INDIANA JONES AND THE LAST CRUSADE
EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY
A mountain peak dominates the landscape.
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.
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.
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.
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.
I don't think this is such a good
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.
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
And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT
FEDORA HAT. He has his back turned to us, but we would be willing to bet
anything that this is INDLANA JONES.
However, when the man turns, and his face is illuminated by the lantern's glow,
we are shocked to discover that it is someone else.
We'll call him FEDORA.
The TWO BOYS are mesmerized by what they see.
Now we realize that the Blond Scout is actually young INDIANA JONES.
Alfred, did you get anything yet?
Nothing. Dig in.
Two of the men stand and look at ROSCOE who steps forward holding a box in his
Hey, I've got something!
Whoops from the other men.
I got something, Garth!
ROSCOE rushes forward and gives FEDORA the box. Fedora steps toward a
lantern resting on a rock.
I got something... I got something
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.
(more whoops; then)
Oh, look at thatl
We're richl We're rich!
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.
Well, we're rich, ain't we?l
INDY takes off his hat and looks down at the o.s. action.
Indy? Indy? What are they doing?
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
Hey, we got to find more stuff
to bring back.
INDY stays hidden, but is astounded by what he sees.
It's the Cross of Coronadol
Cortes gave it to him in 15201
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.
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
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.
Have him bring the sheriff.
INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps.
It's only a snake.
INDY grabs HERMAN's scout scarf and pulls him closer.
Did you hear what I said?
Right. Run back. Mister Havelock.
The Sheriff. What, what are you
I don't know... I'll think of
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
FEDORA looks over at the men digging in a hole b.g.
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.
He's got our thing!
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
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.
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.
There he isl
Let's go! Let's get him! Let's
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.
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
Come on. Get him!
INDY SPURS his mount on to greater speeds but the autos not only keep pace
with his horse... they begin to squeeze in on it.
Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched
low and leaning forward in the saddle, his heart pounding, his adrenalin
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—
The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex.
INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT.
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.
Here, let me.
EXT. THE TRAIN- DAY
INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks
worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and
tosses it away.
ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at
him. Roscoe grabs onto the side of the reptile car as Indy moves on to...
EXT. A FLATCAR - DAY
INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a
long stick with a hook on it. He reaches forward and trips Indy, who falls onto
the roof of the rhino boxcar.
INT. THE RHINO BOXCAR - DAY
as a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE
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 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.
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'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
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.
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.
You've got heart, kid.
But that belongs to me.
(takes Cross from his belt)
It belongs to Coronado.
Coronado is dead. And so are all
This should be in a museum.
Now give me thatl
ROSCOE makes a grab for the Cross—but INDY doesn't let go. A tug-of-war
ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS
AROUND Roscoe's hand.
ROSCOE SCREAMS BLOODY MURDER—releases his grip on the Cross and tries
to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO
THE NEXT CAR.
Don't let him get awayl
INDY swings down to the caboose. He sees a sign above the caboose door reading
"DR. FANTASY'S MAGIC CABOOSE."
He glances back at the men and quickly opens the door to the caboose, stepping
FEDORA puts out his arm, gesturing for the others not to follow INDY.
Hold it. Make sure he doesn't
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
Okay, kid. out of the box.
FEDORA smiles confidently and advances toward the box. The box unexpectedly
collapses; all four sides flop away... revealing NOTHING. INDY has completely
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.
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.
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.
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.
Then wait—count to twenty.
No, Dad. You listen to me—
(now he shouts)
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.
One, two, three, four...
Now we see what HENRY is concentrating on. We see his hand
sketching; then, he holds up one finger.
(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.
May he who illuminated this...
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.
I brought the Sheriff.
HERMAN means the SHERIFF, who now enters the house.
Just the man I want to see! Now,
there were five or six of them.
All right, son.
... they came after... me...
You still got it?
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.
I'm glad to see that... because
the rightful owner of this Cross
won't press charges, if you give
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
He's got witnesses, five or six
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.
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.
FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic
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
FADE IN TITLE: "PORTUGUESE COAST—1938"
Small world, Doctor Jones.
Too small for two of us.
THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF
CORONADO from Indy's belt.
This is the second time I've had
to reclaim my property from you—
That belongs in a museum—
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
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.
Grab him, he's getting away!
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
A SHREDDED PANAMA HAT floats past.
EXT. COLLEGE - DAY
Students walk along brick, tree-lined paths.
INDY (V.O .)
INT. COLLEGE LECTURE HALL - DAY
INDY, dressed in professorial tweeds, stands before his class. He turns to the
blackboard with a piece of chalk and writes the word: "FACT."
... the search for fact. Not truth.
If it's truth you're interested
in, Doctor Tyree's Philosophy
class is right down the hall.
INT. CORRIDOR - DAY
So forget any ideas you've got
about lost cities, exotic travel,
and digging up the world. Eve
do not follow maps to buried
treasure and "X" never, ever,
marks the spot.
MARCUS BRODY approaches Indy's classroom. He peers through the window in
the door to see INDY completing his lecture.
Seventy percent of all archaeology
is done in the library. Research.
INT. LECTURE HALL - DAY
BRODY enters the lecture hall and stands at the rear of the room.
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.
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.
(slaps his pocket)
I did it!
You've got itl
INDY removes the cloth-wrapped Cross from his desk. He places it on the desk
and takes off his glasses as BRODY examines the Cross.
You know how long I've been
looking for that?!
All your life.
All my life!
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.
We can discuss my honorarium over
dinner and champagne tonight.
He turns back toward BRODY, now holding the Cross.
Yes. My treat.
INT. INDY'S OUTER OFFICE - DAY
Bursting with STUDENTS, all competing for his attention at once: "Professor
Jones! " "Doctor Jonesl " etc., etc.
