剧本 《夺宝奇兵》

Raiders of the Lost Ark (1981)

by Lawrence Kasdan.

Revised third draft, August 1979.

More info about this movie on imdb.com



FADE IN:

1 EXT. PERU - HIGH JUNGLE - DAY 1

The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jun-gle". Ragged, jutting canyon walls are half-hidden by the thick mists.

The MAIN TITLE is followed by this:

PERU

1936

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

BARRANCA

(irritated)

They're talking about the Curse again!

He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears. The party reaches a break in the canyon wall and takes the trail through it.

When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation-enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS,

2000 years old.

The entire party is struck by the sight. The Indians,terrified now, chatter away. Suddenly the three at the back turn and run, dropping their packs as they go. Bar ranca yells at the fleeing Indians and pulls his pistol out. He starts to raise his arm to aim but Indy restrains it in a muscular grip.

INDY

No.

Barranca looks evilly at Indy's hand upon him. Indy re-leases him and smiles in a friendly way.

INDY

We don't need them.

Satipo watches this confrontation with some concern.

BARRANCA

I do not carry supplies.

INDY

We'll leave them. Once we've got it, we'll be able to reach the plane by dusk.

He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his de-sire to slit Indy's throat; Satipo gives him a look that says "Be patient, you idiot".

2 THE APPROACH TO THE TEMPLE 2

The party fans out to fight their way through the en-twined trees that guard the temple. Visibility is cut to five feet in the heavy mist. Satipo extracts a short,native dart from a tree and examines the point gingerly

SATIPO

(showing Indy)

The Hovitos are near. The poison is still fresh...three days. They're following us, I tell you.

INDY

If they knew we were here, they would have killed us already.

The two Indiana jabber in Quechua, near hysteria. Bar-ranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to "shut up".

In the undergrowth, there is slithering movement.

Indian #1 draws aside a branch and is faced with a hor-rific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away.

Indian #2 calls to his friend. Getting no response, he steps in that direction. A huge macaw, flushed from the undergrowth, screams and flies away. Indian #2 does ex-actly the same thing, never to be seen again.

Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple.

It is dark and awesome. Vegetation curls from every crevice, over each elaborate frieze. The entrance-round, open and black-has been designed to look like open jaws.

INDY

So this is where Forrestal cashed in.

SATIPO

A friend of yours?

INDY

Competitor. He was good, very good.

BARRANCA

(nervous)

No one has ever come out of there alive.

Why should we put our faith in you?

Indy takes the weird feather from the band of his hat.

From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick "So that's where is was!" look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude floorplan of the Temple.



INDY

No one ever had what we have...partners.

Indy fixes them with an expectant stare. Satipo produces a similar, but folded, piece of parchment. He lays it-the other half of the floorplan-next to Indy's. They all regard it for a moment, then Indy stands and walks toward the Temple. Barranca's eyes are shining as they dart between the floorplan and Satipo.

INDY

(back turned)

Assuming that pillar there marks the corner and...

Barranca is suddenly on his feet, quietly drawing his pis-tol. He raises it toward Indy as Satipo realizes with alarm what he's doing. Too late. Indy's head turns and he sees Barranca.

Indy's next move is amazing, graceful and fast, yet totally unhurried. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, the whip uncoils to its full ten foot length and flashes out.

The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca's hand and pistol.

He could not drop the gun now if he tried.

Indy gives the whip a short pull and Barranca's arm in jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand.

Indy's face goes hard. And sad.

Indy sweeps his arm in a wide arc. Barranca spins around,enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca's gun fires. Barranca falls dead.

Indy looks quickly at Satipo, who is shocked and fright-ened. He raises his arms in supplication.

SATIPO

I knew nothing! He was crazy!

Please!

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

INDY

Let's go.

3 INT. TEMPLE - INCLINED PASSAGE - DAY 3

Indy and Satipo, carrying a torch, walk up the slightly inclined, tubular passage from the main entrance. The interior is wet and dark, hanging with plant life and stalactites. Their echoing footsteps intermittently overpower the sounds of loud dripping, whistling air drafts and scampering claws.

4 HALL OF SHADOWS 4

Indy leads the way down a twisting hallway, Satipo's torch barely lighting his way from behind. Indy dis-appears in a shadow and when he reappears a moment later a huge black tarantula is crawling up the back of his jacket. Indy doesn't notice and disappears into another shadow, emerging with two more tarantulas on his back.

Satipo sees them and makes a frightened grunting sound.Indy looks at him, sees what he's pointing at and cas-ually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an in-spection and Indy flicks one off the Peruvian's back.

Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant,discarding some, stuffing others into his clothes, and never stopping his forward progress.

5 CHAMBER OF LIGHT 5

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

SATIPO

What's wrong? Are you lost?

Indy picks up a stick and throws it through the shaft of light. Giant spikes spring together from the sides of the chamber with a ferocious CLANG! And impaled on the spikes are the remains of a white man, half-fleshed, half skeleton, in explorer-type grab. Indy reaches out and takes hold of the man's carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor.

INDY

Forrestal.

SATIPO

(gulps)

We can go no further.

INDY

Now, Satipo, we don't want to be discouraged by every little thing.Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. Satipo grimaces and begins sweating his way through.

6 STAIRWAY 6

Indy and Satipo come down stone stairs to a tight land-ing. Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more.

INDY

(taking torch)

Let me see that.

He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps.

Indy looks up at the ceiling of the landing, then steps onto skeletons, which make a cracking noise under his feet.

INDY

Try not to touch the vines.

7 FOYER OF THE SANTUARY 7

The men are in a high, straight hallway 50 feet long.

The door at the end is flooded with sunlight.

SATIPO

Senor, I think we are very close.

Indy stands still looking at the hall.

SATIPO

(impatient)

Let us hurry. There is nothing to fear here.



INDY

That's what scares me.

They begin walking down the hall side by side. Satipo has inched a little ahead. Suddenly his lead foot comes down and through the floor! As Satipo begins to pitch forward, Indy grabs him by the belt and pulls him back.

