4. Fedora blows dust from the Cross, turning it in his hand, silently appraising its beauty. and its value. He seems aloof from the others; somehow superior to them. HALFBREED Hey, we got to find more stuff to bring back. Indy stays hidden, but is astounded by what he sees. INDY (hushed; urgent) Its the Cross of Coronado! Cortes gave it to him in 1521. Fedora continues to admire the Cross, then places it on the rock next to its box and the lantern. Indy turns back to observe the men. INDY That Cross is an important artifact. It belongs in a museum. A look of resolve comes into Indys expression, and he turns back toward Herman INDY Run back and find the others. Tell Mister Havelock that there are men looting in the caves. Herman doesnt seem to be listening. Instead, he watches in wide-eyed horror as a SNAKE SLITHERS ACROSS HIS LAP. INDY Have him bring the sheriff. Indy matter-of-factly picks up the snake and tosses it aside. Herman gasps. INDY Its only a snake. Indy grabs Hermans scout scarf and pulls him closer. INDY Did you hear what I said? HERMAN Right. Run back. Mister Havelock. The Sheriff. What, what are you gonna do?
5. INDY I dont know. Ill think of something. Indy releases the scarf, gives Herman a pat and Herman dashes off. Indy sees the Cross on the rock next to the lantern. As the Robbers continue to search for additional valuables, Indy is able to work his way unseen to within arms reach of the Cross. Fedora looks over at the men digging in a hole b.g. FEDORA Dig with your hands. Indy picks up the Cross. FEDORA (O.S.) Not with your mouth. As Fedora stands watching the other men digging, Indy puts the Cross in his pants and begins to pull himself up a rope hanging nearby. As he climbs, Indys feet break a wooden beam, attracting the mens attention. ROSCOE Hes got our thing! HALFBREED Get im! The three Robbers are so eager to get their hands on Indy, they almost knock each other over in the attempt. Only Fedora is unperturbed. He casts a disgusted glance in the direction of his fleeing companions -- then sets off after Indy. EXT. THE CLIFFS - DAY Indy EMERGES from the darkness of the Pueblo into the brightness of day. He pauses -- squints -- shields his eyes -- looks in all directions. INDY Mister Havelock! Anybody! Everybodys lost but me! He hears RUNNING FOOTSTEPS BEHIND HIM and dashes off. Rough Rider, Halfbreed, and Roscoe are quick to appear and run after him.

26. INDY Dad? (to Brody) Hes an academic A bookworm. Hes not a field man. He pushes open the door. He enters the house and calls out. INDY Dad? Dad? Indy opens one half of the curtains dividing the hall from the sitting room. We see the place has been ransacked. Brody sees Indys face and opens the other half. BRODY Dear God. They walk into the room. BRODY What has the old fool got himself into now? INDY I dont know. But whatever it is, hes in over his head! Brody picks up some mail from Henrys cluttered desk. INDY Dad? BRODY Its todays mail. And its been opened. Indy turns and sees the pile of torn papers and envelopes. Then something hits him. INDY Mail! Thats it, Marcus! He immediately empties his pockets of his own mail taken earlier in the day from his college office and finds the envelope with the Venice postmark. INDY (as he tears it open) Venice, Italy!
BRODY What is it? Indy uncovers a small book. It looks like a JOURNAL or DIARY. Indy flips through it: Page after page of handwritten notes and drawings. Brody glances at it with great curiosity. INDY Its Dads Grail Diary. Every clue he ever followed. Every discovery he made. A complete record of his search for the Holy Grail. This is his whole life. Why would he have sent this to me? BRODY I dont know. But someone must want it pretty badly. INDY Do you believe, Marcus? As Indy asks the question, he turns to a PAINTING on the wall: A depiction of Christ on the Cross, his blood being captured in a golden chalice. A SECOND PAINTING on the wall shows Eleventh Century Crusaders plummeting to their deaths over a high cliff. One Crusader, however, floats safely in midair because he holds the Grail in his hands. INDY Do you believe the Grail actually exists? BRODY The search for the Cup of Christ is the search for the divine in all of us. Brody sees that Indy is unsatisfied by this response. BRODY But if you want facts, Indy, I have none to give you. At my age, Im prepared to take a few things on faith. INDY Call Donovan, Marcus. Tell him Ill take that ticket to Venice now.
BRODY Ill tell him well take two. EXT. AIRFIELD - DAY A LIMO is parked beside a PRIVATE AIRLINER that bears the DONOVAN CORPORATE LOGO. Brody peers inside to Donovan and Indy. BRODY Tell me, whats going to happen when we get to Venice? DONOVAN (overlapping) Dont worry. Doctor Schneider will be there to meet you. BRODY (overlapping) Schneider? DONOVAN (overlapping) I maintain an apartment in Venice, at your disposal. BRODY Oh, well. Thats good. Thank you. Brody and Donovan shake hands. Indy steps from the back seat of the limo. He turns back to Donovan and shakes his hand. DONOVAN Doctor Jones. Good luck. Be very careful. Dont trust anybody. INT. AIRLINER - FLYING - DAY Indy opens the Grail Diary and thoughtfully turns through the pages. He stops at one page and glances at a PENCIL SKETCH of what might be a stained-glass window. Below the sketch is a SERIES OF NUMBERS. EXT. THE PRIVATE AIRLINER - FLYING - DAY SUPERIMPOSED over a MAP that traces a course from New York City to Venice, Italy. DISSOLVE TO: EXT. VENICE - BOAT LANDING - DAY

Indy, Brody and Elsa enter, their heels CLICKING across the marble floor. We notice, along with Indy and Brody, that the library contains many stained-glass windows. ELSA In this case its the literal truth. Were on holy ground. These columns over here. She indicates FOUR HUGE MARBLE COLUMNS that go from floor to ceiling. ELSA.were brought back as spoils of war after the sacking of Byzantium during the Crusades. Indy glances at the Columns, then notices a stained-glass Window that depicts a Knight of the Crusades. Indy lingers for a moment in front of the window. ELSA Now please excuse me. The librarys closing in a few moments. Ill arrange for us to stay a little longer. The minute Elsa is out of earshot. INDY Marcus -- Ive seen this window before. BRODY Where? Indy whips out the Grail Diary and opens it to the sketch he noticed in the airplane. INDY Right here. In Dads Diary. You see? Brody glances at the Diary, then at the window -- noticing that the Roman numerals in question have been worked into the windows design. BRODY Look, Indy. The Roman numerals!
INDY Dad was onto something here! BRODY Well, now we know the source of the numbers, but we still dont know what they mean. Indy and Brody now see Elsa approaching. Indy quickly tucks the Diary back into his pocket. INDY (explaining to Brody) My dad sent me this Diary for a reason. Until we find out why, I suggest we keep it to ourselves. ELSA Find something? Indy doesnt reply. Hes looking in five directions at once. His eyes moving across the walls and ceilings -- charged with the thrill of discovery. BRODY (to Elsa) Uh, yes. Three, seven and ten. That window seems to be the source of the Roman numerals. ELSA My God, I must be blind INDY Dad wasnt looking for a book about the Knights Tomb. he was looking for the Tomb itself Elsa wears a blank expression. INDY Dont you get it? The Tomb is somewhere in the library! You said yourself it used to be a church! Look. Indys eyes travel up one of the four huge marble columns. INDY Three. Indy looks again to the stained-glass window. He points.
34. INDY Three! Indy has discovered that each Column is numbered with a Roman Numeral. Indy hurries away toward Column VII. All Brody and Elsa can do now is try to keep up with him. INDY Seven. He points again to the stained-glass window. INDY Seven. Ten. He looks down to the scrap of paper in his hands. INDY And ten. Now wheres the ten? Look around for the ten. Indy walks past aisles of book-lined shelves. He stops, turns, then looks down. INDY Three, seven and ten. He climbs a spiral staircase leading up to a LOFT and looks down at Brody and Elsa. The floor beneath their feet is an elaborate tile design containing a huge "X" -- visible only from this higher angle. INDY Ten. (wryly; to himself) "X" marks the spot. Indy rushes down the staircase and goes to the CENTER TILE where the two sides of the X intersect. He blows dust away from the tile and tries to pry it up, but cannot. Indy rushes past Brody to a cordon held in place by a brass stand underneath the stained-glass window. Indy raises the brass stand and timing his actions, hits the tile precisely as the Librarian stamps a book. The Librarian regards the stamper curiously. Indy continues to pound at the tile as the Librarian resumes his stamping, still puzzled by the SOUND ECHOING through the library. Finally Indy breaks the tile. As he bends to remove the pieces of broken tile, a TWO-FOOT SQUARE HOLE IS REVEALED.

