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Indiana Jones And The Last Crusade Movie Script

Writer(s) : George Lucas, Philip Kaufman, Menno Meyjes, Jeffrey Boam

Genres : Action, Adventure

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                INDIANA JONES AND THE LAST CRUSADE

                           Screenplay
			       by


                            JEFF BOAM

                               Story
                                 by

                           GEORGE LUCAS
                                 and
                           MENNO MEYJES






	FADE IN:

	EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY

	A mountain peak dominates the landscape.


	TITLES BEGIN.

	Riders on horseback cross the desert. From this distance they appear to be a
	company of Army Cavalry Soldiers.

	CLOSER ANGLES ON THE RIDERS

	reveal only details of saddles, hooves and uniforms. The riders are silhouetted
	against the rising sun as they ride into an ancient CLIFF PUEBLO.

	The OFFICER IN COMMAND raises his hand halting his troops.

			OFFICER
		Dis-mount!

	RIDERS climb down from their mounts... and only now do we realize that
	this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The
	"Commanding Officer" is only their SCOUTMASTER, Mr. Havelock.

	One of the Scouts, a pudgy kid named HERMAN, steps away from his horse,
	bends over and pukes. The other Scouts rag on him.

               			FIRST SCOUT
		Herman's horsesick!

	A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored
	hair and the no-nonsense expression common to kids whose curiosity and appetite
	for knowledge exceed what they teach in school. Additionally, he has adorned his
	uniform with an authentic HOPI INDIAN WOVEN BELT.

               			SCOUTMASTER
		Chaps, don't anybody wander off.
		Some of the passageways in here
		can run for miles.

	Two Boy Scouts climb up the rocky base of the cliff.


	INT. THE PASSAGEWAY - DAY

	The two boys head down the passageway. It's dark, and the temperature drops
	several degrees. Spiders have built huge webs that get caught in the boys' hair.

	HERMAN appears very uncertain as to the wisdom of this enterprise, but he's
	drawn on by his companion's adventurous curiosity.


CONTINUED:

               			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 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.

TITLES END.

	The TWO BOYS are mesmerized by what they see.

	Now we realize that the Blond Scout is actually young INDIANA JONES.

                  		               FEDORA
	                 	Alfred, did you get anything yet?
			
			MAN
           	     	Nothing. Dig in.

	Two of the men stand and look at ROSCOE who steps forward holding a box in his
	hands.

                  			ROSCOE
		Hey, I've got something!

	Whoops from the other men.

		                ROSCOE
		I got something, Garth!

CONTINUED: (2)

	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 thatl
        		      (more whoops)
		We're richl 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?l

	INDY takes off his hat and looks down at the o.s. action.

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

               			INDY
		Shhhl

	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 Coronadol
		Cortes gave it to him in 15201


CONTINUED: (3)

	FEDORA continues to admire the Cross, then places it on the rock next to its box
	and the lantern.

	INDY turns back to observe the men.

               			INDY
		That Cross is an important artifact.
		It belongs in a museum.

	A look of resolve comes into INDY's expression, and he turns back toward
	HERMAN.

               			INDY
		Run back and find the others.
		Tell Mister Havelock that there
		are men looting in the caves.

	HERMAN doesn't seem to be listening. Instead, he watches in wide-eyed horror
	as a SNAKE SLITHERS ACROSS HIS LAP.

               			INDY
		Have him bring the sheriff.

	INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps.

               			INDY
		It's only a snake.

	INDY grabs HERMAN's scout scarf and pulls him closer.

               			INDY
		Did you hear what I said?

               			HERMAN
		Right. Run back. Mister Havelock.
		The Sheriff. What, what are you
		gonna do?

               			INDY
		I don't know... I'll think of
		something.

	INDY releases the scarf, gives HERMAN a pat and Herman dashes off. Indy sees
	the Cross on the rock next to the lantern. As the Robbers continue to search for
	additional valuables, Indy is able to work his way unseen to within arm's reach of
	the Cross...

	FEDORA looks over at the men digging in a hole b.g.

               			FEDORA
		Dig with your hands.

	INDY picks up the Cross.


CONTINUED: (4)

               			FEDORA (O . S . )
		Not with your mouth.

	As FEDORA stands watching the other men digging, INDY puts the Cross in his
	pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy's
	feet break a wooden beam, attracting the men's attention.

               			ROSCOE
		He's got our thing!

			 HALFBREED
		Get 'im!

                                  

	The three Robbers are so eager to get their hands on INDY, they almost knock
	each other over in the attempt.

	Only FEDORA is unperturbed. He casts a disgusted glance in
	the direction of his fleeing companions-then sets off
	after INDY.


         
	EXT. THE  CLIFFS - DAY

	INDY EMERGES from the darkness of the Pueblo into the brightness of day.

	He pauses-squints-shields his eyes-looks in all directions.

               			INDY
		Mister Havelock! Anybody
		Everybody's lost but me!

	He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. ROUGH RIDER,
	HALFBREED, and ROSCOE are quick to appear and run after him.

			FEDORA
		  There he isl                   

       			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.


CONTINUED:

 			INDY
		Hyahl Hyah!

                     

                                    		ROSCOE
		Hey! Come back here!

	FEDORA puts two fingers in his mouth and WHISTLES... and A VINTAGE TRUCK
	AND AUTOMOBILE come ROARING OUT from behind the Pueblo (Driven by two
	more gang members). Now we glimpse...


	THE MAN IN THE PANAMA HAT

	The passenger in the car. His face is concealed by the hat's wide brim. His arm
	is out the window, however, and we see an olive-colored hand protruding from
	the sleeve of an expensive white linen suit. He gestures to the Robbers, now in
	the truck.

                                  		PANAMA HAT
		Come on. Get him!

	INDY SPURS his mount on to greater speeds but the autos not only keep pace
	with his horse... they begin to squeeze in on it.

	Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched
	low and leaning forward in the saddle, his heart pounding, his adrenalin
	pumping.

	INDY VEERS OFF in a new direction-toward a RAILROAD TRACK.


	EXT. A CIRCUS TRAIN - DAY

	The train is barreling down the track. INDY rides up beside it. He glances over
	his shoulder and sees the car and truck gaining on him. No other choice... he
	LEAPS FROM HORSE TO TRAIN.

	He clings to the side of a BOXCAR, as HALFBREED and ROUGH RIDER leap from
	the truck onto the train.

	HALFBREED tries to grab INDY, but Indy leaps onto another boxcar. Halfbreed
	runs after him but Indy leaps from the boxcar onto some covered boxes stacked
	on a flatcar.

	INDY loses his balance but regains it. With HALFBREED and ROUGH RIDER still
	running after him, Indy enters the trap door of...


	INT. THE REPTILE CAR - DAY

	and finds himself CRAWLING on a CATWALK suspended from the car's ceiling.
	Several feet below are NUMEROUS VATS containing all manner of reptiles:
	Alligators, crocodiles, giant lizards, etc.


CONTINUED:

	Then, HALFBREED ENTERS through the trap door-followed by ROUGH RIDER.
	Halfbreed grabs hold of INDY's feet, but Indy kicks at him and he loses his grasp.

	INDY crawls away, toward an opening on the opposite side. HALFBREED grabs at
	Indy's feet again; Indy rolls away and we SEE large bins of squirming snakes.

	The combined weight of the three people is more than the catwalk was intended
	for, and the BOLTS BEGIN TO RIP FROM THE CEILING.

	Everyone holds their breath, afraid to make another move. Too late. SEVERAL
	BOLTS TEAR FREE. HALFBREED and ROUGH RIDER SCREAM... but it's Indy's
	end of the catwalk that DROPS DOWN... PLUNGING INDY to the floor of the car.

	He lands hard, with a SPLASH into a vat of water... where he finds himself eye-
	to-eye with an-

	ENORMOUS ANACONDA

	The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex.

			INDY
		Oh...		

	INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT.

			INDY
		Oh... Oh...

	Hundreds of slippery, squirming snakes. INDY sinks into them. They cover him.
	Engulf him. Almost smother him.

	INDY jumps out of the side of the vat, freeing himself.

	INDY locates a clean-out door at the bottom of the car and uses it to escape.

	HALFBREED, meanwhile, tries to open the closed window of the car. He groans.
	ROUGH RIDER moves to assist him.

			ROUGH RIDER
		Here, let me.



	EXT. THE TRAIN- DAY

	INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks
	worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and
	tosses it away.

	ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at
	him. Roscoe grabs onto the side of the reptile car as Indy moves on to...

	EXT. A FLATCAR - DAY

	INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a
	long stick with a hook on it. He reaches forward and trips Indy, who falls onto
	the roof of the rhino boxcar.


	INT. THE RHINO BOXCAR - DAY

	as a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE
	BLACK RHINOCEROS.


	EXT. THE RHINO BOXCAR - DAY

	ROSCOE grabs INDY by the ankle and yanks him off his feet. The two struggle,
	rolling from side to side, coming perilously close to rolling right off the edge.
	Things get even more serious when Roscoe PULLS A KNIFE.


	IN THE BOXCAR BELOW

	... THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the
	commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS
	HORN THROUGH THE ROOF.

	BACK TO THE ROOFTOP

	as the horn SMASHES through the wood only inches from INDY's head. Indy and
	Roscoe stare at the horn in amazement as they continue to struggle.
	SMASH! The horn comes up again-RIGHT BETWEEN INDY'S LEGS.

 			INDY
                   		Holy smokes!
                                    

	INDY kicks ROSCOE away. Roscoe rolls to the edge of the car but keeps from
	falling. Indy flips over onto his stomach.


	EXT. THE REPTILE CAR - DAY

	The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The
	door is pushed open and HALFBREED and ROUGH RIDER hurry out of the car.


	EXT. THE RHINO BOXCAR - DAY

	INDY gets to his feet-looks ahead-sees a WATER TANK alongside the track
	directly up ahead. Indy gets an idea...

	In an instant, he calculates his approach-times the distance-and LEAPS for
	the tank's WATER SPOUT.


CONTINUED:

	He catches it perfectly... but his velocity causes the water spout to ROTATE A
	FULL 360 DEGREES. With INDY hanging on, feet kicking, the water spout
	deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks
	up to see FEDORA walking toward him.

               			FEDORA
		Come on, kid. There's no way
		out of this.

	As INDY edges away from FEDORA, a portion of the STOCKCAR'S ROOF
	COLLAPSES and Indy FALLS THROUGH into the car below.


	INT. THE STOCKCAR - DAY

	INDY CRASHES down from above. Dust rises.

			INDY
                  		Ohhh!                                   

	INDY's eyes take a moment to adjust to the dark. A bit of sunlight leaks in
	through the cracks between the boards.

	Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet... an
	AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust
	swirls up into the shafts of sunlight.

	And INDY has one more surprise in store: The Cross of Cortes has been dislodged
	from his belt during the fall...

	INDY glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He
	carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY.

	INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP
	flying back and HITTING INDY IN THE FACE... CUTTING his chin.

	The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and
	tries again. This time-success! The WHIP CRACKS SHARPLY. The Lion
	BELLOWS and SWATS the air... and steps back.

	INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs
	away even more. Indy inches forward-bends down (never taking his eyes off
	the Lion)-picks up the Cross-and steps back again, sweat pouring down his
	face.

	But now... how to get out?

	He looks up at the opening through which he fell and sees FEDORA LOOKING
	DOWN AT HIM. Fedora extends his hand.

               			FEDORA
		Toss up the whip.

	EXT. THE ROOFTOP OF STOCKCAR

	FEDORA, assisted by HALFBREED and ROUGH RIDER, "reels" INDY out of the
	Stockcar as the Lion ROARS and lunges and Indy screams.

	The men, including ROSCOE, pull INDY through the hole in the roof. He stands to
	face them as ROUGH RIDER points a gun in his direction.

			FEDORA
         	 	You've got heart, kid.
		       (indicates Cross)
		But that belongs to me.

       			INDY
		       (takes Cross from his belt)
		It belongs to Coronado.

       			FEDORA
		       (overlapping)
          		Coronado is dead. And so are all
		his grandchildren.

			INDY
		This should be in a museum.

			ROSCOE
          		Now give me 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.

			FEDORA
          		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."

			INDY
		Magic?

	He glances back at the men and quickly opens the door to the caboose, stepping
	inside.

	FEDORA puts out his arm, gesturing for the others not to follow INDY.

			FEDORA
          		Hold it. Make sure he doesn't
		double back.

	INT. THE CABOOSE - DAY

	which contains the circus MAGIC EQUIPMENT. INDY rushes to the rear door of
	the caboose but can't open it. He hears FEDORA coming, and dives into a MAGIC
	BOX.

               			FEDORA
		Okay, kid. out of the box.
		Now.

	FEDORA smiles confidently and advances toward the box. The box unexpectedly
	collapses; all four sides flop away... revealing NOTHING. INDY has completely
	vanished.

	FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back.
	He turns and discovers that the caboose door is open. He rushes out onto the
	balcony and sees:

	INDY RUNNING along the tracks, turning up a street of modest clapboard houses.


			FEDORA
		Damn.


	EXT. STREET - SMALL TOWN - DAY

	as INDY runs from the railroad tracks and approaches his house we see the name
	"JONES" painted on the mailbox.

               			INDY
		Dad!

	INT. THE HOUSE - DAY

	INDY bursts through the front door holding the Cross in his hand. A Husky
	BARKS as Indy runs past in search of his father.

               			INDY
		Dad!

               			INDY
		Dad!

	INT. THE STUDY - DAY

	INDY charges in. The study is cluttered with books. Pictures, charts and maps
	clearly reflect the father's passion for Medieval studies.

	PROFESSOR HENRY JONES is absorbed at his desk. In fact, he is studying a very
	ancient parchment volume which lies open on the desk. The page shows a
	beautifully illuminated picture of what might be a stained-glass window. The
	sketch incorporates a series of Roman numerals. The Professor is not just
	studying it, he is copying it into his own notebook.


CONTINUED:

We never get to see the PROFESSOR's face in this scene.
So INDY CHARGES IN.
                 
			INDY
		Dad!

			HENRY
		Out!

			INDY
		It's important!

			HENRY
		Then wait-count to twenty.

			INDY
		No, Dad. You listen to me-

			HENRY
                 		      (now he shouts)
		Junior!

	No question who is the boss here. INDY gulps, his look says "What am I going to
	do with this guy?" And obeys-
	starts counting, VERY, VERY FAINTLY.

			INDY
		One, two, three, four...

	Now we see what HENRY is concentrating on. We see his hand
	sketching; then, he holds up one finger.

			HENRY
		In Greek.

	INDY's reaction:

			INDY
                 		     (louder, in Greek)
		One... two... three... four...

	An ancient car is heard arriving. Perhaps INDY glimpses it going past the
	window. Anyway, it stops outside the house. Two men sit in the front seat.
	HERMAN sits in the rear, BLOWING A TRUMPET.

	INDY's reaction: Trouble!

	HENRY is just finishing the sketch.

			HENRY
		May he who illuminated this...
		illuminate me...

	INT. THE FRONT ROOM - DAY

	The study door is just closing, INDY closing it behind him... just as HERMAN
	comes through the front door, still playing the trumpet.

	INDY reaches for the trumpet, pulling it from HERMAN's mouth. Herman
	continues to spit-right into Indy's face. Indy flinches.

               			HERMAN
		I brought the Sheriff.

	HERMAN means the SHERIFF, who now enters the house.


               			INDY
		Just the man I want to see! Now,
		there were five or six of them.


            			SHERIFF
        		      (interrupting)
		All right, son.

              			INDY
        		      (overlapping)
		... they came after... me...


                          		SHERIFF
		You still got it?

               			INDY
		Well, yes, sir. It's right here!

	INDY shows the CROSS, more or less handing it to the SHERIFF to make his
	point. The Sheriff takes it casually.

               			SHERIFF
		I'm glad to see that... because
		the rightful owner of this Cross
		won't press charges, if you give
		it back.

	FEDORA enters the house, followed by ROSCOE, ROUGH RIDER and HALFBREED.
	He politely removes his hat and holds it in his hand. He nods at INDY in a
	friendly manner.

               			SHERIFF
		He's got witnesses, five or six
		of them.

	The SHERIFF and FEDORA are in Cahoots

	The SHERIFF hands the Cross to FEDORA. ROSCOE reaches in and takes it from
	Fedora, then runs out the door.

			ROSCOE
           		Yahoo!

CONTINUED:

	As ROSCOE runs outside INDY sees-through the screen door-the MAN IN
	THE PANAMA HAT waiting patiently beside the car that is parked out front.
	Roscoe approaches and gives the Man the Cross-the Man hands Roscoe some
	money in exchange.

	The SHERIFF tips his hat and leaves.

			SHERIFF
		Good day.

	FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic
	man-to-man way.

                			FEDORA
     		You lost today, kid, but that
		doesn't mean you have to like it.

	Then, FEDORA takes off his hat and takes a step towards INDY. He holds the hat
	by the crown, and puts it on Indy's head, a show of respect and admiration for
	the boy. The hat blocks Indy's face.

	CLOSE ON THE TOP OF THE FEDORA HAT

	The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL
	GROWN INDIANA JONES.

	And... POW!... he's punched in the face while his arms are pinned behind his
	back.

	FADE IN TITLE: "PORTUGUESE COAST-1938"

                                  		PANAMA HAT
		Small world, Doctor Jones.

                                     		INDY
		Too small for two of us.

	THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF
	CORONADO from Indy's belt.

                                  		PANAMA HAT
     		This is the second time I've had
     		to reclaim my property from you-

                			INDY
     		That belongs in a museum-

                			PANAMA HAT
		So do you.
		      (he moves his eyeline)
		Throw him over the side.

	THE DECK OF A PORTUGUESE CARGO SHIP

	It's NIGHT. RAIN POURS down. We're in the middle of a violent STORM AT SEA.
	Thirty-foot waves crash across the deck.

