COPIONE ORIGINALE DI INDIANA JONES E L\'ULTIMA CROCIATA

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duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

<BR>
<BR>
<BR>
<BR> \"INDIANA JONES AND THE LAST CRUSADE\"
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR> Screenplay
<BR> by
<BR>
<BR>
<BR> JEFFREY BOAM
<BR>
<BR>
<BR>
<BR>
<BR>
<BR> Story
<BR> by
<BR>
<BR> GEORGE LUCAS
<BR> and
<BR> MENNO MEYJES
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR> FADE IN:
<BR>
<BR> EXT. DESERT OF THE AMERICAN SOUTHWEST - DAY
<BR>
<BR> A mountain peak dominates the landscape.
<BR>
<BR>
<BR> TITLES BEGIN.
<BR>
<BR> Riders on horseback cross the desert. From this distance they appear to be a
<BR> company of Army Cavalry Soldiers.
<BR>
<BR> CLOSER ANGLES ON THE RIDERS
<BR>
<BR> reveal only details of saddles, hooves and uniforms. The riders are silhouetted
<BR> against the rising sun as they ride into an ancient CLIFF PUEBLO.
<BR>
<BR> The OFFICER IN COMMAND raises his hand halting his troops.
<BR>
<BR> OFFICER
<BR> Dis-mount!
<BR>
<BR> RIDERS climb down from their mounts... and only now do we realize that
<BR> this is a TROOP OF BOY SCOUTS, all of them about thirteen years of age. The
<BR> \"Commanding Officer\" is only their SCOUTMASTER, Mr. Havelock.
<BR>
<BR> One of the Scouts, a pudgy kid named HERMAN, steps away from his horse,
<BR> bends over and pukes. The other Scouts rag on him.
<BR>
<BR> FIRST SCOUT
<BR> Herman\'s horsesick!
<BR>
<BR> A BLOND SCOUT, however, befriends Herman. He has a thatch of straw-colored
<BR> hair and the no-nonsense expression common to kids whose curiosity and appetite
<BR> for knowledge exceed what they teach in school. Additionally, he has adorned his
<BR> uniform with an authentic HOPI INDIAN WOVEN BELT.
<BR>
<BR> SCOUTMASTER
<BR> Chaps, don\'t anybody wander off.
<BR> Some of the passageways in here
<BR> can run for miles.
<BR>
<BR> Two Boy Scouts climb up the rocky base of the cliff.
<BR>
<BR>
<BR> INT. THE PASSAGEWAY - DAY
<BR>
<BR> The two boys head down the passageway. It\'s dark, and the temperature drops
<BR> several degrees. Spiders have built huge webs that get caught in the boys\' hair.
<BR>
<BR> HERMAN appears very uncertain as to the wisdom of this enterprise, but he\'s
<BR> drawn on by his companion\'s adventurous curiosity.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> HERMAN
<BR> I don\'t think this is such a good
<BR> idea.
<BR>
<BR> LAUGHTER is HEARD; the Blond Scout pulls Herman forward toward its source.
<BR>
<BR> The VOICES GROW LOUDER now as the boys get closer to their source. The light
<BR> of kerosene lanterns dances on the tunnel walls ahead. The boys approach
<BR> cautiously, careful to stay hidden.
<BR>
<BR> HERMAN
<BR> What is it?
<BR>
<BR> This is what they see:
<BR>
<BR>
<BR> FOUR MEN digging with shovels and pick-axes. They have broken into one of the
<BR> pueblo\'s SECRET CHAMBERS... called \"Kivas.\"
<BR>
<BR> The men are ROUGH RIDER (his name describes his dress), ROSCOE (a Bowery
<BR> Boy bully of 14) and HALFBREED (with straight black hair that cascades over his
<BR> shoulders).
<BR>
<BR> And the fourth man wears a LEATHER WAIST JACKET and BROWN FELT
<BR> FEDORA HAT. He has his back turned to us, but we would be willing to bet
<BR> anything that this is INDLANA JONES.
<BR>
<BR> However, when the man turns, and his face is illuminated by the lantern\'s glow,
<BR> we are shocked to discover that it is someone else.
<BR>
<BR> We\'ll call him FEDORA.
<BR>
<BR>TITLES END.
<BR>
<BR> The TWO BOYS are mesmerized by what they see.
<BR>
<BR> Now we realize that the Blond Scout is actually young INDIANA JONES.
<BR>
<BR> FEDORA
<BR> Alfred, did you get anything yet?
<BR>
<BR> MAN
<BR> Nothing. Dig in.
<BR>
<BR> Two of the men stand and look at ROSCOE who steps forward holding a box in his
<BR> hands.
<BR>
<BR> ROSCOE
<BR> Hey, I\'ve got something!
<BR>
<BR> Whoops from the other men.
<BR>
<BR> ROSCOE
<BR> I got something, Garth!
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> ROSCOE rushes forward and gives FEDORA the box. Fedora steps toward a
<BR> lantern resting on a rock.
<BR>
<BR> ROSCOE
<BR> I got something... I got something
<BR> right here.
<BR>
<BR> More whoops from the other men.
<BR>
<BR> FEDORA puts the box on the rock next to the lantern. HALFBREED pushes
<BR> ROSCOE as he jumps with excitement. ROUGH RIDER steps forward to look at the
<BR> box as Fedora opens it.
<BR>
<BR> ROSCOE
<BR> (more whoops; then)
<BR> Oh, look at thatl
<BR> (more whoops)
<BR> We\'re richl We\'re rich!
<BR>
<BR> HALFBREED
<BR> Shut up. Shut up.
<BR>
<BR> FEDORA takes a BEJEWELED CROSS from the box and holds it aloft. Fedora\'s
<BR> comrades practically salivate at the sight of it.
<BR>
<BR> ROSCOE (O.S.)
<BR> Well, we\'re rich, ain\'t we?l
<BR>
<BR> INDY takes off his hat and looks down at the o.s. action.
<BR>
<BR> HERMAN
<BR> Indy? Indy? What are they doing?
<BR> Indiana? Indiana?
<BR>
<BR> INDY
<BR> Shhhl
<BR>
<BR> FEDORA blows dust from the Cross, turning it in his hand, silently appraising its
<BR> beauty... and its value. He seems aloof from the others; somehow superior to
<BR> them.
<BR>
<BR> HALFBREED
<BR> Hey, we got to find more stuff
<BR> to bring back.
<BR>
<BR> INDY stays hidden, but is astounded by what he sees.
<BR>
<BR> INDY
<BR> (hushed; urgent)
<BR> It\'s the Cross of Coronadol
<BR> Cortes gave it to him in 15201
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> FEDORA continues to admire the Cross, then places it on the rock next to its box
<BR> and the lantern.
<BR>
<BR> INDY turns back to observe the men.
<BR>
<BR> INDY
<BR> That Cross is an important artifact.
<BR> It belongs in a museum.
<BR>
<BR> A look of resolve comes into INDY\'s expression, and he turns back toward
<BR> HERMAN.
<BR>
<BR> INDY
<BR> Run back and find the others.
<BR> Tell Mister Havelock that there
<BR> are men looting in the caves.
<BR>
<BR> HERMAN doesn\'t seem to be listening. Instead, he watches in wide-eyed horror
<BR> as a SNAKE SLITHERS ACROSS HIS LAP.
<BR>
<BR> INDY
<BR> Have him bring the sheriff.
<BR>
<BR> INDY matter-of-factly picks up the snake and tosses it aside. HERMAN gasps.
<BR>
<BR> INDY
<BR> It\'s only a snake.
<BR>
<BR> INDY grabs HERMAN\'s scout scarf and pulls him closer.
<BR>
<BR> INDY
<BR> Did you hear what I said?
<BR>
<BR> HERMAN
<BR> Right. Run back. Mister Havelock.
<BR> The Sheriff. What, what are you
<BR> gonna do?
<BR>
<BR> INDY
<BR> I don\'t know... I\'ll think of
<BR> something.
<BR>
<BR> INDY releases the scarf, gives HERMAN a pat and Herman dashes off. Indy sees
<BR> the Cross on the rock next to the lantern. As the Robbers continue to search for
<BR> additional valuables, Indy is able to work his way unseen to within arm\'s reach of
<BR> the Cross...
<BR>
<BR> FEDORA looks over at the men digging in a hole b.g.
<BR>
<BR> FEDORA
<BR> Dig with your hands.
<BR>
<BR> INDY picks up the Cross.
<BR>
<BR>
<BR>CONTINUED: (4)
<BR>
<BR> FEDORA (O . S . )
<BR> Not with your mouth.
<BR>
<BR> As FEDORA stands watching the other men digging, INDY puts the Cross in his
<BR> pants and begins to pull himself up a rope hanging nearby. As he climbs, Indy\'s
<BR> feet break a wooden beam, attracting the men\'s attention.
<BR>
<BR> ROSCOE
<BR> He\'s got our thing!
<BR>
<BR> HALFBREED
<BR> Get \'im!
<BR>
<BR>
<BR>
<BR> The three Robbers are so eager to get their hands on INDY, they almost knock
<BR> each other over in the attempt.
<BR>
<BR> Only FEDORA is unperturbed. He casts a disgusted glance in
<BR> the direction of his fleeing companions-then sets off
<BR> after INDY.
<BR>
<BR>
<BR>
<BR> EXT. THE CLIFFS - DAY
<BR>
<BR> INDY EMERGES from the darkness of the Pueblo into the brightness of day.
<BR>
<BR> He pauses-squints-shields his eyes-looks in all directions.
<BR>
<BR> INDY
<BR> Mister Havelock! Anybody
<BR> Everybody\'s lost but me!
<BR>
<BR> He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. ROUGH RIDER,
<BR> HALFBREED, and ROSCOE are quick to appear and run after him.
<BR>
<BR> FEDORA
<BR> There he isl
<BR>
<BR> MEN
<BR> (AD-LIBS)
<BR> Let\'s go! Let\'s get him! Let\'s
<BR> go!
<BR>
<BR> Indy jumps from one rock to another; the SCOUT TROOP HORSES are below. Indy
<BR> puts two fingers in his mouth and WHISTLES for his horse, who trots over. Indy
<BR> puts the Cross in his belt.
<BR>
<BR> INDY PREPARES TO JUMP into the saddle. Hesitates. Then... he JUMPS. But
<BR> the horse moves exactly at the wrong moment and Indy lands flat on his feet in a
<BR> standing position. The impact sends a shock wave up his body that rattles his
<BR> back teeth. Indy stands up and successfully mounts his horse.
<BR>
<BR> FEDORA AND HIS MEN ARRIVE at the roof\'s edge in time to see INDY climb into
<BR> the saddle and gallop off.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> Hyahl Hyah!
<BR>
<BR>
<BR>
<BR> ROSCOE
<BR> Hey! Come back here!
<BR>
<BR> FEDORA puts two fingers in his mouth and WHISTLES... and A VINTAGE TRUCK
<BR> AND AUTOMOBILE come ROARING OUT from behind the Pueblo (Driven by two
<BR> more gang members). Now we glimpse...
<BR>
<BR>
<BR> THE MAN IN THE PANAMA HAT
<BR>
<BR> The passenger in the car. His face is concealed by the hat\'s wide brim. His arm
<BR> is out the window, however, and we see an olive-colored hand protruding from
<BR> the sleeve of an expensive white linen suit. He gestures to the Robbers, now in
<BR> the truck.
<BR>
<BR> PANAMA HAT
<BR> Come on. Get him!
<BR>
<BR> INDY SPURS his mount on to greater speeds but the autos not only keep pace
<BR> with his horse... they begin to squeeze in on it.
<BR>
<BR> Speeding Autos. Thundering hooves. Rushing wind. Flying dust. INDY crouched
<BR> low and leaning forward in the saddle, his heart pounding, his adrenalin
<BR> pumping.
<BR>
<BR> INDY VEERS OFF in a new direction-toward a RAILROAD TRACK.
<BR>
<BR>
<BR> EXT. A CIRCUS TRAIN - DAY
<BR>
<BR> The train is barreling down the track. INDY rides up beside it. He glances over
<BR> his shoulder and sees the car and truck gaining on him. No other choice... he
<BR> LEAPS FROM HORSE TO TRAIN.
<BR>
<BR> He clings to the side of a BOXCAR, as HALFBREED and ROUGH RIDER leap from
<BR> the truck onto the train.
<BR>
<BR> HALFBREED tries to grab INDY, but Indy leaps onto another boxcar. Halfbreed
<BR> runs after him but Indy leaps from the boxcar onto some covered boxes stacked
<BR> on a flatcar.
<BR>
<BR> INDY loses his balance but regains it. With HALFBREED and ROUGH RIDER still
<BR> running after him, Indy enters the trap door of...
<BR>
<BR>
<BR> INT. THE REPTILE CAR - DAY
<BR>
<BR> and finds himself CRAWLING on a CATWALK suspended from the car\'s ceiling.
<BR> Several feet below are NUMEROUS VATS containing all manner of reptiles:
<BR> Alligators, crocodiles, giant lizards, etc.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> Then, HALFBREED ENTERS through the trap door-followed by ROUGH RIDER.
<BR> Halfbreed grabs hold of INDY\'s feet, but Indy kicks at him and he loses his grasp.
<BR>
<BR> INDY crawls away, toward an opening on the opposite side. HALFBREED grabs at
<BR> Indy\'s feet again; Indy rolls away and we SEE large bins of squirming snakes.
<BR>
<BR> The combined weight of the three people is more than the catwalk was intended
<BR> for, and the BOLTS BEGIN TO RIP FROM THE CEILING.
<BR>
<BR> Everyone holds their breath, afraid to make another move. Too late. SEVERAL
<BR> BOLTS TEAR FREE. HALFBREED and ROUGH RIDER SCREAM... but it\'s Indy\'s
<BR> end of the catwalk that DROPS DOWN... PLUNGING INDY to the floor of the car.
<BR>
<BR> He lands hard, with a SPLASH into a vat of water... where he finds himself eye-
<BR> to-eye with an-
<BR>
<BR> ENORMOUS ANACONDA
<BR>
<BR> The head of this snake is so damn big, it looks more like a Tyrannosaurus Rex.
<BR>
<BR> INDY
<BR> Oh...
<BR>
<BR> INDY jumps back in horror... only to land with a SQUISH into the SNAKE VAT.
<BR>
<BR> INDY
<BR> Oh... Oh...
<BR>
<BR> Hundreds of slippery, squirming snakes. INDY sinks into them. They cover him.
<BR> Engulf him. Almost smother him.
<BR>
<BR> INDY jumps out of the side of the vat, freeing himself.
<BR>
<BR> INDY locates a clean-out door at the bottom of the car and uses it to escape.
<BR>
<BR> HALFBREED, meanwhile, tries to open the closed window of the car. He groans.
<BR> ROUGH RIDER moves to assist him.
<BR>
<BR> ROUGH RIDER
<BR> Here, let me.
<BR>
<BR>
<BR>
<BR> EXT. THE TRAIN- DAY
<BR>
<BR> INDY stops, checks to see the Cross still lodged in his belt. Suddenly he looks
<BR> worried as he frantically reaches into his shirt, REMOVES A SNAKE FROM and
<BR> tosses it away.
<BR>
<BR> ROSCOE APPEARS atop the reptile car and manages to grab INDY. Indy kicks at
<BR> him. Roscoe grabs onto the side of the reptile car as Indy moves on to...
<BR>
<BR> EXT. A FLATCAR - DAY
<BR>
<BR> INDY climbs over canvas-covered circus equipment. ROSCOE follows, grabbing a
<BR> long stick with a hook on it. He reaches forward and trips Indy, who falls onto
<BR> the roof of the rhino boxcar.
<BR>
<BR>
<BR> INT. THE RHINO BOXCAR - DAY
<BR>
<BR> as a lamp falls from the ceiling with the impact of Indy\'s fall, hitting a HUGE
<BR> BLACK RHINOCEROS.
<BR>
<BR>
<BR> EXT. THE RHINO BOXCAR - DAY
<BR>
<BR> ROSCOE grabs INDY by the ankle and yanks him off his feet. The two struggle,
<BR> rolling from side to side, coming perilously close to rolling right off the edge.
<BR> Things get even more serious when Roscoe PULLS A KNIFE.
<BR>
<BR>
<BR> IN THE BOXCAR BELOW
<BR>
<BR> ... THE FEROCIOUS BLACK RHINO is becoming extremely agitated by the
<BR> commotion going on atop his cage. Finally, he raises his head and THRUSTS HIS
<BR> HORN THROUGH THE ROOF.
<BR>
<BR> BACK TO THE ROOFTOP
<BR>
<BR> as the horn SMASHES through the wood only inches from INDY\'s head. Indy and
<BR> Roscoe stare at the horn in amazement as they continue to struggle.
<BR> SMASH! The horn comes up again-RIGHT BETWEEN INDY\'S LEGS.
<BR>
<BR> INDY
<BR> Holy smokes!
<BR>
<BR>
<BR> INDY kicks ROSCOE away. Roscoe rolls to the edge of the car but keeps from
<BR> falling. Indy flips over onto his stomach.
<BR>
<BR>
<BR> EXT. THE REPTILE CAR - DAY
<BR>
<BR> The WOODEN TRAP DOOR EXPLODES as a BULLET is FIRED from within. The
<BR> door is pushed open and HALFBREED and ROUGH RIDER hurry out of the car.
<BR>
<BR>
<BR> EXT. THE RHINO BOXCAR - DAY
<BR>
<BR> INDY gets to his feet-looks ahead-sees a WATER TANK alongside the track
<BR> directly up ahead. Indy gets an idea...
<BR>
<BR> In an instant, he calculates his approach-times the distance-and LEAPS for
<BR> the tank\'s WATER SPOUT.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> He catches it perfectly... but his velocity causes the water spout to ROTATE A
<BR> FULL 360 DEGREES. With INDY hanging on, feet kicking, the water spout
<BR> deposits him back on the train, onto the ROOF OF A STOCKCAR, where he looks
<BR> up to see FEDORA walking toward him.
<BR>
<BR> FEDORA
<BR> Come on, kid. There\'s no way
<BR> out of this.
<BR>
<BR> As INDY edges away from FEDORA, a portion of the STOCKCAR\'S ROOF
<BR> COLLAPSES and Indy FALLS THROUGH into the car below.
<BR>
<BR>
<BR> INT. THE STOCKCAR - DAY
<BR>
<BR> INDY CRASHES down from above. Dust rises.
<BR>
<BR> INDY
<BR> Ohhh!
<BR>
<BR> INDY\'s eyes take a moment to adjust to the dark. A bit of sunlight leaks in
<BR> through the cracks between the boards.
<BR>
<BR> Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet... an
<BR> AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust
<BR> swirls up into the shafts of sunlight.
<BR>
<BR> And INDY has one more surprise in store: The Cross of Cortes has been dislodged
<BR> from his belt during the fall...
<BR>
<BR> INDY glances around, sees a coiled LION TAMER\'S WHIP hanging on a nail. He
<BR> carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY.
<BR>
<BR> INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP
<BR> flying back and HITTING INDY IN THE FACE... CUTTING his chin.
<BR>
<BR> The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and
<BR> tries again. This time-success! The WHIP CRACKS SHARPLY. The Lion
<BR> BELLOWS and SWATS the air... and steps back.
<BR>
<BR> INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs
<BR> away even more. Indy inches forward-bends down (never taking his eyes off
<BR> the Lion)-picks up the Cross-and steps back again, sweat pouring down his
<BR> face.
<BR>
<BR> But now... how to get out?
<BR>
<BR> He looks up at the opening through which he fell and sees FEDORA LOOKING
<BR> DOWN AT HIM. Fedora extends his hand.
<BR>
<BR> FEDORA
<BR> Toss up the whip.
<BR>
<BR> EXT. THE ROOFTOP OF STOCKCAR
<BR>
<BR> FEDORA, assisted by HALFBREED and ROUGH RIDER, \"reels\" INDY out of the
<BR> Stockcar as the Lion ROARS and lunges and Indy screams.
<BR>
<BR> The men, including ROSCOE, pull INDY through the hole in the roof. He stands to
<BR> face them as ROUGH RIDER points a gun in his direction.
<BR>
<BR> FEDORA
<BR> You\'ve got heart, kid.
<BR> (indicates Cross)
<BR> But that belongs to me.
<BR>
<BR> INDY
<BR> (takes Cross from his belt)
<BR> It belongs to Coronado.
<BR>
<BR> FEDORA
<BR> (overlapping)
<BR> Coronado is dead. And so are all
<BR> his grandchildren.
<BR>
<BR> INDY
<BR> This should be in a museum.
<BR>
<BR> ROSCOE
<BR> Now give me thatl
<BR>
<BR> ROSCOE makes a grab for the Cross-but INDY doesn\'t let go. A tug-of-war
<BR> ensues until a SNAKE WIGGLES OUT FROM INDY\'S SHIRTSLEEVE and WRAPS
<BR> AROUND Roscoe\'s hand.
<BR>
<BR> ROSCOE SCREAMS BLOODY MURDER-releases his grip on the Cross and tries
<BR> to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO
<BR> THE NEXT CAR.
<BR>
<BR> FEDORA
<BR> Don\'t let him get awayl
<BR>
<BR> INDY swings down to the caboose. He sees a sign above the caboose door reading
<BR> \"DR. FANTASY\'S MAGIC CABOOSE.\"
<BR>
<BR> INDY
<BR> Magic?
<BR>
<BR> He glances back at the men and quickly opens the door to the caboose, stepping
<BR> inside.
<BR>
<BR> FEDORA puts out his arm, gesturing for the others not to follow INDY.
<BR>
<BR> FEDORA
<BR> Hold it. Make sure he doesn\'t
<BR> double back.
<BR>
<BR> INT. THE CABOOSE - DAY
<BR>
<BR> which contains the circus MAGIC EQUIPMENT. INDY rushes to the rear door of
<BR> the caboose but can\'t open it. He hears FEDORA coming, and dives into a MAGIC
<BR> BOX.
<BR>
<BR> FEDORA
<BR> Okay, kid. out of the box.
<BR> Now.
<BR>
<BR> FEDORA smiles confidently and advances toward the box. The box unexpectedly
<BR> collapses; all four sides flop away... revealing NOTHING. INDY has completely
<BR> vanished.
<BR>
<BR> FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back.
<BR> He turns and discovers that the caboose door is open. He rushes out onto the
<BR> balcony and sees:
<BR>
<BR> INDY RUNNING along the tracks, turning up a street of modest clapboard houses.
<BR>
<BR>
<BR> FEDORA
<BR> Damn.
<BR>
<BR>
<BR> EXT. STREET - SMALL TOWN - DAY
<BR>
<BR> as INDY runs from the railroad tracks and approaches his house we see the name
<BR> \"JONES\" painted on the mailbox.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> INT. THE HOUSE - DAY
<BR>
<BR> INDY bursts through the front door holding the Cross in his hand. A Husky
<BR> BARKS as Indy runs past in search of his father.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> INT. THE STUDY - DAY
<BR>
<BR> INDY charges in. The study is cluttered with books. Pictures, charts and maps
<BR> clearly reflect the father\'s passion for Medieval studies.
<BR>
<BR> PROFESSOR HENRY JONES is absorbed at his desk. In fact, he is studying a very
<BR> ancient parchment volume which lies open on the desk. The page shows a
<BR> beautifully illuminated picture of what might be a stained-glass window. The
<BR> sketch incorporates a series of Roman numerals. The Professor is not just
<BR> studying it, he is copying it into his own notebook.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>We never get to see the PROFESSOR\'s face in this scene.
<BR>So INDY CHARGES IN.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> HENRY
<BR> Out!
<BR>
<BR> INDY
<BR> It\'s important!
<BR>
<BR> HENRY
<BR> Then wait-count to twenty.
<BR>
<BR> INDY
<BR> No, Dad. You listen to me-
<BR>
<BR> HENRY
<BR> (now he shouts)
<BR> Junior!
<BR>
<BR> No question who is the boss here. INDY gulps, his look says \"What am I going to
<BR> do with this guy?\" And obeys-
<BR> starts counting, VERY, VERY FAINTLY.
<BR>
<BR> INDY
<BR> One, two, three, four...
<BR>
<BR> Now we see what HENRY is concentrating on. We see his hand
<BR> sketching; then, he holds up one finger.
<BR>
<BR> HENRY
<BR> In Greek.
<BR>
<BR> INDY\'s reaction:
<BR>
<BR> INDY
<BR> (louder, in Greek)
<BR> One... two... three... four...
<BR>
<BR> An ancient car is heard arriving. Perhaps INDY glimpses it going past the
<BR> window. Anyway, it stops outside the house. Two men sit in the front seat.
<BR> HERMAN sits in the rear, BLOWING A TRUMPET.
<BR>
<BR> INDY\'s reaction: Trouble!
<BR>
<BR> HENRY is just finishing the sketch.
<BR>
<BR> HENRY
<BR> May he who illuminated this...
<BR> illuminate me...
<BR>
<BR> INT. THE FRONT ROOM - DAY
<BR>
<BR> The study door is just closing, INDY closing it behind him... just as HERMAN
<BR> comes through the front door, still playing the trumpet.
<BR>
<BR> INDY reaches for the trumpet, pulling it from HERMAN\'s mouth. Herman
<BR> continues to spit-right into Indy\'s face. Indy flinches.
<BR>
<BR> HERMAN
<BR> I brought the Sheriff.
<BR>
<BR> HERMAN means the SHERIFF, who now enters the house.
<BR>
<BR>
<BR> INDY
<BR> Just the man I want to see! Now,
<BR> there were five or six of them.
<BR>
<BR>
<BR> SHERIFF
<BR> (interrupting)
<BR> All right, son.
<BR>
<BR> INDY
<BR> (overlapping)
<BR> ... they came after... me...
<BR>
<BR>
<BR> SHERIFF
<BR> You still got it?
<BR>
<BR> INDY
<BR> Well, yes, sir. It\'s right here!
<BR>
<BR> INDY shows the CROSS, more or less handing it to the SHERIFF to make his
<BR> point. The Sheriff takes it casually.
<BR>
<BR> SHERIFF
<BR> I\'m glad to see that... because
<BR> the rightful owner of this Cross
<BR> won\'t press charges, if you give
<BR> it back.
<BR>
<BR> FEDORA enters the house, followed by ROSCOE, ROUGH RIDER and HALFBREED.
<BR> He politely removes his hat and holds it in his hand. He nods at INDY in a
<BR> friendly manner.
<BR>
<BR> SHERIFF
<BR> He\'s got witnesses, five or six
<BR> of them.
<BR>
<BR> The SHERIFF and FEDORA are in Cahoots
<BR>
<BR> The SHERIFF hands the Cross to FEDORA. ROSCOE reaches in and takes it from
<BR> Fedora, then runs out the door.
<BR>
<BR> ROSCOE
<BR> Yahoo!
<BR>
<BR>CONTINUED:
<BR>
<BR> As ROSCOE runs outside INDY sees-through the screen door-the MAN IN
<BR> THE PANAMA HAT waiting patiently beside the car that is parked out front.
<BR> Roscoe approaches and gives the Man the Cross-the Man hands Roscoe some
<BR> money in exchange.
<BR>
<BR> The SHERIFF tips his hat and leaves.
<BR>
<BR> SHERIFF
<BR> Good day.
<BR>
<BR> FEDORA remains behind for a moment. He turns and speaks to INDY in an ironic
<BR> man-to-man way.
<BR>
<BR> FEDORA
<BR> You lost today, kid, but that
<BR> doesn\'t mean you have to like it.
<BR>
<BR> Then, FEDORA takes off his hat and takes a step towards INDY. He holds the hat
<BR> by the crown, and puts it on Indy\'s head, a show of respect and admiration for
<BR> the boy. The hat blocks Indy\'s face.
<BR>
<BR> CLOSE ON THE TOP OF THE FEDORA HAT
<BR>
<BR> The hat brim fills the screen. As the brim tilts up, WE SEE the face of FULL
<BR> GROWN INDIANA JONES.
<BR>
<BR> And... POW!... he\'s punched in the face while his arms are pinned behind his
<BR> back.
<BR>
<BR> FADE IN TITLE: \"PORTUGUESE COAST-1938\"
<BR>
<BR> PANAMA HAT
<BR> Small world, Doctor Jones.
<BR>
<BR> INDY
<BR> Too small for two of us.
<BR>
<BR> THE MAN IN THE PANAMA HAT (years older now) removes the CROSS OF
<BR> CORONADO from Indy\'s belt.
<BR>
<BR> PANAMA HAT
<BR> This is the second time I\'ve had
<BR> to reclaim my property from you-
<BR>
<BR> INDY
<BR> That belongs in a museum-
<BR>
<BR> PANAMA HAT
<BR> So do you.
<BR> (he moves his eyeline)
<BR> Throw him over the side.
<BR>
<BR> THE DECK OF A PORTUGUESE CARGO SHIP
<BR>
<BR> It\'s NIGHT. RAIN POURS down. We\'re in the middle of a violent STORM AT SEA.
<BR> Thirty-foot waves crash across the deck.
<BR>
<BR> The TWO PORTUGUESE SAILORS (who have Indy\'s arms pinned behind his back)
<BR> propel INDY across the deck toward the rail.
<BR>
<BR> As they pass a BUNDLE OF FUEL DRUMS, INDY uses the Two Sailors as leverage
<BR> to KICK UP HIS FEET and break open the CLAMP on the metal bands that hold
<BR> the drums together.
<BR>
<BR> INDY jabs his elbows into the stomachs of the startled Sailors and rushes toward
<BR> the MAN IN THE PANAMA HAT.
<BR>
<BR> PANAMA HAT sees INDY coming and hurries toward the ladder that leads up to
<BR> the bridge. Indy withstands the force of waves crashing on the deck and makes
<BR> his way to where Panama Hat is climbing the ladder. He pulls him off the ladder
<BR> from behind the two men fall down on the deck. Indy takes the cross back from
<BR> Panama Hat.
<BR>
<BR> A sailor delivers a powerful blow to Indy\'s face, sending the cross flying out of
<BR> his grip and skittering across the deck. Indy grabs a crowbar and fends off two
<BR> sailors who attack him from the sides.
<BR>
<BR> INDY sees that the Cross is about to be swept overboard. He lunges for it.
<BR>
<BR> He SNATCHES UP the Cross only to be knocked down to the deck by a giant wave.
<BR> He struggles to his feet, managing to avoid the giant fuel drums sliding across the
<BR> deck around him.
<BR>
<BR> SEVERAL MORE DRUMS come INDY\'s way. He sidesteps them all.
<BR>
<BR> PANAMA HAT
<BR> Grab him, he\'s getting away!
<BR> Grab him!
<BR>
<BR> Indy turns around and pummels two sailors with one punch. Indy sees a large
<BR> Stevedore\'s hook above him and he climbs up on crates to reach it. He grabs a
<BR> hold of the hook and uses it to swing all the way across the deck, narrowly
<BR> avoiding a huge wave behind him. He jumps into the rollicking ocean, still
<BR> holding onto the cross. On the ship, a giant fuel drum rolls wildly, falling directly
<BR> onto a crate of TNT. The crate explodes, causing the entire ship to blow, sending
<BR> an enormous orange fireball into the sky.
<BR>
<BR> LONG SHOT - THE BOAT EXPLODING OUT OF THE WATER
<BR>
<BR> as bits of debris fall from the sky like rain.
<BR>
<BR> INDY BOBS UP
<BR>
<BR> in the water amid the debris, holding the Cross in his hand. He grabs for
<BR> something to keep him afloat. It turns out to be one of the ship\'s LIFE
<BR> PRESERVERS. INDY loops his arm through the preserver.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> Only now do we see the FADED LETTERING on the preserver revealing the
<BR> destroyed ship\'s name and city of port:
<BR>
<BR> VAZQUEZ de CORONADO
<BR> BARCELONA
<BR>
<BR> A SHREDDED PANAMA HAT floats past.
<BR>
<BR> EXT. COLLEGE - DAY
<BR> Students walk along brick, tree-lined paths.
<BR>
<BR> INDY (V.O .)
<BR> Archaeology is...
<BR>
<BR>
<BR> INT. COLLEGE LECTURE HALL - DAY
<BR>
<BR> DISSOLVE TO:
<BR>
<BR> INDY, dressed in professorial tweeds, stands before his class. He turns to the
<BR> blackboard with a piece of chalk and writes the word: \"FACT.\"
<BR>
<BR> INDY
<BR> ... the search for fact. Not truth.
<BR> If it\'s truth you\'re interested
<BR> in, Doctor Tyree\'s Philosophy
<BR> class is right down the hall.
<BR>
<BR> Laughter.
<BR>
<BR> INT. CORRIDOR - DAY
<BR>
<BR> INDY
<BR> So forget any ideas you\'ve got
<BR> about lost cities, exotic travel,
<BR> and digging up the world. Eve
<BR> do not follow maps to buried
<BR> treasure and \"X\" never, ever,
<BR> marks the spot.
<BR>
<BR>
<BR> MARCUS BRODY approaches Indy\'s classroom. He peers through the window in
<BR> the door to see INDY completing his lecture.
<BR>
<BR> INDY
<BR> Seventy percent of all archaeology
<BR> is done in the library. Research.
<BR> Reading.
<BR>
<BR>
<BR> INT. LECTURE HALL - DAY
<BR>
<BR> BRODY enters the lecture hall and stands at the rear of the room.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> We cannot afford to take mythology
<BR> at face value.
<BR>
<BR> The BELL RINGS. INDY stands at his desk as students begin to disperse. A
<BR> pretty coed puts a note on the desk.
<BR>
<BR> INDY
<BR> Next week: \"Egyptology.\" Starting
<BR> with the excavation of Naukratis
<BR> by Blinders Petrie in 1885. I will
<BR> be in my office if anybody\'s got
<BR> any problems for the next hour
<BR> and a half.
<BR>
<BR> BRODY approaches as the last of the students leaves the lecture hall.
<BR>
<BR> INDY
<BR> Marcus!
<BR> (slaps his pocket)
<BR> I did it!
<BR>
<BR> BRODY
<BR> You\'ve got itl
<BR>
<BR> INDY removes the cloth-wrapped Cross from his desk. He places it on the desk
<BR> and takes off his glasses as BRODY examines the Cross.
<BR>
<BR> INDY
<BR> You know how long I\'ve been
<BR> looking for that?!
<BR>
<BR> BRODY
<BR> All your life.
<BR>
<BR> INDY
<BR> All my life!
<BR>
<BR>
<BR> BRODY
<BR> Well done, Indy. Very well done,
<BR> indeed This will find a place
<BR> of honor in our Spanish collection.
<BR>
<BR> INDY gathers up his books and makes his way toward the door.
<BR>
<BR> INDY
<BR> We can discuss my honorarium over
<BR> dinner and champagne tonight.
<BR>
<BR> He turns back toward BRODY, now holding the Cross.
<BR>
<BR> INDY
<BR> Your treat.
<BR>
<BR> BRODY
<BR> Yes. My treat.
<BR>
<BR> INT. INDY\'S OUTER OFFICE - DAY
<BR>
<BR> Bursting with STUDENTS, all competing for his attention at once: \"Professor
<BR> Jones! \" \"Doctor Jonesl \" etc., etc.
<BR>
<BR> INDY
<BR> Shush! Shush! Shushl
<BR>
<BR> INDY shoulders his way to the desk of his secretary, an overwhelmed Teaching
<BR> Assistant named IRENE.
<BR>
<BR> IRENE
<BR> Doctor Jones! I\'m so glad you\'re
<BR> back! Your mail is on your desk.
<BR> Here are your phone messages.
<BR>
<BR> MALE STUDENT
<BR> Doctor Jones, you promised...
<BR> Doctor Jones-
<BR>
<BR> IRENE
<BR> This is your appointment schedule.
<BR> And these term papers still haven\'t
<BR> been graded.
<BR>
<BR> INDY takes the term papers then turns to enter his PRIVATE OFFICE. Students
<BR> once again CLAMOR for his attention: \"Doctor Jones!\" \"Wait, Doctor Jonesl\"
<BR> \"My grade!\" \"Sign my registration card!\"
<BR>
<BR> INDY silences the mob with a raised hand.
<BR>
<BR> INDY
<BR> (very efficiently)
<BR> Okay. Irene, put everyone\'s name
<BR> on a list, in the order they
<BR> arrived, and I\'ll see each and