Shush! Shush! Shushl
INDY shoulders his way to the desk of his secretary, an overwhelmed Teaching
Assistant named IRENE.
Doctor Jones! I'm so glad you're
back! Your mail is on your desk.
Here are your phone messages.
Doctor Jones, you promised...
This is your appointment schedule.
And these term papers still haven't
INDY takes the term papers then turns to enter his PRIVATE OFFICE. Students
once again CLAMOR for his attention: "Doctor Jones!" "Wait, Doctor Jonesl"
"My grade!" "Sign my registration card!"
INDY silences the mob with a raised hand.
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
where he goes to his desk and finds a thick envelope with a foreign postmark on it.
Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it
open and STEPS OUT INTO THE GARDEN.
EXT. SIDE OF COLLEGE BUILDING - DAY
INDY escapes through the garden.
EXT. FRONT OF COLLEGE BUILDING - DAY
INDY walks briskly toward the street; smiling, erUoying his freedom. As he
arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him.
THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN."
The First Man steps behind Indy.
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.
I trust your trip down was
comfortable, Doctor Jones. My
men didn't alarm you, I hope.
He shakes hands with INDY.
My name is Donovan. Walter Donovan.
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
Well, like yourself, Doctor Jones,
I have a passion for antiquities.
Have a look over here. This might
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.
Well, it's sandstone. Christian
symbol. Early Latin text. Mid-
Twelfth Century, I should think.
That was our assessment as well.
Where did this come from?
My engineers unearthed it in the
mountain region north of Ankara
while excavating for copper.
Can you translate the inscription?
Translating the inscription is no easy matter, even for someone as knowledgeable
(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.
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.
"Where the cup that holds the
blood of Jesus Christ resides
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
INDY rubs his chin with a dubious expression as he takes the glass of champagne
DONOVAN now offers him.
The Arthur Legend. I've heard
this bedtime story before.
Eternal life, Doctor Jones! The
gift of youth to whoever drinks
from the Grail.
Oh, now that's a bedtime story I'd
like to wake up to!
An old man's dream.
Every man's dream.
Including your father's, I believe.
INDY stiffens slightly at the mention of his father, nods.
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.
Walter, you're neglecting our
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.
Hard to resist, isn't it? The
Holy Grail's final resting place
described in detail!
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.
Just the same, an attempt to
recover the Grail is currently
INDY has to shake his head at DONOVAN's apparent lack of judgment.
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.
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.
Not "supposedly," Doctor Jones.
DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle
pages. INDY views the manuscript with considerable interest.
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
(indicates the Tablet)
This Tablet is one of those
"markers." It proves the Knight's
story is true. But as you pointed
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.
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.
That's usually when the ground
falls out from underneath your
You could be more right than you
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
I want you to pick up the trail
where he left off. Find the man
and you will find the Grail.
You've got the wrong Jones, Mister
Donovan. Why don't you try my
(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.
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
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.
He's an academic A bookworm.
He's not a field mans
He pushes open the door. He enters the house and calls out.
INDY 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.
They walk into the room.
What has the old fool got
himself into now?
I don't know. But whatever it
is, he's in over his head!
BRODY picks up some mail from Henry's cluttered desk.
It's today's mail. And it's been
INDY turns and sees the pile of torn papers and envelopes. Then something hits
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.
(as he tears it open)
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
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?
I don't know. But someone must
want it pretty badly.
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.
Do you believe the Grail actually
The search for the Cup of Christ
is the search for the divine in all
BRODY sees that INDY is unsatisfied by this response.
But if you want facts, Indy, I
have none to give you. At my age,
I'm prepared to take a few things
Call Donovan, Marcus. Tell him
I'll take that ticket to Venice
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.
Tell me, what's going to happen
when we get to Venice?
Don't worry. Doctor Schneider will
be there to meet you.
I maintain an apartment in Venice,
at your disposal.
Oh, well. That's good. Thank
BRODY and DONOVAN shake hands. INDY steps from the back seat of the limo.
He turns back to Donovan and shakes his hand.
Doctor Jones. Good luck. Be
very careful. Don't trust anvbody.
INT. AIRLINER - FLYING - DAY
INDY opens the Grail Diary and thoughtfully turns through the pages. He stops
at one page and glances at a PENCIL SKETCH of what might be a stained-glass
window. Below the sketch is a SERIES OF NUMBERS.
EXT. THE PRIVATE AIRLINER - FLYING - DAY
SUPERIMPOSED over a MAP that traces a course from New York City to Venice,
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.
Yes. Uh, how will we recognize
this Doctor Schneider when we
I don't know. Maybe he'll know
Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes
that are bright and intelligent.
I knew it was you—
She looks at him with an appraising expression that is brazenly flirtatious.
—you have your father's eyes.
INDY is instantly attracted to her.
And my mother's ears. But the
rest belongs to you.
Looks like the best parts have
already been spoken for.
INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat.
The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY.
Doctor Elsa Schneider.
INDY's grin fades. BRODY registers a look of surprise.
Uh... how do you do?
EXT. VENICE CANAL - DAY
INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on
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.
Who? Attila the Professor? He
was never giddy, even when he was
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.
Fraulein—will you permit me?
I usually don't.
I usually don't either.
In that case, I permit you.
INDY gives her the flower.
It would make me very happy.
But I'm already sad—by tomorrow
it will have faded.
Tomorrow I'll steal you another.
I hate to interrupt you—but the
reason we're here—
Yes. I have something to show
She hands a slip of paper to INDY.
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.
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.
Here is the library.
They have arrived at the front steps of the library.
That doesn't look much like a
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-
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.
... 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.
Now please excuse me. The library's
closing in a few moments. I'll
arrange for us to stay a little
The minute ELSA is out of earshot.