	The TWO PORTUGUESE SAILORS (who have Indy's arms pinned behind his back)
	propel INDY across the deck toward the rail.

	As they pass a BUNDLE OF FUEL DRUMS, INDY uses the Two Sailors as leverage
	to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold
	the drums together.

	INDY jabs his elbows into the stomachs of the startled Sailors and rushes toward
	the MAN IN THE PANAMA HAT.

	PANAMA HAT sees INDY coming and hurries toward the ladder that leads up to
	the bridge. Indy withstands the force of waves crashing on the deck and makes
	his way to where Panama Hat is climbing the ladder. He pulls him off the ladder
	from behind the two men fall down on the deck. Indy takes the cross back from
	Panama Hat.

	A sailor delivers a powerful blow to Indy's face, sending the cross flying out of
	his grip and skittering across the deck. Indy grabs a crowbar and fends off two
	sailors who attack him from the sides.

	INDY sees that the Cross is about to be swept overboard. He lunges for it.

	He SNATCHES UP the Cross only to be knocked down to the deck by a giant wave.
	He struggles to his feet, managing to avoid the giant fuel drums sliding across the
	deck around him.

	SEVERAL MORE DRUMS come INDY's way. He sidesteps them all.

               			PANAMA HAT
		Grab him, he's getting away!
		Grab him!

	Indy turns around and pummels two sailors with one punch. Indy sees a large
	Stevedore's hook above him and he climbs up on crates to reach it. He grabs a
	hold of the hook and uses it to swing all the way across the deck, narrowly
	avoiding a huge wave behind him. He jumps into the rollicking ocean, still
	holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling directly
	onto a crate of TNT. The crate explodes, causing the entire ship to blow, sending
	an enormous orange fireball into the sky.

	LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER

	as bits of debris fall from the sky like rain.

	INDY BOBS UP

	in the water amid the debris, holding the Cross in his hand. He grabs for
	something to keep him afloat. It turns out to be one of the ship's LIFE
	PRESERVERS. INDY loops his arm through the preserver.


CONTINUED:

	Only now do we see the FADED LETTERING on the preserver revealing the
	destroyed ship's name and city of port:

                  VAZQUEZ de CORONADO
	BARCELONA

	A SHREDDED PANAMA HAT floats past.

	EXT. COLLEGE - DAY
	Students walk along brick, tree-lined paths.

			INDY (V.O .)
		Archaeology is...


	INT. COLLEGE LECTURE HALL - DAY

	DISSOLVE TO:

	INDY, dressed in professorial tweeds, stands before his class. He turns to the
	blackboard with a piece of chalk and writes the word: "FACT."

		               INDY
		... the search for fact. Not truth.
		If it's truth you're interested
		in, Doctor Tyree's Philosophy
		class is right down the hall.

	Laughter.

	INT. CORRIDOR - DAY

		               INDY
		So forget any ideas you've got
		about lost cities, exotic travel,
		and digging up the world. 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.

		               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.


CONTINUED:

		               INDY
		We cannot afford to take mythology
		at face value.

	The BELL RINGS. INDY stands at his desk as students begin to disperse. A
	pretty coed puts a note on the desk.

		               INDY
		Next week: "Egyptology." Starting
		with the excavation of Naukratis
		by Blinders Petrie in 1885. I will
		be in my office if anybody's got
		any problems for the next hour
		and a half.

	BRODY approaches as the last of the students leaves the lecture hall.

			INDY
		Marcus!
		      (slaps his pocket)
		I did it!

			BRODY
		You've got 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.

		               INDY
		You know how long I've been
		looking for that?!

			BRODY
		All your life.

			INDY
		All my life!


 		              BRODY
		Well done, Indy. Very well done,
		indeed This will find a place
		of honor in our Spanish collection.

	INDY gathers up his books and makes his way toward the door.

		               INDY
		We can discuss my honorarium over
		dinner and champagne tonight.

	He turns back toward BRODY, now holding the Cross.

			INDY
		Your treat.

			BRODY
		Yes. My treat.

	INT. INDY'S OUTER OFFICE - DAY

	Bursting with STUDENTS, all competing for his attention at once: "Professor
	Jones! " "Doctor Jonesl " etc., etc.

		               INDY
		Shush! Shush! Shushl

	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 Jonesl"
	"My grade!" "Sign my registration card!"

	INDY silences the mob with a raised hand.

			INDY
		        (very efficiently)
		Okay. Irene, put everyone's name
		on a list, in the order they
		arrived, and I'll see each and
		every one of them in turn.

	The Students descend upon poor IRENE, each claiming to be first. INDY slips into
	his -

	PRIVATE OFFICE

	where he goes to his desk and finds a thick envelope with a foreign postmark on it.

			INDY
		        (softly; reading)
		"Venice, Italy."

	Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it
	open and STEPS OUT INTO THE GARDEN.


	EXT. SIDE OF COLLEGE BUILDING - DAY

	INDY escapes through the garden.

	EXT. FRONT OF COLLEGE BUILDING - DAY

	INDY walks briskly toward the street; smiling, erUoying his freedom. As he
	arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him.


			MAN (O.S.)
		Doctor Jonesl

	THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN."
	The First Man steps behind Indy.

		               MAN
		Doctor Jones?

	INT. PENTHOUSE APARTMENT - DAY

	INDY is ushered into a large Art Deco apartment and left alone. Numerous
	museum-quality artifacts are displayed around the room. Indy takes this
	opportunity to examine them.

	After a moment, WALTER DONOVAN enters from across the room. During the
	brief time that the door is open, we HEAR a COCKTAIL PARTY going on in the
	next room: VOICES and SOFT PIANO MUSIC.

	DONOVAN strides across the room toward INDY. Although in his late fifties,
	Donovan has the broad shoulders and trim physique of a much younger man.
	Dressed in a tuxedo, he exudes both confidence and power.

		               DONOVAN
		I trust your trip down was
		comfortable, Doctor Jones. My
		men didn't alarm you, I hope.

	He shakes hands with INDY.

		               DONOVAN
		My name is Donovan. Walter Donovan.

		               INDY
		I know who you are Mr. Donovan.
		Your contributions to the museum
		over the years have been extremely
		generous. Some of the pieces in
		your collection here are very
		impressive.

		               DONOVAN
		Well, like yourself, Doctor Jones,
		I have a passion for antiquities.
	               	         (beat)
		Have a look over here. This might
		interest you.


CONTINUED:

	DONOVAN goes to a table where an object is wrapped in cloth. He throws back
	the cloth revealing a flat STONE TABLET-about two feet square, inscribed with
	letters and symbols.

	INDY looks impressed. He puts on his glasses to make a closer examination.

		               INDY
		Well, it's sandstone. Christian
		symbol. Early Latin text. Mid-
		Twelfth Century, I should think.

		               DONOVAN
		That was our assessment as well.
	
		               INDY
		Where did this come from?

		               DONOVAN
		My engineers unearthed it in the
		mountain region north of Ankara
		while excavating for copper.
		        (beat)
		Can you translate the inscription?

	Translating the inscription is no easy matter, even for someone as knowledgeable
	as INDY.

	                                      INDY
		        (stumbling through it)
		"... who drinks the water I shall
		give him, says the Lord, will have
		a spring inside him welling up
		for eternal life. Let them bring
		me to your holy mountain in the
		place where you dwell.

	Donovan pours champagne into several fluted glasses as Indy reads.

		               INDY
		Across the desert and through
		the mountain to the Canyon of
		the Crescent Moon, to the Temple
		where the cup that-"

	Suddenly INDY stops and looks up at DONOVAN with a startled expression.

		               INDY
		"Where the cup that holds the
		blood of Jesus Christ resides
		forever. "

				                                       (CONT'D)


CONTINUED: (2)

		        DONOVAN
		      (reverently)
		The Holy Grail, Doctor Jones.
		The chalice used by Christ during
		the Last Supper. The cup that
		caught His blood at the Crucifixion
		and was entrusted to Joseph of
		Arimathaea.

	INDY rubs his chin with a dubious expression as he takes the glass of champagne
	DONOVAN now offers him.

		               INDY
		The Arthur Legend. I've heard
		this bedtime story before.
	
		               DONOVAN
		Eternal life, Doctor Jones! The
		gift of youth to whoever drinks
		from the Grail.
		        (beat)
		Oh, now that's a bedtime story I'd
		like to wake up to!

		               INDY
		An old man's dream.

		               DONOVAN
		Every man's dream.
	      	      (beat)
		Including your father's, I believe.

	INDY stiffens slightly at the mention of his father, nods.

		               INDY
		Grail lore is his hobby.
		He's a teacher of Medieval
		Literature. The one the students
		hope they don't get.

	The door opens and MRS. DONOVAN steps into the room. She's a matronly
	woman in an expensive evening gown.

		               MRS. DONOVAN
		Walter, you're neglecting our
		guests.

		               DONOVAN
		Be along in a moment, dear.

	He leans over and kisses her cheek. MRS. DONOVAN sighs to herself and returns
	to the party. INDY, meanwhile, has turned his attention back to the Grail Tablet,
	obviously hooked by its archaeological promise. He moistens his finger with
	champagne and rubs it over the tablet. DONOVAN steps up next to Indy.


CONTINUED: (3)

		               DONOVAN
		Hard to resist, isn't it? The
		Holy Grail's final resting place
		described in detail!

		               INDY
		What good is it? This Grail
		Tablet speaks of deserts and
		mountains and canyons. Pretty
		vague. Where do you start
		looking? Maybe if the Tablet were
		intact, you'd have something to
		go on. But the entire top
		portion is missing.

		               DONOVAN
		Just the same, an attempt to
		recover the Grail is currently
		underway.

	INDY has to shake his head at DONOVAN's apparent lack of judgment.

		               DONOVAN
		Let me tell you another "bedtime
		story, " Doctor Jones.
		After the Grail was entrusted
		to Joseph of Arimathaea, it
		disappeared and was lost for a
		thousand years before it was found
		again by three Knights of the
		First Crusade. Three brothers,
		to be exact.

		               INDY
		I've heard this one as well.
		Two of these brothers walked out
		of the desert one hundred and
		fifty years after having found
		the Grail and began the long
		journey back to France. But
		only one of them made it. And
		before dying of extreme old
		age, he supposedly imparted
		his tale to a-to a Franciscan
		friar, I think.

		               DONOVAN
		Not "supposedly," Doctor Jones.

	DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle
	pages. INDY views the manuscript with considerable interest.


CONTINUED: (4)

		               DONOVAN
		This is the manuscript in which
		the friar chronicled the Knight's
		story... it doesn't reveal on
		location of the Grail, I'm afraid...
		but the Knight promised that two
		"markers" that had been left
		behind would.
		       (indicates the Tablet)
		This Tablet is one of those
		"markers." It proves the Knight's
		story is true. But as you pointed
		out-it's incomplete.
		       (beat)
		Now, the second "marker" is
		entombed with the Knight's dead
		brother. Our project leader
		believes that tomb to be located
		within the city of Venice, Italy.
		       (beat)
		As you can now see, Doctor Jones,
		we're about to complete a great
		quest that began almost two
		thousand years ago. We're only
		one step away.

		               INDY
		That's usually when the ground
		falls out from underneath your
		feet.

		               DONOVAN
		You could be more right than you
		know.

		               INDY
		Yes?

		               DONOVAN
		We've hit a snag. our project
		leader has vanished. Along with
		all his research. Uh, we received
		a cable from his colleague, Doctor
		Schneider, who has no idea of his
		whereabouts or what's become of
		him.
		        (beat)
		I want you to pick up the trail
		where he left off. Find the man
		and you will find the Grail.


CONTINUED: (5)

		                INDY
		You've got the wrong Jones, Mister
		Donovan. Why don't you try my
		father?

			DONOVAN
		        (after a pause)
		We already have. Your father is
		the man who's disappeared.


	EXT. A RESIDENTIAL STREET - DAY

	A FORD COUPE speeds down the tree-lined street.

	EXT. PROFESSOR HENRY JONES' HOUSE - DAY

	The Ford coupe pulls up in front of the house. INDY climbs from the car and
	hurries up the walkway. BRODY is a step behind.

		                BRODY
		Your father and I have been
		friends since time began. I've
		watched you grow up, Indy. And
		I've watched the two of you grow
		apart.
		        (beat)
		I've never seen you this concerned
		about him before.

	They climb the porch and notice that the front door is ajar. They exchange a
	quick look of concern as they enter.

	INT. THE HOUSE - LATE AFTERNOON

	INDY approaches the half-open front door.


                      		INDY
	                  	Dad?
	                            (to BRODY)
		He's an academic A bookworm.
		He's not a field mans

	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.


CONTINUED:

	BRODY sees INDY's face and opens the other half.

			BRODY
	                        Dear God.

	They walk into the room.


 		              BRODY
		What has the old fool got
		himself into now?

		               INDY
		I don't know. But whatever it
		is, he's in over his head!

	BRODY picks up some mail from Henry's cluttered desk.

			INDY
		Dad?              

		               BRODY
	       	It's today's mail. And it's been
		opened.

	INDY turns and sees the pile of torn papers and envelopes. Then something hits
	him.

		               INDY
       		Mail! That's it, Marcus!

	He immediately empties his pockets of his own mail taken earlier in the day from
	his college office and finds the envelope with the Venice postmark.

			INDY
		      (as he tears it open)
		Venice, Italy!

			BRODY
		What is it?


	INDY uncovers a small book. It looks like a JOURNAL or
	DIARY. Indy flips through it: Page after page of
	handwritten notes and drawings. BRODY glances at it with
	great curiosity.

		               INDY
		It's Dad's Grail Diary. Every
		clue he ever followed. Every
		discovery he made. A complete
		record of his search for the Holy
		Grail. This is his whole life.
		Why would he have sent this to me?


CONTINUED: (2)

		               BRODY
		I don't know. But someone must
		want it pretty badly.

		               INDY
		Do you believe, Marcus?

	As INDY asks the question, he turns to a PAINTING on the wall: A depiction of
	Christ on the Cross, his blood being captured in a golden chalice.

	A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting
	to their deaths over a high cliff. One Crusader, however, floats safely in midair
	because he holds the Grail in his hands.

		               INDY
		Do you believe the Grail actually
		exists?

		               BRODY
		The search for the Cup of Christ
		is the search for the divine in all
		of us.

	BRODY sees that INDY is unsatisfied by this response.

		               BRODY
		But if you want facts, Indy, I
		have none to give you. At my age,
		I'm prepared to take a few things
		on faith.

		               INDY
		Call Donovan, Marcus. Tell him
		I'll take that ticket to Venice
		now.

		               BRODY
		I'll tell him we'll take two.


	EXT. AIRFIELD - DAY

	A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN
	CORPORATE LOGO. BRODY peers inside to DONOVAN and INDY.

		               BRODY
		Tell me, what's going to happen
		when we get to Venice?

			DONOVAN
		      (overlapping)
		Don't worry. Doctor Schneider will
		be there to meet you.

CONTINUED:

			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 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,
	Italy.

	DISSOLVE TO:


	EXT. VENICE - BOAT LANDING - DAY

	INDY and BRODY disembark from the Water Bus onto the Boat Landing as other
	Gondoliers steer their boats in the water.

			INDY
		 Ah, Venice...

		               BRODY
		Yes. Uh, how will we recognize
		this Doctor Schneider when we
		see him?

		               INDY
		I don't know. Maybe he'll know
		us.


CONTINUED:

	Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes
	that are bright and intelligent.

			ELSA
		Doctor Jones?

			INDY
		Yes?

		               ELSA
		I knew it was you-

	She looks at him with an appraising expression that is brazenly flirtatious.

	                                      ELSA
	                       -you have your father's eyes.

	INDY is instantly attracted to her.

		               INDY
		And my mother's ears. But the
		rest belongs to you.

		               ELSA
		Looks like the best parts have
		already been spoken for.

	INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat.

		               ELSA
		Marcus Brody?

		               BRODY
		That's right.

	The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY.

			ELSA
		        (introducing herself)
		Doctor Elsa Schneider.

	INDY's grin fades. BRODY registers a look of surprise.

		               BRODY
		Uh... how do you do?

					CUT TO:


	EXT. VENICE CANAL - DAY

	INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on
	either side.


CONTINUED:

		               ELSA
		The last time I saw your father
		we were in the library. He was
		very close to tracking down the
		Knight's Tomb. I've never seen
		him so excited. He was as giddy
		as a schoolboy.

		               INDY
		Who? Attila the Professor? He
		was never giddy, even when he was
		a schoolboy!

	INDY can't take his eyes off ELSA. Perhaps he's feeling a bit like a schoolboy
	himself right now. As they cross over a bridge to the opposite side of the canal,
	Indy steals a flower from a street vendor. He holds it out to Elsa.

		               INDY
		Fraulein-will you permit me?

		               ELSA
		I usually don't.

		               INDY
		I usually don't either.

		               ELSA
		In that case, I permit you.

	INDY gives her the flower.

		               INDY
		It would make me very happy.

		               ELSA
		But I'm already sad-by tomorrow
		it will have faded.

		               INDY
		Tomorrow I'll steal you another.

		               BRODY
		        (cutting in)
		I hate to interrupt you-but the
		reason we're here-

			ELSA
		        (interrupting)
		Yes. I have something to show
		you.

	She hands a slip of paper to INDY.


CONTINUED: (2)

		               ELSA
		I left your father working in
		the library. He sent me to the
		map section to fetch an ancient
		plan of the city. When I got back
		to his table-he'd gone-with
		all his papers-except for that
		scrap which I found near his chair.

	INDY extends the scrap of paper to BRODY.

		               INDY
		Roman numerals.


	EXT. VENICE PIAZZA - DAY

	ELSA leads INDY and BRODY into the large piazza. People walk about and sit at
	tables in front of a large building.

		               ELSA
		Here is the library.

	They have arrived at the front steps of the library.

		               INDY
		That doesn't look much like a
		library.

		               BRODY
		It looks like a converted church.

	ELSA leads the way inside.


