Indiana Jones and the Last Crusade (1989)
by Jeff Boam.
More info about this movie on imdb.com
EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY
A mountain peak dominates the landscape.
Riders on horseback cross the desert. From this distance they appear to be a
company of Army Cavalry Soldiers.
CLOSER ANGLES ON THE RIDERS
reveal only details of saddles, hooves and uniforms. The riders are silhouetted
against the rising sun as they ride into an ancient CLIFF PUEBLO.
The OFFICER IN COMMAND raises his hand halting his troops.
RIDERS climb down from their mounts... and only now do we realize that
this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The
"Commanding Officer" is only their SCOUTMASTER, Mr. Havelock.
One of the Scouts, a pudgy kid named HERMAN, steps away from his horse,
bends over and pukes. The other Scouts rag on him.
A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored
hair and the no-nonsense expression common to kids whose curiosity and appetite
for knowledge exceed what they teach in school. Additionally, he has adorned his
uniform with an authentic HOPI INDIAN WOVEN BELT.
Chaps, don't anybody wander off.
Some of the passageways in here
can run for miles.
Two Boy Scouts climb up the rocky base of the cliff.
INT. THE PASSAGEWAY - DAY
The two boys head down the passageway. It's dark, and the temperature drops
several degrees. Spiders have built huge webs that get caught in the boys' hair.
HERMAN appears very uncertain as to the wisdom of this enterprise, but he's
drawn on by his companion's adventurous curiosity.
I don't think this is such a good
LAUGHTER is HEARD; the Blond Scout pulls Herman forward toward its source.
The VOICES GROW LOUDER now as the boys get closer to their source. The light
of kerosene lanterns dances on the tunnel walls ahead. The boys approach
cautiously, careful to stay hidden.
What is it?
This is what they see:
FOUR MEN digging with shovels and pick-axes. They have broken into one of the
pueblo's SECRET CHAMBERS... called "Kivas."
The men are ROUGH RIDER (his name describes his dress), ROSCOE (a Bowery
Boy bully of 14) and HALFBREED (with straight black hair that cascades over his
And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT
FEDORA HAT. He has his back turned to us, but we would be willing to bet
anything that this is INDLANA JONES.
However, when the man turns, and his face is illuminated by the lantern's glow,
we are shocked to discover that it is someone else.
We'll call him FEDORA.
The TWO BOYS are mesmerized by what they see.
Now we realize that the Blond Scout is actually young INDIANA JONES.
Alfred, did you get anything yet?
Nothing. Dig in.
Two of the men stand and look at ROSCOE who steps forward holding a box in his
Hey, I've got something!
Whoops from the other men.
I got something, Garth!
ROSCOE rushes forward and gives FEDORA the box. Fedora steps toward a
lantern resting on a rock.
I got something... I got something
More whoops from the other men.
FEDORA puts the box on the rock next to the lantern. HALFBREED pushes
ROSCOE as he jumps with excitement. ROUGH RIDER steps forward to look at the
box as Fedora opens it.
(more whoops; then)
Oh, look at thatl
We're richl We're rich!
Shut up. Shut up.
FEDORA takes a BEJEWELED CROSS from the box and holds it aloft. Fedora's
comrades practically salivate at the sight of it.
Well, we're rich, ain't we?l
INDY takes off his hat and looks down at the o.s. action.
Indy? Indy? What are they doing?
FEDORA blows dust from the Cross, turning it in his hand, silently appraising
beauty... and its value. He seems aloof from the others; somehow superior to
Hey, we got to find more stuff
to bring back.
INDY stays hidden, but is astounded by what he sees.
It's the Cross of Coronadol
Cortes gave it to him in 1521
FEDORA continues to admire the Cross, then places it on the rock next to its box
and the lantern.
INDY turns back to observe the men.
That Cross is an important artifact.
It belongs in a museum.
A look of resolve comes into INDY's expression, and he turns back toward
Run back and find the others.
Tell Mister Havelock that there
are men looting in the caves.
HERMAN doesn't seem to be listening. Instead, he watches in wide-eyed horror
as a SNAKE SLITHERS ACROSS HIS LAP.
Have him bring the sheriff.
INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps.
It's only a snake.
INDY grabs HERMAN's scout scarf and pulls him closer.
Did you hear what I said?
Right. Run back. Mister Havelock.
The Sheriff. What, what are you
I don't know... I'll think of
INDY releases the scarf, gives HERMAN a pat and Herman dashes off. Indy sees
the Cross on the rock next to the lantern. As the Robbers continue to search for
additional valuables, Indy is able to work his way unseen to within arm's reach
FEDORA looks over at the men digging in a hole b.g.
Dig with your hands.
INDY picks up the Cross.
FEDORA (O . S . )
Not with your mouth.
As FEDORA stands watching the other men digging, INDY puts the Cross in his
pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy's
feet break a wooden beam, attracting the men's attention.
He's got our thing!
The three Robbers are so eager to get their hands on INDY, they almost knock
each other over in the attempt.
Only FEDORA is unperturbed. He casts a disgusted glance in
the direction of his fleeing companions-then sets off
EXT. THECLIFFS - DAY
INDY EMERGES from the darkness of the Pueblo into the brightness of day.
He pauses-squints-shields his eyes-looks in all directions.
Mister Havelock! Anybody
Everybody's lost but me!
He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. ROUGH RIDER,
HALFBREED, and ROSCOE are quick to appear and run after him.
There he isl
Let's go! Let's get him! Let's
Indy jumps from one rock to another; the SCOUT TROOP HORSES are below. Indy
puts two fingers in his mouth and WHISTLES for his horse, who trots over. Indy
puts the Cross in his belt.