Marcus—I've seen this window
INDY whips out the Grail Diary and opens it to the sketch he noticed in the
Right here. In Dad's Diary.
BRODY glances at the Diary, then at the window—noticing that the Roman
numerals in question have been worked into the window's design.
Look, Indy. The Roman numerals!
Dad was onto something here!
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.
(explaining to Brody)
My dad sent me this Diary for a
reason. Until we find out why,
I suggest we keep it to ourselves.
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.
Uh, yes. Three, seven and tent
That window seems to be the source
of the Roman numerals.
My God, I must be blind
Dad wasn't looking for a book
about the Knight's Tomb... he was
looking for the Tomb itself
ELSA wears a blank expression.
Don't you get it? The Tomb is
somewhere in the library! You
said yourself it used to be a
INDY's eyes travel up one of the four huge marble columns.
INDY looks again to the stained-glass window. He points.
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.
He points again to the stained-glass window.
He looks down to the scrap of paper in his hands.
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.
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.
(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,
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.
You don't disappoint, Doctor Jones.
You're a great deal like your
Except he's lost, and I'm not.
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.
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 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.
Pagan symbols. Fourth or Fifth
Right. Six hundred years before
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.
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.
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:
What's this one?
INDY only has to give it a quick glance to know.
The Ark of the Covenant.
Are you 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."
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.
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.
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.
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
She gasps once again, terrified. INDY lifts her and carries ELSA as he moves
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
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.
LARGE BURIAL CHAMBER
The chamber is flooded with black, briny water.
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
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
It must be one of these...
Look at the artistry of these
carvings and the scrollwork.
One coffin is elevated above the others.
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
This is itl we found it! Look—
the engraving on the Shield. It's
the same as on the Grail Tablets
The Shield is the Second Marker!
INDY unfolds a piece of paper and holds it over the shield.
It's a rubbing Dad made of the
The missing portion of the rubbing is completed by the shield.
Just like your father—giddy
as a schoolboy.
Wouldn't it be wonderful if he
were here now to see this?
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
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
HUGE ORANGE BALL OF FIRE
ROARING around the corner hurtling towards them—feeding on the oil slick;
consuming the oxygen.
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.
Quick! Under it!
They jump into the water beside the bobbing, overturned coffin.
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
Now INDY pops up into the air pocket. He looks at ELSA—they are both soaking
Don't wander off.
INDY disappears under the water and swims out from under the coffin.
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.
I think I've found a way out.
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'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
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.
Are you crazy?! You don't go
ELSA can barely hear INDY over the noise of the motor.
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.
I said go around!
You said go between them!
I said don't go between them!
It's purely academic at this point since the hulls of the the two Freighters loom
up on either side of them like cavern walls.
EXT. FULL SHOT - THE HARBOR - DAY
One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat
containing KAZIM veers off and goes around.
EXT. BETWEEN THE TWO FREIGHTERS - DAY
It's a race for daylight as the two Freighters drift ever closer to one another.
Indy's Speedboat just manages to squeeze through the gap. But the Enemy
Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO
THE AIR and SPLASHING back down into the water.
INDY AND ELSA
spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear
racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at
INDY and ELSA.
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.
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.
Why are you trying to kill us?
Because you're looking for the
My father was looking for the
Holy Grail. Did you kill him
Where is he? Talk—or you're
dead. Damn it, tell me! Tell
If you don't let go, Doctor Jones,
we'll both die.
Then we'll die.
My soul is prepared. How's yours?
By now half the boat has been chopped up into matchwood and the blades are
This is your last chance.
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
All right! Where's my father
If you let me go, I will tell you
where he is.
Who are you?
My name is Kazim.
And why were you trying to kill
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
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
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.
Ask yourself, why do you seek
the Cup of Christ? Is it for His
glory, or for yours?
I didn't come for the Cup of
Christ. I came to find my father.
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.
How's the head?
It's better, now I've seen this.
It's the name of a city.
INDY, wearing a bathrobe, leans over to study the impression.
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.
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."
But where exactly?
Your father would know. Your
father did know. Look. He
made a map.
BRODY picks up the Grail Diary.
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.
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.
Alexandretta. Now we know.
Yes. Now we know.
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.
What about you?
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.
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:
He steps into the room and knocks upon the bathroom door.
He opens the bathroom door, peering inside.
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.
What were they looking for?
She looks to INDY, who pulls the Grail Diary from his pocket.
The Grail Diary.
You had it? You didn't trust
She looks hurt and beautiful. She comes closer to him.
I didn't know you.
She's awfully hard to resist.
At least I let you tag along.
Oh, yes. Give them a flower and
they'll follow you anywhere.
Knock it off. You're not mad.
No. You like the way I do things.
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
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.
How dare you kiss me!
Now ELSA reaches for INDY and kisses him.
Leave me alone. I don't like
But he embraces her, and ELSA begins to nibble at his ear.
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
INT. INDY'S BEDROOM - DAY
INDY lies on top of ELSA, kissing her. He stops for a moment as he hears the
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
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.
What do you know about this
I know the Brunwalds are famous
INT. MERCEDES-BENZ - DAY
INDY reaches into the back seat and retrieves his bullwhip.
What are you going to do?
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.
INDY, followed by ELSA, steps inside, shaking the water from his overcoat. He
adopts a Scottish accent.
And not before time! Did you
intend to leave us standing on
the doorstep all day? We're
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
Now look! I've gone and caught
INDY dabs at his nose with the handkerchief as ELSA looks on in amused
Are you expected?
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.
Dear me, the man is dense. This
is a castle, isn't it? There are
This is a castle. And we have
many tapestries. But if you're a
Scottish lord, then I am Mickey
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.
(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.
This one. I think he's in here.
How do you know?
INDY points out an ELECTRICAL WIRE.
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
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.
