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Friday, April 6th, 2012
10:28 am	Back Issue #55 - Indiana Jones FLASHBACK: When Adventure Had a Name Exploring Marvel Comics’ The Further Adventures of Indiana Jones “Look at this. It’s worthless—ten dollars from a vendor in the street. But I take it, I bury it in the sand for a thousand years, it becomes priceless.” – Raiders of the Lost Ark (1981) Comic-book collectors, like archaeologists, tend to be inordinately preoccupied with the past. A very special form of patience and dedication is required to spend countless hours sifting through a sea of polybagged detritus and sepia-toned nostalgia in hopeful anticipation of rescuing some precious panelological artifact from its musty longbox tomb. Yet as any obtainer of rare of antiquities can surely attest, unearthing time’s discarded fragments from the soil of neglect can become a lifelong obsession. And no character in popular fiction more colorfully exemplifies this quixotic hunt for prized relics and lost treasures than that of archaeologist/adventurer Indiana Jones. Myriad creative influences coalesced in the conception of Indiana Jones, first introduced in the 1981 film Raiders of the Lost Ark, including the Saturday matinee movie serials that so greatly inspired filmmakers George Lucas and Steven Spielberg, as well as pulp magazine proto-superheroes like Doc Savage, H. Rider Haggard’s safari hunter Allan Quatermain, Ian Fleming’s superspy James Bond, and even real-life adventurers such as Hiram Bingham and T. E. Lawrence. Of course, comic books— that close descendant of the pulps—also played an integral role in the creation of Indiana Jones, most directly in the form of legendary comics artist Jim Steranko, who illustrated the concept designs upon which the character’s distinctive appearance was based. Befitting these ties to the medium, Indiana Jones promptly made his four-color debut in Marvel Comics’ Raiders of the Lost Ark #1 (Sept. 1981). Written by Walter Simonson and penciled by the inestimable John Buscema, the three-issue limited series offered a faithful and entertaining graphic adaptation of the blockbuster film. Yet Simonson, an award-winning artist, was hardly an obvious choice for scripter considering his relative lack of solo-writing experience at the time, with just four issues of Marvel’s Battlestar Galactica under his belt. As Simonson recounted in his interview with Roger Ash in TwoMorrows’ Modern Masters vol. 8: “Archie [Goodwin] was supposed to write the adaptation. He was buried in work, as he often was. He stopped me in the hall one day and asked if I’d be interested in writing this adaptation of a new movie about to come out called Raiders of the Lost Ark, because he’d read the issues of Battlestar Galactica [written by Simonson] and he’d really liked them … Raiders was writing over John Buscema. John is one of the two or three best storytellers and draftsmen comics have ever had… When I got the artwork back, it was like shooting fish in a barrel. It really was. I had the script, I had John Buscema’s layouts; it was hard to go wrong. It was really a delight.” “SOMETHING’S GONE WRONG AGAIN!” In sharp contrast to Simonson’s delightful experience on the Raiders adaptation, creator John Byrne had a far more vexing time as writer and artist on The Further Adventures of Indiana Jones #1 (Jan. 1983), the first issue of Marvel’s follow-up ongoing series. Although Byrne had previously established himself as a fan favorite at Marvel with popular runs on Uncanny X-Men and Avengers, his work on The Further Adventures of Indiana Jones has become something of a footnote in comics history due to his speedy exit from the title after just two issues. When contacted by BACK ISSUE for comment on his brief stint, Byrne’s reply was fittingly curt, saying only, “I’d just as soon forget I ever worked on this! And on THAT you can quote me!” To read a detailed explanation from Byrne himself, he does divulge the specific reasons for his departure on his website www.byrnerobotics.com. However, as other sources have also described (such as Brian Cronin’s long-running online column Comic Book Legends Revealed), the main conflict stemmed from Byrne’s problematic dealings with Lucasfilm’s licensing liaison, which seemed to have difficulty grasping the lead time required to publish a monthly comic book, as evidenced by a reported habit of demanding major changes after the artwork had already been finished and approved. Nonetheless, it remains a tantalizing point of conjecture to theorize on just how differently the book might have fared had it continued under the direction of Byrne given his splendid success revitalizing Fantastic Four and Superman during these same years. In the wake of Byrne’s resignation, contentious dealings with Lucasfilm would set the stage for a routine of instability