INDY Im going after Dad. INT. INDYS BEDROOM - DAY Indy opens the door. His bedroom has been ransacked. the mattress on the floor, the drawers turned out. INT. HALLWAY - DAY Indy approaches another door (Elsas bedroom) and knocks. INDY Elsa? He goes in. INT. ELSAS BEDROOM - DAY.and finds that Elsas bedroom is in a similar ransacked state to his own. The room is empty. He is worried for her, knocks and calls out: INDY Elsa? He steps into the room and knocks upon the bathroom door. INDY Elsa? He opens the bathroom door, peering inside. INDY Elsa? INT. ELSAS BATHROOM - DAY Elsa is standing before a mirror, wearing a silk bathrobe. She gasps, startled, as Indy enters. He retreats back into her bedroom as she reaches up to turn off a record player sitting on a ledge above the bathtub. INT. ELSAS BEDROOM - DAY Elsa joins Indy, waiting in the ransacked room. She looks around in shock. ELSA My room!
INDY Mine, too. ELSA What were they looking for? She looks to Indy, who pulls the Grail Diary from his pocket. INDY This. ELSA The Grail Diary. INDY Uh-huh. ELSA You had it? You didnt trust me! She looks hurt and beautiful. She comes closer to him. INDY I didnt know you. Shes awfully hard to resist. INDY At least I let you tag along. ELSA Oh, yes. Give them a flower and theyll follow you anywhere. INDY Knock it off. Youre not mad. ELSA No? INDY No. You like the way I do things. ELSA Its lucky I dont do things the same way. Youd still be standing at the Venice pier. She stomps her foot angrily. Indy flinches. She starts to walk away but Indy grabs her.
INDY Look, what do you think is going on here? Since Ive met you, Ive nearly been incinerated, drowned, shot at, and chopped into fish bait. Were caught in the middle of something sinister here. My guess is Dad found out more than he was looking for. And until Im sure, Im going to continue to do things the way I think they should be done. He pulls her to him and kisses her. ELSA How dare you kiss me! Now Elsa reaches for Indy and kisses him. INDY Leave me alone. I dont like fast women. But he embraces her, and Elsa begins to nibble at his ear. ELSA And I hate arrogant men. Indy smiles slyly as they fall to the bed. EXT. VENICE CANAL - DAY A GONDOLIER SINGS as he steers his gondola carrying two passengers past Indys window. INT. INDYS BEDROOM - DAY Indy lies on top of Elsa, kissing her. He stops for a moment as he hears the Gondolier SINGING. INDY Ahh, Venice. Elsa reaches up and pulls him back down to her. EXT. ROAD THROUGH THE AUSTRIAN MOUNTAINS - DAY A Mercedes-Benz glides through the sharp mountain curves. This is SUPERIMPOSED OVER A MAP that charts their course from Venice across Austria toward Salzburg. EXT. CASTLE IN THE AUSTRIAN MOUNTAINS - DAY

ELSA (contd) to. its perfectly obvious where the pages are. (looking at Indy).hes given them to Marcus Brody. Henry now wears a pained expression. HENRY (to Indy) Marcus?! You didnt drag poor Marcus along, did you? Hes not up to the challenge. DONOVAN He sticks out like a sore thumb. Well find him. INDY The hell you will. Hes got a twoday head-start on you, which is more than he needs. (beat) Brodys got friends in every town and village from here to the Sudan. He speaks a dozen languages, knows every local custom. Hell blend in. Disappear. Youll never see him again. With any luck, hes got the Grail already. Henry looks amazed and impressed. EXT. TRAIN STATION - CITY OF ISKENDERUN - DAY Brody disembarks from the train along with the other PASSENGERS, a cross-section of ARABS and TUSKS. BRODY Does anyone here speak English? Or even ancient Greek? A Man in the crowd holds out a cup of water to Brody. BRODY No water, no thank you. No, fish make love in it. Brody continues through the crowd past various STREET VENDORS. A Woman holds a chicken out to him.
BRODY Thank you so much. No, I dont like that. No, I really dont want. No, no, thank you very much. No, thank you, madam. Im a vegetarian. The Woman walks away, leaving Brody alone in the crowd. BRODY Does anyone understand a word Im saying here? Sallah shoulders his way through the mob toward Brody. SALLAH Mister Brody! They meet and hug, then begin to walk. BRODY Oh, Sallah! What a relief! SALLAH (laughs) Marcus Brody, sir. And where is Indy? BRODY (overlapping) Oh, hes in Austria. A slight detour. SALLAH You are on your own? A Woman runs in and tugs on Brodys coat. He waves her away. BRODY Yes, but dont panic. Everythings under control. Have you. have you arranged our supplies? SALLAH Oh, yes, of course. But where are we going? BRODY Oh, this map will show you. It was drawn by, uh. Brody searches in his coat pocket for the map as a SINISTER MAN approaches.
SINISTER MAN Mister Brody? Brody puts the map back in his pocket. The Sinister Man clicks his heels and bows quickly. SINISTER MAN Welcome to Iskenderun. The Director of the Museum of Antiquities has sent a car for you. Brody takes off his hat. BRODY Oh, what?. your servant, sir. SALLAH And I am his. SINISTER MAN Follow me, please. The man turns and joins a SECOND MAN. Brody and Sallah follow them. BRODY My reputation precedes me. SALLAH There is no museum in Iskenderun. The Second Man overhears Sallah. He and his companion turn quickly. SECOND MAN Papers please. SALLAH Papers? (laughs) Of course. Sallah puts Brodys luggage down and glances at Brody. SALLAH Run. Brody does not run. Sallah pats his clothing, searching for his papers. BRODY Yes.