They both look down at the "floor".

Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal black pit as wide as the hall. The illusory floor was made of dust-covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men ex-change glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across.

When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below-SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat.

8 THE SANTUARY 8

A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor:white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the altar. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy's real objective.

Two torches, many years old, are in holders by the door.

Indy takes one down and lights it. He gives the regular

torch to Satipo.



SATIPO

There's plenty of light, amigo.



Indy kneels and uses the unlit end of the torch to reach

out and tap a white tile. It is solid. He taps a black

tile. There is a whizzing sound and a tiny dark sticks

in the torch. Satipo points to the wall nearby: there is

a recessed hole there.



SATIPO

From that hole!



Indy nods, stands and looks around the sanctuary. The

entire room is honey-comed with the same kind of hole.

Satipo sees it too and is properly impressed.



INDY

You wait here.



SATIPO

If you insist, senor.



Torch in hand, Indy begins his careful walk across the

sanctuary. Stepping only on the white tiles, he almost

appears to be doing a martial arts kata. Before each

big move he waves the torch in front of him head to toe,

looking at the flame. Halfway out, he sees something

on the floor and kneels to look at it.



A dead bird lies on one of the white tiles. Its body is

riddled with little deadly darts. This has great signi-

ficance to Indy and he stands with even greater caution.

He waves the torch ahead of him and at waist height an

air current whips at the flame. Indy ducks under it and

leaves a burn mark on the white tile beneath it.



Satipo watches, wide-eyed and mystified.



Indy reaches the altar. The tiny idol looks both fierce

and beautiful. It rests on a pedestal of polished stone.

Indy looks the whole set-up over very carefully. From

his jacket he takes a small, canvas drawstring bad. He

begins filling it with dirt from around the case of the

altar. When he has created a weight that he thinks ap-

proximates the weight of the idol, he bounces it a couple

times in his palm concentrating. It's clear he wants to

replace the idol with the bag as smoothly as possible.

His hand seems ready to do that once, when he stops, takes

a breath and loosens his shoulder muscles. Now he sets

himself again. And makes the switch! The idol is now in

his hand, the bag on the pedestal. For a long moment it

sits there, then the polished stone beneath the bag drops

five inches. This sets off an AURAL CHAIN REACTION of

steadily increasing volume as some huge mysterious mechanism

rumbles into action deep in the temple.



Indy spins and starts his kata back across the sanctuary

at four times the speed.



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





9 THE RETREAT - INTERCUTTING INDY AND SATIPO 9



The sanctuary has begun to rumble and shake in response

to the mysterious mechanism. Just as Indy goes out the

door, a rock shakes loose from the wall and rolls onto the

tiles floor. Immediately, a noisy torrent of poison darts

filles the room.



IN THE FOYER, Satipo swings across the pit. He makes it

just as the whip comes undone from the beam, leaving Indy

without an escape. Satipo, extremely nervous, regards

the whip a moment then turns back to face Indy, who has

run up to the far side of the pit.



SATIPO

No time to argue. Throw me the

idol, I throw you the whip.



Indy hesitates, eyeing the rumbling walls.



SATIPO

You have no choice! Hurry!



Indy concurs with that assessment. He tosses the idol

across the pit to Satipo. Satipo stuffs it in the front

pocket of his jacket, gives Indy a look, then drops the

whip on the floor and runs.



SATIPO

Adios, amigo!



Indy grimaces. He had a feeling this might happen. He

looks around.



AT THE VINED LANDING, Satipo flies through like a chubby

ballet dancer and takes the steps five at a time.



IN THE FOYER, Indy runs in full stride to the edge of the

pit and broad jumps into space. He doesn't make it. His

body hits the far side of the pit and he begins to slide

out of view. Only wild clawing with his fingers at the

edge of the pit stops his descent. With just the tips

of his fingers over the edge, he begins pulling himself up.



AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins

to edge carefully around the light shaft.



AT THE VINED LANDING, Indy sails through sideways and rolls

to a stop at the bottom of the steps. His whip is grasped

in his hand. As he raises himself, he hears, from above

the giant spikes of the Chamber of Light CLANG! and an

abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy

runs up the steps. The rumbling sound grows louder.



AT THE CHAMBER OF LIGHT, Indy slides to a stop. The

spikes have retracted, taking Satipo's body to one side.

Indy edges into the chamber with his back to the shaft

of light. Soon he is face to face with the dead Satipo;

spikes protrude from several vital spots in the Peruvian's

body. Indy removes the idol from Satipo's pocket and

moves quickly out the other side.



INDY

Adios.





10 THE INCLINED PASSAGE 10



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

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

right behind Indy a huge boulder comes roaring around a

corner of the passage, perfectly form-fitted to the passage-

way. It obliterates everything before it, sending the sta-

lactites shooting ahead like missles. Indy dashes for

the light of the exit. His hat flies off his head. Almost

immediately it is crushed by the boulder. Indy dives out

the end of the passage as the boulder slams to a perfect

fit at the entrance, sealing the Temple.





11 EXT. FRONT OF THE TEMPLE - DAY 11



Indy lies on the ground, gasping for air. A shadow falls

across him and he looks up.



WHAT HE SEES. looming above him are three figures. Two

are HOVITOS WARRIORS in full battle paint and loin cloths.

They carry long blow guns. But the man in the center draws

Indy's attention. He is a tall, impressive white man,

dressed in full safari outfit including pith helmet. His

name is EMILE BELLOQ. His face is thin, powerful; his eyes

hypnotic; his smile charming, yet lethal. His heavily

French-accented speech is deep, mellifluous, wonderful.

Back beyond Belloq and his two escorts, thirty more Hovitos

Warriors hover at the edge of the trees.



BELLOQ

Dr. Jones, you choose the wrong

friends. This time it will cost you.