<BR> every one of them in turn.
<BR>
<BR> The Students descend upon poor IRENE, each claiming to be first. INDY slips into
<BR> his -
<BR>
<BR> PRIVATE OFFICE
<BR>
<BR> where he goes to his desk and finds a thick envelope with a foreign postmark on it.
<BR>
<BR> INDY
<BR> (softly; reading)
<BR> \"Venice, Italy.\"
<BR>
<BR> Then, INDY stuffs his mail into his coat pockets, goes to the WINDOW, slides it
<BR> open and STEPS OUT INTO THE GARDEN.
<BR>
<BR>
<BR> EXT. SIDE OF COLLEGE BUILDING - DAY
<BR>
<BR> INDY escapes through the garden.
<BR>
<BR> EXT. FRONT OF COLLEGE BUILDING - DAY
<BR>
<BR> INDY walks briskly toward the street; smiling, erUoying his freedom. As he
<BR> arrives at the curb, a LONG BLACK PACKARD SEDAN pulls up before him.
<BR>
<BR>
<BR> MAN (O.S.)
<BR> Doctor Jonesl
<BR>
<BR> THREE MEN step out of the sedan. Everything about them bespeaks \"G-MAN.\"
<BR> The First Man steps behind Indy.
<BR>
<BR> MAN
<BR> Doctor Jones?
<BR>
<BR> INT. PENTHOUSE APARTMENT - DAY
<BR>
<BR> INDY is ushered into a large Art Deco apartment and left alone. Numerous
<BR> museum-quality artifacts are displayed around the room. Indy takes this
<BR> opportunity to examine them.
<BR>
<BR> After a moment, WALTER DONOVAN enters from across the room. During the
<BR> brief time that the door is open, we HEAR a COCKTAIL PARTY going on in the
<BR> next room: VOICES and SOFT PIANO MUSIC.
<BR>
<BR> DONOVAN strides across the room toward INDY. Although in his late fifties,
<BR> Donovan has the broad shoulders and trim physique of a much younger man.
<BR> Dressed in a tuxedo, he exudes both confidence and power.
<BR>
<BR> DONOVAN
<BR> I trust your trip down was
<BR> comfortable, Doctor Jones. My
<BR> men didn\'t alarm you, I hope.
<BR>
<BR> He shakes hands with INDY.
<BR>
<BR> DONOVAN
<BR> My name is Donovan. Walter Donovan.
<BR>
<BR> INDY
<BR> I know who you are Mr. Donovan.
<BR> Your contributions to the museum
<BR> over the years have been extremely
<BR> generous. Some of the pieces in
<BR> your collection here are very
<BR> impressive.
<BR>
<BR> DONOVAN
<BR> Well, like yourself, Doctor Jones,
<BR> I have a passion for antiquities.
<BR> (beat)
<BR> Have a look over here. This might
<BR> interest you.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> DONOVAN goes to a table where an object is wrapped in cloth. He throws back
<BR> the cloth revealing a flat STONE TABLET-about two feet square, inscribed with
<BR> letters and symbols.
<BR>
<BR> INDY looks impressed. He puts on his glasses to make a closer examination.
<BR>
<BR> INDY
<BR> Well, it\'s sandstone. Christian
<BR> symbol. Early Latin text. Mid-
<BR> Twelfth Century, I should think.
<BR>
<BR> DONOVAN
<BR> That was our assessment as well.
<BR>
<BR> INDY
<BR> Where did this come from?
<BR>
<BR> DONOVAN
<BR> My engineers unearthed it in the
<BR> mountain region north of Ankara
<BR> while excavating for copper.
<BR> (beat)
<BR> Can you translate the inscription?
<BR>
<BR> Translating the inscription is no easy matter, even for someone as knowledgeable
<BR> as INDY.
<BR>
<BR> INDY
<BR> (stumbling through it)
<BR> \"... who drinks the water I shall
<BR> give him, says the Lord, will have
<BR> a spring inside him welling up
<BR> for eternal life. Let them bring
<BR> me to your holy mountain in the
<BR> place where you dwell.
<BR>
<BR> Donovan pours champagne into several fluted glasses as Indy reads.
<BR>
<BR> INDY
<BR> Across the desert and through
<BR> the mountain to the Canyon of
<BR> the Crescent Moon, to the Temple
<BR> where the cup that-\"
<BR>
<BR> Suddenly INDY stops and looks up at DONOVAN with a startled expression.
<BR>
<BR> INDY
<BR> \"Where the cup that holds the
<BR> blood of Jesus Christ resides
<BR> forever. \"
<BR>
<BR> (CONT\'D)
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> DONOVAN
<BR> (reverently)
<BR> The Holy Grail, Doctor Jones.
<BR> The chalice used by Christ during
<BR> the Last Supper. The cup that
<BR> caught His blood at the Crucifixion
<BR> and was entrusted to Joseph of
<BR> Arimathaea.
<BR>
<BR> INDY rubs his chin with a dubious expression as he takes the glass of champagne
<BR> DONOVAN now offers him.
<BR>
<BR> INDY
<BR> The Arthur Legend. I\'ve heard
<BR> this bedtime story before.
<BR>
<BR> DONOVAN
<BR> Eternal life, Doctor Jones! The
<BR> gift of youth to whoever drinks
<BR> from the Grail.
<BR> (beat)
<BR> Oh, now that\'s a bedtime story I\'d
<BR> like to wake up to!
<BR>
<BR> INDY
<BR> An old man\'s dream.
<BR>
<BR> DONOVAN
<BR> Every man\'s dream.
<BR> (beat)
<BR> Including your father\'s, I believe.
<BR>
<BR> INDY stiffens slightly at the mention of his father, nods.
<BR>
<BR> INDY
<BR> Grail lore is his hobby.
<BR> He\'s a teacher of Medieval
<BR> Literature. The one the students
<BR> hope they don\'t get.
<BR>
<BR> The door opens and MRS. DONOVAN steps into the room. She\'s a matronly
<BR> woman in an expensive evening gown.
<BR>
<BR> MRS. DONOVAN
<BR> Walter, you\'re neglecting our
<BR> guests.
<BR>
<BR> DONOVAN
<BR> Be along in a moment, dear.
<BR>
<BR> He leans over and kisses her cheek. MRS. DONOVAN sighs to herself and returns
<BR> to the party. INDY, meanwhile, has turned his attention back to the Grail Tablet,
<BR> obviously hooked by its archaeological promise. He moistens his finger with
<BR> champagne and rubs it over the tablet. DONOVAN steps up next to Indy.
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> DONOVAN
<BR> Hard to resist, isn\'t it? The
<BR> Holy Grail\'s final resting place
<BR> described in detail!
<BR>
<BR> INDY
<BR> What good is it? This Grail
<BR> Tablet speaks of deserts and
<BR> mountains and canyons. Pretty
<BR> vague. Where do you start
<BR> looking? Maybe if the Tablet were
<BR> intact, you\'d have something to
<BR> go on. But the entire top
<BR> portion is missing.
<BR>
<BR> DONOVAN
<BR> Just the same, an attempt to
<BR> recover the Grail is currently
<BR> underway.
<BR>
<BR> INDY has to shake his head at DONOVAN\'s apparent lack of judgment.
<BR>
<BR> DONOVAN
<BR> Let me tell you another \"bedtime
<BR> story, \" Doctor Jones.
<BR> After the Grail was entrusted
<BR> to Joseph of Arimathaea, it
<BR> disappeared and was lost for a
<BR> thousand years before it was found
<BR> again by three Knights of the
<BR> First Crusade. Three brothers,
<BR> to be exact.
<BR>
<BR> INDY
<BR> I\'ve heard this one as well.
<BR> Two of these brothers walked out
<BR> of the desert one hundred and
<BR> fifty years after having found
<BR> the Grail and began the long
<BR> journey back to France. But
<BR> only one of them made it. And
<BR> before dying of extreme old
<BR> age, he supposedly imparted
<BR> his tale to a-to a Franciscan
<BR> friar, I think.
<BR>
<BR> DONOVAN
<BR> Not \"supposedly,\" Doctor Jones.
<BR>
<BR> DONOVAN produces an ANCIENT LEATHER-BOUND VOLUME with very brittle
<BR> pages. INDY views the manuscript with considerable interest.
<BR>
<BR>
<BR>CONTINUED: (4)
<BR>
<BR> DONOVAN
<BR> This is the manuscript in which
<BR> the friar chronicled the Knight\'s
<BR> story... it doesn\'t reveal on
<BR> location of the Grail, I\'m afraid...
<BR> but the Knight promised that two
<BR> \"markers\" that had been left
<BR> behind would.
<BR> (indicates the Tablet)
<BR> This Tablet is one of those
<BR> \"markers.\" It proves the Knight\'s
<BR> story is true. But as you pointed
<BR> out-it\'s incomplete.
<BR> (beat)
<BR> Now, the second \"marker\" is
<BR> entombed with the Knight\'s dead
<BR> brother. Our project leader
<BR> believes that tomb to be located
<BR> within the city of Venice, Italy.
<BR> (beat)
<BR> As you can now see, Doctor Jones,
<BR> we\'re about to complete a great
<BR> quest that began almost two
<BR> thousand years ago. We\'re only
<BR> one step away.
<BR>
<BR> INDY
<BR> That\'s usually when the ground
<BR> falls out from underneath your
<BR> feet.
<BR>
<BR> DONOVAN
<BR> You could be more right than you
<BR> know.
<BR>
<BR> INDY
<BR> Yes?
<BR>
<BR> DONOVAN
<BR> We\'ve hit a snag. our project
<BR> leader has vanished. Along with
<BR> all his research. Uh, we received
<BR> a cable from his colleague, Doctor
<BR> Schneider, who has no idea of his
<BR> whereabouts or what\'s become of
<BR> him.
<BR> (beat)
<BR> I want you to pick up the trail
<BR> where he left off. Find the man
<BR> and you will find the Grail.
<BR>
<BR>
<BR>CONTINUED: (5)
<BR>
<BR> INDY
<BR> You\'ve got the wrong Jones, Mister
<BR> Donovan. Why don\'t you try my
<BR> father?
<BR>
<BR> DONOVAN
<BR> (after a pause)
<BR> We already have. Your father is
<BR> the man who\'s disappeared.
<BR>
<BR>
<BR> EXT. A RESIDENTIAL STREET - DAY
<BR>
<BR> A FORD COUPE speeds down the tree-lined street.
<BR>
<BR> EXT. PROFESSOR HENRY JONES\' HOUSE - DAY
<BR>
<BR> The Ford coupe pulls up in front of the house. INDY climbs from the car and
<BR> hurries up the walkway. BRODY is a step behind.
<BR>
<BR> BRODY
<BR> Your father and I have been
<BR> friends since time began. I\'ve
<BR> watched you grow up, Indy. And
<BR> I\'ve watched the two of you grow
<BR> apart.
<BR> (beat)
<BR> I\'ve never seen you this concerned
<BR> about him before.
<BR>
<BR> They climb the porch and notice that the front door is ajar. They exchange a
<BR> quick look of concern as they enter.
<BR>
<BR> INT. THE HOUSE - LATE AFTERNOON
<BR>
<BR> INDY approaches the half-open front door.
<BR>
<BR>
<BR> INDY
<BR> Dad?
<BR> (to BRODY)
<BR> He\'s an academic A bookworm.
<BR> He\'s not a field mans
<BR>
<BR> He pushes open the door. He enters the house and calls out.
<BR>
<BR> INDY
<BR> Dad? Dad?
<BR>
<BR> INDY opens one half of the curtains dividing the hall from the sitting room.
<BR>
<BR> We see the place has been ransacked.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> BRODY sees INDY\'s face and opens the other half.
<BR>
<BR> BRODY
<BR> Dear God.
<BR>
<BR> They walk into the room.
<BR>
<BR>
<BR> BRODY
<BR> What has the old fool got
<BR> himself into now?
<BR>
<BR> INDY
<BR> I don\'t know. But whatever it
<BR> is, he\'s in over his head!
<BR>
<BR> BRODY picks up some mail from Henry\'s cluttered desk.
<BR>
<BR> INDY
<BR> Dad?
<BR>
<BR> BRODY
<BR> It\'s today\'s mail. And it\'s been
<BR> opened.
<BR>
<BR> INDY turns and sees the pile of torn papers and envelopes. Then something hits
<BR> him.
<BR>
<BR> INDY
<BR> Mail! That\'s it, Marcus!
<BR>
<BR> He immediately empties his pockets of his own mail taken earlier in the day from
<BR> his college office and finds the envelope with the Venice postmark.
<BR>
<BR> INDY
<BR> (as he tears it open)
<BR> Venice, Italy!
<BR>
<BR> BRODY
<BR> What is it?
<BR>
<BR>
<BR> INDY uncovers a small book. It looks like a JOURNAL or
<BR> DIARY. Indy flips through it: Page after page of
<BR> handwritten notes and drawings. BRODY glances at it with
<BR> great curiosity.
<BR>
<BR> INDY
<BR> It\'s Dad\'s Grail Diary. Every
<BR> clue he ever followed. Every
<BR> discovery he made. A complete
<BR> record of his search for the Holy
<BR> Grail. This is his whole life.
<BR> Why would he have sent this to me?
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> BRODY
<BR> I don\'t know. But someone must
<BR> want it pretty badly.
<BR>
<BR> INDY
<BR> Do you believe, Marcus?
<BR>
<BR> As INDY asks the question, he turns to a PAINTING on the wall: A depiction of
<BR> Christ on the Cross, his blood being captured in a golden chalice.
<BR>
<BR> A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting
<BR> to their deaths over a high cliff. One Crusader, however, floats safely in midair
<BR> because he holds the Grail in his hands.
<BR>
<BR> INDY
<BR> Do you believe the Grail actually
<BR> exists?
<BR>
<BR> BRODY
<BR> The search for the Cup of Christ
<BR> is the search for the divine in all
<BR> of us.
<BR>
<BR> BRODY sees that INDY is unsatisfied by this response.
<BR>
<BR> BRODY
<BR> But if you want facts, Indy, I
<BR> have none to give you. At my age,
<BR> I\'m prepared to take a few things
<BR> on faith.
<BR>
<BR> INDY
<BR> Call Donovan, Marcus. Tell him
<BR> I\'ll take that ticket to Venice
<BR> now.
<BR>
<BR> BRODY
<BR> I\'ll tell him we\'ll take two.
<BR>
<BR>
<BR> EXT. AIRFIELD - DAY
<BR>
<BR> A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN
<BR> CORPORATE LOGO. BRODY peers inside to DONOVAN and INDY.
<BR>
<BR> BRODY
<BR> Tell me, what\'s going to happen
<BR> when we get to Venice?
<BR>
<BR> DONOVAN
<BR> (overlapping)
<BR> Don\'t worry. Doctor Schneider will
<BR> be there to meet you.
<BR>
<BR>CONTINUED:
<BR>
<BR> BRODY
<BR> (overlapping)
<BR> Schneider?
<BR>
<BR> DONOVAN
<BR> (overlapping)
<BR> I maintain an apartment in Venice,
<BR> at your disposal.
<BR>
<BR> BRODY
<BR> Oh, well. That\'s good. Thank
<BR> you.
<BR>
<BR> BRODY and DONOVAN shake hands. INDY steps from the back seat of the limo.
<BR> He turns back to Donovan and shakes his hand.
<BR>
<BR> DONOVAN
<BR> Doctor Jones. Good luck. Be
<BR> very careful. Don\'t trust anvbody.
<BR>
<BR>
<BR> INT. AIRLINER - FLYING - DAY
<BR>
<BR> INDY opens the Grail Diary and thoughtfully turns through the pages. He stops
<BR> at one page and glances at a PENCIL SKETCH of what might be a stained-glass
<BR> window. Below the sketch is a SERIES OF NUMBERS.
<BR>
<BR>
<BR> EXT. THE PRIVATE AIRLINER - FLYING - DAY
<BR>
<BR> SUPERIMPOSED over a MAP that traces a course from New York City to Venice,
<BR> Italy.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR> EXT. VENICE - BOAT LANDING - DAY
<BR>
<BR> INDY and BRODY disembark from the Water Bus onto the Boat Landing as other
<BR> Gondoliers steer their boats in the water.
<BR>
<BR> INDY
<BR> Ah, Venice...
<BR>
<BR> BRODY
<BR> Yes. Uh, how will we recognize
<BR> this Doctor Schneider when we
<BR> see him?
<BR>
<BR> INDY
<BR> I don\'t know. Maybe he\'ll know
<BR> us.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> Suddenly a WOMAN comes up to him. Attractive features. Blonde hair. Eyes
<BR> that are bright and intelligent.
<BR>
<BR> ELSA
<BR> Doctor Jones?
<BR>
<BR> INDY
<BR> Yes?
<BR>
<BR> ELSA
<BR> I knew it was you-
<BR>
<BR> She looks at him with an appraising expression that is brazenly flirtatious.
<BR>
<BR> ELSA
<BR> -you have your father\'s eyes.
<BR>
<BR> INDY is instantly attracted to her.
<BR>
<BR> INDY
<BR> And my mother\'s ears. But the
<BR> rest belongs to you.
<BR>
<BR> ELSA
<BR> Looks like the best parts have
<BR> already been spoken for.
<BR>
<BR> INDY grins, enjoying the repartee. The WOMAN turns to BRODY, who tips his hat.
<BR>
<BR> ELSA
<BR> Marcus Brody?
<BR>
<BR> BRODY
<BR> That\'s right.
<BR>
<BR> The Woman, DR. ELSA SCHNEIDER, extends her hand to BRODY.
<BR>
<BR> ELSA
<BR> (introducing herself)
<BR> Doctor Elsa Schneider.
<BR>
<BR> INDY\'s grin fades. BRODY registers a look of surprise.
<BR>
<BR> BRODY
<BR> Uh... how do you do?
<BR>
<BR> CUT TO:
<BR>
<BR>
<BR> EXT. VENICE CANAL - DAY
<BR>
<BR> INDY, BRODY and ELSA walk along the narrow canal, lined with buildings on
<BR> either side.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> The last time I saw your father
<BR> we were in the library. He was
<BR> very close to tracking down the
<BR> Knight\'s Tomb. I\'ve never seen
<BR> him so excited. He was as giddy
<BR> as a schoolboy.
<BR>
<BR> INDY
<BR> Who? Attila the Professor? He
<BR> was never giddy, even when he was
<BR> a schoolboy!
<BR>
<BR> INDY can\'t take his eyes off ELSA. Perhaps he\'s feeling a bit like a schoolboy
<BR> himself right now. As they cross over a bridge to the opposite side of the canal,
<BR> Indy steals a flower from a street vendor. He holds it out to Elsa.
<BR>
<BR> INDY
<BR> Fraulein-will you permit me?
<BR>
<BR> ELSA
<BR> I usually don\'t.
<BR>
<BR> INDY
<BR> I usually don\'t either.
<BR>
<BR> ELSA
<BR> In that case, I permit you.
<BR>
<BR> INDY gives her the flower.
<BR>
<BR> INDY
<BR> It would make me very happy.
<BR>
<BR> ELSA
<BR> But I\'m already sad-by tomorrow
<BR> it will have faded.
<BR>
<BR> INDY
<BR> Tomorrow I\'ll steal you another.
<BR>
<BR> BRODY
<BR> (cutting in)
<BR> I hate to interrupt you-but the
<BR> reason we\'re here-
<BR>
<BR> ELSA
<BR> (interrupting)
<BR> Yes. I have something to show
<BR> you.
<BR>
<BR> She hands a slip of paper to INDY.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> ELSA
<BR> I left your father working in
<BR> the library. He sent me to the
<BR> map section to fetch an ancient
<BR> plan of the city. When I got back
<BR> to his table-he\'d gone-with
<BR> all his papers-except for that
<BR> scrap which I found near his chair.
<BR>
<BR> INDY extends the scrap of paper to BRODY.
<BR>
<BR> INDY
<BR> Roman numerals.
<BR>
<BR>
<BR> EXT. VENICE PIAZZA - DAY
<BR>
<BR> ELSA leads INDY and BRODY into the large piazza. People walk about and sit at
<BR> tables in front of a large building.
<BR>
<BR> ELSA
<BR> Here is the library.
<BR>
<BR> They have arrived at the front steps of the library.
<BR>
<BR> INDY
<BR> That doesn\'t look much like a
<BR> library.
<BR>
<BR> BRODY
<BR> It looks like a converted church.
<BR>
<BR> ELSA leads the way inside.
<BR>
<BR>
<BR> INT. THE LIBRARY - DAY
<BR>
<BR> INDY, BRODY and ELSA enter, their heels CLICKING across the marble floor.
<BR>
<BR> We notice, along with INDY and BRODY, that the library contains many stained-
<BR> glass windows.
<BR>
<BR> ELSA
<BR> In this case it\'s the literal
<BR> truth. We\'re on holy ground.
<BR> These columns over here...
<BR>
<BR> She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling.
<BR>
<BR> ELSA
<BR> ... were brought back as spoils
<BR> of war after the sacking of
<BR> Byzantium during the Crusades.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY glances at the Columns, then notices a Stained-Glass Window that depicts a
<BR> Knight of the Crusades. Indy lingers for a moment in front of the window.
<BR>
<BR> ELSA
<BR> Now please excuse me. The library\'s
<BR> closing in a few moments. I\'ll
<BR> arrange for us to stay a little
<BR> longer.
<BR>
<BR> The minute ELSA is out of earshot.
<BR>
<BR> INDY
<BR> Marcus-I\'ve seen this window
<BR> before.
<BR>
<BR> BRODY
<BR> Where?
<BR>
<BR> INDY whips out the Grail Diary and opens it to the sketch he noticed in the
<BR> airplane.
<BR>
<BR> INDY
<BR> Right here. In Dad\'s Diary.
<BR> You see?
<BR>
<BR> BRODY glances at the Diary, then at the window-noticing that the Roman
<BR> numerals in question have been worked into the window\'s design.
<BR>
<BR> BRODY
<BR> Look, Indy. The Roman numerals!
<BR>
<BR> INDY
<BR> Dad was onto something here!
<BR>
<BR> BRODY
<BR> Well, now we know the source of
<BR> the numbers, but we still don\'t
<BR> know what they mean.
<BR>
<BR> INDY and BRODY now see ELSA approaching. Indy quickly tucks the Diary back
<BR> into his pocket.
<BR>
<BR> INDY
<BR> (explaining to Brody)
<BR> My dad sent me this Diary for a
<BR> reason. Until we find out why,
<BR> I suggest we keep it to ourselves.
<BR>
<BR> ELSA
<BR> Find something?
<BR>
<BR> INDY doesn\'t reply. He\'s looking in five directions at once. His eyes moving
<BR> across the walls and ceilings-charged with the thrill of discovery.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> BRODY
<BR> (to ELSA)
<BR> Uh, yes. Three, seven and tent
<BR> That window seems to be the source
<BR> of the Roman numerals.
<BR>
<BR> ELSA
<BR> My God, I must be blind
<BR>
<BR> INDY
<BR> Dad wasn\'t looking for a book
<BR> about the Knight\'s Tomb... he was
<BR> looking for the Tomb itself
<BR>
<BR> ELSA wears a blank expression.
<BR>
<BR> INDY
<BR> Don\'t you get it? The Tomb is
<BR> somewhere in the library! You
<BR> said yourself it used to be a
<BR> church! Look.
<BR>
<BR> INDY\'s eyes travel up one of the four huge marble columns.
<BR>
<BR> INDY
<BR> Three.
<BR>
<BR>INDY looks again to the stained-glass window. He points.
<BR>
<BR> INDY
<BR> Three!
<BR>
<BR> INDY has discovered that each Column is numbered with a Roman Numeral. Indy
<BR> hurries away toward Column VII. All BRODY and ELSA can do now is try to keep
<BR> up with him.
<BR>
<BR> INDY
<BR> Seven.
<BR>
<BR> He points again to the stained-glass window.
<BR>
<BR> INDY
<BR> Seven... Ten.
<BR>
<BR> He looks down to the scrap of paper in his hands.
<BR>
<BR> INDY
<BR> And ten. Now where\'s the ten?
<BR> Look around for the ten.
<BR>
<BR> INDY walks past aisles of book-lined shelves. He stops, turns, then looks down.
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> INDY
<BR> Three, seven and ten.
<BR>
<BR> He climbs a spiral staircase leading up to a LOFT and looks down at BRODY and
<BR> ELSA. The floor beneath their feet is an elaborate tile design containing a huge
<BR> \"X\"-visible only from this higher angle.
<BR>
<BR> INDY
<BR> Ten.
<BR> (wryly; to himself)
<BR> \"X\" marks the spot.
<BR>
<BR> INDY rushes down the staircase and goes to the CENTER TILE where the two
<BR> sides of the X intersect. He blows dust away from the tile and tries to pry it up,
<BR> but cannot.
<BR>
<BR> INDY rushes past BRODY to a cordon held in place by a brass stand underneath
<BR> the stained-glass window.
<BR> INDY raises the brass stand and timing his actions, hits the tile precisely as the
<BR> Librarian stamps a book. The Librarian regards the stamper curiously.
<BR>
<BR> INDY continues to pound at the tile as the Librarian resumes his stamping, still
<BR> puzzled by the SOUND ECHOING through the library.
<BR>
<BR> Finally INDY breaks the tile. As he bends to remove the pieces of broken tile, a
<BR> TWO-FOOT SQUARE HOLE IS REVEALED.
<BR>
<BR> Cold air and a wet, rancid smell escape from the hole.
<BR>
<BR> INDY
<BR> Bingo.
<BR>
<BR> ELSA
<BR> You don\'t disappoint, Doctor Jones.
<BR> You\'re a great deal like your
<BR> father.
<BR>
<BR> INDY
<BR> Except he\'s lost, and I\'m not.
<BR>
<BR> ELSA
<BR> Lower me down.
<BR>
<BR> INDY is impressed with Elsa\'s spirit, and cooperates agreeably-holding her by
<BR> the hands and lowering her into the hole. When her feet finally touch ground
<BR> below, Indy releases his grip on her and slips the Grail Diary to BRODY.
<BR>
<BR> INDY
<BR> Look after this for me, will you?
<BR>
<BR> Then INDY disappears into the hole.
<BR>
<BR> INT. CATACOMBS BELOW LIBRARY - DAY
<BR>
<BR> INDY jumps down a steep step. He reaches back to help ELSA.
<BR>
<BR> INDY
<BR> Come on.
<BR>
<BR> INDY and ELSA glance around. This is really a horrid place. Dark and dank.
<BR> foul smelling. Elsa turns. She removes a cigarette lighter with a unique ivory
<BR> four-leaf clover design.
<BR>
<BR> INDY and ELSA inspect markings carved onto the walls.
<BR>
<BR> ELSA
<BR> Pagan symbols. Fourth or Fifth
<BR> Century.
<BR>
<BR> INDY
<BR> Right. Six hundred years before
<BR> the Crusades.
<BR>
<BR> ELSA
<BR> The Christians would have dug
<BR> their own passages and burial
<BR> chambers centuries later.
<BR>
<BR> INDY takes the lighter from her and lights their way down a dark passageway.
<BR>
<BR> INDY
<BR> That\'s right. If there\'s a
<BR> Knight of the First Crusade
<BR> entombed down here, that\'s where
<BR> we\'ll find him.
<BR>
<BR>
<BR> INT. LIBRARY - DAY
<BR>
<BR> THREE MEN carrying guns make their way down the spiral staircase toward an
<BR> unsuspecting BRODY. One of the Men, KAZIM, raises his gun and brings it down
<BR> hard on Brody\'s head.
<BR>
<BR> BRODY
<BR> Ohhhh. . .
<BR>
<BR> KAZIM gestures with his gun toward the now-unconscious BRODY. The other two
<BR> men take Brody\'s hands and drag him into one of the book-lined aisles.
<BR>
<BR> INT. ANOTHER PART OF THE CATACOMBS - DAY
<BR>
<BR> DECOMPOSING CORPSES rest in niches carved into the stone walls. Grotesque
<BR> skeletal remains with rotting linen stretched across blackened bones.
<BR>
<BR> INDY holds the lighter up as he and ELSA inspect symbols carved into the walls.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA spots a symbol cut into the wall that she doesn\'t recognize. As she blows
<BR> away some cobwebs:
<BR>
<BR> ELSA
<BR> What\'s this one?
<BR>
<BR> INDY only has to give it a quick glance to know.
<BR>
<BR> INDY
<BR> The Ark of the Covenant.
<BR>
<BR> ELSA
<BR> Are you sure?
<BR>
<BR> INDY
<BR> (deadpan)
<BR> Pretty sure.
<BR>
<BR> INDY holds the lighter up and he and ELSA enter another dark passageway.
<BR>
<BR> ANOTHER PART OF THE CATACOMBS
<BR>
<BR> INDY steps to the wall and runs his hand over the stone. He scrapes the cobwebs
<BR> away to reveal the ROMAN NUMERAL \"X.\"
<BR>
<BR> INDY
<BR> Watch out.
<BR>
<BR> ELSA now holds the lighter as INDY rams his shoulder into the wall. The wall
<BR> collapses on impact and Indy falls through into another room.
<BR>
<BR>
<BR> ANOTHER ROOM - THE CATACOMBS
<BR>
<BR> as INDY falls through the hole in the wall onto rocks surrounded by bubbling,
<BR> green, slimy liquid. More skeletons surround him, resting in their carved niches.
<BR> ELSA holds the lighter as she peers in at him through the hole in the wall.
<BR>
<BR> INDY
<BR> Petroleum. I could sink a well
<BR> down here and retire.
<BR>
<BR> INDY reaches up and tears a piece of cloth from one of the skeletons, which
<BR> breaks apart and falls into the oil-slick water.
<BR>
<BR> INDY uses the scrap of cloth and a bone to fashion a crude torch, which he then
<BR> dips into the oily water.
<BR>
<BR> INDY
<BR> Give me the lighter.
<BR>
<BR> ANOTHER PART OF THE CATACOMBS
<BR>
<BR> Using the cloth-wrapped bone torch to guide their way, INDY and ELSA come
<BR> upon a NARROW PASSAGEWAY. The water is knee-deep and TEEMING WITH
<BR> RATS. Thousands of them Crawling on one another\'s backs. SQUEALING.
<BR> Squirming. Thrashing in the water.
<BR>
<BR> INDY
<BR> Oh, rats...
<BR>
<BR> ELSA gasps as the rats scamper between her legs.
<BR>
<BR> INDY moves forward through the rat-infested water as ELSA follows, still gasping
<BR> in horror. Suddenly he slips into a hole. Recovering his balance, he reaches out
<BR> to Elsa.
<BR>
<BR> INDY
<BR> Come onl
<BR>
<BR> She gasps once again, terrified. INDY lifts her and carries ELSA as he moves
<BR> forward.
<BR>
<BR>
<BR> THE CATACOMBS - THE HOLE IN THE WALL
<BR>
<BR> KAZIM and his men step to the opening Indy made earlier and shine their
<BR> flashlights through to the rat-infested water.
<BR>
<BR> ANOTHER PART OF THE CATACOMBS
<BR>
<BR> More rat-infested water as ELSA, now walking again, follows INDY through
<BR> another passageway lined with skulls and bones.
<BR>
<BR> INDY reaches for a wall to steady himself and inadvertently grabs a skeleton. A
<BR> bone comes loose in his hand as rats scurry about and leap at him from all
<BR> directions.
<BR>
<BR> He takes a moment to compose himself, then steps across the water to ELSA\'s
<BR> side. He steps into the water, then reaches up to help Elsa do the same.
<BR>
<BR> INDY
<BR> Come here.
<BR>
<BR> LARGE BURIAL CHAMBER
<BR>
<BR> The chamber is flooded with black, briny water.
<BR>
<BR> INDY
<BR> Look. . .
<BR>
<BR> In the center of the chamber, jutting up above the water, is what amounts to an
<BR> \"island altar\" on which SEVERAL ANCIENT COFFINS rest. They move toward the
<BR> altar.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY and ELSA begin to inspect the ornately carved COFFINS like the scholars of
<BR> antiquity that they are. These are big oak caskets held together by straps of
<BR> etched brass.
<BR>
<BR> INDY
<BR> It must be one of these...
<BR>
<BR> ELSA
<BR> Look at the artistry of these
<BR> carvings and the scrollwork.
<BR>
<BR> One coffin is elevated above the others.
<BR>
<BR> ELSA
<BR> It\'s this one.
<BR>
<BR> Together they begin to push on the lid-STRAINING and GROANING until it
<BR> slides away and BANGS against the stone platform.
<BR>
<BR>
<BR> INSIDE THE COFFIN
<BR>
<BR> lie the DECOMPOSED REMAINS of a KNIGHT IN ARMOR. INDY and ELSA look
<BR> in...Elsa gasps.
<BR>
<BR> INDY
<BR> This is itl we found it! Look-
<BR> the engraving on the Shield. It\'s
<BR> the same as on the Grail Tablets
<BR> The Shield is the Second Marker!
<BR>
<BR> INDY unfolds a piece of paper and holds it over the shield.
<BR>
<BR> ELSA
<BR> What\'s that?
<BR>
<BR> INDY
<BR> It\'s a rubbing Dad made of the
<BR> Grail Tablet.
<BR>
<BR> The missing portion of the rubbing is completed by the shield.
<BR>
<BR> ELSA
<BR> Just like your father-giddy
<BR> as a schoolboy.
<BR>
<BR> INDY laughs.
<BR>
<BR> ELSA
<BR> Wouldn\'t it be wonderful if he
<BR> were here now to see this?
<BR>
<BR> INDY
<BR> (chuckles)
<BR> He never would have made it past
<BR> the rats! He hates rats! He\'s
<BR> scared to death of them!
<BR>
<BR> CLOSE - A HAND
<BR>
<BR> as it lights a match.
<BR>
<BR> PULL BACK TO REVEAL KAZIM dropping the lighted match into the oil-slick
<BR> water.
<BR>
<BR>
<BR> INDY AND ELSA
<BR>
<BR> ELSA holds the torch. INDY looks around. Listens. Something is wrong. And
<BR> then he sees the GLOW OF FIRELIGHT dancing across the Catacomb walls.
<BR>
<BR> This is followed by THOUSANDS OF RATS FLEEING from around the corner of the
<BR> Narrow Passageway, STAMPEDING toward ELSA and INDY-SHRIEKING and
<BR> SQUEALING as they approach.
<BR>
<BR> The rats literally wash over them-like a rodent tidal wave-in their efforts to
<BR> escape a:
<BR>
<BR> HUGE ORANGE BALL OF FIRE
<BR>
<BR> ROARING around the corner hurtling towards them-feeding on the oil slick;
<BR> consuming the oxygen.
<BR>
<BR> ELSA SCREAMS.
<BR>
<BR> INDY
<BR> Get back! Back against the wall.
<BR>
<BR> INDY braces his back against the altar and TOPPLES THE COFFIN with his feet.
<BR> It CRASHES against the stone platform and SPLASHES into the water.
<BR>
<BR> INDY
<BR> Quick! Under it!
<BR>
<BR> They jump into the water beside the bobbing, overturned coffin.
<BR>
<BR> INDY
<BR> Air pocket!
<BR>
<BR> ELSA hesitates. INDY literally DUNKS her and pushes her underneath.
<BR>
<BR>
<BR> UNDER THE COFFIN
<BR>
<BR> ELSA surfaces into the air pocket created by the coffin, SPUTTERING and
<BR> SPITTING.
<BR>
<BR> Now INDY pops up into the air pocket. He looks at ELSA-they are both soaking
<BR> wet.
<BR>
<BR> INDY
<BR> Don\'t wander off.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> What?
<BR>
<BR> INDY disappears under the water and swims out from under the coffin.
<BR>
<BR> ELSA
<BR> What?
<BR>
<BR> UNDER THE WATER
<BR>
<BR> INDY swims, looking for an escape route.
<BR>
<BR> UNDER THE COFFIN
<BR>
<BR> The rats are beginning to force their way inside, swimming through the water
<BR> and climbing on ELSA, who squirms and screams in terror.
<BR>
<BR> INDY pops back up through the water.
<BR>
<BR> INDY
<BR> I think I\'ve found a way out.
<BR> Deep breath.
<BR>
<BR> ELSA groans. They take a deep breath and both dive under the water.
<BR>
<BR>
<BR> EXT.
CCG

duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

EXT. VENICE PIAZZA - OUTDOOR CAFE - DAY
<BR>
<BR> The perfect picture postcard-St. Mark\'s Square and the Grand Canal beyond.
<BR> Cafe customers are startled to see INDY and ELSA climb out of the sewer, wet
<BR> and smelly. Indy looks around at the postcard-perfect setting and smiles.
<BR>
<BR> INDY
<BR> (wryly)
<BR> Ah, Venicel
<BR>
<BR> Indy\'s delight, however, is short-lived since KAZIM and TWO OTHER TURKISH
<BR> AGENTS are running towards them with drawn guns.
<BR>
<BR> He grabs ELSA by the hand and the two of them run down the dock and LEAP
<BR> INTO A MOTORBOAT.
<BR>
<BR>
<BR> INT. THE MOTORBOAT - DAY
<BR>
<BR> INDY fires up the engine and pulls away from the dock... but not before a
<BR> Turkish Agent JUMPS in with him.
<BR>
<BR> ELSA grabs the wheel and begins to steer the boat while INDY and the Turk trade
<BR> punches.
<BR>
<BR> EXT. THE HARBOR - DAY
<BR>
<BR> Indy\'s Speedboat BOUNCES across the choppy waters heading in the direction of
<BR> the DOCKED STEAMSHIP.
<BR>
<BR> KAZIM and his men rush to TWO MORE SPEEDBOATS tied to the dock.
<BR>
<BR> They chase after INDY.
<BR>
<BR> INDY grapples with the Turkish Agent. As Indy grips his arms, we SEE a GUN in
<BR> the Agent\'s hand. It FIRES.
<BR>
<BR> As INDY fights with the Turk, he becomes aware of the Speedboats behind him
<BR> and two enormous Freighters ahead of him, joined together by two giant ropes.
<BR>
<BR> INDY, having gained the advantage, leans on top of the Turkish Agent.
<BR>
<BR> INDY
<BR> (to ELSA)
<BR> Are you crazy?! You don\'t go
<BR> between them!
<BR>
<BR> ELSA can barely hear INDY over the noise of the motor.
<BR>
<BR> ELSA
<BR> Go between them? Are you crazy?!
<BR>
<BR> INDY finally delivers the punch that sends the Turkish Agent flying overboard.
<BR> Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN
<BR> the two Freighters, now being pushed even closer together by a Tugboat.
<BR>
<BR> INDY
<BR> I said go around!
<BR>
<BR> ELSA
<BR> You said go between them!
<BR>
<BR> INDY
<BR> I said don\'t go between them!
<BR>
<BR> It\'s purely academic at this point since the hulls of the the two Freighters loom
<BR> up on either side of them like cavern walls.
<BR>
<BR>
<BR> EXT. FULL SHOT - THE HARBOR - DAY
<BR>
<BR> One Enemy Speedboat chases INDY between the two Freighters. But the Speedboat
<BR> containing KAZIM veers off and goes around.
<BR>
<BR>
<BR> EXT. BETWEEN THE TWO FREIGHTERS - DAY
<BR>
<BR> It\'s a race for daylight as the two Freighters drift ever closer to one another.
<BR>
<BR> Indy\'s Speedboat just manages to squeeze through the gap. But the Enemy
<BR> Speedboat EXPLODES as it is crushed between the two Freighters, FLYING INTO
<BR> THE AIR and SPLASHING back down into the water.
<BR>
<BR> INDY AND ELSA
<BR>
<BR> spin their boat around in a sharp half-circle to see KAZIM\'S SPEEDBOAT appear
<BR> racing toward them. He stands in the moving boat, FIRING A MACHINE GUN at
<BR> INDY and ELSA.
<BR>
<BR>
<BR> KAZIM\'S SPEEDBOAT
<BR>
<BR> matches Indy\'s move for move.
<BR>
<BR> FULL SHOT - THE HARBOR
<BR>
<BR> The two boats race across the water nearly side-by-side. A CHATTERING
<BR> MACHINE GUN from Kazim\'s boat SPLINTERS the wood of Indy\'s boat, until
<BR> finally the rear of the boat CATCHES ON FIRE.
<BR>
<BR> The machine gun runs out of ammunition. KAZIM puts it down and takes control
<BR> of the wheel from one of the Turkish Agents in the boat with him.
<BR>
<BR> As Indy\'s boat drifts toward the GIANT, TURNING PROPELLERS at the STERN of
<BR> ANOTHER STEAMER, Kazim\'s boat draws up alongside and hits them. INDY
<BR> steps into Kazim\'s boat. He knocks one of the Turkish Agents to the deck, then
<BR> turns his attention to KAZIM. The two men trade punches as the boat spins
<BR> helplessly in the churning water.
<BR>
<BR> ELSA
<BR> No!!
<BR>
<BR> INDY kicks KAZIM in the face, knocking him into the water, then pulls him back
<BR> into the boat, now being SUCKED THROUGH THE CHURNING WATER toward the
<BR> Steamer\'s giant propeller blades.
<BR>
<BR> INDY
<BR> Why are you trying to kill us?
<BR>
<BR> KAZIM
<BR> Because you\'re looking for the
<BR> Holy Grail.
<BR>
<BR> INDY
<BR> My father was looking for the
<BR> Holy Grail. Did you kill him
<BR> too?
<BR>
<BR> KAZIM
<BR> No.
<BR>
<BR> INDY
<BR> Where is he? Talk-or you\'re
<BR> dead. Damn it, tell me! Tell
<BR> me!
<BR>
<BR> KAZIM
<BR> If you don\'t let go, Doctor Jones,
<BR> we\'ll both die.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> Then we\'ll die.
<BR>
<BR> KAZIM
<BR> My soul is prepared. How\'s yours?
<BR>
<BR> By now half the boat has been chopped up into matchwood and the blades are
<BR> getting closer.
<BR>
<BR> INDY
<BR> This is your last chance.
<BR>
<BR> KAZIM
<BR> No, Doctor Jones. It\'s yours!
<BR>
<BR> The wind of the blades is on their necks. INDY grabs KAZIM just in time and
<BR> jumps... into the motorboat, driven by ELSA, which gets alongside in the nick of
<BR> time.
<BR>
<BR> INDY
<BR> All right! Where\'s my father
<BR>
<BR> KAZIM
<BR> If you let me go, I will tell you
<BR> where he is.
<BR>
<BR> INDY
<BR> Who are you?
<BR>
<BR> KAZIM
<BR> My name is Kazim.
<BR>
<BR> INDY
<BR> And why were you trying to kill
<BR> me?
<BR>
<BR> KAZIM
<BR> The secret of the Grail has been
<BR> safe for a thousand years. And
<BR> for all that time the Brotherhood
<BR> of the Cruciform Sword has been
<BR> prepared to do anything to keep
<BR> it safe.
<BR>
<BR> KAZIM pulls back his shirt to reveal a birthmark... or is it a tattoo? Whatever it
<BR> is, it\'s a cruciform sword; a Christian cross which tapers down, like the blades of
<BR> a broadsword.
<BR>
<BR> KAZIM
<BR> Let me get off at this jetty.
<BR>
<BR> The boat is close to the edge of the canal. INDY gives ELSA a nod, telling her to
<BR> bring the boat in. KAZIM steps ashore.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> KAZIM
<BR> Ask yourself, why do you seek
<BR> the Cup of Christ? Is it for His
<BR> glory, or for yours?
<BR>
<BR> INDY
<BR> I didn\'t come for the Cup of
<BR> Christ. I came to find my father.
<BR>
<BR> KAZIM
<BR> In that case, God be with you in
<BR> your quest. Your father is being
<BR> held in the Castle of Brunwald on
<BR> the Austrian-German border.
<BR>
<BR> KAZIM walks away.
<BR>
<BR> INT. VENICE APARTMENT - DAY
<BR>
<BR> CLOSE ON THE WATER-SOAKED PAPER IMPRESSION: The rubbing taken from
<BR> the shield of the Grail Knight.
<BR>
<BR> BRODY is giving it careful study while he dabs the lump on the back of his head
<BR> with an ice pack.
<BR>
<BR> INDY
<BR> How\'s the head?
<BR>
<BR> BRODY
<BR> It\'s better, now I\'ve seen this.
<BR> It\'s the name of a city.
<BR> \"Alexandretta?\" Hmmm...
<BR>
<BR> INDY, wearing a bathrobe, leans over to study the impression.
<BR>
<BR> INDY
<BR> The Knights of the First Crusade
<BR> laid siege to the city of
<BR> Alexandretta for over a year.
<BR> The entire city was destroyed.
<BR>
<BR> BRODY lowers the ice pack from his head and looks at INDY.
<BR>
<BR> INDY
<BR> The present city of Iskenderun
<BR> is built on its ruins. Marcus-
<BR> you remember what the Grail
<BR> Tablet said. \"Across the desert
<BR> and through the mountain to the
<BR> Canyon of the Crescent Moon.\"
<BR> (pause)
<BR> But where exactly?
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> BRODY
<BR> Your father would know. Your
<BR> father did know. Look. He
<BR> made a map.
<BR>
<BR> BRODY picks up the Grail Diary.
<BR>
<BR> BRODY
<BR> He must have pieced it together
<BR> from clues scattered through the
<BR> whole history of the Grail Quest.
<BR> A map with no names.
<BR>
<BR>
<BR> INSERT: A PENCIL-DRAWN MAP
<BR>
<BR> It covers two pages of the Diary. BRODY\'s finger moves across it.
<BR>
<BR> BRODY
<BR> Now, he knew there was a city
<BR> with an oasis due east. Here.
<BR> He knew the course turned south
<BR> through the desert to a river, and
<BR> the river led into the mountains.
<BR> Here. Straight to the canyon.
<BR> He knew everything except where
<BR> to begin, the name of the city.
<BR>
<BR> INDY
<BR> (solemnly)
<BR> Alexandretta. Now we know.
<BR>
<BR> BRODY
<BR> Yes. Now we know.
<BR>
<BR> INDY
<BR> (rising)
<BR> Marcus, get hold of Sallah. Tell
<BR> him to meet you in Iskenderun.
<BR>
<BR> INDY closes the Grail Diary and puts it into the pocket of his robe.
<BR>
<BR> BRODY
<BR> What about you?
<BR>
<BR> INDY
<BR> I\'m going after Dad.
<BR>
<BR>
<BR> INT. INDY\'S BEDROOM - DAY
<BR>
<BR> INDY opens the door. His bedroom has been ransacked...the mattress on the
<BR> floor, the drawers turned out.
<BR>
<BR> INT. HALLWAY - DAY
<BR>
<BR> INDY approaches another door (Elsa\'s bedroom) and knocks.
<BR>
<BR> INDY
<BR> Elsa?
<BR>
<BR> He goes in.
<BR>
<BR>
<BR> INT. ELSA\'S BEDROOM - DAY
<BR>
<BR> ... and finds that Elsa\'s bedroom is in a similar ransacked state to his own. The
<BR> room is empty.
<BR>
<BR> He is worried for her, knocks and calls out:
<BR>
<BR> INDY
<BR> Elsa?
<BR>
<BR> He steps into the room and knocks upon the bathroom door.
<BR>
<BR> INDY
<BR> Elsa?
<BR>
<BR> He opens the bathroom door, peering inside.
<BR>
<BR> INDY
<BR> Elsa?
<BR>
<BR>
<BR> INT. ELSA\'S BATHROOM - DAY
<BR>
<BR> Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as
<BR> INDY enters. He retreats back into her bedroom as she reaches up to turn off a
<BR> record player sitting on a ledge above the bathtub.
<BR>
<BR>
<BR> INT. ELSA\'S BEDROOM - DAY
<BR>
<BR> ELSA joins INDY, waiting in the ransacked room. she looks around in shock.
<BR>
<BR> ELSA
<BR> My room!
<BR>
<BR> INDY
<BR> Mine, too.
<BR>
<BR> ELSA
<BR> What were they looking for?
<BR>
<BR> She looks to INDY, who pulls the Grail Diary from his pocket.
<BR>
<BR> INDY
<BR> This.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> The Grail Diary.
<BR>
<BR> INDY
<BR> Uh-huh.
<BR>
<BR> ELSA
<BR> You had it? You didn\'t trust
<BR> me!
<BR>
<BR> She looks hurt and beautiful. She comes closer to him.
<BR>
<BR> INDY
<BR> I didn\'t know you.
<BR>
<BR> She\'s awfully hard to resist.
<BR>
<BR> INDY
<BR> At least I let you tag along.
<BR>
<BR> ELSA
<BR> Oh, yes. Give them a flower and
<BR> they\'ll follow you anywhere.
<BR>
<BR> INDY
<BR> Knock it off. You\'re not mad.
<BR>
<BR> ELSA
<BR> No?
<BR>
<BR> INDY
<BR> No. You like the way I do things.
<BR>
<BR> ELSA
<BR> It\'s lucky I don\'t do things the
<BR> same way. You\'d still be standing
<BR> at the Venice pier.
<BR>
<BR> She stomps her foot angrily. INDY flinches. She starts to walk away but Indy
<BR> grabs her.
<BR>
<BR> INDY
<BR> Look, what do you think is going
<BR> on here? Since I\'ve met you,
<BR> I\'ve nearly been incinerated,
<BR> drowned, shot at, and chopped into
<BR> fish bait. We\'re caught in the
<BR> middle of something sinister here.
<BR> My guess is Dad found out more
<BR> than he was looking for. And
<BR> until I\'m sure, I\'m going to
<BR> continue to do things the way I
<BR> think they should be done.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> He pulls her to him and kisses her.
<BR>
<BR> ELSA
<BR> How dare you kiss me!
<BR>
<BR> Now ELSA reaches for INDY and kisses him.
<BR>
<BR> INDY
<BR> Leave me alone. I don\'t like
<BR> fast women.
<BR>
<BR> But he embraces her, and ELSA begins to nibble at his ear.
<BR>
<BR> ELSA
<BR> And I hate arrogant men.
<BR>
<BR> INDY smiles slyly as they fall to the bed.
<BR>
<BR>
<BR> EXT. VENICE CANAL - DAY
<BR>
<BR> A GONDOLIER SINGS as he steers his gondola carrying two passengers past
<BR> Indy\'s window.
<BR>
<BR>
<BR> INT. INDY\'S BEDROOM - DAY
<BR>
<BR> INDY lies on top of ELSA, kissing her. He stops for a moment as he hears the
<BR> GONDOLIER SINGING.
<BR>
<BR> INDY
<BR> Ahh, Venice.
<BR>
<BR> ELSA reaches up and pulls him back down to her.
<BR>
<BR>
<BR> EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY
<BR>
<BR> A Mercedes-Benz glides through the sharp mountain curves. This is
<BR> SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria
<BR> toward Salzburg.
<BR>
<BR>
<BR> EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY
<BR>
<BR> Storm clouds darken the skies. THUNDER EXPLODES in the
<BR> distance; lightning flashes. The Mercedes-Benz drives into the courtyard of the
<BR> formidable stone castle.
<BR>
<BR> INDY
<BR> What do you know about this
<BR> place?
<BR>
<BR> ELSA
<BR> I know the Brunwalds are famous
<BR> art collectors.
<BR>
<BR> INT. MERCEDES-BENZ - DAY
<BR>
<BR> INDY reaches into the back seat and retrieves his bullwhip.
<BR>
<BR> ELSA
<BR> What are you going to do?
<BR>
<BR> INDY
<BR> Don\'t know. Think of something.
<BR>
<BR> He glances up to the beret ELSA is wearing. She reaches up and adjusts it.
<BR>
<BR>
<BR> INT. CASTLE ENTRANCE HALL - DAY
<BR>
<BR> A BUTLER walks to the door and opens it to reveal INDY and ELSA standing
<BR> outside in the rain. she now wears Indy\'s fedora; Indy is wearing Elsa\'s beret.
<BR>
<BR> BUTLER
<BR> Yes?
<BR>
<BR> INDY, followed by ELSA, steps inside, shaking the water from his overcoat. He
<BR> adopts a Scottish accent.
<BR>
<BR> INDY
<BR> And not before time! Did you
<BR> intend to leave us standing on
<BR> the doorstep all day? We\'re
<BR> drenched!
<BR>
<BR> As INDY says this he pushes his way past the startled BUTLER, pulling a
<BR> handkerchief from the man\'s pocket. ELSA follows, taking off her coat. INDY
<BR> SNEEZES HARD.
<BR>
<BR> INDY
<BR> Now look! I\'ve gone and caught
<BR> a sniffle.
<BR>
<BR> INDY dabs at his nose with the handkerchief as ELSA looks on in amused
<BR> amazement.
<BR>
<BR> BUTLER
<BR> (coldly; with
<BR> Austrian accent)
<BR> Are you expected?
<BR>
<BR> INDY
<BR> Don\'t take that tone with me, my
<BR> good man. Now buttle off and tell
<BR> Baron Brunwald that Lord Clarence
<BR> MacDonald and his lovely assistant
<BR> are here to view the tapestries.
<BR>
<BR>
<BR> (CONT\'D)
<BR>
<BR>CONTINUED:
<BR> BUTLER
<BR> Tapestries?
<BR>
<BR> INDY
<BR> Dear me, the man is dense. This
<BR> is a castle, isn\'t it? There are
<BR> tapestries?
<BR>
<BR> BUTLER
<BR> This is a castle. And we have
<BR> many tapestries. But if you\'re a
<BR> Scottish lord, then I am Mickey
<BR> Mouse.
<BR>
<BR> INDY
<BR> How dare he?!
<BR>
<BR> Simultaneously knocking the BUTLER cold with one slug on the jaw. The Butler
<BR> falls against a wall tapestry, sliding down to the floor, out cold.
<BR>
<BR>
<BR> INT. CASTLE HALLWAY - DAY
<BR>
<BR> INDY and ELSA move cautiously and quietly down the wide, vaulted hallway.
<BR> APPROACHING VOICES ARE HEARD. Indy and Elsa creep past a room full of
<BR> NAZI SOLDIERS working around a large table with a map atop it..
<BR>
<BR> INDY reacts to the sight of them.
<BR>
<BR> INDY
<BR> (to ELSA; softly)
<BR> Nazis. I hate these guys.
<BR>
<BR> INDY and ELSA continue down the hallway. Indy carries a gun in his hand and
<BR> his whip hangs from his belt. He steps to a closed door and listens.
<BR>
<BR> INDY
<BR> This one. I think he\'s in here.
<BR>
<BR> ELSA
<BR> How do you know?
<BR>
<BR> INDY points out an ELECTRICAL WIRE.
<BR>
<BR> INDY
<BR> Because it\'s wired.
<BR>
<BR> He studies the situation for a moment, then decides to enter one of the other
<BR> doors. He knocks at the door-there is no response. He looks back at ELSA and
<BR> enters.
<BR>
<BR>INT. CASTLE ROOM - DAY
<BR>
<BR> The room is dark and empty. INDY throws open the window shutters and looks
<BR> out. RAIN comes down in sheets. There is a wide ledge beneath each window-
<BR> but below that is a SHEER DROP. Indy wants to get out onto the window ledge,
<BR> which is several yards away.
<BR>
<BR> ELSA
<BR> Indy? Indy?
<BR>
<BR> INDY reassures her.
<BR>
<BR>
<BR> INDY
<BR> Don\'t worry... this is kid\'s play.
<BR> I\'ll be right back.
<BR>
<BR> He leans out the window and wraps his bullwhip around some wires that protrude
<BR> from the castle wall above the next window.
<BR>
<BR> He gives the whip a forceful tug to make certain it will hold his weight.
<BR>
<BR>
<BR> EXT. THE CASTLE - DAY
<BR>
<BR> INDY SWINGS from the window to the stone gargoyle.
<BR>
<BR> CLOSE ON THE WINDOW LEDGE
<BR>
<BR> A PAIR OF WOODEN SHUTTERS seals the window.
<BR>
<BR> INDY takes hold of the bullwhip with both hands, pushes off with his feet...
<BR> swings toward the shuttered window with his feet extended... CRASHING
<BR> THROUGH THE WOODEN SHUTTERS as a CLAP OF THUNDER disguises the noise.
<BR>
<BR>
<BR> INT. THE ROOM - DAY
<BR>
<BR> INDY CRASHES THROUGH SHUTTERS AND GLASS into the room. The broken
<BR> shutters hang by their hinges. Rain and cold air whip through the open window.
<BR>
<BR> No sooner does Indy get to his feet, than a VASE COMES CRASHING DOWN ON
<BR> THE BACK OF HIS HEAD.
<BR>
<BR> Stunned, INDY sinks to one knee... and Indy\'s father, PROFESSOR HENRY JONES,
<BR> steps out of the shadows.
<BR>
<BR> HENRY
<BR> Junior?
<BR>
<BR> INDY gets to his feet.
<BR>
<BR> INDY
<BR> (a reflex)
<BR> Yes, sirl
<BR>
<BR>CONTINUED:
<BR>
<BR> This reply is a kneejerk reaction on Indy\'s part. Now they look at each other.
<BR>
<BR> HENRY
<BR> It is you Junior!
<BR>
<BR> INDY
<BR> (an old familiar
<BR> irritation)
<BR> Don\'t call me that, please.
<BR>
<BR> HENRY
<BR> (amazed)
<BR> But what are you doing here?
<BR>
<BR> INDY
<BR> I came to get you! What do you
<BR> think?
<BR>
<BR> NAZI VOICES ARE HEARD approaching. INDY and HENRY press themselves
<BR> against the wall, Henry still holding the broken vase in his hand.
<BR>
<BR> INDY steps to the window and looks down. HENRY moves to a lamp, holding the
<BR> vase under the light for a closer look.
<BR>
<BR> HENRY
<BR> (sotto, mumbled)
<BR> Late Fourteenth Century, Ming
<BR> Dynasty.
<BR>
<BR> HENRY is all about the broken vase which he still holds in his hand. Father and
<BR> son get onto crossed lines for a couple of moments.
<BR>
<BR> HENRY
<BR> Oh, it breaks the heart.
<BR>
<BR> INDY
<BR> (quietly to himself)
<BR> And the head.
<BR> (to HENRY, aggrievedly)
<BR> You hit me, Dad!
<BR>
<BR> HENRY
<BR> (referring to the
<BR> vase)
<BR> I\'ll never forgive myself-
<BR>
<BR> INDY
<BR> (surprised,
<BR> misunderstanding)
<BR> Don\'t worry-I\'m fine.
<BR>
<BR> HENRY
<BR> Thank God!
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> HENRY has clearly been concentrating entirely on the vase... he is examining the
<BR> broken end carefully.
<BR>
<BR> HENRY
<BR> ... it\'s fake. See, you can tell
<BR> by the cross section.
<BR>
<BR> HENRY throws the vase against the wall where it SHATTERS.
<BR>
<BR> INDY
<BR> No! Dad, get your stuff. We\'ve
<BR> got to get out of here.
<BR>
<BR> HENRY
<BR> Well, I am sorry about your head,
<BR> though. But I thought you were
<BR> one of them.
<BR>
<BR> INDY
<BR> Dad, they come in through the
<BR> doors.
<BR>
<BR> HENRY
<BR> (laughs)
<BR> Good point.
<BR>
<BR> INDY steps to the door and stands, listening.
<BR>
<BR> HENRY
<BR> But better safe than sorry.
<BR>
<BR> HENRY slides his umbrella through the straps of his bag.
<BR>
<BR> HENRY
<BR> Humpf-so I was wrong this time.
<BR> But by God, I wasn\'t wrong when I
<BR> mailed you my Diary. You obviously
<BR> got it.
<BR>
<BR> INDY
<BR> I got it and I used it. We found
<BR> the entrance to the catacombs.
<BR>
<BR> HENRY
<BR> (excited)
<BR> Through the library?
<BR>
<BR> INDY
<BR> Right.
<BR>
<BR> HENRY
<BR> I knew it. And the tomb of Sir
<BR> Richard?
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> INDY nods.
<BR>
<BR> INDY
<BR> Found it.
<BR>
<BR> HENRY
<BR> (breathless)
<BR> He was actually there? You saw
<BR> him?
<BR>
<BR>
<BR> INDY
<BR> Well, what was left of him.
<BR>
<BR> HENRY
<BR> (trembling with
<BR> anticipation)
<BR> And his shield... the inscription
<BR> on Sir Richard\'s shield...?
<BR>
<BR> INDY
<BR> Alexandretta.
<BR> (beat)
<BR>
<BR> It\'s a great moment in HENRY\'s life. He turns aside, lost to himself for a
<BR> moment, then turns to INDY with joy.
<BR>
<BR> HENRY
<BR> Alexandretta... of course... on
<BR> the pilgrim trail from the Eastern
<BR> Empire. Oh, Junior...
<BR>
<BR> INDY winces, and would interrupt but suddenly it\'s not the moment.
<BR>
<BR> HENRY
<BR> ... you did it.
<BR>
<BR>
<BR> INDY
<BR> No, Dad. You did. Forty years.
<BR>
<BR> HENRY
<BR> If only I could have been with
<BR> you.
<BR>
<BR> INDY
<BR> There were rats, Dad.
<BR>
<BR> HENRY
<BR> Rats?
<BR>
<BR> INDY