INDY PREPARES TO JUMP into the saddle. Hesitates. Then... he JUMPS. But
the horse moves exactly at the wrong moment and Indy lands flat on his feet in a
standing position. The impact sends a shock wave up his body that rattles his
back teeth. Indy stands up and successfully mounts his horse.
FEDORA AND HIS MEN ARRIVE at the roof's edge in time to see INDY climb into
the saddle and gallop off.
Hey! Come back here!
FEDORA puts two fingers in his mouth and WHISTLES... and A VINTAGE TRUCK
AND AUTOMOBILE come ROARING OUT from behind the Pueblo (Driven by two
more gang members). Now we glimpse...
THE MAN IN THE PANAMA HAT
The passenger in the car. His face is concealed by the hat's wide brim. His arm
is out the window, however, and we see an olive-colored hand protruding from
the sleeve of an expensive white linen suit. He gestures to the Robbers, now in
Come on. Get him!
INDY SPURS his mount on to greater speeds but the autos not only keep pace
with his horse... they begin to squeeze in on it.
Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched
low and leaning forward in the saddle, his heart pounding, his adrenalin
INDY VEERS OFF in a new direction-toward a RAILROAD TRACK.
EXT. A CIRCUS TRAIN - DAY
The train is barreling down the track. INDY rides up beside it. He glances over
his shoulder and sees the car and truck gaining on him. No other choice... he
LEAPS FROM HORSE TO TRAIN.
He clings to the side of a BOXCAR, as HALFBREED and ROUGH RIDER leap from
the truck onto the train.
HALFBREED tries to grab INDY, but Indy leaps onto another boxcar. Halfbreed
runs after him but Indy leaps from the boxcar onto some covered boxes stacked
on a flatcar.
INDY loses his balance but regains it. With HALFBREED and ROUGH RIDER still
running after him, Indy enters the trap door of...
INT. THE REPTILE CAR - DAY
and finds himself CRAWLING on a CATWALK suspended from the car's ceiling.
Several feet below are NUMEROUS VATS containing all manner of reptiles:
Alligators, crocodiles, giant lizards, etc.
Then, HALFBREED ENTERS through the trap door-followed by ROUGH RIDER.
Halfbreed grabs hold of INDY's feet, but Indy kicks at him and he loses his
INDY crawls away, toward an opening on the opposite side. HALFBREED grabs at
Indy's feet again; Indy rolls away and we SEE large bins of squirming snakes.
The combined weight of the three people is more than the catwalk was intended
for, and the BOLTS BEGIN TO RIP FROM THE CEILING.
Everyone holds their breath, afraid to make another move. Too late. SEVERAL
BOLTS TEAR FREE. HALFBREED and ROUGH RIDER SCREAM... but it's Indy's
end of the catwalk that DROPS DOWN... PLUNGING INDY to the floor of the car.
He lands hard, with a SPLASH into a vat of water... where he finds himself eye-
to-eye with an-
The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex.
INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT.
Hundreds of slippery, squirming snakes. INDY sinks into them. They cover him.
Engulf him. Almost smother him.
INDY jumps out of the side of the vat, freeing himself.
INDY locates a clean-out door at the bottom of the car and uses it to escape.
HALFBREED, meanwhile, tries to open the closed window of the car. He groans.
ROUGH RIDER moves to assist him.
Here, let me.
EXT. THE TRAIN- DAY
INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks
worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and
tosses it away.
ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at
him. Roscoe grabs onto the side of the reptile car as Indy moves on to...
EXT. A FLATCAR - DAY
INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a
long stick with a hook on it. He reaches forward and trips Indy, who falls onto
the roof of the rhino boxcar.
INT. THE RHINO BOXCAR - DAY
as a lamp falls from the ceiling with the impact of Indy's fall, hitting a HUGE
EXT. THE RHINO BOXCAR - DAY
ROSCOE grabs INDY by the ankle and yanks him off his feet. The two struggle,
rolling from side to side, coming perilously close to rolling right off the
Things get even more serious when Roscoe PULLS A KNIFE.
IN THE BOXCAR BELOW
... THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the
commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS
HORN THROUGH THE ROOF.
BACK TO THE ROOFTOP
as the horn SMASHES through the wood only inches from INDY's head. Indy and
Roscoe stare at the horn in amazement as they continue to struggle.
SMASH! The horn comes up again-RIGHT BETWEEN INDY'S LEGS.
INDY kicks ROSCOE away. Roscoe rolls to the edge of the car but keeps from
falling. Indy flips over onto his stomach.
EXT. THE REPTILE CAR - DAY
The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The
door is pushed open and HALFBREED and ROUGH RIDER hurry out of the car.
EXT. THE RHINO BOXCAR - DAY
INDY gets to his feet-looks ahead-sees a WATER TANK alongside the track
directly up ahead. Indy gets an idea...
In an instant, he calculates his approach-times the distance-and LEAPS for
the tank's WATER SPOUT.
He catches it perfectly... but his velocity causes the water spout to ROTATE A
FULL 360 DEGREES. With INDY hanging on, feet kicking, the water spout
deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks
up to see FEDORA walking toward him.
Come on, kid. There's no way
out of this.
As INDY edges away from FEDORA, a portion of the STOCKCAR'S ROOF
COLLAPSES and Indy FALLS THROUGH into the car below.
INT. THE STOCKCAR - DAY
INDY CRASHES down from above. Dust rises.
INDY's eyes take a moment to adjust to the dark. A bit of sunlight leaks in
through the cracks between the boards.
Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet... an
AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust
swirls up into the shafts of sunlight.
And INDY has one more surprise in store: The Cross of Cortes has been dislodged
from his belt during the fall...
