Paramount Pictures - Indiana Jones and The Last Crusade, Pt. 1 lyrics

"INDIANA JONES AND THE LAST CRUSADE" Screenplay by Jeffrey Boam FADE IN: EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY A mountain peak dominates the landscape. TITLES BEGIN Riders on horseback cross the desert. From this distance they appear to be a company of Army Cavalry Soldiers. CLOSER ANGLES ON THE RIDERS Reveal only details of saddles, hooves and uniforms. The riders are silhouetted against the rising sun as they ride into an ancient CLIFF PUEBLO. The OFFICER IN COMMAND raises his hand halting his troops. OFFICER Dis-mount! RIDERS climb down from their mounts... and only now do we realize that this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The "Commanding Officer" is only their SCOUTMASTER, Mr. Havelock. One of the Scouts, a pudgy kid named HERMAN, steps away from his horse, bends over and pukes. The other Scouts rag on him. FIRST SCOUT Herman's horsesick! A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored hair and the no-nonsense expression common to kids whose curiosity and appetite for knowledge exceed what they teach in school. Additionally, he has adorned his uniform with an authentic HOPI INDIAN WOVEN BELT. SCOUTMASTER Chaps, don't anybody wander off. Some of the pa**ageways in here can run for miles. Two Boy Scouts climb up the rocky base of the cliff. INT. THE PASSAGEWAY - DAY 2. The two boys head down the pa**ageway. It's dark, and the temperature drops several degrees. Spiders have built huge webs that get caught in the boys' hair. Herman appears very uncertain as to the wisdom of this enterprise, but he's drawn on by his companion's adventurous curiosity. HERMAN I don't think this is such a good idea. LAUGHTER is HEARD; the Blond Scout pulls Herman forward toward its source. The VOICES GROW LOUDER now as the boys get closer to their source. The light of kerosene lanterns dances on the tunnel walls ahead. The boys approach cautiously, careful to stay hidden. HERMAN What is it? This is what they see: FOUR MEN digging with shovels and pick-axes. They have broken into one of the pueblo's SECRET CHAMBERS... called "Kivas." The men are ROUGH RIDER (his name describes his dress), ROSCOE (a Bowery Boy bully of 14) and HALFBREED (with straight black hair that cascades over his shoulders). And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT FEDORA HAT. He has his back turned to us, but we would be willing to bet anything that this is INDIANA JONES. However, when the man turns, and his face is illuminated by the lantern's glow, we are shocked to discover that it is someone else. We'll call him FEDORA. TITLES END The TWO BOYS are mesmerized by what they see. Now we realize that the Blond Scout is actually young INDIANA JONES. FEDORA Alfred, did you get anything yet? 3. MAN Nothing. Dig in. Two of the men stand and look at Roscoe who steps forward holding a box in his hands. ROSCOE Hey, I've got something! Whoops from the other men. ROSCOE I got something, Garth! Roscoe rushes forward and gives Fedora the box. Fedora steps toward a lantern resting on a rock. ROSCOE I got something... I got something right here. More whoops from the other men. Fedora puts the box on the rock next to the lantern. Halfbreed pushes Roscoe as he jumps with excitement. Rough Rider steps forward to look at the box as Fedora opens it. ROSCOE (more whoops; then) Oh, look at that! (more whoops) We're rich! We're rich! HALFBREED Shut up. Shut up. Fedora takes a BEJEWELED CROSS from the box and holds it aloft. Fedora's comrades practically salivate at the sight of it. ROSCOE (O.S.) Well, we're rich, ain't we?! Indy takes off his hat and looks down at the off screen action. HERMAN Indy? Indy? What are they doing? Indiana? Indiana? INDY Shhh! 4. Fedora blows dust from the Cross, turning it in his hand, silently appraising its beauty... and its value. He seems aloof from the others; somehow superior to them. HALFBREED Hey, we got to find more stuff to bring back. Indy stays hidden, but is astounded by what he sees. INDY (hushed; urgent) It's the Cross of Coronado! Cortes gave it to him in 1521. Fedora continues to admire the Cross, then places it on the rock next to its box and the lantern. Indy turns back to observe the men. INDY That Cross is an important artifact. It belongs in a museum. A look of resolve comes into Indy's expression, and he turns back toward Herman INDY Run back and find the others. Tell Mister Havelock that there are men looting in the caves. Herman doesn't seem to be listening. Instead, he watches in wide-eyed horror as a SNAKE SLITHERS ACROSS HIS LAP. INDY Have him bring the sheriff. Indy matter-of-factly picks up the snake and tosses it aside. Herman gasps. INDY It's only a snake. Indy grabs Herman's scout scarf and pulls him closer. INDY Did you hear what I said? HERMAN Right. Run back. Mister Havelock. The Sheriff. What, what are you gonna do? 5. INDY I don't know... I'll think of something. Indy releases the scarf, gives Herman a pat and Herman dashes off. Indy sees the Cross on the rock next to the lantern. As the Robbers continue to search for additional valuables, Indy is able to work his way unseen to within arm's reach of the Cross... Fedora looks over at the men digging in a hole b.g. FEDORA Dig with your hands. Indy picks up the Cross. FEDORA (O.S.) Not with your mouth. As Fedora stands watching the other men digging, Indy puts the Cross in his pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy's feet break a wooden beam, attracting the men's attention. ROSCOE He's got our thing! HALFBREED Get 'im! The three Robbers are so eager to get their hands on Indy, they almost knock each other over in the attempt. Only Fedora is unperturbed. He casts a disgusted glance in the direction of his fleeing companions -- then sets off after Indy. EXT. THE CLIFFS - DAY Indy EMERGES from the darkness of the Pueblo into the brightness of day. He pauses -- squints -- shields his eyes -- looks in all directions. INDY Mister Havelock! Anybody! Everybody's lost but me! He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. Rough Rider, Halfbreed, and Roscoe are quick to appear and run after him. 6. FEDORA There he is! MEN (ad-libs) Let's go! Let's get him! Let's go! Indy jumps from one rock to another; the SCOUT TROOP HORSES are below. Indy puts two fingers in his mouth and WHISTLES for his horse, who trots over. Indy puts the Cross in his belt. Indy PREPARES TO JUMP into the saddle. Hesitates. Then... he JUMPS. But the horse moves exactly at the wrong moment and Indy lands flat on his feet in a standing position. The impact sends a shock wave up his body that rattles his back teeth. Indy stands up and successfully mounts his horse. Fedora AND HIS MEN ARRIVE at the roof's edge in time to see Indy climb into the saddle and gallop off. INDY Hyah! Hyah! ROSCOE Hey! Come back here! Fedora puts two fingers in his mouth and WHISTLES... and a VINTAGE TRUCK AND AUTOMOBILE come ROARING OUT from behind the Pueblo (driven by two more gang members). Now we glimpse... THE MAN IN THE PANAMA HAT The pa**enger in the car. His face is concealed by the hat's wide brim. His arm is out the window, however, and we see an olive-colored hand protruding from the sleeve of an expensive white linen suit. He gestures to the Robbers, now in the truck. PANAMA HAT Come on. Get him! Indy SPURS his mount on to greater speeds but the autos not only keep pace with his horse... they begin to squeeze in on it. Speeding Autos. Thundering hooves. Rushing wind. Flying dust. Indy crouched low and leaning forward in the saddle, his heart pounding, his adrenaline pumping. Indy VEERS OFF in a new direction -- toward a RAILROAD TRACK. 7. EXT. A CIRCUS TRAIN - DAY The train is barreling down the track. Indy rides up beside it. He glances over his shoulder and sees the car and truck gaining on him. No other choice... he LEAPS FROM HORSE TO TRAIN. He clings to the side of a BOXCAR, as Halfbreed and Rough Rider leap from the truck onto the train. Halfbreed tries to grab Indy, but Indy leaps onto another boxcar. Halfbreed runs after him but Indy leaps from the boxcar onto some covered boxes stacked on a flatcar. Indy loses his balance but regains it. With Halfbreed and Rough Rider still running after him, Indy enters the trap door of... INT. THE REPTILE CAR - DAY and finds himself CRAWLING on a CATWALK suspended from the car's ceiling. Several feet below are NUMEROUS VATS containing all manner of reptiles: Alligators, crocodiles, giant lizards, etc. Then, Halfbreed ENTERS through the trap door -- followed by Rough Rider. Halfbreed grabs hold of Indy's feet, but Indy kicks at him and he loses his grasp. Indy crawls away, toward an opening on the opposite side. Halfbreed grabs at Indy's feet again; Indy rolls away and we SEE large bins of squirming snakes. The combined weight of the three people is more than the catwalk was intended for, and the BOLTS BEGIN TO RIP FROM THE CEILING. Everyone holds their breath, afraid to make another move. Too late. SEVERAL BOLTS TEAR FREE. Halfbreed and Rough Rider SCREAM... but it's Indy's end of the catwalk that DROPS DOWN... PLUNGING Indy to the floor of the car. He lands hard, with a SPLASH into a vat of water... where he finds himself eye-to-eye with an -- ENORMOUS ANACONDA The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex. INDY Oh... 8. Indy jumps back in horror... only to land with a SQUISH into the SNAKE VAT. INDY Oh... Oh... Hundreds of slippery, squirming snakes. Indy sinks into them. They cover him. Engulf him. Almost smother him. Indy jumps out of the side of the vat, freeing himself. Indy locates a clean-out door at the bottom of the car and uses it to escape. Halfbreed, meanwhile, tries to open the closed window of the car. He groans. Rough Rider moves to a**ist him. ROUGH RIDER Here, let me. EXT. THE TRAIN - DAY Indy stops, checks to see the Cross still lodged in his belt. Suddenly he looks worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM IT and tosses it away. Roscoe APPEARS atop the reptile car and manages to grab Indy. Indy kicks at him. Roscoe grabs onto the side of the reptile car as Indy moves on to... EXT. A FLATCAR - DAY Indy climbs over canvas-covered circus equipment. Roscoe follows, grabbing a long stick with a hook on it. He reaches forward and trips Indy, who falls onto the roof of the rhino boxcar. INT. THE RHINO BOXCAR - DAY As a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE BLACK RHINOCEROS. EXT. THE RHINO BOXCAR - DAY Roscoe grabs Indy by the ankle and yanks him off his feet. The two struggle, rolling from side to side, coming perilously close to rolling right off the edge. Things get