Belloq extends his hand. Indy looks at it, then pro-

duces the idol and hands it to Belloq. Belloq extends

his other hand, smiling. Indy hands over his gun. Belloq

sticks it in his jacket.



BELLOQ

And you thought I'd given up.



INDY

(eyeing the Hovitos)

Too bad they don't know you like

I do, Belloq.



BELLOQ

(smiles)

Yes, too bad. You could warn

them...if only you spoke Hovitos.



With that, Belloq turns dramatically and holds the idol

high for all the Hovitos to see and says something in

Hovitos. There is a murmur of recognition and all the

Indians, including Belloq's escorts, prostrate themselves

upon the ground, heads down.



Indy is immediately up and running toward the edge of the

clearing.



BELLOQ

(in Hovitos)

Kill him!



AT THE EDGE OF THE CLEARING, Indy disappears into the

foliage. An instant later, the leaves are peppered with

a rain of poison darts and spears.





12 EXT. THE JUNGLE - INDY'S RUN - VARIOUS SHOTS - DAY 12



Indy runs like hell through steadily falling terrain.

And always close behind, a swift gang of angry Hovitos.

Occasionally they get close enough to send a dart or

spear whizzing past Indy's head.





13 EXT. THE URUBAMBA RIVER - DUSK 13



An amphibian plane sits in the water beneath a green cliff.

Sitting on the wing is JOCK, the British pilot. Indy

breaks out of some distant brush and runs along the path

at the top of the cliff.



INDY

(yelling)

Get it going! Get it going!



Jock hops in and fires up the plane's engines. Indy

reaches a spot on the cliff above the place, glances

back, them jumps into the river. He comes up, swims

to the plane and grabs a strut.



INDY

GO!



Jock starts the plane moving across the water as Indy

walks across the wing and falls into the passenger com-

partment.





14 OMIT OMIT 14





15 OMIT OMIT 15





16 INT. JOCK'S PLANE - DUSK 16



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

his face. One hand drops to the floor of the cabin and

Indy jumps, hitting his head. On the floor of the cabin

is a huge boa constrictor. Indy tries to get his whole

body onto the seat. Jock sees what's happening.



JOCK

Don't mind his. That's Reggie.

Wouldn't hurt a soul.



INDY

I can't stand snakes.



JOCK

The world's full of them, you know.



INDY

I hate them.



JOCK

Come on now, Sport, show a little

of the old backbone.





17 EXT. JOCK'S PLANE - TWILIGHT 17



It soars off over the dark jungle.





18 INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY 18



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

window reflects it in dazzling color. A few weeks be-

fore the start of classes. Activity just picking up.

Some students about.



Indy is at a bookcase near the window and he looks

quite different in this setting. His outfit is tweedy,

slightly rumpled in the professional style. Part of his

attention is focused in a book and he wears glasses to

see the fine print. The office is cramped, absolutely

innundated with books, maps, etchings and archeological

artifacts. In fact, the only neat spot in the room right

now is Indy's desk, which has been cleared off expressly

for the benefit of-



MARCUS BRODY, the Curator of the National Museum in Wash-

ington, D.C. Brody is examining the small artifacts Indy

pocketed on his way into the Peruvian Temple. He occasion-

ally uses a jeweller's eyepiece to get a closer look. But

he is distracted, his concerns elsewhere, and it is this

that his old friend Indy senses from across the room.



BRODY

Do you think the idol will ever

show up?



INDY

I don't know. Just because Belloq

had it doesn't mean he kept it.



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

He takes his glasses off and focuses on Brody. At the

windowed door to his office, two pretty Coeds pause for

a moment, look in at their sexy Archeology professor,

giggle and disappear.



INDY

Getting it away from those Indians

would be a neat trick

(a hard look)

I hope they got him.



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

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

load of reference books. Indy helps him find a spot

for them.



TEACHING ASSISTANT

I couldn't get the McNabe, Professor.

Someone's got it checked out 'til

next month when classes start.



INDY

That's all right, Phil. Thanks

a lot.



TEACHING ASSISTANT

(eager to please)

Will there be anything else?



INDY

No. I'll see you Thursday.



The Teaching Assistant leaves. Brody is scowling as

he examines the last of the artifacts.



INDY

Hey, if you don't like them, I can

always return them.



BRODY

No, they're beautiful. The Museum

will but them as usual. No ques-

tions asked.



INDY

Then what's wrong?



BRODY

I brought along some people today.



INDY

What kind of people?



BRODY

Government.



INDY

(concerned)

Government?



BRODY

Don't worry, it's not about your

business.

(indicates the artifacts)

They're from the Army.



INDY

I've already served.



BRODY

Army Intelligence. They're looking

for Abner.





19 INT. INDY'S LECTURE HALL/CLASSROOM - DAY 19



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

pology-is taught in this amphitheater-type lecture hall.

His desk and lectern hold large reference books; black-

boards line the wall. Bones, maps, charts festoon the

walls.



Indy leans against his desk talking with Brody and two

uniformed Army officers, COLONEL MUSGROVE and MAJOR

EATON, who are situated around the first seats in the

classroom.



MUSGROVE

-But you did study under Professor

Ravenwood at the University of Chicago?



INDY

(nods)

We haven't spoken in ten years.

I'm afraid we had a bit of a fall-

ing out.



EATON

You know nothing of his whereabouts?



INDY

(negative)

Just rumors. Somewhere in Asia, last

I heard.



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



EATON

(to Musgrove)

Maybe Dr. Jones can make sense of it.



Again the military men have a silent communication, de-

ciding what to reveal.



MUSGROVE

Well...you must understand, Dr. Jones,

this is all strickly confidential.



INDY

I understand.



MUSGROVE

Yesterday, one of our European sec-

tions intercepted a Nazi communique

from Cairo to Berlin. We don't

quite know what to make of it.



Musgrove takes a sheet from his briefcase.



MUSGROVE

Here it is-"Tanis development pro-

ceeding. Acquire headpiece, Staff

of Ra, General Tengtu Hok, Shanghai.

