
Yes! The only thing that matters
is the Grail.
INDY
What about Marcus?
HENRY
Marcus would agree with me.
INDY
Two selfless martyrs. Jesus
Christl
HENRY slaps him across the face. INDY is rocked to his foundations, not by any
means entirely by the blow itself.
HENRY
That's for blasphemy. The quest
for the Grail is not archaeology.
It's a race against evil.
If it is captured by the Nazis,
the armies of darkness will march
all over the face of the earth.
Do you understand me?
INDY
This is an obsession Dad. I never
understood it. Never. Neither
did Mom.
HENRY
Oh yes, she did. Only too well.
Unfortunately she kept her illness
from me until all I could do was
mourn her.
EXT. CROSSROADS - DAY
Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES
IN on the portion of the sign reading BERLIN.
EXT. CITY SQUARE - BERLIN - NIGHT
A Nazi Rally—a book-burning is in process.
The mound of burning books is ten feet tall and growing by the minute as College
Students and Nazi Brownshirts continually toss more books onto the fire.
Flags, banners and standards displaying the swastika are waved rhythmically
from side to side in a motion that echoes the mounting frenzy of the enormous
crowd.
INDY and HENRY walk toward the Square. Indy wears the uniform of a Nazi
Soldier. He is now buttoning up the tunic—which happens to be several sizes
too big.
HENRY
My boy, we are Pilgrims in an
unholy land.
Then... Indy sees something that makes him stop in his tracks. WE PAN ALONG
HIS LINE OF SIGHT to:
THE PODIUM
where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as
they oversee the rally.
ANOTHER ANGLE
ELSA is walking away in an open area, background of torches, vehicles, Nazi
Officers... one of whom is now none other than INDY, coming up to her before she
knows he is there. His voice is quiet and tough, his eyes hard.
INDY
Fraulein Doctor. Where is it?
Still startled, her reaction makes it clear that Indy is even now a lover in her
thoughts.
ELSA
How did you get here?
INDY
Where is it? I want it.
INDY pushes ELSA against a column and begins to search her clothing for the
Diary. He pulls the book from Elsa's pocket.
CONTINUED:
ELSA
You came back for the book?
Whv?
INDY
My father didn't want it
incinerated.
She understands him. It's as though he slapped her.
ELSA
Is that what you think of me?
I believe in the Grail, not the
Swastika.
INDY
(vicious)
Yet you stood up to be counted
with the enemy of everything the
Grail stands for—who gives a
damn what you think?
ELSA
(hard and fast)
You do.
Now it's as though she'd slapped him back. His hands fly to her neck.
INDY
All I have to do is squeeze.
ELSA
All I have to do is scream.
It's a standoff emotionally. He knows he'd never do it. she knows it too. And
the same goes for screaming.
INDY releases her and backs away. she looks at him with a lover's pain. He
moves over to HENRY.
INDY
I've got it. Let's get the hell
out of here.
They move off and almost run headlong into HITLER and his entire entourage
coming down from the Podium. 50 kids push their autograph books for Hitler's
signature.
HITLER pauses to sign them. Hitler looks Indy's way. They make eye contact. It
only lasts a moment but the moment is electric.
HITLER breaks the spell by taking the Grail Diary from him, opens it to the first
page and signs his autograph. He hands it back and moves on.
EXT. AIRFIELD - BERLIN, GERMANY- DAY
Indy's motorcycle pulls up to the main terminal.
INT. TERMINAL BUILDING - DAY
A Plainclothes Agent distributes leaflets bearing HENRY'S PICTURE to Nazi
Soldiers inside the terminal.
HENRY leans in a doorway reading a newspaper as INDY enters down the stairs
and taps Henry's shoulder.
They begin to walk toward the boarding gates.
HENRY
What did you get?
INDY
I don't know. The first available
flight out of Germany.
HENRY
Good.
INDY and HENRY show their papers to the Boarding Guards, then join the line of
passengers, which has already begun to move toward a:
MOORED ZEPPELIN
Ten stories tall and longer than two football fields: Flying in the grand tradition!
INT. THE ZEPPELIN - PASSENGER COMPARTMENT - DAY
The Zeppelin is about to take off. INDY and HENRY make themselves comfortable
in one of the compartments.
INDY
Well, we made it.
HENRY looks over his newspaper at INDY.
HENRY
When we're airborne, with Germany
behind us, then I'll share that
sentiment.
INDY
Relax.
But INDY looks out the window and is suddenly concerned when he sees:
VOGEL AND A GESTAPO AGENT
rushing across the tarmac toward the Zeppelin.
VOGEL
Nicht zumachen! Wir steigen ein!
INDY
sits back in his chair, looks to HENRY, now reading his newspaper.
A STEWARD enters and sets a bowl of nuts on the table in front of INDY and
HENRY, then continues down the aisle of passengers. Indy follows after the
Steward. He puts his arm around the Steward's shoulder and together they walk
up a flight of stairs.
VOGEL
now walks up the aisle. He approaches a MALE PASSENGER hidden behind a
newspaper. VOGEL uses his walking stick to lower the newspaper and show the
Passenger the leaflet with Henry's photograph.
VOGEL
Haben sie disen Mann gesehen?
The Passengers at the table shake their heads in the negative. VOGEL shows the
picture to other Passengers.
FEMALE PASSENGER
Nein.
INDY (O.S.)
Fahrscheine, bitte.
MALE PASSENGER
Nein.
VOGEL turns to see:
INDY
WEARING THE HAT AND JACKET OF THE CHIEF STEWARD.
MALE PASSENGER (O.S.)
Ich habe ihn night gesehen.
INDY
Tickets please.
The Passengers do not react to the request, made in English.
INDY
Fahrscheine meine Dame. Bitte.
VOGEL
approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his
walking stick to lower the paper, revealing Henry's face.
VOGEL
Guten Tag, Herr Jones.
Now INDY, still playing the role of Steward, asks VOGEL for his ticket.
INDY
Fahrscheine meine Herr.
VOGEL
Weg.
INDY
Tickets please.
HENRY looks confused.
VOGEL
(in German)
Was?
VOGEL glances up and recognizes INDY—who quickly punches Vogel in the face,
knocking him toward the window. In another quick move, Indy TOSSES HIM OUT
THE WINDOW onto the tarmac below.
Shocked Passengers blink in bewilderment.
INDY
(in German; with a
shrug)
No ticket.
Everyone else with a ticket quickly produces it and waves it in Indy's face.
EXT. AIRFIELD TARMAC - DAY
VOGEL gets to his knees as the huge Zeppelin rises into the sky above him,
revealing an airplane attached to the belly of the airship. Vogel shakes his fist at
the rising Zeppelin.
VOGEL
Du wirst nochmal boren von mir!
INT. ZEPPELIN - DAY
INDY and HENRY together again in their compartment.
HENRY
You know, sharing your adventures
is an interesting experience.