INDY glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He
carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY.
INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP
flying back and HITTING INDY IN THE FACE... CUTTING his chin.
The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and
tries again. This time-success! The WHIP CRACKS SHARPLY. The Lion
BELLOWS and SWATS the air... and steps back.
INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs
away even more. Indy inches forward-bends down (never taking his eyes off
the Lion)-picks up the Cross-and steps back again, sweat pouring down his
But now... how to get out?
He looks up at the opening through which he fell and sees FEDORA LOOKING
DOWN AT HIM. Fedora extends his hand.
Toss up the whip.
EXT. THE ROOFTOP OF STOCKCAR
FEDORA, assisted by HALFBREED and ROUGH RIDER, "reels" INDY out of the
Stockcar as the Lion ROARS and lunges and Indy screams.
The men, including ROSCOE, pull INDY through the hole in the roof. He stands to
face them as ROUGH RIDER points a gun in his direction.
You've got heart, kid.
But that belongs to me.
(takes Cross from his belt)
It belongs to Coronado.
Coronado is dead. And so are all
This should be in a museum.
Now give me thatl
ROSCOE makes a grab for the Cross-but INDY doesn't let go. A tug-of-war
ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS
AROUND Roscoe's hand.
ROSCOE SCREAMS BLOODY MURDER-releases his grip on the Cross and tries
to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO
THE NEXT CAR.
Don't let him get awayl
INDY swings down to the caboose. He sees a sign above the caboose door reading
"DR. FANTASY'S MAGIC CABOOSE."
He glances back at the men and quickly opens the door to the caboose, stepping
FEDORA puts out his arm, gesturing for the others not to follow INDY.
Hold it. Make sure he doesn't
INT. THE CABOOSE - DAY
which contains the circus MAGIC EQUIPMENT. INDY rushes to the rear door of
the caboose but can't open it. He hears FEDORA coming, and dives into a MAGIC
Okay, kid. out of the box.
FEDORA smiles confidently and advances toward the box. The box unexpectedly
collapses; all four sides flop away... revealing NOTHING. INDY has completely
FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back.
He turns and discovers that the caboose door is open. He rushes out onto the
balcony and sees:
INDY RUNNING along the tracks, turning up a street of modest clapboard houses.
EXT. STREET - SMALL TOWN - DAY
as INDY runs from the railroad tracks and approaches his house we see the name
"JONES" painted on the mailbox.
INT. THE HOUSE - DAY
INDY bursts through the front door holding the Cross in his hand. A Husky
BARKS as Indy runs past in search of his father.
INT. THE STUDY - DAY
INDY charges in. The study is cluttered with books. Pictures, charts and maps
clearly reflect the father's passion for Medieval studies.
PROFESSOR HENRY JONES is absorbed at his desk. In fact, he is studying a very
ancient parchment volume which lies open on the desk. The page shows a
beautifully illuminated picture of what might be a stained-glass window. The
sketch incorporates a series of Roman numerals. The Professor is not just
studying it, he is copying it into his own notebook.
We never get to see the PROFESSOR's face in this scene.
So INDY CHARGES IN.
Then wait-count to twenty.
No, Dad. You listen to me-
(now he shouts)
No question who is the boss here. INDY gulps, his look says "What am I going to
do with this guy?" And obeys-
starts counting, VERY, VERY FAINTLY.
One, two, three, four...
Now we see what HENRY is concentrating on. We see his hand
sketching; then, he holds up one finger.
(louder, in Greek)
One... two... three... four...
An ancient car is heard arriving. Perhaps INDY glimpses it going past the
window. Anyway, it stops outside the house. Two men sit in the front seat.
HERMAN sits in the rear, BLOWING A TRUMPET.
INDY's reaction: Trouble!
HENRY is just finishing the sketch.
May he who illuminated this...
INT. THE FRONT ROOM - DAY
The study door is just closing, INDY closing it behind him... just as HERMAN
comes through the front door, still playing the trumpet.
INDY reaches for the trumpet, pulling it from HERMAN's mouth. Herman
continues to spit-right into Indy's face. Indy flinches.
I brought the Sheriff.
HERMAN means the SHERIFF, who now enters the house.
Just the man I want to see! Now,
there were five or six of them.
All right, son.
... they came after... me...
You still got it?
Well, yes, sir. It's right here!
INDY shows the CROSS, more or less handing it to the SHERIFF to make his
point. The Sheriff takes it casually.
I'm glad to see that... because
the rightful owner of this Cross
won't press charges, if you give
FEDORA enters the house, followed by ROSCOE, ROUGH RIDER and HALFBREED.
He politely removes his hat and holds it in his hand. He nods at INDY in a
He's got witnesses, five or six
The SHERIFF and FEDORA are in Cahoots
The SHERIFF hands the Cross to FEDORA. ROSCOE reaches in and takes it from
Fedora, then runs out the door.
As ROSCOE runs outside INDY sees-through the screen door-the MAN IN
THE PANAMA HAT waiting patiently beside the car that is parked out front.
Roscoe approaches and gives the Man the Cross-the Man hands Roscoe some
money in exchange.
The SHERIFF tips his hat and leaves.
FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic
You lost today, kid, but that
doesn't mean you have to like it.
Then, FEDORA takes off his hat and takes a step towards INDY. He holds the hat
by the crown, and puts it on Indy's head, a show of respect and admiration for
the boy. The hat blocks Indy's face.
CLOSE ON THE TOP OF THE FEDORA HAT
The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL
GROWN INDIANA JONES.
And... POW!... he's punched in the face while his arms are pinned behind his
FADE IN TITLE: "PORTUGUESE COAST-1938"
Small world, Doctor Jones.