Locate Abner Ravenwood, U.S."



Brody is excited. He looks at Indy.



BRODY

Tanis. They must have discovered

the lost ruins.



Indy contemplates this big news; he's impressed.



INDY

(to himself)

Tanis. Ain't that somethin'!



EATON

Frankly, we're a little suspicious...

An American being mentioned so prom-

inently in a secret Nazi cable.



INDY

Ah, Ravenwood's no Nazi.



EATON

Then what do they want him for?



INDY

They're looking for the headpiece

to the Staff of Ra.



MUSGROVE

(indicates his sheet)

But it says here that's in China.



INDY

Only half of it. Ravenwood had

the other half.



EATON

What would the Nazis want with

this-this Staff of Ra?



BRODY

I can tell you that. Over the last

two years the Nazis have had teams

of archeologists running around the

world looking for all kinds of re-

ligious artifacts.



MUSGROVE

That's right. Hitler's a nut on

the subject. Crazy. He's obsessed

with the occult.



EATON

What is this Staff of Ra, anyway?



INDY

It all has to do with the Ark of

the Covenant.

(the Army guys look mystified)

The chest the Hebrews used to carry

around the Ten Commandments.



Now it's the Army men who are impressed.



INDY

An Egyptian pharoah stole the Ark

from Jerusalem and took it back to

the city of Tanis. A short time

later, Tanis was consumed by the

desert in a sandstorm that lasted

a year. But before that, the Phar-

oah had had the Ark hidden away in

a secret chamber called the Well of

the Souls. Which is where the Staff

of Ra comes in.



Indy moves to the blackboard and makes a quick sketch

to give a rough idea of the system as he describes it.

(And we get a glimpse of what an interesting and enthu-

siastic teacher he must be)



INDY

Now this was rather clever. The

Staff was really just a big stick-

oh, I don't know, say like this-

(he indicates about six feet)

-no one really knows for sure. Any-

way, it was capped by an elaborate

headpiece with a carving of the sun

at the top. What you had to do was

take the Staff to a special map room

in Tanis-it had the whole city laid

out in miniature on the floor. When

you placed the Staff in a certain

spot in this room, at a certain time

of day, the sun would shine through

a hole here in the headpiece and then

send a beam of light down here-to

the map-giving you the location of

the Well of the Souls...



MUSGROVE

...where the Ark of the Covenant

was kept.



INDY

(nods)

Which is probably what the Nazis

are after.



EATON

What's this Ark look like?



INDY

Look like? Why, it's right here...



Indy pulls a big format book from the stack on his lectern

and flips through the pages until he finds a large color

print. The other men gather to look.



THE PRINT fills the screen.



It shows a Biblical battle. The Israelite Army is van-

quishing an opposition force. At the forefront of the

Israelite ranks, two men carry the Ark of the Covenant,

a beautiful gold chest, crowned by two sculptured gold

angels. The men do not touch the Ark itself; rather

they carry it by use of two long wooden poles which pass

through rings in the corners of the Ark. The painting

is very dramatic, full of smoke, tumult and sinewy dying

men. But the most astounding thing in the picture is the

brilliant jet of white light and flame issuing from the

wings of the angels. It pierces deep into the ranks of

the retreating enemy, wreaking devastation and terror.



EATON

Good God!



INDY

Yes. That's what the Hebrews thought.



MUSGROVE

What's that supposed to be coming

out of there?



INDY

Who knows...lightning...fire...the

power of God.



EATON

I'm beginning to understand Hitler's

interest in this thing.



INDY

Oh yes. The Bible tells of it level-

ing mountains and wasting entire re-

gions. Moses promised that when the

Ark was with you, "your enemies will

be scattered and your foes fell be-

fore you".

(pause)

An army which carries the Ark before

it is invincible.



Eaton and Musgrove exchange worried looks.



INDY

Oh, there's one other thing that

Hitler undoubtably believes about

the Ark...

(a long pregnant pause)

It's said that the Lost Ark will be

recovered at the time of the coming

of the True Messiah.



MUSGROVE

Dr. Jones, you've been very helpful.

I hope we can call on you again if

we have questions.



INDY

Most certainly.



Brody and Indy exchange a look as they all shake and

Brody starts to leave with the Army men.





20 EXT. FRONT DOOR, INDY'S HOUSE - NIGHT 20



INdy's English Tudor, upper middle class hoem. Quite

toney; well beyond the financial reach of an honest

college professor. Marcus Brody has already rung the

bell. Indy opens the door. He is dressed in a tuxedo.



BRODY

I've got to talk to you.



INDY

This isn't really a good time.



BRODY

Indy, it's important.



INDY

All right. Come on in.





21 INT. FOYER, INDY'S HOUSE 21



The lush tone continues here in Art Deco and shiny marble.

Indy motions Brody toward the study to one side.



INDY

I'll be in in a minute.



As Brody passes the entrance to the expansive living room,

he spots a beautiful, silk-gowned Harlow-type lounging on

the sofa in front of a roaring fire. She is sipping cham-

pagne.





22 INT. STUDY, INDY'S HOUSE 22



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

for a moment before the fire which is dying in the fire-

place, then spots something and goes over to Indy's big

desk. The surface is covered with open books, monographs,

maps and drawings-all about the Ark of the Covenant.

Brody smiles; he knows his friend very well. Indy comes

in, closing the door behind him. Brody turns to him with

a triumphant expression.



BRODY

They want you to go for it. And

they'll pay.



INDY

(smiles)

Good work, Marcus. I had a feeling

this would happen. And, of course,

the Museum gets the Ark when we're

done.



BRODY

(smiles)

Of course.



Indy's manner is vigorous, agressive.



INDY

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

First, I'll high-tail it to Shanghai

and get the piece from General Hok.

Then I think I know where I can find

Ravenwood. If only I can get-



BRODY

General Hok's a tough customer. They

don't call him the Wild Boar for nothing.

And he's tied in with the Japanese.