and creative turnover on the book, eventually leading to its quiet demise at the House of Ideas with The Further Adventures of Indiana Jones #34 (Mar. 1986). Indeed, this final issue is rather apropos of the series itself given its title, “Something’s Gone Wrong Again!” In retrospect, Further Adventures can be characterized as a trouble-plagued expedition from the start, which ultimately failed to match the success of Marvel’s other high-profile licensed properties like Star Wars, Conan the Barbarian, and G.I. Joe. Offering some insight into the reasons for this is Eliot R. Brown, who worked on the book for much of its history. After initially serving as an assistant to series editor Louise “Weezie” Simonson (nee Jones), Brown was promoted to series editor himself with Further Adventures #14 (Feb. 1984). Yet by Brown’s own admission, it was a role he was ill prepared to assume, causing him to be fired off the book after just eight issues. “MR. TECHNICAL” Although longtime Marvel staffer Brown, a.k.a. “Mr. Technical,” is primarily known for his technical drawings on encyclopedic guides such as the Official Handbook to the Marvel Universe and Iron Man’s Iron Manual, he actually got his start at Marvel as a typesetter on regular features like “Bullpen Bulletins,” a monthly column written by Marvel’s then-editor-in-chief Jim Shooter. [Editor’s note: Learn more about Eliot by reading BACK ISSUE #32.] In fact, the premiere issue of The Further Adventures of Indiana Jones included a “Bullpen Bulletins” wherein Shooter specifically singled out Brown for praise within the Marvel offices, opining, “Eliot is our resident technical expert. If something’s broken, he can fix it—if you’ve got a problem, he can solve it. He draws—and he’s especially good at technical drawing, like blueprints, diagrams, cutaways, mechanical drawings—he inks, he colors, he designs, he does boardwork, and other stuff, too, that I can’t think of. Best of all, he’s a real trouper who’s stayed here at the office all night many times helping desperate artists and editors make deadlines.” Adding a further layer of irony to the proceedings is the fact that it was this very tendency—namely Brown’s willingness to do whatever it takes to make a deadline—that finally led to his dismissal from the book. In talking with BACK ISSUE about his experiences on Further Adventures, Brown recalls, “I had become Weezie’s assistant sometime in 1983, so I not only read [the early issues], I pored over them! In #1, I took home some pages to do backgrounds on—if you look carefully you can see a balding fellow with round glasses in the crowd wearing a shirt that looks suspiciously like Indy’s. [This balding fellow would be Eliot “Massachusetts” Brown, who makes a return appearance in Further Adventures #13 (Jan. 1984) via a one-page humor strip called Raiders of the Late Book.] With respect to Lucasfilm’s involvement, Brown adds, “The storylines did have concerns that had been handed down from on high. But I was lucky enough to have never had them given directly to me—everything I knew I got from Weezie, tossed over her shoulder as we were dashing from book to book. [But] it was hard working with Lucasfilm, getting scripts to them with time enough for changes, and they didn’t want anything of theirs changed or even suggested at—situations but especially if it involved their characters. David Michelinie, I believe, was the writer during those middle books, and was a great believer in using the movie characters. Michelinie coped very well within the system—he seemed to have any number of alternate plots lined up and could fire them off like a machine, which was the sort of thing needed to keep up with re-writes and approvals. “[So] I never had to worry with a guy like Michelinie doing the writing,” Brown continues. “He was a bloodied vet of the process and had proved flexible with plenty of alternate ideas rattling around. Dave did a masterful job of working within these awful confines—his Indy books are quite good.” As Michelinie settled into place as the regular writer on the series, the art reins were passed in quick succession from Byrne to Gene Day, Richard Howell, Ron Frenz, Howard Chaykin, and finally Kerry Gammill, who almost became the regular penciler. Notwithstanding some truly stellar contributions on his part, Gammill left the book after only a handful of issues due to his inability to meet deadlines. “The exact timing is fuzzy,” Brown reminisces, “but I do know we all loved Kerry Gammill’s work. [Unfortunately] he was so durned late that it just hurt to keep using him. The comic schedule was implacable and, once unbalanced, continued to rack up lateness. Eventually, Weezie felt she had to drop the title … she’d had enough. The kaleidoscope of pencilers and inkers was getting us all crazy. The deadlines were killing the artists. [Inker] Sam