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Boam, Jeff
Lucas, George
Indiana Jones And The Last Crusade (1989)
Fedora and whip at the ready, Indiana Jones (Harrison Ford) sets off on his third cinematic outing accompanied by none other than his father, Henry (Sean Connery). The Drs. Jones head to the cradle of civilization on a perilous hunt for the Holy Grail, which is also being sought after by -- of course -- the Nazis. No one is what they seem in this rousing adventure, which co-stars John Rhys-Davies, Denholm Elliott and Alison Doody.
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This moviescript available in following formats:
Boam, Jeff. Indiana Jones And The Last Crusade
Indiana Jones and the Last Crusade Script
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
|