INDY

I'll worry about that when the time

comes. My only hope is to find the

Well of the Souls before the Nazis do.



WIPE TO:





23 EXT. IN THE AIR - DAY/NIGHT 23



A Pan Am Clipper flies west over the Pacific.



WIPE TO:





24 INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY 24



Indy is barely into the front seat of a dilapidated

Ford as the driver, BUZZ KEHOE, is peeling out into

traffic. In the back seat is a Chinese named BANG

CHOW. Kehoe zigs crazily through traffic with only

his left hand as he reaches over to shake with Indy.



KEHOE

Buzz Kehoe, Army Intelligence.

You've met Bang Chow.



INDY

What's the hurry?



KEHOE

Some German agents got here two

hours ago. Luckily, Bang was able

to have them detained at Customs.

We'll have to hurry.





25 OMIT OMIT 25





26 OMIT OMIT 26





27 OMIT OMIT 27





28 OMIT OMIT 28





29 EXT. HOK'S STREET - DAY 29



Kehoe's car emerges from an alley. Down the block is

Tengtu Hok's modest, walled palace. Kehoe's car slows

a bit and Bang steps from the moving car with a small

black suitcase in his hand. While he heads down the

street toward Hok's place, Kehoe's car continues across

the street and into an alley on the other side.





30 EXT. HOK'S STREET - IN FRONT OF PALACE - DAY 30



A Mercedes limousine appears round a corner and squeals

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

by a sturdy Chinese Gateman. There are three Germans in-

side, one the driver.





31 EXT. ALLEY BEHIND HOK'S MUSEUM - DAY 31



Kehoe, alone now, pushes a trash container casually into

position to hide a newly created hole in the rear wall of

Hok's Museum where several stone blocks have been removed.

He looks around and ambles back to the car.





32 INT. HOK'S PALACE - ENTRY HALL 32



The three Germans wait impatiently in a magnificent foyer.

A chime sounds and huge double doors open to reveal TENGTU

HOK, flanked by two uniformed Japanese Soldiers and a

roved Chinese Advisor. He wears a fantastic gold orna-

mental robe. Despite the majesty, however, nothing can

disguise the fact that Hok is basically a wild, fat bar-

barian; an animal. Hok and his escort group bow in what

is the beginning of a long welcoming ceremony. The Germans

exchange impatient glances but decide they should play it

as it comes. They bow.





33 INT. HOK'S MUSEUM 33



No person in sight. Instead, we see a magnificent dis-

play of ancient artifacts. Glass cases hold the velvet-

couched pieces at random spots on the shining marble

floor. We hear an odd sound. Near the floor on the rear

wall of the museum, a steel ventilation grate moves. A

hand slides it gently across the marble. Indy sticks his

head out and looks around.





34 INT. HOK'S PALACE - TEA ROOM 34



The three Germans are being served tea and exotic deli-

cacies. A pleased Tengtu Hok watches from a throne-cushion.

When the tray of tiny delicacies is presented to him, he

takes a massive handful, crushing them together on their

way to his smiling mouth.





35 INT. HOK'S MUSEUM 35



A huge golden gong, seven feet in diameter, is suspended

from the ceiling by a hook. An enormous hammer hangs

poised above it, from which emanate myraid tiny threads

which run up and across the ceiling, then down to the

various display cases. Indy looks up at the gong, then

continues his quick, quiet foray among the cases. Be-

yond him, a high window.





36 INT. HOK'S PALACE - TEA ROOM 36



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

expressions make it clear they're finally on their way

to the museum.





37 INT. HOK'S MUSEUM 37



Indy arrives at his destination. The lovely, carved gold

section of the headpiece is nested on purple velvet in a

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

where the staff would fit. There is a grunting sound be-

hind Indy and he spins, already reaching for his revolver.



A fierce Japanese Samurai is running at Indy full speed

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

his shoulder ready to cut Indy in half. He's six feet a-

way when Indy's gun levels and fires twice, blasting him

backwards. Indy is still looking over his gun when an-

other samurai sword comes down from the side and knocks

the pistol brutally out of Indy's grip; his hand avoids

amputation by a quarter of an inch.



An amazed Indy backs away from the crossing aisle as the

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

backs away into an open space and his bullwhip appears

in his hand. He gives it one savage CRACK! to announce

its arrival and the Samurai slows down, eyeing it curiously.

The Samurai does not look unhappy about this confrontation.

How pure it is-The Sword versus The Whip.





38 EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY 38



Tengtu Hok and the Germans have obviously heard something.

They are hurrying along the walkway at the side of the

building, Hok in the lead. Up ahead is the foot bridge

which crosses from the palace to the museum entrance over

a moat.





39 EXT. STREET IN FRONT OF THE PALACE - DAY 39



The Lovely Mercedes limousine blows up.





40 EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY 40



The Germans spin toward the blast. Drawing weapons, they

run back to investigate. Hok follows them, confused.





41 INT. HOK'S MUSEUM 41



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

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

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

whizzes out toward the Samurai's face. The Samurai takes

two lightning-quick cuts at the leather, but misses. Indy

swings for the Samurai's feet; the Japanese jumps nimbly,

slashing at the whip. Indy does it again. The Samurai

hops it. Once more. The Samurai is concentrating on hop-

ping it.



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

up from the floor and wraps solidly and irrevocably around

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

the Samurai is dead on his feet.





42 EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY 42



Hok and the three Germans are looking d-wn at the flaming

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

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





43 INT. HOK'S MUSEUM 43



Indy is at the case containing the headpiece. He smashes

the glass with a samurai sword, reaches in and grabs the

piece. Immediately, behind him, the huge hammer falls

and the sound of the gong thunders through the museum.





44 EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY 44



At the sound of the gong, the running Hok skids to a halt

with a crazed expression on his face. He disappears for

two seconds in an alcove and emerges holding a big, black

Thompson Submachine Gun. He runs across the foot bridge

and is just barely over it when it blows up. Hok, safe,

looks behind him in amazement and then turns to the museum.