Too small for two of us.
THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF
CORONADO from Indy's belt.
This is the second time I've had
to reclaim my property from you-
That belongs in a museum-
So do you.
(he moves his eyeline)
Throw him over the side.
THE DECK OF A PORTUGUESE CARGO SHIP
It's NIGHT. RAIN POURS down. We're in the middle of a violent STORM AT SEA.
Thirty-foot waves crash across the deck.
The TWO PORTUGUESE SAILORS (who have Indy's arms pinned behind his back)
propel INDY across the deck toward the rail.
As they pass a BUNDLE OF FUEL DRUMS, INDY uses the Two Sailors as leverage
to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold
the drums together.
INDY jabs his elbows into the stomachs of the startled Sailors and rushes toward
the MAN IN THE PANAMA HAT.
PANAMA HAT sees INDY coming and hurries toward the ladder that leads up to
the bridge. Indy withstands the force of waves crashing on the deck and makes
his way to where Panama Hat is climbing the ladder. He pulls him off the ladder
from behind the two men fall down on the deck. Indy takes the cross back from
A sailor delivers a powerful blow to Indy's face, sending the cross flying out
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
deck around him.
SEVERAL MORE DRUMS come INDY's way. He sidesteps them all.
Grab him, he's getting away!
Indy turns around and pummels two sailors with one punch. Indy sees a large
Stevedore's hook above him and he climbs up on crates to reach it. He grabs a
hold of the hook and uses it to swing all the way across the deck, narrowly
avoiding a huge wave behind him. He jumps into the rollicking ocean, still
holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling
onto a crate of TNT. The crate explodes, causing the entire ship to blow,
an enormous orange fireball into the sky.
LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER
as bits of debris fall from the sky like rain.
INDY BOBS UP
in the water amid the debris, holding the Cross in his hand. He grabs for
something to keep him afloat. It turns out to be one of the ship's LIFE
PRESERVERS. INDY loops his arm through the preserver.
Only now do we see the FADED LETTERING on the preserver revealing the
destroyed ship's name and city of port:
VAZQUEZ de CORONADO
A SHREDDED PANAMA HAT floats past.
EXT. COLLEGE - DAY
Students walk along brick, tree-lined paths.
INDY (V.O .)
INT. COLLEGE LECTURE HALL - DAY
INDY, dressed in professorial tweeds, stands before his class. He turns to the
blackboard with a piece of chalk and writes the word: "FACT."
... the search for fact. Not truth.
If it's truth you're interested
in, Doctor Tyree's Philosophy
class is right down the hall.
INT. CORRIDOR - DAY
So forget any ideas you've got
about lost cities, exotic travel,
and digging up the world. Eve
do not follow maps to buried
treasure and "X" never, ever,
marks the spot.
MARCUS BRODY approaches Indy's classroom. He peers through the window in
the door to see INDY completing his lecture.
Seventy percent of all archaeology
is done in the library. Research.
INT. LECTURE HALL - DAY
BRODY enters the lecture hall and stands at the rear of the room.
We cannot afford to take mythology
at face value.
The BELL RINGS. INDY stands at his desk as students begin to disperse. A
pretty coed puts a note on the desk.
Next week: "Egyptology." Starting
with the excavation of Naukratis
by Blinders Petrie in 1885. I will
be in my office if anybody's got
any problems for the next hour
and a half.
BRODY approaches as the last of the students leaves the lecture hall.
(slaps his pocket)
I did it!
You've got itl
INDY removes the cloth-wrapped Cross from his desk. He places it on the desk
and takes off his glasses as BRODY examines the Cross.
You know how long I've been
looking for that?!
All your life.
All my life!
Well done, Indy. Very well done,
indeed This will find a place
of honor in our Spanish collection.
INDY gathers up his books and makes his way toward the door.
We can discuss my honorarium over
dinner and champagne tonight.
He turns back toward BRODY, now holding the Cross.
Yes. My treat.
INT. INDY'S OUTER OFFICE - DAY
Bursting with STUDENTS, all competing for his attention at once: "Professor
Jones! " "Doctor Jonesl " etc., etc.
Shush! Shush! Shushl
INDY shoulders his way to the desk of his secretary, an overwhelmed Teaching
Assistant named IRENE.
Doctor Jones! I'm so glad you're
back! Your mail is on your desk.
Here are your phone messages.
Doctor Jones, you promised...
This is your appointment schedule.
And these term papers still haven't
INDY takes the term papers then turns to enter his PRIVATE OFFICE. Students
once again CLAMOR for his attention: "Doctor Jones!" "Wait, Doctor Jonesl"
"My grade!" "Sign my registration card!"
INDY silences the mob with a raised hand.
Okay. Irene, put everyone's name
on a list, in the order they
arrived, and I'll see each and
every one of them in turn.
The Students descend upon poor IRENE, each claiming to be first. INDY slips into
where he goes to his desk and finds a thick envelope with a foreign postmark on
Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it
open and STEPS OUT INTO THE GARDEN.
EXT. SIDE OF COLLEGE BUILDING - DAY
INDY escapes through the garden.
EXT. FRONT OF COLLEGE BUILDING - DAY
INDY walks briskly toward the street; smiling, erUoying his freedom. As he
arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him.
THREE MEN step out of the sedan. Everything about them bespeaks "G-MAN."
The First Man steps behind Indy.
INT. PENTHOUSE APARTMENT - DAY
INDY is ushered into a large Art Deco apartment and left alone. Numerous
museum-quality artifacts are displayed around the room. Indy takes this
opportunity to examine them.
After a moment, WALTER DONOVAN enters from across the room. During the
brief time that the door is open, we HEAR a COCKTAIL PARTY going on in the
next room: VOICES and SOFT PIANO MUSIC.