<BR> Yeah. big ones. What do the
<BR> Nazis want with you Dad?
<BR>
<BR> HENRY
<BR> They want my diary.
<BR>
<BR>
<BR>CONTINUED: (4)
<BR>
<BR> INDY
<BR> (interested)
<BR> Yeah?
<BR>
<BR> INDY\'s interest is a moment which becomes important later but for now it passes.
<BR>
<BR> HENRY
<BR> I knew I had to get that book as
<BR> far away from me as I possibly
<BR> could.
<BR>
<BR> INDY\'s hand moves unconsciously to his pocket. His eyes turn inward.
<BR>
<BR> INDY
<BR> (thoughtfully)
<BR> Yeah. . .
<BR>
<BR> Then... BAMI The door is kicked open and three NAZIS enter. One is an S.S.
<BR> OFFICER. The other two are SOLDIERS with machine guns. HENRY and INDY
<BR> raise their hands.
<BR>
<BR> S.S. OFFICER
<BR> Doctor Jones!!
<BR>
<BR> HENRY & INDY
<BR> Yes!!
<BR>
<BR>
<BR> S.S. OFFICER
<BR> I will take the book now.
<BR>
<BR> INDY/HENRY
<BR> (simultaneously)
<BR> What book?
<BR>
<BR> S.S. OFFICER
<BR> (to INDY)
<BR> You have the Diary in your pocket.
<BR>
<BR> HENRY laughs genuinely, believing himself to be laughing at the expense of the
<BR> S.S. OFFICER.
<BR>
<BR> HENRY
<BR> You doltl Do you think that my
<BR> son would be that stupid that
<BR> he would bring my Diary all the
<BR> way back here?
<BR>
<BR> At which point an awful thought strikes HENRY.
<BR>
<BR> HENRY
<BR> You didn\'t, did you?
<BR> (a beat)
<BR> You didn\'t bring it, did you?
<BR>
<BR>
<BR>CONTINUED: (5)
<BR>
<BR> INDY
<BR> Well, uh...
<BR>
<BR> HENRY
<BR> You did!!
<BR>
<BR>
<BR> INDY
<BR> Look, can we discuss this later?
<BR>
<BR> HENRY
<BR> I should have mailed it to the
<BR> Marx Brothers.
<BR>
<BR> INDY
<BR> (overlapping)
<BR> Will you take it easy....!
<BR>
<BR> HENRY
<BR> Take it easy?! Why do you think
<BR> I sent it home in the first place?
<BR> (points towards
<BR> the NAZIS)
<BR> So it wouldn\'t fall into their
<BR> hands!!
<BR>
<BR> INDY
<BR> I came here to save you.
<BR>
<BR> HENRY
<BR> Oh yeah? And who\'s gonna come to
<BR> save you, Junior??
<BR>
<BR> INDY\'s eyes blazes His nostrils flares He\'s so pissed off, he literally RIPS A
<BR> MACHINE GUN from the hands of one of the startled soldiers... and for a moment
<BR> we think he\'s going to use it on his dad.
<BR>
<BR> INDY
<BR> I told you--
<BR>
<BR> He turns and sprays the room with machine gun fire, cutting all three NAZIS to
<BR> ribbons and blowing them backwards across the room.
<BR>
<BR> INDY
<BR> --don\'t call me Junior!
<BR>
<BR> HENRY looks shocked and horrified.
<BR>
<BR> HENRY
<BR> Look what you did!!
<BR>
<BR> Indy grabs him and pushes him ahead.
<BR>
<BR> HENRY
<BR> (aghast)
<BR> I can\'t believe what you just....
<BR>
<BR> INT. CASTLE HALLWAY - DAY
<BR>
<BR> INDY leads HENRY down the hallway as he searches for Elsa.
<BR>
<BR> INDY
<BR> Elsa? Elsa?
<BR>
<BR> He opens a door and enters:
<BR>
<BR> INT. FIRST CASTLE ROOM - DAY
<BR>
<BR>
<BR> INDY and HENRY rush back into the room where ELSA had been left, only to
<BR> find: A Nazi COLONEL HOLDING ELSA HOSTAGE.
<BR>
<BR> His name is VOGEL: a vicious-looking, lantern jawed brute. One arm is wrapped
<BR> around Elsa\'s waist, the other hand presses the muzzle of a LUGER behind her
<BR> ear.
<BR>
<BR> VOGEL
<BR> That\'s far enough Put down the
<BR> gun, Doctor Jones. Put down the
<BR> gun or the Fraulein dies.
<BR>
<BR> HENRY
<BR> But she\'s one of them!
<BR>
<BR> ELSA
<BR> Indy, please!
<BR>
<BR> HENRY
<BR> She\'s a Nazi!
<BR>
<BR> INDY
<BR> What?!
<BR>
<BR> INDY is thrown. He doesn\'t know what to do. He looks at ELSA, then back to his
<BR> father. Everyone is yelling at once:
<BR>
<BR> HENRY
<BR> Trust me!
<BR>
<BR>
<BR> ELSA
<BR> Indy, no!
<BR>
<BR> VOGEL
<BR> I will kill her!
<BR>
<BR> HENRY
<BR> Oh yeah? Go ahead!
<BR>
<BR> INDY
<BR> No! Don\'t Shoot!
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> HENRY
<BR> (to Indy)
<BR> Don\'t worry. He won\'t.
<BR>
<BR> ELSA
<BR> Indy, please! Do what he says!
<BR>
<BR> HENRY
<BR> And don\'t listen to her!
<BR>
<BR> VOGEL
<BR> Enough! She diesl
<BR>
<BR> VOGEL jams the barrel of the luger painfully into ELSA\'s neck. Elsa SCREAMS.
<BR>
<BR> INDY
<BR> Wait! Waitl
<BR>
<BR> And then Indy gives in. He drops the machine gun to the table and it slides
<BR> across, SHATTERING GLASS. HENRY GROANS audibly.
<BR>
<BR> VOGEL releases his grip on ELSA and shoves her toward INDY. She is propelled
<BR> directly into his arms. He holds her tightly. She buries her face in his chest.
<BR>
<BR> ELSA
<BR> I\'m sorry.
<BR>
<BR> INDY comforts her.
<BR>
<BR> INDY
<BR> No, don\'t be.
<BR>
<BR> Her hand slips into his coat pocket and removes the Grail Diary.
<BR>
<BR> ELSA
<BR> But you should have listened to
<BR> your father.
<BR>
<BR> She steps back next to VOGEL. INDY is stunned. HENRY gives him his most
<BR> withering look of reprimand.
<BR>
<BR>
<BR> INT. BARONIAL ROOM - DAY
<BR>
<BR> A large baronial room decorated with ancient tapestries and suits of armor.
<BR> Firelight-from the giant fireplace-dances across the ceiling and walls.
<BR>
<BR> INDY and HENRY are ushered in, hands tied behind back, accompanied by VOGEL
<BR> and ELSA and TWO NAZI GUARDS.
<BR>
<BR> ELSA crosses the room toward a high-backed chair facing the fireplace. INDY and
<BR> HENRY do not have the advantage of seeing who is sitting in that chair. They
<BR> only see a HAND REACH OUT AND TAKE THE BOOK.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> (quietly to HENRY)
<BR> She ransacked her own room and I
<BR> fell for it. How did you know
<BR> she was a Nazi?
<BR>
<BR> HENRY
<BR> Umh?
<BR>
<BR> INDY
<BR> How did you she was a Nazi?
<BR>
<BR> HENRY
<BR> She talks in her sleep.
<BR>
<BR> INDY nods, and then the statement catches up with him. He looks at HENRY
<BR> with surprise.
<BR>
<BR> HENRY
<BR> I didn\'t trust her. Why did
<BR> you?
<BR>
<BR> MAN IN CHAIR
<BR> Because he didn\'t take my advice.
<BR>
<BR> The MAN IN THE CHAIR gets to his feet and turns, revealing himself to be...
<BR> WALTER DONOVAN. INDY and HENRY react with stunned expressions.
<BR>
<BR> INDY
<BR> Donovan
<BR>
<BR> DONOVAN
<BR> Didn\'t I warn you not to trust
<BR> anybody, Doctor Jones?
<BR>
<BR> DONOVAN smiles benignly and flips through the Grail Diary.
<BR>
<BR> HENRY
<BR> I misjudged you Walter-I knew
<BR> you\'d sell your mother for an
<BR> Etruscan vase.
<BR> But I didn\'t know you\'d sell your
<BR> country and your soul to the slime
<BR> of humanity.
<BR>
<BR> DONOVAN
<BR> (suddenly erupting)
<BR> Doctor Schneider There\'re pages
<BR> torn out of thisl
<BR>
<BR> ELSA rushes to DONOVAN\'s side. she takes the Grail Diary from him. Elsa takes
<BR> a look for herself-then glances up at Indy.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> ELSA
<BR> This book contained a map-a
<BR> map with no names-precise
<BR> directions from the unknown city
<BR> to the secret Canyon of the
<BR> Crescent Moon.
<BR>
<BR> INDY
<BR> So it did.
<BR>
<BR>
<BR> DONOVAN
<BR> Where are these missing pages?
<BR> This maps we must have these
<BR> pages backs
<BR>
<BR> HENRY gives INDY a look of surprise. Indy smirks.
<BR>
<BR> ELSA
<BR> (to Donovan)
<BR> You\'re wasting your breath. He
<BR> won\'t tell us. And he doesn\'t
<BR> have to... it\'s perfectly obvious
<BR> where the pages are...
<BR> (looking at Indy)
<BR> ... he\'s given them to Marcus
<BR> Brody.
<BR>
<BR> HENRY now wears a pained expression.
<BR>
<BR> HENRY
<BR> (to Indy)
<BR> Marcus?! You didn\'t drag poor
<BR> Marcus along, did you? He\'s not
<BR> up to the challenge.
<BR>
<BR> DONOVAN
<BR> He sticks out like a sore thumb.
<BR> We\'ll find him.
<BR>
<BR> INDY
<BR> The hell you will. He\'s got a
<BR> two-day head-start on you, which
<BR> is more than he needs.
<BR> (beat)
<BR> Brody\'s got friends in every town
<BR> and village from here to the Sudan.
<BR> He speaks a dozen languages, knows
<BR> every local custom. He\'ll blend
<BR> in. Disappear. You\'ll never see
<BR> him again. With any luck, he\'s
<BR> got the Grail already.
<BR>
<BR> HENRY looks amazed and impressed.
<BR>
<BR> EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY
<BR>
<BR> BRODY disembarks from the train along with the other PASSENGERS, a cross-
<BR> section of ARABS and TUSKS.
<BR>
<BR> BRODY
<BR> Does anyone here speak English?
<BR> Or even ancient Greek?
<BR>
<BR> A Man in the crowd holds out a cup of water to BRODY.
<BR>
<BR> BRODY
<BR> No water, no thank you. No, fish
<BR> make love in it.
<BR>
<BR> BRODY continues through the crowd past various STREET VENDORS. A Woman
<BR> holds a chicken out to him.
<BR>
<BR> BRODY
<BR> Thank you so much. No, I don\'t
<BR> like that. No, I really don\'t
<BR> want... No, no, thank you very
<BR> much. No, thank you, madam.
<BR> I\'m a vegetarian.
<BR>
<BR>
<BR> The Woman walks away, leaving BRODY alone in the crowd.
<BR>
<BR> BRODY
<BR> Does anyone understand a word I\'m
<BR> saying here?
<BR>
<BR> SALLAH shoulders his way through the mob toward BRODY.
<BR>
<BR> SALLAH
<BR> Mister Brodyl
<BR>
<BR> They meet and hug, then begin to walk.
<BR>
<BR> BRODY
<BR> Oh, Sallahl What a relief!
<BR>
<BR> SALLAH
<BR> (laughs)
<BR> Marcus Brody, sir. And where is
<BR> Indy?
<BR>
<BR> BRODY
<BR> (overlapping)
<BR> Oh, he\'s in Austria. A slight
<BR> detour.
<BR>
<BR> SALLAH
<BR> You are on your own?
<BR>
<BR> A Woman runs in and tugs on BRODY\'s coat. He waves her away.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> BRODY
<BR> Yes, but don\'t panic. Everything\'s
<BR> under control. Have you. . .have
<BR> you arranged our supplies?
<BR>
<BR> SALLAH
<BR> Oh, yes, of course. But where
<BR> are we going?
<BR>
<BR> BRODY
<BR> Oh, this map will show you. It
<BR> was drawn by, uh...
<BR>
<BR> BRODY searches in his coat pocket for the map as a SINISTER MAN approaches.
<BR>
<BR> SINISTER MAN
<BR> Mister Brody?
<BR>
<BR> BRODY puts the map back in his pocket. The SINISTER MAN clicks his heels and
<BR> bows quickly.
<BR>
<BR> SINISTER MAN
<BR> Welcome to Iskenderun. The
<BR> Director of the Museum of
<BR> Antiquities has sent a car for
<BR> you.
<BR>
<BR> BRODY takes off his hat.
<BR>
<BR> BRODY
<BR> Oh, what?... your servant, sir.
<BR>
<BR> SALLAH
<BR> And I am his.
<BR>
<BR>
<BR> SINISTER MAN
<BR> Follow me, please.
<BR>
<BR> The man turns and joins a SECOND MAN. BRODY and SALLAH follow them.
<BR>
<BR> BRODY
<BR> My reputation precedes me.
<BR>
<BR> SALLAH
<BR> There is no museum in Iskenderun.
<BR>
<BR> The SECOND MAN overhears SALLAH. He and his companion turn quickly.
<BR>
<BR> SECOND MAN
<BR> Papers please.
<BR>
<BR> SALLAH
<BR> Papers?
<BR> (laughs)
<BR> Of course.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> SALLAH puts Brody\'s luggage down and glances at BRODY.
<BR>
<BR> SALLAH
<BR> Run.
<BR>
<BR>
<BR> BRODY does not run. SALLAH pats his clothing, searching for his papers.
<BR>
<BR> BRODY
<BR> Yes.
<BR>
<BR> SALLAH
<BR> Papers, sir. Got it here.
<BR>
<BR> SALLAH laughs and pulls out a newspaper.
<BR>
<BR> SALLAH
<BR> Just finished reading it myself.
<BR> (laughs; then, to
<BR> Brody)
<BR> Run!
<BR>
<BR> BRODY looks confused. SALLAH shows the newspaper to the SECOND MAN.
<BR>
<BR> BRODY
<BR> Yes.
<BR>
<BR>
<BR> SALLAH
<BR> Egyptian Mail. Morning edition.
<BR> (to Brody)
<BR> Run!
<BR>
<BR> BRODY
<BR> Did you say...? Uh, uh...
<BR>
<BR> SALLAH puts the newspaper in front of the SECOND MAN\'s face, then punches
<BR> him through the newspaper.
<BR>
<BR> SALLAH
<BR> Run!
<BR>
<BR>
<BR> The SECOND MAN falls, knocking over a vendor\'s stand. SALLAH and BRODY
<BR> begin to run. SALLAH knocks the FIRST MAN into another vendor\'s stand. The
<BR> STAND COLLAPSES on impact.
<BR>
<BR> SALLAH grabs BRODY and pulls him through the crowded streets.
<BR>
<BR> SALLAH
<BR> (to Brody; pointing)
<BR> Okay, okay, quick, quick, quickl
<BR> Hide in that doorl Hide in that
<BR> door!
<BR>
<BR> SALLAH points to a DARKENED DOORWAY, hung with a curtain, at the top of a
<BR> ramp. BRODY runs up the ramp, throws back the curtain and disappears into
<BR> the darkness.
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> Then-METAL DOORS ARE SLAMMED behind Brody and we realize that he has
<BR> actually run into the back of a Nazi TROOP TRUCK.
<BR>
<BR> SALLAH runs after the Truck until he reaches a wall, then leans against the wall
<BR> dejectedly as the Truck drives away with BRODY inside.
<BR>
<BR>
<BR> INT. CASTLE ROOM - DAY
<BR>
<BR> The room is dark. Ancient, floor-length drapes cover the windows. A HUGE
<BR> FIREPLACE that\'s nearly large enough for a man to stand upright in dominates
<BR> one wall.
<BR>
<BR> The NAZI GUARDS have tied INDY and HENRY back-to-back in a pair of chairs.
<BR> ELSA and DONOVAN stand over them. VOGEL enters.
<BR>
<BR> HENRY
<BR> Intolerable.
<BR>
<BR>
<BR> VOGEL
<BR> Doctor Schneider. Message from
<BR> Berlin. You must return immediately:
<BR> a rally at the Institute of Aryan
<BR> Culture.
<BR>
<BR> ELSA
<BR> So?
<BR>
<BR> VOGEL
<BR> Your presence on the platform is
<BR> requested... at the highest level.
<BR>
<BR> ELSA
<BR> Thank you, Herr Oberst.
<BR> (to DONOVAN)
<BR> I will meet you at Iskenderun.
<BR>
<BR> DONOVAN
<BR> Take this Diary to the Reich
<BR> Museum in Berlin. It will show
<BR> them our progress, ahead of
<BR> schedule. Without a map, I\'m
<BR> afraid it\'s no better than a
<BR> souvenir.
<BR>
<BR> He hands her the Grail Diary.
<BR>
<BR> VOGEL
<BR> (to DONOVAN, meaning
<BR> Indy and Henry)
<BR> Let me kill them now.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> No. If we fail to recover the
<BR> pages from Brody, we\'ll need them
<BR> alive.
<BR>
<BR> DONOVAN
<BR> (to VOGEL, with a
<BR> helpless shrug)
<BR> Always do what the doctor orders.
<BR>
<BR> DONOVAN leads VOGEL out. The NAZI GUARDS follow. Once they are gone,
<BR> ELSA turns to INDY.
<BR>
<BR> ELSA
<BR> Don\'t look at me like that-we
<BR> both wanted the Grail, I would
<BR> have done anything to get it.
<BR> You would have done the same.
<BR>
<BR> INDY shakes his head \"no.\"
<BR>
<BR> INDY
<BR> I\'m sorry you think so.
<BR>
<BR> She runs her hand down the side of his face. INDY pulls away.
<BR>
<BR> INDY and HENRY are still tied back-to-back of course. ELSA bends to speak
<BR> quietly into INDY\'s ear... which is near enough to Henry\'s ear.
<BR>
<BR> ELSA
<BR> (whispers)
<BR> I can\'t forget... how wonderful
<BR> it was.
<BR>
<BR> HENRY
<BR> Thank you. It was rather wonderful.
<BR>
<BR> She smiles and kisses INDY passionately. HENRY glances back and looks rather
<BR> disappointed.
<BR>
<BR> VOGEL appears to remind ELSA of her appointment.
<BR>
<BR> VOGEL
<BR> Doctor Schneider! Your car is
<BR> waiting.
<BR>
<BR> ELSA
<BR> (to INDY, after
<BR> finishing the kiss)
<BR> That\'s how Austrians say goodbye.
<BR>
<BR> ELSA exits. VOGEL stays behind for another moment.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> VOGEL
<BR> And this is how we say goodbye in
<BR> Germany, Doctor Jones.
<BR>
<BR> VOGEL punches INDY in the jaw. A hard and vicious jab that snaps Indy\'s head
<BR> around.
<BR>
<BR> HENRY
<BR> Ohh. . .
<BR>
<BR> VOGEL exits. INDY shakes his head clear.
<BR>
<BR> INDY
<BR> (to himself)
<BR> Ooooh... I like the Austrian way
<BR> better.
<BR>
<BR> HENRY
<BR> So did I.
<BR>
<BR> INDY
<BR> Let\'s try and get these ropes
<BR> loose. We\'ve got to get to Marcus
<BR> before the Nazis do!
<BR>
<BR> HENRY
<BR> (confused)
<BR> You said he had two days\' start.
<BR> That he would blend in. Disappear!
<BR>
<BR> INDY
<BR> Are you kidding?-I made that
<BR> up! You know Marcus-he got
<BR> lost once in his own museum!
<BR>
<BR> Indy and Henry are pulling at the ropes with great urgency.
<BR>
<BR> INDY
<BR> Can you try and reach into my
<BR> left jacket pocket?
<BR>
<BR> HENRY is able to wiggle his hand towards Indy\'s coat pocket. INDY squirms his
<BR> body around towards Henry\'s hand.
<BR>
<BR> HENRY
<BR> What am I looking for?
<BR>
<BR> INDY
<BR> My lucky charm.
<BR>
<BR> HENRY
<BR> Feels like a cigarette lighter.
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> INDY
<BR> Try and burn through the ropes.
<BR>
<BR> HENRY\'s fingers open the lighter and ignite the flame.
<BR>
<BR> HENRY
<BR> Very good.
<BR>
<BR> HENRY yelps as the cigarette lighter burns his hand. He drops the lighter to the
<BR> floor. Henry kicks at the lighter, trying to reach it, but cannot. The rug starts to
<BR> burn. INDY doesn\'t know it yet.
<BR>
<BR> HENRY
<BR> I ought to tell you something.
<BR>
<BR> INDY
<BR> Don\'t get sentimental now Dad-
<BR> save it \'til we get out of here.
<BR>
<BR> HENRY
<BR> The floor\'s on fire! See?!
<BR>
<BR> INDY
<BR> (turns and sees)
<BR> What???
<BR>
<BR> HENRY
<BR> And the chair.
<BR>
<BR> INDY
<BR> All right, movel Move! Rock
<BR> your Chair. Do what I do.
<BR>
<BR> They begin to rock their chair legs, inching their way off the burning carpet.
<BR>
<BR>
<BR> EXT. CASTLE - DAY
<BR>
<BR> as ELSA is driven away. VOGEL and DONOVAN remain behind, flanked by NAZI
<BR> SOLDIERS .
<BR>
<BR> Another car pulls up and VOGEL holds the door open for DONOVAN who gets into
<BR> the rear seat. A LIEUTENANT approaches with a written message for Donovan.
<BR>
<BR> LIEUTENANT
<BR> Etwas wichtig, mein Herr.
<BR>
<BR> DONOVAN puts on his glasses to read the message.
<BR>
<BR> DONOVAN
<BR> Well, we have Marcus Brody. But
<BR> more important, we have the map.
<BR>
<BR> A RADIO OPERATOR steps forward with yet another written message for
<BR> DONOVAN.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> RADIO OPERATOR
<BR> Aus Berlin, mein Herr.
<BR>
<BR> DONOVAN
<BR> (reading)
<BR> \"By the personal command of the
<BR> Fuhrer. Secrecy essential to
<BR> success. Eliminate the American
<BR> conspirators.\"
<BR> (to VOGEL)
<BR> Germany has declared war on the
<BR> Jones boys.
<BR> (to DRIVER)
<BR> Los fahren.
<BR>
<BR> The car drives off.
<BR>
<BR> INT. CASTLE ROOM - DAY
<BR>
<BR> INDY and HENRY are still in their chairs, tied back-to-back. Indy tries to
<BR> communicate with Henry, but each time he calls him, the men turn their heads in
<BR> opposite directions.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> HENRY
<BR> What?
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> HENRY
<BR> What?
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> Finally they turn their heads in the same direction.
<BR>
<BR> HENRY
<BR> What?
<BR>
<BR> INDY
<BR> Head for the fireplace!
<BR>
<BR> HENRY
<BR> Oh.
<BR>
<BR>
<BR> BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE
<BR> FIREPLACE-the only safe place from the now ROARING FIRE.
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> I think I can get these ropes
<BR> off.
<BR>
<BR> Indy struggles to free his hands. His foot kicks out and accidentally hits a metal
<BR> grill that operates a Secret Door.
<BR>
<BR> INDY
<BR> Whoopsl
<BR>
<BR> The fireplace floor rotates like a Lazy Susan and Indy and his father find
<BR> themselves in the:
<BR>
<BR>
<BR> INT. RADIO ROOM - DAY
<BR>
<BR> where a NAZI RADIOMAN wearing headphones sits at an elaborate panel of dials,
<BR> switches and meters, and a WOMAN stands over a map plotting coordinates.
<BR> Their backs are turned to INDY and HENRY.
<BR>
<BR> The floor begins to rotate again, and INDY and HENRY find themselves back in:
<BR>
<BR>
<BR> INT. CASTLE ROOM - DAY
<BR>
<BR> inside the fireplace, still tied back-to-back.
<BR>
<BR> HENRY
<BR> Our situation has not improved.
<BR>
<BR> INDY glances over his shoulder at HENRY.
<BR>
<BR> INDY
<BR> Listen Dad... I\'m almost free.
<BR>
<BR> INDY\'s foot hits the grill again... and the fireplace rotates to:
<BR>
<BR>
<BR> INT. RADIO ROOM - DAY
<BR>
<BR> FOUR NAZI RADIOMEN and the WOMAN are still hard at work with controls and
<BR> coordinates. Suddenly the Woman looks up and spots HENRY and INDY. She
<BR> screams.
<BR>
<BR> WOMAN
<BR> Alarm!
<BR>
<BR> Now the RADIOMEN turn to see HENRY and INDY.
<BR>
<BR> WOMAN
<BR> Schnel!!
<BR>
<BR> TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at INDY and HENRY
<BR>
<BR> INT. CASTLE ROOM - DAWN
<BR>
<BR> INDY and HENRY rotate into the room which is now an INFERNO. The carpet,
<BR> drapes and furniture are all ablaze.
<BR>
<BR> HENRY
<BR> This is intolerable!
<BR>
<BR> INDY
<BR> I\'m out, Dad!
<BR>
<BR>
<BR> INDY finally breaks free. And he immediately begins to untie his father.
<BR>
<BR> HENRY
<BR> Well done, boy!
<BR>
<BR> INT. RADIO ROOM - DAY
<BR>