CONTINUED:
INDY
(meaning ELSA)
That's not all we shared. It's
disgraceful. You're old enough to
be her fa---er, her grandfather!
HENRY
Well, I'm as human as the next
man.
INDY
I was the next man.
HENRY
(laughs)
Ships that pass in the night...
HENRY opens his Diary and begins to thumb through it.
INDY
Do you remember the last time we
had a quiet drink? I had a milk
shake.
HENRY
Hmmm... What did we talk about?
INDY
We didn't talk. We never talked.
HENRY
And do I detect a rebuke?
INDY
A regret. It was just the two of
us, Dad. It was a lonely way to
grow up. For you, too. If you
had been an ordinary, average
father like the other guys' dads,
you'd have understood that.
HENRY
Actually, I was a wonderful father.
INDY
When?
HENRY looks up from his Diary.
HENRY
Did I ever tell you to eat up?
Go to bed? Wash your ears? Do
your homework? No. I respected
your privacy and I taught you self-
reliance.
CONTINUED: (2)
INDY
What you taught me was that I was
less important to you than people
who had been dead for five hundred
years in another country. And I
learned it so well that we've
hardly spoken for twenty years.
HENRY
You left just when you were
becoming interesting.
INDY
Dad, how can you --?
HENRY
(interrupting)
Very well. I'm here now.
He closes the Diary and leans back in his seat.
HENRY
What do you want to talk about?
Hmmm?
INDY stutters uncomfortably as HENRY stares at him, waiting for a response.
INDY
(laughs)
Well... I can't think of anything.
HENRY
Then what are you complaining
about?
(laughs)
Look, we have work to do. When
we get to Alexandretta we will
face three challenges.
(he reads from the
Diary)
"First, the breath of God. Only
the penitent man will pass.
Second, the Word of God, only in
the footsteps of God will he
proceed. Third, the Path of God,
only in the leap from the lion's
head will he prove his worth. "
INDY
What does that mean?
HENRY
(laughs)
I don't know. We'll find out.
CONTINUED: (3)
Sunlight falls across the table from the window. INDY reaches for the drink. The
bar of sunlight turns like the hand of a clock over the tabletop across the drinks.
We see INDY puzzled. Only for a moment.
INDY
They're turning around. They're
taking us back to Germany.
INT. FRAMEWORK OF ZEPPELIN - DAY
INDY and his father emerge from the hatchway into the belly of the Zeppelin.
The Zeppelin's elaborate metal framework is exposed.
INDY and HENRY hurry down the catwalk until arriving at a PAIR OF
DOORWAYS framed into the Zeppelin's outer skin.
INDY
Well, I thought it would take
them a lot longer to figure out
the radio was dead. Come on,
Dad. Move!
Then INDY opens the doors. We see plenty of blue sky and white clouds. We also
see a small BIPLANE that is suspended from the Zeppelin by a HOOK & CRANE
DEVICE.
INDY
Come on, Dad. Come on!
EXT. AIRPLANE - DAY
INDY climbs into the cockpit of the Biplane as HENRY takes the tail gunner's
seat.
HENRY
(with delight)
I didn't know you could fly a
plane.
INDY
Fly--yes. Land--no.
INT. THE BIPLANE - DAY
INDY turns in his seat to give HENRY the "thumbs up." Henry smiles valiantly
and points down to the ground.
Then they both become aware of a STRANGE SOUND in the skies behind them.
Something between a ROAR and a WAIL.
TWO MESSERSCHMIDT FIGHTER BOMBERS
streak out of the clouds and race across the sky.
INDY AND HENRY
shrink in their seats as the MESSERSCHMIDTS (going three times as fast as they
are) SCREAM past on either side.
INDY
Dad, you're gonna have to use the
machine gun. Get it ready.
HENRY turns and grips the MOUNTED MACHINE GUN with a perplexed
expression.
INDY
(turning; pointing)
Eleven o'clock!
HENRY pulls out his watch.
INDY
Dad—eleven o'clock!!
HENRY
What happens at eleven o'clock?
INDY uses his arm to demonstrate that he's referring to a direction and not a
time.
INDY
(frustrated)
Twelve—eleven—ten. Eleven
o'clock. Fire!
HENRY does—and the EXPLODING GUN nearly shakes him out of his seat.
Indy's slow speed and small size works to his advantage. The speeding
Messerschmidts continually overshoot him, WHIZZING past in a blur—making
wide turns miles away in the sky.
HENRY has one of the Messerschmidts in his sight. He pulls back on the trigger
--RATTA-A-TAT-TAT! RATTA-A-TAT-TAT!
The Messerschmidt banks to the left, but HENRY keeps it in his gun sight. Henry
swings the gun around, inadvertently CUTTING HIS OWN REAR STABILIZER IN
HALF.
INDY
Dad, are we hit?!
HENRY
More or less.
CONTINUED:
HENRY
Son, I'm sorry. They got us.
INDY looks back at the missing tail section, then at his father.
The plane begins to go down. INDY struggles to control its descent.
INDY
Hang on, Dads We're going in!
HENRY slumps down fearfully in his seat.
EXT. A FIELD - DAY
The wheels of the plane touch down. OUT OF CONTROL, the PLANE SKIDS and
CRASHES first into a corral of goats and then into the farmhouse beyond sending
a cloud of dust into the air.
As INDY pulls himself from the cockpit:
HENRY
(sarcastic)
Nice landing.
INDY
Thanks.
Suddenly, INDY's attention is directed to:
TWO SCREAMING MESSERSCHMIDTS
coming in low. Guns BLAZING.
As BULLETS EXPLODE around them, INDY and HENRY jump over a stone
barricade. Henry, frightened, grabs at Indy.
HENRY
Those people are trying to kill
us!
INDY
I know, Dadl
HENRY
It's a new experience for me.
INDY
It happens to me all the time.
EXT. ROAD - DAY
An OLD MAN kneels at his car repairing a rear tire.
THE MAN
turns to the wheel, the hubcap in his hands. Suddenly the wheel moves forward,
startling the Old Man.
INT. THE CAR - TRAVELING - DAY
INDY has the throttle down, both hands tightly gripping the steering wheel.
HENRY is a very nervous passenger.
INDY sees a LOW-FLYING MESSERSCHMIDT coming up behind him in the SIDE
MIRROR.
As the Messerschmidt ROARS by overhead, BULLETS EXPLODE around them,
narrowly missing the car.
HENRY
This is intolerable!
INDY
This could be close.
EXT. THE ROAD - LONG SHOT - DAY
The car races toward a TUNNEL that cuts through a steep MOUNTAINSIDE.
The Messerschmidt bears down on Indy's car, machine guns CHATTERING.
The car ENTERS the tunnel. The Messerschmidt cannot pull up in time. It
SLAMS into the MOUTH OF THE TUNNEL, SHEARING OFF its WINGS.
INT. THE TUNNEL - DAY
The FLAMING FUSELAGE continues to ROCKET through the tunnel like a bullet
down the muzzle of a gun. SPARKS fly as its belly SCRAPES against the
pavement and the sides of the tunnel.