de la Rosa sent in a page that was only three-quarters inked! There were about two panels still in pencils. The use of FedEx meant that you could literally be stuffing wet artwork in a box and sealing it as you ran to the pick-up box minutes before the guy pulled up to collect it!” Meanwhile, Indy himself managed to stay busy with his further adventuring, which included an action-packed excursion to Liberia in search of the golden Ikons of Ikammanen, a stopover at Stonehenge to unlock the mysteries of an antediluvian artifact, a madcap reunion with Marion Ravenwood in Manhattan for the opening of her new nightclub, and a clash with Nazis in the African Congo hunting for a mythical lost tribe of Atlantis. This was then followed by a clever callback to the original film in Further Adventures #9–10 (Sept.–Oct. 1983), where Indy ventures to Marrakesh to retrieve the idol stolen from him by rival Belloq at the beginning of Raiders of the Lost Ark. Indy’s movie cohort Sallah also joins him for this escapade, as does another new penciler in the form of Dan Reed. Before long, Luke McDonnell would also be enlisted into the crowded art ranks to assist the tardy Gammill. “Everything that came before my #14 was all Weezie’s fault!” Brown proclaims in mock protest. “Gammill gave us some trouble, forcing us to use several inkers. When it did come my turn [as editor], I had a few setbacks—Luke McDonnell took a penciling assignment and handed it back untouched three weeks later, putting me in a hell of a position. Me and my schedule may never have recovered from that event.” ANKLING THE PROJECT Amidst this revolving door of pencilers, writer Michelinie proved to be a stabilizing force, remaining with Further Adventures for almost two years. Coming on the heels of his popular run on Star Wars, Michelinie began his Indy tenure with Further Adventures #4 (Apr. 1983) and later penned the adaptations of both Indiana Jones and the Temple of Doom (Sept.–Nov. 1984) and Indiana Jones and the Last Crusade (Aug. 1989). “In all honesty, I don’t remember exactly how I came to get that assignment,” Michelinie says now. “Initially, Further Adventures was edited by Louise [Simonson], who had been my editor on the Star Wars comic. So she may have thought of me through that connection. “Of course, I’d seen Raiders, several times in fact,” Michelinie says. “And the one element that stood out when coming up with new stories evolving from what was established in the movie was the characters. Indiana Jones himself was terrific, an irresistible combination of heroism and human foibles, a guy who would take on savage tribesmen or Nazi storm troopers—and win—but would cringe at the idea of sharing his cockpit seat with a snake; a guy as comfortable in an Ivy League classroom as he was in a South American jungle. And with such a solid supporting cast as Marion Ravenwood, Marcus Brody, Sallah, and so many others, the possibilities for character-driven stories was enormous.” Due perhaps to his previous experience on the Star Wars comic, Michelinie had little trouble navigating the licensing concerns involved with Indy, maintaining, “I don’t recall any specific restrictions dictated by Lucasfilm. They pretty much approved what we submitted. Of course, that might have been different if I’d come up with a story about sacred stones being stolen in India and children being kidnapped by a Kali cult!” As for the constantly changing art teams, he observes, “I really don’t know why there was such a variety of artists. Fortunately, the quality of whomever we got for any given issue was generally high. I think having the look of the book change every issue or two could have had an effect on the readership, but more on the collector than the actual reader. I guess this is natural coming from a writer, but my feeling is that consistency in tone and characterization has a bigger impact on whether a reader comes back issue after issue than what the art actually looks like.” Interestingly, even one of Michelinie’s most memorable collaborations on the series—with guest-artist Howard Chaykin on Further Adventures #6 (June 1983)—was itself the result of a change in guest artists. “I was actually told initially that Alex Toth would be drawing that issue,” Michelinie reveals. “I don’t know why that didn’t pan out, but I was delighted when Howard actually got the assignment. I’d met him at a party way early in my career, when he was already a popular artist and I had just had a couple of House of Mystery stories published. He was gracious and personable, a gentleman, and, of course, I had a great deal of respect for his talent. That’s still one of my favorite issues of the book.” This same issue also includes a plotting credit for Archie Goodwin, as do several subsequent issues. Michelinie explains that this stemmed from an unrealized Indy project: “Archie