INDY I think I can get these ropes off. Indy struggles to free his hands. His foot kicks out and accidentally hits a metal grill that operates a Secret Door. INDY Whoops! The fireplace floor rotates like a Lazy Susan and Indy and his father find themselves in the: INT. RADIO ROOM - DAY Where a NAZI RADIOMAN wearing headphones sits at an elaborate panel of dials, switches and meters, and a WOMAN stands over a map plotting coordinates. Their backs are turned to Indy and Henry. The floor begins to rotate again, and Indy and Henry find themselves back in: INT. CASTLE ROOM - DAY inside the fireplace, still tied back-to-back. HENRY Our situation has not improved. Indy glances over his shoulder at Henry. INDY Listen Dad. Im almost free. Indys foot hits the grill again. and the fireplace rotates to: INT. RADIO ROOM - DAY FOUR NAZI RADIOMEN and the Woman are still hard at work with controls and coordinates. Suddenly the Woman looks up and spots Henry and Indy. She screams. WOMAN Alarm! Now the Radioman turn to see Henry and Indy. WOMAN Schnell!! TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at Indy and Henry
INT. CASTLE ROOM - DAWN Indy and Henry rotate into the room which is now an INFERNO. The carpet, drapes and furniture are all ablaze. HENRY This is intolerable! INDY Im out, Dad! Indy finally breaks free. And he immediately begins to untie his father. HENRY Well done, boy! INT. RADIO ROOM - DAY All four Radiomen now have their guns drawn. They activate the lever and begin to rotate through the Secret Door. INT. CASTLE ROOM - DAY The Radiomen appear in the fireplace on the other side -but there is NO SIGN OF Indy and Henry. The Radiomen move cautiously toward the flame, shielding their faces with one hand, holding their guns with the other. Is it possible that Indy and Henry escaped through these flames? Not a chance. Theyve hidden themselves UP THE CHIMNEY. And now they DROP DOWN, BEHIND the Radiomen. One of the Radiomen grabs Indy by the neck. As they struggle they fall against the rotating wall and disappear into the next room, leaving a frightened Henry behind. Henry presses against the wall, which rotates again. As he disappears into the next room, a DEAD NAZI RADIOMAN swivels into the room. The other Nazis rush forward to him. INT. RADIO ROOM - DAY Indy picks up a BUST OF HITLER and uses it to jam the rotating wall in place, sealing the Nazis inside the burning room. INT. CASTLE HALLWAY - DAY
Vogel strides purposefully down the hallway. He BARKS an order, and TWO MORE NAZIS fall into step with him. INT. RADIO ROOM - DAY Indy grabs his whip, his leather sack and Henrys case from a table. He hands the case to Henry and they begin to run. INDY Come on Dad. INT. SECRET ROOM - DAY Indy and Henry step into an empty room. INDY Dead end. Henry looks horrified by what hes been forced to do as Indy searches frantically for an exit. INDY Theres got to be a. a secret door around. A passageway or something. Indy begins to run his hands over the walls -- frantic. HENRY I find that if I just sit down and think. Henry sits on a chair which tips back, hitting the wall behind it. The floor at Indys feet suddenly begins DROPPING AWAY! Indy grabs a railing to keep from falling, but loses his grip and plunges through the opening which has formed a SPIRAL STAIRCASE. He rolls down the stairs. INDY Dad! HENRY.the solution presents itself. Henry follows Indy down the staircase. INT. CAVERN / UNDERGROUND HARBOR - DAY The stairway deposits Indy and Henry into an enormous WATERY CAVERN beneath the mountain on which the castle was built.

INDY What final challenge? HENRY Three devices of such lethal cunning. INDY Booby traps? HENRY Oh, yes. But I found the clues that will safely take us through, in the Chronicles of St. Anselm. INDY But what are they? Cant you remember? HENRY I wrote them down in my Diary so that I wouldnt have to remember. INDY Half the German Armys on our tail and you want me to go to Berlin? Into the lions den? HENRY Yes! The only thing that matters is the Grail. INDY What about Marcus? HENRY Marcus would agree with me. INDY Two selfless martyrs. Jesus Christ! Henry slaps him across the face. Indy is rocked to his foundations, not by any means entirely by the blow itself. HENRY Thats for blasphemy. The quest for the Grail is not archaeology. Its a race against evil. If it is captured by the Nazis, the armies of darkness will march all over the face of the earth. Do you understand me?
INDY This is an obsession Dad. I never understood it. Never. Neither did Mom. HENRY Oh yes, she did. Only too well. Unfortunately she kept her illness from me until all I could do was mourn her. EXT. CROSSROADS - DAY Arrows point in opposite directions to VENICE and BERLIN. The CAMERA MOVES IN on the portion of the sign reading BERLIN. EXT. CITY SQUARE - BERLIN - NIGHT A Nazi Rally -- a book-burning is in process. The mound of burning books is ten feet tall and growing by the minute as College Students and Nazi Brownshirts continually toss more books onto the fire. Flags, banners and standards displaying the swastika are waved rhythmically from side to side in a motion that echoes the mounting frenzy of the enormous crowd. Indy and Henry walk toward the Square. Indy wears the uniform of a Nazi Soldier. He is now buttoning up the tunic -- which happens to be several sizes too big. HENRY My boy, we are Pilgrims in an unholy land. Then. Indy sees something that makes him stop in his tracks. WE PAN ALONG HIS LINE OF SIGHT to: THE PODIUM Where high-ranking Officers of the Third Reich stand flanking ADOLF HITLER as they oversee the rally. ANOTHER ANGLE Elsa is walking away in an open area, background of torches, vehicles, Nazi Officers. one of whom is now none other than Indy, coming up to her before she knows he is there. His voice is quiet and tough, his eyes hard.
INDY Fraulein Doctor. Where is it? Still startled, her reaction makes it clear that Indy is even now a lover in her thoughts. ELSA How did you get here? INDY Where is it? I want it. Indy pushes Elsa against a column and begins to search her clothing for the Diary. He pulls the book from Elsas pocket. ELSA You came back for the book? Why? INDY My father didnt want it incinerated. She understands him. Its as though he slapped her. ELSA Is that what you think of me? I believe in the Grail, not the Swastika. INDY (vicious) Yet you stood up to be counted with the enemy of everything the Grail stands for -- who gives a damn what you think? ELSA (hard and fast) You do. Now its as though shed slapped him back. His hands fly to her neck. INDY All I have to do is squeeze. ELSA All I have to do is scream. Its a standoff emotionally. He knows hed never do it. she knows it too. And the same goes for screaming.

Indy releases her and backs away. She looks at him with a lovers pain. He moves over to Henry. INDY Ive got it. Lets get the hell out of here. They move off and almost run headlong into Hitler and his entire entourage coming down from the Podium. 50 kids push their autograph books for Hitlers signature. Hitler pauses to sign them. Hitler looks Indys way. They make eye contact. It only lasts a moment but the moment is electric. Hitler breaks the spell by taking the Grail Diary from him, opens it to the first page and signs his autograph. He hands it back and moves on. EXT. AIRFIELD - BERLIN, GERMANY - DAY Indys motorcycle pulls up to the main terminal. INT. TERMINAL BUILDING - DAY A Plainclothes Agent distributes leaflets bearing HENRYS PICTURE to Nazi Soldiers inside the terminal. Henry leans in a doorway reading a newspaper as Indy enters down the stairs and taps Henrys shoulder. They begin to walk toward the boarding gates. HENRY What did you get? INDY I dont know. The first available flight out of Germany. HENRY Good. Indy and Henry show their papers to the Boarding Guards, then join the line of passengers, which has already begun to move toward a: MOORED ZEPPELIN Ten stories tall and longer than two football fields: Flying in the grand tradition! INT. THE ZEPPELIN - PASSENGER COMPARTMENT - DAY
The Zeppelin is about to take off. Indy and Henry make themselves comfortable in one of the compartments. INDY Well, we made it. Henry looks over his newspaper at Indy. HENRY When were airborne, with Germany behind us, then Ill share that sentiment. INDY Relax. But Indy looks out the window and is suddenly concerned when he sees: VOGEL AND A GESTAPO AGENT Rushing across the tarmac toward the Zeppelin. VOGEL Nicht zumachen! Wir steigen ein! INDY Sits back in his chair, looks to Henry, now reading his newspaper. A Steward enters and sets a bowl of nuts on the table in front of Indy and Henry, then continues down the aisle of passengers. Indy follows after the Steward. He puts his arm around the Stewards shoulder and together they walk up a flight of stairs. VOGEL Now walks up the aisle. He approaches a MALE PASSENGER hidden behind a newspaper. Vogel uses his walking stick to lower the newspaper and show the Passenger the leaflet with Henrys photograph. VOGEL Haben sie diesen Mann gesehen? The Passengers at the table shake their heads in the negative. Vogel shows the picture to other Passengers. FEMALE PASSENGER Nein.