INT. THE CAR - DAY
Indy and Henry look over their shoulders to see this wingless BALL OF FIRE
gaining on them; about to overtake them.
HENRY
Faster, boy --faster!
EXT. THE ROAD - OTHER SIDE OF THE MOUNTAIN - DAY
The car exits the tunnel at top speed and veers off the
road. The flaming Messerschmidt fuselage shoots past and
EXPLODES in the middle of the road.
INT. THE CAR - DAY
As the car emerges safely from the flames, Henry wipes the sweat from his brow.
HENRY
Well, they don't come any closer
than that!
HENRY looks out the windshield and sees the second Messerschmidt SCREAMING
out of the sky toward them.
EXT. THE ROAD - LONG SHOT - DAY
The MESSERSCHMIDT drops its single UNDER-FUSELAGE BOMB. It EXPLODES in
the road directly ahead of the car, missing it by only several feet.
THE CAR
FALLS INTO THE HOLE made by the bomb.
DISSOLVE TO:
EXT. ROAD - DAY
INDY climbs out of the car, still in the bomb crater. He turns back to HENRY.
INDY
Dad, he's coming back.
INDY and HENRY run down the mountainside to:
A DESERTED MEDITERRANEAN BEACH - DAY
INDY and HENRY run to the shoreline. Indy reaches for his gun, tucked in his
pants. He opens the chamber—the GUN HAS NO BULLETS.
THE MESSERSCHMIDT
swings around and is coming in for another pass.
INDY AND HENRY
exchange a wordless glance. They don't even think about running: there is no
place to run to. HENRY hands his case to INDY.
Holding his umbrella, HENRY suddenly spins around and runs screaming and
shouting into A FLOCK OF SEA GULLS...
THE SEA GULLS take to the wing in flight. Thousands of them.
INDY
Bullets kick up sand leading up to him... then—
THE MESSERSCHMIDT AND THE SEA GULLS meet in midair. MASSACRE! Sea
gulls are shredded by the Messerschmidt's whirling propeller blades into a
FEATHERY WHITE PUREE that SPLATTERS against the cockpit and CLOGS THE
ENGINE.
ENGINE SPUTTERS... STALLS... Silence. The Messerschmidt falls from the skies
and EXPLODES in an OFF CAMERA SOUND EFFECT.
INDY stands as before—stunned—a statue.
HENRY walks back to INDY.
HENRY
I suddenly remembered Charlemagne.
"Let my armies be the rocks and the
trees and the birds in the sky."
(he chuckles)
INDY wears a proud expression as he watches HENRY walk down the beach.
EXT. MOSQUE - DAY
FADE IN TITLE: "REPUBLIC OF HATAY"
FADE OUT TITLE.
EXT. COURTYARD OF SULTAN'S PALACE - ISKENDERUN - DAY
The SULTAN is seated in his royal chair, flanked by WALTER DONOVAN and
VOGEL and surrounded by his minions.
DONOVAN holds the missing Grail Diary pages.
DONOVAN
These pages are taken from Professor
Jones' diary, Your Highness. And
they include a map that pinpoints
the exact location of the Grail.
DONOVAN and the SULTAN walk together through an archway.
DONOVAN
As you can see, the Grail is all
but in our hands.
(beat)
However, Your Highness, we
would not think of crossing your
soil without your permission,
nor of removing the Grail from
your borders without suitable
compensation.
CONTINUED:
SULTAN
What have you brought?
VOGEL
Bring den Schatzl
TWO NAZI SOLDIERS bring forward a HUGE STEAMER TRUNK. They open the lid
and begin to empty it of its contents:
Gold and silver objects of every description.
DONOVAN
Precious valuables, Your Highness,
"donated" by some of the finest
families in all of Germany.
The SULTAN gets up from his chair and walks toward the trunk. He goes right
past it and begins to inspect the Nazi staff car parked nearby.
SULTAN
Rolls-Royce Phantom Two. 4.3
litre, 30 horsepower, six cylinder
engine, with Stromberg Downdraft
carburetor.
The SULTAN points to the engine under the hood.
SULTAN
Can go from zero to 100 kilometres
an hour in 12.5 seconds. And I
even like the color.
DONOVAN
(after a beat)
The keys are in the ignition,
Your Highness.
SULTAN
You shall have camels, horses, an
armed escort, provisions, desert
vehicles—and tanksl
DONOVAN
You're welcome.
Somebody else is also taking note...and we see that it is KAZIM, the spy at the
court.
ELSA is revealed coming down the stairs toward DONOVAN and VOGEL.
ELSA
We have no time to lose. Indiana
Jones and his father have escaped.
EXT. ISKENDERUN STREET - DAY
SALLAH drives his car through the crowded streets, INDY beside him and HENRY
in the back seat.
SALLAH
We go this way.
SALLAH waves his arms and shouts to a CAMEL HERDER.
SALLAH
Get that camel out of the way!
INDY
What happened to Marcus, Sallah?
SALLAH
(overlapping)
Ah, they set out across the desert
this afternoon. I believe they
took Mister Brody with them.
HENRY removes his hat and hits INDY with it.
HENRY
Now they have the map! And in
this sort of race, there's no
silver medal for finishing second.
EXT. DESERT VALLEY - DAY
Elsa and Donovan's party—consisting of a SUPPLY TRUCK, OPEN CAR, TUhKISH
SOLDIERS RIDING CAMELS, SPARE HORSES AND A TANK AND VARIOUS OTHER
VEHICLES—all moving along through the ramble of this box canyon.
ELSA, DONOVAN and VOGEL travel in the open car. The TANK is a vintage World
War I model with enormous treads. The Turkish soldiers wear native dress and
carry both carbines and sabers.
BRODY sits alongside ELSA in the rear of the car carrying DONOVAN. Donovan
hands a canteen back to him.
DONOVAN
Care to wet your whistle, Marcus?
BRODY
I'd rather spit in your face.
But as I haven't got any spit...
VOGEL snatches the canteen away from BRODY before he can drink.
VOGEL
We must be within three or four
miles. Otherwise we are off the
map.
CONTINUED:
He hands the map to ELSA, drinks from the canteen, and hands that back to
DONOVAN.
DONOVAN
Well, Marcus, we are on the brink
of the recovery of the greatest
artifact in the history of mankind.
BRODY
You're meddling with powers you
cannot possibly comprehend.
HENRY and SALLAH are at INDY's side as he views Donovan's party in the
distance. Parked nearby is a CAR containing all of their supplies.
INDY
Ah, I see Brody. He seems okay.
They've got a tank. Six-pound
gun.
Then Donovan notices a reflection from the hills.
What he sees is:
THE SUN REFLECTING OFF THE LENSES OF INDY'S BINOCULARS
HENRY
What do you think you're doing?!
Get down!
INDY
Dad, we're well out of range.
At that moment the tank FIRES A SHELL in their direction.
