Dr. Jones is in pursuit of the dial of destiny—a device created by the ancient Greek scientist Archimedes to discover fissures in time—which he must rescue from his old enemy, the Nazis. It’s entirely fitting that his final adventure should be accompanied—in more than one sense—by the series’ musical godfather, John Williams. Though in his nineties, Williams composes music as evocative as ever, yet he adds a new shade of expression to this high mileage hero’s sound world. There are several colorful cues, including the exciting chase “Tuk Tuk in Tangiers” with its stabbing brass and harp splashes. Then there’s the more mysterious moments, such as “Archimedes’ Tomb,” its eerie luminescence conjured with high string harmonies and serpentine flute lines. What’s most striking, though, is how Williams depicts our hero, whose final adventure immediately follows his official retirement. “New York, 1969” reflects not the city, but Jones’ bewilderment in a world that’s changed, and his emotionally and physically injured state—making his final bitter-sweet reunion with his beloved Marion the more poignant and moving.