had written up a number of short plot concepts for what I believe was to be an Indiana Jones newspaper strip that never happened. When I was given the assignment to write the regular Indy series, Archie graciously offered me these concepts to use if I wanted to. And, being no fool (since Archie Goodwin was one of the best writers comics has been fortunate enough to have), I took him up on that for issues #6, 9 through 10, and 13.” Alas, #13, wherein Dr. Jones stumbles upon a criminal conspiracy during an archaeology fieldtrip, begat another new artist, Ricardo Villamonte. A young David Mazzucchelli then replaced Villamonte for #14 (Feb. 1984), which sees Indy and Marion contending with a demonically possessed museum archivist. “I believe that the Mazzucchelli pencil job was his first assignment at Marvel,” editor Brown points out. “It was a fill-in, so he had a pre-approved script and could take his time to do it. It had sat in the drawer for a while. This means that it was most likely not his first published work … Mazzucchelli had moved upward and onward by then.” With Further Adventures #15 (Mar. 1984), the series reached a major turning point in its short history, as Marvel mainstay and famed Incredible Hulk artist Herb Trimpe became the new regular penciler, handpicked by Brown himself. The move soon caused creative friction with Michelinie, though, prompting the writer to do as so many others before him and exit the series. Yet Michelinie continued to be credited for several months thereafter as the series’ plotter. “Jim Owsley’s scripts over my plots were the result of my leaving the book,” Michelinie clarifies. “Those stories were from plots that I didn’t get to script before I (as they say in Daily Variety) ‘ankled the project.’” THE CARDINAL SIN OF COMICS Prior to his unhappy exodus, Michelinie did manage to produce some strong stories with Trimpe, including a sea adventure guest-starring Captain Katanga from Raiders, followed by an epic quest spanning the Greek Isles to the Himalayas as Indy tries to uncover whether his mentor, Abner Ravenwood, might still be alive. Unfortunately, this was the beginning of the end, not only for Michelinie but also in some ways for Eliot Brown, and possibly the series as a whole. In light of this, Brown displays a truly admirable level of self-deprecating good humor with regard to his unsuccessful turn as editor. “During one editorial meeting,” he describes, “I recall Weezie wanted to give up the book. Shooter looked around and no one else wanted a pain-in-the-neck licensed title, either. For some reason, I shot up my hand and volunteered. I guess I was mindful of Marvel as a so-so licensor—something like Star Trek contributing the negative aspects—and felt that this franchise was rolling along nicely. I couldn’t mess it up with the team in place… “So there I was, committing the cardinal sin of comics: volunteering,” Brown says. “And editing, no less. But I have to speak of comic-book editing, especially back then. Editing could be as easy as herding the pages around like a ringmaster—occasionally applying a light whip here and there. It was supposed to be! I had spent some time in the [Tom] DeFalco office and saw the pages come trotting in all by themselves, putting a rubber band around themselves and jumping in the drawers! I really hadn’t dealt with the problem children like Indy—as an assistant, I was not really a part of the thought processes Weezie used. I mostly looked at piles of finished pages as a proofreader. Weezie would call upon guys whom she knew had time on their hands, to jump on in the nick of time. That’s how Luke McDonnell penciled with Gammill. With a guy like Michelinie, you didn’t have to help him in any way—he got everything right the first time. In my innocence, I saw the writing as the most difficult part. In thinking back I see now that getting the book done in record time each issue—all because of Lucasfilm’s lateness—was the real difficult part.” Complicating matters further was the fact that Brown initially hoped to take the series in an entirely new creative direction: “As a new editor I thought I had one prerogative, which was to ‘sweep clean.’ I wanted a fresh start, a new look, and to try to build a team. I wanted to use Herb Trimpe as a writer/penciler/inker. [Herb] personified the very action-oriented character that was Jones. Herb Trimpe was a raw-boned vet who flew his own Stearman biplane! He was an aficionado of the beginnings of the Great Air Age in this country—not just a man after my own tastes, but a chum. I heard some of his crazier ideas and thought they lined up nicely with the whole franchise. When I told this to Michelinie, he took it with a certain good grace and went straight to his buddy Jim Shooter to ask him to intercede between us. I acquiesced, of course, but things were definitely a little cooler between David and myself.” For his part, Michelinie cites several specific instances provoking his decision to leave the book, arguing that Brown “revered Herb as one of the original Marvel artists. And he basically went way, way out of his way to keep Herb happy. And this came at the expense of my part of the creative process. This started in issue #15, where I had a scene where a female pirate had hijacked Captain Katanga’s ship and was trying to force him to help her. I called for the pirate to slit the throat of one of Katanga’s men. Weeks after the plot was approved, I got a call from the editor saying that Herb refused to draw that scene, because ‘a woman wouldn’t do that.’ And the editor said he agreed, even though he hadn’t had any problem with that scene when he approved the plot. So I had to rewrite the scene to have the female pirate order one of her men to do the killing.” Michelinie continues, “In the next issue, #16, there was a visual error toward the end of the story [where] two ships were drawn in the wrong positions or some such, making what happened to them later either impossible or illogical. I called the editor, made my point, and he agreed. When the book came out the last two pages looked markedly different from the rest of the book, almost amateurish. When I questioned the editor about it, he admitted that he himself had redrawn the pages—he hadn’t wanted to upset Herb by asking him to do the redraws. “But the last straw came with issue #17 (May 1984),” Michelinie reveals. “The plot was pretty dense, and I didn’t know if it would fit comfortably into 22 pages. So I indicated that one scene could be cut if there wasn’t room for it. It was a character scene, and would have added depth, but wasn’t essential for telling the story. When I received the first half of the pencils to script, I noticed that that scene had been omitted, so I assumed the artist had felt there was too much story to draw. But when I got the second half of the pencils, I realized there were only 21 pages. When I called the editor I was told that Herb said there wasn’t enough story so he’d drawn a poster page to fill out the 22-page story length. Obviously, the only reason there wasn’t enough story to fill 22 pages was because Herb had eliminated part of that story. Then, a few weeks later when I was scripting issue #18, the second half of that two-parter, I saw the poster Herb had drawn. Was it an action shot, full of danger and thrills, oozing the Indiana Jones adventure vibe? No, it was a shot of two tiny figures of Indy and Marion staring up at biplanes at an air show. As many people know, Herb’s passion at the time was flying biplanes, so he’d cut the character scene so he could draw something he liked to draw. “The most important thing for anyone working on a comic-book story—writer, artist, editor, colorist, etc.—is the STORY,” contends Michelinie. “And when that story is compromised for self-serving reasons, and that compromise is allowed by the person ostensibly in control, that’s when I walk out the door. Which I did. (Ironically, when issue #17 came out, the poster was absent. Instead there were two pages of letters instead of one. I don’t know why, but I suspect somewhere along the line someone else agreed that the poster wasn’t really Indiana Jones material.)” Upon hearing Michelinie’s account, Trimpe replies affably, “I’m laughing my ass off. I would never dispute what Dave said, I just never realized I gave anybody that much trouble! It sounds like I’m committing the kind of unprofessional behavior that I normally hate. Damn, I’m almost proud of myself. Only thing I can add is, David has a much better memory than I do, and I’m very sorry he felt compelled to quit. I can’t plead the 5th, but I really don’t remember any of it.” Yet Trimpe does go on to note, “Eliot was a big booster of mine, and I of him. Other than that, it’s hard to believe that an editor was afraid to ask me to make changes, as I was very easy to work with. Too easy according to some.” Likewise, Brown asserts, “As for Herb changing some of Dave’s plotting, I have no doubt that Herb felt he could improve on something that Dave wrote and did. [But] I also don’t believe that Dave ever spoke to me about that subject or any other—save for mild niceties at encounters in the office. Which was too bad, as I rather enjoyed Michelinie as a raconteur and comics pro… In any event, I was frustrated that I could not exercise my editorial will and just rode it out.” UPSTAIRS/DOWNSTAIRS As it turned out, the ride would be a short one for Brown, whose inexperience as editor finally caught up to him under the perpetual crush of monthly deadlines. “My departure was a demonstration of how removed from office procedure and protocols I was,” he acknowledges. “I had worked with the Marvel Universe gang and learned some bad habits. Getting