45 INT. HOK'S MUSEUM 45



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

Indy is halfway along an unprotected wall back to his ven-

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

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

promptly blasted with machine gun fire.



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

Reaching up, pushing with tremendous effort, he maneuvers

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

chipping the marble with its monstrous weight. Indy stead-

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

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

slips behind it and runs across the room with it.



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

The vicious cacophony of machine gun fire is joined by

the musical reports of bullets hitting the gong and ri-

cocheting away. Very, very noisy.



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

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

stride onto the bench and dives through the glass of the

high window. Hok's bullets hit the wall.





46 EXT. ROOF - DAY 46



Indy lands in a shower of glass on the jutting roof of

the museum's first floor. He rolls to a crouch and is

immediately being fired upon. The Germans, cut off from

the museum, are standing on the palace walkway firing at

him. Indy takes off fast for the rear of the museum.





47 EXT. ALLEY BEHIND MUSEUM - DAY 47



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

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

seat. Indy appears on the roof at a run, gauges the move-

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

the roof of the sedan. Unfortunately, the roof of the

old car can't take it and Indy's legs knife right on

through to the interior, where he scares the hell out of

Kehoe.





48 INT. KEHOE'S CAR - DAY 48



Indy squirms his way down into the front seat.



KEHOE

Jesus! Are you all right!



INDY

(he's felt better)

Great. Got it.



Kehoe guns it, throwing Indy back against the cushions.



KEHOE

What now?



INDY

I've got to get to Nepal.





49 OMIT OMIT 49



WIPE TO:





50 EXT. DC-3 IN THE AIR - DUSK 50



The plane flies west into the sunset.





51 INT. DC-3 - NIGHT 51



Under a meager seat light, Indy is pouring over a jour-

nal article by Abner Ravenwood and related map of Nepal.



A few rows back, across the aisle, a trenchcoated Euro-

pean Spy eyes Indy.



WIPE TO:





52. INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT 52



A huge stuffed raven, wings spread wide, is mounted be-

hind the long bar in the noisy, crowded saloon. A lively

mix of patrons is represented in the late hour tableau:

Nepalese natives, fierce Sherpa mountain guides, sleazy

international smugglers and fugitives, and, of course,

mountain climbers from every corner of the earth. A tall

Nepalese, MAHDLO, is the bartender.



In a corner near the fireplace trouble breaks out

suddenly between the groups at two neighboring tables.

Ferocious representatives from each table-one a wild-

looking SHERPA, the other a muscular Australian CLIMBER-

jump up to face each other. As the two contenders stand

poised for action, their respective supporters shift in

their places, fondling lethal ice axes and clubs.



SHERPA

Gmoiska! Shurga rintoik!



CLIMBER

Aye! That'll be your last word.



The bar has quieted ominously and so we hear with startling

clarity when-a door behind the bar slams open with a huge

BANG! and some Presence, too small to be seen as it moves

through the forest of towering patrons, makes a beeline

for the troubled corner of the bar. A path clears for it.



The Sherpa and the Climber are about to kill each other

when the Presence arrives directly between them: she is

MARION RAVENWOOD, twenty-five years old, beautiful, if a

bit hard-looking. At this moment, however, that look

does not hurt. She is not intimidated by the combatants;

she jabs accusatory fingers into their chests. She is

angry as hell. The patrons shrink under her gaze.



MARION

That does it! I've been patient

with you no-goods long enough. I'm

not open at 2 o'clock for myself,

you know. It's all for you. And

how do you repay me: Trouble and

noise and blood on my floor! I

won't have it. Everybody out! Out!

Out! We're closed. Closed! Do your

killing outside! And don't leave any

bodies on the porch!



The place clears quickly. Stragglers and grumblers are

given special attention by Marion and Mahdlo, who has

come from behind the bar carrying a big axe handle.

Mahdlo herds the crows out the front door as Marion turns

and walks behind the bar.



A scowl on her lovely face, she has just begun clearing

the bar of glasses when she notices one remaining Patron

huddled over a glass at the far end of the bar. Grimacing

in exasperation, she heads that way like a locomotive.



MARION

Hey you, deaf one! I said out of

my place. I don't mean next Easter,

I mean now-



She is almost on him when Indy looks up smiling. Marion

stops, stares, shocked.



INDY

Hello, Marion.



She hits him with a solid right to the jaw, knocking him

off the barstool on the floor. He rubs his jaw and

smiles up at her.



INDY

Nice to see you, too.



MARION

Get up and get out.



INDY

(getting up)

Take it easy. I'm looking for

your father.



MARION

(bitterly)

Well you're two years too late.



Indy's attitude changes instantly. This is sad news. He

is silent for a long time. Mahdlo comes in the front door

and hurries forward when he sees Indy with Marion. He

looks to her for guidance, but she stays him with a gesture.



MARION

Go home, Mahdlo. I'll see you to-

morrow.



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

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

tles again on the barstool. Marion has a vindictive look.

She'll let him stay, but she wants to inflict as much pain

as possible.



INDY

What happened?



MARION

Avalanche. Up there. He was dig-

ging. What else? He spent his

whole life digging. Dragging me all

over this rotten earth. For what?



INDY

Do you find him?



MARION

Hell no. He's buried where he was

working. Probably preserved real

good, too. In the snow.



Suddenly the hardness cracks. She is on the verge of

tears and does not want him to see them. She turns away

and takes a whiskey bottle from the shelf, then turns

back to pout herself a drink.



INDY

Not a bad way to go. Doing what

he loved.



MARION

(vitriolic)

Don't give me taht stuff! What

do you know?

(she takes a drinks)

I'm the one that was left in a bad

way. He didn't have a penny. Guess

how I lived, Mister Jones. I worked

here. And I wasn't the bartender.

(another swallow)

Finally the guy that owned the joint

went crazy. Snow crazy. They took

his away screaming. As they dragged

him out, he said the place was all

mine for life.



She looks around the saloon.