DONOVAN strides across the room toward INDY. Although in his late fifties,
Donovan has the broad shoulders and trim physique of a much younger man.
Dressed in a tuxedo, he exudes both confidence and power.
I trust your trip down was
comfortable, Doctor Jones. My
men didn't alarm you, I hope.
He shakes hands with INDY.
My name is Donovan. Walter Donovan.
I know who you are Mr. Donovan.
Your contributions to the museum
over the years have been extremely
generous. Some of the pieces in
your collection here are very
Well, like yourself, Doctor Jones,
I have a passion for antiquities.
Have a look over here. This might
DONOVAN goes to a table where an object is wrapped in cloth. He throws back
the cloth revealing a flat STONE TABLET-about two feet square, inscribed with
letters and symbols.
INDY looks impressed. He puts on his glasses to make a closer examination.
Well, it's sandstone. Christian
symbol. Early Latin text. Mid-
Twelfth Century, I should think.
That was our assessment as well.
Where did this come from?
My engineers unearthed it in the
mountain region north of Ankara
while excavating for copper.
Can you translate the inscription?
Translating the inscription is no easy matter, even for someone as knowledgeable
(stumbling through it)
"... who drinks the water I shall
give him, says the Lord, will have
a spring inside him welling up
for eternal life. Let them bring
me to your holy mountain in the
place where you dwell.
Donovan pours champagne into several fluted glasses as Indy reads.
Across the desert and through
the mountain to the Canyon of
the Crescent Moon, to the Temple
where the cup that-"
Suddenly INDY stops and looks up at DONOVAN with a startled expression.
"Where the cup that holds the
blood of Jesus Christ resides
The Holy Grail, Doctor Jones.
The chalice used by Christ during
the Last Supper. The cup that
caught His blood at the Crucifixion
and was entrusted to Joseph of
INDY rubs his chin with a dubious expression as he takes the glass of champagne
DONOVAN now offers him.
The Arthur Legend. I've heard
this bedtime story before.
Eternal life, Doctor Jones! The
gift of youth to whoever drinks
from the Grail.
Oh, now that's a bedtime story I'd
like to wake up to!
An old man's dream.
Every man's dream.
Including your father's, I believe.
INDY stiffens slightly at the mention of his father, nods.
Grail lore is his hobby.
He's a teacher of Medieval
Literature. The one the students
hope they don't get.
The door opens and MRS. DONOVAN steps into the room. She's a matronly
woman in an expensive evening gown.
Walter, you're neglecting our
Be along in a moment, dear.
He leans over and kisses her cheek. MRS. DONOVAN sighs to herself and returns
to the party. INDY, meanwhile, has turned his attention back to the Grail
obviously hooked by its archaeological promise. He moistens his finger with
champagne and rubs it over the tablet. DONOVAN steps up next to Indy.
Hard to resist, isn't it? The
Holy Grail's final resting place
described in detail!
What good is it? This Grail
Tablet speaks of deserts and
mountains and canyons. Pretty
vague. Where do you start
looking? Maybe if the Tablet were
intact, you'd have something to
go on. But the entire top
portion is missing.
Just the same, an attempt to
recover the Grail is currently
INDY has to shake his head at DONOVAN's apparent lack of judgment.
Let me tell you another "bedtime
story, " Doctor Jones.
After the Grail was entrusted
to Joseph of Arimathaea, it
disappeared and was lost for a
thousand years before it was found
again by three Knights of the
First Crusade. Three brothers,
to be exact.
I've heard this one as well.
Two of these brothers walked out
of the desert one hundred and
fifty years after having found
the Grail and began the long
journey back to France. But
only one of them made it. And
before dying of extreme old
age, he supposedly imparted
his tale to a-to a Franciscan
friar, I think.
Not "supposedly," Doctor Jones.
DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle
pages. INDY views the manuscript with considerable interest.
This is the manuscript in which
the friar chronicled the Knight's
story... it doesn't reveal on
location of the Grail, I'm afraid...
but the Knight promised that two
"markers" that had been left
(indicates the Tablet)
This Tablet is one of those
"markers." It proves the Knight's
story is true. But as you pointed
Now, the second "marker" is
entombed with the Knight's dead
brother. Our project leader
believes that tomb to be located
within the city of Venice, Italy.
As you can now see, Doctor Jones,
we're about to complete a great
quest that began almost two
thousand years ago. We're only
one step away.
That's usually when the ground
falls out from underneath your
You could be more right than you
We've hit a snag. our project
leader has vanished. Along with
all his research. Uh, we received
a cable from his colleague, Doctor
Schneider, who has no idea of his
whereabouts or what's become of
I want you to pick up the trail
where he left off. Find the man
and you will find the Grail.
You've got the wrong Jones, Mister
Donovan. Why don't you try my
(after a pause)
We already have. Your father is
the man who's disappeared.
EXT. A RESIDENTIAL STREET - DAY
A FORD COUPE speeds down the tree-lined street.
EXT. PROFESSOR HENRY JONES' HOUSE - DAY
The Ford coupe pulls up in front of the house. INDY climbs from the car and
hurries up the walkway. BRODY is a step behind.
Your father and I have been
friends since time began. I've
watched you grow up, Indy. And
I've watched the two of you grow
I've never seen you this concerned
about him before.
They climb the porch and notice that the front door is ajar. They exchange a
quick look of concern as they enter.
INT. THE HOUSE - LATE AFTERNOON
INDY approaches the half-open front door.
He's an academic A bookworm.
He's not a field mans
He pushes open the door. He enters the house and calls out.
INDY opens one half of the curtains dividing the hall from the sitting room.