the book done was the biggie. I realized, like a buffoon, that I had no cover for #20. No matter! I went home, traced an image of Indiana running from the Hovitos from Raiders and returned to the office to lay out the art. Jack Morelli, longtime letterer and close friend, was working late and had a wet pen in hand—he started inking. [So] I thought nothing of attaching a voucher for myself (Jack wished to lay low) and handed in the page. Years later I was informed that that detail was what got me slid out of editorial. I cannot recall doing so, but I must have signed my own voucher—which was the capital offense. I also thought my artwork sucked and that was the real reason at the time. “An explanation of my relative innocence in this is that many editors did one-offs or entire side-jobs,” Brown asserts. “I was hardly trying to increase my income, as my pencil/ink rate was low in those days. I was trying to get the cover done by the deadline, which was the next morning. There were no emails to help late books—the fastest artist needed some time, and factoring in FedEx would have made it late. I’m trying not to sound too defensive when I say that no one stopped to explain the mechanics of an editor getting paid for their own work to me … there was a bit of ‘Upstairs/Downstairs’ here, where the editors would not discuss or engage in such things with Bullpenners. “Oh, I would see vouchers flying by like confetti at a parade—but not where they were going,” Brown adds. “I later learned the method was to go and ask another editor to assign it to you and have them sign your vouchers; there was a pro-forma approval done by Shooter. I know my experience from the office end was frustrating and ultimately humiliating. I came away knowing no more about editing than when I went in. Whichever way I screwed up the hardest, Shooter, to his credit, was willing to overlook it and give me another try for the New Universe endeavor only about two years later.” With the more experienced Ralph Macchio stepping into Brown’s vacant position as editor, Indy continued on his adventures under the stewardship of new scripter Linda Grant, who quickly dropped Marion from the supporting cast, while introducing a bevy of colorful female characters for Indy to contend with, including rival archaeologist Jessie Hale, sharpshooter Elizabeth Cody (granddaughter of cowboy Buffalo Bill Cody), big-game hunter Congo Kate Crawford, and professional thief Amanda Knight. At the same time, legendary artist Steve Ditko established himself as the new series penciler following a number of previous guest-stints. “The use of Steve Ditko deserves a mention,” Brown notes. “I must’ve been walking around in a daze after finding out some aspect of my screwing up, and Tom DeFalco [suggested] that Steve could not only use the work but do a bang-up job. Now Steve, it must be said, is a legend for a reason. He took the script and whipped it up as natural as handwriting. The next problem was to have it inked very, very quickly. This is when the old-guard network steps up. Mostly Steve inks his own pencils—but a number of inkers were delighted to help. The names that come to mind are Klaus Janson and Terry Austin. A few others stepped in. The job got done in record time. In retrospect, I wonder now if I had merely continued with Steve as penciler, would I have had the same problems? Seeing how several top inkers jumped through a hoop to work on one or two pages—what would they do for a whole book? Ah, well… I really was younger and stupider than I am now.” TO BE CONTINUED… Although Further Adventures succumbed to cancellation after a turbulent three-year run, Michelinie and Brown continued their association with Indy thanks to the comic-book adaptations of the sequel films. “A short number of months after I was booted off Indy,” Brown shares, “I was invited to return to Tom DeFalco’s office to [edit] some movie adaptations. Temple of Doom was one of them—so I was back in the Paramount trenches again! Of fun to note, Tom, David Michelinie, and I got to visit Lucasfilm in order to look through thousands of set stills so as to select images for our artist to do the adaptation. I remember getting word back that Paramount didn’t like the likenesses of Harrison Ford! Butch Guice and I squatted over lap-boards together, him to correct faces … and I did hats! Tom pasted down stats of good likenesses.” Some five years later, Michelinie reunited with Indy one more time for the Indiana Jones and the Last Crusade adaptation, which became Marvel’s final Indiana Jones project. “I believe I asked for the assignment as soon as I heard there was a third movie being made,” Michelinie remembers. “I love Indiana Jones, and despite some rough times in the past, the idea of writing another Indy story—even someone else’s Indy story—had tremendous appeal.” In the years that