82. INDY (O.S.) Fahrscheine, bitte. MALE PASSENGER Nein. Vogel turns to see: INDY -- WEARING THE HAT AND JACKET OF THE CHIEF STEWARD MALE PASSENGER (O.S.) Ich habe ihn nicht gesehen. INDY Tickets please. The Passengers do not react to the request, made in English. INDY Fahrscheine meine Dame. Bitte. VOGEL Approaches Henry, still hidden behind his newspaper. Again, Vogel uses his walking stick to lower the paper, revealing Henrys face. VOGEL Guten Tag, Herr Jones. Now Indy, still playing the role of Steward, asks Vogel for his ticket. INDY Fahrscheine mein Herr. VOGEL Weg. INDY Tickets please. Henry looks confused. VOGEL (in German) Was? Vogel glances up and recognizes Indy -- who quickly punches Vogel in the face, knocking him toward the window. In another quick move, Indy TOSSES HIM OUT THE WINDOW onto the tarmac below. Shocked Passengers blink in bewilderment.
INDY (in German; with a shrug) No ticket. Everyone else with a ticket quickly produces it and waves it in Indys face. EXT. AIRFIELD TARMAC - DAY Vogel gets to his knees as the huge Zeppelin rises into the sky above him, revealing an airplane attached to the belly of the airship. Vogel shakes his fist at the rising Zeppelin. VOGEL Du wirst nochmal horen von mir! INT. ZEPPELIN - DAY Indy and Henry together again in their compartment. HENRY You know, sharing your adventures is an interesting experience. INDY (meaning Elsa) Thats not all we shared. Its disgraceful. Youre old enough to be her fa. er, her grandfather! HENRY Well, Im as human as the next man. INDY I was the next man. HENRY (laughs) Ships that pass in the night. Henry opens his Diary and begins to thumb through it. INDY Do you remember the last time we had a quiet drink? I had a milk shake. HENRY Hmmm. What did we talk about?
INDY We didnt talk. We never talked. HENRY And do I detect a rebuke? INDY A regret. It was just the two of us, Dad. It was a lonely way to grow up. For you, too. If you had been an ordinary, average father like the other guys dads, youd have understood that. HENRY Actually, I was a wonderful father. INDY When? Henry looks up from his Diary. HENRY Did I ever tell you to eat up? Go to bed? Wash your ears? Do your homework? No. I respected your privacy and I taught you self-reliance. INDY What you taught me was that I was less important to you than people who had been dead for five hundred years in another country. And I learned it so well that weve hardly spoken for twenty years. HENRY You left just when you were becoming interesting. INDY Dad, how can you? HENRY (interrupting) Very well. Im here now. He closes the Diary and leans back in his seat. HENRY What do you want to talk about? Hmmm?

Indy stutters uncomfortably as Henry stares at him, waiting for a response. INDY (laughs) Well. I cant think of anything. HENRY Then what are you complaining about? (laughs) Look, we have work to do. When we get to Alexandretta we will face three challenges. (he reads from the Diary) "First, the breath of God. Only the penitent man will pass. Second, the Word of God, only in the footsteps of God will he proceed. Third, the Path of God, only in the leap from the lions head will he prove his worth." INDY What does that mean? HENRY (laughs) I dont know. Well find out. Sunlight falls across the table from the window. Indy reaches for the drink. The bar of sunlight turns like the hand of a clock over the tabletop across the drinks. We see Indy puzzled. Only for a moment. INDY Theyre turning around. Theyre taking us back to Germany. INT. FRAMEWORK OF ZEPPELIN - DAY Indy and his father emerge from the hatchway into the belly of the Zeppelin. The Zeppelins elaborate metal framework is exposed. Indy and Henry hurry down the catwalk until arriving at a PAIR OF DOORWAYS framed into the Zeppelins outer skin. INDY Well, I thought it would take them a lot longer to figure out the radio was dead. Come on, Dad. Move!
Then Indy opens the doors. We see plenty of blue sky and white clouds. We also see a small BI-PLANE that is suspended from the Zeppelin by a HOOK & CRANE DEVICE. INDY Come on, Dad. Come on! EXT. AIRPLANE - DAY Indy climbs into the cockpit of the Biplane as Henry takes the tail gunners seat. HENRY (with delight) I didnt know you could fly a plane. INDY Fly. yes. Land. no. INT. THE BIPLANE - DAY Indy turns in his seat to give Henry the "thumbs up." Henry smiles valiantly and points down to the ground. Then they both become aware of a STRANGE SOUND in the skies behind them. Something between a ROAR and a WAIL. TWO MESSERSCHMIDT FIGHTER BOMBERS streak out of the clouds and race across the sky. INDY AND HENRY Shrink in their seats as the MESSERSCHMIDTS (going three times as fast as they are) SCREAM past on either side. INDY Dad, youre gonna have to use the machine gun. Get it ready. Henry turns and grips the MOUNTED MACHINE GUN with a perplexed expression. INDY (turning; pointing) Eleven oclock! Henry pulls out his watch. INDY Dad -- eleven oclock!!

HENRY The Word of God. BRODY No, Henry. Try not to talk. HENRY The Name of God. BACK TO INDY As he studies the cobblestones before him. INDY The Name of God. Jehovah! HENRY Still lies in Sallahs arms. Brody leans over him. HENRY But in the Latin alphabet, "Jehovah" begins with an "I". BACK TO INDY INDY "J". Indy takes a step and immediately a stone breaks away and Indy falls up to his hip -- his leg stuck through the hold where the stone once was. HENRY Reacts. HENRY Oh dear! BACK TO INDY Who grunts as he pulls himself from the hole, the Grail Diary in his hand. INDY In Latin, "Jehovah" starts with an "I". "I". Now we see each letter on the stones as Indy carefully walks forward. Donovan and Elsa follow in his footsteps.
INDY "E". "H". "O". "V". "A". Indy sighs with relief and steps forward to: THE GREAT ABYSS Indy stands in a small opening, just small enough for his shoulders to squeeze through and beyond that a 100 foot drop to the rocks below and 100 feet across, nothing but a rough, stony cliff wall. BACK TO INDY He can see nowhere to cross. He looks again to the Grail Diary. INDY "The path of flood. Only in the leap from the lions head will he prove his worth." Indy looks around and then he notices that inscribed into the rock above his head is the head of a lion. INDY Impossible! Nobody can jump this! Indy looks down into the Diary and tortures over what it is asking him to do. BRODY Rushes forward and calls to Indy. BRODY Indy. Indy, you must hurry!! Come quickly! BACK TO INDY INDY (realizing) Its. a leap of faith. Oh, God. HENRY Calls to his son. HENRY You must believe, boy. you must. believe.
We see him do it. We see him leap into space. We see that he is in midair. We see that he is not going to make it. His hands claw for the opposite wall but he is going to fall 100 feet to his death. And then -- he doesnt! He appears to be held up by thin air as he lands on his hands and knees. Indy looks around and down and now he figures it out. Ingeniously, the First Crusaders have painted a pathway to align with the rocks 100 feet below. It is a perfect forced perspective image of the rocks below with lines from a hundred feet continuing six feet below his sight line where his feet are stepping. Its painted to blend in with the rocks below. Highly evolved camouflage. in perfect alignment with everything we see below. When Indy leans out to the left or right. thats when he sees the perfect alignment shift that betrays the trick. Indy throws some dirt on the bridge and he crosses it like the first Crusader from the painting over Henrys desk. Indy crawls through a small opening in the side of the cliff and enters a Temple. A vast array of chalices is displayed on the altar of this small Temple. Perhaps a hundred or more. Many sizes, many shapes, some gold, some silver, but they all glitter and shine. Indy is mesmerized by their number and their beauty. And then he realizes that a man is praying at the altar! He has his back turned to Indy. but he is dressed as what he is! A GRAIL KNIGHT. CLOSE ON THE GRAIL KNIGHT But we cant see the Grail Knights face. The visor of his helmet is down. Perhaps we see his eyes. When the Grail Knight sees Indy he gets wearily to his feet and, surprisingly, prepares to give combat. taking up his two-handed broadsword. he comes at Indy, attempting to swing the huge, heavy sword but finding the effort almost too much. Indy dodges two or three clumsy swings of the sword, making no attempt to fight back. until the Knight, exhausted, drops the sword and collapses. Indy approaches him and raises the visor and we see that the Knight is a very ancient man.