We see the place has been ransacked.
BRODY sees INDY's face and opens the other half.
They walk into the room.
What has the old fool got
himself into now?
I don't know. But whatever it
is, he's in over his head!
BRODY picks up some mail from Henry's cluttered desk.
It's today's mail. And it's been
INDY turns and sees the pile of torn papers and envelopes. Then something hits
Mail! That's it, Marcus!
He immediately empties his pockets of his own mail taken earlier in the day from
his college office and finds the envelope with the Venice postmark.
(as he tears it open)
What is it?
INDY uncovers a small book. It looks like a JOURNAL or
DIARY. Indy flips through it: Page after page of
handwritten notes and drawings. BRODY glances at it with
It's Dad's Grail Diary. Every
clue he ever followed. Every
discovery he made. A complete
record of his search for the Holy
Grail. This is his whole life.
Why would he have sent this to me?
I don't know. But someone must
want it pretty badly.
Do you believe, Marcus?
As INDY asks the question, he turns to a PAINTING on the wall: A depiction of
Christ on the Cross, his blood being captured in a golden chalice.
A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting
to their deaths over a high cliff. One Crusader, however, floats safely in
because he holds the Grail in his hands.
Do you believe the Grail actually
The search for the Cup of Christ
is the search for the divine in all
BRODY sees that INDY is unsatisfied by this response.
But if you want facts, Indy, I
have none to give you. At my age,
I'm prepared to take a few things
Call Donovan, Marcus. Tell him
I'll take that ticket to Venice
I'll tell him we'll take two.
EXT. AIRFIELD - DAY
A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN
CORPORATE LOGO. BRODY peers inside to DONOVAN and INDY.
Tell me, what's going to happen
when we get to Venice?
Don't worry. Doctor Schneider will
be there to meet you.
I maintain an apartment in Venice,
at your disposal.
Oh, well. That's good. Thank
BRODY and DONOVAN shake hands. INDY steps from the back seat of the limo.
He turns back to Donovan and shakes his hand.
Doctor Jones. Good luck. Be
very careful. Don't trust anvbody.
INT. AIRLINER - FLYING - DAY
INDY opens the Grail Diary and thoughtfully turns through the pages. He stops
at one page and glances at a PENCIL SKETCH of what might be a stained-glass
window. Below the sketch is a SERIES OF NUMBERS.
EXT. THE PRIVATE AIRLINER - FLYING - DAY
SUPERIMPOSED over a MAP that traces a course from New York City to Venice,
EXT. VENICE - BOAT LANDING - DAY
INDY and BRODY disembark from the Water Bus onto the Boat Landing as other
Gondoliers steer their boats in the water.
Yes. Uh, how will we recognize
this Doctor Schneider when we
I don't know. Maybe he'll know
Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes
that are bright and intelligent.
I knew it was you-
She looks at him with an appraising expression that is brazenly flirtatious.
-you have your father's eyes.
INDY is instantly attracted to her.
And my mother's ears. But the
rest belongs to you.
Looks like the best parts have
already been spoken for.
INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat.
The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY.
Doctor Elsa Schneider.
INDY's grin fades. BRODY registers a look of surprise.
Uh... how do you do?
EXT. VENICE CANAL - DAY
INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on
The last time I saw your father
we were in the library. He was
very close to tracking down the
Knight's Tomb. I've never seen
him so excited. He was as giddy
as a schoolboy.
Who? Attila the Professor? He
was never giddy, even when he was
INDY can't take his eyes off ELSA. Perhaps he's feeling a bit like a schoolboy
himself right now. As they cross over a bridge to the opposite side of the
Indy steals a flower from a street vendor. He holds it out to Elsa.
Fraulein-will you permit me?
I usually don't.
I usually don't either.
In that case, I permit you.
INDY gives her the flower.
It would make me very happy.
But I'm already sad-by tomorrow
it will have faded.
Tomorrow I'll steal you another.
I hate to interrupt you-but the
reason we're here-
Yes. I have something to show
She hands a slip of paper to INDY.
I left your father working in
the library. He sent me to the
map section to fetch an ancient
plan of the city. When I got back
to his table-he'd gone-with
all his papers-except for that
scrap which I found near his chair.
INDY extends the scrap of paper to BRODY.
EXT. VENICE PIAZZA - DAY
ELSA leads INDY and BRODY into the large piazza. People walk about and sit at
tables in front of a large building.
Here is the library.
They have arrived at the front steps of the library.
That doesn't look much like a
It looks like a converted church.
ELSA leads the way inside.
INT. THE LIBRARY - DAY
INDY, BRODY and ELSA enter, their heels CLICKING across the marble floor.
We notice, along with INDY and BRODY, that the library contains many stained-
In this case it's the literal
truth. We're on holy ground.
These columns over here...
She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling.
... were brought back as spoils
of war after the sacking of
Byzantium during the Crusades.
INDY glances at the Columns, then notices a Stained-Glass Window that depicts a
Knight of the Crusades. Indy lingers for a moment in front of the window.
Now please excuse me. The library's
closing in a few moments. I'll
arrange for us to stay a little
The minute ELSA is out of earshot.
Marcus-I've seen this window
INDY whips out the Grail Diary and opens it to the sketch he noticed in the
Right here. In Dad's Diary.
BRODY glances at the Diary, then at the window-noticing that the Roman
numerals in question have been worked into the window's design.
Look, Indy. The Roman numerals!
Dad was onto something here!
Well, now we know the source of
the numbers, but we still don't
know what they mean.
INDY and BRODY now see ELSA approaching. Indy quickly tucks the Diary back
into his pocket.
(explaining to Brody)
My dad sent me this Diary for a
reason. Until we find out why,
I suggest we keep it to ourselves.