even more serious when Roscoe PULLS A KNIFE. IN THE BOXCAR BELOW ...THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS HORN THROUGH THE ROOF. 9. BACK TO THE ROOFTOP As the horn SMASHES through the wood only inches from Indy's head. Indy and Roscoe stare at the horn in amazement as they continue to struggle. SMASH! The horn comes up again -- RIGHT BETWEEN INDY'S LEGS. INDY Holy smokes! Indy kicks Roscoe away. Roscoe rolls to the edge of the car but keeps from falling. Indy flips over onto his stomach. EXT. THE REPTILE CAR - DAY The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The door is pushed open and Halfbreed and Rough Rider hurry out of the car. EXT. THE RHINO BOXCAR - DAY Indy gets to his feet -- looks ahead -- sees a WATER TANK alongside the track directly up ahead. Indy gets an idea... In an instant, he calculates his approach -- times the distance -- and LEAPS for the tank's WATER SPOUT. He catches it perfectly... but his velocity causes the water spout to ROTATE A FULL 360 DEGREES. With Indy hanging on, feet kicking, the water spout deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks up to see Fedora walking toward him. FEDORA Come on, kid. There's no way out of this. As Indy edges away from Fedora, a portion of the STOCKCAR'S ROOF COLLAPSES and Indy FALLS THROUGH into the car below. INT. THE STOCKCAR - DAY Indy CRASHES down from above. Dust rises. INDY Ohhh! Indy's eyes take a moment to adjust to the dark. A bit of sunlight leaks in through the cracks between the boards. Then Indy sees it. At the far end of the boxcar. Rising slowly to its feet... an AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust swirls up into the shafts of sunlight. 10. And Indy has one more surprise in store: The Cross of Cortes has been dislodged from his belt during the fall... Indy glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY. Indy swallows hard and gives the whip a try. It unravels awkwardly, its TIP flying back and HITTING Indy IN THE FACE... CUTTING his chin. The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and tries again. This time -- success! The WHIP CRACKS SHARPLY. The Lion BELLOWS and SWATS the air... and steps back. Indy looks amazed and delighted. He CRACKS the whip again. The Lion backs away even more. Indy inches forward -- bends down (never taking his eyes off the Lion) -- picks up the Cross -- and steps back again, sweat pouring down his face. But now... how to get out? He looks up at the opening through which he fell and sees Fedora LOOKING DOWN AT HIM. Fedora extends his hand. FEDORA Toss up the whip. EXT. THE ROOFTOP OF STOCKCAR Fedora, a**isted by Halfbreed and Rough Rider, "reels" Indy out of the Stockcar as the Lion ROARS and lunges and Indy screams. The men, including Roscoe, pull Indy through the hole in the roof. He stands to face them as Rough Rider points a gun in his direction. FEDORA You've got heart, kid. (indicates Cross) But that belongs to me. INDY (takes Cross from his belt) It belongs to Coronado. FEDORA (overlapping) Coronado is dead. And so are all his grandchildren. 11. INDY This should be in a museum. ROSCOE Now give me that! Roscoe makes a grab for the Cross -- but Indy doesn't let go. A tug-of-war ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS AROUND Roscoe's hand. Roscoe SCREAMS BLOODY MURDER -- releases his grip on the Cross and tries to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO THE NEXT CAR. FEDORA Don't let him get away! Indy swings down to the caboose. He sees a sign above the caboose door reading "DR. FANTASY'S MAGIC CABOOSE." INDY Magic? He glances back at the men and quickly opens the door to the caboose, stepping inside. Fedora puts out his arm, gesturing for the others not to follow Indy. FEDORA Hold it. Make sure he doesn't double back. INT. THE CABOOSE - DAY Which contains the circus MAGIC EQUIPMENT. Indy rushes to the rear door of the caboose but can't open it. He hears Fedora coming, and dives into a MAGIC BOX. FEDORA Okay, kid. Out of the box. Now. Fedora smiles confidently and advances toward the box. The box unexpectedly collapses; all four sides flop away... revealing NOTHING. Indy has completely vanished. Fedora is mystified, frustrated and angered. Then he feels a breeze at his back. He turns and discovers that the caboose door is open. He rushes out onto the balcony and sees: Indy RUNNING along the tracks, turning up a street of modest clapboard houses. 12. FEDORA Damn. EXT. STREET - SMALL TOWN - DAY As Indy runs from the railroad tracks and approaches his house we see the name "JONES" painted on the mailbox. INDY Dad! INT. THE HOUSE - DAY Indy bursts through the front door holding the Cross in his hand. A Husky BARKS as Indy runs past in search of his father. INDY Dad! INT. THE STUDY - DAY Indy charges in. The study is cluttered with books. Pictures, charts and maps clearly reflect the father's pa**ion 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-gla** window. The sketch incorporates a series of Roman numerals. The Professor is not just studying it, he is copying it into his own notebook. We never get to see the Professor's face in this scene. So Indy CHARGES IN. INDY Dad! HENRY Out! INDY It's important! HENRY Then wait -- count to twenty. INDY No, Dad. You listen to me -- 13. HENRY (now he shouts) Junior! No question who is the boss here. Indy gulps, his look says "What am I going to do with this guy?" And obeys -- starts counting, VERY, VERY FAINTLY. INDY One, two, three, four... Now we see what Henry is concentrating on. We see his hand sketching; then, he holds up one finger. HENRY In Greek. Indy's reaction: INDY (louder, in Greek) One... two... three... four... An ancient car is heard arriving. Perhaps Indy glimpses it going past the window. Anyway, it stops outside the house. Two men sit in the front seat. Herman sits in the rear, BLOWING A TRUMPET. Indy's reaction: Trouble! Henry is just finishing the sketch. HENRY May he who illuminated this... illuminate me... INT. THE FRONT ROOM - DAY The study door is just closing, Indy closing it behind him... just as Herman comes through the front door, still playing the trumpet. Indy reaches for the trumpet, pulling it from Herman's mouth. Herman continues to spit -- right into Indy's face. Indy flinches. HERMAN I brought the Sheriff. Herman means the SHERIFF, who now enters the house. 14. INDY Just the man I want to see! Now, there were five or six of them. SHERIFF (interrupting) All right, son. INDY (overlapping) ...they came after... me... SHERIFF You still got it? INDY Well, yes, sir. It's right here! Indy shows the Cross, more or less handing it to the Sheriff to make his point. The Sheriff takes it casually. SHERIFF I'm glad to see that... because the rightful owner of this Cross won't press charges, if you give it back. Fedora enters the house, followed by Roscoe, Rough Rider and Halfbreed. He politely removes his hat and holds it in his hand. He nods at Indy in a friendly manner. SHERIFF He's got witnesses, five or six of them. The Sheriff and Fedora are in Cahoots The Sheriff hands the Cross to Fedora. Roscoe reaches in and takes it from Fedora, then runs out the door. ROSCOE Yahoo! As Roscoe runs outside Indy sees -- through the screen door -- the MAN IN THE PANAMA HAT waiting patiently beside the car that is parked out front. Roscoe approaches and gives the Man the Cross -- the Man hands Roscoe some money in exchange. The Sheriff tips his hat and leaves. SHERIFF Good day. 15. Fedora remains behind for a moment. He turns and speaks to Indy in an ironic man-to-man way. FEDORA You lost today, kid, but that doesn't mean you have to like it. Then, Fedora takes off his hat and takes a step towards Indy. He holds the hat by the crown, and puts it on Indy's head, a show of respect and admiration for the boy. The hat blocks Indy's face. CLOSE ON THE TOP OF THE FEDORA HAT The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL GROWN INDIANA JONES. And... POW!... he's punched in the face while his arms are pinned behind his back. FADE IN TITLE: "PORTUGUESE COAST - 1938" PANAMA HAT Small world, Doctor Jones. INDY Too small for two of us. THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF CORONADO from Indy's belt. PANAMA HAT This is the second time I've had to reclaim my property from you -- INDY That belongs in a museum -- PANAMA HAT So do you. (he moves his eyeline) Throw him over the side. THE DECK OF A PORTUGUESE CARGO SHIP It's NIGHT. RAIN POURS down. We're in the middle of a violent STORM AT SEA. Thirty-foot waves crash across the deck. The TWO PORTUGUESE SAILORS (who have Indy's arms pinned behind his back) propel Indy across the deck toward the rail. 16. As they pa** a BUNDLE OF FUEL DRUMS, Indy uses the Two Sailors as leverage to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold the drums together. Indy jabs his elbows into the stomachs of the startled Sailors and rushes toward the Man In The Panama Hat. Panama Hat sees Indy coming and hurries toward the ladder that leads up to the bridge. Indy withstands the force of waves crashing on the deck and makes his way to where Panama Hat is climbing the ladder. He pulls him off the ladder from behind the two men fall down on the deck. Indy takes the cross back from Panama Hat. A sailor delivers a powerful blow to Indy's face, sending the cross flying out of his grip and skittering across the deck. Indy grabs a crowbar and fends off two sailors who attack him from the sides. Indy sees that the Cross is about to be swept overboard. He lunges for it. He SNATCHES UP the Cross only to be knocked down to the deck by a giant wave. He struggles to his feet, managing to avoid the giant fuel drums sliding across the deck around him. SEVERAL MORE DRUMS come Indy's way. He sidesteps them all. PANAMA HAT Grab him, he's getting away! Grab him! Indy turns around and pummels two sailors with one punch. Indy sees a large Stevedore's hook above him and he climbs up on crates to reach it. He grabs a hold of the hook and uses it to swing all the way across the deck, narrowly avoiding a huge wave behind him. He jumps into the rollicking ocean, still holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling directly onto a crate of TNT. The crate explodes, causing the entire ship to blow, sending an enormous orange fireball into the sky. LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER As bits of debris fall from the sky like rain. Indy BOBS UP in the water amid the debris, holding the Cross in his hand. He grabs for something to keep him afloat. It turns out to be one of the ship's LIFE PRESERVERS. Indy loops his arm through the preserver. Only now do we see the FADED LETTERING on the preserver revealing the destroyed ship's name and city of port: "VAZQUEZ de CORONADO BARCELONA" 17. A SHREDDED PANAMA HAT floats past. EXT. COLLEGE - DAY Students walk along brick, tree-lined paths. INDY (V.O.) Archaeology is... INT. COLLEGE LECTURE HALL - DAY DISSOLVE TO: INDY Dressed in professorial tweeds, stands before his cla**. He turns to the blackboard with a piece of chalk and writes the word: "FACT." INDY ...the search for fact. Not truth. If it's truth you're interested in, Doctor Tyree's Philosophy cla** is right down the hall. Laughter. INT. CORRIDOR - DAY INDY So forget any ideas you've got about lost cities, exotic travel, and digging up the world. You do not follow maps to buried treasure and "X" never, ever, marks the spot. MARCUS BRODY approaches Indy's cla**room. He peers through the window in the door to see Indy completing his lecture. INDY Seventy percent of all archaeology is done in the library. Research. Reading. INT. LECTURE HALL - DAY Brody enters the lecture hall and stands at the rear of the room. INDY We cannot afford to take mythology at face value. 