<BR> All FOUR RADIOMEN now have their guns drawn. They activate the lever and
<BR> begin to rotate through the Secret Door.
<BR>
<BR>
<BR> INT. CASTLE ROOM - DAY
<BR>
<BR> The RADIOMEN appear in the fireplace on the other side-but there is NO SIGN
<BR> OF INDY AND HENRY.
<BR>
<BR> The RADIOMEN move cautiously toward the flame, shielding their faces with one
<BR> hand, holding their guns with the other. Is it possible that INDY and HENRY
<BR> escaped through these flames?
<BR>
<BR> Not a chance.
<BR>
<BR> They\'ve hidden themselves UP THE CHIMNEY. And now they DROP DOWN,
<BR> BEHIND the RADIOMEN.
<BR>
<BR> One of the RADIOMEN grabs INDY by the neck. As they struggle they fall against
<BR> the rotating wall and disappear into the next room, leaving a frightened HENRY
<BR> behind.
<BR>
<BR> HENRY presses against the wall, which rotates again. As he disappears into the
<BR> next room, a DEAD NAZI RADIOMAN swivels into the room. The other NAZIS
<BR> rush forward to him.
<BR>
<BR> INT. RADIO ROOM - DAY
<BR>
<BR> INDY picks up a BUST OF HITLER and uses it to jam the rotating wall in place,
<BR> sealing the NAZIS inside the burning room.
<BR>
<BR>
<BR> INT. CASTLE HALLWAY- DAY
<BR>
<BR> Vogel strides purposefully down the hallway. He BARKS an order, and TWO
<BR> MORE NAZIS fall into step with him.
<BR>
<BR> INT. RADIO ROOM - DAY
<BR>
<BR> INDY grabs his whip, his leather sack and Henry\'s case from a table. He hands
<BR> the case to HENRY and they begin to run.
<BR>
<BR> INDY
<BR> Come on Dad.
<BR>
<BR> INT. SECRET ROOM - DAY
<BR>
<BR> INDY and HENRY step into an empty room.
<BR>
<BR> INDY
<BR> Dead end.
<BR>
<BR> HENRY looks horrified by what he\'s been forced to do as INDY searches
<BR> frantically for an exit.
<BR>
<BR> INDY
<BR> There\'s got to be a... a secret
<BR> door around. A passageway or
<BR> something.
<BR>
<BR> INDY begins to run his hands over the walls-frantic.
<BR>
<BR> HENRY
<BR> I find that if I just sit down
<BR> and think...
<BR>
<BR> HENRY sits on a chair which tips back, hitting the wall behind it. The floor at
<BR> INDY\'s feet suddenly begins DROPPING AWAYI
<BR>
<BR> INDY grabs a railing to keep from falling, but loses his grip and plunges through
<BR> the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> HENRY
<BR> ... the solution presents itself.
<BR>
<BR> HENRY follows INDY down the staircase.
<BR>
<BR>
<BR> INT. CAVERN/UNDERGROUND HARBOR - DAY
<BR>
<BR> The stairway deposits Indy and Henry into an enormous WATERY CAVERN
<BR> beneath the mountain on which the castle was built.
<BR>
<BR> A full-scale Nazi BOAT DOCK has been built inside the cavern. We see
<BR> MOTORBOATS, GUNBOATS, SUPPLY BOATS, etc.
<BR>
<BR> INDY
<BR> Great. More boats.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY boards one of the motorboats and STARTS THE MOTOR.
<BR>
<BR> HENRY
<BR> Would you say this has been just
<BR> another typical day for you? Huh?
<BR>
<BR> HENRY tosses his case at INDY who catches it and angrily throws it back to his
<BR> father.
<BR>
<BR> INDY
<BR> (ironically)
<BR> Ooofl No! It\'s been better than
<BR> most.
<BR>
<BR> INDY moves back to the dock and pushes the boat away. HENRY looks confused.
<BR>
<BR> INDY
<BR> Come on, Dad. Come onl
<BR>
<BR> HENRY
<BR> What about the boat? We\'re not
<BR> going on the boat?
<BR>
<BR>
<BR> INT. SECRET ROOM - DAY
<BR>
<BR> VOGEL and the NAZI SOLDIERS enter the room and spot the spiral staircase
<BR> leading below. They quickly descend the stairs.
<BR>
<BR>
<BR> INT. CAVERN/UNDERGROUND HARBOR - DAY
<BR>
<BR> as VOGEL and the NAZI SOLDIERS rush to the dock. Vogel sees that a motorboat
<BR> is missing. He orders the Nazi Soldiers into a boat.
<BR>
<BR> VOGEL
<BR> Sie alle ins Boat. Schnell!
<BR>
<BR> CAMERA PULLS BACK TO REVEAL a large box which suddenly BREAKS APART
<BR> as INDY, now on a motorbike with HENRY in the sidecar, ROARS PAST THE
<BR> DOCK, hitting TWO NAZI SOLDIERS who scream as they fall into the river.
<BR>
<BR> VOGEL screams after INDY and HENRY as they drive off.
<BR>
<BR> STRAIGHT CUT TO:
<BR>
<BR> EXT. COUNTRY ROAD - DAY
<BR>
<BR> INDY looks pleased as he drives the motorbike along the road, but HENRY
<BR> appears worried.
<BR>
<BR> INDY
<BR> Ha!
<BR>
<BR> FOUR NAZI SOLDIERS ON MOTORCYCLES
<BR>
<BR> They chase down the road after INDY and HENRY.
<BR>
<BR> INDY turns the motorbike down a smaller, dusty tree-lined road. HENRY gasps
<BR> as he is jostled about in the sidecar. One of the NAZI SOLDIERS gives chase along
<BR> a higher road running in the same direction.
<BR>
<BR>
<BR> EXT. ROAD BARRICADE - DAY
<BR>
<BR> INDY approaches the barricade from one direction as one of the NAZI SOLDIERS
<BR> approaches from a higher road.
<BR>
<BR> A GUARD steps from the road station and calls to the vehicles as INDY and
<BR> HENRY SMASH THROUGH THE BARRICADE.
<BR>
<BR> GUARD
<BR> Halt! Halt!
<BR>
<BR> THE NAZI SOLDIER rides his motorcycle through the other side of the barrier--
<BR> IT SHATTERS.
<BR>
<BR> INDY AND HENRY
<BR>
<BR> INDY grabs at a FLAGPOLE as they roar past-it snaps off in his hand.
<BR>
<BR> The NAZI SOLDIER drives his motorcycle toward INDY and HENRY. He
<BR> unshoulders his machine gun.
<BR>
<BR> INDY uses the broken flagpole as a lance and knocks the NAZI SOLDIER from his
<BR> motorcycle.
<BR>
<BR> THE RIDERLESS MOTORCYCLE
<BR>
<BR> drives on toward the other NAZI SOLDIERS now approaching the guardhouse,
<BR> COLLIDING WITH TWO OF THEM.
<BR>
<BR> The remaining NAZI SOLDIER maneuvers his motorcycle around his fallen
<BR> comrades and continues the chase.
<BR>
<BR>
<BR> INDY AND HENRY
<BR>
<BR> As the remaining NAZI SOLDIER rides alongside their motorbike he cocks his gun,
<BR> preparing to fire.
<BR>
<BR> INDY quickly jams the remaining portion of the flagpole through the spokes of the
<BR> Nazi\'s front wheel.
<BR>
<BR> The NAZI SOLDIER\'S MOTORCYCLE FLIPS THREE TIMES, throwing him high into
<BR> the air.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY glances back and smiles, but the smile fades as he looks forward again to
<BR> see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the
<BR> way to BERLIN or VENEDIG.
<BR>
<BR> Indy starts down the road marked VENEDIG.
<BR>
<BR> HENRY
<BR> Stop!
<BR>
<BR> INDY
<BR> What?
<BR>
<BR> HENRY
<BR> Stop! Stop!
<BR>
<BR> The motorbike skids to a stop.
<BR>
<BR>
<BR> HENRY
<BR> You\'re going the wrong Way! We
<BR> have to get to Berlin!
<BR>
<BR> INDY
<BR> (pointing towards
<BR> Venedig)
<BR> Brody\'s this way.
<BR>
<BR> HENRY
<BR> My Diary\'s in Berlin.
<BR>
<BR> INDY
<BR> You don\'t need the Diary, Dad.
<BR> Marcus has the map.
<BR>
<BR> HENRY
<BR> There is more in the Diary than
<BR> just the map.
<BR>
<BR> INDY
<BR> All right Dad-tell me.
<BR>
<BR> HENRY
<BR> Well, he who finds the Grail must
<BR> face the final challenge.
<BR>
<BR> INDY
<BR> What final challenge?
<BR>
<BR> HENRY
<BR> Three devices of such lethal
<BR> cunning.
<BR>
<BR> INDY
<BR> Booby traps?
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> HENRY
<BR> Oh, yes. But I found the clues
<BR> that will safely take us through,
<BR> in the Chronicles of St. Anselm.
<BR>
<BR> INDY
<BR> But what are they? Can\'t you
<BR> remember?
<BR>
<BR> HENRY
<BR> I wrote them down in my Diary so
<BR> that I wouldn\'t have to remember
<BR>
<BR> INDY
<BR> Half the German Army\'s on our
<BR> tail and you want me to go to
<BR> Berlin? Into the lion\'s den?
<BR>
<BR> HENRY
<BR> Yes! The only thing that matters
<BR> is the Grail.
<BR>
<BR> INDY
<BR> What about Marcus?
<BR>
<BR> HENRY
<BR> Marcus would agree with me.
<BR>
<BR> INDY
<BR> Two selfless martyrs. Jesus
<BR> Christl
<BR>
<BR> HENRY slaps him across the face. INDY is rocked to his foundations, not by any
<BR> means entirely by the blow itself.
<BR>
<BR> HENRY
<BR> That\'s for blasphemy. The quest
<BR> for the Grail is not archaeology.
<BR> It\'s a race against evil.
<BR> If it is captured by the Nazis,
<BR> the armies of darkness will march
<BR> all over the face of the earth.
<BR> Do you understand me?
<BR>
<BR> INDY
<BR> This is an obsession Dad. I never
<BR> understood it. Never. Neither
<BR> did Mom.
<BR>
<BR> HENRY
<BR> Oh yes, she did. Only too well.
<BR> Unfortunately she kept her illness
<BR> from me until all I could do was
<BR> mourn her.
<BR>
<BR> EXT. CROSSROADS - DAY
<BR>
<BR> Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES
<BR> IN on the portion of the sign reading BERLIN.
<BR>
<BR>
<BR> EXT. CITY SQUARE - BERLIN - NIGHT
<BR>
<BR> A Nazi Rally-a book-burning is in process.
<BR>
<BR> The mound of burning books is ten feet tall and growing by the minute as College
<BR> Students and Nazi Brownshirts continually toss more books onto the fire.
<BR>
<BR> Flags, banners and standards displaying the swastika are waved rhythmically
<BR> from side to side in a motion that echoes the mounting frenzy of the enormous
<BR> crowd.
<BR>
<BR> INDY and HENRY walk toward the Square. Indy wears the uniform of a Nazi
<BR> Soldier. He is now buttoning up the tunic-which happens to be several sizes
<BR> too big.
<BR>
<BR> HENRY
<BR> My boy, we are Pilgrims in an
<BR> unholy land.
<BR>
<BR> Then... Indy sees something that makes him stop in his tracks. WE PAN ALONG
<BR> HIS LINE OF SIGHT to:
<BR>
<BR> THE PODIUM
<BR>
<BR> where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as
<BR> they oversee the rally.
<BR>
<BR>
<BR> ANOTHER ANGLE
<BR>
<BR> ELSA is walking away in an open area, background of torches, vehicles, Nazi
<BR> Officers... one of whom is now none other than INDY, coming up to her before she
<BR> knows he is there. His voice is quiet and tough, his eyes hard.
<BR>
<BR> INDY
<BR> Fraulein Doctor. Where is it?
<BR>
<BR> Still startled, her reaction makes it clear that Indy is even now a lover in her
<BR> thoughts.
<BR>
<BR> ELSA
<BR> How did you get here?
<BR>
<BR> INDY
<BR> Where is it? I want it.
<BR>
<BR> INDY pushes ELSA against a column and begins to search her clothing for the
<BR> Diary. He pulls the book from Elsa\'s pocket.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> You came back for the book?
<BR> Whv?
<BR>
<BR> INDY
<BR> My father didn\'t want it
<BR> incinerated.
<BR>
<BR> She understands him. It\'s as though he slapped her.
<BR>
<BR> ELSA
<BR> Is that what you think of me?
<BR> I believe in the Grail, not the
<BR> Swastika.
<BR>
<BR> INDY
<BR> (vicious)
<BR> Yet you stood up to be counted
<BR> with the enemy of everything the
<BR> Grail stands for-who gives a
<BR> damn what you think?
<BR>
<BR>
<BR> ELSA
<BR> (hard and fast)
<BR> You do.
<BR>
<BR> Now it\'s as though she\'d slapped him back. His hands fly to her neck.
<BR>
<BR> INDY
<BR> All I have to do is squeeze.
<BR>
<BR> ELSA
<BR> All I have to do is scream.
<BR>
<BR> It\'s a standoff emotionally. He knows he\'d never do it. she knows it too. And
<BR> the same goes for screaming.
<BR>
<BR> INDY releases her and backs away. she looks at him with a lover\'s pain. He
<BR> moves over to HENRY.
<BR>
<BR> INDY
<BR> I\'ve got it. Let\'s get the hell
<BR> out of here.
<BR>
<BR> They move off and almost run headlong into HITLER and his entire entourage
<BR> coming down from the Podium. 50 kids push their autograph books for Hitler\'s
<BR> signature.
<BR>
<BR> HITLER pauses to sign them. Hitler looks Indy\'s way. They make eye contact. It
<BR> only lasts a moment but the moment is electric.
<BR>
<BR> HITLER breaks the spell by taking the Grail Diary from him, opens it to the first
<BR> page and signs his autograph. He hands it back and moves on.
<BR>
<BR> EXT. AIRFIELD - BERLIN, GERMANY- DAY
<BR>
<BR> Indy\'s motorcycle pulls up to the main terminal.
<BR>
<BR>
<BR> INT. TERMINAL BUILDING - DAY
<BR>
<BR> A Plainclothes Agent distributes leaflets bearing HENRY\'S PICTURE to Nazi
<BR> Soldiers inside the terminal.
<BR>
<BR> HENRY leans in a doorway reading a newspaper as INDY enters down the stairs
<BR> and taps Henry\'s shoulder.
<BR>
<BR> They begin to walk toward the boarding gates.
<BR>
<BR> HENRY
<BR> What did you get?
<BR>
<BR> INDY
<BR> I don\'t know. The first available
<BR> flight out of Germany.
<BR>
<BR> HENRY
<BR> Good.
<BR>
<BR> INDY and HENRY show their papers to the Boarding Guards, then join the line of
<BR> passengers, which has already begun to move toward a:
<BR>
<BR>
<BR> MOORED ZEPPELIN
<BR>
<BR> Ten stories tall and longer than two football fields: Flying in the grand tradition!
<BR>
<BR>
<BR> INT. THE ZEPPELIN - PASSENGER COMPARTMENT - DAY
<BR>
<BR> The Zeppelin is about to take off. INDY and HENRY make themselves comfortable
<BR> in one of the compartments.
<BR>
<BR> INDY
<BR> Well, we made it.
<BR>
<BR> HENRY looks over his newspaper at INDY.
<BR>
<BR> HENRY
<BR> When we\'re airborne, with Germany
<BR> behind us, then I\'ll share that
<BR> sentiment.
<BR>
<BR> INDY
<BR> Relax.
<BR>
<BR> But INDY looks out the window and is suddenly concerned when he sees:
<BR> VOGEL AND A GESTAPO AGENT
<BR> rushing across the tarmac toward the Zeppelin.
<BR>
<BR> VOGEL
<BR> Nicht zumachen! Wir steigen ein!
<BR>
<BR> INDY
<BR>
<BR> sits back in his chair, looks to HENRY, now reading his newspaper.
<BR>
<BR> A STEWARD enters and sets a bowl of nuts on the table in front of INDY and
<BR> HENRY, then continues down the aisle of passengers. Indy follows after the
<BR> Steward. He puts his arm around the Steward\'s shoulder and together they walk
<BR> up a flight of stairs.
<BR>
<BR> VOGEL
<BR>
<BR> now walks up the aisle. He approaches a MALE PASSENGER hidden behind a
<BR> newspaper. VOGEL uses his walking stick to lower the newspaper and show the
<BR> Passenger the leaflet with Henry\'s photograph.
<BR>
<BR> VOGEL
<BR> Haben sie disen Mann gesehen?
<BR>
<BR> The Passengers at the table shake their heads in the negative. VOGEL shows the
<BR> picture to other Passengers.
<BR>
<BR> FEMALE PASSENGER
<BR> Nein.
<BR>
<BR> INDY (O.S.)
<BR> Fahrscheine, bitte.
<BR>
<BR> MALE PASSENGER
<BR> Nein.
<BR>
<BR> VOGEL turns to see:
<BR>
<BR> INDY
<BR>
<BR> WEARING THE HAT AND JACKET OF THE CHIEF STEWARD.
<BR>
<BR> MALE PASSENGER (O.S.)
<BR> Ich habe ihn night gesehen.
<BR>
<BR> INDY
<BR> Tickets please.
<BR>
<BR> The Passengers do not react to the request, made in English.
<BR>
<BR> INDY
<BR> Fahrscheine meine Dame. Bitte.
<BR>
<BR> VOGEL
<BR>
<BR> approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his
<BR> walking stick to lower the paper, revealing Henry\'s face.
<BR>
<BR> VOGEL
<BR> Guten Tag, Herr Jones.
<BR>
<BR> Now INDY, still playing the role of Steward, asks VOGEL for his ticket.
<BR>
<BR> INDY
<BR> Fahrscheine meine Herr.
<BR>
<BR> VOGEL
<BR> Weg.
<BR>
<BR> INDY
<BR> Tickets please.
<BR>
<BR> HENRY looks confused.
<BR>
<BR> VOGEL
<BR> (in German)
<BR> Was?
<BR>
<BR>
<BR>
<BR> VOGEL glances up and recognizes INDY-who quickly punches Vogel in the face,
<BR> knocking him toward the window. In another quick move, Indy TOSSES HIM OUT
<BR> THE WINDOW onto the tarmac below.
<BR>
<BR> Shocked Passengers blink in bewilderment.
<BR>
<BR> INDY
<BR> (in German; with a
<BR> shrug)
<BR> No ticket.
<BR>
<BR> Everyone else with a ticket quickly produces it and waves it in Indy\'s face.
<BR>
<BR>
<BR> EXT. AIRFIELD TARMAC - DAY
<BR>
<BR> VOGEL gets to his knees as the huge Zeppelin rises into the sky above him,
<BR> revealing an airplane attached to the belly of the airship. Vogel shakes his fist at
<BR> the rising Zeppelin.
<BR>
<BR> VOGEL
<BR> Du wirst nochmal boren von mir!
<BR>
<BR> INT. ZEPPELIN - DAY
<BR>
<BR> INDY and HENRY together again in their compartment.
<BR>
<BR> HENRY
<BR> You know, sharing your adventures
<BR> is an interesting experience.
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY
<BR> (meaning ELSA)
<BR> That\'s not all we shared. It\'s
<BR> disgraceful. You\'re old enough to
<BR> be her fa---er, her grandfather!
<BR>
<BR> HENRY
<BR> Well, I\'m as human as the next
<BR> man.
<BR>
<BR> INDY
<BR> I was the next man.
<BR>
<BR> HENRY
<BR> (laughs)
<BR> Ships that pass in the night...
<BR>
<BR> HENRY opens his Diary and begins to thumb through it.
<BR>
<BR> INDY
<BR> Do you remember the last time we
<BR> had a quiet drink? I had a milk
<BR> shake.
<BR>
<BR> HENRY
<BR> Hmmm... What did we talk about?
<BR>
<BR> INDY
<BR> We didn\'t talk. We never talked.
<BR>
<BR> HENRY
<BR> And do I detect a rebuke?
<BR>
<BR> INDY
<BR> A regret. It was just the two of
<BR> us, Dad. It was a lonely way to
<BR> grow up. For you, too. If you
<BR> had been an ordinary, average
<BR> father like the other guys\' dads,
<BR> you\'d have understood that.
<BR>
<BR> HENRY
<BR> Actually, I was a wonderful father.
<BR>
<BR> INDY
<BR> When?
<BR>
<BR>
<BR> HENRY looks up from his Diary.
<BR>
<BR> HENRY
<BR> Did I ever tell you to eat up?
<BR> Go to bed? Wash your ears? Do
<BR> your homework? No. I respected
<BR> your privacy and I taught you self-
<BR> reliance.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR>
<BR> INDY
<BR> What you taught me was that I was
<BR> less important to you than people
<BR> who had been dead for five hundred
<BR> years in another country. And I
<BR> learned it so well that we\'ve
<BR> hardly spoken for twenty years.
<BR>
<BR> HENRY
<BR> You left just when you were
<BR> becoming interesting.
<BR>
<BR> INDY
<BR> Dad, how can you --?
<BR>
<BR> HENRY
<BR> (interrupting)
<BR> Very well. I\'m here now.
<BR>
<BR> He closes the Diary and leans back in his seat.
<BR>
<BR> HENRY
<BR> What do you want to talk about?
<BR> Hmmm?
<BR>
<BR> INDY stutters uncomfortably as HENRY stares at him, waiting for a response.
<BR>
<BR> INDY
<BR> (laughs)
<BR> Well... I can\'t think of anything.
<BR>
<BR> HENRY
<BR> Then what are you complaining
<BR> about?
<BR> (laughs)
<BR> Look, we have work to do. When
<BR> we get to Alexandretta we will
<BR> face three challenges.
<BR> (he reads from the
<BR> Diary)
<BR> \"First, the breath of God. Only
<BR> the penitent man will pass.
<BR> Second, the Word of God, only in
<BR> the footsteps of God will he
<BR> proceed. Third, the Path of God,
<BR> only in the leap from the lion\'s
<BR> head will he prove his worth. \"
<BR>
<BR> INDY
<BR> What does that mean?
<BR>
<BR> HENRY
<BR> (laughs)
<BR> I don\'t know. We\'ll find out.
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR>
<BR> Sunlight falls across the table from the window. INDY reaches for the drink. The
<BR> bar of sunlight turns like the hand of a clock over the tabletop across the drinks.
<BR>
<BR> We see INDY puzzled. Only for a moment.
<BR>
<BR> INDY
<BR> They\'re turning around. They\'re
<BR> taking us back to Germany.
<BR>
<BR>
<BR> INT. FRAMEWORK OF ZEPPELIN - DAY
<BR>
<BR> INDY and his father emerge from the hatchway into the belly of the Zeppelin.
<BR> The Zeppelin\'s elaborate metal framework is exposed.
<BR>
<BR> INDY and HENRY hurry down the catwalk until arriving at a PAIR OF
<BR> DOORWAYS framed into the Zeppelin\'s outer skin.
<BR>
<BR> INDY
<BR> Well, I thought it would take
<BR> them a lot longer to figure out
<BR> the radio was dead. Come on,
<BR> Dad. Move!
<BR>
<BR> Then INDY opens the doors. We see plenty of blue sky and white clouds. We also
<BR> see a small BIPLANE that is suspended from the Zeppelin by a HOOK & CRANE
<BR> DEVICE.
<BR>
<BR> INDY
<BR> Come on, Dad. Come on!
<BR>
<BR> EXT. AIRPLANE - DAY
<BR>
<BR> INDY climbs into the cockpit of the Biplane as HENRY takes the tail gunner\'s
<BR> seat.
<BR>
<BR> HENRY
<BR> (with delight)
<BR> I didn\'t know you could fly a
<BR> plane.
<BR>
<BR> INDY
<BR> Fly--yes. Land--no.
<BR>
<BR>
<BR> INT. THE BIPLANE - DAY
<BR>
<BR> INDY turns in his seat to give HENRY the \"thumbs up.\" Henry smiles valiantly
<BR> and points down to the ground.
<BR>
<BR> Then they both become aware of a STRANGE SOUND in the skies behind them.
<BR> Something between a ROAR and a WAIL.
<BR> TWO MESSERSCHMIDT FIGHTER BOMBERS
<BR>
<BR> streak out of the clouds and race across the sky.
<BR>
<BR>
<BR> INDY AND HENRY
<BR>
<BR> shrink in their seats as the MESSERSCHMIDTS (going three times as fast as they
<BR> are) SCREAM past on either side.
<BR>
<BR> INDY
<BR> Dad, you\'re gonna have to use the
<BR> machine gun. Get it ready.
<BR>
<BR> HENRY turns and grips the MOUNTED MACHINE GUN with a perplexed
<BR> expression.
<BR>
<BR> INDY
<BR> (turning; pointing)
<BR> Eleven o\'clo
CCG