	INT. THE LIBRARY - DAY

	INDY, BRODY and ELSA enter, their heels CLICKING across the marble floor.

	We notice, along with INDY and BRODY, that the library contains many stained-
	glass windows.

		               ELSA
		In this case it's the literal
		truth. We're on holy ground.
		These columns over here...

	She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling.

		               ELSA
		... were brought back as spoils
		of war after the sacking of
		Byzantium during the Crusades.


CONTINUED:

	INDY glances at the Columns, then notices a Stained-Glass Window that depicts a
	Knight of the Crusades. Indy lingers for a moment in front of the window.

		               ELSA
		Now please excuse me. The library's
		closing in a few moments. I'll
		arrange for us to stay a little
		longer.

	The minute ELSA is out of earshot.

		               INDY
		Marcus-I've seen this window
		before.

			BRODY
		Where?

	INDY whips out the Grail Diary and opens it to the sketch he noticed in the
	airplane.

		               INDY
		Right here. In Dad's Diary.
		You see?

	BRODY glances at the Diary, then at the window-noticing that the Roman
	numerals in question have been worked into the window's design.

	                                     BRODY
		Look, Indy. The Roman numerals!

		               INDY
		Dad was onto something here!

		               BRODY
		Well, now we know the source of
		the numbers, but we still don't
		know what they mean.

	INDY and BRODY now see ELSA approaching. Indy quickly tucks the Diary back
	into his pocket.

		               INDY
		      (explaining to Brody)
		My dad sent me this Diary for a
		reason. Until we find out why,
		I suggest we keep it to ourselves.

		               ELSA
		Find something?

	INDY doesn't reply. He's looking in five directions at once. His eyes moving
	across the walls and ceilings-charged with the thrill of discovery.


CONTINUED: (2)

		               BRODY
		        (to ELSA)
		Uh, yes. Three, seven and tent
		That window seems to be the source
		of the Roman numerals.

		               ELSA
		My God, I must be blind

		               INDY
		Dad wasn't looking for a book
		about the Knight's Tomb... he was
		looking for the Tomb itself

	ELSA wears a blank expression.

		               INDY
		Don't you get it? The Tomb is
		somewhere in the library! You
		said yourself it used to be a
		church! Look.

	INDY's eyes travel up one of the four huge marble columns.

			INDY
		Three.

INDY looks again to the stained-glass window. He points.

 		              INDY
		Three!

	INDY has discovered that each Column is numbered with a Roman Numeral. Indy
	hurries away toward Column VII. All BRODY and ELSA can do now is try to keep
	up with him.

		              INDY
		Seven.

	He points again to the stained-glass window.

			INDY
		Seven... Ten.

	He looks down to the scrap of paper in his hands.

		               INDY
		And ten. Now where's the ten?
		Look around for the ten.

	INDY walks past aisles of book-lined shelves. He stops, turns, then looks down.


CONTINUED: (3)

			INDY
		Three, seven and ten.
	
	He climbs a spiral staircase leading up to a LOFT and looks down at BRODY and
	ELSA. The floor beneath their feet is an elaborate tile design containing a huge
	"X"-visible only from this higher angle.

			INDY
		Ten.
		      (wryly; to himself)
		"X" marks the spot.

	INDY rushes down the staircase and goes to the CENTER TILE where the two
	sides of the X intersect. He blows dust away from the tile and tries to pry it up,
	but cannot.

	INDY rushes past BRODY to a cordon held in place by a brass stand underneath
	the stained-glass window.

	INDY raises the brass stand and timing his actions, hits the tile precisely as the
	Librarian stamps a book. The Librarian regards the stamper curiously.
	
	INDY continues to pound at the tile as the Librarian resumes his stamping, still
	puzzled by the SOUND ECHOING through the library.

	Finally INDY breaks the tile. As he bends to remove the pieces of broken tile, a
	TWO-FOOT SQUARE HOLE IS REVEALED.

	Cold air and a wet, rancid smell escape from the hole.

			INDY
		Bingo.

			ELSA
		You don't disappoint, Doctor Jones.
		You're a great deal like your
		father.

			INDY
		Except he's lost, and I'm not.

			ELSA
		Lower me down.

	INDY is impressed with Elsa's spirit, and cooperates agreeably-holding her by
	the hands and lowering her into the hole. When her feet finally touch ground
	below, Indy releases his grip on her and slips the Grail Diary to BRODY.
	
			INDY
		Look after this for me, will you?

	Then INDY disappears into the hole.

	INT. CATACOMBS BELOW LIBRARY - DAY

	INDY jumps down a steep step. He reaches back to help ELSA.

			INDY
		Come on.

	INDY and ELSA glance around. This is really a horrid place. Dark and dank.
	foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory
	four-leaf clover design.

	INDY and ELSA inspect markings carved onto the walls.

		               ELSA
		Pagan symbols. Fourth or Fifth
		Century.

		               INDY
		Right. Six hundred years before
		the Crusades.

		               ELSA
		The Christians would have dug
		their own passages and burial
		chambers centuries later.

	INDY takes the lighter from her and lights their way down a dark passageway.

		               INDY
		That's right. If there's a
		Knight of the First Crusade
		entombed down here, that's where
		we'll find him.


	INT. LIBRARY - DAY

	THREE MEN carrying guns make their way down the spiral staircase toward an
	unsuspecting BRODY. One of the Men, KAZIM, raises his gun and brings it down
	hard on Brody's head.

		               BRODY
		Ohhhh. . .

	KAZIM gestures with his gun toward the now-unconscious BRODY. The other two
	men take Brody's hands and drag him into one of the book-lined aisles.

	INT. ANOTHER PART OF THE CATACOMBS - DAY

	DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque
	skeletal remains with rotting linen stretched across blackened bones.

	INDY holds the lighter up as he and ELSA inspect symbols carved into the walls.


CONTINUED:

	ELSA spots a symbol cut into the wall that she doesn't recognize. As she blows
	away some cobwebs:

		               ELSA
		What's this one?

	INDY only has to give it a quick glance to know.

		               INDY
		The Ark of the Covenant.

			ELSA
		Are you sure?

			INDY
		      (deadpan)
		Pretty sure.

	INDY holds the lighter up and he and ELSA enter another dark passageway.

	ANOTHER PART OF THE CATACOMBS

	INDY steps to the wall and runs his hand over the stone. He scrapes the cobwebs
	away to reveal the ROMAN NUMERAL "X."

			INDY
		Watch out.

	ELSA now holds the lighter as INDY rams his shoulder into the wall. The wall
	collapses on impact and Indy falls through into another room.


	ANOTHER ROOM - THE CATACOMBS

	as INDY falls through the hole in the wall onto rocks surrounded by bubbling,
	green, slimy liquid. More skeletons surround him, resting in their carved niches.
	ELSA holds the lighter as she peers in at him through the hole in the wall.

		               INDY
		Petroleum. I could sink a well
		down here and retire.

	INDY reaches up and tears a piece of cloth from one of the skeletons, which
	breaks apart and falls into the oil-slick water.

	INDY uses the scrap of cloth and a bone to fashion a crude torch, which he then
	dips into the oily water.

		               INDY
		Give me the lighter.

	ANOTHER PART OF THE CATACOMBS

	Using the cloth-wrapped bone torch to guide their way, INDY and ELSA come
	upon a NARROW PASSAGEWAY. The water is knee-deep and TEEMING WITH
	RATS. Thousands of them Crawling on one another's backs. SQUEALING.
	Squirming. Thrashing in the water.

			INDY
		Oh, rats...

	ELSA gasps as the rats scamper between her legs.

	INDY moves forward through the rat-infested water as ELSA follows, still gasping
	in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out
	to Elsa.

		              INDY
		Come onl

	She gasps once again, terrified. INDY lifts her and carries ELSA as he moves
	forward.


	THE CATACOMBS - THE HOLE IN THE WALL

	KAZIM and his men step to the opening Indy made earlier and shine their
	flashlights through to the rat-infested water.

	ANOTHER PART OF THE CATACOMBS

	More rat-infested water as ELSA, now walking again, follows INDY through
	another passageway lined with skulls and bones.

	INDY reaches for a wall to steady himself and inadvertently grabs a skeleton. A
	bone comes loose in his hand as rats scurry about and leap at him from all
	directions.

	He takes a moment to compose himself, then steps across the water to ELSA's
	side. He steps into the water, then reaches up to help Elsa do the same.

			INDY
		Come here.

	LARGE BURIAL CHAMBER

	The chamber is flooded with black, briny water.
			
			INDY
		Look. . .

	In the center of the chamber, jutting up above the water, is what amounts to an
	"island altar" on which SEVERAL ANCIENT COFFINS rest. They move toward the
	altar.


CONTINUED:

	INDY and ELSA begin to inspect the ornately carved COFFINS like the scholars of
	antiquity that they are. These are big oak caskets held together by straps of
	etched brass.

		             INDY
		It must be one of these...

		             ELSA
		Look at the artistry of these
		carvings and the scrollwork.

	One coffin is elevated above the others.

		             ELSA
		It's this one.

	Together they begin to push on the lid-STRAINING and GROANING until it
	slides away and BANGS against the stone platform.


	INSIDE THE COFFIN

	lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. INDY and ELSA look
	in...Elsa gasps.

		               INDY
		This is 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.

			ELSA
		What's that?

		               INDY
		It's a rubbing Dad made of the
		Grail Tablet.

	The missing portion of the rubbing is completed by the shield.

		               ELSA
		Just like your father-giddy
		as a schoolboy.

	INDY laughs.

		               ELSA
		Wouldn't it be wonderful if he
		were here now to see this?

		               INDY
		       (chuckles)
		He never would have made it past
		the rats!  He hates rats!  He's
		scared to death of them!

	CLOSE - A HAND

	as it lights a match.

	PULL BACK TO REVEAL KAZIM dropping the lighted match into the oil-slick
	water.


	INDY AND ELSA

	ELSA holds the torch. INDY looks around. Listens. Something is wrong. And
	then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls.

	This is followed by THOUSANDS OF RATS FLEEING from around the corner of the
	Narrow Passageway, STAMPEDING toward ELSA and INDY-SHRIEKING and
	SQUEALING as they approach.

	The rats literally wash over them-like a rodent tidal wave-in their efforts to
	escape a:

	HUGE ORANGE BALL OF FIRE

	ROARING around the corner hurtling towards them-feeding on the oil slick;
	consuming the oxygen.

	ELSA SCREAMS.

	                                     INDY
		Get back! Back against the wall.

	INDY braces his back against the altar and TOPPLES THE COFFIN with his feet.
	It CRASHES against the stone platform and SPLASHES into the water.

	                                     INDY
		Quick! Under it!

	They jump into the water beside the bobbing, overturned coffin.

	                                     INDY
		Air pocket!

	ELSA hesitates. INDY literally DUNKS her and pushes her underneath.


	UNDER THE COFFIN

	ELSA surfaces into the air pocket created by the coffin, SPUTTERING and
	SPITTING.

	Now INDY pops up into the air pocket. He looks at ELSA-they are both soaking
	wet.

		           	INDY
		Don't wander off.


CONTINUED:

			ELSA
		What?

	INDY disappears under the water and swims out from under the coffin.

			ELSA
		What?

	UNDER THE WATER

	INDY swims, looking for an escape route.

	UNDER THE COFFIN

	The rats are beginning to force their way inside, swimming through the water
	and climbing on ELSA, who squirms and screams in terror.

	INDY pops back up through the water.

			INDY
		I think I've found a way out.
		Deep breath.

	ELSA groans. They take a deep breath and both dive under the water.


	EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY

	The perfect picture postcard-St. Mark's Square and the Grand Canal beyond.
	Cafe customers are startled to see INDY and ELSA climb out of the sewer, wet
	and smelly. Indy looks around at the postcard-perfect setting and smiles.

                  			INDY
		           (wryly)
		Ah, Venicel

	Indy's delight, however, is short-lived since KAZIM and TWO OTHER TURKISH
	AGENTS are running towards them with drawn guns.

	He grabs ELSA by the hand and the two of them run down the dock and LEAP
	INTO A MOTORBOAT.


	INT. THE MOTORBOAT - DAY

	INDY fires up the engine and pulls away from the dock... but not before a
	Turkish Agent JUMPS in with him.

	ELSA grabs the wheel and begins to steer the boat while INDY and the Turk trade
	punches.

	EXT. THE HARBOR - DAY

	Indy's Speedboat BOUNCES across the choppy waters heading in the direction of
	the DOCKED STEAMSHIP.

	KAZIM and his men rush to TWO MORE SPEEDBOATS tied to the dock.

	They chase after INDY.

	INDY grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in
	the Agent's hand. It FIRES.

	As INDY fights with the Turk, he becomes aware of the Speedboats behind him
	and two enormous Freighters ahead of him, joined together by two giant ropes.

	INDY, having gained the advantage, leans on top of the Turkish Agent.

			INDY
		      (to ELSA)
		Are you crazy?! You don't go
		between them!

	ELSA can barely hear INDY over the noise of the motor.

	                                      ELSA
		Go between them? Are you crazy?!

	INDY finally delivers the punch that sends the Turkish Agent flying overboard.
	Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN
	the two Freighters, now being pushed even closer together by a Tugboat.

			INDY
		I said go around!

			ELSA
		You said go between them!

			INDY
		I said don't go between them!

	It's purely academic at this point since the hulls of the the two Freighters loom
	up on either side of them like cavern walls.


	EXT. FULL SHOT - THE HARBOR - DAY

	One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat
	containing KAZIM veers off and goes around.


	EXT. BETWEEN THE TWO FREIGHTERS - DAY

	It's a race for daylight as the two Freighters drift ever closer to one another.

	Indy's Speedboat just manages to squeeze through the gap. But the Enemy
	Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO
	THE AIR and SPLASHING back down into the water.

	INDY AND ELSA

	spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear
	racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at
	INDY and ELSA.


	KAZIM'S SPEEDBOAT
	
	matches Indy's move for move.

	FULL SHOT - THE HARBOR

	The two boats race across the water nearly side-by-side. A CHATTERING
	MACHINE GUN from Kazim's boat SPLINTERS the wood of Indy's boat, until
	finally the rear of the boat CATCHES ON FIRE.

	The machine gun runs out of ammunition. KAZIM puts it down and takes control
	of the wheel from one of the Turkish Agents in the boat with him.

	As Indy's boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of
	ANOTHER STEAMER, Kazim's boat draws up alongside and hits them. INDY
	steps into Kazim's boat. He knocks one of the Turkish Agents to the deck, then
	turns his attention to KAZIM. The two men trade punches as the boat spins
	helplessly in the churning water.

			ELSA
		No!!

	INDY kicks KAZIM in the face, knocking him into the water, then pulls him back
	into the boat, now being SUCKED THROUGH THE CHURNING WATER toward the
	Steamer's giant propeller blades.

		               INDY
		Why are you trying to kill us?

		               KAZIM
		Because you're looking for the
		Holy Grail.

		               INDY
		My father was looking for the
		Holy Grail. Did you kill him
		too?

			KAZIM
		No.

		               INDY
		Where is he? Talk-or you're
		dead. Damn it, tell me! Tell
		me!

			KAZIM
		If you don't let go, Doctor Jones,
		we'll both die.


CONTINUED:

		               INDY
		Then we'll die.

		               KAZIM
		My soul is prepared. How's yours?

	By now half the boat has been chopped up into matchwood and the blades are
	getting closer.

		               INDY
		This is your last chance.

		               KAZIM
		No, Doctor Jones. It's yours!

	The wind of the blades is on their necks. INDY grabs KAZIM just in time and
	jumps... into the motorboat, driven by ELSA, which gets alongside in the nick of
	time.

			INDY
		All right! Where's my father

		               KAZIM
		If you let me go, I will tell you
		where he is.

		               INDY
		Who are you?

		               KAZIM
		My name is Kazim.

		               INDY
		And why were you trying to kill
		me?

		               KAZIM
		The secret of the Grail has been
		safe for a thousand years. And
		for all that time the Brotherhood
		of the Cruciform Sword has been
		prepared to do anything to keep
		it safe.

	KAZIM pulls back his shirt to reveal a birthmark... or is it a tattoo? Whatever it
	is, it's a cruciform sword; a Christian cross which tapers down, like the blades of
	a broadsword.

		               KAZIM
		Let me get off at this jetty.

	The boat is close to the edge of the canal. INDY gives ELSA a nod, telling her to
	bring the boat in. KAZIM steps ashore.


CONTINUED: (2)

		               KAZIM
		Ask yourself, why do you seek
		the Cup of Christ? Is it for His
		glory, or for yours?

		               INDY
		I didn't come for the Cup of
		Christ. I came to find my father.

		               KAZIM
		In that case, God be with you in
		your quest. Your father is being
		held in the Castle of Brunwald on
		the Austrian-German border.

	KAZIM walks away.

	INT. VENICE APARTMENT - DAY

	CLOSE ON THE WATER-SOAKED PAPER IMPRESSION: The rubbing taken from
	the shield of the Grail Knight.

	BRODY is giving it careful study while he dabs the lump on the back of his head
	with an ice pack.

		               INDY
		How's the head?

			BRODY
		It's better, now I've seen this.
		It's the name of a city.
		"Alexandretta?" Hmmm...

	INDY, wearing a bathrobe, leans over to study the impression.

		               INDY
		The Knights of the First Crusade
		laid siege to the city of
		Alexandretta for over a year.
		The entire city was destroyed.

	BRODY lowers the ice pack from his head and looks at INDY.

		               INDY
		The present city of Iskenderun
		is built on its ruins. Marcus-
		you remember what the Grail
		Tablet said. "Across the desert
		and through the mountain to the
		Canyon of the Crescent Moon."
		       (pause)
		But where exactly?


CONTINUED:

		               BRODY
		Your father would know. Your
		father did know. Look. He
		made a map.

	BRODY picks up the Grail Diary.

		               BRODY
		He must have pieced it together
		from clues scattered through the
		whole history of the Grail Quest.
		A map with no names.