It WHISTLES overhead and BLOWS UP THE PARKED CAR. INDY, HENRY and
SALLAH cover their heads as automobile fragments rain down upon them.
SALLAH
That car belonged to my brother-
in-law.
INDY
(gesturing to the
others)
Come on--come on!
EXT. DESERT VALLEY - DAY
VOGEL
I can't see anyone up there.
CONTINUED:
DONOVAN
Maybe it wasn't even Jones.
ELSA
No. It's him all right. He's
here somewhere.
DONOVAN
(to VOGEL)
Put Brody in the tank.
KAZIM peers over a rock, pointing his rifle at the group below.
DONOVAN
(to ELSA)
Well, in this sun, without
transportation, they're as good
as dead.
BULLETS EXPLODE off the vehicles and cliff. DONOVAN and ELSA duck.
A NAZI SOLDIER falls from the tank as BULLETS EXPLODE around him.
KAZIM'S MEN, BRETHREN OF THE CRUCIFORM SWORD, continue to FIRE. ELSA
and DONOVAN take cover beside the parked car.
DONOVAN
It's Jones, all right.
ANGLE ON INDY'S GROUP
INDY and HENRY, followed by SALLAH, take cover behind a rock to watch
Kazim's Men and the Nazi Troops exchanging fire below them.
HENRY
Now, who are all these people?
INDY
Who cares? As long as they're
keeping Donovan busy. Dad, you
stay here while Sallah and I
organize some transportation.
CUT BACK to the action. The BRETHREN are firing at the
DONOVAN party and are being fired on by the Donovan party.
TWO NAZI SOLDIERS throw HAND GRENADES into the cliffs. They EXPLODE,
killing one of Kazim's Brethren.
The battle continues—a fierce exchange of GUNSHOTS, GRENADES and
MACHINE GUN FIRE with losses on both sides.
INDY AND SALLAH
crouch behind a rock watching as men on both sides of the battle run amongst
camels and horses.
INDY
I'm going after those horses.
SALLAH
I'll take the camels.
INDY
I don't need camels.
SALLAH
But, Indy—
INDY
No camels!
DONOVAN AND ELSA
They look down at KAZIM who lies mortally wounded on the ground at their feet.
ELSA looks saddened.
DONOVAN
(re KAZIM)
Who is he?
KAZIM
A messenger from God. For the
unrighteous, the Cup of Life
holds everlasting damnation.
KAZIM dies.
INDY
leaps atop a TURKISH SOLDIER on horseback, pulling the man and the horse to
the ground. A SECOND TURK comes to assist his comrade; INDY mounts the
horse, knocking both Turks to the ground.
INT. THE TANK - DAY
BRODY has been left alone in the tank. HENRY climbs down into the tank and
taps Brody on the shoulder, startling him.
HENRY
Marcus!
BRODY
Arghhh! Oh!
CONTINUED:
They exchange an old University Club toast, swinging their arms at one another
and missing. Then HENRY flaps his arms and tugs his ears.
HENRY
"Genius of the Restoration—"
Now BRODY tugs his ears, flaps his arms and touches his head.
BRODY
"—aid our own resuscitation!"
They exchange a handshake.
BRODY
Henryl What are you doing here?!
HENRY
It's a rescue, old boys Come on.
As HENRY starts to climb out of the tank, TWO NAZI SOLDIERS DROP DOWN from
above, their Lugers drawn. They are followed by VOGEL.
VOGEL
(re HENRY)
Search him.
The NAZI SOLDIERS point their guns at HENRY and BRODY.
VOGEL
(to HENRY)
What is in this book? That
miserable little Diary of yours!
VOGEL removes a glove and slaps HENRY with it.
VOGEL
Here's the map. The book is
useless, and yet you come all the
way back to Berlin to get it.
Why?
He slaps HENRY again.
VOGEL
What are you hiding?
Another slap.
VOGEL
What does the Diary tell you that
it doesn't tell us?!
VOGEL reaches out to slap HENRY yet again, but Henry grabs his arm, stopping
him.
CONTINUED: (2)
HENRY
It tells me that goose-stepping
morons like yourself should try
reading books instead of burning
them.
DONOVAN appears at the turret cover.
DONOVAN
Colonel? Jones is getting away.
VOGEL
(indicating HENRY)
I think not, Herr Donovan.
EXT. TANK - DAY
DONOVAN
Not that Jones—the other Jones!
NAZI SOLDIER
Herr Colonel!
EXT. DESERT VALLEY - DAY
INDY rides away on one horse, leading three others as he goes.
SALLAH approaches on horseback leading five camels.
INDY
Sallah, I said no camels! That's
five camels. Can't you Count?
SALLAH
Compensation for my brother-in-
law's car. Indy, your father and
Brody—
INDY
Where's my father?
SALLAH
They have them. In the belly of
that steel beast.
INDY and SALLAH charge forward leading their horses and camels.
Then VOGEL commands the Tank Driver to give chase.
INT. TANK - DAY
VOGEL shouts to the Tank Driver.
VOGEL
Fire!
EXT. DESERT VALLEY - DAY
The tank starts firing at INDY on horseback. Indy zigs and zags as the tank fires
two rounds at Indy, barely missing him. Each time Indy emerges from the plume
of desert dust, hanging like a toadstool in the air.
INT. TANK- DAY
HENRY and BRODY hold their hands over their ears.
EXT. DESERT VALLEY - DAY
DONOVAN shouts orders to the Troops. INDY is followed by various vehicles in
the caravan.
INDY notices that the side gun that is now firing at him can only pivot so far.
Indy makes a mental note of this and while riding right in front of the tank,
turns his horse completely around, 180 degrees. The tank starts to follow.
POV THROUGH THE VIEWING PORT
VOGEL watches the ground turning 180 degrees as he tries to catch up with
INDY.
Cleverly, INDY has turned the tank directly into a head-on
collision course with some of the pursuit vehicles and a Kubelwagon.
The tank and the Kubelwagon smash into each other, the German military sedan
becoming lodged between the treads while blocking the front view and any use of
the six-pound cannon on the turret.
INDY, meanwhile, leans down on his horse, scooping up a stone from the wall of
a culvert. He reigns his horse, paralleling the tank, as everyone scurries about
inside, looking through viewing ports, trying to figure out exactly where Indy is.
INT. TANK- DAY
VOGEL shouts to the Gunner.
VOGEL
Der Kubelwagon sprengen!
The Gunner puts a shell into the large gun. He FIRES, CATAPULTING THE
KUBELWAGON into the air, where it EXPLODES. The tank drives through the
resulting smoke an dust, then rolls over the Kubelwagon, crushing it
EXT. DESERT VALLEY - DAY
INDY gallops up to the side cannon and jams the stone down the barrel, lodging
several rocks inside. Then he steers his horse directly in range of that gun.
INT. TANK - DAY
A NAZI SOLDIER pushes HENRY away from the window.
NAZI SOLDIER
Keine Bewegung.
He points his gun at HENRY and BRODY.
