peterlally said:
Narzca Warriors are Ancient Inca Warriors. Either they are still alive meaning the McGuffin is the fountain of youth or they are undead etc. I hate to say this but there is a link between the Narzca (or Nazca if we are having it straight) and extra terrestials.
http://www.artic.edu/artaccess/AA_Amerindian/pages/Amerind_10.shtml
Alien Involvement??
Pretty sure "Narzca" is a misprint.
Back in 2000, I wrote an
article entitled "Indiana Jones and the Impossible Sequel", which included my semi-serious attempt at a back-of-the-DVD blurb for a fourth "Indiana Jones" film to prove how difficult it was to come up with a premise strong enough to justify a fourth film.
It's a little scary that the idea I cooked up eight years ago may not be too dissimilar to the idea behind "Indiana Jones and the Kingdom of the Crystal Skull".
Here's my blurb:
Indiana Jones and the Secret of Nazca
The spirit of adventure soars in this eagerly awaited fourth installment in the Indiana Jones saga!
Harrison Ford, Steven Spielberg and George Lucas reunite after fifteen years to prove that old dogs can teach themselves new tricks!
After finding an ancient Peruvian artifact in the sands of war-torn Tunisia, Indiana Jones receives a plea for help from an anthropologist friend researching the mysterious Nazca Lines.
Upon reaching Mexico, Jones learns that his friend has disappeared -- and suspects the involvement of a band of renegade Nazis who are, coincidentally, on a dubious journey to the Nazca Lines themselves.
Armed with his artifact that's transmuting into gold the closer it gets to South America, Jones sets off in search of his friend and some answers, but not before giving Humphrey Bogart a few tips on how best to approach his role in his latest movie, "The Treasure of the Sierra Madre".
As usual, Jones gets far more than he bargained for as secrets intersect, culminating in an explosive and awe-inspiring conclusion to what is a "Surprisingly fitting footnote to the Indiana Jones legend, combining the wryness and leanness of the first film with the assured confluence of Jones' last high-octane outing" (Roger Ebert, Chicago Sun-Times).