	INSERT: A PENCIL-DRAWN MAP

	It covers two pages of the Diary. BRODY's finger moves across it.

		               BRODY
		Now, he knew there was a city
		with an oasis due east. Here.
		He knew the course turned south
		through the desert to a river, and
		the river led into the mountains.
		Here. Straight to the canyon.
		He knew everything except where
		to begin, the name of the city.

			INDY
		      (solemnly)
		Alexandretta. Now we know.

		               BRODY
		Yes. Now we know.

			INDY
		      (rising)
		Marcus, get hold of Sallah. Tell
		him to meet you in Iskenderun.

	INDY closes the Grail Diary and puts it into the pocket of his robe.

		               BRODY
		What about you?

		               INDY
		I'm going after Dad.


	INT. INDY'S BEDROOM - DAY

	INDY opens the door. His bedroom has been ransacked...the mattress on the
	floor, the drawers turned out.

	INT. HALLWAY - DAY

	INDY approaches another door (Elsa's bedroom) and knocks.

		               INDY
		Elsa?

	He goes in.


	INT. ELSA'S BEDROOM - DAY

	... and finds that Elsa's bedroom is in a similar ransacked state to his own. The
	room is empty.

	He is worried for her, knocks and calls out:

		               INDY
		Elsa?

	He steps into the room and knocks upon the bathroom door.
	
		               INDY
		Elsa?

	He opens the bathroom door, peering inside.

		               INDY
		Elsa?


	INT. ELSA'S BATHROOM - DAY
	
	Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as
	INDY enters. He retreats back into her bedroom as she reaches up to turn off a
	record player sitting on a ledge above the bathtub.


	INT. ELSA'S BEDROOM - DAY

	ELSA joins INDY, waiting in the ransacked room. she looks around in shock.

	                                       ELSA
                                    	My room!

			INDY		
		Mine, too.

			ELSA
		What were they looking for?

	She looks to INDY, who pulls the Grail Diary from his pocket.

			INDY
		This.


CONTINUED:

		               ELSA
		The Grail Diary.

		               INDY
		Uh-huh.

		               ELSA
		You had it? You didn't trust
		me!

	She looks hurt and beautiful. She comes closer to him.

		               INDY
		I didn't know you.

	She's awfully hard to resist.

		               INDY
		At least I let you tag along.

		               ELSA
		Oh, yes. Give them a flower and
		they'll follow you anywhere.

		               INDY
		Knock it off. You're not mad.

			ELSA
		No?

		                INDY
		No. You like the way I do things.

		               ELSA
		It's lucky I don't do things the
		same way. You'd still be standing
		at the Venice pier.

	She stomps her foot angrily. INDY flinches. She starts to walk away but Indy
	grabs her.

		               INDY
		Look, what do you think is going
		on here? Since I've met you,
		I've nearly been incinerated,
		drowned, shot at, and chopped into
		fish bait. We're caught in the
		middle of something sinister here.
		My guess is Dad found out more
		than he was looking for. And
		until I'm sure, I'm going to
		continue to do things the way I
		think they should be done.


CONTINUED: (2)

	He pulls her to him and kisses her.

		                ELSA
		How dare you kiss me!

	Now ELSA reaches for INDY and kisses him.

		                INDY
		Leave me alone. I don't like
		fast women.

	But he embraces her, and ELSA begins to nibble at his ear.

		                ELSA
		And I hate arrogant men.

	INDY smiles slyly as they fall to the bed.


	EXT. VENICE CANAL - DAY

	A GONDOLIER SINGS as he steers his gondola carrying two passengers past
	Indy's window.


	INT. INDY'S BEDROOM - DAY

	INDY lies on top of ELSA, kissing her. He stops for a moment as he hears the
	GONDOLIER SINGING.

		                INDY
		Ahh, Venice.

	ELSA reaches up and pulls him back down to her.


	EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY

	A Mercedes-Benz glides through the sharp mountain curves. This is
	SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria
	toward Salzburg.


	EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY

	Storm clouds darken the skies. THUNDER EXPLODES in the
	distance; lightning flashes. The Mercedes-Benz drives into the courtyard of the
	formidable stone castle.

		                INDY
		What do you know about this
		place?

		                ELSA
		I know the Brunwalds are famous
		art collectors.

	INT. MERCEDES-BENZ - DAY

	INDY reaches into the back seat and retrieves his bullwhip.

			ELSA
		What are you going to do?

			INDY
		Don't know. Think of something.

	He glances up to the beret ELSA is wearing. She reaches up and adjusts it.


	INT. CASTLE ENTRANCE HALL - DAY

	A BUTLER walks to the door and opens it to reveal INDY and ELSA standing
	outside in the rain. she now wears Indy's fedora; Indy is wearing Elsa's beret.

			BUTLER
		Yes?

	INDY, followed by ELSA, steps inside, shaking the water from his overcoat. He
	adopts a Scottish accent.

		               INDY
		And not before time! Did you
		intend to leave us standing on
		the doorstep all day? We're
		drenched!

	As INDY says this he pushes his way past the startled BUTLER, pulling a
	handkerchief from the man's pocket. ELSA follows, taking off her coat. INDY
	SNEEZES HARD.

		               INDY
		Now look! I've gone and caught
		a sniffle.

	INDY dabs at his nose with the handkerchief as ELSA looks on in amused
	amazement.

			BUTLER
		      (coldly; with
		       Austrian accent)
		Are you expected?

		               INDY
		Don't take that tone with me, my
		good man. Now buttle off and tell
		Baron Brunwald that Lord Clarence
		MacDonald and his lovely assistant
		are here to view the tapestries.


				                                       (CONT'D)

CONTINUED:
			BUTLER
		Tapestries?

		               INDY
		Dear me, the man is dense. This
		is a castle, isn't it? There are
		tapestries?

		               BUTLER
		This is a castle. And we have
		many tapestries. But if you're a
		Scottish lord, then I am Mickey
		Mouse.

		               INDY
		How dare he?!

	Simultaneously knocking the BUTLER cold with one slug on the jaw. The Butler
	falls against a wall tapestry, sliding down to the floor, out cold.


	INT. CASTLE HALLWAY - DAY

	INDY and ELSA move cautiously and quietly down the wide, vaulted hallway.
	APPROACHING VOICES ARE HEARD. Indy and Elsa creep past a room full of
	NAZI SOLDIERS working around a large table with a map atop it..

	INDY reacts to the sight of them.

			INDY
		        (to ELSA; softly)
		Nazis. I hate these guys.

	INDY and ELSA continue down the hallway. Indy carries a gun in his hand and
	his whip hangs from his belt. He steps to a closed door and listens.

 		              INDY
		This one. I think he's in here.

			ELSA
		How do you know?

	INDY points out an ELECTRICAL WIRE.

		               INDY
		Because it's wired.

	He studies the situation for a moment, then decides to enter one of the other
	doors. He knocks at the door-there is no response. He looks back at ELSA and
	enters.

INT. CASTLE ROOM - DAY

	The room is dark and empty. INDY throws open the window shutters and looks
	out. RAIN comes down in sheets. There is a wide ledge beneath each window-
	but below that is a SHEER DROP. Indy wants to get out onto the window ledge,
	which is several yards away.

			ELSA
		Indy? Indy?

	INDY reassures her.


		               INDY
		Don't worry... this is kid's play.
		I'll be right back.

	He leans out the window and wraps his bullwhip around some wires that protrude
	from the castle wall above the next window.

	He gives the whip a forceful tug to make certain it will hold his weight.


	EXT. THE CASTLE - DAY

	INDY SWINGS from the window to the stone gargoyle.

	CLOSE ON THE WINDOW LEDGE

	A PAIR OF WOODEN SHUTTERS seals the window.

	INDY takes hold of the bullwhip with both hands, pushes off with his feet...
	swings toward the shuttered window with his feet extended... CRASHING
	THROUGH THE WOODEN SHUTTERS as a CLAP OF THUNDER disguises the noise.


	INT. THE ROOM - DAY

	INDY CRASHES THROUGH SHUTTERS AND GLASS into the room. The broken
	shutters hang by their hinges. Rain and cold air whip through the open window.

	No sooner does Indy get to his feet, than a VASE COMES CRASHING DOWN ON
	THE BACK OF HIS HEAD.

	Stunned, INDY sinks to one knee... and Indy's father, PROFESSOR HENRY JONES,
	steps out of the shadows.

			HENRY
		Junior?

	INDY gets to his feet.

			INDY
		      (a reflex)
		Yes, sirl

CONTINUED:

	This reply is a kneejerk reaction on Indy's part. Now they look at each other.

			HENRY
		It is you Junior!

			INDY
		     (an old familiar
		      irritation)
		Don't call me that, please.

			HENRY
		     (amazed)
		But what are you doing here?

			INDY
		I came to get you! What do you
		think? 

	NAZI VOICES ARE HEARD approaching. INDY and HENRY press themselves
	against the wall, Henry still holding the broken vase in his hand.

	INDY steps to the window and looks down. HENRY moves to a lamp, holding the
	vase under the light for a closer look.

			HENRY
		       (sotto, mumbled)
		Late Fourteenth Century, Ming
		Dynasty.

	HENRY is all about the broken vase which he still holds in his hand. Father and
	son get onto crossed lines for a couple of moments.

			HENRY
		Oh, it breaks the heart.

		                 INDY
		    (quietly to himself)
		And the head.
		    (to HENRY, aggrievedly)
		You hit me, Dad!

			HENRY
		     (referring to the
		      vase)
		I'll never forgive myself-

			INDY
		       (surprised,
		        misunderstanding)
		Don't worry-I'm fine.

			HENRY
		Thank God!


CONTINUED: (2)

	HENRY has clearly been concentrating entirely on the vase... he is examining the
	broken end carefully.

		               HENRY
		... it's fake. See, you can tell
		by the cross section.

	HENRY throws the vase against the wall where it SHATTERS.

		               INDY
		No! Dad, get your stuff. We've
		got to get out of here.

		               HENRY
		Well, I am sorry about your head,
		though. But I thought you were
		one of them.

		               INDY
		Dad, they come in through the
		doors.

			HENRY
		      (laughs)
		Good point.

	INDY steps to the door and stands, listening.

			HENRY
		But better safe than sorry.

	HENRY slides his umbrella through the straps of his bag.

		               HENRY
		Humpf-so I was wrong this time.
		But by God, I wasn't wrong when I
		mailed you my Diary. You obviously
		got it.

		               INDY
		I got it and I used it. We found
		the entrance to the catacombs.

			HENRY
		     (excited)
		Through the library?

		               INDY
		Right.

		               HENRY
		I knew it. And the tomb of Sir
		Richard?


CONTINUED: (3)

	INDY nods.

		               INDY
		Found it.

			HENRY
		     (breathless)
		He was actually there? You saw
		him?


		               INDY
		Well, what was left of him.

			HENRY
		      (trembling with
		       anticipation)
		And his shield... the inscription
		on Sir Richard's shield...?

		               INDY
		Alexandretta.
		    (beat)

	It's a great moment in HENRY's life. He turns aside, lost to himself for a
	moment, then turns to INDY with joy.

		               HENRY
		Alexandretta... of course... on
		the pilgrim trail from the Eastern
		Empire. Oh, Junior...

	INDY winces, and would interrupt but suddenly it's not the moment.

			HENRY
		... you did it.


		               INDY
		No, Dad. You did. Forty years.

		               HENRY
		If only I could have been with
		you.

			INDY
		There were rats, Dad.

			HENRY
		Rats?

			INDY
		Yeah. big ones. What do the
		Nazis want with you Dad?

			HENRY
		They want my diary.


CONTINUED: (4)

			INDY
		     (interested)
		Yeah?

	INDY's interest is a moment which becomes important later but for now it passes.

		               HENRY
		I knew I had to get that book as
		far away from me as I possibly
		could.

	INDY's hand moves unconsciously to his pocket. His eyes turn inward.

	                                      INDY
		      (thoughtfully)
		Yeah. . .

	Then... 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.

			S.S. OFFICER
		Doctor Jones!!

			HENRY & INDY
		Yes!!


		               S.S. OFFICER
		I will take the book now.

			INDY/HENRY
		      (simultaneously)
		What book?

			S.S. OFFICER
		     (to INDY)
		You have the Diary in your pocket.

	HENRY laughs genuinely, believing himself to be laughing at the expense of the
	S.S. OFFICER.

		               HENRY
		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.

		               HENRY
		You didn't, did you?
		    (a beat)
		You didn't bring it, did you?


CONTINUED: (5)

			INDY
		Well, uh...

			HENRY
		You did!!


			INDY
		Look, can we discuss this later?

			HENRY
		I should have mailed it to the
		Marx Brothers.

			INDY
		       (overlapping)
		Will you take it easy....!

			HENRY
		Take it easy?! Why do you think
		I sent it home in the first place?
		        (points towards
		        the NAZIS)
		So it wouldn't fall into their
		hands!!

			INDY
		I came here to save you.

			HENRY
		Oh yeah? And who's gonna come to
		save you, Junior??

	INDY's eyes blazes His nostrils flares He's so pissed off, he literally RIPS A
	MACHINE GUN from the hands of one of the startled soldiers... and for a moment
	we think he's going to use it on his dad.

			INDY
		I told you--

	He turns and sprays the room with machine gun fire, cutting all three NAZIS to
	ribbons and blowing them backwards across the room.

			INDY
		--don't call me Junior!

	HENRY looks shocked and horrified.

			HENRY
		Look what you did!!

	Indy grabs him and pushes him ahead.

			HENRY
		     (aghast)
		I can't believe what you just....

	INT. CASTLE HALLWAY - DAY

	INDY leads HENRY down the hallway as he searches for Elsa.

			INDY
		Elsa? Elsa?

	He opens a door and enters:

	INT. FIRST CASTLE ROOM - DAY


	INDY and HENRY rush back into the room where ELSA had been left, only to
	find: A Nazi COLONEL HOLDING ELSA HOSTAGE.

	His name is VOGEL: a vicious-looking, lantern jawed brute. One arm is wrapped
	around Elsa's waist, the other hand presses the muzzle of a LUGER behind her
	ear.

		               VOGEL
		That's far enough Put down the
		gun, Doctor Jones. Put down the
		gun or the Fraulein dies.

		               HENRY
		But she's one of them!

			ELSA
		Indy, please!

			HENRY
		She's a Nazi!

			INDY
		What?!

	INDY  is thrown. He doesn't know what to do. He looks at ELSA, then back to his
	father. Everyone is yelling at once:

			HENRY
		Trust me!


		               ELSA
		Indy, no!

		               VOGEL
		I will kill her!

		               HENRY
		Oh yeah? Go ahead!

		               INDY
		No! Don't Shoot!


CONTINUED:

			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 diesl

	VOGEL jams the barrel of the luger painfully into ELSA's neck. Elsa SCREAMS.

			INDY
		Wait!  Waitl

	And then Indy gives in. He drops the machine gun to the table and it slides
	across, SHATTERING GLASS. HENRY GROANS audibly.

	VOGEL releases his grip on ELSA and shoves her toward INDY. She is propelled
	directly into his arms. He holds her tightly. She buries her face in his chest.

	                                     ELSA
		I'm sorry.

	INDY comforts her.

	                                     INDY
		No, don't be.

	Her hand slips into his coat pocket and removes the Grail Diary.

	                                     ELSA
		But you should have listened to
		your father.

	She steps back next to VOGEL. INDY is stunned. HENRY gives him his most
	withering look of reprimand.


	INT. BARONIAL ROOM - DAY

	A large baronial room decorated with ancient tapestries and suits of armor.
	Firelight-from the giant fireplace-dances across the ceiling and walls.

	INDY and HENRY are ushered in, hands tied behind back, accompanied by VOGEL
	and ELSA and TWO NAZI GUARDS.

	ELSA crosses the room toward a high-backed chair facing the fireplace. INDY and
	HENRY do not have the advantage of seeing who is sitting in that chair. They
	only see a HAND REACH OUT AND TAKE THE BOOK.


CONTINUED:

			INDY
		        (quietly to HENRY)
		She ransacked her own room and I
		fell for it. How did you know
		she was a Nazi?

		               HENRY
		Umh?

		               INDY
		How did you she was a Nazi?

		               HENRY
		She talks in her sleep.

	INDY nods, and then the statement catches up with him. He looks at HENRY
	with surprise.

		               HENRY
		I didn't trust her. Why did
		you?

		               MAN IN CHAIR
		Because he didn't take my advice.

	The MAN IN THE CHAIR gets to his feet and turns, revealing himself to be...
	WALTER DONOVAN. INDY and HENRY react with stunned expressions.

		               INDY
		Donovan
	
		               DONOVAN
		Didn't I warn you not to trust
		anybody, Doctor Jones?

	DONOVAN smiles benignly and flips through the Grail Diary.

		               HENRY
		I misjudged you Walter-I knew
		you'd sell your mother for an
		Etruscan vase.
		But I didn't know you'd sell your
		country and your soul to the slime
		of humanity.

		               DONOVAN
		        (suddenly erupting)
		Doctor Schneider There're pages
		torn out of 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.


CONTINUED: (2)

		               ELSA
		This book contained a map-a
		map with no names-precise
		directions from the unknown city
		to the secret Canyon of the
		Crescent Moon.

			INDY
		So it did.


		               DONOVAN
		Where are these missing pages?
		This maps we must have these
		pages backs

	HENRY gives INDY a look of surprise. Indy smirks.

			ELSA
		        (to Donovan)
		You're wasting your breath. He
		won't tell us. And he doesn't
		have to... it's perfectly obvious
		where the pages are...
		        (looking at Indy)
		... he's given them to Marcus
		Brody.

	HENRY now wears a pained expression.

			HENRY
		        (to Indy)
		Marcus?! You didn't drag poor
		Marcus along, did you? He's not
		up to the challenge.

		               DONOVAN
		He sticks out like a sore thumb.
		We'll find him.