18. The BELL RINGS. Indy stands at his desk as students begin to disperse. A pretty coed puts a note on the desk. INDY Next week: "Egyptology." Starting with the excavation of Naukratis by Blinders Petrie in 1885. I will be in my office if anybody's got any problems for the next hour and a half. Brody approaches as the last of the students leaves the lecture hall. INDY Marcus! (slaps his pocket) I did it! BRODY You've got it! Indy removes the cloth-wrapped Cross from his desk. He places it on the desk and takes off his gla**es as Brody examines the Cross. INDY You know how long I've been looking for that?! BRODY All your life. INDY All my life! BRODY Well done, Indy. Very well done, indeed. This will find a place of honor in our Spanish collection. Indy gathers up his books and makes his way toward the door. INDY We can discuss my honorarium over dinner and champagne tonight. He turns back toward Brody, now holding the Cross. INDY Your treat. 19. BRODY Yes. My treat. INT. INDY'S OUTER OFFICE - DAY Bursting with STUDENTS, all competing for his attention at once: "Professor Jones!" "Doctor Jones!" etc., etc. INDY Shush! Shush! Shush! Indy shoulders his way to the desk of his secretary, an overwhelmed Teaching Assistant named IRENE. IRENE Doctor Jones! I'm so glad you're back! Your mail is on your desk. Here are your phone messages. MALE STUDENT Doctor Jones, you promised... Doctor Jones -- IRENE This is your appointment schedule. And these term papers still haven't been graded. Indy takes the term papers then turns to enter his PRIVATE OFFICE. Students once again CLAMOR for his attention: "Doctor Jones!" "Wait, Doctor Jones!" "My grade!" "Sign my registration card!" Indy silences the mob with a raised hand. INDY (very efficiently) Okay. Irene, put everyone's name on a list, in the order they arrived, and I'll see each and every one of them in turn. The Students descend upon poor Irene, each claiming to be first. Indy slips into his -- PRIVATE OFFICE Where he goes to his desk and finds a thick envelope with a foreign postmark on it. INDY (softly; reading) "Venice, Italy." 20. Then, Indy stuffs his mail into his coat pockets, goes to the WINDOW, slides it open and STEPS OUT INTO THE GARDEN. EXT. SIDE OF COLLEGE BUILDING - DAY Indy escapes through the garden. EXT. FRONT OF COLLEGE BUILDING - DAY Indy walks briskly toward the street; smiling, enjoying his freedom. As he arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him. MAN (O.S.) Doctor Jones! THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN." The First Man steps behind Indy. MAN Doctor Jones? INT. PENTHOUSE APARTMENT - DAY Indy is ushered into a large Art Deco apartment and left alone. Numerous museum-quality artifacts are displayed around the room. Indy takes this opportunity to examine them. After a moment, WALTER DONOVAN enters from across the room. During the brief time that the door is open, we HEAR a co*kTAIL PARTY going on in the next room: VOICES and SOFT PIANO MUSIC. Donovan strides across the room toward Indy. Although in his late fifties, Donovan has the broad shoulders and trim physique of a much younger man. Dressed in a tuxedo, he exudes both confidence and power. DONOVAN I trust your trip down was comfortable, Doctor Jones. My men didn't alarm you, I hope. He shakes hands with Indy. DONOVAN My name is Donovan. Walter Donovan. INDY I know who you are Mr. Donovan. Your contributions to the museum over the years have been extremely (MORE) 21. INDY (cont'd) generous. Some of the pieces in your collection here are very impressive. DONOVAN Well, like yourself, Doctor Jones, I have a pa**ion for antiquities. (beat) Have a look over here. This might interest you. Donovan goes to a table where an object is wrapped in cloth. He throws back the cloth revealing a flat STONE TABLET -- about two feet square, inscribed with letters and symbols. Indy looks impressed. He puts on his gla**es to make a closer examination. INDY Well, it's sandstone. Christian symbol. Early Latin text. Mid-Twelfth Century, I should think. DONOVAN That was our a**essment as well. INDY Where did this come from? DONOVAN My engineers unearthed it in the mountain region north of Ankara while excavating for copper. (beat) Can you translate the inscription? Translating the inscription is no easy matter, even for someone as knowledgeable as Indy. INDY (stumbling through it) "...who drinks the water I shall give him, says the Lord, will have a spring inside him welling up for eternal life. Let them bring me to your holy mountain in the place where you dwell. Donovan pours champagne into several fluted gla**es as Indy reads. 22. INDY Across the desert and through the mountain to the Canyon of the Crescent Moon, to the Temple where the cup that --" Suddenly Indy stops and looks up at Donovan with a startled expression. INDY "Where the cup that holds the blood of Jesus Christ resides forever." DONOVAN (reverently) The Holy Grail, Doctor Jones. The chalice used by Christ during the Last Supper. The cup that caught His blood at the Crucifixion and was entrusted to Joseph of Arimathaea. Indy rubs his chin with a dubious expression as he takes the gla** of champagne Donovan now offers him. INDY The Arthur Legend. I've heard this bedtime story before. DONOVAN Eternal life, Doctor Jones! The gift of youth to whoever drinks from the Grail. (beat) Oh, now that's a bedtime story I'd like to wake up to! INDY An old man's dream. DONOVAN Every man's dream. (beat) Including your father's, I believe. Indy stiffens slightly at the mention of his father, nods. INDY Grail lore is his hobby. He's a teacher of Medieval Literature. The one the students hope they don't get. 23. The door opens and MRS. DONOVAN steps into the room. She's a matronly woman in an expensive evening gown. MRS. DONOVAN Walter, you're neglecting our guests. DONOVAN Be along in a moment, dear. He leans over and kisses her cheek. Mrs. Donovan sighs to herself and returns to the party. Indy, meanwhile, has turned his attention back to the Grail Tablet, obviously hooked by its archaeological promise. He moistens his finger with champagne and rubs it over the Tablet. Donovan steps up next to Indy. DONOVAN Hard to resist, isn't it? The Holy Grail's final resting place described in detail! INDY What good is it? This Grail Tablet speaks of deserts and mountains and canyons. Pretty vague. Where do you start looking? Maybe if the Tablet were intact, you'd have something to go on. But the entire top portion is missing. DONOVAN Just the same, an attempt to recover the Grail is currently underway. Indy has to shake his head at Donovan's apparent lack of judgment. DONOVAN Let me tell you another "bedtime story," Doctor Jones. After the Grail was entrusted to Joseph of Arimathaea, it disappeared and was lost for a thousand years before it was found again by three Knights of the First Crusade. Three brothers, to be exact. INDY I've heard this one as well. Two of these brothers walked out of the desert one hundred and fifty years (MORE) 24. INDY (cont'd) after having found the Grail and began the long journey back to France. But only one of them made it. And before dying of extreme old age, he supposedly imparted his tale to a -- to a Franciscan friar, I think. DONOVAN Not "supposedly," Doctor Jones. Donovan produces an ANCIENT LEATHER-BOUND VOLUME with very brittle pages. Indy views the man*script with considerable interest. DONOVAN This is the man*script in which the friar chronicled the Knight's story... it doesn't reveal on location of the Grail, I'm afraid... but the Knight promised that two "markers" that had been left behind would. (indicates the Tablet) This Tablet is one of those "markers." It proves the Knight's story is true. But as you pointed out -- it's incomplete. (beat) Now, the second "marker" is entombed with the Knight's dead brother. Our project leader believes that tomb to be located within the city of Venice, Italy. (beat) As you can now see, Doctor Jones, we're about to complete a great quest that began almost two thousand years ago. We're only one step away. INDY That's usually when the ground falls out from underneath your feet. DONOVAN You could be more right than you know. 25. INDY Yes? DONOVAN We've hit a snag. Our project leader has vanished. Along with all his research. Uh, we received a cable from his colleague, Doctor Schneider, who has no idea of his whereabouts or what's become of him. (beat) I want you to pick up the trail where he left off. Find the man and you will find the Grail. INDY You've got the wrong Jones, Mister Donovan. Why don't you try my father? DONOVAN (after a pause) We already have. Your father is the man who's disappeared. EXT. A RESIDENTIAL STREET - DAY A FORD COUPE speeds down the tree-lined street. EXT. PROFESSOR HENRY JONES' HOUSE - DAY The Ford coupe pulls up in front of the house. Indy climbs from the car and hurries up the walkway. Brody is a step behind. BRODY Your father and I have been friends since time began. I've watched you grow up, Indy. And I've watched the two of you grow apart. (beat) I've never seen you this concerned about him before. They climb the porch and notice that the front door is ajar. They exchange a quick look of concern as they enter. INT. THE HOUSE - LATE AFTERNOON Indy approaches the half-open front door. 26. INDY Dad? (to Brody) He's an academic A bookworm. He's not a field man. He pushes open the door. He enters the house and calls out. INDY Dad? Dad? Indy opens one half of the curtains dividing the hall from the sitting room. We see the place has been ransacked. Brody sees Indy's face and opens the other half. BRODY Dear God. They walk into the room. BRODY What has the old fool got himself into now? INDY I don't know. But whatever it is, he's in over his head! Brody picks up some mail from Henry's cluttered desk. INDY Dad? BRODY It's today's mail. And it's been opened. Indy turns and sees the pile of torn papers and envelopes. Then something hits him. INDY Mail! That's it, Marcus! He immediately empties his pockets of his own mail taken earlier in the day from his college office and finds the envelope with the Venice postmark. INDY (as he tears it open) Venice, Italy! 