INDY reassures her.
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.
INDY gets to his feet.
This reply is a kneejerk reaction on Indy's part. Now they look at each other.
It is you Junior!
(an old familiar
Don't call me that, please.
But what are you doing here?
I came to get you! What do you
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.
Late Fourteenth Century, Ming
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.
Oh, it breaks the heart.
(quietly to himself)
And the head.
(to HENRY, aggrievedly)
You hit me, Dad!
(referring to the
I'll never forgive myself—
Don't worry—I'm fine.
HENRY has clearly been concentrating entirely on the vase... he is examining the
broken end carefully.
... it's fake. See, you can tell
by the cross section.
HENRY throws the vase against the wall where it SHATTERS.
No! Dad, get your stuff. We've
got to get out of here.
Well, I am sorry about your head,
though. But I thought you were
one of them.
Dad, they come in through the
INDY steps to the door and stands, listening.
But better safe than sorry.
HENRY slides his umbrella through the straps of his bag.
Humpf—so I was wrong this time.
But by God, I wasn't wrong when I
mailed you my Diary. You obviously
I got it and I used it. We found
the entrance to the catacombs.
Through the library?
I knew it. And the tomb of Sir
He was actually there? You saw
Well, what was left of him.
And his shield... the inscription
on Sir Richard's shield...?
It's a great moment in HENRY's life. He turns aside, lost to himself for a
moment, then turns to INDY with joy.
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.
... you did it.
No, Dad. You did. Forty years.
If only I could have been with
There were rats, Dad.
Yeah. big ones. What do the
Nazis want with you Dad?
They want my diary.
INDY's interest is a moment which becomes important later but for now it passes.
I knew I had to get that book as
far away from me as I possibly
INDY's hand moves unconsciously to his pocket. His eyes turn inward.
Yeah. . .
Then... BAMI The door is kicked open and three NAZIS enter. One is an S.S.
OFFICER. The other two are SOLDIERS with machine guns. HENRY and INDY
raise their hands.
HENRY & INDY
I will take the book now.
You have the Diary in your pocket.
HENRY laughs genuinely, believing himself to be laughing at the expense of the
You doltl Do you think that my
son would be that stupid that
he would bring my Diary all the
way back here?
At which point an awful thought strikes HENRY.
You didn't, did you?
You didn't bring it, did you?
Look, can we discuss this later?
I should have mailed it to the
Will you take it easy....!
Take it easy?! Why do you think
I sent it home in the first place?
So it wouldn't fall into their
I came here to save you.
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.
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.
--don't call me Junior!
HENRY looks shocked and horrified.
Look what you did!!
Indy grabs him and pushes him ahead.
I can't believe what you just....
INT. CASTLE HALLWAY - DAY
INDY leads HENRY down the hallway as he searches for 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
That's far enough Put down the
gun, Doctor Jones. Put down the
gun or the Fraulein dies.
But she's one of them!
She's a Nazi!
INDY is thrown. He doesn't know what to do. He looks at ELSA, then back to his
father. Everyone is yelling at once:
I will kill her!
Oh yeah? Go ahead!
No! Don't Shoot!
Don't worry. He won't.
Indy, please! Do what he says!
And don't listen to her!
Enough! She diesl
VOGEL jams the barrel of the luger painfully into ELSA's neck. Elsa SCREAMS.
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.
INDY comforts her.
No, don't be.
Her hand slips into his coat pocket and removes the Grail Diary.
But you should have listened to
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.
(quietly to HENRY)
She ransacked her own room and I
fell for it. How did you know
she was a Nazi?
How did you she was a Nazi?
She talks in her sleep.
INDY nods, and then the statement catches up with him. He looks at HENRY
I didn't trust her. Why did
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.
Didn't I warn you not to trust
anybody, Doctor Jones?
DONOVAN smiles benignly and flips through the Grail Diary.
I misjudged you Walter—I knew
you'd sell your mother for an
But I didn't know you'd sell your
country and your soul to the slime
Doctor Schneider There're pages
torn out of thisl
ELSA rushes to DONOVAN's side. she takes the Grail Diary from him. Elsa takes
a look for herself—then glances up at Indy.
This book contained a map—a
map with no names—precise
directions from the unknown city
to the secret Canyon of the
So it did.
Where are these missing pages?
This maps we must have these
HENRY gives INDY a look of surprise. Indy smirks.
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
HENRY now wears a pained expression.
Marcus?! You didn't drag poor
Marcus along, did you? He's not
up to the challenge.
He sticks out like a sore thumb.
We'll find him.
The hell you will. He's got a
two-day head-start on you, which
is more than he needs.
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.
Does anyone here speak English?
Or even ancient Greek?
A Man in the crowd holds out a cup of water to 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.
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.
Does anyone understand a word I'm
SALLAH shoulders his way through the mob toward BRODY.
They meet and hug, then begin to walk.
Oh, Sallahl What a relief!
Marcus Brody, sir. And where is
Oh, he's in Austria. A slight
You are on your own?
A Woman runs in and tugs on BRODY's coat. He waves her away.
Yes, but don't panic. Everything's
under control. Have you. . .have
you arranged our supplies?
Oh, yes, of course. But where
are we going?
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.
BRODY puts the map back in his pocket. The SINISTER MAN clicks his heels and
Welcome to Iskenderun. The
Director of the Museum of
Antiquities has sent a car for
BRODY takes off his hat.
Oh, what?... your servant, sir.
And I am his.
Follow me, please.
The man turns and joins a SECOND MAN. BRODY and SALLAH follow them.
My reputation precedes me.
There is no museum in Iskenderun.
The SECOND MAN overhears SALLAH. He and his companion turn quickly.
SALLAH puts Brody's luggage down and glances at BRODY.
BRODY does not run. SALLAH pats his clothing, searching for his papers.