		               INDY
		The hell you will. He's got a
		two-day head-start on you, which
		is more than he needs.
		        (beat)
		Brody's got friends in every town
		and village from here to the Sudan.
		He speaks a dozen languages, knows
		every local custom. He'll blend
		in. Disappear. You'll never see
		him again. With any luck, he's
		got the Grail already.

	HENRY looks amazed and impressed.

	EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY

	BRODY disembarks from the train along with the other PASSENGERS, a cross-
	section of ARABS and TUSKS.

		               BRODY
		Does anyone here speak English?
		Or even ancient Greek?

	A Man in the crowd holds out a cup of water to BRODY.

		               BRODY
		No water, no thank you. No, fish
		make love in it.

	BRODY continues through the crowd past various STREET VENDORS. A Woman
	holds a chicken out to him.

		               BRODY
		Thank you so much. No, I don't
		like that. No, I really don't
		want... No, no, thank you very
		much. No, thank you, madam.
		I'm a vegetarian.


	The Woman walks away, leaving BRODY alone in the crowd.

		               BRODY
		Does anyone understand a word I'm
		saying here?

	SALLAH shoulders his way through the mob toward BRODY.

			SALLAH
		Mister Brodyl

	They meet and hug, then begin to walk.

			BRODY
		Oh, Sallahl 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.


CONTINUED:

		               BRODY
		Yes, but don't panic. Everything's
		under control. Have you. . .have
		you arranged our supplies?

		               SALLAH
		Oh, yes, of course. But where
		are we going?

		               BRODY
		Oh, this map will show you. It
		was drawn by, uh...

	BRODY searches in his coat pocket for the map as a SINISTER MAN approaches.

			SINISTER MAN
		Mister Brody?

	BRODY puts the map back in his pocket. The SINISTER MAN clicks his heels and
	bows quickly.

		               SINISTER MAN
		Welcome to Iskenderun. The
		Director of the Museum of
		Antiquities has sent a car for
		you.

	BRODY takes off his hat.

		               BRODY
		Oh, what?... your servant, sir.

			SALLAH
		And I am his.


			SINISTER MAN
		Follow me, please.

	The man turns and joins a SECOND MAN. BRODY and SALLAH follow them.

		               BRODY
		My reputation precedes me.

			SALLAH
		There is no museum in Iskenderun.

	The SECOND MAN overhears SALLAH. He and his companion turn quickly.

			SECOND MAN
		Papers please.

		               SALLAH
		Papers?
		     (laughs)
		Of course.


CONTINUED: (2)

	SALLAH puts Brody's luggage down and glances at BRODY.

			SALLAH
		Run.


	BRODY does not run. SALLAH pats his clothing, searching for his papers.

			BRODY
		Yes.

			SALLAH
		Papers, sir. Got it here.

	SALLAH laughs and pulls out a newspaper.

			SALLAH
		Just finished reading it myself.
		         (laughs; then, to
		          Brody)
		Run!

	BRODY looks confused. SALLAH shows the newspaper to the SECOND MAN.

			BRODY
		Yes.


		              SALLAH
		Egyptian Mail. Morning edition.
		     (to Brody)
		Run!

		              BRODY
		Did you say...? Uh, uh...

	SALLAH puts the newspaper in front of the SECOND MAN's face, then punches
	him through the newspaper.

			SALLAH
		Run!


	The SECOND MAN falls, knocking over a vendor's stand. SALLAH and BRODY
	begin to run. SALLAH knocks the FIRST MAN into another vendor's stand. The
	STAND COLLAPSES on impact.

	SALLAH grabs BRODY and pulls him through the crowded streets.

			SALLAH
		        (to Brody; pointing)
		Okay, okay, quick, quick, quickl
		Hide in that doorl 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.


CONTINUED: (3)

	Then-METAL DOORS ARE SLAMMED behind Brody and we realize that he has
	actually run into the back of a Nazi TROOP TRUCK.

	SALLAH runs after the Truck until he reaches a wall, then leans against the wall
	dejectedly as the Truck drives away with BRODY inside.


	INT. CASTLE ROOM - DAY

	The room is dark. Ancient, floor-length drapes cover the windows. A HUGE
	FIREPLACE that's nearly large enough for a man to stand upright in dominates
	one wall.

	The NAZI GUARDS have tied INDY and HENRY back-to-back in a pair of chairs.
	ELSA and DONOVAN stand over them. VOGEL enters.

			HENRY
		Intolerable.


		               VOGEL
		Doctor Schneider. Message from
		Berlin. You must return immediately:
		a rally at the Institute of Aryan
		Culture.

		               ELSA
		So?

		               VOGEL
		Your presence on the platform is
		requested... at the highest level.

		               ELSA
		Thank you, Herr Oberst.
		      (to DONOVAN)
		I will meet you at Iskenderun.

		               DONOVAN
		Take this Diary to the Reich
		Museum in Berlin. It will show
		them our progress, ahead of
		schedule. Without a map, I'm
		afraid it's no better than a
		souvenir.

	He hands her the Grail Diary.

			VOGEL
		         (to DONOVAN, meaning
		          Indy and Henry)
		Let me kill them now.


CONTINUED:

		               ELSA
		No. If we fail to recover the
		pages from Brody, we'll need them
		alive.

			DONOVAN
		    (to VOGEL, with a
		     helpless shrug)
		Always do what the doctor orders.

	DONOVAN leads VOGEL out. The NAZI GUARDS follow. Once they are gone,
	ELSA turns to INDY.

		               ELSA
		Don't look at me like that-we
		both wanted the Grail, I would
		have done anything to get it.
		You would have done the same.

	INDY shakes his head "no."

		               INDY
		I'm sorry you think so.

	She runs her hand down the side of his face. INDY pulls away.

	INDY and HENRY are still tied back-to-back of course. ELSA bends to speak
	quietly into INDY's ear... which is near enough to Henry's ear.

			ELSA
		      (whispers)
		I can't forget... how wonderful
		it was.

		               HENRY
		Thank you. It was rather wonderful.

	She smiles and kisses INDY passionately. HENRY glances back and looks rather
	disappointed.

	VOGEL appears to remind ELSA of her appointment.

		               VOGEL
		Doctor Schneider! Your car is
		waiting.

			ELSA
		     (to INDY, after
		      finishing the kiss)
		That's how Austrians say goodbye.

	ELSA exits. VOGEL stays behind for another moment.


CONTINUED: (2)

		               VOGEL
		And this is how we say goodbye in
		Germany, Doctor Jones.

	VOGEL punches INDY in the jaw. A hard and vicious jab that snaps Indy's head
	around.

			HENRY
		Ohh. . .

	VOGEL exits. INDY shakes his head clear.

			INDY
		      (to himself)
		Ooooh... I like the Austrian way
		better.

			HENRY
		So did I.

		               INDY
		Let's try and get these ropes
		loose. We've got to get to Marcus
		before the Nazis do!

			HENRY
		     (confused)
		You said he had two days' start.
		That he would blend in. Disappear!

		               INDY
		Are you kidding?-I made that
		up! You know Marcus-he got
		lost once in his own museum!

	Indy and Henry are pulling at the ropes with great urgency.

		               INDY
		Can you try and reach into my
		left jacket pocket?

	HENRY is able to wiggle his hand towards Indy's coat pocket. INDY squirms his
	body around towards Henry's hand.

		               HENRY
		What am I looking for?
	
		               INDY
		My lucky charm.

		               HENRY
		Feels like a cigarette lighter.


CONTINUED: (3)

			INDY
		Try and burn through the ropes.

	HENRY's fingers open the lighter and ignite the flame.

			HENRY
		Very good.

	HENRY yelps as the cigarette lighter burns his hand. He drops the lighter to the
	floor. Henry kicks at the lighter, trying to reach it, but cannot. The rug starts to
	burn. INDY doesn't know it yet.

		               HENRY
		I ought to tell you something.

		               INDY
		Don't get sentimental now Dad-
		save it 'til we get out of here.

		               HENRY
		The floor's on fire! See?!

		               INDY
		        (turns and sees)
		What???

		               HENRY
		And the chair.

		               INDY
		All right, 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
	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 wichtig, mein Herr.

	DONOVAN puts on his glasses to read the message.

		               DONOVAN
		Well, we have Marcus Brody. But
		more important, we have the map.

	A RADIO OPERATOR steps forward with yet another written message for
	DONOVAN.


CONTINUED:


		               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)
		Los fahren.

	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.

CONTINUED:

			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
		Whoopsl

	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 RADIOMEN turn to see HENRY and INDY.

			WOMAN
		Schnel!!

	TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at INDY and HENRY

	INT. CASTLE ROOM - DAWN

	INDY and HENRY rotate into the room which is now an INFERNO. The carpet,
	drapes and furniture are all ablaze.

		               HENRY
		This is intolerable!

			INDY
		I'm out, Dad!


	INDY finally breaks free. And he immediately begins to untie his father.

			HENRY
		Well done, boy!

	INT. RADIO ROOM - DAY

	All FOUR RADIOMEN now have their guns drawn. They activate the lever and
	begin to rotate through the Secret Door.


	INT. CASTLE ROOM - DAY

	The RADIOMEN appear in the fireplace on the other side-but there is NO SIGN
	OF INDY AND HENRY.

	The RADIOMEN move cautiously toward the flame, shielding their faces with one
	hand, holding their guns with the other. Is it possible that INDY and HENRY
	escaped through these flames?

	Not a chance.

	They've hidden themselves UP THE CHIMNEY. And now they DROP DOWN,
	BEHIND the RADIOMEN.

	One of the RADIOMEN grabs INDY by the neck. As they struggle they fall against
	the rotating wall and disappear into the next room, leaving a frightened HENRY
	behind.

	HENRY presses against the wall, which rotates again. As he disappears into the
	next room, a DEAD NAZI RADIOMAN swivels into the room. The other NAZIS
	rush forward to him.

	INT. RADIO ROOM - DAY

	INDY picks up a BUST OF HITLER and uses it to jam the rotating wall in place,
	sealing the NAZIS inside the burning room.


	INT. CASTLE HALLWAY- DAY

	Vogel strides purposefully down the hallway. He BARKS an order, and TWO
	MORE NAZIS fall into step with him.

	INT. RADIO ROOM - DAY

	INDY grabs his whip, his leather sack and Henry's case from a table. He hands
	the case to HENRY and they begin to run.

			INDY
		Come on Dad.

	INT. SECRET ROOM - DAY

	INDY and HENRY step into an empty room.

			INDY
		Dead end.

	HENRY looks horrified by what he's been forced to do as INDY searches
	frantically for an exit.

		               INDY
		There's got to be a... a secret
		door around. A passageway or
		something.

	INDY begins to run his hands over the walls-frantic.

		               HENRY
		I find that if I just sit down
		and think...

	HENRY sits on a chair which tips back, hitting the wall behind it. The floor at
	INDY's feet suddenly begins DROPPING 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.

			INDY
		Dad! 

			HENRY
	                   ... the solution presents itself.

	HENRY follows INDY down the staircase.


	INT. CAVERN/UNDERGROUND HARBOR - DAY

	The stairway deposits Indy and Henry into an enormous WATERY CAVERN
	beneath the mountain on which the castle was built.

	A full-scale Nazi BOAT DOCK has been built inside the cavern. We see
	MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc.

		                  INDY
		Great. More boats.


CONTINUED:

	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)
		Ooofl 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 onl

		               HENRY
		What about the boat? We're not
		going on the boat?


	INT. SECRET ROOM - DAY

	VOGEL and the NAZI SOLDIERS enter the room and spot the spiral staircase
	leading below. They quickly descend the stairs.


	INT. CAVERN/UNDERGROUND HARBOR - DAY

	as VOGEL and the NAZI SOLDIERS rush to the dock. Vogel sees that a motorboat
	is missing. He orders the Nazi Soldiers into a boat.

		               VOGEL
		Sie alle ins Boat. Schnell!

	CAMERA PULLS BACK TO REVEAL a large box which suddenly BREAKS APART
	as INDY, now on a motorbike with HENRY in the sidecar, ROARS PAST THE
	DOCK, hitting TWO NAZI SOLDIERS who scream as they fall into the river.

	VOGEL screams after INDY and HENRY as they drive off.

	STRAIGHT CUT TO:

	EXT. COUNTRY ROAD - DAY

	INDY looks pleased as he drives the motorbike along the road, but HENRY
	appears worried.

	                                     INDY
		Ha!

	FOUR NAZI SOLDIERS ON MOTORCYCLES

	They chase down the road after INDY and HENRY.

	INDY turns the motorbike down a smaller, dusty tree-lined road. HENRY gasps
	as he is jostled about in the sidecar. One of the NAZI SOLDIERS gives chase along
	a higher road running in the same direction.


	EXT. ROAD BARRICADE - DAY

	INDY approaches the barricade from one direction as one of the NAZI SOLDIERS
	approaches from a higher road.

	A GUARD steps from the road station and calls to the vehicles as INDY and
	HENRY SMASH THROUGH THE BARRICADE.

		               GUARD
		Halt! Halt!

	THE NAZI SOLDIER rides his motorcycle through the other side of the barrier--
	IT SHATTERS.

	INDY AND HENRY

	INDY grabs at a FLAGPOLE as they roar past-it snaps off in his hand.

	The NAZI SOLDIER drives his motorcycle toward INDY and HENRY. He
	unshoulders his machine gun.

	INDY uses the broken flagpole as a lance and knocks the NAZI SOLDIER from his
	motorcycle.

	THE RIDERLESS MOTORCYCLE

	drives on toward the other NAZI SOLDIERS now approaching the guardhouse,
	COLLIDING WITH TWO OF THEM.

	The remaining NAZI SOLDIER maneuvers his motorcycle around his fallen
	comrades and continues the chase.


	INDY AND HENRY

	As the remaining NAZI SOLDIER rides alongside their motorbike he cocks his gun,
	preparing to fire.

	INDY quickly jams the remaining portion of the flagpole through the spokes of the
	Nazi's front wheel.

	The NAZI SOLDIER'S MOTORCYCLE FLIPS THREE TIMES, throwing him high into
	the air.


CONTINUED:

	INDY glances back and smiles, but the smile fades as he looks forward again to
	see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the
	way to BERLIN or VENEDIG.

	Indy starts down the road marked VENEDIG.

			HENRY
		Stop!

			INDY
		What?

			HENRY
		Stop! Stop!

	The motorbike skids to a stop.


		               HENRY
		You're going the wrong Way!  We
		have to get to Berlin!

			INDY
		     (pointing towards
		      Venedig)
		Brody's this way.

		               HENRY
		My Diary's in Berlin.

		               INDY
		You don't need the Diary, Dad.
		Marcus has the map.

		               HENRY
		There is more in the Diary than
		just the map.

		               INDY
		All right Dad-tell me.

		               HENRY
		Well, he who finds the Grail must
		face the final challenge.

		               INDY
		What final challenge?

		               HENRY
		Three devices of such lethal
		cunning.

		               INDY
		Booby traps?


CONTINUED: (2)

		               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
		Christl

	HENRY slaps him across the face. INDY is rocked to his foundations, not by any
	means entirely by the blow itself.

		               HENRY
		That's for blasphemy. The quest
		for the Grail is not archaeology.
		It's a race against evil.
		If it is captured by the Nazis,
		the armies of darkness will march
		all over the face of the earth.
		Do you understand me?

		               INDY
		This is an obsession Dad. I never
		understood it. Never. Neither
		did Mom.

		               HENRY
		Oh yes, she did. Only too well.
		Unfortunately she kept her illness
		from me until all I could do was
		mourn her.

	EXT. CROSSROADS - DAY

	Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES
	IN on the portion of the sign reading BERLIN.


	EXT. CITY SQUARE - BERLIN - NIGHT

	A Nazi Rally-a book-burning is in process.

	The mound of burning books is ten feet tall and growing by the minute as College
	Students and Nazi Brownshirts continually toss more books onto the fire.

	Flags, banners and standards displaying the swastika are waved rhythmically
	from side to side in a motion that echoes the mounting frenzy of the enormous
	crowd.

	INDY and HENRY walk toward the Square. Indy wears the uniform of a Nazi
	Soldier. He is now buttoning up the tunic-which happens to be several sizes
	too big.

			HENRY
		My boy, we are Pilgrims in an
		unholy land.

	Then... Indy sees something that makes him stop in his tracks. WE PAN ALONG
	HIS LINE OF SIGHT to:

	THE PODIUM

	where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as
	they oversee the rally.


	ANOTHER ANGLE

	ELSA is walking away in an open area, background of torches, vehicles, Nazi
	Officers... one of whom is now none other than INDY, coming up to her before she
	knows he is there. His voice is quiet and tough, his eyes hard.

	                                      INDY
		Fraulein Doctor. Where is it?

	Still startled, her reaction makes it clear that Indy is even now a lover in her
	thoughts.

	                                      ELSA
		How did you get here?

	                                      INDY
		Where is it? I want it.

	INDY pushes ELSA against a column and begins to search her clothing for the
	Diary. He pulls the book from Elsa's pocket.


CONTINUED:

		               ELSA
		You came back for the book?
		Whv?

		               INDY
		My father didn't want it
		incinerated.

	She understands him. It's as though he slapped her.

		               ELSA
		Is that what you think of me?
		I believe in the Grail, not the
		Swastika.

			INDY
		      (vicious)
		Yet you stood up to be counted
		with the enemy of everything the
		Grail stands for-who gives a
		damn what you think?


			ELSA
		     (hard and fast)
		You do.

	Now it's as though she'd slapped him back. His hands fly to her neck.

			INDY
		All I have to do is squeeze.

			ELSA
		All I have to do is scream.

	It's a standoff emotionally. He knows he'd never do it. she knows it too. And
	the same goes for screaming.

	INDY releases her and backs away. she looks at him with a lover's pain. He
	moves over to HENRY.

			INDY
		I've got it. Let's get the hell
		out of here.

	They move off and almost run headlong into HITLER and his entire entourage
	coming down from the Podium. 50 kids push their autograph books for Hitler's
	signature.