INDY doesn't reply. He's looking in five directions at once. His eyes moving
across the walls and ceilings-charged with the thrill of discovery.
Uh, yes. Three, seven and tent
That window seems to be the source
of the Roman numerals.
My God, I must be blind
Dad wasn't looking for a book
about the Knight's Tomb... he was
looking for the Tomb itself
ELSA wears a blank expression.
Don't you get it? The Tomb is
somewhere in the library! You
said yourself it used to be a
INDY's eyes travel up one of the four huge marble columns.
INDY looks again to the stained-glass window. He points.
INDY has discovered that each Column is numbered with a Roman Numeral. Indy
hurries away toward Column VII. All BRODY and ELSA can do now is try to keep
up with him.
He points again to the stained-glass window.
He looks down to the scrap of paper in his hands.
And ten. Now where's the ten?
Look around for the ten.
INDY walks past aisles of book-lined shelves. He stops, turns, then looks down.
Three, seven and ten.
He climbs a spiral staircase leading up to a LOFT and looks down at BRODY and
ELSA. The floor beneath their feet is an elaborate tile design containing a huge
"X"-visible only from this higher angle.
(wryly; to himself)
"X" marks the spot.
INDY rushes down the staircase and goes to the CENTER TILE where the two
sides of the X intersect. He blows dust away from the tile and tries to pry it
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
Librarian stamps a book. The Librarian regards the stamper curiously.
INDY continues to pound at the tile as the Librarian resumes his stamping, still
puzzled by the SOUND ECHOING through the library.
Finally INDY breaks the tile. As he bends to remove the pieces of broken tile, a
TWO-FOOT SQUARE HOLE IS REVEALED.
Cold air and a wet, rancid smell escape from the hole.
You don't disappoint, Doctor Jones.
You're a great deal like your
Except he's lost, and I'm not.
Lower me down.
INDY is impressed with Elsa's spirit, and cooperates agreeably-holding her by
the hands and lowering her into the hole. When her feet finally touch ground
below, Indy releases his grip on her and slips the Grail Diary to BRODY.
Look after this for me, will you?
Then INDY disappears into the hole.
INT. CATACOMBS BELOW LIBRARY - DAY
INDY jumps down a steep step. He reaches back to help ELSA.
INDY and ELSA glance around. This is really a horrid place. Dark and dank.
foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory
four-leaf clover design.
INDY and ELSA inspect markings carved onto the walls.
Pagan symbols. Fourth or Fifth
Right. Six hundred years before
The Christians would have dug
their own passages and burial
chambers centuries later.
INDY takes the lighter from her and lights their way down a dark passageway.
That's right. If there's a
Knight of the First Crusade
entombed down here, that's where
we'll find him.
INT. LIBRARY - DAY
THREE MEN carrying guns make their way down the spiral staircase toward an
unsuspecting BRODY. One of the Men, KAZIM, raises his gun and brings it down
hard on Brody's head.
Ohhhh. . .
KAZIM gestures with his gun toward the now-unconscious BRODY. The other two
men take Brody's hands and drag him into one of the book-lined aisles.
INT. ANOTHER PART OF THE CATACOMBS - DAY
DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque
skeletal remains with rotting linen stretched across blackened bones.
INDY holds the lighter up as he and ELSA inspect symbols carved into the walls.
ELSA spots a symbol cut into the wall that she doesn't recognize. As she blows
away some cobwebs:
What's this one?
INDY only has to give it a quick glance to know.
The Ark of the Covenant.
Are you sure?
INDY holds the lighter up and he and ELSA enter another dark passageway.
ANOTHER PART OF THE CATACOMBS
INDY steps to the wall and runs his hand over the stone. He scrapes the cobwebs
away to reveal the ROMAN NUMERAL "X."
ELSA now holds the lighter as INDY rams his shoulder into the wall. The wall
collapses on impact and Indy falls through into another room.
ANOTHER ROOM - THE CATACOMBS
as INDY falls through the hole in the wall onto rocks surrounded by bubbling,
green, slimy liquid. More skeletons surround him, resting in their carved
ELSA holds the lighter as she peers in at him through the hole in the wall.
Petroleum. I could sink a well
down here and retire.
INDY reaches up and tears a piece of cloth from one of the skeletons, which
breaks apart and falls into the oil-slick water.
INDY uses the scrap of cloth and a bone to fashion a crude torch, which he then
dips into the oily water.
Give me the lighter.
ANOTHER PART OF THE CATACOMBS
Using the cloth-wrapped bone torch to guide their way, INDY and ELSA come
upon a NARROW PASSAGEWAY. The water is knee-deep and TEEMING WITH
RATS. Thousands of them Crawling on one another's backs. SQUEALING.
Squirming. Thrashing in the water.
ELSA gasps as the rats scamper between her legs.
INDY moves forward through the rat-infested water as ELSA follows, still gasping
in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out
She gasps once again, terrified. INDY lifts her and carries ELSA as he moves
THE CATACOMBS - THE HOLE IN THE WALL
KAZIM and his men step to the opening Indy made earlier and shine their
flashlights through to the rat-infested water.
ANOTHER PART OF THE CATACOMBS
More rat-infested water as ELSA, now walking again, follows INDY through
another passageway lined with skulls and bones.
INDY reaches for a wall to steady himself and inadvertently grabs a skeleton. A
bone comes loose in his hand as rats scurry about and leap at him from all
He takes a moment to compose himself, then steps across the water to ELSA's
side. He steps into the water, then reaches up to help Elsa do the same.
LARGE BURIAL CHAMBER
The chamber is flooded with black, briny water.
Look. . .