Papers, sir. Got it here.
SALLAH laughs and pulls out a newspaper.
Just finished reading it myself.
(laughs; then, to
BRODY looks confused. SALLAH shows the newspaper to the SECOND MAN.
Egyptian Mail. Morning edition.
Did you say...? Uh, uh...
SALLAH puts the newspaper in front of the SECOND MAN's face, then punches
him through the newspaper.
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.
(to Brody; pointing)
Okay, okay, quick, quick, quickl
Hide in that doorl Hide in that
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
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
The NAZI GUARDS have tied INDY and HENRY back-to-back in a pair of chairs.
ELSA and DONOVAN stand over them. VOGEL enters.
Doctor Schneider. Message from
Berlin. You must return immediately:
a rally at the Institute of Aryan
Your presence on the platform is
requested... at the highest level.
Thank you, Herr Oberst.
I will meet you at Iskenderun.
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
He hands her the Grail Diary.
(to DONOVAN, meaning
Indy and Henry)
Let me kill them now.
No. If we fail to recover the
pages from Brody, we'll need them
(to VOGEL, with a
Always do what the doctor orders.
DONOVAN leads VOGEL out. The NAZI GUARDS follow. Once they are gone,
ELSA turns to INDY.
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."
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.
I can't forget... how wonderful
Thank you. It was rather wonderful.
She smiles and kisses INDY passionately. HENRY glances back and looks rather
VOGEL appears to remind ELSA of her appointment.
Doctor Schneider! Your car is
(to INDY, after
finishing the kiss)
That's how Austrians say goodbye.
ELSA exits. VOGEL stays behind for another moment.
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
Ohh. . .
VOGEL exits. INDY shakes his head clear.
Ooooh... I like the Austrian way
So did I.
Let's try and get these ropes
loose. We've got to get to Marcus
before the Nazis do!
You said he had two days' start.
That he would blend in. Disappear!
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.
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.
What am I looking for?
My lucky charm.
Feels like a cigarette lighter.
Try and burn through the ropes.
HENRY's fingers open the lighter and ignite the flame.
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.
I ought to tell you something.
Don't get sentimental now Dad—
save it 'til we get out of here.
The floor's on fire! See?!
(turns and sees)
And the chair.
All right, movel Move! Rock
your Chair. Do what I do.
They begin to rock their chair legs, inching their way off the burning carpet.
EXT. CASTLE - DAY
as ELSA is driven away. VOGEL and DONOVAN remain behind, flanked by NAZI
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.
Etwas wichtig, mein Herr.
DONOVAN puts on his glasses to read the message.
Well, we have Marcus Brody. But
more important, we have the map.
A RADIO OPERATOR steps forward with yet another written message for
Aus Berlin, mein Herr.
"By the personal command of the
Fuhrer. Secrecy essential to
success. Eliminate the American
Germany has declared war on the
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
Finally they turn their heads in the same direction.
Head for the fireplace!
BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE
FIREPLACE—the only safe place from the now ROARING FIRE.
I think I can get these ropes
Indy struggles to free his hands. His foot kicks out and accidentally hits a metal
grill that operates a Secret Door.
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.
Our situation has not improved.
INDY glances over his shoulder at HENRY.
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
Now the RADIOMEN turn to see HENRY and INDY.
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.
This is intolerable!
I'm out, Dad!
INDY finally breaks free. And he immediately begins to untie his father.
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
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.
Come on Dad.
INT. SECRET ROOM - DAY
INDY and HENRY step into an empty room.
HENRY looks horrified by what he's been forced to do as INDY searches
frantically for an exit.
There's got to be a... a secret
door around. A passageway or
INDY begins to run his hands over the walls—frantic.
I find that if I just sit down
HENRY sits on a chair which tips back, hitting the wall behind it. The floor at
INDY's feet suddenly begins DROPPING AWAYI
INDY grabs a railing to keep from falling, but loses his grip and plunges through
the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs.
... 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.
Great. More boats.
INDY boards one of the motorboats and STARTS THE MOTOR.
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
Ooofl No! It's been better than
INDY moves back to the dock and pushes the boat away. HENRY looks confused.
Come on, Dad. Come onl
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.
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
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.
THE NAZI SOLDIER rides his motorcycle through the other side of the barrier--
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
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
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.
The motorbike skids to a stop.
You're going the wrong Way! We
have to get to Berlin!
Brody's this way.
My Diary's in Berlin.
You don't need the Diary, Dad.
Marcus has the map.
There is more in the Diary than
just the map.
All right Dad—tell me.
Well, he who finds the Grail must
face the final challenge.
What final challenge?
Three devices of such lethal
Oh, yes. But I found the clues
that will safely take us through,
in the Chronicles of St. Anselm.
But what are they? Can't you
I wrote them down in my Diary so
that I wouldn't have to remember
Half the German Army's on our
tail and you want me to go to
Berlin? Into the lion's den?
Yes! The only thing that matters
is the Grail.
What about Marcus?
Marcus would agree with me.
Two selfless martyrs. Jesus
HENRY slaps him across the face. INDY is rocked to his foundations, not by any
means entirely by the blow itself.
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?
This is an obsession Dad. I never
understood it. Never. Neither
Oh yes, she did. Only too well.
Unfortunately she kept her illness
from me until all I could do was
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
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
My boy, we are Pilgrims in an
Then... Indy sees something that makes him stop in his tracks. WE PAN ALONG
HIS LINE OF SIGHT to:
where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as
they oversee the rally.
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.
Fraulein Doctor. Where is it?
Still startled, her reaction makes it clear that Indy is even now a lover in her
How did you get here?
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.
You came back for the book?
My father didn't want it
She understands him. It's as though he slapped her.
Is that what you think of me?