Indy abandons the Grail and grabs onto Henry with both hands. Henry pulls him up to safety. THE GRAIL KNIGHT Looks through the falling debris to Indy and Henry. Sallah and Brody rush from the crumbling Temple. INDY Dad. The Grail Knight raises his arm to Henry. INDY Please, Dad. Indy and Henry down the passageway just as a huge stone column tumbles down upon the spot where they stood. The Grail Knight lowers his arm as he watches them leave. EXT. ENTRANCE TO MOUNTAIN TEMPLE - AFTERNOON Indy, Henry, Sallah and Brody emerge from the Mountain Temple through the Grecian Facade. From within the Mountain Temple, the ROAR OF WALLS CAVING IN IS HEARD. A cloud of dust and smoke billows out from the entrance. Henry turns to Indy. HENRY Elsa never really believed in the Grail. She thought shed found a prize. INDY What did you find, Dad? HENRY Me?. Illumination. Henry and Indy mount their horses. Henry turns back to his son. HENRY What did you find, Junior? INDY Junior?! Dad.
SALLAH Please. What does it always mean, this. this "Junior?" HENRY Thats his name. Henry Jones, Junior. INDY I like Indiana. HENRY We named the dog Indiana. BRODY May we go home now, please? SALLAH (to Indy) The dog!? (laughs) You are named after the dog. INDY (embarrassed) Ive got a lot of fond memories of that dog. A moment passes as they all ready their mounts and Sallah continues to laugh at Indy. INDY Ready? HENRY Ready. BRODY Indy! Henry! Follow met I know the way! (to his horse) Haaa! HENRY (to Indy) Got lost in his own museum, huh? INDY Uh-huh. HENRY After you, Junior.
INDY Yes, sir! (to his horse) Haaa! EXT. THE SECRET CANYON - AFTERNOON They THUNDER through the canyon -- whose towering walls threaten to collapse upon them. EXT. ENTRANCE TO CANYON - SUNSET As Brody, Indy, Henry and Sallah ride from the canyon toward the SETTING SUN. FADE OUT: THE END

I told you. dont call me Junior! The year is 1938. Twenty-six years ago, young Indiana Jones was thwarted in an attempt to retrieve the legendary Cross of Coronado from the hands of robbers. But an older, wiser and stronger Indy has finally returned the jewel encrusted Cross of Coronado to his boss, Marcus Brody. Almost as soon as he arrives back at his quiet, New England college, though, Indy is whisked away by representatives of multi-millionaire Walter Donovan, who has unearthed a mysterious stone. Indy recognizes it as the first of three long-buried markers that reveal the location of the Holy Grail itself. But the man who found the stone tablet has gone missing: Dr. Henry Jones, Indys long-estranged father and the worlds foremost Grail expert. Journeying to Venice, Indy meets Dr. Elsa Schneider, Donovans colleague, who helps him track down his father. But they are being followed by the Brotherhood of the Cruciform Sword, whose members have vowed to protect the Grail at any cost even Indy and Elsas lives. One of these warriors reveals that Indys father is being held in the imposing Brunwald Castle in Austria. What Indy doesnt know is that the castle is actually a Nazi stronghold and that Elsa is a Nazi double-agent whos also working for the duplicitous American Donovan. Dr. Jones Sr. and Dr. Jones Jr. find themselves chased through the streets of Berlin, through the skies above Germany and through the deserts of Turkey. Along with Brody and old friend Sallah, they finally locate the Grails resting place but the Nazis have beaten them there. Determined to force Indy to retrieve the Grail, Donovan shoots Indys father, who collapses to the floor. Hesitantly, Indy enters the temple.
The following summary of the movie is taken from fye.com (2003).
The third installment in the widely beloved Spielberg/Lucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cupIndiana Jones father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: shes an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain.

3 The battle between systematic and ad hoc approaches
One of the things I struggled to accept in ME 6101 was that a systematic approach will support and not hinder creativity. It seemed to me that a systematic approach would stifle creativity and therefore limit the design process. By the end of the course, I learned that a systematic approach can direct thinking and actually increase the likelihood that a successful idea is found. 3.1 Systematic versus ad hoc in The Last Crusade Henry Jones is a diligent scholar who researches and records everything that might be valuable. Indiana is an action hero who graces the silver screen because of his ability to succeed in an ad hoc manner. In The Last Crusade, both personalities have their place. Indiana and the Nazis are convinced that once they know where the grail is, they can go get it. Henry knows better; they need to know what to do once they get to the temple that holds the grail.
[INDY glances back and smiles, but the smile fades as he looks forward again to see a sign at a CROSSROAD. Arrows pointing in opposite directions indicate the way to BERLIN or VENEDIG. Indy starts down the road marked VENEDIG.] HENRY: Stop! Stop! [The motorbike skids to a stop.] HENRY: Youre going the wrong Way! We have to get to Berlin! INDY: [pointing towards Venedig] Brodys this way. HENRY: My Diarys in Berlin. INDY: You dont need the Diary, Dad. Marcus [Brody] has the map [to the Grail]. HENRY: There is more in the Diary than just the map. INDY: All right Dad-tell me. HENRY: Well, he who finds the Grail must face the final challenge. INDY: What final challenge? HENRY: Three devices of such lethal cunning. INDY: Booby traps? HENRY: Oh, yes. But I found the clues that will safely take us through, in the Chronicles of St. Anselm.
In addition to having systematically considered and uncovered the secrets of the grail, Henry has planned strategically. He wants to know what to do at each step of the way, because otherwise there is a high likelihood of failure. The same is true of engineering design. A systematic approach will increase the chances for success, although I was reluctant to accept this. Indiana rushes forward, assuming he knows the next step, but since he doesnt have a plan, he often skips something important. 3.2 Systematic versus ad hoc in my experience In my assignment 1B, I stated the main me ssage of P&B as the following:
The main goal of an engineering design methodology should be to guide the designers down the correct path. Without a systematic approach, it is unlikely that designers will choose the correct path, and without the correct path, it is unlikely that the correct solution will be found.