27. BRODY What is it? Indy uncovers a small book. It looks like a JOURNAL or DIARY. Indy flips through it: Page after page of handwritten notes and drawings. Brody glances at it with great curiosity. INDY It's Dad's Grail Diary. Every clue he ever followed. Every discovery he made. A complete record of his search for the Holy Grail. This is his whole life. Why would he have sent this to me? BRODY I don't know. But someone must want it pretty badly. INDY Do you believe, Marcus? As Indy asks the question, he turns to a PAINTING on the wall: A depiction of Christ on the Cross, his blood being captured in a golden chalice. A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting to their d**hs over a high cliff. One Crusader, however, floats safely in midair because he holds the Grail in his hands. INDY Do you believe the Grail actually exists? BRODY The search for the Cup of Christ is the search for the divine in all of us. Brody sees that Indy is unsatisfied by this response. BRODY But if you want facts, Indy, I have none to give you. At my age, I'm prepared to take a few things on faith. INDY Call Donovan, Marcus. Tell him I'll take that ticket to Venice now. 28. BRODY I'll tell him we'll take two. EXT. AIRFIELD - DAY A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN CORPORATE LOGO. Brody peers inside to Donovan and Indy. BRODY Tell me, what's going to happen when we get to Venice? DONOVAN (overlapping) Don't worry. Doctor Schneider will be there to meet you. BRODY (overlapping) Schneider? DONOVAN (overlapping) I maintain an apartment in Venice, at your disposal. BRODY Oh, well. That's good. Thank you. Brody and Donovan shake hands. Indy steps from the back seat of the limo. He turns back to Donovan and shakes his hand. DONOVAN Doctor Jones. Good luck. Be very careful. Don't trust anybody. INT. AIRLINER - FLYING - DAY Indy opens the Grail Diary and thoughtfully turns through the pages. He stops at one page and glances at a PENCIL SKETCH of what might be a stained-gla** window. Below the sketch is a SERIES OF NUMBERS. EXT. THE PRIVATE AIRLINER - FLYING - DAY SUPERIMPOSED over a MAP that traces a course from New York City to Venice, Italy. DISSOLVE TO: EXT. VENICE - BOAT LANDING - DAY 29. Indy and Brody disembark from the Water Bus onto the Boat Landing as other Gondoliers steer their boats in the water. INDY Ah, Venice... BRODY Yes. Uh, how will we recognize this Doctor Schneider when we see him? INDY I don't know. Maybe he'll know us. Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes that are bright and intelligent. ELSA Doctor Jones? INDY Yes? ELSA I knew it was you -- She looks at him with an appraising expression that is brazenly flirtatious. ELSA You have your father's eyes. Indy is instantly attracted to her. INDY And my mother's ears. But the rest belongs to you. ELSA Looks like the best parts have already been spoken for. Indy grins, enjoying the repartee. The Woman turns to Brody, who tips his hat. ELSA Marcus Brody? BRODY That's right. The Woman, DR. ELSA SCHNEIDER, extends her hand to Brody. 30. ELSA (introducing herself) Doctor Elsa Schneider. Indy's grin fades. Brody registers a look of surprise. BRODY Uh... how do you do? CUT TO: EXT. VENICE Can*l - DAY Indy, Brody and Elsa walk along the narrow can*l, lined with buildings on either side. ELSA The last time I saw your father we were in the library. He was very close to tracking down the Knight's Tomb. I've never seen him so excited. He was as giddy as a schoolboy. INDY Who? Attila the Professor? He was never giddy, even when he was a schoolboy! Indy can't take his eyes off Elsa. Perhaps he's feeling a bit like a schoolboy himself right now. As they cross over a bridge to the opposite side of the can*l, Indy steals a flower from a street vendor. He holds it out to Elsa. INDY Fraulein -- will you permit me? ELSA I usually don't. INDY I usually don't either. ELSA In that case, I permit you. Indy gives her the flower. INDY It would make me very happy. 31. ELSA But I'm already sad -- by tomorrow it will have faded. INDY Tomorrow I'll steal you another. BRODY (cutting in) I hate to interrupt you -- but the reason we're here -- ELSA (interrupting) Yes. I have something to show you. She hands a slip of paper to Indy. ELSA I left your father working in the library. He sent me to the map section to fetch an ancient plan of the city. When I got back to his table -- he'd gone -- with all his papers -- except for that scrap which I found near his chair. Indy extends the scrap of paper to Brody. INDY Roman numerals. EXT. VENICE PIAZZA - DAY Elsa leads Indy and Brody into the large piazza. People walk about and sit at tables in front of a large building. ELSA Here is the library. They have arrived at the front steps of the library. INDY That doesn't look much like a library. BRODY It looks like a converted church. Elsa leads the way inside. INT. THE LIBRARY - DAY 32. 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-gla** windows. ELSA In this case it's the literal truth. We're on holy ground. These columns over here... She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling. ELSA ...were brought back as spoils of war after the sacking of Byzantium during the Crusades. Indy glances at the Columns, then notices a stained-gla** Window that depicts a Knight of the Crusades. Indy lingers for a moment in front of the window. ELSA Now please excuse me. The library's closing in a few moments. I'll arrange for us to stay a little longer. The minute Elsa is out of earshot. INDY Marcus -- I've seen this window before. BRODY Where? Indy whips out the Grail Diary and opens it to the sketch he noticed in the airplane. INDY Right here. In Dad's Diary. You see? Brody glances at the Diary, then at the window -- noticing that the Roman numerals in question have been worked into the window's design. BRODY Look, Indy. The Roman numerals! 33. INDY Dad was onto something here! BRODY Well, now we know the source of the numbers, but we still don't know what they mean. Indy and Brody now see Elsa approaching. Indy quickly tucks the Diary back into his pocket. INDY (explaining to Brody) My dad sent me this Diary for a reason. Until we find out why, I suggest we keep it to ourselves. ELSA Find something? Indy doesn't reply. He's looking in five directions at once. His eyes moving across the walls and ceilings -- charged with the thrill of discovery. BRODY (to Elsa) Uh, yes. Three, seven and ten. That window seems to be the source of the Roman numerals. ELSA My God, I must be blind INDY Dad wasn't looking for a book about the Knight's Tomb... he was looking for the Tomb itself Elsa wears a blank expression. INDY Don't you get it? The Tomb is somewhere in the library! You said yourself it used to be a church! Look. Indy's eyes travel up one of the four huge marble columns. INDY Three. Indy looks again to the stained-gla** window. He points. 34. INDY Three! Indy has discovered that each Column is numbered with a Roman Numeral. Indy hurries away toward Column VII. All Brody and Elsa can do now is try to keep up with him. INDY Seven. He points again to the stained-gla** window. INDY Seven... Ten. He looks down to the scrap of paper in his hands. INDY And ten. Now where's the ten? Look around for the ten. Indy walks past aisles of book-lined shelves. He stops, turns, then looks down. INDY Three, seven and ten. He climbs a spiral staircase leading up to a LOFT and looks down at Brody and Elsa. The floor beneath their feet is an elaborate tile design containing a huge "X" -- visible only from this higher angle. INDY Ten. (wryly; to himself) "X" marks the spot. Indy rushes down the staircase and goes to the CENTER TILE where the two sides of the X intersect. He blows dust away from the tile and tries to pry it up, but cannot. Indy rushes past Brody to a cordon held in place by a bra** stand underneath the stained-gla** window. Indy raises the bra** 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. 35. Cold air and a wet, rancid smell escape from the hole. INDY Bingo. ELSA You don't disappoint, Doctor Jones. You're a great deal like your father. INDY Except he's lost, and I'm not. ELSA Lower me down. Indy is impressed with Elsa's spirit, and cooperates agreeably -- holding her by the hands and lowering her into the hole. When her feet finally touch ground below, Indy releases his grip on her and slips the Grail Diary to Brody. INDY Look after this for me, will you? Then Indy disappears into the hole. INT. CATACOMBS BELOW LIBRARY - DAY Indy jumps down a steep step. He reaches back to help Elsa. INDY Come on. Indy and Elsa glance around. This is really a horrid place. Dark and dank. Foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory four-leaf clover design. Indy and Elsa inspect markings carved onto the walls. ELSA Pagan symbols. Fourth or Fifth Century. INDY Right. Six hundred years before the Crusades. ELSA The Christians would have dug their own pa**ages and burial chambers centuries later. 