NAZI SOLDIER
Keine Bewegung.
The smaller gun, blocked by the rocks, BACKFIRES, blowing the breech out into
the face of the gunner, killing him and filling the tank with smoke.
BRODY, HENRY, VOGEL and the driver begin to choke.
EXT. DESERT VALLEY - DAY
INDY rides his horse alongside the tank.
INDY
Dad! Dad! Dad!
INT. TANK - DAY
HENRY and BRODY still held at gunpoint by the NAZI SOLDIER.
HENRY
Junior? Junior? Junior!
The NAZI SOLDIER swings his fist, knocking HENRY off his seat.
EXT. DESERT VALLEY - DAY
Smoke pours from the top of the tank as the turret pops open. VOGEL emerges
and aims his gun at INDY.
INDY and VOGEL EXCHANGE SHOTS as Indy chases the tank on his horse.
INDY pulls the trigger again—his gun is empty! Indy immediately takes the
high trail.
Now INDY is above the tank twelve feet on a paralleling trail. He moves out of
the saddle and leaps from the speeding horse onto the trundling tank.
CLOSE UP - VOGEL
Hate-staring at INDY
CLOSE UP - INDY
Hate-staring back at VOGEL.
Suddenly, from nowhere a German soldier flies INTO FRAME, tackling Indy.
CUT TO:
SIDE ANGLE
One of the two troop carriers is paralleling the tank and like pirates boarding a
galleon, Nazi Soldiers leap over the treads and are swarming all over INDY.
INDY is struggling with a German's Luger.
INDY presses the luger against his assailant and forces the Nazi to squeeze off a
shot into himself. The bullet not only passes through the Nazi, but passes
through two other Nazis standing directly behind him on the crowded tank top
and three bodies fall away, leaving Indy to stare at the gun in disbelief.
Another Soldier leaps from the truck onto the tank and raises his knife as he
grabs INDY. They struggle and fall.
INDY sits up to see VOGEL standing over him. Vogel wraps a chain around Indy's
neck.
INT. TANK- DAY
INDY appears at the entrance, the chain still wrapped about his neck and held by
VOGEL.
INDY
Dad!
He drops the gun down into the tank.
INDY
Dad! Dadl Get it!
VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around
his neck.
EXT. TANK - DAY
A NAZI SOLDIER approaches.
INDY hits him, knocking him onto the tank tread. The Nazi Soldier screams as he
is dragged under the rolling tank.
Now INDY and VOGEL struggle with one another, the chain still wrapped around
Indy's neck.
INT. TANK- DAY
THROUGH THE PERISCOPE
We SEE INDY and VOGEL struggling atop the tank. Indy lifts his feet, lunging
toward the periscope and pulling Vogel with him.
INDY's face is pressed up against the lens of the periscope.
INT. TANK - DAY
The NAZI SOLDIER looking through the periscope pulls away from it, smiles, then
turns back to it.
THROUGH THE PERISCOPE
INDY's face, still pressed against the lens.
VOGEL pulls INDY from the periscope.
INT. TANK - DAY
The NAZI SOLDIER pulls away from the periscope again.
PERISCOPE SOLDIER
(laughing)
Diese Amerikane. Sie Kampfen wie
Weiber.
EXT. TANK - DAY
INDY now lies on top of VOGEL. He kicks out at the periscope which spins
around.
INT. TANK - DAY
The periscope handle spins around and hits the PERISCOPE SOLDIER in the head.
He falls against the NAZI SOLDIER guarding HENRY and BRODY.
HENRY pushes the NAZI SOLDIER aside and grabs the gun. The PERISCOPE
SOLDIER struggles to take the gun from Henry.
EXT. TANK- DAY
VOGEL holds the chain around INDY's neck, pushing his head downward toward
the revolving tread.
INT. TANK - DAY
The PERISCOPE SOLDIER holds HENRY from behind, forcing the gun toward him.
Henry reaches down and pulls a fountain pen from his coat pocket.
CONTINUED:
As the PERISCOPE SOLDIER pulls on HENRY's face, Henry lifts the fountain pen
and squirts ink into his face. The Soldier falls, his head smashing into the wall of
the tank. At the same time, Henry loses his grip on the gun which falls to the
floor.
BRODY
Henry, the pen—
HENRY
What?
BRODY
But don't you see? The pen is
mightier than the sword.
EXT. DESERT VALLEY - DAY
A troop truck pulls near the tank.
INT. TANK- DAY
HENRY fires the TANK GUN at the troop truck. SOLDIERS FLY INTO THE AIR.
The TROOP TRUCK flips over and EXPLODES.
EXT. TANK - DAY
The EXPLOSION knocks INDY off the tank and onto the tread. He grabs onto the
shredded gun protruding from the side of the tank.
VOGEL looks down at INDY and smiles smugly.
The tank is approaching a cliff wall. As INDY tries to secure footing, VOGEL
steps on his hands.
INT. TANK - DAY
BRODY looks at HENRY.
BRODY
Look what you didl
HENRY
It's war.
EXT. TANK - DAY
VOGEL now swings a shovel at INDY, smashing at his hands.
BRODY climbs up out of the tank, followed by HENRY.
CONTINUED:
HENRY
Didn't I tell you it was a rescue,
huh?
A NAZI SOLDIER appears and pulls HENRY down.
VOGEL raises the shovel above his head and brings it crashing down on INDY,
still hanging from the protruding gun.
INDY loses his grip and now hangs from the gun suspended only by the strap of
his leather pouch. He screams as the gun scrapes against the cliff wall, sending
stones tumbling down over him.
INT. TANK - DAY
The NAZI SOLDIER knocks HENRY into a pile of boxes, then punches him in the
face.
As the SOLDIER raises the gun to HENRY's face, BRODY hits him over the head
with a canister. The Soldier falls, discharging the gun into the air.
The BULLET RICOCHETS around the tank, past the Tank Driver who is
manipulating levers at the control panel. SPARKS FLY; then the BULLET PINGS
AGAINST THE WINDOW and RICOCHETS ONCE MORE, this time passing THROUGH
THE TANK DRIVER'S HAT. Blood flows from under the hat as the Tank Driver
slumps forward, his body depressing the levers.
EXT. TANK - DAY
INDY still hangs from the strap of his leather pouch as the tank swerves, barely
missing the rocks and causing VOGEL to fall. Indy finally manages to pull
himself atop the tank once more where he punches Vogel over the side, then
peers down to HENRY, still inside the tank.
INDY
Dad?
HENRY
You call this archaeology?
INDY
Get out of there, Dad!
INDY pulls HENRY and BRODY from the tank. VOGEL pulls himself back atop the
tank armed again with the shovel which he swings at Indy, who ducks and grabs
Vogel's arm.
BRODY
How does one get off this thing?
As INDY winds up to punch VOGEL he catches BRODY in the face on the
backswing, then completes the movement and knocks Vogel down.
INT. TANK - DAY
Vogel's hat sails in and falls to the floor.