Through my work and reflection during ME 6101, I have learned to accept this view. In addition to learning how a systematic process can be useful, I have also learned about myself and my reasons for shying away from systematic approaches. By identifying these reasons, I was able to challenge them, and hopefully I will eventually reject them completely. 3.2.1 The American Hero: Champion of the ad-hoc American culture seems to raise a particular personality to hero status. The image of this hero is not the organized, systematic engineering nerd. Conversely, our culture champions the ad hoc. People seem to idolize quick thinkerspeople who think on their feet, respond quickly, and succeed. For example, one of the most popular American football players is Atlanta Falcons quarterback Michael Vick. Michael Vick is popular because of his ability to scramble (run) around and avoid the defense. Traditionally, the quarterbacks role is to run the offense and hand-off or throw the ball. Michael Vick does this, too, but fans are attracted by his ability to make something happen when a designed play breaks down. He is agilementally and physically. What he does is exciting; his strengths are magnified because they are clearest under adversity and at times of panic. Another example is from basketball. Fans tend to prefer and celebrate a high octane offense that scores off turnovers and fast breaks. During these fast breaks, it is a players natural talentsespecially coordinationthat dictate his or her success. An alternative style of offense is called the Princeton offense. The Princeton offense advocates a philosophy captured in the book title The Smart Take from the Strong (Carril 1997). The general idea is that a set, deliberate, systematic offensive scheme is better at breaking down a defense than an ad hoc, fast break offense is, because if the fast break doesnt happen, then a fast break team is out of luck. The Princeton offense emphasizes working as a team and using the entire court to play offense. Critics of the Princeton offense usually claim that it is boring and doesnt take enough skill. Proponents say that it works, and more and more teams are adopting variants of the Princeton offense. 3.2.2 Personal insecurities So why have I preferred to embrace the fast break recipe for success? Throughout my life, I have tended to want to prove that I can do things that fall outside of my natural talents. For example, in the past I tried very hard to succeed at sports, and was very frustrated when I failed. My tendency to try things outside of my talents was motivated by two things. The first was a general competitiveness to my nature, and the second was a desire to be accepted, which first arose during a very unhappy first two years of middle school. The combination of my desire to be accepted with the prevailing culture that I discussed in the previous Section 3.2.1 has led me to prefer ad hoc approaches to things. I accepted the societal view of ad hoc showing more talent than systematic. It seemed to me that an

ad hoc process showed more creativity, and given my obvious analytical abilities, I wanted to show that I could be creative too, even though my creative abilities have been more difficult to cultivate. 3.2.3 If it aint broke, dont fix it In my experiences, there has never been a compelling reason to reject an ad hoc approach in favor of a systemic approach. I pretty much always succeeded with the ad hoc approach because time after time, my raw abilities were sufficient to not only get by but to excel. There have been times when I adopted a systematic approach. During my internships, I assumed that things would be much more difficult than in school. I also thought that failure would be more costly. I therefore tried to plan my work more than ever before. As one example, I consider my presentations, including those in college. At first, I would outline and plan the presentations extensively, and I would rehearse for several hours. After doing this a few times, I began to become complacent, because everything always went well; I felt good about the presentation and I received exclusively positive feedback. This changed with a presentation I gave this year, which was close to an unmitigated failure. Only now am I recognizing that there may be something broken. As I have tried to organize a plan of study and research path for a Ph.D., I have begun to realize that I will not be able to complete a Ph.D. without a systematic approach. The task is just too broad, and there are too many wrong paths to take. 3.2.4 How I learned to appreciate the systematic approach My increasing appreciation for a systematic design approach is the best of example of me incrementally learning during ME 6101. In my A1A, I noted that
I completed all of Part 1 in one day, and by the end, my patience for reflecting was diminishing, and my descriptions followed the section introductions more closely than I would have liked. Even after taking several breaks, I could not regain the level of attention I had in the morning. Perhaps in the future I will have to split my work such that I work on two things during the course of the day.
As I wrote in my portfolio summary
Because I suffered from mental or attentive fatigue in trying to complete this assignment, I learned that I may need to break my tasks into subtasks. Ext ending this, scheduling has a role in my life as well as in engineering design. Now that I have set my sights on a Ph.D. and have more and less inherently structured tasks to do in less time, I need to take a systematic approach to my own work and schedule better. It isnt just having the time to do something; it is having it in the right blocks. Eight hours is probably worth more in 2-3 chunks than all at once. I believe this is even more true in groups, when people can get on each others nerves.
In A7 I recognized, One way management could ensure quality designs while trying to keep costs low is to adopt a systematic design methodology such as robust design and risk based design. If engineers follow the steps of the method properly, they will consider things in the correct order.

In LE 1 I abstracted from the Three Little Pigs Game:
Our failure to consider detail design taught me a valuable lesson about budgetingit is necessary and useful even for small tasks. By forming a schedule, or time budget, the necessary tasks can be outlined explicitly. This should ensure that crucial steps are not skipped. In general, I have learned that a structured approach is valuable.
My LE5 is recognition of my acceptance of the value of a systematic approach. As I write in my portfolio summary:
Much as a systematic approach to design can help organize and improve product design, my outline enabled a systematic approach to answering the Q4S because I could write to specific purposes. I recognize the difference and value of this outline most clearly when I compare my A2Q4S with my project submission. The project was planned using the P&B approach, but we did not outline the project report until about three weeks ago, which was too late. In one case, I have learned from my success (using the outline for my A2Q4S) and in another I have learned from my failure (project report).
These activities, and more importantly my reflection on them, have helped me to recognize the value of a systematic approach, despite my initial bias against such an approach. 3.3 Closure on systematic and ad hoc approaches There is tension between order and randomness. They are opposite ends of a spectrum. In popular culture, order is often portrayed as bad. For example, the order of 1984 or A Brave New World is unacceptable, as were the marching legions of Nazi soldiers in World War II. At the other end, randomness is often portrayed as good. For example, the Continental Army used a chaotic form of hit and run warfare to defeat the systematic British in the American Revolution, the American cowboy is a heroic lasting symbol of freedom as he roams the plains as he pleases, and the soaring bald eagle is a majestic symbol of freedom from all bounds. However, chaos can also be bad, such as angry lynch mobs, rioting, and looting. The lesson to be learned is that there can be good and bad in both extremes, but under different circumstances. In engineering design, order is better, but to be an action hero and popular icon, you need to be a lucky, ad hoc success like Indiana Jones. The most successful individuals will probably be good at both. Indiana Jones only could reach the grail because of the clues his fathers systematic research had uncovered and because of his fast thinking. A systematic approach will supply designers with the scaffolding to succeed, but there will still be room and need for creativity and ad hoc solutions because things dont always go as planned. As I noted in my LE1, Those who flourish are able to anticipate, react, and adapt quickly. The goal of a systematic approach is to reduce the reliance on these skills and increase the likelihood of success.

4 Diaries

Farrokh stressed to the class that ME 6101 is a learning opportunity, especially an opportunity to learn how to keep learning. With the number of possible lessons that I could learn in ME 6101, how will I ever recognize and remember them all? 4.1 The Grail Diary Henry Jones kept a diary of his lifetime of work in tracking down the Holy Grail. One purpose of this grail was to help him remember what he learned. For example, when discussing the final challenge that he who finds the grail must face, Indy and Henry have the following exchange:
HENRY: Oh, yes. But I found the clues that will safely take us through, in the Chronicles of St. Anselm. INDY: But what are they? Cant you remember? HENRY: I wrote them down in my Diary so that I wouldnt have to remember.
Humans, even one of the Joneses, cant remember everything. Henry used his diary as a tool to augment his memory. I argue that by keeping the diary, Henry also better understood what he was studying. For example, the Grail Diary contains a meticulously detailed sketch of a stained glass window from the library where Indiana finds the Knights tomb. I speculate that by detailing the window, Henrys attention was focused on the Roman numerals across the bottom. These numerals eventually pointed Indiana to the tomb. The act of keeping the diary helped Henry recognize important details, helped him remember vital information, and communicated it to others. 4.2 A Learning Diary Despite their title, I did not use my Learning Essays as a documentation of my learning. Certainly I used them as a mechanism to learn, and I directed my learning towards my goals and answering the Q4S. However, I did not use them as a learning diary. I began to learn the importance of a learning diary while completing my outline to my A2Q4S in LE5. I explored this lesson in LE6, where I wrote:
as I examined what material I have already prepared and started to work the tasks I had scheduled [in LE5], I realized that I have not taken a very serious look at what Ive done so far. This is a serious problem for several reasons. When I do not explicitly revisit and reread my past work, I cannot carry forward many of the lessons learned. This decreases the value of the original works because they are stuck in the past. By rereading and re-relating them to my experiences, I am bringing them into the present and then I can once again use them as a spring board towards the future. When I review my previous work now, I am also facilitating my completion of the semester learning essay. I can better tell the story of my journey of learning if I continue to update my notes and maps along the way instead of trying to recreate them all at end of the journey.