I believe in the Grail, not the
Yet you stood up to be counted
with the enemy of everything the
Grail stands for—who gives a
damn what you think?
(hard and fast)
Now it's as though she'd slapped him back. His hands fly to her neck.
All I have to do is squeeze.
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.
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
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.
What did you get?
I don't know. The first available
flight out of Germany.
INDY and HENRY show their papers to the Boarding Guards, then join the line of
passengers, which has already begun to move toward a:
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.
Well, we made it.
HENRY looks over his newspaper at INDY.
When we're airborne, with Germany
behind us, then I'll share that
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.
Nicht zumachen! Wir steigen ein!
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.
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.
Haben sie disen Mann gesehen?
The Passengers at the table shake their heads in the negative. VOGEL shows the
picture to other Passengers.
VOGEL turns to see:
WEARING THE HAT AND JACKET OF THE CHIEF STEWARD.
MALE PASSENGER (O.S.)
Ich habe ihn night gesehen.
The Passengers do not react to the request, made in English.
Fahrscheine meine Dame. Bitte.
approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his
walking stick to lower the paper, revealing Henry's face.
Guten Tag, Herr Jones.
Now INDY, still playing the role of Steward, asks VOGEL for his ticket.
Fahrscheine meine Herr.
HENRY looks confused.
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.
(in German; with a
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.
Du wirst nochmal boren von mir!
INT. ZEPPELIN - DAY
INDY and HENRY together again in their compartment.
You know, sharing your adventures
is an interesting experience.
That's not all we shared. It's
disgraceful. You're old enough to
be her fa---er, her grandfather!
Well, I'm as human as the next
I was the next man.
Ships that pass in the night...
HENRY opens his Diary and begins to thumb through it.
Do you remember the last time we
had a quiet drink? I had a milk
Hmmm... What did we talk about?
We didn't talk. We never talked.
And do I detect a rebuke?
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.
Actually, I was a wonderful father.
HENRY looks up from his Diary.
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-
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.
You left just when you were
Dad, how can you --?
Very well. I'm here now.
He closes the Diary and leans back in his seat.
What do you want to talk about?
INDY stutters uncomfortably as HENRY stares at him, waiting for a response.
Well... I can't think of anything.
Then what are you complaining
Look, we have work to do. When
we get to Alexandretta we will
face three challenges.
(he reads from the
"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. "
What does that mean?
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.
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.
Well, I thought it would take
them a lot longer to figure out
the radio was dead. Come on,
Then INDY opens the doors. We see plenty of blue sky and white clouds. We also
see a small BIPLANE that is suspended from the Zeppelin by a HOOK & CRANE
Come on, Dad. Come on!
EXT. AIRPLANE - DAY
INDY climbs into the cockpit of the Biplane as HENRY takes the tail gunner's
I didn't know you could fly a
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.
Dad, you're gonna have to use the
machine gun. Get it ready.
HENRY turns and grips the MOUNTED MACHINE GUN with a perplexed
HENRY pulls out his watch.
What happens at eleven o'clock?
INDY uses his arm to demonstrate that he's referring to a direction and not a
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
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
Dad, are we hit?!
More or less.
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.
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:
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.
Those people are trying to kill
I know, Dadl
It's a new experience for me.
It happens to me all the time.
EXT. ROAD - DAY
An OLD MAN kneels at his car repairing a rear tire.
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
As the Messerschmidt ROARS by overhead, BULLETS EXPLODE around them,
narrowly missing the car.
This is intolerable!
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.
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.
Well, they don't come any closer
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.
FALLS INTO THE HOLE made by the bomb.
EXT. ROAD - DAY
INDY climbs out of the car, still in the bomb crater. He turns back to HENRY.
Dad, he's coming back.
INDY and HENRY run down the mountainside to:
A DESERTED MEDITERRANEAN BEACH - DAY
INDY and HENRY run to the shoreline. Indy reaches for his gun, tucked in his
pants. He opens the chamber—the GUN HAS NO BULLETS.
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.
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 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.
I suddenly remembered Charlemagne.
"Let my armies be the rocks and the
trees and the birds in the sky."
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.
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.
As you can see, the Grail is all
but in our hands.
However, Your Highness, we
would not think of crossing your
soil without your permission,
nor of removing the Grail from
your borders without suitable
What have you brought?
Bring den Schatzl
TWO NAZI SOLDIERS bring forward a HUGE STEAMER TRUNK. They open the lid
and begin to empty it of its contents:
Gold and silver objects of every description.
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.
Rolls-Royce Phantom Two. 4.3
litre, 30 horsepower, six cylinder
engine, with Stromberg Downdraft
The SULTAN points to the engine under the hood.
Can go from zero to 100 kilometres
an hour in 12.5 seconds. And I
even like the color.
(after a beat)
The keys are in the ignition,
You shall have camels, horses, an
armed escort, provisions, desert
Somebody else is also taking note...and we see that it is KAZIM, the spy at the
ELSA is revealed coming down the stairs toward DONOVAN and VOGEL.
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.
We go this way.
SALLAH waves his arms and shouts to a CAMEL HERDER.
Get that camel out of the way!
What happened to Marcus, Sallah?
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.
Now they have the map! And in
this sort of race, there's no
silver medal for finishing second.
EXT. DESERT VALLEY - DAY
Elsa and Donovan's party—consisting of a SUPPLY TRUCK, OPEN CAR, TUhKISH
SOLDIERS RIDING CAMELS, SPARE HORSES AND A TANK AND VARIOUS OTHER
VEHICLES—all moving along through the ramble of this box canyon.
ELSA, DONOVAN and VOGEL travel in the open car. The TANK is a vintage World
War I model with enormous treads. The Turkish soldiers wear native dress and
carry both carbines and sabers.
BRODY sits alongside ELSA in the rear of the car carrying DONOVAN. Donovan
hands a canteen back to him.