MARION

Can you imagine a more evil curse?

(pause)

So far, it's working.



INDY

Why not leave? Go back to the States.



MARION

I'll go back. I'll get there. Not

that there's a soul there who knows

my name of cares. But I'll go. And

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

I'm going to go back in style. With

money. A soddamn lady!



INDY

Where you gonna get it?



MARION

If I knew that, you think I'd still

be running this dive?



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

for reasons only she understands. She looks into her

glass and, for a moment, she softens.



MARION

I'll tell you something Indy. I've

learned to hate you in the last ten

years. But somehow, no matter how

much I hated you, I always knew that

someday you'd come through that door.

I never doubted that. Something made

is inevitable.

(hopefully)

Why are you here...now...tonight?



Indy takes a long time to answer.



INDY

I need one of the pieces your father

collected.



Marion's eyes go icy. She swings at him again with her

right, but this time he catches her at the wrist. Then

he stops her left, which she has brought up to slap him.



MARION

You son-of-a-bitch! You know what

you did to me, to my life? This

is your handiwork.



INDY

I never meant to hurt you.



MARION

I was a child!



INDY

You knew what you were doing.



MARION

I was in love.



INDY

I guess that depends on your

definition.



MARION

It was wrong. You knew it.



Indy releases her arms.



INDY

Look, I did what I did. I don't

expect you to be happy about it.

But maybe we can do each other

some good.



MARION

Why start now?



INDY

Shut up and listen for a second. I

want that piece your father had.

I've got money.



This stops her.



MARION

How much?



INDY

Enough to get you back to the States.

Where are his things?



MARION

Gone. I sold it all. It was all

junk. The junk he wasted his life on.



INDY

Everything?



Marion nods.



INDY

(giving up)

That's too bad.



Indy feels tired, defeated. Marion is pleased.



MARION

You look disappointed. I like

that. How's it feel?



Indy has to smile at her glee.



MARION

(nods at his empty glass)

What are you drinking?



INDY

Seltzer.



MARION

(refilling his glass)

Real man's drink. Me, I like scotch.

And I like bourbon. And vodka and

gin. I'm not much for brandy. I'm

off that.



She pours herself another as Indy watches, amused.



INDY

You're a tough broad now, aren't you?



MARION

It's no act, pal. This ain't Sche-

nectady.



INDY

I can only say I'm sorry so many

times.



Marion looks at him thoughtfully, takes a drink.



MARION

You really have money? You don't

look rich.

(Indy nods)

I may be able to locate some of his

things. I know who's got them.

What do you want?



INDY

A bronze piece, about this size. In

the shape of the sun. Probably

broken off at the bottom. Has a

little hole in it, off-center.

Does that sound familiar?



Marion thinks, nods slowly.



INDY

Do you know where it is?



MARION

Maybe. How much?



INDY

Three thousand. American.



MARION

(negative)

That'll get me back, but not in

style. This doodad must be pretty

importnat.



INDY

Maybe.



A huge smile lights up Marion's face.



MARION

I knew it would happen eventually.

I knew it. Something had to go my way.

(pours herself another drink)

I've got to think this out. I'm

used to bargaining with yaks.



INDY

Okay, five thousand. That's all I

can give you now. I can get you more

when you land in the States.



MARION

You word, huh?

(Indy nods)

Just like you said you'd be back last

time? That was your word too.



INDY

I'm back, aren't I?



Marion sneers and they smile together.



INDY

You can trust me.



MARION

Come back tomorrow.



INDY

Why?



MARION

Because I said so, that's why. It's

about time I called the shots in this

relationship.



Indy nods, gets up to go.



MARION

Wait a minute. Leave the five thou-

sand here.

(Indy hesitates)

You want trust, give some. I want to

smell your money.



Indy thinks about this a moment, then reaches inside his

shirt and pulls cash from a money belt. He lays five grand

on the bar.



INDY

I trust you.



MARION

You're an idiot.



INDY

I've heard that.



Indy starts fro the door. Marion takes another think.

She is getting high.



MARION

Hold it. Come here.



INDY

(moving back)

Bossy, aren't you?



MARION

That's right. Give me a kiss.



Indy looks into her eyes, then leans over the bar and

kisses her deeply. When the kiss ends, their faces are

very close. Marion is flushed. She liked it and would

like more. She raises her glass between them to disci-

pline herself.



MARION

Get out of my place.



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

looking back-



INDY

Tomorrow.



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

a drink. Then slowly, her hand comes up to loose the

scarf that is draped around her throat. It falls away,

revealing her graceful neck above the dipping top of her

blouse. Hanging there on a gold chain against her white

skin is a sun-shaped golden medallion. The bottom looks

broken off. Marion lifts the medallion so she can see it

in her hand, then looks thoughtfully after Indy.





53 EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT 53



Indy sits thinking at the wheel of an old car. Finally,

he puts the car in gear and drives away.



Across the street, the shadow in a doorway comes to life.

A dark form steps out to look at Indy's departing car;

it is the European Spy from the DC-3. He hurries off

in the opposite direction.



DISSOLVE TO:





54 INT. "THE RAVEN" - NIGHT 54



Marion stands before the fire that is shrinking in the

fireplace. She jabs at it abstractedly with a poker,

thinking. Suddenly tears well up in her eyes. She lets

the poker slip from her hand, wipes away the tears. She

walks across the room to the end of the bar, still clut-

tered with bottles and glasses, and stops at the pile of

American money Indy has left. She takes the chain from

around her neck and lets the medallion slide off it into

her hand. She places it on the bar next to the pile of

money, thinking. Then, having reached some decision, she

picks up the pile of bills, walks up the back of the bar

and pulls a small wooden box from under the bar. She flips

open the top, puts the cash inside and closes the top.

She leaves the box on the bar and starts back toward

the medallion. The front door of the saloon bursts

open and Four Bad Men come in. Marion, halfway between

the valuable possessions and not wishing to draw

attention to either, stops where she is.