duce87
Messaggi: 34
Iscritto il: 01 gen 1970, 01:00
Località: Predappio

Messaggio da duce87 » 01 gen 1970, 01:33

Eleven o\'clock!
<BR>
<BR> HENRY pulls out his watch.
<BR>
<BR> INDY
<BR> Dad-eleven o\'clock!!
<BR>
<BR> HENRY
<BR> What happens at eleven o\'clock?
<BR>
<BR> INDY uses his arm to demonstrate that he\'s referring to a direction and not a
<BR> time.
<BR>
<BR> INDY
<BR> (frustrated)
<BR> Twelve-eleven-ten. Eleven
<BR> o\'clock. Fire!
<BR>
<BR> HENRY does-and the EXPLODING GUN nearly shakes him out of his seat.
<BR>
<BR> Indy\'s slow speed and small size works to his advantage. The speeding
<BR> Messerschmidts continually overshoot him, WHIZZING past in a blur-making
<BR> wide turns miles away in the sky.
<BR>
<BR> HENRY has one of the Messerschmidts in his sight. He pulls back on the trigger
<BR> --RATTA-A-TAT-TAT! RATTA-A-TAT-TAT!
<BR>
<BR> The Messerschmidt banks to the left, but HENRY keeps it in his gun sight. Henry
<BR> swings the gun around, inadvertently CUTTING HIS OWN REAR STABILIZER IN
<BR> HALF.
<BR>
<BR> INDY
<BR> Dad, are we hit?!
<BR>
<BR> HENRY
<BR> More or less.
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> HENRY
<BR> Son, I\'m sorry. They got us.
<BR>
<BR> INDY looks back at the missing tail section, then at his father.
<BR>
<BR> The plane begins to go down. INDY struggles to control its descent.
<BR>
<BR> INDY
<BR> Hang on, Dads We\'re going in!
<BR>
<BR> HENRY slumps down fearfully in his seat.
<BR>
<BR>
<BR> EXT. A FIELD - DAY
<BR>
<BR> The wheels of the plane touch down. OUT OF CONTROL, the PLANE SKIDS and
<BR> CRASHES first into a corral of goats and then into the farmhouse beyond sending
<BR> a cloud of dust into the air.
<BR>
<BR> As INDY pulls himself from the cockpit:
<BR>
<BR> HENRY
<BR> (sarcastic)
<BR> Nice landing.
<BR>
<BR> INDY
<BR> Thanks.
<BR>
<BR>
<BR> Suddenly, INDY\'s attention is directed to:
<BR>
<BR>
<BR> TWO SCREAMING MESSERSCHMIDTS
<BR>
<BR> coming in low. Guns BLAZING.
<BR>
<BR> As BULLETS EXPLODE around them, INDY and HENRY jump over a stone
<BR> barricade. Henry, frightened, grabs at Indy.
<BR>
<BR> HENRY
<BR> Those people are trying to kill
<BR> us!
<BR>
<BR> INDY
<BR> I know, Dadl
<BR>
<BR> HENRY
<BR> It\'s a new experience for me.
<BR>
<BR> INDY
<BR> It happens to me all the time.
<BR>
<BR>
<BR> EXT. ROAD - DAY
<BR>
<BR> An OLD MAN kneels at his car repairing a rear tire.
<BR>
<BR> THE MAN
<BR>
<BR> turns to the wheel, the hubcap in his hands. Suddenly the wheel moves forward,
<BR> startling the Old Man.
<BR>
<BR>
<BR> INT. THE CAR - TRAVELING - DAY
<BR>
<BR> INDY has the throttle down, both hands tightly gripping the steering wheel.
<BR> HENRY is a very nervous passenger.
<BR>
<BR> INDY sees a LOW-FLYING MESSERSCHMIDT coming up behind him in the SIDE
<BR> MIRROR.
<BR>
<BR> As the Messerschmidt ROARS by overhead, BULLETS EXPLODE around them,
<BR> narrowly missing the car.
<BR>
<BR> HENRY
<BR> This is intolerable!
<BR>
<BR> INDY
<BR> This could be close.
<BR>
<BR>
<BR> EXT. THE ROAD - LONG SHOT - DAY
<BR>
<BR> The car races toward a TUNNEL that cuts through a steep MOUNTAINSIDE.
<BR>
<BR> The Messerschmidt bears down on Indy\'s car, machine guns CHATTERING.
<BR>
<BR> The car ENTERS the tunnel. The Messerschmidt cannot pull up in time. It
<BR> SLAMS into the MOUTH OF THE TUNNEL, SHEARING OFF its WINGS.
<BR>
<BR>
<BR> INT. THE TUNNEL - DAY
<BR>
<BR> The FLAMING FUSELAGE continues to ROCKET through the tunnel like a bullet
<BR> down the muzzle of a gun. SPARKS fly as its belly SCRAPES against the
<BR> pavement and the sides of the tunnel.
<BR>
<BR>
<BR> INT. THE CAR - DAY
<BR>
<BR> Indy and Henry look over their shoulders to see this wingless BALL OF FIRE
<BR> gaining on them; about to overtake them.
<BR>
<BR> HENRY
<BR> Faster, boy --faster!
<BR>
<BR>
<BR> EXT. THE ROAD - OTHER SIDE OF THE MOUNTAIN - DAY
<BR>
<BR> The car exits the tunnel at top speed and veers off the
<BR> road. The flaming Messerschmidt fuselage shoots past and
<BR> EXPLODES in the middle of the road.
<BR>
<BR> INT. THE CAR - DAY
<BR>
<BR> As the car emerges safely from the flames, Henry wipes the sweat from his brow.
<BR>
<BR> HENRY
<BR> Well, they don\'t come any closer
<BR> than that!
<BR>
<BR> HENRY looks out the windshield and sees the second Messerschmidt SCREAMING
<BR> out of the sky toward them.
<BR>
<BR>
<BR> EXT. THE ROAD - LONG SHOT - DAY
<BR>
<BR> The MESSERSCHMIDT drops its single UNDER-FUSELAGE BOMB. It EXPLODES in
<BR> the road directly ahead of the car, missing it by only several feet.
<BR>
<BR> THE CAR
<BR>
<BR> FALLS INTO THE HOLE made by the bomb.
<BR>
<BR> DISSOLVE TO:
<BR>
<BR>
<BR> EXT. ROAD - DAY
<BR>
<BR> INDY climbs out of the car, still in the bomb crater. He turns back to HENRY.
<BR>
<BR> INDY
<BR> Dad, he\'s coming back.
<BR>
<BR> INDY and HENRY run down the mountainside to:
<BR>
<BR>
<BR> A DESERTED MEDITERRANEAN BEACH - DAY
<BR>
<BR> INDY and HENRY run to the shoreline. Indy reaches for his gun, tucked in his
<BR> pants. He opens the chamber-the GUN HAS NO BULLETS.
<BR>
<BR>
<BR> THE MESSERSCHMIDT
<BR>
<BR> swings around and is coming in for another pass.
<BR>
<BR>
<BR> INDY AND HENRY
<BR>
<BR> exchange a wordless glance. They don\'t even think about running: there is no
<BR> place to run to. HENRY hands his case to INDY.
<BR>
<BR> Holding his umbrella, HENRY suddenly spins around and runs screaming and
<BR> shouting into A FLOCK OF SEA GULLS...
<BR>
<BR> THE SEA GULLS take to the wing in flight. Thousands of them.
<BR>
<BR> INDY
<BR>
<BR> Bullets kick up sand leading up to him... then-
<BR>
<BR> THE MESSERSCHMIDT AND THE SEA GULLS meet in midair. MASSACRE! Sea
<BR> gulls are shredded by the Messerschmidt\'s whirling propeller blades into a
<BR> FEATHERY WHITE PUREE that SPLATTERS against the cockpit and CLOGS THE
<BR> ENGINE.
<BR>
<BR> ENGINE SPUTTERS... STALLS... Silence. The Messerschmidt falls from the skies
<BR> and EXPLODES in an OFF CAMERA SOUND EFFECT.
<BR>
<BR> INDY stands as before-stunned-a statue.
<BR>
<BR> HENRY walks back to INDY.
<BR>
<BR> HENRY
<BR> I suddenly remembered Charlemagne.
<BR> \"Let my armies be the rocks and the
<BR> trees and the birds in the sky.\"
<BR> (he chuckles)
<BR>
<BR> INDY wears a proud expression as he watches HENRY walk down the beach.
<BR>
<BR>
<BR> EXT. MOSQUE - DAY
<BR>
<BR> FADE IN TITLE: \"REPUBLIC OF HATAY\"
<BR>
<BR> FADE OUT TITLE.
<BR>
<BR>
<BR> EXT. COURTYARD OF SULTAN\'S PALACE - ISKENDERUN - DAY
<BR>
<BR> The SULTAN is seated in his royal chair, flanked by WALTER DONOVAN and
<BR> VOGEL and surrounded by his minions.
<BR>
<BR> DONOVAN holds the missing Grail Diary pages.
<BR>
<BR> DONOVAN
<BR> These pages are taken from Professor
<BR> Jones\' diary, Your Highness. And
<BR> they include a map that pinpoints
<BR> the exact location of the Grail.
<BR>
<BR> DONOVAN and the SULTAN walk together through an archway.
<BR>
<BR> DONOVAN
<BR> As you can see, the Grail is all
<BR> but in our hands.
<BR> (beat)
<BR> However, Your Highness, we
<BR> would not think of crossing your
<BR> soil without your permission,
<BR> nor of removing the Grail from
<BR> your borders without suitable
<BR> compensation.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> SULTAN
<BR> What have you brought?
<BR>
<BR> VOGEL
<BR> Bring den Schatzl
<BR>
<BR> TWO NAZI SOLDIERS bring forward a HUGE STEAMER TRUNK. They open the lid
<BR> and begin to empty it of its contents:
<BR>
<BR> Gold and silver objects of every description.
<BR>
<BR> DONOVAN
<BR> Precious valuables, Your Highness,
<BR> \"donated\" by some of the finest
<BR> families in all of Germany.
<BR>
<BR> The SULTAN gets up from his chair and walks toward the trunk. He goes right
<BR> past it and begins to inspect the Nazi staff car parked nearby.
<BR>
<BR> SULTAN
<BR> Rolls-Royce Phantom Two. 4.3
<BR> litre, 30 horsepower, six cylinder
<BR> engine, with Stromberg Downdraft
<BR> carburetor.
<BR>
<BR> The SULTAN points to the engine under the hood.
<BR>
<BR> SULTAN
<BR> Can go from zero to 100 kilometres
<BR> an hour in 12.5 seconds. And I
<BR> even like the color.
<BR>
<BR> DONOVAN
<BR> (after a beat)
<BR> The keys are in the ignition,
<BR> Your Highness.
<BR>
<BR> SULTAN
<BR> You shall have camels, horses, an
<BR> armed escort, provisions, desert
<BR> vehicles-and tanksl
<BR>
<BR> DONOVAN
<BR> You\'re welcome.
<BR>
<BR> Somebody else is also taking note...and we see that it is KAZIM, the spy at the
<BR> court.
<BR>
<BR> ELSA is revealed coming down the stairs toward DONOVAN and VOGEL.
<BR>
<BR> ELSA
<BR> We have no time to lose. Indiana
<BR> Jones and his father have escaped.
<BR>
<BR> EXT. ISKENDERUN STREET - DAY
<BR>
<BR> SALLAH drives his car through the crowded streets, INDY beside him and HENRY
<BR> in the back seat.
<BR>
<BR> SALLAH
<BR> We go this way.
<BR>
<BR> SALLAH waves his arms and shouts to a CAMEL HERDER.
<BR>
<BR> SALLAH
<BR> Get that camel out of the way!
<BR>
<BR> INDY
<BR> What happened to Marcus, Sallah?
<BR>
<BR> SALLAH
<BR> (overlapping)
<BR> Ah, they set out across the desert
<BR> this afternoon. I believe they
<BR> took Mister Brody with them.
<BR>
<BR> HENRY removes his hat and hits INDY with it.
<BR>
<BR> HENRY
<BR> Now they have the map! And in
<BR> this sort of race, there\'s no
<BR> silver medal for finishing second.
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR>Elsa and Donovan\'s party-consisting of a SUPPLY TRUCK, OPEN CAR, TUhKISH
<BR>SOLDIERS RIDING CAMELS, SPARE HORSES AND A TANK AND VARIOUS OTHER
<BR>VEHICLES-all moving along through the ramble of this box canyon.
<BR>
<BR>ELSA, DONOVAN and VOGEL travel in the open car. The TANK is a vintage World
<BR>War I model with enormous treads. The Turkish soldiers wear native dress and
<BR>carry both carbines and sabers.
<BR>
<BR>BRODY sits alongside ELSA in the rear of the car carrying DONOVAN. Donovan
<BR>hands a canteen back to him.
<BR>
<BR> DONOVAN
<BR> Care to wet your whistle, Marcus?
<BR>
<BR> BRODY
<BR> I\'d rather spit in your face.
<BR> But as I haven\'t got any spit...
<BR>
<BR> VOGEL snatches the canteen away from BRODY before he can drink.
<BR>
<BR> VOGEL
<BR> We must be within three or four
<BR> miles. Otherwise we are off the
<BR> map.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> He hands the map to ELSA, drinks from the canteen, and hands that back to
<BR> DONOVAN.
<BR>
<BR> DONOVAN
<BR> Well, Marcus, we are on the brink
<BR> of the recovery of the greatest
<BR> artifact in the history of mankind.
<BR>
<BR> BRODY
<BR> You\'re meddling with powers you
<BR> cannot possibly comprehend.
<BR>
<BR> HENRY and SALLAH are at INDY\'s side as he views Donovan\'s party in the
<BR> distance. Parked nearby is a CAR containing all of their supplies.
<BR>
<BR> INDY
<BR> Ah, I see Brody. He seems okay.
<BR> They\'ve got a tank. Six-pound
<BR> gun.
<BR>
<BR> Then Donovan notices a reflection from the hills.
<BR>
<BR> What he sees is:
<BR>
<BR>
<BR> THE SUN REFLECTING OFF THE LENSES OF INDY\'S BINOCULARS
<BR>
<BR> HENRY
<BR> What do you think you\'re doing?!
<BR> Get down!
<BR>
<BR> INDY
<BR> Dad, we\'re well out of range.
<BR>
<BR> At that moment the tank FIRES A SHELL in their direction.
<BR>
<BR> It WHISTLES overhead and BLOWS UP THE PARKED CAR. INDY, HENRY and
<BR> SALLAH cover their heads as automobile fragments rain down upon them.
<BR>
<BR> SALLAH
<BR> That car belonged to my brother-
<BR> in-law.
<BR>
<BR> INDY
<BR> (gesturing to the
<BR> others)
<BR> Come on--come on!
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> VOGEL
<BR> I can\'t see anyone up there.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> DONOVAN
<BR> Maybe it wasn\'t even Jones.
<BR>
<BR> ELSA
<BR> No. It\'s him all right. He\'s
<BR> here somewhere.
<BR>
<BR> DONOVAN
<BR> (to VOGEL)
<BR> Put Brody in the tank.
<BR>
<BR> KAZIM peers over a rock, pointing his rifle at the group below.
<BR>
<BR> DONOVAN
<BR> (to ELSA)
<BR> Well, in this sun, without
<BR> transportation, they\'re as good
<BR> as dead.
<BR>
<BR> BULLETS EXPLODE off the vehicles and cliff. DONOVAN and ELSA duck.
<BR>
<BR> A NAZI SOLDIER falls from the tank as BULLETS EXPLODE around him.
<BR>
<BR> KAZIM\'S MEN, BRETHREN OF THE CRUCIFORM SWORD, continue to FIRE. ELSA
<BR> and DONOVAN take cover beside the parked car.
<BR>
<BR> DONOVAN
<BR> It\'s Jones, all right.
<BR>
<BR>
<BR> ANGLE ON INDY\'S GROUP
<BR>
<BR> INDY and HENRY, followed by SALLAH, take cover behind a rock to watch
<BR> Kazim\'s Men and the Nazi Troops exchanging fire below them.
<BR>
<BR> HENRY
<BR> Now, who are all these people?
<BR>
<BR> INDY
<BR> Who cares? As long as they\'re
<BR> keeping Donovan busy. Dad, you
<BR> stay here while Sallah and I
<BR> organize some transportation.
<BR>
<BR> CUT BACK to the action. The BRETHREN are firing at the
<BR> DONOVAN party and are being fired on by the Donovan party.
<BR>
<BR> TWO NAZI SOLDIERS throw HAND GRENADES into the cliffs. They EXPLODE,
<BR> killing one of Kazim\'s Brethren.
<BR>
<BR> The battle continues-a fierce exchange of GUNSHOTS, GRENADES and
<BR> MACHINE GUN FIRE with losses on both sides.
<BR>
<BR> INDY AND SALLAH
<BR>
<BR> crouch behind a rock watching as men on both sides of the battle run amongst
<BR> camels and horses.
<BR>
<BR> INDY
<BR> I\'m going after those horses.
<BR>
<BR> SALLAH
<BR> I\'ll take the camels.
<BR>
<BR> INDY
<BR> I don\'t need camels.
<BR>
<BR> SALLAH
<BR> But, Indy-
<BR>
<BR> INDY
<BR> No camels!
<BR>
<BR>
<BR> DONOVAN AND ELSA
<BR>
<BR> They look down at KAZIM who lies mortally wounded on the ground at their feet.
<BR> ELSA looks saddened.
<BR>
<BR> DONOVAN
<BR> (re KAZIM)
<BR> Who is he?
<BR>
<BR> KAZIM
<BR> A messenger from God. For the
<BR> unrighteous, the Cup of Life
<BR> holds everlasting damnation.
<BR>
<BR> KAZIM dies.
<BR>
<BR>
<BR> INDY
<BR>
<BR> leaps atop a TURKISH SOLDIER on horseback, pulling the man and the horse to
<BR> the ground. A SECOND TURK comes to assist his comrade; INDY mounts the
<BR> horse, knocking both Turks to the ground.
<BR>
<BR>
<BR> INT. THE TANK - DAY
<BR>
<BR> BRODY has been left alone in the tank. HENRY climbs down into the tank and
<BR> taps Brody on the shoulder, startling him.
<BR>
<BR> HENRY
<BR> Marcus!
<BR>
<BR> BRODY
<BR> Arghhh! Oh!
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> They exchange an old University Club toast, swinging their arms at one another
<BR> and missing. Then HENRY flaps his arms and tugs his ears.
<BR>
<BR> HENRY
<BR> \"Genius of the Restoration-\"
<BR>
<BR> Now BRODY tugs his ears, flaps his arms and touches his head.
<BR>
<BR> BRODY
<BR> \"-aid our own resuscitation!\"
<BR>
<BR> They exchange a handshake.
<BR>
<BR> BRODY
<BR> Henryl What are you doing here?!
<BR>
<BR> HENRY
<BR> It\'s a rescue, old boys Come on.
<BR>
<BR>
<BR> As HENRY starts to climb out of the tank, TWO NAZI SOLDIERS DROP DOWN from
<BR> above, their Lugers drawn. They are followed by VOGEL.
<BR>
<BR> VOGEL
<BR> (re HENRY)
<BR> Search him.
<BR>
<BR> The NAZI SOLDIERS point their guns at HENRY and BRODY.
<BR>
<BR> VOGEL
<BR> (to HENRY)
<BR> What is in this book? That
<BR> miserable little Diary of yours!
<BR>
<BR> VOGEL removes a glove and slaps HENRY with it.
<BR>
<BR> VOGEL
<BR> Here\'s the map. The book is
<BR> useless, and yet you come all the
<BR> way back to Berlin to get it.
<BR> Why?
<BR>
<BR> He slaps HENRY again.
<BR>
<BR> VOGEL
<BR> What are you hiding?
<BR>
<BR> Another slap.
<BR>
<BR> VOGEL
<BR> What does the Diary tell you that
<BR> it doesn\'t tell us?!
<BR>
<BR> VOGEL reaches out to slap HENRY yet again, but Henry grabs his arm, stopping
<BR> him.
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> HENRY
<BR> It tells me that goose-stepping
<BR> morons like yourself should try
<BR> reading books instead of burning
<BR> them.
<BR>
<BR> DONOVAN appears at the turret cover.
<BR>
<BR> DONOVAN
<BR> Colonel? Jones is getting away.
<BR>
<BR> VOGEL
<BR> (indicating HENRY)
<BR> I think not, Herr Donovan.
<BR>
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> DONOVAN
<BR> Not that Jones-the other Jones!
<BR>
<BR> NAZI SOLDIER
<BR> Herr Colonel!
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> INDY rides away on one horse, leading three others as he goes.
<BR>
<BR> SALLAH approaches on horseback leading five camels.
<BR>
<BR> INDY
<BR> Sallah, I said no camels! That\'s
<BR> five camels. Can\'t you Count?
<BR>
<BR> SALLAH
<BR> Compensation for my brother-in-
<BR> law\'s car. Indy, your father and
<BR> Brody-
<BR>
<BR> INDY
<BR> Where\'s my father?
<BR>
<BR> SALLAH
<BR> They have them. In the belly of
<BR> that steel beast.
<BR>
<BR> INDY and SALLAH charge forward leading their horses and camels.
<BR>
<BR> Then VOGEL commands the Tank Driver to give chase.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> VOGEL shouts to the Tank Driver.
<BR>
<BR> VOGEL
<BR> Fire!
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR>
<BR> The tank starts firing at INDY on horseback. Indy zigs and zags as the tank fires
<BR> two rounds at Indy, barely missing him. Each time Indy emerges from the plume
<BR> of desert dust, hanging like a toadstool in the air.
<BR>
<BR>
<BR> INT. TANK- DAY
<BR>
<BR> HENRY and BRODY hold their hands over their ears.
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> DONOVAN shouts orders to the Troops. INDY is followed by various vehicles in
<BR> the caravan.
<BR>
<BR> INDY notices that the side gun that is now firing at him can only pivot so far.
<BR> Indy makes a mental note of this and while riding right in front of the tank,
<BR> turns his horse completely around, 180 degrees. The tank starts to follow.
<BR>
<BR>
<BR> POV THROUGH THE VIEWING PORT
<BR>
<BR> VOGEL watches the ground turning 180 degrees as he tries to catch up with
<BR> INDY.
<BR>
<BR> Cleverly, INDY has turned the tank directly into a head-on
<BR> collision course with some of the pursuit vehicles and a Kubelwagon.
<BR>
<BR> The tank and the Kubelwagon smash into each other, the German military sedan
<BR> becoming lodged between the treads while blocking the front view and any use of
<BR> the six-pound cannon on the turret.
<BR>
<BR> INDY, meanwhile, leans down on his horse, scooping up a stone from the wall of
<BR> a culvert. He reigns his horse, paralleling the tank, as everyone scurries about
<BR> inside, looking through viewing ports, trying to figure out exactly where Indy is.
<BR>
<BR>
<BR> INT. TANK- DAY
<BR>
<BR> VOGEL shouts to the Gunner.
<BR>
<BR> VOGEL
<BR> Der Kubelwagon sprengen!
<BR>
<BR> The Gunner puts a shell into the large gun. He FIRES, CATAPULTING THE
<BR> KUBELWAGON into the air, where it EXPLODES. The tank drives through the
<BR> resulting smoke an dust, then rolls over the Kubelwagon, crushing it
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> INDY gallops up to the side cannon and jams the stone down the barrel, lodging
<BR> several rocks inside. Then he steers his horse directly in range of that gun.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> A NAZI SOLDIER pushes HENRY away from the window.
<BR>
<BR> NAZI SOLDIER
<BR> Keine Bewegung.
<BR>
<BR> He points his gun at HENRY and BRODY.
<BR>
<BR> NAZI SOLDIER
<BR> Keine Bewegung.
<BR>
<BR> The smaller gun, blocked by the rocks, BACKFIRES, blowing the breech out into
<BR> the face of the gunner, killing him and filling the tank with smoke.
<BR>
<BR> BRODY, HENRY, VOGEL and the driver begin to choke.
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> INDY rides his horse alongside the tank.
<BR>
<BR> INDY
<BR> Dad! Dad! Dad!
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> HENRY and BRODY still held at gunpoint by the NAZI SOLDIER.
<BR>
<BR> HENRY
<BR> Junior? Junior? Junior!
<BR>
<BR> The NAZI SOLDIER swings his fist, knocking HENRY off his seat.
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> Smoke pours from the top of the tank as the turret pops open. VOGEL emerges
<BR> and aims his gun at INDY.
<BR>
<BR> INDY and VOGEL EXCHANGE SHOTS as Indy chases the tank on his horse.
<BR>
<BR> INDY pulls the trigger again-his gun is empty! Indy immediately takes the
<BR> high trail.
<BR>
<BR> Now INDY is above the tank twelve feet on a paralleling trail. He moves out of
<BR> the saddle and leaps from the speeding horse onto the trundling tank.
<BR>
<BR>
<BR> CLOSE UP - VOGEL
<BR>
<BR> Hate-staring at INDY
<BR>
<BR> CLOSE UP - INDY
<BR>
<BR> Hate-staring back at VOGEL.
<BR>
<BR>Suddenly, from nowhere a German soldier flies INTO FRAME, tackling Indy.
<BR>
<BR> CUT TO:
<BR>
<BR> SIDE ANGLE
<BR>
<BR> One of the two troop carriers is paralleling the tank and like pirates boarding a
<BR> galleon, Nazi Soldiers leap over the treads and are swarming all over INDY.
<BR>
<BR> INDY is struggling with a German\'s Luger.
<BR>
<BR> INDY presses the luger against his assailant and forces the Nazi to squeeze off a
<BR> shot into himself. The bullet not only passes through the Nazi, but passes
<BR> through two other Nazis standing directly behind him on the crowded tank top
<BR> and three bodies fall away, leaving Indy to stare at the gun in disbelief.
<BR>
<BR> Another Soldier leaps from the truck onto the tank and raises his knife as he
<BR> grabs INDY. They struggle and fall.
<BR>
<BR> INDY sits up to see VOGEL standing over him. Vogel wraps a chain around Indy\'s
<BR> neck.
<BR>
<BR>
<BR> INT. TANK- DAY
<BR>
<BR> INDY appears at the entrance, the chain still wrapped about his neck and held by
<BR> VOGEL.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> He drops the gun down into the tank.
<BR>
<BR> INDY
<BR> Dad! Dadl Get it!
<BR>
<BR> VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around
<BR> his neck.
<BR>
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> A NAZI SOLDIER approaches.
<BR>
<BR> INDY hits him, knocking him onto the tank tread. The Nazi Soldier screams as he
<BR> is dragged under the rolling tank.
<BR>
<BR> Now INDY and VOGEL struggle with one another, the chain still wrapped around
<BR> Indy\'s neck.
<BR>
<BR>
<BR> INT. TANK- DAY
<BR>
<BR> THROUGH THE PERISCOPE
<BR>
<BR> We SEE INDY and VOGEL struggling atop the tank. Indy lifts his feet, lunging
<BR> toward the periscope and pulling Vogel with him.
<BR>
<BR> INDY\'s face is pressed up against the lens of the periscope.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> The NAZI SOLDIER looking through the periscope pulls away from it, smiles, then
<BR> turns back to it.
<BR>
<BR>
<BR> THROUGH THE PERISCOPE
<BR>
<BR> INDY\'s face, still pressed against the lens.
<BR>
<BR> VOGEL pulls INDY from the periscope.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> The NAZI SOLDIER pulls away from the periscope again.
<BR>
<BR> PERISCOPE SOLDIER
<BR> (laughing)
<BR> Diese Amerikane. Sie Kampfen wie
<BR> Weiber.
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> INDY now lies on top of VOGEL. He kicks out at the periscope which spins
<BR> around.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> The periscope handle spins around and hits the PERISCOPE SOLDIER in the head.
<BR> He falls against the NAZI SOLDIER guarding HENRY and BRODY.
<BR>
<BR> HENRY pushes the NAZI SOLDIER aside and grabs the gun. The PERISCOPE
<BR> SOLDIER struggles to take the gun from Henry.
<BR>
<BR>
<BR> EXT. TANK- DAY
<BR>
<BR> VOGEL holds the chain around INDY\'s neck, pushing his head downward toward
<BR> the revolving tread.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> The PERISCOPE SOLDIER holds HENRY from behind, forcing the gun toward him.
<BR> Henry reaches down and pulls a fountain pen from his coat pocket.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> As the PERISCOPE SOLDIER pulls on HENRY\'s face, Henry lifts the fountain pen
<BR> and squirts ink into his face. The Soldier falls, his head smashing into the wall of
<BR> the tank. At the same time, Henry loses his grip on the gun which falls to the
<BR> floor.
<BR>
<BR>
<BR> BRODY
<BR> Henry, the pen-
<BR>
<BR> HENRY
<BR> What?
<BR>
<BR>
<BR> BRODY
<BR> But don\'t you see? The pen is
<BR> mightier than the sword.
<BR>
<BR>
<BR> EXT. DESERT VALLEY - DAY
<BR>
<BR> A troop truck pulls near the tank.
<BR>
<BR>
<BR> INT. TANK- DAY
<BR>
<BR> HENRY fires the TANK GUN at the troop truck. SOLDIERS FLY INTO THE AIR.
<BR> The TROOP TRUCK flips over and EXPLODES.
<BR>
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> The EXPLOSION knocks INDY off the tank and onto the tread. He grabs onto the
<BR> shredded gun protruding from the side of the tank.
<BR>
<BR> VOGEL looks down at INDY and smiles smugly.
<BR>
<BR> The tank is approaching a cliff wall. As INDY tries to secure footing, VOGEL
<BR> steps on his hands.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> BRODY looks at HENRY.
<BR>
<BR> BRODY
<BR> Look what you didl
<BR>
<BR> HENRY
<BR> It\'s war.
<BR>
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> VOGEL now swings a shovel at INDY, smashing at his hands.
<BR>
<BR> BRODY climbs up out of the tank, followed by HENRY.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> HENRY
<BR> Didn\'t I tell you it was a rescue,
<BR> huh?
<BR>
<BR> A NAZI SOLDIER appears and pulls HENRY down.
<BR>
<BR> VOGEL raises the shovel above his head and brings it crashing down on INDY,
<BR> still hanging from the protruding gun.
<BR>
<BR> INDY loses his grip and now hangs from the gun suspended only by the strap of
<BR> his leather pouch. He screams as the gun scrapes against the cliff wall, sending
<BR> stones tumbling down over him.
<BR>
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> The NAZI SOLDIER knocks HENRY into a pile of boxes, then punches him in the
<BR> face.
<BR>
<BR> As the SOLDIER raises the gun to HENRY\'s face, BRODY hits him over the head
<BR> with a canister. The Soldier falls, discharging the gun into the air.
<BR>
<BR> The BULLET RICOCHETS around the tank, past the Tank Driver who is