EXT. TANK- DAY
HENRY
(to INDY)
Where's Marcus?!
Before INDY can answer, VOGEL is up and swinging with the shovel. Indy ducks
but the shovel catches HENRY sending him over the side and onto the moving
tread.
INDY grabs his whip, knocking VOGEL aside.
As HENRY speeds toward the front of the tank to certain doom, INDY, with
lightning speed, whips out his bullwhip, wrapping the end of the whip around
Henry's right ankle.
INDY
Dad!
HENRY is bouncing across the treads like a rag-doll. INDY struggles to hold onto
the end of the bullwhip.
INDY
Hang on, Dad!
SALLAH draws his horse next to the treads. He tips his fez to HENEY.
SALLAH
Father of Indy—give me your
hand!
VOGEL now punches INDY in the back and grabs him around the neck. Still,
INDY refuses to let go of the whip.
INDY
Sallah! Get Dadl
SALLAH reaches out to HENRY.
SALLAH
Give me your hand!
SALLAH manages to hold onto HENRY as he brings his horse to a stop just at the
cliff's edge.
INDY finally frees himself of VOGEL's grasp, twisting his arm painfully away
from Indy's neck, then landing a hard blow to Vogel's head.
INDY
looks down at the fast-approaching cliff, his face filled with horror. We SEE his
HAT BLOW OFF and sail over the cliff's edge.
VOGEL
He sees his life passing before him, he screams at the top
of his lungs!
LONG SHOT
The tank trundles over the cliff and PLUMMETS TO THE BOTTOM.
EXT. CLIFF EDGE - DAY
HENRY, BRODY and SALLAH look down at the flaming wreckage
of the tank.
HENRY
Junior?!
We HEAR the TANK EXPLODING.
SALLAH
Indy?!
HENRY
Oh, God. I've lost him. And I
never told him anything. I just
wasn't ready, Marcus. Five
minutes would have been enough.
And then... looking dazed and bewildered, INDY STAGGERS UP BEHIND THEM.
He joins the others at the edge of the cliff, looking down at the wreckage below
with a bewildered expression.
Finally, Henry becomes aware of his presence.
HENRY says nothing. He just looks at Indy, overcome with emotion. Finally, he
throws his arms around him.
HENRY
I thought I'd lost you, boy.
After a moment, Indy's head clears. And he becomes aware of his father's
embrace. Something he hasn't felt in a long time—if ever. And it touches him.
He hugs his father back.
INDY
I thought you had too, sir.
BRODY and SALLAH are moved by this sudden reconciliation.
HENRY
Well—well done! Come on!
HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff
edge.
CONTINUED:
Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to
see INDY still sitting on the ground.
HENRY
Let's go then. why are you
sitting there resting when we're
so near the end? Come on—
let's go!
HENRY turns and walks toward the horse with BRODY and SALLAH. Suddenly
the FEDORA, borne on the wind, BLOWS INTO SCENE and lands at INDY's feet.
EXT. MOUNTAIN ROAD - DAY
DONOVAN peers through binoculars to see the CANYON OF THE CRESCENT
MOON. He lowers the binoculars and turns to ELSA.
DONOVAN
The Canyon of the Crescent Moon.
Now ELSA peers through the binoculars.
EXT. SECRET CANYON - DAY
INDY, HENRY, SALLAH and BRODY ride into the canyon. They hear a WAILING
WIND. Feel the biting cold. And sense the danger.
Now we turn a corner and they see the hidden city. Its spectacular Grecian
facade is carved directly into the rock. It is a stunning sight. The vehicles,
camels and horses belonging to DONOVAN's party have been left at the entrance.
CUT TO:
INT. TEMPLE - DAY
INDY, SALLAH, HENRY AND BRODY creep forward to see:
THE TERRIFIED FACE OF A TURKISH SOLDIER
He's walking slowly. Eyes darting. Muttering a prayer under his breath.
What's going on here?
FULL SHOT - INSIDE THE MOUNTAIN TEMPLE
THE TURK stands alone in the center of the Temple. It is very dark. GIANT
COLUMNS define the Temple's perimeter.
ELSA AND DONOVAN
watch him from a safe distance.
THE TURK
is about to approach the spot where a TURKISH SOLDIER LIES DEAD. We don't
notice it right away, but the dead soldier has been DECAPITATED.
THE TURK stops—only one step away from the beheaded soldier.
THE TURK
takes one more step—a fatal step, it turns out. We hear a ROAR—A WHOOSH
of air—but we SEE NOTHING—except THE TURK'S HEAD FLY OFF AND
BOUNCE across the ground.
INDY, HENRY, BRODY AND SALLAH
react to the sight.
ELSA AND DONOVAN
She looks at him, horrified.
DONOVAN
Helmut, another volunteer!
TWO NAZI SOLDIERS force another Turk forward. Suddenly...
The SOUND OF RIFLE BOLTS being cocked. Everyone turns to discover INDY and
his party surrounded by NAZI SOLDIERS. Indy's group are relieved of their guns.
FULL SHOT - THE TEMPLE
INDY, HENRY, BRODY and SALLAH are brought forward by the Nazi Soldiers.
ELSA's eyes light up: glad Indy's not dead. she controls herself and continues
more coldly.
ELSA
(to INDY)
I never expected to see you again.
INDY
I'm like a bad penny. I always
turn up.
DONOVAN
Step back now, Doctor Schneider.
Give Doctor Jones some room. He's
going to recover the Grail for us.
CONTINUED:
INDY laughs.
DONOVAN
Impossible? What do you say,
Jones? Ready to go down in
history?
INDY
As what? A Nazi stooge like you?
DONOVAN
(scornfully)
Nazis?!—Is that the limit of
your vision?! The Nazis want to
write themselves into the Grail
legend and take on the world.
Well, they're welcome. But I want
the Grail itself. The cup that
gives everlasting life.
Hitler can have the world, but
he can't take it with him. I'm
going to be drinking my own health
when he's gone the way of the
Dodo.
(he draws his
pistol)
The Grail is mine, and you're
going to get it for me.
INDY
Shooting me won't get you anywhere.
DONOVAN
You know something, Doctor Jones?...
you're absolutely right.
Then DONOVAN shifts his aim, just a bit, and SHOOTS HENRY. The bullet enters
his side below the ribs.
INDY
Dad?!
HENRY
Junior. . .
ELSA
No!!
DONOVAN
( to ELSA)
Get back!
HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to
his assistance.
CONTINUED: (2)
INDY spins toward DONOVAN with murder in his eyes.
DONOVAN points the gun at him:
DONOVAN
You can't save him when you're
dead.
INDY hesitates.
DONOVAN
The healing power of the Grail is
the only thing that can save your
father now. It's time to ask yourself
what you believe.
INDY takes in the situation. The two decapitated men lie a few yards in front of
him. He walks to the entranceway, flanked by two stone lions. We get silent
reaction shots—ELSA—SALLAH—BRODY—DONOVAN—registering their
different emotions
INDY proceeds forward. His hands open the Grail Diary.