36. Indy takes the lighter from her and lights their way down a dark pa**ageway. INDY That's right. If there's a Knight of the First Crusade entombed down here, that's where we'll find him. INT. LIBRARY - DAY THREE MEN carrying guns make their way down the spiral staircase toward an unsuspecting Brody. One of the Men, KAZIM, raises his gun and brings it down hard on Brody's head. BRODY Ohhhh... Kazim gestures with his gun toward the now-unconscious Brody. The other two men take Brody's hands and drag him into one of the book-lined aisles. INT. ANOTHER PART OF THE CATACOMBS - DAY DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque skeletal remains with rotting linen stretched across blackened bones. Indy holds the lighter up as he and Elsa inspect symbols carved into the walls. Elsa spots a symbol cut into the wall that she doesn't recognize. As she blows away some cobwebs: ELSA What's this one? Indy only has to give it a quick glance to know. INDY The Ark of the Covenant. ELSA Are you sure? INDY (deadpan) Pretty sure. Indy holds the lighter up and he and Elsa enter another dark pa**ageway. ANOTHER PART OF THE CATACOMBS 37. Indy steps to the wall and runs his hand over the stone. He scrapes the cobwebs away to reveal the ROMAN NUMERAL "X." INDY Watch out. Elsa now holds the lighter as Indy rams his shoulder into the wall. The wall collapses on impact and Indy falls through into another room. ANOTHER ROOM - THE CATACOMBS As Indy falls through the hole in the wall onto rocks surrounded by bubbling, green, slimy liquid. More skeletons surround him, resting in their carved niches. Elsa holds the lighter as she peers in at him through the hole in the wall. INDY Petroleum. I could sink a well down here and retire. Indy reaches up and tears a piece of cloth from one of the skeletons, which breaks apart and falls into the oil-slick water. Indy uses the scrap of cloth and a bone to fashion a crude torch, which he then dips into the oily water. INDY Give me the lighter. ANOTHER PART OF THE CATACOMBS Using the cloth-wrapped bone torch to guide their way, Indy and Elsa come upon a NARROW PASSAGEWAY. The water is kneedeep and TEEMING WITH RATS. Thousands of them crawling on one another's backs. SQUEALING. Squirming. Thrashing in the water. INDY Oh, rats... Elsa gasps as the rats scamper between her legs. Indy moves forward through the rat-infested water as Elsa follows, still gasping in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out to Elsa. INDY Come on! She gasps once again, terrified. Indy lifts her and carries Elsa as he moves forward. 38. 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 pa**ageway lined with skulls and bones. Indy reaches for a wall to steady himself and inadvertently grabs a skeleton. A bone comes loose in his hand as rats scurry about and leap at him from all directions. He takes a moment to compose himself, then steps across the water to Elsa's side. He steps into the water, then reaches up to help Elsa do the same. INDY Come here. LARGE BURIAL CHAMBER The chamber is flooded with black, briny water. INDY Look... In the center of the chamber, jutting up above the water, is what amounts to an "island altar" on which SEVERAL ANCIENT COFFINS rest. They move toward the altar. Indy and Elsa begin to inspect the ornately carved COFFINS like the scholars of antiquity that they are. These are big oak caskets held together by straps of etched bra**. INDY It must be one of these... ELSA Look at the artistry of these carvings and the scrollwork. One coffin is elevated above the others. ELSA It's this one. Together they begin to push on the lid -- STRAINING and GROANING until it slides away and BANGS against the stone platform. INSIDE THE COFFIN 39. Lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. Indy and Elsa look in... Elsa gasps. INDY This is it! We found it! Look -- the engraving on the shield. It's the same as on the Grail Tablets. The shield is the second marker! Indy unfolds a piece of paper and holds it over the shield. ELSA What's that? INDY It's a rubbing Dad made of the Grail Tablet. The missing portion of the rubbing is completed by the shield. ELSA Just like your father -- giddy as a schoolboy. Indy laughs. ELSA Wouldn't it be wonderful if he were here now to see this? INDY (chuckles) He never would have made it past the rats! He hates rats! He's scared to d**h of them!CLOSE - A HAND As it lights a match. PULL BACK TO REVEAL KAZIM Dropping the lighted match into the oil-slick water. INDY AND ELSA Elsa holds the torch. Indy looks around. Listens. Something is wrong. And then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls. This is followed by THOUSANDS OF RATS FLEEING from around the corner of the Narrow Pa**ageway, STAMPEDING toward Elsa and Indy -- SHRIEKING and SQUEALING as they approach. 40. The rats literally wash over them -- like a rodent tidal wave -- in their efforts to escape a: HUGE ORANGE BALL OF FIRE ROARING around the corner hurtling towards them -- feeding on the oil slick; consuming the oxygen. Elsa SCREAMS. INDY Get back! Back against the wall. Indy braces his back against the altar and TOPPLES THE COFFIN with his feet. It CRASHES against the stone platform and SPLASHES into the water. INDY Quick! Under it! They jump into the water beside the bobbing, overturned coffin. INDY Air pocket! Elsa hesitates. Indy literally DUNKS her and pushes her underneath. UNDER THE COFFIN Elsa surfaces into the air pocket created by the coffin, SPUTTERING and SPITTING. Now Indy pops up into the air pocket. He looks at Elsa -- they are both soaking wet. INDY Don't wander off. ELSA What? Indy disappears under the water and swims out from under the coffin. ELSA What? UNDER THE WATER Indy swims, looking for an escape route. UNDER THE COFFIN 41. The rats are beginning to force their way inside, swimming through the water and climbing on Elsa, who squirms and screams in terror. Indy pops back up through the water. INDY I think I've found a way out. Deep breath. Elsa groans. They take a deep breath and both dive under the water. EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY The perfect picture postcard -- St. Mark's Square and the Grand Can*l beyond. Cafe customers are startled to see Indy and Elsa climb out of the sewer, wet and smelly. Indy looks around at the postcard-perfect setting and smiles. INDY (wryly) Ah, Venice! Indy's delight, however, is short-lived since Kazim and TWO OTHER TURKISH AGENTS are running towards them with drawn guns. He grabs Elsa by the hand and the two of them run down the dock and LEAP INTO A MOTORBOAT. INT. THE MOTORBOAT - DAY Indy fires up the engine and pulls away from the dock... but not before a TURKISH AGENT JUMPS in with him. Elsa grabs the wheel and begins to steer the boat while Indy and the Turk trade punches. EXT. THE HARBOR - DAY Indy's Speedboat BOUNCES across the choppy waters heading in the direction of the DOCKED STEAMSHIP. Kazim and his men rush to TWO MORE SPEEDBOATS tied to the dock. They chase after Indy. Indy grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in the Agent's hand. It FIRES. 42. As Indy fights with the Turk, he becomes aware of the Speedboats behind him and two enormous Freighters ahead of him, joined together by two giant ropes. Indy, having gained the advantage, leans on top of the Turkish Agent. INDY (to Elsa) Are you crazy?! You don't go between them! Elsa can barely hear Indy over the noise of the motor. ELSA Go between them? Are you crazy?! Indy finally delivers the punch that sends the Turkish Agent flying overboard. Turning, Indy sees that Elsa has committed the speedboat to a course BETWEEN the two Freighters, now being pushed even closer together by a Tugboat. INDY I said go around! ELSA You said go between them! INDY I said don't go between them! It's purely academic at this point since the hulls of the two Freighters loom up on either side of them like cavern walls. EXT. FULL SHOT - THE HARBOR - DAY One Enemy Speedboat chases Indy between the two Freighters. But the Speedboat containing Kazim veers off and goes around. EXT. BETWEEN THE TWO FREIGHTERS - DAY It's a race for daylight as the two Freighters drift ever closer to one another. Indy's Speedboat just manages to squeeze through the gap. But the Enemy Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO THE AIR and SPLASHING back down into the water. INDY AND ELSA 43. Spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at Indy and Elsa. KAZIM'S SPEEDBOAT Matches Indy's move for move. FULL SHOT - THE HARBOR The two boats race across the water nearly side-by-side. A CHATTERING MACHINE GUN from Kazim's boat SPLINTERS the wood of Indy's boat, until finally the rear of the boat CATCHES ON FIRE. The machine gun runs out of ammunition. Kazim puts it down and takes control of the wheel from one of the Turkish Agents in the boat with him. As Indy's boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of ANOTHER STEAMER, Kazim's boat draws up alongside and hits them. Indy steps into Kazim's boat. He knocks one of the Turkish Agents to the deck, then turns his attention to Kazim. The two men trade punches as the boat spins helplessly in the churning water. ELSA No!! Indy kicks Kazim in the face, knocking him into the water, then pulls him back into the boat, now being su*kED THROUGH THE CHURNING WATER toward the Steamer's giant propeller blades. INDY Why are you trying to k** us? KAZIM Because you're looking for the Holy Grail. INDY My father was looking for the Holy Grail. Did you k** him too? KAZIM No. INDY Where is he? Talk -- or you're dead. Damn it, tell me! Tell me! 44. KAZIM If you don't let go, Doctor Jones, we'll both die. INDY Then we'll die. KAZIM My soul is prepared. How's yours? By now half the boat has been chopped up into matchwood and the blades are getting closer. INDY This is your last chance. KAZIM No, Doctor Jones. It's yours! The wind of the blades is on their necks. Indy grabs Kazim just in time and jumps... into the motorboat, driven by Elsa, which gets alongside in the nick of time. INDY All right! Where's my father KAZIM If you let me go, I will tell you where he is. INDY Who are you? KAZIM My name is Kazim. INDY And why were you trying to k** me? KAZIM The secret of the Grail has been safe for a thousand years. And for all that time the Brotherhood of the Cruciform Sword has been prepared to do anything to keep it safe. Kazim pulls back his shirt to reveal a birthmark... or is it a tattoo? Whatever it is, it's a cruciform sword; a Christian cross which tapers down, like the blades of a broadsword. 