	HITLER pauses to sign them. Hitler looks Indy's way. They make eye contact. It
	only lasts a moment but the moment is electric.

	HITLER breaks the spell by taking the Grail Diary from him, opens it to the first
	page and signs his autograph. He hands it back and moves on.

	EXT. AIRFIELD - BERLIN, GERMANY- DAY

	Indy's motorcycle pulls up to the main terminal.


	INT. TERMINAL BUILDING - DAY

	A Plainclothes Agent distributes leaflets bearing HENRY'S PICTURE to Nazi
	Soldiers inside the terminal.

	HENRY leans in a doorway reading a newspaper as INDY enters down the stairs
	and taps Henry's shoulder.

	They begin to walk toward the boarding gates.

		               HENRY
		What did you get?

		               INDY
		I don't know. The first available
		flight out of Germany.

		               HENRY
		Good.

	INDY and HENRY show their papers to the Boarding Guards, then join the line of
	passengers, which has already begun to move toward a:


	MOORED ZEPPELIN

	Ten stories tall and longer than two football fields: Flying in the grand tradition!


	INT. THE ZEPPELIN - PASSENGER COMPARTMENT - DAY

	The Zeppelin is about to take off. INDY and HENRY make themselves comfortable
	in one of the compartments.

		               INDY
		Well, we made it.

	HENRY looks over his newspaper at INDY.

		               HENRY
		When we're airborne, with Germany
		behind us, then I'll share that
		sentiment.

		               INDY
		Relax.

	But INDY looks out the window and is suddenly concerned when he sees:
	VOGEL AND A GESTAPO AGENT
	rushing across the tarmac toward the Zeppelin.

		             VOGEL
		Nicht zumachen! Wir steigen ein!

	INDY

	sits back in his chair, looks to HENRY, now reading his newspaper.

	A STEWARD enters and sets a bowl of nuts on the table in front of INDY and
	HENRY, then continues down the aisle of passengers. Indy follows after the
	Steward. He puts his arm around the Steward's shoulder and together they walk
	up a flight of stairs.

	VOGEL

	now walks up the aisle. He approaches a MALE PASSENGER hidden behind a
	newspaper. VOGEL uses his walking stick to lower the newspaper and show the
	Passenger the leaflet with Henry's photograph.

			VOGEL
		Haben sie disen Mann gesehen?

	The Passengers at the table shake their heads in the negative. VOGEL shows the
	picture to other Passengers.

			FEMALE PASSENGER
		Nein.

			INDY (O.S.)
		Fahrscheine, bitte.

			MALE PASSENGER
		Nein.

	VOGEL turns to see:

	INDY

	WEARING THE HAT AND JACKET OF THE CHIEF STEWARD.

			MALE PASSENGER (O.S.)
		Ich habe ihn night gesehen.

			INDY
		Tickets please.

	The Passengers do not react to the request, made in English.

			INDY
		Fahrscheine meine Dame. Bitte.

	VOGEL

	approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his
	walking stick to lower the paper, revealing Henry's face.

			VOGEL
		Guten Tag, Herr Jones.

	Now INDY, still playing the role of Steward, asks VOGEL for his ticket.

			INDY
		Fahrscheine meine Herr.

			VOGEL
		Weg.

			INDY
		Tickets please.

	HENRY looks confused.

			VOGEL
		      (in German)
		Was?



	VOGEL glances up and recognizes INDY-who quickly punches Vogel in the face,
	knocking him toward the window. In another quick move, Indy TOSSES HIM OUT
	THE WINDOW onto the tarmac below.

	Shocked Passengers blink in bewilderment.

			INDY
		     (in German; with a
		      shrug)
		No ticket.

	Everyone else with a ticket quickly produces it and waves it in Indy's face.


	EXT. AIRFIELD TARMAC - DAY

	VOGEL gets to his knees as the huge Zeppelin rises into the sky above him,
	revealing an airplane attached to the belly of the airship. Vogel shakes his fist at
	the rising Zeppelin.

			VOGEL
		Du wirst nochmal boren von mir!

	INT. ZEPPELIN - DAY

	INDY and HENRY together again in their compartment.

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

CONTINUED:

			INDY
		        (meaning ELSA)
		That's not all we shared. It's
		disgraceful. You're old enough to
		be her fa---er, her grandfather!

		               HENRY
		Well, I'm as human as the next
		man.

		               INDY
		I was the next man.

		               HENRY
		       (laughs)
		Ships that pass in the night...

	HENRY opens his Diary and begins to thumb through it.

		               INDY
		Do you remember the last time we
		had a quiet drink? I had a milk
		shake.

		               HENRY
		Hmmm... What did we talk about?

		               INDY
		We didn't talk. We never talked.

		               HENRY
		And do I detect a rebuke?

		               INDY
		A regret. It was just the two of
		us, Dad. It was a lonely way to
		grow up. For you, too. If you
		had been an ordinary, average
		father like the other guys' dads,
		you'd have understood that.

		               HENRY
		Actually, I was a wonderful father.

			INDY
		When?


	HENRY looks up from his Diary.

		               HENRY
		Did I ever tell you to eat up?
		Go to bed? Wash your ears? Do
		your homework? No. I respected
		your privacy and I taught you self-
		reliance.


CONTINUED: (2)


		               INDY
		What you taught me was that I was
		less important to you than people
		who had been dead for five hundred
		years in another country. And I
		learned it so well that we've
		hardly spoken for twenty years.

		               HENRY
		You left just when you were
		becoming interesting.

		               INDY
		Dad, how can you --?

			HENRY
		        (interrupting)
		Very well. I'm here now.

	He closes the Diary and leans back in his seat.

		               HENRY
		What do you want to talk about?
		Hmmm?

	INDY stutters uncomfortably as HENRY stares at him, waiting for a response.

			INDY
		        (laughs)
		Well... I can't think of anything.

		               HENRY
		Then what are you complaining
		about?
		        (laughs)
		Look, we have work to do. When
		we get to Alexandretta we will
		face three challenges.
		        (he reads from the
		         Diary)
		"First, the breath of God. Only
		the penitent man will pass.
		Second, the Word of God, only in
		the footsteps of God will he
		proceed. Third, the Path of God,
		only in the leap from the lion's
		head will he prove his worth. "

		               INDY
		What does that mean?

			HENRY
		        (laughs)
		I don't know. We'll find out.


CONTINUED: (3)


	Sunlight falls across the table from the window. INDY reaches for the drink. The
	bar of sunlight turns like the hand of a clock over the tabletop across the drinks.

	We see INDY puzzled. Only for a moment.

		               INDY
		They're turning around. They're
		taking us back to Germany.


	INT. FRAMEWORK OF ZEPPELIN - DAY

	INDY and his father emerge from the hatchway into the belly of the Zeppelin.
	The Zeppelin's elaborate metal framework is exposed.

	INDY and HENRY hurry down the catwalk until arriving at a PAIR OF
	DOORWAYS framed into the Zeppelin's outer skin.

		               INDY
		Well, I thought it would take
		them a lot longer to figure out
		the radio was dead. Come on,
		Dad. Move!

	Then INDY opens the doors. We see plenty of blue sky and white clouds. We also
	see a small BIPLANE that is suspended from the Zeppelin by a HOOK & CRANE
	DEVICE.

		               INDY
		Come on, Dad. Come on!

	EXT. AIRPLANE - DAY

	INDY climbs into the cockpit of the Biplane as HENRY takes the tail gunner's
	seat.

			HENRY
		       (with delight)
		I didn't know you could fly a
		plane.

		               INDY
		Fly--yes. Land--no.


	INT. THE BIPLANE - DAY

	INDY turns in his seat to give HENRY the "thumbs up." Henry smiles valiantly
	and points down to the ground.

	Then they both become aware of a STRANGE SOUND in the skies behind them.
	Something between a ROAR and a WAIL.
	TWO MESSERSCHMIDT FIGHTER BOMBERS

	streak out of the clouds and race across the sky.


	INDY AND HENRY

	shrink in their seats as the MESSERSCHMIDTS (going three times as fast as they
	are) SCREAM past on either side.

		               INDY
		Dad, you're gonna have to use the
		machine gun. Get it ready.

	HENRY turns and grips the MOUNTED MACHINE GUN with a perplexed
	expression.

			INDY
		        (turning; pointing)
		Eleven o'clock!

	HENRY pulls out his watch.

		               INDY
		Dad-eleven o'clock!!

		               HENRY
		What happens at eleven o'clock?

	INDY uses his arm to demonstrate that he's referring to a direction and not a
	time.

			INDY
		        (frustrated)
		Twelve-eleven-ten. Eleven
		o'clock. Fire!

	HENRY does-and the EXPLODING GUN nearly shakes him out of his seat.

	Indy's slow speed and small size works to his advantage. The speeding
	Messerschmidts continually overshoot him, WHIZZING past in a blur-making
	wide turns miles away in the sky.

	HENRY has one of the Messerschmidts in his sight. He pulls back on the trigger
	--RATTA-A-TAT-TAT!  RATTA-A-TAT-TAT!

	The Messerschmidt banks to the left, but HENRY keeps it in his gun sight. Henry
	swings the gun around, inadvertently CUTTING HIS OWN REAR STABILIZER IN
	HALF.

		               INDY
		Dad, are we hit?!

			HENRY
		More or less.

CONTINUED:


			HENRY
		Son, I'm sorry. They got us.

	INDY looks back at the missing tail section, then at his father.

	The plane begins to go down. INDY struggles to control its descent.

			INDY
		Hang on, Dads We're going in!

	HENRY slumps down fearfully in his seat.


	EXT. A FIELD - DAY

	The wheels of the plane touch down. OUT OF CONTROL, the PLANE SKIDS and
	CRASHES first into a corral of goats and then into the farmhouse beyond sending
	a cloud of dust into the air.

	As INDY pulls himself from the cockpit:

			HENRY
		        (sarcastic)
		Nice landing.

			INDY
		Thanks.


	Suddenly, INDY's attention is directed to:


	TWO SCREAMING MESSERSCHMIDTS

	coming in low. Guns BLAZING.

	As BULLETS EXPLODE around them, INDY and HENRY jump over a stone
	barricade. Henry, frightened, grabs at Indy.

		               HENRY
		Those people are trying to kill
		us!

			INDY
		I know, Dadl

			HENRY
		It's a new experience for me.

			INDY
		It happens to me all the time.


	EXT. ROAD - DAY

	An OLD MAN kneels at his car repairing a rear tire.

	THE MAN

	turns to the wheel, the hubcap in his hands. Suddenly the wheel moves forward,
	startling the Old Man.


	INT. THE CAR - TRAVELING - DAY

	INDY has the throttle down, both hands tightly gripping the steering wheel.
	HENRY is a very nervous passenger.

	INDY sees a LOW-FLYING MESSERSCHMIDT coming up behind him in the SIDE
	MIRROR.

	As the Messerschmidt ROARS by overhead, BULLETS EXPLODE around them,
	narrowly missing the car.

		               HENRY
		This is intolerable!

		               INDY
		This could be close.


	EXT. THE ROAD - LONG SHOT - DAY

	The car races toward a TUNNEL that cuts through a steep MOUNTAINSIDE.

	The Messerschmidt bears down on Indy's car, machine guns CHATTERING.

	The car ENTERS the tunnel. The Messerschmidt cannot pull up in time. It
	SLAMS into the MOUTH OF THE TUNNEL, SHEARING OFF its WINGS.


	INT. THE TUNNEL - DAY

	The FLAMING FUSELAGE continues to ROCKET through the tunnel like a bullet
	down the muzzle of a gun. SPARKS fly as its belly SCRAPES against the
	pavement and the sides of the tunnel.


	INT. THE CAR - DAY

	Indy and Henry look over their shoulders to see this wingless BALL OF FIRE
	gaining on them; about to overtake them.

			HENRY
		Faster, boy --faster!


	EXT. THE ROAD - OTHER SIDE OF THE MOUNTAIN - DAY

	The car exits the tunnel at top speed and veers off the
	road. The flaming Messerschmidt fuselage shoots past and
	EXPLODES in the middle of the road.

	INT. THE CAR - DAY

	As the car emerges safely from the flames, Henry wipes the sweat from his brow.

			HENRY
		Well, they don't come any closer
		than that!

	HENRY looks out the windshield and sees the second Messerschmidt SCREAMING
	out of the sky toward them.


	EXT. THE ROAD - LONG SHOT - DAY

	The MESSERSCHMIDT drops its single UNDER-FUSELAGE BOMB. It EXPLODES in
	the road directly ahead of the car, missing it by only several feet.

	THE CAR

	FALLS INTO THE HOLE made by the bomb.

	DISSOLVE TO:


	EXT. ROAD - DAY

	INDY climbs out of the car, still in the bomb crater. He turns back to HENRY.

		               INDY
		Dad, he's coming back.

	INDY and HENRY run down the mountainside to:


	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.


	THE MESSERSCHMIDT

	swings around and is coming in for another pass.


	INDY AND HENRY

	exchange a wordless glance. They don't even think about running: there is no
	place to run to. HENRY hands his case to INDY.

	Holding his umbrella, HENRY suddenly spins around and runs screaming and
	shouting into A FLOCK OF SEA GULLS...

	THE SEA GULLS take to the wing in flight. Thousands of them.

	INDY

	Bullets kick up sand leading up to him... then-

	THE MESSERSCHMIDT AND THE SEA GULLS meet in midair. MASSACRE! Sea
	gulls are shredded by the Messerschmidt's whirling propeller blades into a
	FEATHERY WHITE PUREE that SPLATTERS against the cockpit and CLOGS THE
	ENGINE.

	ENGINE SPUTTERS... STALLS... Silence. The Messerschmidt falls from the skies
	and EXPLODES in an OFF CAMERA SOUND EFFECT.

	INDY stands as before-stunned-a statue.

	HENRY walks back to INDY.

		               HENRY
		I suddenly remembered Charlemagne.
		"Let my armies be the rocks and the
		trees and the birds in the sky."
		       (he chuckles)

	INDY wears a proud expression as he watches HENRY walk down the beach.


	EXT. MOSQUE - DAY

	FADE IN TITLE: "REPUBLIC OF HATAY"

	FADE OUT TITLE.


	EXT. COURTYARD OF SULTAN'S PALACE - ISKENDERUN - DAY

	The SULTAN is seated in his royal chair, flanked by WALTER DONOVAN and
	VOGEL and surrounded by his minions.

	DONOVAN holds the missing Grail Diary pages.

		               DONOVAN
		These pages are taken from Professor
		Jones' diary, Your Highness. And
		they include a map that pinpoints
		the exact location of the Grail.

	DONOVAN and the SULTAN walk together through an archway.

		               DONOVAN
		As you can see, the Grail is all
		but in our hands.
		      (beat)
		However, Your Highness, we
		would not think of crossing your
		soil without your permission,
		nor of removing the Grail from
		your borders without suitable
		compensation.


CONTINUED:


		               SULTAN
		What have you brought?

		               VOGEL
		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.

		               DONOVAN
		Precious valuables, Your Highness,
		"donated" by some of the finest
		families in all of Germany.

	The SULTAN gets up from his chair and walks toward the trunk. He goes right
	past it and begins to inspect the Nazi staff car parked nearby.

		               SULTAN
		Rolls-Royce Phantom Two. 4.3
		litre, 30 horsepower, six cylinder
		engine, with Stromberg Downdraft
		carburetor.

	The SULTAN points to the engine under the hood.

		               SULTAN
		Can go from zero to 100 kilometres
		an hour in 12.5 seconds. And I
		even like the color.

			DONOVAN
		       (after a beat)
		The keys are in the ignition,
		Your Highness.

		               SULTAN
		You shall have camels, horses, an
		armed escort, provisions, desert
		vehicles-and tanksl

			DONOVAN
		You're welcome.

	Somebody else is also taking note...and we see that it is KAZIM, the spy at the
	court.

	ELSA is revealed coming down the stairs toward DONOVAN and VOGEL.

	                                     ELSA
		We have no time to lose. Indiana
		Jones and his father have escaped.

	EXT. ISKENDERUN STREET - DAY

	SALLAH drives his car through the crowded streets, INDY beside him and HENRY
	in the back seat.

		               SALLAH
		We go this way.

	SALLAH waves his arms and shouts to a CAMEL HERDER.

		               SALLAH
		Get that camel out of the way!

			INDY
		What happened to Marcus, Sallah?

			SALLAH
		      (overlapping)
		Ah, they set out across the desert
		this afternoon. I believe they
		took Mister Brody with them.

	HENRY removes his hat and hits INDY with it.

		               HENRY
		Now they have the map! And in
		this sort of race, there's no
		silver medal for finishing second.


	EXT. DESERT VALLEY - DAY

Elsa and Donovan's party-consisting of a SUPPLY TRUCK, OPEN CAR, 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.

		               DONOVAN
		Care to wet your whistle, Marcus?

			BRODY
		I'd rather spit in your face.
		But as I haven't got any spit...

	VOGEL snatches the canteen away from BRODY before he can drink.

		               VOGEL
		We must be within three or four
		miles. Otherwise we are off the
		map.


CONTINUED:


	He hands the map to ELSA, drinks from the canteen, and hands that back to
	DONOVAN.

		               DONOVAN
		Well, Marcus, we are on the brink
		of the recovery of the greatest
		artifact in the history of mankind.

		               BRODY
		You're meddling with powers you
		cannot possibly comprehend.

	HENRY and SALLAH are at INDY's side as he views Donovan's party in the
	distance. Parked nearby is a CAR containing all of their supplies.

		               INDY
		Ah, I see Brody. He seems okay.
		They've got a tank. Six-pound
		gun.

	Then Donovan notices a reflection from the hills.

	What he sees is:


	THE SUN REFLECTING OFF THE LENSES OF INDY'S BINOCULARS

			HENRY
		What do you think you're doing?!
		Get down!

		               INDY
		Dad, we're well out of range.