INDY
"The Breath of God... Only the
penitent man will pass. Only
the penitent man will pass. . . "
INDY takes a few steps forward.
INDY
"The penitent man will pass.
The penitent man..."
INDY stops. He is about to reach the spot where two men have just died.
HENRY looks at INDY. Indy looks at Henry.
HENRY
(in a raspy voice)
"Only the penitent man will pass.
Only the penitent man will pass."
INDY
(quietly to himself)
The penitent man will pass. The
penitent... the penitent. The
penitent man...
HENRY
The penitent man. The penitent...
INDY takes a step forward through the cobwebs.
CONTINUED: (3)
INDY
The penitent man is humble before
God.
HENRY
Penitent. Penitent...
INDY
The penitent man is humble...
The cobwebs begin to move....
INDY
He kneels before God.
(to himself; suddenly)
Kneel!!
We hear the awful rush of air—WHOOSH! Because INDY is in the act of
kneeling, only his hat is knocked off and his hair flies in his face.
Instinctively he ROLLS FORWARD on the ground out of harm's way and looks up.
From his new position he is able to see what is causing all the trouble: A RAZOR
SHARP TRIPLE PENDULUM.
INDY gets cautiously to his feet. Now he sees the pendulum has been guarding a
SMALL CORRIDOR which turns a corner to the left fifty yards ahead. Wooden
wheels turn—the mechanism controlling the spinning blades. INDY loops a rope
around the wheels, jamming the mechanism and stopping the blades in mid-swipe.
INDY
I'm through!
ELSA AND DONOVAN
DONOVAN
We're through!
BRODY and SALLAH smile, relieved.
SALLAH
(to HENRY)
He's all right.
HENRY shakes his head.
HENRY
No.
BACK TO INDY
holding the Grail Diary, reading once again, his fedora now covered in cobwebs.
INDY
"The second challenge is the
Word of God. Only in the
footsteps of God will he proceed."
(to himself)
The Word of God... The Word of...
INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is
engraved with a letter.
INDY
"Proceed in the footsteps of the
Word."
HENRY
lifts his head painfully.
HENRY
The Word of God...
BRODY
No, Henry. Try not to talk.
HENRY
The Name of God...
BACK TO INDY
as he studies the cobblestones before him.
INDY
The Name of God... Jehovahl
HENRY
still lies in SALLAH's arms. BRODY leans over him.
HENRY
But in the Latin alphabet,
"Jehovah" begins with an "I."
BACK TO INDY
INDY
"J."
INDY takes a step and immediately a stone breaks away and INDY falls up to his
hip -- his leg stuck through the hold where the stone once was.
HENRY
reacts.
HENRY
Oh dear!
BACK TO INDY
who grunts as he pulls himself from the hole, the v-rail Diary in his hand.
INDY
In Latin, "Jehovah" starts with
an "I." "I"...
Now we SEE each letter on the stones as INDY carefully walks forward.
DONOVAN and ELSA follow in his footsteps.
INDY
"E"... "H"... "O"... "V"... "A"...
INDY sighs with relief and steps forward to:
THE GREAT ABYSS
INDY stands in a small opening, just small enough for his shoulders to squeeze
through and beyond that a 100 foot drop to the rocks below and 100 feet across,
nothing but a rough, stony cliff wall.
BACK TO INDY
He can see nowhere to cross. He looks again to the v-rail Diary.
INDY
"The path of flood. Only in the
leap from the lion's head will
he prove his worth."
INDY looks around and then he notices that inscribed into
the rock above his head is the head of a lion.
INDY
Impossiblel Nobody can jump this!
INDY looks down into the Diary and tortures over what it
is asking him to do.
BRODY
rushes forward and calls to INDY.
BRODY
Indy... Indy, you must hurry!!
Come quickly!
BACK TO INDY
INDY
(realizing)
It's... a leap of faith. Oh,
God.
HENRY
calls to his son.
HENRY
You must believe, boy. you must...
believe.
We see him do it. We see him leap into space. We see that he is in midair. We
see that he is not going to make it. His hands claw for the opposite wall but he is
going to fall 100 feet to his death. And then—he doesn't! He appears to be held
up by thin air as he lands on his hands and knees.
INDY looks around and down and now he figures it out.
Ingeniously, the First Crusaders have painted a pathway to align with the rocks
100 feet below. It is a perfect forced perspective image of the rocks below with
lines from a hundred feet continuing six feet below his sight line where his feet
are stepping.
It's painted to blend in with the rocks below. Highly evolved camouflage... in
perfect alignment with everything we see below.
When INDY leans out to the left or right... that's when he sees the perfect
alignment shift that betrays the trick. Indy throws some dirt on the bridge and
he crosses it like the first Crusader from the painting over Henry's desk.
Indy crawls through a small opening in the side of the cliff and enters a Temple.
A vast array of chalices is displayed on the altar of this small Temple. Perhaps a
hundred or more. Many sizes, many shapes, some gold, some silver, but they all
glitter and shine.
INDY is mesmerized by their number and their beauty. And then he realizes that
a man is praying at the altarl
He has his back turned to INDY... but he is dressed as what he is! A GRAIL
KNIGHT.
CLOSE ON THE GRAIL KNIGHT
But we can't see the Grail Knight's face. The visor of his helmet is down.
Perhaps we see his eyes.
CONTINUED:
When the GRAIL KNIGHT sees INDY he gets wearily to his feet and, surprisingly,
prepares to give combat...taking up his two-handed broadsword...he comes at
Indy, attempting to swing the huge, heavy sword but finding the effort almost too
much. Indy dodges two or three clumsy swings of the sword, making no attempt
to fight back...until the Knight, exhausted, drops the sword and collapses. Indy
approaches him and raises the visor and we see that the Knight is a very ancient
man.
KNIGHT
I knew you'd come, but my strength
has left me.
INDY
Who are you?
KNIGHT
The last of three brothers who
swore an oath to find the Grail
and to guard it.
INDY
That was seven hundred years ago.
KNIGHT
A long time to wait.
The GRAIL KNIGHT reaches forward and fingers Indy's clothing.
KNIGHT
You're strangely dressed...for a
knight.
INDY
I'm not exactly...a knight. What
do you mean?
KNIGHT
I was chosen because I was the
bravest and the most worthy. The
honor was mine until another came
to challenge me to single combat.
I pass it to you who vanquished me.
The GRAIL KNIGHT holds his sword out to INDY.
INDY
(gulp)
Listen, I don't have time to
explain, but—
At that moment DONOVAN and ELSA appear. Donovan turns to face the display
of cups.
DONOVAN
Which one is it?
CONTINUED: (2)
KNIGHT
You must choose.
(beat)
But choose wisely. For as the
True Grail will bring you life—
the False Grail will take it from
you.
DONOVAN
I'm not a historian. I have no
idea what it looks like. Which
one is it?