followed, Dark Horse Comics would acquire the rights to Indiana Jones, along with Star Wars and numerous other licensed properties such as Aliens, Predator, Buffy the Vampire Slayer, and Conan. The sustained success of Dark Horse has keenly demonstrated the lucrative potential of licensed books, which were generally held in lesser esteem during Indy’s days at Marvel. “Licensed properties were indeed a low priority at that time,” Michelinie agrees. “Writers and artists saw much more prestige in working on higher-profile, fan-favorite books. And there was rarely a long line of creative people waiting to get on Thundercats or ROM.” Brown too recognizes the distinct nature of licensed titles, asserting, “You have to put up with a lot of crap to deal with the licensors—who mostly haven’t got the slightest idea what goes into a comic book. To be sure, licenses were a valuable commodity to the licensor and to Marvel. [But] I think, at base, we didn’t know how to communicate clearly with ‘them’—the licensors. Most adaptations came with a built-in time crunch—the comic would be out at the same time as the movie. The monthly version could not innovate and had a deadly schedule … like a destabilizing nudge to a small boat, if you tried to move the wrong way you continue to destabilize it.” Perhaps it is for this very reason that Dark Horse has largely confined its Indy projects to a string of self-contained miniseries [see article following]. However, even these limited series fell dormant for more than a decade starting in the late 1990s, as Indiana Jones began fading from the public consciousness, eclipsed by modern-day imitators like Tomb Raider and National Treasure—until 2008, when Dark Horse launched a slew of new Indy titles to coincide with the feature film Indiana Jones and the Kingdom of the Crystal Skull. And so the adventures continue for Indy, just as they do for comics collectors. Older, perhaps, in both years and mileage, but still digging up the past, rescuing history one hidden treasure at a time. And who knows? In a thousand years, even this copy of BACK ISSUE might be priceless. To quote from Raiders: “We are merely passing through history. This… this is history.” MARk DiFRUSCIO is a freelance writer in San Diego. He would like to thank John Byrne, David Michelinie, Eliot R. Brown, and Herb Trimpe for contributing to this article. ---------------------- BEYOND CAPES: Indiana Jones: Riding a Dark Horse How the publisher that takes licensed comics seriously revitalized movies’ favorite archaeologist “How fortunate our failure to kill you, Dr. Jones. You survive to be of service to us once again.” – Indiana Jones and the Kingdom of the Crystal Skull (2008) Having origins based in pulp magazines and action serials, it was inevitable that the adventures of Indiana Jones would find their way onto the comic-book page, starting with the Marvel adaptation of the first movie, Raiders of the Lost Ark (Sept.–Nov. 1981), and—perhaps fittingly— ending with its adaptation of the (then) last movie, Indiana Jones and the Last Crusade (Oct.–Nov. 1989). In between, Marvel published The Further Adventures of Indiana Jones, an ongoing monthly series that ran for 34 issues (Jan. 1983–Mar. 1986). For publishers like Marvel Comics in the 1980s, comics based on movies were a low priority, but in the 1990s, licensed properties found a new home in the stable of Dark Horse Comics. BACK IN THE SADDLE “The major companies had their own characters they owned, so they put their best talent [on those books],” Dark Horse publisher Mike Richardson explains. “They weren’t counting on the strength of a particular film property’s box-office performance to account for their sales. We didn’t look at it that way. We wanted to get the best talent that we possibly could get.” Dark Horse Comics started out in 1986, publishing comics like Boris the Bear and the anthology series Dark Horse Presents. “We received a lot of critical success on our early work, but we seemed to have reached a ceiling as far as how many books we could sell,” Richardson recalls. “We realized that the bestselling books were about longstanding characters that readers were already familiar with, and it occurred to us that maybe taking on movie characters might help with that.” The first Dark Horse licensed comic was a Godzilla, King of the Monsters one-shot (Aug. 1987), which turned out to be successful enough that DHC began looking for more movie properties to license, following with Aliens, Predator, and Terminator. This continued string of successes gave Dark Hose the confidence to pursue a deal with Lucasfilm. Marvel still held the Star Wars license at that time, but Dark Horse shared with Lucasfilm its own vision and approach about Star Wars, which was very different from Marvel’s. “At the time, Marvel wasn’t putting out many Star Wars comics,” Richardson