45. KAZIM Let me get off at this jetty. The boat is close to the edge of the can*l. Indy gives Elsa a nod, telling her to bring the boat in. Kazim steps ashore. KAZIM Ask yourself, why do you seek the Cup of Christ? Is it for His glory, or for yours? INDY I didn't come for the Cup of Christ. I came to find my father. KAZIM In that case, God be with you in your quest. Your father is being held in the Castle of Brunwald on the Austrian-German border. Kazim walks away. INT. VENICE APARTMENT - DAY CLOSE ON THE WATER-SOAKED PAPER IMPRESSION: The rubbing taken from the shield of the Grail Knight. Brody is giving it careful study while he dabs the lump on the back of his head with an ice pack. INDY How's the head? BRODY It's better, now I've seen this. It's the name of a city. "Alexandretta?" Hmmm... Indy, wearing a bathrobe, leans over to study the impression. INDY The Knights of the First Crusade laid siege to the city of Alexandretta for over a year. The entire city was destroyed. Brody lowers the ice pack from his head and looks at Indy. INDY The present city of Iskenderun is built on its ruins. Marcus -- you (MORE) 46. INDY (cont'd) remember what the Grail Tablet said. "Across the desert and through the mountain to the Canyon of the Crescent Moon." (pause) But where exactly? BRODY Your father would know. Your father did know. Look. He made a map. Brody picks up the Grail Diary. BRODY He must have pieced it together from clues scattered through the whole history of the Grail Quest. A map with no names. INSERT: A PENCIL-DRAWN MAP It covers two pages of the Diary. Brody's finger moves across it. BRODY Now, he knew there was a city with an oasis due east. Here. He knew the course turned south through the desert to a river, and the river led into the mountains. Here. Straight to the canyon. He knew everything except where to begin, the name of the city. INDY (solemnly) Alexandretta. Now we know. BRODY Yes. Now we know. INDY (rising) Marcus, get hold of Sallah. Tell him to meet you in Iskenderun. Indy closes the Grail Diary and puts it into the pocket of his robe. BRODY What about you? 47. INDY I'm going after Dad. INT. INDY'S BEDROOM - DAY Indy opens the door. His bedroom has been ransacked... the mattress on the floor, the drawers turned out. INT. HALLWAY - DAY Indy approaches another door (Elsa's bedroom) and knocks. INDY Elsa? He goes in. INT. ELSA'S BEDROOM - DAY ...and finds that Elsa's bedroom is in a similar ransacked state to his own. The room is empty. He is worried for her, knocks and calls out: INDY Elsa? He steps into the room and knocks upon the bathroom door. INDY Elsa? He opens the bathroom door, peering inside. INDY Elsa? INT. ELSA'S BATHROOM - DAY Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as Indy enters. He retreats back into her bedroom as she reaches up to turn off a record player sitting on a ledge above the bathtub. INT. ELSA'S BEDROOM - DAY Elsa joins Indy, waiting in the ransacked room. She looks around in shock. ELSA My room! 48. INDY Mine, too. ELSA What were they looking for? She looks to Indy, who pulls the Grail Diary from his pocket. INDY This. ELSA The Grail Diary. INDY Uh-huh. ELSA You had it? You didn't trust me! She looks hurt and beautiful. She comes closer to him. INDY I didn't know you. She's awfully hard to resist. INDY At least I let you tag along. ELSA Oh, yes. Give them a flower and they'll follow you anywhere. INDY Knock it off. You're not mad. ELSA No? INDY No. You like the way I do things. ELSA It's lucky I don't do things the same way. You'd still be standing at the Venice pier. She stomps her foot angrily. Indy flinches. She starts to walk away but Indy grabs her. 49. INDY Look, what do you think is going on here? Since I've met you, I've nearly been incinerated, drowned, shot at, and chopped into fish bait. We're caught in the middle of something sinister here. My guess is Dad found out more than he was looking for. And until I'm sure, I'm going to continue to do things the way I think they should be done. He pulls her to him and kisses her. ELSA How dare you kiss me! Now Elsa reaches for Indy and kisses him. INDY Leave me alone. I don't like fast women. But he embraces her, and Elsa begins to nibble at his ear. ELSA And I hate arrogant men. Indy smiles slyly as they fall to the bed. EXT. VENICE Can*l - DAY A GONDOLIER SINGS as he steers his gondola carrying two pa**engers past Indy's window. INT. INDY'S BEDROOM - DAY Indy lies on top of Elsa, kissing her. He stops for a moment as he hears the Gondolier SINGING. INDY Ahh, Venice. Elsa reaches up and pulls him back down to her. EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY A Mercedes-Benz glides through the sharp mountain curves. This is SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria toward Salzburg. EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY 50. Storm clouds darken the skies. THUNDER EXPLODES in the distance; lightning flashes. The Mercedes-Benz drives into the courtyard of the formidable stone castle. INDY What do you know about this place? ELSA I know the Brunwalds are famous art collectors. INT. MERCEDES-BENZ - DAY Indy reaches into the back seat and retrieves his bullwhip. ELSA What are you going to do? INDY Don't know. Think of something. He glances up to the beret Elsa is wearing. She reaches up and adjusts it.INT. CASTLE ENTRANCE HALL - DAY A BUTLER walks to the door and opens it to reveal Indy and Elsa standing outside in the rain. She now wears Indy's fedora; Indy is wearing Elsa's beret. BUTLER Yes? Indy, followed by Elsa, steps inside, shaking the water from his overcoat. He adopts a Scottish accent. INDY And not before time! Did you intend to leave us standing on the doorstep all day? We're drenched! As Indy says this he pushes his way past the startled Butler, pulling a handkerchief from the man's pocket. Elsa follows, taking off her coat. Indy SNEEZES HARD. INDY Now look! I've gone and caught a sniffle. Indy dabs at his nose with the handkerchief as Elsa looks on in amused amazement. 51. BUTLER (coldly; with Austrian accent) Are you expected? INDY Don't take that tone with me, my good man. Now bu*tle off and tell Baron Brunwald that Lord Clarence MacDonald and his lovely a**istant are here to view the tapestries. BUTLER Tapestries? INDY Dear me, the man is dense. This is a castle, isn't it? There are tapestries? BUTLER This is a castle. And we have many tapestries. But if you're a Scottish lord, then I am Mickey Mouse. INDY How dare he?! Simultaneously knocking the Butler cold with one slug on the jaw. The Butler falls against a wall tapestry, sliding down to the floor, out cold. INT. CASTLE HALLWAY - DAY Indy and Elsa move cautiously and quietly down the wide, vaulted hallway. APPROACHING VOICES ARE HEARD. Indy and Elsa creep past a room full of NAZI SOLDIERS working around a large table with a map atop it.. Indy reacts to the sight of them. INDY (to Elsa; softly) Nazis. I hate these guys. Indy and Elsa continue down the hallway. Indy carries a gun in his hand and his whip hangs from his belt. He steps to a closed door and listens. INDY This one. I think he's in here. 52. ELSA How do you know? Indy points out an ELECTRICAL WIRE. INDY Because it's wired. He studies the situation for a moment, then decides to enter one of the other doors. He knocks at the door -- there is no response. He looks back at Elsa and enters. INT. CASTLE ROOM - DAY The room is dark and empty. Indy throws open the window shutters and looks out. RAIN comes down in sheets. There is a wide ledge beneath each window -- but below that is a SHEER DROP. Indy wants to get out onto the window ledge, which is several yards away. ELSA Indy? Indy? Indy rea**ures her. INDY Don't worry... this is kid's play. I'll be right back. He leans out the window and wraps his bullwhip around some wires that protrude from the castle wall above the next window. He gives the whip a forceful tug to make certain it will hold his weight. EXT. THE CASTLE - DAY Indy SWINGS from the window to the stone gargoyle. CLOSE ON THE WINDOW LEDGE A PAIR OF WOODEN SHUTTERS seals the window. Indy takes hold of the bullwhip with both hands, pushes off with his feet... swings toward the shuttered window with his feet extended... CRASHING THROUGH THE WOODEN SHUTTERS as a CLAP OF THUNDER disguises the noise. INT. THE ROOM - DAY Indy CRASHES THROUGH SHUTTERS AND GLASS into the room. The broken shutters hang by their hinges. Rain and cold air whip through the open window. 53. No sooner does Indy get to his feet, than a VASE COMES CRASHING DOWN ON THE BACK OF HIS HEAD. Stunned, Indy sinks to one knee... and Indy's father, PROFESSOR Henry JONES, steps out of the shadows. HENRY Junior? Indy gets to his feet. INDY (a reflex) Yes, sir! This reply is a kneejerk reaction on Indy's part. Now they look at each other. HENRY It is you Junior! INDY (an old familiar irritation) Don't call me that, please. HENRY (amazed) But what are you doing here? INDY I came to get you! What do you think? NAZI VOICES ARE HEARD approaching. Indy and Henry press themselves against the wall, Henry still holding the broken vase in his hand. Indy steps to the window and looks down. Henry moves to a lamp, holding the vase under the light for a closer look. HENRY (sotto, mumbled) Late Fourteenth Century, Ming Dynasty. Henry is all about the broken vase which he still holds in his hand. Father and son get onto crossed lines for a couple of moments. HENRY Oh, it breaks the heart. 54. INDY (quietly to himself) And the head. (to Henry, aggrievedly) You hit me, Dad! HENRY (referring to the vase) I'll never forgive myself -- INDY (surprised, misunderstanding) Don't worry -- I'm fine. HENRY Thank God! Henry has clearly been concentrating entirely on the vase... he is examining the broken end carefully. HENRY ...it's fake. See, you can tell by the cross section. Henry throws the vase against the wall where it SHATTERS. INDY No! Dad, get your stuff. We've got to get out of here. HENRY Well, I am sorry about your head, though. But I thought you were oneof them. INDY Dad, they come in through the doors. HENRY (laughs) Good point. Indy steps to the door and stands, listening. HENRY But better safe than sorry. Henry slides his umbrella through the straps of his bag. HENRY Humpf -- so I was wrong this time. But by God, I wasn't wrong when I (MORE) 55. HENRY (cont'd) mailed you my Diary. You obviously got it. INDY I got it and I used it. We found the entrance to the catacombs. HENRY (excited) Through the library? INDY Right. HENRY I knew it. And the tomb of Sir Richard? Indy nods. INDY Found it. HENRY (breathless) He was actually there? You saw him? INDY Well, what was left of him. HENRY (trembling with anticipation) And his shield... the inscription on Sir Richard's shield...? INDY Alexandretta. (beat) It's a great moment in Henry's life. He turns aside, lost to himself for a moment, then turns to Indy with joy. HENRY Alexandretta... of course... on the pilgrim trail from the Eastern Empire. Oh, Junior... Indy winces, and would interrupt but suddenly it's not the moment. 