ELSA
Let me choose.
DONOVAN
Thank you, Doctor.
ELSA and INDY exchange looks. He thinks he is seeing her in her true colors.
ELSA chooses a cup—a solid gold, emerald encrusted goblet.
DONOVAN instantly takes it from her.
DONOVAN
Oh, yes. It's more beautiful than
I'd ever imagined. This certainly
is the cup of the King of Kings.
DONOVAN rushes to the well and fills the goblet with water.
DONOVAN
Eternal life!
DONOVAN drinks from the goblet.
Then, DONOVAN'S entire body starts to convulse. His face contorts in agony. He
grabs his stomach and turns toward ELSA.
DONOVAN
What . . . is . . . happening. . . to . . .
me. . .?
He starts to age—fast! His hair grows long and gray and brittle. His face sinks.
Fingernails curl back on themselves. Milky cataracts coat his eyes.
ELSA gasps and screams.
DONOVAN
What. . . is . . . happening. . . ?
His skin turns brown and leathery and stretches across his bones until it splits.
His skeletal hands reach for ELSA's throat, choking her.
CONTINUED: (3)
INDY rushes forward and pushes DONOVAN away. As he falls he BODY BREAKS
INTO FLAMES, then SHATTERS AGAINST THE WALL.
KNIGHT
He chose...poorly.
INDY studies the array of chalices.
ELSA
It would not be made out of gold.
INDY picks up another cup—a simple earthenware jug.
INDY
That's the cup of a carpenter.
He and ELSA exchange a look.
INDY
There's only one way to find out.
INDY goes to the well and fills the earthenware jug with water, then pauses.
INDY brings the jug to his lips and takes several large swallows.
A strange sensation overcomes him, a feeling of peace and contentment...and we
see his wounds begin to heal.
KNIGHT
You have chosen wisely. But the
Grail cannot pass beyond the
Great Seal. That is the boundary
and the price of immortality.
CUT TO BRODY AND SALLAH who attend to Henry awaiting Indy's return.
INDY and ELSA come forward with the Grail.
The TWO NAZI SOLDIERS are over-awed by the possessors of the Grail. They put
down their guns and kneel.
INDY kneels by HENRY's side and tilts his head forward and holds the Grail to
his lips.
HENRY is too weak to even open his eyes.
HENRY swallows some of the water. Much of it runs down the corners of his
mouth. Finally INDY pours the water over the wound and everyone watches in
astonishment as the wound and the blood stain disappear before their eyes. The
color returns to Henry's face.
HENRY's eyes open. The first thing he sees is the Grail and they light up. Then
they shift to INDY's face—and they light up even more...
NAZI SOLDIERS
run forward. SALLAH points a rifle at them.
SALLAH
Drop your guns. Please.
The NAZI SOLDIERS drop their weapons at their feet and raise their arms in
surrender.
INDY
(to HENRY)
Dad, come on. Get to your feet.
ELSA
steps forward and picks up the Grail. She turns to INDY, her face alight with
possession of the Grail.
ELSA
We have got it. Come on.
ELSA steps onto the edge of the Great Seal.
INDY
Elsa! Elsa, don't movel
ELSA
It's ours, Indy. Yours and mine.
INDY
Elsa, don't cross the Seal. The
Knight warned us not to take the
Grail from here.
A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from
the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away
from her grasp. She reaches for it and the ground beneath her begins to SPLIT
OPEN. ELSA slips into the crevasse. She screams.
ELSA is hanging perilously in the abyss, with the Grail almost within her reach.
As her hands lose their grip, INDY just manages to one of them, he himself
sliding forward across the slanted floor.
HENRY
Junior! Junior!
With her free hand, ELSA is trying to get the Grail. INDY can't save her unless
she gives him her free hand. She has to choose.
INDY
Elsa. Elsa don't. Elsa. Elsa.
Give me your other hand,
honey. I can't hold you.
CONTINUED:
ELSA
I can reach it. I can reach it...
Her hand begins to slip from Indy's grasp.
INDY
Elsa! Give me your hand. Give
me your other hand!
ELSA just manages to touch the Grail. In doing so, she has tipped the balance too
far—INDY slides down another yard, Elsa loses her grip and falls screaming to
her death.
INDY
(horrified)
Elsa!!
Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his
hands as Indy struggles to reach the Grail with the other.
HENRY
Junior, give me your other hand!
I can't hold on!!
INDY
I can get it—I can almost
reach it, Dad.
INDY looks down into the black bottomless pit beneath him from which nothing
can ever be retrieved.
HENRY
Indiana. Indiana!!
INDY snaps his look up to his father. His father has never called him this before.
HENRY
(very calmly)
... let it go...
INDY abandons the Grail and grabs onto HENRY with both hands.
HENRY pulls him up to safety.
THE GRAIL KNIGHT
looks through the falling debris to INDY and HENRY. SALLAH and BRODY rush
from the crumbling Temple.
INDY
Dad. . .
The GRAIL KNIGHT raises his arm to HENRY.
CONTINUED:
INDY
Please, Dad...
INDY and HENRY down the passageway just as a huge stone column tumbles
down upon the spot where they stood. The GRAIL KNIGHT lowers his arm as he
watches them leave.
EXT. ENTRANCE TO MOUNTAIN TEMPLE - AFTERNOON
INDY, HENRY, SALLAH and BRODY emerge from the Mountain Temple through
the Grecian Facade.
From within the Mountain Temple, the ROAR OF WALLS CAVING IN IS HEARD. A
cloud of dust and smoke billows out from the entrance.
HENRY turns to INDY.
HENRY
Elsa never really believed in the
Grail. She thought she'd found a
prize.
INDY
What did vou find, Dad?
HENRY
Me?... Illumination.
HENRY and INDY mount their horses. Henry turns back to his son.
HENRY
What did you find, Junior?
INDY
Junior?! Dad...
SALLAH
Please...What does it always
mean, this...this "Junior?"
HENRY
That's his name. Henry Jones,
Junior.
INDY
I like Indiana.
HENRY
We named the dog Indiana.
BRODY
May we go home now, please?
CONTINUED:
SALLAH
(to INDY)
The dog!?
(laughs)
You are named after the dog...
INDY
(embarrassed)
I've got a lot of fond memories
of that dog.
A moment passes as they all ready their mounts and SALLAH continues to laugh
at INDY.
INDY
Ready?
HENRY
Ready.
BRODY
Indy! Henryl Follow met I know
the way!
(to his horse)
Haaa!
HENRY
(to INDY)
Got lost in his own museum, huh?
INDY
Uh-huh.
HENRY
After you, Junior.
INDY
Yes, sir!
(to his horse)
Haaa!
EXT. THE SECRET CANYON - AFTERNOON
They THUNDER through the canyon—whose towering walls threaten to collapse
upon them.
EXT. ENTRANCE TO CANYON - SUNSET
as BRODY, INDY, HENRY AND SALLAH ride from the canyon toward the SETTING
SUN.
THE END
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