<BR> manipulating levers at the control panel. SPARKS FLY; then the BULLET PINGS
<BR> AGAINST THE WINDOW and RICOCHETS ONCE MORE, this time passing THROUGH
<BR> THE TANK DRIVER\'S HAT. Blood flows from under the hat as the Tank Driver
<BR> slumps forward, his body depressing the levers.
<BR>
<BR>
<BR> EXT. TANK - DAY
<BR>
<BR> INDY still hangs from the strap of his leather pouch as the tank swerves, barely
<BR> missing the rocks and causing VOGEL to fall. Indy finally manages to pull
<BR> himself atop the tank once more where he punches Vogel over the side, then
<BR> peers down to HENRY, still inside the tank.
<BR>
<BR> INDY
<BR> Dad?
<BR>
<BR> HENRY
<BR> You call this archaeology?
<BR>
<BR> INDY
<BR> Get out of there, Dad!
<BR>
<BR> INDY pulls HENRY and BRODY from the tank. VOGEL pulls himself back atop the
<BR> tank armed again with the shovel which he swings at Indy, who ducks and grabs
<BR> Vogel\'s arm.
<BR>
<BR> BRODY
<BR> How does one get off this thing?
<BR>
<BR> As INDY winds up to punch VOGEL he catches BRODY in the face on the
<BR> backswing, then completes the movement and knocks Vogel down.
<BR>
<BR> INT. TANK - DAY
<BR>
<BR> Vogel\'s hat sails in and falls to the floor.
<BR>
<BR>
<BR> EXT. TANK- DAY
<BR>
<BR> HENRY
<BR> (to INDY)
<BR> Where\'s Marcus?!
<BR>
<BR> Before INDY can answer, VOGEL is up and swinging with the shovel. Indy ducks
<BR> but the shovel catches HENRY sending him over the side and onto the moving
<BR> tread.
<BR>
<BR> INDY grabs his whip, knocking VOGEL aside.
<BR>
<BR> As HENRY speeds toward the front of the tank to certain doom, INDY, with
<BR> lightning speed, whips out his bullwhip, wrapping the end of the whip around
<BR> Henry\'s right ankle.
<BR>
<BR> INDY
<BR> Dad!
<BR>
<BR> HENRY is bouncing across the treads like a rag-doll. INDY struggles to hold onto
<BR> the end of the bullwhip.
<BR>
<BR> INDY
<BR> Hang on, Dad!
<BR>
<BR> SALLAH draws his horse next to the treads. He tips his fez to HENEY.
<BR>
<BR> SALLAH
<BR> Father of Indy-give me your
<BR> hand!
<BR>
<BR> VOGEL now punches INDY in the back and grabs him around the neck. Still,
<BR> INDY refuses to let go of the whip.
<BR>
<BR> INDY
<BR> Sallah! Get Dadl
<BR>
<BR> SALLAH reaches out to HENRY.
<BR>
<BR> SALLAH
<BR> Give me your hand!
<BR>
<BR> SALLAH manages to hold onto HENRY as he brings his horse to a stop just at the
<BR> cliff\'s edge.
<BR>
<BR> INDY finally frees himself of VOGEL\'s grasp, twisting his arm painfully away
<BR> from Indy\'s neck, then landing a hard blow to Vogel\'s head.
<BR>
<BR>
<BR> INDY
<BR>
<BR> looks down at the fast-approaching cliff, his face filled with horror. We SEE his
<BR> HAT BLOW OFF and sail over the cliff\'s edge.
<BR>
<BR> VOGEL
<BR>
<BR> He sees his life passing before him, he screams at the top
<BR> of his lungs!
<BR>
<BR>
<BR> LONG SHOT
<BR>
<BR> The tank trundles over the cliff and PLUMMETS TO THE BOTTOM.
<BR>
<BR>
<BR> EXT. CLIFF EDGE - DAY
<BR>
<BR> HENRY, BRODY and SALLAH look down at the flaming wreckage
<BR> of the tank.
<BR>
<BR> HENRY
<BR> Junior?!
<BR>
<BR> We HEAR the TANK EXPLODING.
<BR>
<BR> SALLAH
<BR> Indy?!
<BR>
<BR>
<BR> HENRY
<BR> Oh, God. I\'ve lost him. And I
<BR> never told him anything. I just
<BR> wasn\'t ready, Marcus. Five
<BR> minutes would have been enough.
<BR>
<BR> And then... looking dazed and bewildered, INDY STAGGERS UP BEHIND THEM.
<BR> He joins the others at the edge of the cliff, looking down at the wreckage below
<BR> with a bewildered expression.
<BR>
<BR> Finally, Henry becomes aware of his presence.
<BR>
<BR> HENRY says nothing. He just looks at Indy, overcome with emotion. Finally, he
<BR> throws his arms around him.
<BR>
<BR> HENRY
<BR> I thought I\'d lost you, boy.
<BR>
<BR> After a moment, Indy\'s head clears. And he becomes aware of his father\'s
<BR> embrace. Something he hasn\'t felt in a long time-if ever. And it touches him.
<BR> He hugs his father back.
<BR>
<BR> INDY
<BR> I thought you had too, sir.
<BR>
<BR> BRODY and SALLAH are moved by this sudden reconciliation.
<BR>
<BR> HENRY
<BR> Well-well done! Come on!
<BR>
<BR> HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff
<BR> edge.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to
<BR> see INDY still sitting on the ground.
<BR>
<BR> HENRY
<BR> Let\'s go then. why are you
<BR> sitting there resting when we\'re
<BR> so near the end? Come on-
<BR> let\'s go!
<BR>
<BR> HENRY turns and walks toward the horse with BRODY and SALLAH. Suddenly
<BR> the FEDORA, borne on the wind, BLOWS INTO SCENE and lands at INDY\'s feet.
<BR>
<BR>
<BR> EXT. MOUNTAIN ROAD - DAY
<BR>
<BR> DONOVAN peers through binoculars to see the CANYON OF THE CRESCENT
<BR> MOON. He lowers the binoculars and turns to ELSA.
<BR>
<BR> DONOVAN
<BR> The Canyon of the Crescent Moon.
<BR>
<BR> Now ELSA peers through the binoculars.
<BR>
<BR>
<BR> EXT. SECRET CANYON - DAY
<BR>
<BR> INDY, HENRY, SALLAH and BRODY ride into the canyon. They hear a WAILING
<BR> WIND. Feel the biting cold. And sense the danger.
<BR>
<BR> Now we turn a corner and they see the hidden city. Its spectacular Grecian
<BR> facade is carved directly into the rock. It is a stunning sight. The vehicles,
<BR> camels and horses belonging to DONOVAN\'s party have been left at the entrance.
<BR>
<BR> CUT TO:
<BR>
<BR>
<BR> INT. TEMPLE - DAY
<BR>
<BR> INDY, SALLAH, HENRY AND BRODY creep forward to see:
<BR>
<BR> THE TERRIFIED FACE OF A TURKISH SOLDIER
<BR>
<BR> He\'s walking slowly. Eyes darting. Muttering a prayer under his breath.
<BR> What\'s going on here?
<BR>
<BR>
<BR> FULL SHOT - INSIDE THE MOUNTAIN TEMPLE
<BR>
<BR> THE TURK stands alone in the center of the Temple. It is very dark. GIANT
<BR> COLUMNS define the Temple\'s perimeter.
<BR>
<BR> ELSA AND DONOVAN
<BR>
<BR> watch him from a safe distance.
<BR>
<BR> THE TURK
<BR>
<BR> is about to approach the spot where a TURKISH SOLDIER LIES DEAD. We don\'t
<BR> notice it right away, but the dead soldier has been DECAPITATED.
<BR>
<BR> THE TURK stops-only one step away from the beheaded soldier.
<BR>
<BR>
<BR> THE TURK
<BR>
<BR> takes one more step-a fatal step, it turns out. We hear a ROAR-A WHOOSH
<BR> of air-but we SEE NOTHING-except THE TURK\'S HEAD FLY OFF AND
<BR> BOUNCE across the ground.
<BR>
<BR>
<BR> INDY, HENRY, BRODY AND SALLAH
<BR>
<BR> react to the sight.
<BR>
<BR>
<BR> ELSA AND DONOVAN
<BR>
<BR> She looks at him, horrified.
<BR>
<BR>
<BR> DONOVAN
<BR> Helmut, another volunteer!
<BR>
<BR> TWO NAZI SOLDIERS force another Turk forward. Suddenly...
<BR>
<BR>
<BR> The SOUND OF RIFLE BOLTS being cocked. Everyone turns to discover INDY and
<BR> his party surrounded by NAZI SOLDIERS. Indy\'s group are relieved of their guns.
<BR>
<BR>
<BR> FULL SHOT - THE TEMPLE
<BR>
<BR> INDY, HENRY, BRODY and SALLAH are brought forward by the Nazi Soldiers.
<BR>
<BR>
<BR> ELSA\'s eyes light up: glad Indy\'s not dead. she controls herself and continues
<BR> more coldly.
<BR>
<BR> ELSA
<BR> (to INDY)
<BR> I never expected to see you again.
<BR>
<BR> INDY
<BR> I\'m like a bad penny. I always
<BR> turn up.
<BR>
<BR> DONOVAN
<BR> Step back now, Doctor Schneider.
<BR> Give Doctor Jones some room. He\'s
<BR> going to recover the Grail for us.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> INDY laughs.
<BR>
<BR> DONOVAN
<BR> Impossible? What do you say,
<BR> Jones? Ready to go down in
<BR> history?
<BR>
<BR> INDY
<BR> As what? A Nazi stooge like you?
<BR>
<BR> DONOVAN
<BR> (scornfully)
<BR> Nazis?!-Is that the limit of
<BR> your vision?! The Nazis want to
<BR> write themselves into the Grail
<BR> legend and take on the world.
<BR> Well, they\'re welcome. But I want
<BR> the Grail itself. The cup that
<BR> gives everlasting life.
<BR> Hitler can have the world, but
<BR> he can\'t take it with him. I\'m
<BR> going to be drinking my own health
<BR> when he\'s gone the way of the
<BR> Dodo.
<BR> (he draws his
<BR> pistol)
<BR> The Grail is mine, and you\'re
<BR> going to get it for me.
<BR>
<BR> INDY
<BR> Shooting me won\'t get you anywhere.
<BR>
<BR> DONOVAN
<BR> You know something, Doctor Jones?...
<BR> you\'re absolutely right.
<BR>
<BR> Then DONOVAN shifts his aim, just a bit, and SHOOTS HENRY. The bullet enters
<BR> his side below the ribs.
<BR>
<BR> INDY
<BR> Dad?!
<BR>
<BR> HENRY
<BR> Junior. . .
<BR>
<BR> ELSA
<BR> No!!
<BR>
<BR> DONOVAN
<BR> ( to ELSA)
<BR> Get back!
<BR>
<BR> HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to
<BR> his assistance.
<BR>
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR>
<BR> INDY spins toward DONOVAN with murder in his eyes.
<BR>
<BR> DONOVAN points the gun at him:
<BR>
<BR> DONOVAN
<BR> You can\'t save him when you\'re
<BR> dead.
<BR>
<BR> INDY hesitates.
<BR>
<BR> DONOVAN
<BR> The healing power of the Grail is
<BR> the only thing that can save your
<BR> father now. It\'s time to ask yourself
<BR> what you believe.
<BR>
<BR> INDY takes in the situation. The two decapitated men lie a few yards in front of
<BR> him. He walks to the entranceway, flanked by two stone lions. We get silent
<BR> reaction shots-ELSA-SALLAH-BRODY-DONOVAN-registering their
<BR> different emotions
<BR>
<BR> INDY proceeds forward. His hands open the Grail Diary.
<BR>
<BR> INDY
<BR> \"The Breath of God... Only the
<BR> penitent man will pass. Only
<BR> the penitent man will pass. . . \"
<BR>
<BR> INDY takes a few steps forward.
<BR>
<BR> INDY
<BR> \"The penitent man will pass.
<BR> The penitent man...\"
<BR>
<BR> INDY stops. He is about to reach the spot where two men have just died.
<BR>
<BR> HENRY looks at INDY. Indy looks at Henry.
<BR>
<BR> HENRY
<BR> (in a raspy voice)
<BR> \"Only the penitent man will pass.
<BR> Only the penitent man will pass.\"
<BR>
<BR> INDY
<BR> (quietly to himself)
<BR> The penitent man will pass. The
<BR> penitent... the penitent. The
<BR> penitent man...
<BR>
<BR> HENRY
<BR> The penitent man. The penitent...
<BR>
<BR> INDY takes a step forward through the cobwebs.
<BR>
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR>
<BR> INDY
<BR> The penitent man is humble before
<BR> God.
<BR>
<BR> HENRY
<BR> Penitent. Penitent...
<BR>
<BR> INDY
<BR> The penitent man is humble...
<BR>
<BR> The cobwebs begin to move....
<BR>
<BR> INDY
<BR> He kneels before God.
<BR> (to himself; suddenly)
<BR> Kneel!!
<BR>
<BR> We hear the awful rush of air-WHOOSH! Because INDY is in the act of
<BR> kneeling, only his hat is knocked off and his hair flies in his face.
<BR>
<BR> Instinctively he ROLLS FORWARD on the ground out of harm\'s way and looks up.
<BR> From his new position he is able to see what is causing all the trouble: A RAZOR
<BR> SHARP TRIPLE PENDULUM.
<BR>
<BR> INDY gets cautiously to his feet. Now he sees the pendulum has been guarding a
<BR> SMALL CORRIDOR which turns a corner to the left fifty yards ahead. Wooden
<BR> wheels turn-the mechanism controlling the spinning blades. INDY loops a rope
<BR> around the wheels, jamming the mechanism and stopping the blades in mid-swipe.
<BR>
<BR> INDY
<BR> I\'m through!
<BR>
<BR>
<BR> ELSA AND DONOVAN
<BR>
<BR> DONOVAN
<BR> We\'re through!
<BR>
<BR> BRODY and SALLAH smile, relieved.
<BR>
<BR> SALLAH
<BR> (to HENRY)
<BR> He\'s all right.
<BR>
<BR> HENRY shakes his head.
<BR>
<BR> HENRY
<BR> No.
<BR>
<BR> BACK TO INDY
<BR>
<BR> holding the Grail Diary, reading once again, his fedora now covered in cobwebs.
<BR>
<BR>
<BR> INDY
<BR> \"The second challenge is the
<BR> Word of God. Only in the
<BR> footsteps of God will he proceed.\"
<BR> (to himself)
<BR> The Word of God... The Word of...
<BR>
<BR>
<BR> INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is
<BR> engraved with a letter.
<BR>
<BR> INDY
<BR> \"Proceed in the footsteps of the
<BR> Word.\"
<BR>
<BR>
<BR>
<BR> HENRY
<BR>
<BR> lifts his head painfully.
<BR>
<BR>
<BR> HENRY
<BR> The Word of God...
<BR>
<BR>
<BR>
<BR> BRODY
<BR> No, Henry. Try not to talk.
<BR>
<BR>
<BR> HENRY
<BR> The Name of God...
<BR>
<BR> BACK TO INDY
<BR>
<BR> as he studies the cobblestones before him.
<BR>
<BR>
<BR> INDY
<BR> The Name of God... Jehovahl
<BR>
<BR>
<BR>
<BR> HENRY
<BR>
<BR> still lies in SALLAH\'s arms. BRODY leans over him.
<BR>
<BR>
<BR> HENRY
<BR> But in the Latin alphabet,
<BR> \"Jehovah\" begins with an \"I.\"
<BR>
<BR>
<BR> BACK TO INDY
<BR>
<BR>
<BR> INDY
<BR> \"J.\"
<BR>
<BR> INDY takes a step and immediately a stone breaks away and INDY falls up to his
<BR> hip -- his leg stuck through the hold where the stone once was.
<BR>
<BR> HENRY
<BR>
<BR> reacts.
<BR>
<BR>
<BR> HENRY
<BR> Oh dear!
<BR>
<BR> BACK TO INDY
<BR>
<BR> who grunts as he pulls himself from the hole, the v-rail Diary in his hand.
<BR>
<BR> INDY
<BR> In Latin, \"Jehovah\" starts with
<BR> an \"I.\" \"I\"...
<BR>
<BR> Now we SEE each letter on the stones as INDY carefully walks forward.
<BR> DONOVAN and ELSA follow in his footsteps.
<BR>
<BR> INDY
<BR> \"E\"... \"H\"... \"O\"... \"V\"... \"A\"...
<BR>
<BR>
<BR> INDY sighs with relief and steps forward to:
<BR>
<BR>
<BR> THE GREAT ABYSS
<BR>
<BR> INDY stands in a small opening, just small enough for his shoulders to squeeze
<BR> through and beyond that a 100 foot drop to the rocks below and 100 feet across,
<BR> nothing but a rough, stony cliff wall.
<BR>
<BR>
<BR> BACK TO INDY
<BR>
<BR> He can see nowhere to cross. He looks again to the v-rail Diary.
<BR>
<BR> INDY
<BR>
<BR> \"The path of flood. Only in the
<BR> leap from the lion\'s head will
<BR> he prove his worth.\"
<BR>
<BR> INDY looks around and then he notices that inscribed into
<BR> the rock above his head is the head of a lion.
<BR>
<BR> INDY
<BR> Impossiblel Nobody can jump this!
<BR>
<BR> INDY looks down into the Diary and tortures over what it
<BR> is asking him to do.
<BR>
<BR>
<BR> BRODY
<BR>
<BR> rushes forward and calls to INDY.
<BR>
<BR> BRODY
<BR> Indy... Indy, you must hurry!!
<BR> Come quickly!
<BR>
<BR> BACK TO INDY
<BR>
<BR> INDY
<BR> (realizing)
<BR> It\'s... a leap of faith. Oh,
<BR> God.
<BR>
<BR> HENRY
<BR>
<BR> calls to his son.
<BR>
<BR>
<BR> HENRY
<BR> You must believe, boy. you must...
<BR> believe.
<BR>
<BR> We see him do it. We see him leap into space. We see that he is in midair. We
<BR> see that he is not going to make it. His hands claw for the opposite wall but he is
<BR> going to fall 100 feet to his death. And then-he doesn\'t! He appears to be held
<BR> up by thin air as he lands on his hands and knees.
<BR>
<BR> INDY looks around and down and now he figures it out.
<BR>
<BR> Ingeniously, the First Crusaders have painted a pathway to align with the rocks
<BR> 100 feet below. It is a perfect forced perspective image of the rocks below with
<BR> lines from a hundred feet continuing six feet below his sight line where his feet
<BR> are stepping.
<BR>
<BR> It\'s painted to blend in with the rocks below. Highly evolved camouflage... in
<BR> perfect alignment with everything we see below.
<BR>
<BR> When INDY leans out to the left or right... that\'s when he sees the perfect
<BR> alignment shift that betrays the trick. Indy throws some dirt on the bridge and
<BR> he crosses it like the first Crusader from the painting over Henry\'s desk.
<BR>
<BR> Indy crawls through a small opening in the side of the cliff and enters a Temple.
<BR>
<BR> A vast array of chalices is displayed on the altar of this small Temple. Perhaps a
<BR> hundred or more. Many sizes, many shapes, some gold, some silver, but they all
<BR> glitter and shine.
<BR>
<BR> INDY is mesmerized by their number and their beauty. And then he realizes that
<BR> a man is praying at the altarl
<BR>
<BR> He has his back turned to INDY... but he is dressed as what he is! A GRAIL
<BR> KNIGHT.
<BR>
<BR>
<BR> CLOSE ON THE GRAIL KNIGHT
<BR>
<BR> But we can\'t see the Grail Knight\'s face. The visor of his helmet is down.
<BR> Perhaps we see his eyes.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> When the GRAIL KNIGHT sees INDY he gets wearily to his feet and, surprisingly,
<BR> prepares to give combat...taking up his two-handed broadsword...he comes at
<BR> Indy, attempting to swing the huge, heavy sword but finding the effort almost too
<BR> much. Indy dodges two or three clumsy swings of the sword, making no attempt
<BR> to fight back...until the Knight, exhausted, drops the sword and collapses. Indy
<BR> approaches him and raises the visor and we see that the Knight is a very ancient
<BR> man.
<BR>
<BR> KNIGHT
<BR> I knew you\'d come, but my strength
<BR> has left me.
<BR>
<BR> INDY
<BR> Who are you?
<BR>
<BR> KNIGHT
<BR> The last of three brothers who
<BR> swore an oath to find the Grail
<BR> and to guard it.
<BR>
<BR> INDY
<BR> That was seven hundred years ago.
<BR>
<BR> KNIGHT
<BR> A long time to wait.
<BR>
<BR> The GRAIL KNIGHT reaches forward and fingers Indy\'s clothing.
<BR>
<BR> KNIGHT
<BR> You\'re strangely dressed...for a
<BR> knight.
<BR>
<BR> INDY
<BR> I\'m not exactly...a knight. What
<BR> do you mean?
<BR>
<BR> KNIGHT
<BR> I was chosen because I was the
<BR> bravest and the most worthy. The
<BR> honor was mine until another came
<BR> to challenge me to single combat.
<BR> I pass it to you who vanquished me.
<BR>
<BR> The GRAIL KNIGHT holds his sword out to INDY.
<BR>
<BR> INDY
<BR> (gulp)
<BR> Listen, I don\'t have time to
<BR> explain, but-
<BR>
<BR> At that moment DONOVAN and ELSA appear. Donovan turns to face the display
<BR> of cups.
<BR>
<BR> DONOVAN
<BR> Which one is it?
<BR>
<BR>
<BR>
<BR>CONTINUED: (2)
<BR>
<BR> KNIGHT
<BR> You must choose.
<BR> (beat)
<BR> But choose wisely. For as the
<BR> True Grail will bring you life-
<BR> the False Grail will take it from
<BR> you.
<BR>
<BR> DONOVAN
<BR> I\'m not a historian. I have no
<BR> idea what it looks like. Which
<BR> one is it?
<BR>
<BR> ELSA
<BR> Let me choose.
<BR>
<BR> DONOVAN
<BR> Thank you, Doctor.
<BR>
<BR> ELSA and INDY exchange looks. He thinks he is seeing her in her true colors.
<BR>
<BR> ELSA chooses a cup-a solid gold, emerald encrusted goblet.
<BR>
<BR> DONOVAN instantly takes it from her.
<BR>
<BR> DONOVAN
<BR> Oh, yes. It\'s more beautiful than
<BR> I\'d ever imagined. This certainly
<BR> is the cup of the King of Kings.
<BR>
<BR> DONOVAN rushes to the well and fills the goblet with water.
<BR>
<BR> DONOVAN
<BR> Eternal life!
<BR>
<BR> DONOVAN drinks from the goblet.
<BR>
<BR> Then, DONOVAN\'S entire body starts to convulse. His face contorts in agony. He
<BR> grabs his stomach and turns toward ELSA.
<BR>
<BR> DONOVAN
<BR> What . . . is . . . happening. . . to . . .
<BR> me. . .?
<BR>
<BR> He starts to age-fast! His hair grows long and gray and brittle. His face sinks.
<BR> Fingernails curl back on themselves. Milky cataracts coat his eyes.
<BR>
<BR> ELSA gasps and screams.
<BR>
<BR> DONOVAN
<BR> What. . . is . . . happening. . . ?
<BR>
<BR> His skin turns brown and leathery and stretches across his bones until it splits.
<BR> His skeletal hands reach for ELSA\'s throat, choking her.
<BR>
<BR>
<BR>
<BR>CONTINUED: (3)
<BR>
<BR> INDY rushes forward and pushes DONOVAN away. As he falls he BODY BREAKS
<BR> INTO FLAMES, then SHATTERS AGAINST THE WALL.
<BR>
<BR> KNIGHT
<BR> He chose...poorly.
<BR>
<BR> INDY studies the array of chalices.
<BR>
<BR>
<BR> ELSA
<BR> It would not be made out of gold.
<BR>
<BR> INDY picks up another cup-a simple earthenware jug.
<BR>
<BR> INDY
<BR> That\'s the cup of a carpenter.
<BR>
<BR> He and ELSA exchange a look.
<BR>
<BR> INDY
<BR> There\'s only one way to find out.
<BR>
<BR> INDY goes to the well and fills the earthenware jug with water, then pauses.
<BR> INDY brings the jug to his lips and takes several large swallows.
<BR>
<BR> A strange sensation overcomes him, a feeling of peace and contentment...and we
<BR> see his wounds begin to heal.
<BR>
<BR> KNIGHT
<BR> You have chosen wisely. But the
<BR> Grail cannot pass beyond the
<BR> Great Seal. That is the boundary
<BR> and the price of immortality.
<BR>
<BR>
<BR> CUT TO BRODY AND SALLAH who attend to Henry awaiting Indy\'s return.
<BR>
<BR> INDY and ELSA come forward with the Grail.
<BR>
<BR> The TWO NAZI SOLDIERS are over-awed by the possessors of the Grail. They put
<BR> down their guns and kneel.
<BR>
<BR> INDY kneels by HENRY\'s side and tilts his head forward and holds the Grail to
<BR> his lips.
<BR>
<BR> HENRY is too weak to even open his eyes.
<BR>
<BR> HENRY swallows some of the water. Much of it runs down the corners of his
<BR> mouth. Finally INDY pours the water over the wound and everyone watches in
<BR> astonishment as the wound and the blood stain disappear before their eyes. The
<BR> color returns to Henry\'s face.
<BR>
<BR> HENRY\'s eyes open. The first thing he sees is the Grail and they light up. Then
<BR> they shift to INDY\'s face-and they light up even more...
<BR>
<BR> NAZI SOLDIERS
<BR>
<BR> run forward. SALLAH points a rifle at them.
<BR>
<BR> SALLAH
<BR> Drop your guns. Please.
<BR>
<BR> The NAZI SOLDIERS drop their weapons at their feet and raise their arms in
<BR> surrender.
<BR>
<BR> INDY
<BR> (to HENRY)
<BR> Dad, come on. Get to your feet.
<BR>
<BR> ELSA
<BR>
<BR> steps forward and picks up the Grail. She turns to INDY, her face alight with
<BR> possession of the Grail.
<BR>
<BR> ELSA
<BR> We have got it. Come on.
<BR>
<BR> ELSA steps onto the edge of the Great Seal.
<BR>
<BR> INDY
<BR> Elsa! Elsa, don\'t movel
<BR>
<BR> ELSA
<BR> It\'s ours, Indy. Yours and mine.
<BR>
<BR> INDY
<BR> Elsa, don\'t cross the Seal. The
<BR> Knight warned us not to take the
<BR> Grail from here.
<BR>
<BR> A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from
<BR> the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away
<BR> from her grasp. She reaches for it and the ground beneath her begins to SPLIT
<BR> OPEN. ELSA slips into the crevasse. She screams.
<BR>
<BR> ELSA is hanging perilously in the abyss, with the Grail almost within her reach.
<BR> As her hands lose their grip, INDY just manages to one of them, he himself
<BR> sliding forward across the slanted floor.
<BR>
<BR> HENRY
<BR> Junior! Junior!
<BR>
<BR> With her free hand, ELSA is trying to get the Grail. INDY can\'t save her unless
<BR> she gives him her free hand. She has to choose.
<BR>
<BR> INDY
<BR> Elsa. Elsa don\'t. Elsa. Elsa.
<BR> Give me your other hand,
<BR> honey. I can\'t hold you.
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR> ELSA
<BR> I can reach it. I can reach it...
<BR>
<BR> Her hand begins to slip from Indy\'s grasp.
<BR>
<BR> INDY
<BR> Elsa! Give me your hand. Give
<BR> me your other hand!
<BR>
<BR> ELSA just manages to touch the Grail. In doing so, she has tipped the balance too
<BR> far-INDY slides down another yard, Elsa loses her grip and falls screaming to
<BR> her death.
<BR>
<BR> INDY
<BR> (horrified)
<BR> Elsa!!
<BR>
<BR> Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his
<BR> hands as Indy struggles to reach the Grail with the other.
<BR>
<BR> HENRY
<BR> Junior, give me your other hand!
<BR> I can\'t hold on!!
<BR>
<BR> INDY
<BR> I can get it-I can almost
<BR> reach it, Dad.
<BR>
<BR> INDY looks down into the black bottomless pit beneath him from which nothing
<BR> can ever be retrieved.
<BR>
<BR> HENRY
<BR> Indiana. Indiana!!
<BR>
<BR> INDY snaps his look up to his father. His father has never called him this before.
<BR>
<BR>
<BR> HENRY
<BR> (very calmly)
<BR> ... let it go...
<BR>
<BR>
<BR> INDY abandons the Grail and grabs onto HENRY with both hands.
<BR> HENRY pulls him up to safety.
<BR>
<BR>
<BR> THE GRAIL KNIGHT
<BR>
<BR> looks through the falling debris to INDY and HENRY. SALLAH and BRODY rush
<BR> from the crumbling Temple.
<BR>
<BR> INDY
<BR> Dad. . .
<BR>
<BR> The GRAIL KNIGHT raises his arm to HENRY.
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> INDY
<BR> Please, Dad...
<BR>
<BR> INDY and HENRY down the passageway just as a huge stone column tumbles
<BR> down upon the spot where they stood. The GRAIL KNIGHT lowers his arm as he
<BR> watches them leave.
<BR>
<BR>
<BR> EXT. ENTRANCE TO MOUNTAIN TEMPLE - AFTERNOON
<BR>
<BR> INDY, HENRY, SALLAH and BRODY emerge from the Mountain Temple through
<BR> the Grecian Facade.
<BR>
<BR> From within the Mountain Temple, the ROAR OF WALLS CAVING IN IS HEARD. A
<BR> cloud of dust and smoke billows out from the entrance.
<BR>
<BR> HENRY turns to INDY.
<BR>
<BR> HENRY
<BR> Elsa never really believed in the
<BR> Grail. She thought she\'d found a
<BR> prize.
<BR>
<BR> INDY
<BR> What did vou find, Dad?
<BR>
<BR> HENRY
<BR> Me?... Illumination.
<BR>
<BR> HENRY and INDY mount their horses. Henry turns back to his son.
<BR>
<BR> HENRY
<BR> What did you find, Junior?
<BR>
<BR> INDY
<BR> Junior?! Dad...
<BR>
<BR>
<BR> SALLAH
<BR> Please...What does it always
<BR> mean, this...this \"Junior?\"
<BR>
<BR> HENRY
<BR> That\'s his name. Henry Jones,
<BR> Junior.
<BR>
<BR> INDY
<BR> I like Indiana.
<BR>
<BR> HENRY
<BR> We named the dog Indiana.
<BR>
<BR> BRODY
<BR> May we go home now, please?
<BR>
<BR>
<BR>
<BR>CONTINUED:
<BR>
<BR>
<BR> SALLAH
<BR> (to INDY)
<BR> The dog!?
<BR> (laughs)
<BR> You are named after the dog...
<BR>
<BR> INDY
<BR> (embarrassed)
<BR> I\'ve got a lot of fond memories
<BR> of that dog.
<BR>
<BR> A moment passes as they all ready their mounts and SALLAH continues to laugh
<BR> at INDY.
<BR>
<BR> INDY
<BR> Ready?
<BR>
<BR> HENRY
<BR> Ready.
<BR>
<BR> BRODY
<BR> Indy! Henryl Follow met I know
<BR> the way!
<BR> (to his horse)
<BR> Haaa!
<BR>
<BR> HENRY
<BR> (to INDY)
<BR> Got lost in his own museum, huh?
<BR>
<BR> INDY
<BR> Uh-huh.
<BR>
<BR>
<BR> HENRY
<BR> After you, Junior.
<BR>
<BR> INDY
<BR> Yes, sir!
<BR> (to his horse)
<BR> Haaa!
<BR>
<BR>
<BR> EXT. THE SECRET CANYON - AFTERNOON
<BR>
<BR> They THUNDER through the canyon-whose towering walls threaten to collapse
<BR> upon them.
<BR>
<BR>
<BR> EXT. ENTRANCE TO CANYON - SUNSET
<BR>
<BR> as BRODY, INDY, HENRY AND SALLAH ride from the canyon toward the SETTING
<BR> SUN.
<BR>
<BR> THE END
<BR>
<BR>
<BR>
CCG

