Roteiro de Lawrence Kasdan
Um trecho:
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.
…
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