"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"INDIANA JONES AND THE LAST CRUSADE"

Screenplay by

Jeffrey Boam



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.

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 INDIANA 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!

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 that!
(more whoops)
We're rich! 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?!

Indy takes off his hat and looks down at the off screen
action.

HERMAN
Indy? Indy? What are they doing?
Indiana? Indiana?

INDY
Shhh!

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 Coronado! Cortes
gave it to him in 1521.

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.

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 is!

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.

INDY
Hyah! 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 adrenaline 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.

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 IT 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.

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 that!

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 away!

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!

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.

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!

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.

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. You 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.

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 it!

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 Jones!" etc., etc.

INDY
Shush! Shush! Shush!

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 Jones!" "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, enjoying his
freedom. As he arrives at the curb, a LONG BLACK PACKARD
SEDAN pulls up before him.

MAN (O.S.)
Doctor Jones!

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.

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."

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.

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.

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.

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 man.

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.

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?

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.

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 anybody.

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.

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.

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.

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.

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.

BRODY
(to Elsa)
Uh, yes. Three, seven and ten. 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.

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.

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 on!

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.

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 it! 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.

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, Venice!

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
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.

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.

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?

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.

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.

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.

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, sir!

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!

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?

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.

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... BAM! 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
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?

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!

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 dies!

Vogel jams the barrel of the Luger painfully into Elsa's
neck. Elsa SCREAMS.

INDY
Wait! Wait!

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.

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 this!

Elsa rushes to Donovan's side. She takes the Grail Diary
from him. Elsa takes a look for herself -- then glances up
at Indy.

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 Brody!

They meet and hug, then begin to walk.

BRODY
Oh, Sallah! 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.

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.

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, quick!
Hide in that door! 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.

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.

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.

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.

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, move! 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 Wichtiges, 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.

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)
Losfahren.

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.

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
Whoops!

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 Radioman turn to see Henry and Indy.

WOMAN
Schnell!!

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 AWAY!

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.

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)
Ooof! 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 on!

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.

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?

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 Christ!

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.

ELSA
You came back for the book? Why?

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 diesen 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 nicht 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 mein 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 horen von mir!

INT. ZEPPELIN - DAY

Indy and Henry together again in their compartment.

HENRY
You know, sharing your adventures is
an interesting experience.

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.

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.

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 BI-PLANE 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.
(pause)
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, Dad!

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:

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.

SULTAN
What have you brought?

VOGEL
Bring den Schatz!

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 tanks!

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, TURKISH 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.

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.

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!

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
Henry! What are you doing here?!

HENRY
It's a rescue, old boy. 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.

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
Den 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.

CLOSEUP - VOGEL

Hate-staring at Indy.

CLOSEUP - 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! Dad! 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 Amerikaner. Sie kämpfen 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.

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 did!

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.

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 Henry.

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 Dad!

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.

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.

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.

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.

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... Jehovah!

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 Grail 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 Grail
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
Impossible! 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 altar!

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.

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?

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.

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 move!

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 grab 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.

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.

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 you 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?

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! Henry! 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.

FADE OUT:

THE END

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