In the center of the chamber, jutting up above the water, is what amounts to an
"island altar" on which SEVERAL ANCIENT COFFINS rest. They move toward the
INDY and ELSA begin to inspect the ornately carved COFFINS like the scholars of
antiquity that they are. These are big oak caskets held together by straps of
It must be one of these...
Look at the artistry of these
carvings and the scrollwork.
One coffin is elevated above the others.
It's this one.
Together they begin to push on the lid-STRAINING and GROANING until it
slides away and BANGS against the stone platform.
INSIDE THE COFFIN
lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. INDY and ELSA look
This is itl we found it! Look-
the engraving on the Shield. It's
the same as on the Grail Tablets
The Shield is the Second Marker!
INDY unfolds a piece of paper and holds it over the shield.
It's a rubbing Dad made of the
The missing portion of the rubbing is completed by the shield.
Just like your father-giddy
as a schoolboy.
Wouldn't it be wonderful if he
were here now to see this?
He never would have made it past
the rats!He hates rats!He's
scared to death of them!
CLOSE - A HAND
as it lights a match.
PULL BACK TO REVEAL KAZIM dropping the lighted match into the oil-slick
INDY AND ELSA
ELSA holds the torch. INDY looks around. Listens. Something is wrong. And
then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls.
This is followed by THOUSANDS OF RATS FLEEING from around the corner of the
Narrow Passageway, STAMPEDING toward ELSA and INDY-SHRIEKING and
SQUEALING as they approach.
The rats literally wash over them-like a rodent tidal wave-in their efforts to
HUGE ORANGE BALL OF FIRE
ROARING around the corner hurtling towards them-feeding on the oil slick;
consuming the oxygen.
Get back! Back against the wall.
INDY braces his back against the altar and TOPPLES THE COFFIN with his feet.
It CRASHES against the stone platform and SPLASHES into the water.
Quick! Under it!
They jump into the water beside the bobbing, overturned coffin.
ELSA hesitates. INDY literally DUNKS her and pushes her underneath.
UNDER THE COFFIN
ELSA surfaces into the air pocket created by the coffin, SPUTTERING and
Now INDY pops up into the air pocket. He looks at ELSA-they are both soaking
Don't wander off.
INDY disappears under the water and swims out from under the coffin.
UNDER THE WATER
INDY swims, looking for an escape route.
UNDER THE COFFIN
The rats are beginning to force their way inside, swimming through the water
and climbing on ELSA, who squirms and screams in terror.
INDY pops back up through the water.
I think I've found a way out.
ELSA groans. They take a deep breath and both dive under the water.
EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY
The perfect picture postcard-St. Mark's Square and the Grand Canal beyond.
Cafe customers are startled to see INDY and ELSA climb out of the sewer, wet
and smelly. Indy looks around at the postcard-perfect setting and smiles.
Indy's delight, however, is short-lived since KAZIM and TWO OTHER TURKISH
AGENTS are running towards them with drawn guns.
He grabs ELSA by the hand and the two of them run down the dock and LEAP
INTO A MOTORBOAT.
INT. THE MOTORBOAT - DAY
INDY fires up the engine and pulls away from the dock... but not before a
Turkish Agent JUMPS in with him.
ELSA grabs the wheel and begins to steer the boat while INDY and the Turk trade
EXT. THE HARBOR - DAY
Indy's Speedboat BOUNCES across the choppy waters heading in the direction of
the DOCKED STEAMSHIP.
KAZIM and his men rush to TWO MORE SPEEDBOATS tied to the dock.
They chase after INDY.
INDY grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in
the Agent's hand. It FIRES.
As INDY fights with the Turk, he becomes aware of the Speedboats behind him
and two enormous Freighters ahead of him, joined together by two giant ropes.
INDY, having gained the advantage, leans on top of the Turkish Agent.
Are you crazy?! You don't go
ELSA can barely hear INDY over the noise of the motor.
Go between them? Are you crazy?!
INDY finally delivers the punch that sends the Turkish Agent flying overboard.
Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN
the two Freighters, now being pushed even closer together by a Tugboat.
I said go around!
You said go between them!
I said don't go between them!
It's purely academic at this point since the hulls of the the two Freighters
up on either side of them like cavern walls.
EXT. FULL SHOT - THE HARBOR - DAY
One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat
containing KAZIM veers off and goes around.
EXT. BETWEEN THE TWO FREIGHTERS - DAY
It's a race for daylight as the two Freighters drift ever closer to one another.
Indy's Speedboat just manages to squeeze through the gap. But the Enemy
Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO
THE AIR and SPLASHING back down into the water.
INDY AND ELSA
spin their boat around in a sharp half-circle to see KAZIM'S SPEEDBOAT appear
racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at
INDY and ELSA.
matches Indy's move for move.
FULL SHOT - THE HARBOR
The two boats race across the water nearly side-by-side. A CHATTERING
MACHINE GUN from Kazim's boat SPLINTERS the wood of Indy's boat, until
finally the rear of the boat CATCHES ON FIRE.
The machine gun runs out of ammunition. KAZIM puts it down and takes control
of the wheel from one of the Turkish Agents in the boat with him.
As Indy's boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of
ANOTHER STEAMER, Kazim's boat draws up alongside and hits them. INDY
steps into Kazim's boat. He knocks one of the Turkish Agents to the deck, then
turns his attention to KAZIM. The two men trade punches as the boat spins
helplessly in the churning water.
INDY kicks KAZIM in the face, knocking him into the water, then pulls him back
into the boat, now being SUCKED THROUGH THE CHURNING WATER toward the
Steamer's giant propeller blades.
Why are you trying to kill us?
Because you're looking for the
My father was looking for the
Holy Grail. Did you ki
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