56. HENRY ...you did it. INDY No, Dad. You did. Forty years. HENRY If only I could have been with you. INDY There were rats, Dad. HENRY Rats? INDY Yeah, big ones. What do the Nazis want with you Dad? HENRY They want my diary. INDY (interested) Yeah? Indy's interest is a moment which becomes important later but for now it pa**es. HENRY I knew I had to get that book as far away from me as I possibly could. Indy's hand moves unconsciously to his pocket. His eyes turn inward. INDY (thoughtfully) Yeah... Then... BAM! The door is kicked open and three NAZIS enter. One is an S.S. OFFICER. The other two are SOLDIERS with machine guns. Henry and Indy raise their hands. S.S. OFFICER Doctor Jones!! HENRY & INDY Yes!! 57. S.S. OFFICER I will take the book now. INDY & HENRY (simultaneously) What book? S.S. OFFICER (to Indy) You have the Diary in your pocket. Henry laughs genuinely, believing himself to be laughing at the expense of the S.S. Officer. HENRY Do you think that my son would be that stupid that he would bring my Diary all the way back here? At which point an awful thought strikes Henry. HENRY You didn't, did you? (a beat) You didn't bring it, did you? INDY Well, uh... HENRY You did!! INDY Look, can we discuss this later? HENRY I should have mailed it to the Marx Brothers. INDY (overlapping) Will you take it easy! HENRY Take it easy?! Why do you think I sent it home in the first place? (points towards the Nazis) So it wouldn't fall into their hands!! INDY I came here to save you. 58. HENRY Oh yeah? And who's gonna come to save you, Junior?? Indy's eyes blazes. His nostrils flares. He's so pissed off, he literally RIPS A MACHINE GUN from the hands of one of the startled soldiers... and for a moment we think he's going to use it on his dad. INDY I told you -- He turns and sprays the room with machine gun fire, cutting all three Nazis to ribbons and blowing them backwards across the room. INDY Don't call me Junior! Henry looks shocked and horrified. HENRY Look what you did!! Indy grabs him and pushes him ahead. HENRY (aghast) I can't believe what you just... INT. CASTLE HALLWAY - DAY Indy leads Henry down the hallway as he searches for Elsa. INDY Elsa? Elsa? He opens a door and enters: INT. FIRST CASTLE ROOM - DAY Indy and Henry rush back into the room where Elsa had been left, only to find: A NAZI COLONEL HOLDING ELSA HOSTAGE. His name is Vogel: a vicious-looking, lantern jawed brute. One arm is wrapped around Elsa's waist, the other hand presses the muzzle of a LUGER behind her ear. VOGEL That's far enough Put down the gun, Doctor Jones. Put down the gun or the Fraulein dies. 59. HENRY But she's one of them! ELSA Indy, please! HENRY She's a Nazi! INDY What?! Indy is thrown. He doesn't know what to do. He looks at Elsa, then back to his father. Everyone is yelling at once: HENRY Trust me! ELSA Indy, no! VOGEL I will k** her! HENRY Oh yeah? Go ahead! INDY No! Don't Shoot! HENRY (to Indy) Don't worry. He won't. ELSA Indy, please! Do what he says! HENRY And don't listen to her! VOGEL Enough! She dies! Vogel jams the barrel of the Luger painfully into Elsa's neck. Elsa SCREAMS. INDY Wait! Wait! And then Indy gives in. He drops the machine gun to the table and it slides across, SHATTERING GLASS. Henry GROANS audibly. 60. Vogel releases his grip on Elsa and shoves her toward Indy. She is propelled directly into his arms. He holds her tightly. She buries her face in his chest. ELSA I'm sorry. Indy comforts her. INDY No, don't be. Her hand slips into his coat pocket and removes the Grail Diary. ELSA But you should have listened to your father. She steps back next to Vogel. Indy is stunned. Henry gives him his most withering look of reprimand. INT. BARONIAL ROOM - DAY A large baronial room decorated with ancient tapestries and suits of armor. Firelight -- from the giant fireplace -- dances across the ceiling and walls. Indy and Henry are ushered in, hands tied behind back, accompanied by Vogel and Elsa and TWO NAZI GUARDS. Elsa crosses the room toward a high-backed chair facing the fireplace. Indy and Henry do not have the advantage of seeing who is sitting in that chair. They only see a HAND REACH OUT AND TAKE THE BOOK. INDY (quietly to Henry) She ransacked her own room and I fell for it. How did you know she was a Nazi? HENRY Umh? INDY How did you she was a Nazi? HENRY She talks in her sleep. Indy nods, and then the statement catches up with him. He looks at Henry with surprise. 61. HENRY I didn't trust her. Why did you? MAN IN CHAIR Because he didn't take my advice. The MAN IN THE CHAIR gets to his feet and turns, revealing himself to be... Walter Donovan. Indy and Henry react with stunned expressions. INDY DONOVAN! DONOVAN Didn't I warn you not to trust anybody, Doctor Jones? Donovan smiles benignly and flips through the Grail Diary. HENRY I misjudged you Walter -- I knew you'd sell your mother for an Etruscan vase. But I didn't know you'd sell your country and your soul to the slime of humanity. DONOVAN (suddenly erupting) Doctor Schneider. There're pages torn out of this! Elsa rushes to Donovan's side. She takes the Grail Diary from him. Elsa takes a look for herself -- then glances up at Indy. ELSA This book contained a map -- a map with no names -- precise directions from the unknown city to the secret Canyon of the Crescent Moon. INDY So it did. DONOVAN Where are these missing pages? This maps we must have these pages backs Henry gives Indy a look of surprise. Indy smirks. ELSA (to Donovan) You're wasting your breath. He won't tell us. And he doesn't have (MORE) 62. ELSA (cont'd) to... it's perfectly obvious where the pages are... (looking at Indy) ...he's given them to Marcus Brody. Henry now wears a pained expression. HENRY (to Indy) Marcus?! You didn't drag poor Marcus along, did you? He's not up to the challenge. DONOVAN He sticks out like a sore thumb. We'll find him. INDY The hell you will. He's got a twoday head-start on you, which is more than he needs. (beat) Brody's got friends in every town and village from here to the Sudan. He speaks a dozen languages, knows every local custom. He'll blend in. Disappear. You'll never see him again. With any luck, he's got the Grail already. Henry looks amazed and impressed. EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY Brody disembarks from the train along with the other PASSENGERS, a cross-section of ARABS and TUSKS. BRODY Does anyone here speak English? Or even ancient Greek? A Man in the crowd holds out a cup of water to Brody. BRODY No water, no thank you. No, fish make love in it. Brody continues through the crowd past various STREET VENDORS. A Woman holds a chicken out to him. 63. BRODY Thank you so much. No, I don't like that. No, I really don't want... No, no, thank you very much. No, thank you, madam. I'm a vegetarian. The Woman walks away, leaving Brody alone in the crowd. BRODY Does anyone understand a word I'm saying here? Sallah shoulders his way through the mob toward Brody. SALLAH Mister Brody! They meet and hug, then begin to walk. BRODY Oh, Sallah! What a relief! SALLAH (laughs) Marcus Brody, sir. And where is Indy? BRODY (overlapping) Oh, he's in Austria. A slight detour. SALLAH You are on your own? A Woman runs in and tugs on Brody's coat. He waves her away. BRODY Yes, but don't panic. Everything's under control. Have you... have you arranged our supplies? SALLAH Oh, yes, of course. But where are we going? BRODY Oh, this map will show you. It was drawn by, uh... Brody searches in his coat pocket for the map as a SINISTER MAN approaches. 64. SINISTER MAN Mister Brody? Brody puts the map back in his pocket. The Sinister Man clicks his heels and bows quickly. SINISTER MAN Welcome to Iskenderun. The Director of the Museum of Antiquities has sent a car for you. Brody takes off his hat. BRODY Oh, what?... your servant, sir. SALLAH And I am his. SINISTER MAN Follow me, please. The man turns and joins a SECOND MAN. Brody and Sallah follow them. BRODY My reputation precedes me. SALLAH There is no museum in Iskenderun. The Second Man overhears Sallah. He and his companion turn quickly. SECOND MAN Papers please. SALLAH Papers? (laughs) Of course. Sallah puts Brody's luggage down and glances at Brody. SALLAH Run. Brody does not run. Sallah pats his clothing, searching for his papers. BRODY Yes. 65. SALLAH Papers, sir. Got it here. Sallah laughs and pulls out a newspaper. SALLAH Just finished reading it myself. (laughs; then, to Brody) Run! Brody looks confused. Sallah shows the newspaper to the Second Man. BRODY Yes. SALLAH Egyptian Mail. Morning edition. (to Brody) Run! BRODY Did you say...? Uh, uh... Sallah puts the newspaper in front of the Second Man's face, then punches him through the newspaper. SALLAH Run! The Second Man falls, knocking over a vendor's stand. Sallah and Brody begin to run. Sallah knocks the First Man into another vendor's stand. The STAND COLLAPSES on impact. Sallah grabs Brody and pulls him through the crowded streets. SALLAH (to Brody; pointing) Okay, okay, quick, quick, quick! Hide in that door! Hide in that door! Sallah points to a DARKENED DOORWAY, hung with a curtain, at the top of a ramp. Brody runs up the ramp, throws back the curtain and disappears into the darkness. Then -- METAL DOORS ARE SLAMMED behind Brody and we realize that he has actually run into the back of a Nazi TROOP TRUCK. Sallah runs after the Truck until he reaches a wall, then leans against the wall dejectedly as the Truck drives away with Brody inside. 66. INT. CASTLE ROOM - DAY The room is dark. Ancient, floor-length drapes cover the windows. A HUGE FIREPLACE that's nearly large enough for a man to stand upright in dominates one wall. The Nazi Guards have tied Indy and Henry back-to-back in a pair of chairs. Elsa and Donovan stand over them. Vogel enters. HENRY Intolerable. VOGEL Doctor Schneider. Message from Berlin. You must return immediately: a rally at the Institute of Aryan Culture. ELSA So? VOGEL Your presence on the platform is requested... at the highest level. ELSA Thank you, Herr Oberst. (to Donovan) I will meet you at Iskenderun. DONOVAN Take this Diary to the Reich Museum in Berlin. It will show them our progress, ahead of schedule. Without a map, I'm afraid it's no better than a souvenir. He hands her the Grail Diary. VOGEL (to Donovan, meaning Indy and Henry) Let me k** them now. ELSA No. If we fail to recover the pages from Brody, we'll need them alive. DONOVAN (to Vogel, with a helpless shrug) Always do what the doctor orders. 67. Donovan leads Vogel out. The Nazi Guards follow. Once they are gone, Elsa turns to Indy. ELSA Don't look at me like that -- we both wanted the Grail, I would have done anything to get it. You would have done the same. Indy shakes his head "no." INDY I'm sorry you think so. She runs her hand down the side of his face. Indy pulls away. Indy and Henry are still tied back-to-back of course. Elsa bends to speak quietly into Indy's ear... which is near enough to Henry's ear. ELSA (whispers) I can't forget... how wonderful it was. HENRY Thank you. It was rather wonderful. She smiles and kisses Indy pa**ionately. Henry glances back and looks rather disappointed. Vogel appears to remind Elsa of her appointment. VOGEL Doctor Schneider! Your car is waiting. ELSA (to Indy, after finishing the kiss) That's how Austrians say goodbye. Elsa exits. Vogel stays behind for another moment. VOGEL And this is how we say goodbye in Germany, Doctor Jones. Vogel punches Indy in the jaw. A hard and vicious jab that snaps Indy's head around. 