Care to wet your whistle, Marcus?
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.
We must be within three or four
miles. Otherwise we are off the
He hands the map to ELSA, drinks from the canteen, and hands that back to
Well, Marcus, we are on the brink
of the recovery of the greatest
artifact in the history of mankind.
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.
Ah, I see Brody. He seems okay.
They've got a tank. Six-pound
Then Donovan notices a reflection from the hills.
What he sees is:
THE SUN REFLECTING OFF THE LENSES OF INDY'S BINOCULARS
What do you think you're doing?!
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.
That car belonged to my brother-
(gesturing to the
Come on--come on!
EXT. DESERT VALLEY - DAY
I can't see anyone up there.
Maybe it wasn't even Jones.
No. It's him all right. He's
Put Brody in the tank.
KAZIM peers over a rock, pointing his rifle at the group below.
Well, in this sun, without
transportation, they're as good
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.
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.
Now, who are all these people?
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.
I'm going after those horses.
I'll take the camels.
I don't need camels.
DONOVAN AND ELSA
They look down at KAZIM who lies mortally wounded on the ground at their feet.
ELSA looks saddened.
Who is he?
A messenger from God. For the
unrighteous, the Cup of Life
holds everlasting damnation.
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.
They exchange an old University Club toast, swinging their arms at one another
and missing. Then HENRY flaps his arms and tugs his ears.
"Genius of the Restoration—"
Now BRODY tugs his ears, flaps his arms and touches his head.
"—aid our own resuscitation!"
They exchange a handshake.
Henryl What are you doing here?!
It's a rescue, old boys Come on.
As HENRY starts to climb out of the tank, TWO NAZI SOLDIERS DROP DOWN from
above, their Lugers drawn. They are followed by VOGEL.
The NAZI SOLDIERS point their guns at HENRY and BRODY.
What is in this book? That
miserable little Diary of yours!
VOGEL removes a glove and slaps HENRY with it.
Here's the map. The book is
useless, and yet you come all the
way back to Berlin to get it.
He slaps HENRY again.
What are you hiding?
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
It tells me that goose-stepping
morons like yourself should try
reading books instead of burning
DONOVAN appears at the turret cover.
Colonel? Jones is getting away.
I think not, Herr Donovan.
EXT. TANK - DAY
Not that Jones—the other Jones!
EXT. DESERT VALLEY - DAY
INDY rides away on one horse, leading three others as he goes.
SALLAH approaches on horseback leading five camels.
Sallah, I said no camels! That's
five camels. Can't you Count?
Compensation for my brother-in-
law's car. Indy, your father and
Where's my father?
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.
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
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
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.
Der Kubelwagon sprengen!
The Gunner puts a shell into the large gun. He FIRES, CATAPULTING THE
KUBELWAGON into the air, where it EXPLODES. The tank drives through the
resulting smoke an dust, then rolls over the Kubelwagon, crushing it
EXT. DESERT VALLEY - DAY
INDY gallops up to the side cannon and jams the stone down the barrel, lodging
several rocks inside. Then he steers his horse directly in range of that gun.
INT. TANK - DAY
A NAZI SOLDIER pushes HENRY away from the window.
He points his gun at HENRY and BRODY.
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.
Dad! Dad! Dad!
INT. TANK - DAY
HENRY and BRODY still held at gunpoint by the NAZI SOLDIER.
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
Now INDY is above the tank twelve feet on a paralleling trail. He moves out of
the saddle and leaps from the speeding horse onto the trundling tank.
CLOSE UP - VOGEL
Hate-staring at INDY
CLOSE UP - INDY
Hate-staring back at VOGEL.
Suddenly, from nowhere a German soldier flies INTO FRAME, tackling Indy.
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
INT. TANK- DAY
INDY appears at the entrance, the chain still wrapped about his neck and held by
He drops the gun down into the tank.
Dad! Dadl Get it!
VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around
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
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.
Diese Amerikane. Sie Kampfen wie
EXT. TANK - DAY
INDY now lies on top of VOGEL. He kicks out at the periscope which spins
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
Henry, the pen—
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.
Look what you didl
EXT. TANK - DAY
VOGEL now swings a shovel at INDY, smashing at his hands.
BRODY climbs up out of the tank, followed by HENRY.
Didn't I tell you it was a rescue,
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
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.
You call this archaeology?
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
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
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
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.
HENRY is bouncing across the treads like a rag-doll. INDY struggles to hold onto
the end of the bullwhip.
Hang on, Dad!
SALLAH draws his horse next to the treads. He tips his fez to HENEY.
Father of Indy—give me your
VOGEL now punches INDY in the back and grabs him around the neck. Still,
INDY refuses to let go of the whip.
Sallah! Get Dadl
SALLAH reaches out to HENRY.
Give me your hand!
SALLAH manages to hold onto HENRY as he brings his horse to a stop just at the
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.
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.
He sees his life passing before him, he screams at the top
of his lungs!
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.
We HEAR the TANK EXPLODING.
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.
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.
I thought you had too, sir.
BRODY and SALLAH are moved by this sudden reconciliation.
Well—well done! Come on!
HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff
Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to
see INDY still sitting on the ground.
Let's go then. why are you
sitting there resting when we're
so near the end? Come on—
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.
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.
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.
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.
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.
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
I never expected to see you again.
I'm like a bad penny. I always
Step back now, Doctor Schneider.
Give Doctor Jones some room. He's
going to recover the Grail for us.
Impossible? What do you say,
Jones? Ready to go down in
As what? A Nazi stooge like you?
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
(he draws his
The Grail is mine, and you're
going to get it for me.
Shooting me won't get you anywhere.
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.
Junior. . .
( to ELSA)
HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to
INDY spins toward DONOVAN with murder in his eyes.