Vale
Messaggi: 205
Iscritto il: 01 gen 1970, 01:00
Località: Pisa

Messaggio da Vale » 01 gen 1970, 01:33

Vorrei sapere se ci sono utenti che sono riusciti a leggerlo fino alla fine...

acarus
Messaggi: 106
Iscritto il: 01 gen 1970, 01:00
Località: Molto lontano ...

Messaggio da acarus » 01 gen 1970, 01:33

Io mi son rotto prima! <IMG SRC="images/forum/icons/icon_mad.gif">
<BR>
<BR>Inoòtre, come ho già avuto modo di far notare: che c\'entra con la sezione Proponi gli esercizi??<BR><BR>[ Questo Messaggio è stato Modificato da: acarus il 11-03-2003 19:29 ]
Che cos'è il genio....? E' colpo d'occhio, intuizione e velocità d'esecuzione!

smanetto
Messaggi: 25
Iscritto il: 01 gen 1970, 01:00
Località: Friuli Venezia Giulia

Messaggio da smanetto » 01 gen 1970, 01:33

io concordo con acarus....ma dove l\'hai trovato????????
<BR> <IMG SRC="images/forum/icons/icon_eek.gif">
" il tempo insegna, sta a te imparare "

meridiana dell ITI A. Malignani

Fede_HistPop
Messaggi: 576
Iscritto il: 01 gen 1970, 01:00
Località: Tuenno, TN
Contatta:

Messaggio da Fede_HistPop » 01 gen 1970, 01:33

Effettivamente non c\'entra nulla, ma non è poi così male... lo si può sempre usare come ripasso di inglese...
<BR>
<BR>La prossima volta, però, credo che sia meglio postare solo il link... è un po\' lunghetto il copione...
Co-founder and leader of Historiae Populorum.
0 A.D. Historian, Game Designer and Scenario Designer; maker of 0 A.D.'s Learning Campaign

Ospite

Messaggio da Ospite » 01 gen 1970, 01:33

as u wrote in English I answer u in English...
<BR>
<BR>dear duce i don\'t know if u has copied this page from a web site but i inform u that there are 3 or more mistakes...be hurry when u write somwthing...
<BR>
<BR>bye[addsig]

Ospite

Messaggio da Ospite » 01 gen 1970, 01:33

as u wrote in English I answer u in English...
<BR>
<BR>dear duce i don\'t know if u has copied this page from a web site but i inform u that there are 3 or more mistakes...be hurry when u write something...
<BR>
<BR>bye[addsig]

Bloccato