The Four Bad Men who advance on her are:



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

in spectacles by the name of BELZIG.

2.) a trenchcoated SECOND NAZI.

3.) a ratty-looking NEPALESE and

4.) a mean MONGOLIAN. The second NAZI and the MONGOLIAN

both carry submachine guns.



BELZIG

Good evening, Fraulein.



MARION

The bar's closed.



BELZIG

We are not thirsty.



The Mongolian and the Nepalese poke around, checking

to make sure there's no one else there.



Down at the end of the bar, the medallion lies partially

hidden by surrounding glasses and bottles. The Second

Nazi stops very near it, but turns his back to it to face

Belzig and Marion.



MARION

What do you want?



BELZIG

The name thing your friend Dr. Jones

wanted. Surely he told you there would

be other interested parties.



Marion shakes her head.



BELZIG

Ah, the man is nefarious. I hope

for your sake he has not yet acquired

it.



MARION

Why, are you willing to offer more?



BELZIG

Almost certainly. Do you still have it?



MARION

No. But I know where it is.



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

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

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

near the large stuffed raven. He hand lingers there a

moment and we see-



From an angle behind the stuffed raven, that the left wing

spread hides a Baretta automatic pistol. Marion's hand is

very near it, but withdraws with only a whiskey bottle as

the Mongolian walks toward her behind the bar.



Marion opens the bottle before Belzig, who watches her

intently.



MARION

How 'bout a drink for you and your

men?



The Second Nazi lights up at this suggestion. Belzig gives

him a withering look.



BELZIG

We will stick to the business at hand,

Fraulein.



MARION

(tough)

Fine. Why don't you come back to-

morrow when Jones is here and we'll

have an auction?



Belzig gives her a cold look then turns and walks over to-

ward the firplace. As soon as his back is turned, the

Second Nazi grabs the nearest whiskey bottle and takes a

quick pull. In so doing, he leaves the medallion completely

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

he quickly puts the bottle down again, obscuring the medal-

lion, when Belzig speaks from the fireplace.



BELZIG

I'm afraid an auction is not possible.

(pause)

Your fire is dying here, Fraulein.

(a beat, then threatening)

Why don't you tell us where the

piece is right now?



MARION

Listen, Herr Mac, I don't know who

you're used to dealing with, but

no one tells me what to do in my

place.



Belzig, still looking in the fire, sneers and shakes

his head.



BELZIG

Americans! You're all alike. Frau-

lein Ravenwood. I'll show you want

I'm used to.



He motions with his hand. The Mongolian moves up behind

Marion and lifts her roughly over the top of the bar,

knocking over bottles and spilling liquor. He deposits

her on the other side, where the Nepalese and the Second

Nazi flank her and hold her cruelly, arms behind her back.

Marion raises a ruckus.



Belzig turns from the fireplace. In his hand is the poker,

its end glowing orange. He advances on Marion. Marion

stops yelling, her eyes widen in terror.



MARION

Wait! I can be reasonable-



BELZIG

That time is passed.



The glowing poker point moves inexorably across the room

toward Marion's face.



MARION

You don't need that. I'll tell you

everything!



BELZIG

Yes, I know you will.



Belzig has no intention of stopping now. The glowing tip

is approaching Marion's face. The Nepalese watches with

savage glee.



The tip of the poker is five inches from Marion's nose

when there is a loud CRACK! and the fall of Indy's bull-

whip wraps around the middle of the poker and tears it

out of Belzig's hands. The poker sails high across the

room, free of the whip, and lands in the heavy curtains

that cover one window. The curtains immediately burst

into flame.



The four Bad Men look in surprise toward the front en-

trance. Indy is poised there, the whip in his right

hand, a .45 automatic raised toward them in his left.



INDY

Hello.



Now everything begins to happen very fast-



The Mongolian had just come around the bar at the end

opposite the medallion. He dives back to crouch behind

the end of the bar, raising his submachine gun.



Belzig and the Second German dive behind tables near the

bar. The Nepalese is slower to leave Marion, he draws a

Luger. Indy's .45 barks and the Nepalese dies spinning

against the bar. Indy fires in the direction of the

Mongolian.



Marion swings up over the top of her bar. Belzig fires at

her, but his bullets smash bottles behind the bar and thud

into the raven.



Marion flattens out on the floor behind the bar as bullets

hit above her. She reaches up, snatches the axe handle

from where Mahdlo left it, and begins crawling down the

length of the bar toward-



The Mongolian, who sticks his submachine gun out and fires

blindly in Indy's direction.



Indy is in a crouch behind a table, trying to get a shot

at someone. He doesn't notice in the din and confusion

when the door bursts open. An incredible, fearsome GIANT

SHERPA, almost seven feet tall, soars in and tackles Indy

from behind. The whip flies from Indy's hand as he and

the Giant Sherpa roll across the floor, upsetting furniture.



The Mongolian, seeing this, stands up confidently. Marion

rises behind him and bashes him over the head with the axe

handle. He goes down and out.



Fire has completely engulfed the curtains and is working

across the ceiling on decorative yak skin bunting. A burn-

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

lights up, fueled by the spilled alcohol. Full whiskey

bottles explode like Molotov cocktails.



Rolling on the floor, Indy and the Giant Sherpa are fight-

ing for control of Indy's .45. Belzig sees this and shouts

to the Second Nazi, who is rising from cover with submachine

gun in hand.



BELZIG

Shoot them both!



SECOND NAZI

He's our man!



BELZIG

Do as I say!



Both the Giant Sherpa and Indy hear this. The Giant

Sherpa exchanges an alarmed look with Indy and together

they swing the .45 around toward the surprised Second

Nazi. Two blasts blow him away.



That done, Indy brings a brass spittoon down on the Giant

Sherpa's wrist and the .45 slides away. Indy jumps up and

kicks the Giant Sherpa, who barely seems to feel it. He

grabs Indy and flips him effortlessly onto a table.



Belzig now has a clear shot at Indy. He raises his luger