[INDY stands in a small opening, just small enough for his shoulders to squeeze through and beyond that a 100 foot drop to the rocks below and 100 feet across, nothing but a rough, stony cliff wall. He can see nowhere to cross. He looks again to the Grail Diary.] INDY: [reading] The path of flood. Only in the leap from the lions head will he prove his worth. [INDY looks around and then he notices that inscribed into the rock above his head is the head of a lion.] INDY: Impossible! Nobody can jump this! [INDY looks down into the Diary and tortures over what it is asking him to do; cut some lines] INDY: [realizing] Its. a leap of faith. HENRY: [calls to his son] You must believe, boy. You must.believe.
Indiana makes the leap of faith and succeeds, as a hidden pillar of stone catches his feet, and he can walk across the abyss. Had he not attempted his leap of faith, his quest to save his father and to find the grail would have failed. 8.2 Leaps of faith in engineering design I really did not learn this lesson directly in ME 6101, but I did learn it this semester. I have known for a while that theories and models can ever be completely validated; they can only be proven incorrect. However, I never thought of the adoption of a theory or the use of a model as a leap of faith until several discussions that my research group has had this semester. The motivation for our discussion was Hazelriggs presentation at DETC 2003 (Hazelrigg 2003). Given that it will always be necessary to make a leap of faith when using a model, I have to ask what the role of validation is. Through the analogy with a leap of faith, I learned that the role of validation is to build credibility in the model. In order to be willing to make a leap of faith, there has to be something you have faith inin this case the model developers. Before an engineer should be willing to trust the model, they must build up faith that the model is correct enough for his purposes, that is given his input parameters and context of use, including the alignment of his assumptions with the assumptions used to simplify reality into the model. If the context and assumptions inherent in a model are not clear, then an engineer should not have any faith in the model alone. Leaps of faith also need to occur when design decisions need to be make without all the desired knowledge.

9 Communication

Communication plays a large role in anything involving humans. Humans do not naturally think alike all the time, and they certainly dont share the same experiences and knowledge. This became painfully aware to be during the Three Little Pigs game. Communication is the means through which humans can collaborate and share knowledge. Since design requires the application of knowledge, effective design requires effective communication, and as I noted in my LE1, good communication requires a standard language. 9.1 Language Problems The most obvious obstacle to communication is the lack of a shared language. This can lead to the complete inability to communicate, or to serious misunderstandings. 9.1.1 Language problems in The Last Crusade There are two clear instances of language problems in The Last Crusade. The first is the obvious lack of a shared spoken language :

INDY: Do you remember the last time we had a quiet drink? I had a milk shake. HENRY: Hmmm. What did we talk about? INDY: We didnt talk. We never talked.
HENRY: And do I detect a rebuke? INDY: A regret. It was just the two of us, Dad. It was a lonely way to grow up. For you, too. If you had been an ordinary, average father like the other guys dads, youd have understood that. HENRY: Actually, I was a wonderful father. INDY: When? [HENRY looks up from his Diary.] HENRY: Did I ever tell you to eat up? Go to bed? Wash your ears? Do your homework? No. I respected your privacy and I taught you selfreliance. INDY: What you taught me was that I was less important to you than people who had been dead for five hundred years in another country. And I learned it so well that weve hardly spoken for twenty years.
Just after Henry is introduced in the movie, he and Indiana have the following brief exchange, in which the audience learns that Henry calls Indiana by a name that he doesnt like.
HENRY: It is you Junior! INDY: [an old familiar Irritation] Dont call me that, please.
At the end of the movie, Indiana is struggling to save the Grail from falling into an abyss. His father is grasping one of his hands as Indiana dangles into the crevice, stretching for the Grail. At this point in the movie, communication and mutual understanding is of vital importance, because Henry is losing his grip on Indy.
[Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his hands as Indy struggles to reach the Grail with the other.] HENRY: Junior, give me your other hand! I cant hold on!! INDY: I can get it-I can almost reach it, Dad. [INDY looks down into the black bottomless pit beneath him from which nothing can ever be retrieved.] HENRY: Indiana.Indiana!! [INDY snaps his look up to his father. His father has never called him this before.] HENRY: [very calmly]. let it go. [INDY abandons the Grail and grabs onto HENRY with both hands. HENRY pulls him up to safety.]
Henrys first attempt to convince Indiana to give up on the Grail failed, because it did not slice through Indianas preoccupation with the Grail. However, when Henry pleads, IndianaIndiana, he grabs Indys attention, because his father has never before called him by that nickname. Borrowing from the notion of the oracle in the Matrix, Henry told Indiana what he needed to hear in order to make him do the right thing. It was Henrys presentation of his plea that was effective. For completeness of the movie, I feel compelled to add the following dialogue, in which Henry reverts to calling Indiana Junior, which illustrates that he really did call him Indiana earlier just to get him to listen.
HENRY: What did you find, Junior? INDY: Junior?! Dad. SALLAH: Please.What does it always mean, this.this Junior? HENRY: Thats his name. Henry Jones, Junior. INDY: I like Indiana. HENRY: We named the dog Indiana.

BRODY: May we go home now, please? SALLAH: [to INDY] The dog!? [laughs] You are named after the dog. INDY: [embarrassed] Ive got a lot of fond memories of that dog.
9.2.2 Greenlight to improvement By writing my LE4 I explored ideas about how to be a good leader. The lesson that I learned from thinking about Farrokhs use of a green pen to provide feedback is that the subtleties of presentation of feedback can make the difference between your message being heard and ignored. Much as Henrys use of Indiana showed Indy that his father really cared for him and understood his feelings, Farrokhs use of the green pen shows his students that he is there not to bring them down with criticism, but rather to give them a green light to success. A larger lesson that I drew from my LE4 is that people, including myself, cannot expect to advance and improve in any way but through small steps. This lesson has two applications. First, as a leader or teacher, one should provide feedback directed at helped the recipient of the feedback to take the next steps on his or her journey. As I wrote in LE4,
People cannot change overnight, so why ask them to? An individual can only change in small steps, so in criticizing their work, one should point out to them the first and most important steps that they should take. You can always tell them the next steps later. In this case, they dont need to know the whole journey, just the next step. If they are guided from one step to the next, they will eventually climb the mountain. If there were shown the size of the mountain from the beginning, they might have turned back.
When someone feels overwhelmed, it is hard to make progress. I felt this way as ME6101 began. There were so many items on the smorgasbord that I didnt know where to start. As I realized while writing my LE3, I need to reduce the number of augmentationsthat I seek to explore, otherwise I would never even get start. Similarly, if you dump too many suggestions or criticisms on someone at once, that person will become defensive and unwilling to take any of your advice to heart. This lesson is similar to one of the principle points that I abstracted from P&B in my A1B. Complex problems are best solved in small steps, whether that problem is learning, improving, designing, or searching for the Holy Grail. The second part of this lesson deals with establishing personal goals. Farrokh is correct that having definite long term goals and dreams is one way to help you choose your own path in life. That does not mean that it is easy to define ones goals, only that it is important to have them. Without a long term goala future destinationin mind, one can be easily sidetracked by distractions or other people who have their own agenda for you. Therefore, having a clear goal in life is like having a clear product proposal and requirements list in design. Having a long-term goal is crucial for success, but that long-term goal might seem insurmountable. Progress towards a long-term goal will usually be slow, and this can be

discouraging. It is also easy to stray from this long-term goal. For these two reasons, short-term goals are necessary. Short-term goals serve two functions. First, they direct your attention towards your final destinationyour long-term goal. Second, they can serve as mileposts measuring your progress. This is positive for morale and the motivation to keep going. Even if you never achieve your final goal, you can be proud of the progress you made, and since it is in the right direction, it should be valuable to you. The importance of short-term goals as a part of a long-term vision was stressed to me on the first day of class when I was asked to list my A0 goals for the course. Farrokhs comment of my A0 was that my strategic goals do not align with the goals Ive set for this course. Therefore, I was planning a path in the wrong direction. In ME 6101, I have learned that a series of goals that lead towards a long-term goal are valuable. My goals will help to direct my progress and motivate me. In addition, just the act of creating the goals forces me to come to some belief about what is important to me. This belief will help me choose from the smorgasbord of opportunities presented in ME 6101 and life. I will never be able to do everything, so I must choose what will create the most value for me in the context of my beliefs. By forming goals, I am taking a systematic approach to living my life, instead of roaming like the nomadic cowboy. Therefore, this lesson ties directly back to systematic design and the P&B process.