DONOVAN points the gun at him:
You can't save him when you're
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
INDY proceeds forward. His hands open the Grail Diary.
"The Breath of God... Only the
penitent man will pass. Only
the penitent man will pass. . . "
INDY takes a few steps forward.
"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.
(in a raspy voice)
"Only the penitent man will pass.
Only the penitent man will pass."
(quietly to himself)
The penitent man will pass. The
penitent... the penitent. The
The penitent man. The penitent...
INDY takes a step forward through the cobwebs.
The penitent man is humble before
The penitent man is humble...
The cobwebs begin to move....
He kneels before God.
(to himself; suddenly)
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.
ELSA AND DONOVAN
BRODY and SALLAH smile, relieved.
He's all right.
HENRY shakes his head.
BACK TO INDY
holding the Grail Diary, reading once again, his fedora now covered in cobwebs.
"The second challenge is the
Word of God. Only in the
footsteps of God will he proceed."
The Word of God... The Word of...
INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is
engraved with a letter.
"Proceed in the footsteps of the
lifts his head painfully.
The Word of God...
No, Henry. Try not to talk.
The Name of God...
BACK TO INDY
as he studies the cobblestones before him.
The Name of God... Jehovahl
still lies in SALLAH's arms. BRODY leans over him.
But in the Latin alphabet,
"Jehovah" begins with an "I."
BACK TO INDY
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.
BACK TO INDY
who grunts as he pulls himself from the hole, the v-rail Diary in his hand.
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.
"E"... "H"... "O"... "V"... "A"...
INDY sighs with relief and steps forward to:
THE GREAT ABYSS
INDY stands in a small opening, just small enough for his shoulders to squeeze
through and beyond that a 100 foot drop to the rocks below and 100 feet across,
nothing but a rough, stony cliff wall.
BACK TO INDY
He can see nowhere to cross. He looks again to the v-rail Diary.
"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.
Impossiblel Nobody can jump this!
INDY looks down into the Diary and tortures over what it
is asking him to do.
rushes forward and calls to INDY.
Indy... Indy, you must hurry!!
BACK TO INDY
It's... a leap of faith. Oh,
calls to his son.
You must believe, boy. you must...
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
It's painted to blend in with the rocks below. Highly evolved camouflage... in
perfect alignment with everything we see below.
When INDY leans out to the left or right... that's when he sees the perfect
alignment shift that betrays the trick. Indy throws some dirt on the bridge and
he crosses it like the first Crusader from the painting over Henry's desk.
Indy crawls through a small opening in the side of the cliff and enters a Temple.
A vast array of chalices is displayed on the altar of this small Temple. Perhaps a
hundred or more. Many sizes, many shapes, some gold, some silver, but they all
glitter and shine.
INDY is mesmerized by their number and their beauty. And then he realizes that
a man is praying at the altarl
He has his back turned to INDY... but he is dressed as what he is! A GRAIL
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
I knew you'd come, but my strength
has left me.
Who are you?
The last of three brothers who
swore an oath to find the Grail
and to guard it.
That was seven hundred years ago.
A long time to wait.
The GRAIL KNIGHT reaches forward and fingers Indy's clothing.
You're strangely dressed...for a
I'm not exactly...a knight. What
do you mean?
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.
Listen, I don't have time to
At that moment DONOVAN and ELSA appear. Donovan turns to face the display
Which one is it?
You must choose.
But choose wisely. For as the
True Grail will bring you life—
the False Grail will take it from
I'm not a historian. I have no
idea what it looks like. Which
one is it?
Let me choose.
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.
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 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.
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.
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.
INDY studies the array of chalices.
It would not be made out of gold.
INDY picks up another cup—a simple earthenware jug.
That's the cup of a carpenter.
He and ELSA exchange a look.
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.
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
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...
run forward. SALLAH points a rifle at them.
Drop your guns. Please.
The NAZI SOLDIERS drop their weapons at their feet and raise their arms in
Dad, come on. Get to your feet.
steps forward and picks up the Grail. She turns to INDY, her face alight with
possession of the Grail.
We have got it. Come on.
ELSA steps onto the edge of the Great Seal.
Elsa! Elsa, don't movel
It's ours, Indy. Yours and mine.
Elsa, don't cross the Seal. The
Knight warned us not to take the
Grail from here.
A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from
the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away
from her grasp. She reaches for it and the ground beneath her begins to SPLIT
OPEN. ELSA slips into the crevasse. She screams.
ELSA is hanging perilously in the abyss, with the Grail almost within her reach.
As her hands lose their grip, INDY just manages to one of them, he himself
sliding forward across the slanted floor.
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.
Elsa. Elsa don't. Elsa. Elsa.
Give me your other hand,
honey. I can't hold you.
I can reach it. I can reach it...
Her hand begins to slip from Indy's grasp.
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
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.
Junior, give me your other hand!
I can't hold on!!
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.
INDY snaps his look up to his father. His father has never called him this before.
... 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.
Dad. . .
The GRAIL KNIGHT raises his arm to HENRY.
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.
Elsa never really believed in the
Grail. She thought she'd found a
What did vou find, Dad?
HENRY and INDY mount their horses. Henry turns back to his son.
What did you find, Junior?
Please...What does it always
mean, this...this "Junior?"
That's his name. Henry Jones,
I like Indiana.
We named the dog Indiana.
May we go home now, please?
You are named after the dog...
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
Indy! Henryl Follow met I know
(to his horse)
Got lost in his own museum, huh?
After you, Junior.
(to his horse)
EXT. THE SECRET CANYON - AFTERNOON
They THUNDER through the canyon—whose towering walls threaten to collapse
EXT. ENTRANCE TO CANYON - SUNSET
as BRODY, INDY, HENRY AND SALLAH ride from the canyon toward the SETTING