	At that moment the tank FIRES A SHELL in their direction.

	It WHISTLES overhead and BLOWS UP THE PARKED CAR. INDY, HENRY and
	SALLAH cover their heads as automobile fragments rain down upon them.

		               SALLAH
		That car belonged to my brother-
		in-law.

			INDY
		      (gesturing to the
		       others)
		Come on--come on!


	EXT. DESERT VALLEY - DAY

		               VOGEL
		I can't see anyone up there.


CONTINUED:

		               DONOVAN
		Maybe it wasn't even Jones.

		               ELSA
		No. It's him all right. He's
		here somewhere.

			DONOVAN
		      (to VOGEL)
		Put Brody in the tank.

	KAZIM peers over a rock, pointing his rifle at the group below.

			DONOVAN
		      (to ELSA)
		Well, in this sun, without
		transportation, they're as good
		as dead.

	BULLETS EXPLODE off the vehicles and cliff. DONOVAN and ELSA duck.

	A NAZI SOLDIER falls from the tank as BULLETS EXPLODE around him.

	KAZIM'S MEN, BRETHREN OF THE CRUCIFORM SWORD, continue to FIRE. ELSA
	and DONOVAN take cover beside the parked car.

		               DONOVAN
		It's Jones, all right.


	ANGLE ON INDY'S GROUP

	INDY and HENRY, followed by SALLAH, take cover behind a rock to watch
	Kazim's Men and the Nazi Troops exchanging fire below them.

		               HENRY
		Now, who are all these people?

		               INDY
		Who cares? As long as they're
		keeping Donovan busy. Dad, you
		stay here while Sallah and I
		organize some transportation.

	CUT BACK to the action. The BRETHREN are firing at the
	DONOVAN party and are being fired on by the Donovan party.

	TWO NAZI SOLDIERS throw HAND GRENADES into the cliffs. They EXPLODE,
	killing one of Kazim's Brethren.

	The battle continues-a fierce exchange of GUNSHOTS, GRENADES and
	MACHINE GUN FIRE with losses on both sides.

	INDY AND SALLAH

	crouch behind a rock watching as men on both sides of the battle run amongst
	camels and horses.

			INDY
		I'm going after those horses.

			SALLAH
		I'll take the camels.

			INDY
		I don't need camels.

			SALLAH
		But, Indy-

			INDY
		No camels!


	DONOVAN AND ELSA

	They look down at KAZIM who lies mortally wounded on the ground at their feet.
	ELSA looks saddened.

			DONOVAN
		      (re KAZIM)
		Who is he?

		               KAZIM
		A messenger from God. For the
		unrighteous, the Cup of Life
		holds everlasting damnation.

	KAZIM dies.


	INDY

	leaps atop a TURKISH SOLDIER on horseback, pulling the man and the horse to
	the ground. A SECOND TURK comes to assist his comrade; INDY mounts the
	horse, knocking both Turks to the ground.


	INT. THE TANK - DAY

	BRODY has been left alone in the tank. HENRY climbs down into the tank and
	taps Brody on the shoulder, startling him.

		               HENRY
		Marcus!

		               BRODY
		Arghhh! Oh!


CONTINUED:

	They exchange an old University Club toast, swinging their arms at one another
	and missing. Then HENRY flaps his arms and tugs his ears.

			HENRY
		"Genius of the Restoration-"

	Now BRODY tugs his ears, flaps his arms and touches his head.

			BRODY
		"-aid our own resuscitation!"

	They exchange a handshake.

			BRODY
		Henryl What are you doing here?!

			HENRY
		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.

			VOGEL
		       (re HENRY)
		Search him.

	The NAZI SOLDIERS point their guns at HENRY and BRODY.

			VOGEL
		       (to HENRY)
		What is in this book? That
		miserable little Diary of yours!

	VOGEL removes a glove and slaps HENRY with it.

			VOGEL
		Here's the map. The book is
		useless, and yet you come all the
		way back to Berlin to get it.
		Why? 

	He slaps HENRY again.

			VOGEL
		What are you hiding?

	Another slap.

			VOGEL
		What does the Diary tell you that
		it doesn't tell us?!

	VOGEL reaches out to slap HENRY yet again, but Henry grabs his arm, stopping
	him.


CONTINUED: (2)

		               HENRY
		It tells me that goose-stepping
		morons like yourself should try
		reading books instead of burning
		them.

	DONOVAN appears at the turret cover.

		               DONOVAN
		Colonel? Jones is getting away.

		               VOGEL
		        (indicating HENRY)
		I think not, Herr Donovan.


	EXT. TANK - DAY

		               DONOVAN
		Not that Jones-the other Jones!

		               NAZI SOLDIER
		Herr Colonel!


	EXT. DESERT VALLEY - DAY

	INDY rides away on one horse, leading three others as he goes.

	SALLAH approaches on horseback leading five camels.

		               INDY
		Sallah, I said no camels! That's
		five camels. Can't you Count?

		               SALLAH
		Compensation for my brother-in-
		law's car. Indy, your father and
		Brody-

		               INDY
		Where's my father?

		               SALLAH
		They have them. In the belly of
		that steel beast.

	INDY and SALLAH charge forward leading their horses and camels.

	Then VOGEL commands the Tank Driver to give chase.


	INT. TANK - DAY

	VOGEL shouts to the Tank Driver.

			VOGEL
		Fire!


	EXT. DESERT VALLEY - DAY


	The tank starts firing at INDY on horseback. Indy zigs and zags as the tank fires
	two rounds at Indy, barely missing him. Each time Indy emerges from the plume
	of desert dust, hanging like a toadstool in the air.


	INT. TANK- DAY

	HENRY and BRODY hold their hands over their ears.


	EXT. DESERT VALLEY - DAY

	DONOVAN shouts orders to the Troops. INDY is followed by various vehicles in
	the caravan.

	INDY notices that the side gun that is now firing at him can only pivot so far.
	Indy makes a mental note of this and while riding right in front of the tank,
	turns his horse completely around, 180 degrees. The tank starts to follow.


	POV THROUGH THE VIEWING PORT

	VOGEL watches the ground turning 180 degrees as he tries to catch up with
	INDY.

	Cleverly, INDY has turned the tank directly into a head-on
	collision course with some of the pursuit vehicles and a Kubelwagon.

	The tank and the Kubelwagon smash into each other, the German military sedan
	becoming lodged between the treads while blocking the front view and any use of
	the six-pound cannon on the turret.

	INDY, meanwhile, leans down on his horse, scooping up a stone from the wall of
	a culvert. He reigns his horse, paralleling the tank, as everyone scurries about
	inside, looking through viewing ports, trying to figure out exactly where Indy is.


	INT. TANK- DAY

	VOGEL shouts to the Gunner.

	                                      VOGEL
		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.

	                              	NAZI SOLDIER
		Keine Bewegung.

	He points his gun at HENRY and BRODY.

			NAZI SOLDIER
		Keine Bewegung.

	The smaller gun, blocked by the rocks, BACKFIRES, blowing the breech out into
	the face of the gunner, killing him and filling the tank with smoke.

	BRODY, HENRY, VOGEL and the driver begin to choke.


	EXT. DESERT VALLEY - DAY

	INDY rides his horse alongside the tank.

			INDY
		Dad!  Dad!  Dad!


	INT. TANK - DAY

	HENRY and BRODY still held at gunpoint by the NAZI SOLDIER.

			HENRY
		Junior? Junior? Junior!

	The NAZI SOLDIER swings his fist, knocking HENRY off his seat.


	EXT. DESERT VALLEY - DAY

	Smoke pours from the top of the tank as the turret pops open. VOGEL emerges
	and aims his gun at INDY.

	INDY and VOGEL EXCHANGE SHOTS as Indy chases the tank on his horse.

	INDY pulls the trigger again-his gun is empty! Indy immediately takes the
	high trail.

	Now INDY is above the tank twelve feet on a paralleling trail. He moves out of
	the saddle and leaps from the speeding horse onto the trundling tank.


	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.

					CUT TO:

	SIDE ANGLE

	One of the two troop carriers is paralleling the tank and like pirates boarding a
	galleon, Nazi Soldiers leap over the treads and are swarming all over INDY.

	INDY is struggling with a German's Luger.

	INDY presses the luger against his assailant and forces the Nazi to squeeze off a
	shot into himself. The bullet not only passes through the Nazi, but passes
	through two other Nazis standing directly behind him on the crowded tank top
	and three bodies fall away, leaving Indy to stare at the gun in disbelief.
	
	Another Soldier leaps from the truck onto the tank and raises his knife as he
	grabs INDY. They struggle and fall.

	INDY sits up to see VOGEL standing over him. Vogel wraps a chain around Indy's
	neck.


	INT. TANK- DAY

	INDY appears at the entrance, the chain still wrapped about his neck and held by
	VOGEL.

			INDY
		Dad!

	He drops the gun down into the tank.

			INDY
		Dad! Dadl Get it!

	VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around
	his neck.


	EXT. TANK - DAY

	A NAZI SOLDIER approaches.

	INDY hits him, knocking him onto the tank tread. The Nazi Soldier screams as he
	is dragged under the rolling tank.

	Now INDY and VOGEL struggle with one another, the chain still wrapped around
	Indy's neck.


	INT. TANK- DAY

	THROUGH THE PERISCOPE

	We SEE INDY and VOGEL struggling atop the tank. Indy lifts his feet, lunging
	toward the periscope and pulling Vogel with him.

	INDY's face is pressed up against the lens of the periscope.


	INT. TANK - DAY

	The NAZI SOLDIER looking through the periscope pulls away from it, smiles, then
	turns back to it.


	THROUGH THE PERISCOPE

	INDY's face, still pressed against the lens.

	VOGEL pulls INDY from the periscope.


	INT. TANK - DAY

	The NAZI SOLDIER pulls away from the periscope again.

			PERISCOPE SOLDIER
		        (laughing)
		Diese Amerikane. Sie Kampfen wie
		Weiber.

	EXT. TANK - DAY

	INDY now lies on top of VOGEL. He kicks out at the periscope which spins
	around.


	INT. TANK - DAY

	The periscope handle spins around and hits the PERISCOPE SOLDIER in the head.
	He falls against the NAZI SOLDIER guarding HENRY and BRODY.

	HENRY pushes the NAZI SOLDIER aside and grabs the gun. The PERISCOPE
	SOLDIER struggles to take the gun from Henry.


	EXT. TANK- DAY

	VOGEL holds the chain around INDY's neck, pushing his head downward toward
	the revolving tread.


	INT. TANK - DAY

	The PERISCOPE SOLDIER holds HENRY from behind, forcing the gun toward him.
	Henry reaches down and pulls a fountain pen from his coat pocket.



CONTINUED:

	As the PERISCOPE SOLDIER pulls on HENRY's face, Henry lifts the fountain pen
	and squirts ink into his face. The Soldier falls, his head smashing into the wall of
	the tank. At the same time, Henry loses his grip on the gun which falls to the
	floor.


			BRODY
		Henry, the pen-

			HENRY
		What?


		               BRODY
		But don't you see? The pen is
		mightier than the sword.


	EXT. DESERT VALLEY - DAY

	A troop truck pulls near the tank.


	INT. TANK- DAY

	HENRY fires the TANK GUN at the troop truck. SOLDIERS FLY INTO THE AIR.
	The TROOP TRUCK flips over and EXPLODES.


	EXT. TANK - DAY

	The EXPLOSION knocks INDY off the tank and onto the tread. He grabs onto the
	shredded gun protruding from the side of the tank.

	VOGEL looks down at INDY and smiles smugly.

	The tank is approaching a cliff wall. As INDY tries to secure footing, VOGEL
	steps on his hands.


	INT. TANK - DAY

	BRODY looks at HENRY.

			BRODY
		Look what you didl

		               HENRY
		It's war.


	EXT. TANK - DAY

	VOGEL now swings a shovel at INDY, smashing at his hands.

	BRODY climbs up out of the tank, followed by HENRY.



CONTINUED:

			HENRY
		Didn't I tell you it was a rescue,
		huh?

	A NAZI SOLDIER appears and pulls HENRY down.

	VOGEL raises the shovel above his head and brings it crashing down on INDY,
	still hanging from the protruding gun.

	INDY loses his grip and now hangs from the gun suspended only by the strap of
	his leather pouch. He screams as the gun scrapes against the cliff wall, sending
	stones tumbling down over him.


	INT. TANK - DAY

	The NAZI SOLDIER knocks HENRY into a pile of boxes, then punches him in the
	face.

	As the SOLDIER raises the gun to HENRY's face, BRODY hits him over the head
	with a canister. The Soldier falls, discharging the gun into the air.

	The BULLET RICOCHETS around the tank, past the Tank Driver who is
	manipulating levers at the control panel. SPARKS FLY; then the BULLET PINGS
	AGAINST THE WINDOW and RICOCHETS ONCE MORE, this time passing THROUGH
	THE TANK DRIVER'S HAT. Blood flows from under the hat as the Tank Driver
	slumps forward, his body depressing the levers.


	EXT. TANK - DAY

	INDY still hangs from the strap of his leather pouch as the tank swerves, barely
	missing the rocks and causing VOGEL to fall. Indy finally manages to pull
	himself atop the tank once more where he punches Vogel over the side, then
	peers down to HENRY, still inside the tank.

			INDY
		Dad?

			HENRY
		You call this archaeology?

			INDY
		Get out of there, Dad!

	INDY pulls HENRY and BRODY from the tank. VOGEL pulls himself back atop the
	tank armed again with the shovel which he swings at Indy, who ducks and grabs
	Vogel's arm.

			BRODY
		How does one get off this thing?

	As INDY winds up to punch VOGEL he catches BRODY in the face on the
	backswing, then completes the movement and knocks Vogel down.

	INT. TANK - DAY

	Vogel's hat sails in and falls to the floor.


	EXT. TANK- DAY

			HENRY
		        (to INDY)
		Where's Marcus?!

	Before INDY can answer, VOGEL is up and swinging with the shovel. Indy ducks
	but the shovel catches HENRY sending him over the side and onto the moving
	tread.

	INDY grabs his whip, knocking VOGEL aside.

	As HENRY speeds toward the front of the tank to certain doom, INDY, with
	lightning speed, whips out his bullwhip, wrapping the end of the whip around
	Henry's right ankle.

			INDY
		Dad!

	HENRY is bouncing across the treads like a rag-doll. INDY struggles to hold onto
	the end of the bullwhip.

			INDY
		Hang on, Dad!

	SALLAH draws his horse next to the treads. He tips his fez to HENEY.

		               SALLAH
		Father of Indy-give me your
		hand!

	VOGEL now punches INDY in the back and grabs him around the neck. Still,
	INDY refuses to let go of the whip.

			INDY
		Sallah! Get Dadl

	SALLAH reaches out to HENRY.

		               SALLAH
		Give me your hand!

	SALLAH manages to hold onto HENRY as he brings his horse to a stop just at the
	cliff's edge.

	INDY finally frees himself of VOGEL's grasp, twisting his arm painfully away
	from Indy's neck, then landing a hard blow to Vogel's head.


	INDY

	looks down at the fast-approaching cliff, his face filled with horror.  We SEE his
	HAT BLOW OFF and sail over the cliff's edge.

	VOGEL

	He sees his life passing before him, he screams at the top
	of his lungs!


	LONG SHOT

	The tank trundles over the cliff and PLUMMETS TO THE BOTTOM.


	EXT. CLIFF EDGE - DAY

	HENRY, BRODY and SALLAH look down at the flaming wreckage
	of the tank.

			HENRY
		Junior?!

	We HEAR the TANK EXPLODING.

			SALLAH
		Indy?!


		               HENRY
		Oh, God. I've lost him. And I
		never told him anything. I just
		wasn't ready, Marcus. Five
		minutes would have been enough.

	And then... looking dazed and bewildered, INDY STAGGERS UP BEHIND THEM.
	He joins the others at the edge of the cliff, looking down at the wreckage below
	with a bewildered expression.

	Finally, Henry becomes aware of his presence.

	HENRY says nothing. He just looks at Indy, overcome with emotion. Finally, he
	throws his arms around him.

			HENRY
		I thought I'd lost you, boy.

	After a moment, Indy's head clears. And he becomes aware of his father's
	embrace. Something he hasn't felt in a long time-if ever. And it touches him.
	He hugs his father back.

		               INDY
		I thought you had too, sir.

	BRODY and SALLAH are moved by this sudden reconciliation.

			HENRY
		Well-well done! Come on!

	HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff
	edge.



CONTINUED:

	Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to
	see INDY still sitting on the ground.

		               HENRY
		Let's go then. why are you
		sitting there resting when we're
		so near the end? Come on-
		let's go!

	HENRY turns and walks toward the horse with BRODY and SALLAH. Suddenly
	the FEDORA, borne on the wind, BLOWS INTO SCENE and lands at INDY's feet.


	EXT. MOUNTAIN ROAD - DAY

	DONOVAN peers through binoculars to see the CANYON OF THE CRESCENT
	MOON. He lowers the binoculars and turns to ELSA.

			DONOVAN
		The Canyon of the Crescent Moon.

	Now ELSA peers through the binoculars.


	EXT. SECRET CANYON - DAY

	INDY, HENRY, SALLAH and BRODY ride into the canyon. They hear a WAILING
	WIND. Feel the biting cold. And sense the danger.

	Now we turn a corner and they see the hidden city. Its spectacular Grecian
	facade is carved directly into the rock. It is a stunning sight. The vehicles,
	camels and horses belonging to DONOVAN's party have been left at the entrance.

					CUT TO:


	INT. TEMPLE - DAY

	INDY, SALLAH, HENRY AND BRODY creep forward to see:

	THE TERRIFIED FACE OF A TURKISH SOLDIER

	He's walking slowly. Eyes darting. Muttering a prayer under his breath.
	What's going on here?


	FULL SHOT - INSIDE THE MOUNTAIN TEMPLE

	THE TURK stands alone in the center of the Temple. It is very dark. GIANT
	COLUMNS define the Temple's perimeter.