10 Did I find the grail?

The Joneses went on a Last Crusade. In the end, they found the Holy Grail. My question to myself about ME 6101 is, Did I find my holy grail? 10.1 Learning to Keep Learning
I stated in the introduction the holy grail of ME 6101 is learning to keep learning. Two lessons that I have presented in this story are closely related to this goal. My learning to look at things from different perspectives will serve me well as I seek to frame and answer research questions in my Ph.D. program, and it will go beyond that. I will help me in life and in my career as I try to picture myself in someone elses shoes or seek a new application for an old tool. I also learned the value of keeping a learning diary and using the ORA construct by writing learning essays. This skill will help me to read and think deeply, as well as to add value to previous lessons learned. A learning diary can help me move and keep things in a conscious part of my mind, and learning essays and the ORA construct will help me to build my competencies. It is hard to imagine a more valuable learning skill. These two lessons learned are the holy grail of ME 6101 because they will persist after the page turns on the fall semester; the ability to keep learning, and learning to keep

learning, is an immortal part of ME 6101. As long as I keep returning to the grail (my lessons learned), my accomplishments in ME 6101 will live for everor at least as long as I do! 10.2 My A0 Goals I began ME 6101 by formulating goals for the course. These goals changed during the first few weeks as I learned what I wanted to accomplish and what opportunities would be available to learn. I have not focused on the progress and value that I achieved towards my goals in this learning essay. I chose to focus more on the other lessons, the ones that arent as obvious. I have critically evaluated my progress towards these goals in my A2Q4S. However, the A0 goals form a central pillar of the ME 6101 scaffolding, so I will address them here briefly by relating them to The Last Crusade. 10.2.1 Primary Goal My primary goal was aimed at building the foundation for a DETC paper. Indiana Jones begins most of his adventures with the mindset that It belongs in a museum. When it comes to my adventure in ME6101 and Indianas in The Last Crusade, we both came up short; I will probably not have a paper for DETC 2004 and the Holy Grail is not in a museum, but rather lost forever. In my case, my goal is not lost forever, because I still have formed the basis for future research, and my primary goal has directed my course work along a direction that will make it relevant to my goals outside of ME 6101. For Indiana and me, the journey was more important than our original goals. Along Indianas journey, he gained a new relationship with his father, one that may or may not persist after the final credits roll. There is already a hint that they wont, as after leaving the temple, Henry reverts to his old ways of calling his son:
HENRY: What did you find, Junior? INDY: Junior?! Dad.
In my case, I have learned all of the lessons presented in this paper, and more. The question is whether these lessons will live on after the credits roll on ME 6101, which I address in the Section 11 of the paper. 10.2.2 Secondary Goal My secondary goal was to Augment the P&B process to incorporate modern tools such as computer simulations, knowledge representations, CAD, and other computer- aided engineering tools and mathematical models, as well as identify opportunities to create new tools. The biggest lesson that I learned here was the role that tools should play in the design process. I discovered the role that these tools (simulations, knowledge management systems, and risk assessments) play in the design process; specifically, their role is to extend the human designers abilities. I have come to understand the motivation and role for Farrokhs notion of a human-computer cyborg. Now that I have a sense of the role tools play in design, I can continue to answer how the tools need to be changed or 22
augmented to better fill their roles, but I really did not succeed in augmenting P&B to incorporate these things in this course. 10.2.3 Deep reading goal In the long run, I may have gotten the most value out of my efforts to meet this goal. As I illustrated in Section 4, this is one of the ways that I have learned to keep learning. In the future, I will be able to deep read and think deeply better than before. This will allow me to keep learning on my own, without a course orchestrators providing scaffolding. 10.2.4 Group systematic Design goal As I have explained in Section 3, I learned a lot about the value in following a systematic approach to design. Some of these lessons came from following a systematic approach to designing a design project. The systematic approach helped my group measure our progress, delegate tasks, and stay on the same page. It also helped lead to the creation of a project that, if completed, would move both of us a long way towards achieving our goals. 10.2.Vision goal The ability to look to the future will help me to be a better strategic thinker, which will help me to position myself for the future. Hopefully I can be like Wayne Gretsky and skate to where the puck is going to be. I employed several methods for developing this vision, including exploration by analogy, leveraging the opinions of others, and drawing from my own experience. Indiana Jones does not seem to have strategic vision. He rarely anticipates what might happen, he just goes, which makes for a very exciting and suspenseful movie. However, it is a lousy approach to design and a stressful way to live life. In real life, I dont believe we benefit from predestination of script writers. As I wrote in my LE3, the future is a place to be created, and by helping to create it, I can make it something that I like. If I let others dictate the future, I have to live by their rules. 10.2.6 Qualifier goals Just as the Grail Diary gave Indiana the clues to pass the tests, ME 6101 has provided me with the clues to pass my final challenge. However, ME 6101 has given me more. Indiana did not what the clues meant when he needed to use them, which almost cost him his life twice. ME 6101 has given me practice in applying P&B, thinking deeply, and internalizing an approach to design. This should make me more prepared to face my challenge than Indiana was for his.

11 Where is the next adventure?
I dont know if there will actually be a fourth Indiana Jones movie or not (there are rumors about one), but I do know that there will be a next installment of my life. Much as the continuity must be checked in a script for movie sequels, I should check for continuity in my life. In this essay, I have recognized that I have learned the value of a systematic approach and a learning diary. I have speculated that these lessons will be very valuable. However,
they will only be valuable if I remember them and use them in the future. If someone else stands up at the end of 2004 and looks at my work in ME 6101 (Part 1) and compares it to my life in 2004 (Part 2), they should not be able object to Part 2 and say the equivalent of, That doesnt make sense based on the previous film! As I proceed from here, I need to be my own consistency checker. There are not millions of fans analyzing whether what I do next makes sense given what Ive already done; there is only me. As I write my lifes story, I need to be own best critic and my own continuity editor.

References

Carril, P. (1997). The Smart Take from the Strong: The Basketball Philosophy of Pete Carril, Simon and Schuster. Hazelrigg, G. (2003). Thoughts on Model Validation for Engineering Design. ASME 2003 International Design Engineering Technical Conferences and the Computers and Information in Engineering Conference, Chicago Illinois. Pahl, G. and W. Beitz (1996). Engineering Design: A Systematic Approach. London, Springer Publishing.

Note on Movie Quotes

The quotations from the movie for taken from a copy of the script available at http://www.twiztv.com/movies/indianajones3.htm. I do not know whether this script was reproduced with permission. Indiana Jones and the Last Crusade was released by Paramount Pictures in 1989. The names Indiana Jones and the title Indiana Jones and the Last Crusade as protected under various trademarks of Lucasfilm, Ltd.