68. HENRY Ohh... Vogel exits. Indy shakes his head clear. INDY (to himself) Ooooh... I like the Austrian way better. HENRY So did I. INDY Let's try and get these ropes loose. We've got to get to Marcus before the Nazis do! HENRY (confused) You said he had two days' start. That he would blend in. Disappear! INDY Are you kidding? -- I made that up! You know Marcus -- he got lost once in his own museum! Indy and Henry are pulling at the ropes with great urgency. INDY Can you try and reach into my left jacket pocket? Henry is able to wiggle his hand towards Indy's coat pocket. Indy squirms his body around towards Henry's hand. HENRY What am I looking for? INDY My lucky charm. HENRY Feels like a cigarette lighter. INDY Try and burn through the ropes. Henry's fingers open the lighter and ignite the flame. 69. HENRY Very good. Henry yelps as the cigarette lighter burns his hand. He drops the lighter to the floor. Henry kicks at the lighter, trying to reach it, but cannot. The rug starts to burn. Indy doesn't know it yet. HENRY I ought to tell you something. INDY Don't get sentimental now Dad -- save it 'til we get out of here. HENRY The floor's on fire! See?! INDY (turns and sees) What??? HENRY And the chair. INDY All right, move! Move! Rock your Chair. Do what I do. They begin to rock their chair legs, inching their way off the burning carpet. EXT. CASTLE - DAY As Elsa is driven away. Vogel and Donovan remain behind, flanked by NAZI SOLDIERS. Another car pulls up and Vogel holds the door open for Donovan who gets into the rear seat. A LIEUTENANT approaches with a written message for Donovan. LIEUTENANT Etwas Wichtiges, mein Herr. Donovan puts on his gla**es to read the message. DONOVAN Well, we have Marcus Brody. But more important, we have the map. A RADIO OPERATOR steps forward with yet another written message for Donovan. 70. RADIO OPERATOR Aus Berlin, mein Herr. DONOVAN (reading) "By the personal command of the Fuhrer. Secrecy essential to success. Eliminate the American conspirators." (to Vogel) Germany has declared war on the Jones boys. (to DRIVER) Losfahren. The car drives off. INT. CASTLE ROOM - DAY Indy and Henry are still in their chairs, tied back-to-back. Indy tries to communicate with Henry, but each time he calls him, the men turn their heads in opposite directions. INDY Dad! HENRY What? INDY Dad! HENRY What? INDY Dad! Finally they turn their heads in the same direction. HENRY What? INDY Head for the fireplace! HENRY Oh. BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE FIREPLACE -- the only safe place from the now ROARING FIRE. 71. INDY I think I can get these ropes off. Indy struggles to free his hands. His foot kicks out and accidentally hits a metal grill that operates a Secret Door. INDY Whoops! The fireplace floor rotates like a Lazy Susan and Indy and his father find themselves in the: INT. RADIO ROOM - DAY Where a NAZI RADIOMAN wearing headphones sits at an elaborate panel of dials, switches and meters, and a WOMAN stands over a map plotting coordinates. Their backs are turned to Indy and Henry. The floor begins to rotate again, and Indy and Henry find themselves back in: INT. CASTLE ROOM - DAY inside the fireplace, still tied back-to-back. HENRY Our situation has not improved. Indy glances over his shoulder at Henry. INDY Listen Dad... I'm almost free. Indy's foot hits the grill again... and the fireplace rotates to: INT. RADIO ROOM - DAY FOUR NAZI RADIOMEN and the Woman are still hard at work with controls and coordinates. Suddenly the Woman looks up and spots Henry and Indy. She screams. WOMAN Alarm! Now the Radioman turn to see Henry and Indy. WOMAN Schnell!! TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at Indy and Henry 72. INT. CASTLE ROOM - DAWN Indy and Henry rotate into the room which is now an INFERNO. The carpet, drapes and furniture are all ablaze. HENRY This is intolerable! INDY I'm out, Dad! Indy finally breaks free. And he immediately begins to untie his father. HENRY Well done, boy! INT. RADIO ROOM - DAY All four Radiomen now have their guns drawn. They activate the lever and begin to rotate through the Secret Door. INT. CASTLE ROOM - DAY The Radiomen appear in the fireplace on the other side -- but there is NO SIGN OF Indy and Henry. The Radiomen move cautiously toward the flame, shielding their faces with one hand, holding their guns with the other. Is it possible that Indy and Henry escaped through these flames? Not a chance. They've hidden themselves UP THE CHIMNEY. And now they DROP DOWN, BEHIND the Radiomen. One of the Radiomen grabs Indy by the neck. As they struggle they fall against the rotating wall and disappear into the next room, leaving a frightened Henry behind. Henry presses against the wall, which rotates again. As he disappears into the next room, a DEAD NAZI RADIOMAN swivels into the room. The other Nazis rush forward to him. INT. RADIO ROOM - DAY Indy picks up a BUST OF HITLER and uses it to jam the rotating wall in place, sealing the Nazis inside the burning room. INT. CASTLE HALLWAY - DAY 73. Vogel strides purposefully down the hallway. He BARKS an order, and TWO MORE NAZIS fall into step with him. INT. RADIO ROOM - DAY Indy grabs his whip, his leather sack and Henry's case from a table. He hands the case to Henry and they begin to run. INDY Come on Dad. INT. SECRET ROOM - DAY Indy and Henry step into an empty room. INDY Dead end. Henry looks horrified by what he's been forced to do as Indy searches frantically for an exit. INDY There's got to be a... a secret door around. A pa**ageway or something. Indy begins to run his hands over the walls -- frantic. HENRY I find that if I just sit down and think... Henry sits on a chair which tips back, hitting the wall behind it. The floor at Indy's feet suddenly begins DROPPING AWAY! Indy grabs a railing to keep from falling, but loses his grip and plunges through the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs. INDY Dad! HENRY ...the solution presents itself. Henry follows Indy down the staircase. INT. CAVERN / UNDERGROUND HARBOR - DAY The stairway deposits Indy and Henry into an enormous WATERY CAVERN beneath the mountain on which the castle was built. 74. A full-scale Nazi BOAT DOCK has been built inside the cavern. We see MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc. INDY Great. More boats. Indy boards one of the motorboats and STARTS THE MOTOR. HENRY Would you say this has been just another typical day for you? Huh? Henry tosses his case at Indy who catches it and angrily throws it back to his father. INDY (ironically) Ooof! No! It's been better than most. Indy moves back to the dock and pushes the boat away. Henry looks confused. INDY Come on, Dad. Come on! HENRY What about the boat? We're not going on the boat? INT. SECRET ROOM - DAY Vogel and the Nazi Soldiers enter the room and spot the spiral staircase leading below. They quickly descend the stairs. INT. CAVERN / UNDERGROUND HARBOR - DAY As Vogel and the Nazi Soldiers rush to the dock. Vogel sees that a motorboat is missing. He orders the Nazi Soldiers into a boat. VOGEL Sie alle ins Boat. Schnell! CAMERA PULLS BACK TO REVEAL A large box which suddenly BREAKS APART as Indy, now on a motorbike with Henry in the sidecar, ROARS PAST THE DOCK, hitting TWO NAZI SOLDIERS who scream as they fall into the river. Vogel screams after Indy and Henry as they drive off. 75. STRAIGHT CUT TO: EXT. COUNTRY ROAD - DAY Indy looks pleased as he drives the motorbike along the road, but Henry appears worried. INDY Ha! FOUR NAZI SOLDIERS ON MOTORCYCLES They chase down the road after Indy and Henry. Indy turns the motorbike down a smaller, dusty tree-lined road. Henry gasps as he is jostled about in the sidecar. One of the Nazi Soldiers gives chase along a higher road running in the same direction. EXT. ROAD BARRICADE - DAY Indy approaches the barricade from one direction as one of the Nazi Soldiers approaches from a higher road. A GUARD steps from the road station and calls to the vehicles as Indy and Henry SMASH THROUGH THE BARRICADE. GUARD Halt! Halt! The Nazi Soldier rides his motorcycle through the other side of the barrier -- IT SHATTERS. INDY AND HENRY Indy grabs at a FLAGPOLE as they roar past -- it snaps off in his hand. The Nazi Soldier drives his motorcycle toward Indy and Henry. He unshoulders his machine gun. Indy uses the broken flagpole as a lance and knocks the Nazi Soldier from his motorcycle. THE RIDERLESS MOTORCYCLE Drives on toward the other Nazi Soldiers now approaching the guardhouse, COLLIDING WITH TWO OF THEM. The remaining Nazi Soldier maneuvers his motorcycle around his fallen comrades and continues the chase. INDY AND HENRY 76. As the remaining Nazi Soldier rides alongside their motorbike he co*ks his gun, preparing to fire. Indy quickly jams the remaining portion of the flagpole through the spokes of the Nazi's front wheel. The NAZI SOLDIER'S MOTORCYCLE FLIPS THREE TIMES, throwing him high into the air. Indy glances back and smiles, but the smile fades as he looks forward again to see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the way to "BERLIN" or "VENEDIG". Indy starts down the road marked "VENEDIG". HENRY Stop! INDY What? HENRY Stop! Stop! The motorbike skids to a stop. HENRY You're going the wrong Way! We have to get to Berlin! INDY (pointing towards Venedig) Brody's this way. HENRY My Diary's in Berlin. INDY You don't need the Diary, Dad. Marcus has the map. HENRY There is more in the Diary than just the map. INDY All right Dad -- tell me. HENRY Well, he who finds the Grail must face the final challenge. 77. INDY What final challenge? HENRY Three devices of such lethal cunning. INDY b**by traps? HENRY Oh, yes. But I found the clues that will safely take us through, in the Chronicles of St. Anselm. INDY But what are they? Can't you remember? HENRY I wrote them down in my Diary so that I wouldn't have to remember. INDY Half the German Army's on our tail and you want me to go to Berlin? Into the lion's den? HENRY Yes! The only thing that matters is the Grail. INDY What about Marcus? HENRY Marcus would agree with me. INDY Two selfless martyrs. Jesus Christ! Henry slaps him across the face. Indy is rocked to his foundations, not by any means entirely by the blow itself. HENRY That's for blasphemy. The quest for the Grail is not archaeology. It's a race against evil. If it is captured by the Nazis, the armies of darkness will march all over the face of the earth. Do you understand me? 78. INDY This is an obsession Dad. I never understood it. Never. Neither did Mom. HENRY Oh yes, she did. Only too well. Unfortunately she kept her illness from me until all I could do was mourn her. EXT. CROSSROADS - DAY Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES IN on the portion of the sign reading BERLIN.