	ELSA AND DONOVAN

	watch him from a safe distance.

	THE TURK

	is about to approach the spot where a TURKISH SOLDIER LIES DEAD. We don't
	notice it right away, but the dead soldier has been DECAPITATED.

	THE TURK stops-only one step away from the beheaded soldier.


	THE TURK

	takes one more step-a fatal step, it turns out. We hear a ROAR-A WHOOSH
	of air-but we SEE NOTHING-except THE TURK'S HEAD FLY OFF AND
	BOUNCE across the ground.


	INDY, HENRY, BRODY AND SALLAH

	react to the sight.


	ELSA AND DONOVAN

	She looks at him, horrified.


			DONOVAN
		Helmut, another volunteer!

	TWO NAZI SOLDIERS force another Turk forward. Suddenly...


	The SOUND OF RIFLE BOLTS being cocked. Everyone turns to discover INDY and
	his party surrounded by NAZI SOLDIERS. Indy's group are relieved of their guns.


	FULL SHOT - THE TEMPLE

	INDY, HENRY, BRODY and SALLAH are brought forward by the Nazi Soldiers.


	ELSA's eyes light up: glad Indy's not dead. she controls herself and continues
	more coldly.

			ELSA
		       (to INDY)
		I never expected to see you again.

		                INDY
		I'm like a bad penny. I always
		turn up.

		                DONOVAN
		Step back now, Doctor Schneider.
		Give Doctor Jones some room. He's
		going to recover the Grail for us.



CONTINUED:

	INDY laughs.

		               DONOVAN
		Impossible? What do you say,
		Jones? Ready to go down in
		history?

			INDY
		As what? A Nazi stooge like you?

			DONOVAN
		       (scornfully)
		Nazis?!-Is that the limit of
		your vision?! The Nazis want to
		write themselves into the Grail
		legend and take on the world.
		Well, they're welcome. But I want
		the Grail itself. The cup that
		gives everlasting life.
		Hitler can have the world, but
		he can't take it with him. I'm
		going to be drinking my own health
		when he's gone the way of the
		Dodo.
		      (he draws his
		       pistol)
		The Grail is mine, and you're
		going to get it for me.

			INDY
		Shooting me won't get you anywhere.

		               DONOVAN
		You know something, Doctor Jones?...
		you're absolutely right.

	Then DONOVAN shifts his aim, just a bit, and SHOOTS HENRY. The bullet enters
	his side below the ribs.

			INDY
		Dad?!

			HENRY
		Junior. . .

			ELSA
		No!!

			DONOVAN
		     ( to ELSA)
		Get back!

	HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to
	his assistance.



CONTINUED: (2)


	INDY spins toward DONOVAN with murder in his eyes.

	DONOVAN points the gun at him:

			DONOVAN
		You can't save him when you're
		dead.

	INDY hesitates.

		               DONOVAN
		The healing power of the Grail is
		the only thing that can save your
		father now. It's time to ask yourself
		what you believe.

	INDY takes in the situation. The two decapitated men lie a few yards in front of
	him. He walks to the entranceway, flanked by two stone lions. We get silent
	reaction shots-ELSA-SALLAH-BRODY-DONOVAN-registering their
	different emotions

	INDY proceeds forward. His hands open the Grail Diary.

		               INDY
		"The Breath of God... Only the
		penitent man will pass. Only
		the penitent man will pass. . . "

	INDY takes a few steps forward.

		               INDY
		"The penitent man will pass.
		The penitent man..."

	INDY stops. He is about to reach the spot where two men have just died.

	HENRY looks at INDY. Indy looks at Henry.

			HENRY
		        (in a raspy voice)
		"Only the penitent man will pass.
		Only the penitent man will pass."

			INDY
		        (quietly to himself)
		The penitent man will pass. The
		penitent... the penitent. The
		penitent man...

			HENRY
		The penitent man. The penitent...

	INDY takes a step forward through the cobwebs.



CONTINUED: (3)


			INDY
		The penitent man is humble before
		God.

			HENRY
		Penitent. Penitent...

			INDY
		The penitent man is humble...

	The cobwebs begin to move....

			INDY
		He kneels before God.
		       (to himself; suddenly)
		Kneel!!

	We hear the awful rush of air-WHOOSH! Because INDY is in the act of
	kneeling, only his hat is knocked off and his hair flies in his face.

	Instinctively he ROLLS FORWARD on the ground out of harm's way and looks up.
	From his new position he is able to see what is causing all the trouble: A RAZOR
	SHARP TRIPLE PENDULUM.

	INDY gets cautiously to his feet. Now he sees the pendulum has been guarding a
	SMALL CORRIDOR which turns a corner to the left fifty yards ahead. Wooden
	wheels turn-the mechanism controlling the spinning blades. INDY loops a rope
	around the wheels, jamming the mechanism and stopping the blades in mid-swipe.

			INDY
		I'm through!


	ELSA AND DONOVAN

			DONOVAN
		We're through!

	BRODY and SALLAH smile, relieved.

			SALLAH
		      (to HENRY)
		He's all right.

	HENRY shakes his head.

			HENRY
		No.

	BACK TO INDY

	holding the Grail Diary, reading once again, his fedora now covered in cobwebs.


			INDY
		"The second challenge is the
		 Word of God. Only in the
		footsteps of God will he proceed."
		       (to himself)
		The Word of God... The Word of...


	INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is
	engraved with a letter.

			INDY
		"Proceed in the footsteps of the
		Word."



	HENRY

	lifts his head painfully.


			HENRY
		The Word of God...



			BRODY
		No, Henry. Try not to talk.


			HENRY
		The Name of God...

	BACK TO INDY

	as he studies the cobblestones before him.


			INDY
		The Name of God... Jehovahl



	HENRY

	still lies in SALLAH's arms. BRODY leans over him.


			HENRY
		But in the Latin alphabet,
		"Jehovah" begins with an "I."


	BACK TO INDY


			INDY
		"J."

	INDY takes a step and immediately a stone breaks away and INDY falls up to his
	hip -- his leg stuck through the hold where the stone once was.

	HENRY

	reacts.


		               HENRY
		Oh dear!

	BACK TO INDY

	who grunts as he pulls himself from the hole, the v-rail Diary in his hand.

		               INDY
		In Latin, "Jehovah" starts with
		an "I." "I"...

	Now we SEE each letter on the stones as INDY carefully walks forward.
	DONOVAN and ELSA follow in his footsteps.

			INDY
		"E"... "H"... "O"... "V"... "A"...


	INDY sighs with relief and steps forward to:


	THE GREAT ABYSS

	INDY stands in a small opening, just small enough for his shoulders to squeeze
	through and beyond that a 100 foot drop to the rocks below and 100 feet across,
	nothing but a rough, stony cliff wall.


	BACK TO INDY

	He can see nowhere to cross. He looks again to the v-rail Diary.

		               INDY
		"The path of flood. Only in the
		leap from the lion's head will
		he prove his worth."

	INDY looks around and then he notices that inscribed into
	the rock above his head is the head of a lion.

			INDY
		Impossiblel Nobody can jump this!

	INDY looks down into the Diary and tortures over what it
	is asking him to do.


	BRODY

	rushes forward and calls to INDY.

			BRODY
		Indy... Indy, you must hurry!!
		Come quickly!

	BACK TO INDY

			INDY
		     (realizing)
		It's... a leap of faith. Oh,
		God.

	HENRY

	calls to his son.


		               HENRY
		You must believe, boy. you must...
		believe.

	We see him do it. We see him leap into space. We see that he is in midair. We
	see that he is not going to make it. His hands claw for the opposite wall but he is
	going to fall 100 feet to his death. And then-he doesn't! He appears to be held
	up by thin air as he lands on his hands and knees.

	INDY looks around and down and now he figures it out.

	Ingeniously, the First Crusaders have painted a pathway to align with the rocks
	100 feet below. It is a perfect forced perspective image of the rocks below with
	lines from a hundred feet continuing six feet below his sight line where his feet
	are stepping.

	It's painted to blend in with the rocks below. Highly evolved camouflage... in
	perfect alignment with everything we see below.

	When INDY leans out to the left or right... that's when he sees the perfect
	alignment shift that betrays the trick. Indy throws some dirt on the bridge and
	he crosses it like the first Crusader from the painting over Henry's desk.

	Indy crawls through a small opening in the side of the cliff and enters a Temple.

	A vast array of chalices is displayed on the altar of this small Temple. Perhaps a
	hundred or more. Many sizes, many shapes, some gold, some silver, but they all
	glitter and shine.

	INDY is mesmerized by their number and their beauty. And then he realizes that
	a man is praying at the altarl

	He has his back turned to INDY... but he is dressed as what he is! A GRAIL
	KNIGHT.


	CLOSE ON THE GRAIL KNIGHT

	But we can't see the Grail Knight's face. The visor of his helmet is down.
	Perhaps we see his eyes.



CONTINUED:

	When the GRAIL KNIGHT sees INDY he gets wearily to his feet and, surprisingly,
	prepares to give combat...taking up his two-handed broadsword...he comes at
	Indy, attempting to swing the huge, heavy sword but finding the effort almost too
	much. Indy dodges two or three clumsy swings of the sword, making no attempt
	to fight back...until the Knight, exhausted, drops the sword and collapses. Indy
	approaches him and raises the visor and we see that the Knight is a very ancient
	man.

		               KNIGHT
		I knew you'd come, but my strength
		has left me.

		               INDY
		Who are you?

		               KNIGHT
		The last of three brothers who
		swore an oath to find the Grail
		and to guard it.

		               INDY
		That was seven hundred years ago.

		               KNIGHT
		A long time to wait.

	The GRAIL KNIGHT reaches forward and fingers Indy's clothing.

		               KNIGHT
		You're strangely dressed...for a
		knight.

		               INDY
		I'm not exactly...a knight. What
		do you mean?

		               KNIGHT
		I was chosen because I was the
		bravest and the most worthy. The
		honor was mine until another came
		to challenge me to single combat.
		I pass it to you who vanquished me.

	The GRAIL KNIGHT holds his sword out to INDY.

			INDY
		      (gulp)
		Listen, I don't have time to
		explain, but-

	At that moment DONOVAN and ELSA appear. Donovan turns to face the display
	of cups.

		               DONOVAN
		Which one is it?



CONTINUED: (2)

		               KNIGHT
		You must choose.
		     (beat)
		But choose wisely. For as the
		True Grail will bring you life-
		the False Grail will take it from
		you.

		               DONOVAN
		I'm not a historian. I have no
		idea what it looks like. Which
		one is it?

		               ELSA
		Let me choose.

		               DONOVAN
		Thank you, Doctor.

	ELSA and INDY exchange looks. He thinks he is seeing her in her true colors.

	ELSA chooses a cup-a solid gold, emerald encrusted goblet.

	DONOVAN instantly takes it from her.

		               DONOVAN
		Oh, yes. It's more beautiful than
		I'd ever imagined. This certainly
		is the cup of the King of Kings.

	DONOVAN rushes to the well and fills the goblet with water.

			DONOVAN
		Eternal life!

	DONOVAN drinks from the goblet.

	Then, DONOVAN'S entire body starts to convulse. His face contorts in agony. He
	grabs his stomach and turns toward ELSA.

		               DONOVAN
		What . . . is . . . happening. . . to . . .
		me. . .?

	He starts to age-fast! His hair grows long and gray and brittle. His face sinks.
	Fingernails curl back on themselves. Milky cataracts coat his eyes.

	ELSA gasps and screams.

	                                     DONOVAN
		What. . . is . . . happening. . . ?

	His skin turns brown and leathery and stretches across his bones until it splits.
	His skeletal hands reach for ELSA's throat, choking her.



CONTINUED: (3)

	INDY rushes forward and pushes DONOVAN away. As he falls he BODY BREAKS
	INTO FLAMES, then SHATTERS AGAINST THE WALL.

			KNIGHT
		He chose...poorly.

	INDY studies the array of chalices.


	                                     ELSA
		It would not be made out of gold.

	INDY picks up another cup-a simple earthenware jug.

	                                     INDY
		That's the cup of a carpenter.

	He and ELSA exchange a look.

	                                     INDY
		There's only one way to find out.

	INDY goes to the well and fills the earthenware jug with water, then pauses.
	INDY brings the jug to his lips and takes several large swallows.

	A strange sensation overcomes him, a feeling of peace and contentment...and we
	see his wounds begin to heal.

	                                    KNIGHT
	            You have chosen wisely. But the
	            Grail cannot pass beyond the
	            Great Seal. That is the boundary
	            and the price of immortality.


	CUT TO BRODY AND SALLAH who attend to Henry awaiting Indy's return.

	INDY and ELSA come forward with the Grail.

	The TWO NAZI SOLDIERS are over-awed by the possessors of the Grail. They put
	down their guns and kneel.

	INDY kneels by HENRY's side and tilts his head forward and holds the Grail to
	his lips.

	HENRY is too weak to even open his eyes.

	HENRY swallows some of the water. Much of it runs down the corners of his
	mouth. Finally INDY pours the water over the wound and everyone watches in
	astonishment as the wound and the blood stain disappear before their eyes. The
	color returns to Henry's face.

	HENRY's eyes open. The first thing he sees is the Grail and they light up. Then
	they shift to INDY's face-and they light up even more...

	NAZI SOLDIERS

	run forward. SALLAH points a rifle at them.

	                                     SALLAH
		Drop your guns. Please.

	The NAZI SOLDIERS drop their weapons at their feet and raise their arms in
	surrender.

	                                      INDY
		     (to HENRY)
		Dad, come on. Get to your feet.

	ELSA

	steps forward and picks up the Grail. She turns to INDY, her face alight with
	possession of the Grail.

			ELSA
		We have got it. Come on.

	ELSA steps onto the edge of the Great Seal.

			INDY
		Elsa! Elsa, don't movel

	                                      ELSA
		It's ours, Indy. Yours and mine.

	                                      INDY
		Elsa, don't cross the Seal. The
		Knight warned us not to take the
		Grail from here.

	A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from
	the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away
	from her grasp. She reaches for it and the ground beneath her begins to SPLIT
	OPEN. ELSA slips into the crevasse. She screams.

	ELSA is hanging perilously in the abyss, with the Grail almost within her reach.
	As her hands lose their grip, INDY just manages to one of them, he himself
	sliding forward across the slanted floor.

	                                     HENRY
		Junior!  Junior!

	With her free hand, ELSA is trying to get the Grail. INDY can't save her unless
	she gives him her free hand. She has to choose.

			INDY
		Elsa. Elsa don't. Elsa. Elsa.
		Give me your other hand,
		honey. I can't hold you.



CONTINUED:

			ELSA
		I can reach it. I can reach it...

	Her hand begins to slip from Indy's grasp.

		                INDY
		Elsa! Give me your hand. Give
		me your other hand!

	ELSA just manages to touch the Grail. In doing so, she has tipped the balance too
	far-INDY slides down another yard, Elsa loses her grip and falls screaming to
	her death.

			INDY
		     (horrified)
		Elsa!!

	Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his
	hands as Indy struggles to reach the Grail with the other.

			HENRY
		Junior, give me your other hand!
		I can't hold on!!

		                INDY
		I can get it-I can almost
		reach it, Dad.

	INDY looks down into the black bottomless pit beneath him from which nothing
	can ever be retrieved.

			HENRY
		Indiana. Indiana!!

	INDY snaps his look up to his father. His father has never called him this before.


			HENRY
		     (very calmly)
		... let it go...


	INDY abandons the Grail and grabs onto HENRY with both hands.
	HENRY pulls him up to safety.


	THE GRAIL KNIGHT

	looks through the falling debris to INDY and HENRY. SALLAH and BRODY rush
	from the crumbling Temple.

			INDY
		Dad. . .

	The GRAIL KNIGHT raises his arm to HENRY.


CONTINUED:


			INDY
		Please, Dad...

	INDY and HENRY down the passageway just as a huge stone column tumbles
	down upon the spot where they stood. The GRAIL KNIGHT lowers his arm as he
	watches them leave.


	EXT. ENTRANCE TO MOUNTAIN TEMPLE - AFTERNOON

	INDY, HENRY, SALLAH and BRODY emerge from the Mountain Temple through
	the Grecian Facade.

	From within the Mountain Temple, the ROAR OF WALLS CAVING IN IS HEARD. A
	cloud of dust and smoke billows out from the entrance.

	HENRY turns to INDY.

			HENRY
		Elsa never really believed in the
		Grail. She thought she'd found a
		prize.

			INDY
		What did vou find, Dad?

			HENRY
		Me?... Illumination.

	HENRY and INDY mount their horses. Henry turns back to his son.

			HENRY
		What did you find, Junior?

			INDY
		Junior?! Dad...


			SALLAH
		Please...What does it always
		mean, this...this "Junior?"

			HENRY
		That's his name. Henry Jones,
		Junior.

			INDY
		I like Indiana.

			HENRY
		We named the dog Indiana.

			BRODY
		May we go home now, please?



CONTINUED:


			SALLAH
		        (to INDY)
		The dog!?
		        (laughs)
		You are named after the dog...

			INDY
		        (embarrassed)
		I've got a lot of fond memories
		of that dog.

	A moment passes as they all ready their mounts and SALLAH continues to laugh
	at INDY.

		               INDY
		Ready?

		               HENRY
		Ready.

		               BRODY
		Indy! Henryl Follow met I know
		the way!
		        (to his horse)
		Haaa!

			HENRY
		        (to INDY)
		Got lost in his own museum, huh?

			INDY
		Uh-huh.


		               HENRY
		After you, Junior.

			INDY
		Yes, sir!
		   (to his horse)
		Haaa!		


	EXT. THE SECRET CANYON - AFTERNOON

	They THUNDER through the canyon-whose towering walls threaten to collapse
	upon them.


	EXT. ENTRANCE TO CANYON - SUNSET

	as BRODY, INDY, HENRY AND SALLAH ride from the canyon toward the SETTING
	SUN.

			THE END