says, “and I thought we could do a better job. We talked with [Lucasfilm representative] Lucy Wilson and we proposed exactly what we wanted to do, which turned out to be Dark Empire.” This first six-issue Star Wars miniseries (Dec. 1991–Oct. 1992) proved to be another big hit for Dark Horse, so the obvious next step was to go for Indiana Jones. “Raiders has always been one of my very favorite films,” says Richardson. As with most of its licensed comics, Dark Horse chose to publish Indiana Jones as a series of four-issue story arcs rather than as an ongoing monthly, because it was more difficult to produce monthly comics with a property like Indiana Jones. “Almost every story has a similar type of plot,” Richardson explains. “It’s always Indy finding out about some sort of [artifact] or lost city, fighting against the Nazis, finding something that usually has unexpected consequences, overcoming whatever the situation is that he’s faced with, and then it’s back to teaching [laughs]. So it becomes harder to come up with new ideas on a monthly basis. It’s not like Star Wars, where you have untold numbers of characters in a vast universe. You don’t have to use Luke Skywalker in every Star Wars story, but Indiana Jones is different because it’s about Indiana Jones, and he has a specific pattern that he follows within both the movies and the comics. It’s difficult to keep from becoming formulaic month after month and wearing the character out. But we’re constantly trying to come up with fun, new ideas, and each time we do, we go talk to Lucasfilm and release another comics series.” This may explain why Dark Horse has avoided the conflicts that Marvel seemed to have with Lucasfilm. By not having a monthly deadline to deal with, the creators are able to take their time and come up with a story that meets with the approval of Lucasfilm before releasing each series’ first issue. FINDING THE LOST EMPIRE The first Dark Horse Indy series was Indiana Jones and the Fate of Atlantis #1–4, (published bimonthly, Mar.–Sept. 1991), written by William Messner-Loebs, Dan Barry, and Mike Richardson; penciled by Barry; and inked by Barry and Karl Kesel. Originally titled “Indiana Jones and the Keys to Atlantis,” the story was based on a videogame released by Lucasfilm Games, written by game designers Hal Barnwood and Noah Falstein. Similar to a “Choose Your Own Adventure” book, the game allowed players to make decisions at certain points of the story that would decide which direction Indy would take. “We were trying to put [something] together that was consistent with the game,” Richardson explains. “So we had to build a story around [those] elements.” In an article by Jeffrey Lang in Amazing Heroes #189 (Mar. 1991), Messner-Loebs said, “Parts of the videogame were still under development when I started working on the plot outline.” The late Dan Barry (1923–1997) also said in AH #189, “I tried to insert little bits of Indy Jones humor into the framework of the story, especially in the fight scenes … Also, I felt it was important to get the period details right … The story takes Indy all around the world, so I had to do research on places as diverse as Iceland, Mexico, and Leningrad.” In 1939, Nazi Colonel Klaus Kerner starts stealing artifacts from a ten-year-old expedition in Iceland, which was Indy’s first dig. Sophia Hapgood was also part of the expedition, so Indy believes she is Kerner’s next target. Indy has lost respect for Sophie since she turned her back on science and became a psychic medium, but Sophie has visions of Atlantis she truly believes are real, especially when she wears an ancient necklace she found on the expedition that connects her with the spirit of high priest Nur-Ab-Sal. Despite their differences, the two agree to work together and head to Iceland. The Nazis are after orichalcum, an all-powerful energy source from Atlantis. At the lost city, Nur-Ab-Sal takes complete possession of Sophie and tells how the gods (apparently extraterrestrials, although never directly stated) founded Atlantis and taught the people how to mine orichalcum for energy. After the gods departed, an undersea volcano caused Atlantis to sink. Realizing that only the gods could save them, Nur-Ab-Sal constructed a machine to re-create them by transforming the people themselves into gods. But the so-called “God Machine” only succeeded in turning the people into horrible mutations, wiping out the Atlantean race. Col. Kerner tries to use the God Machine on himself, only to mutate like the Atlanteans did. The machine explodes, and Indy and Sophie escape just before Atlantis is destroyed. Although one version of the videogame ends with her dying, Sophie proved to be popular enough that she returned in the Thunder in the Orient comics series and the videogame sequel, Indiana Jones and the Infernal Machine (1999). FURTHER ADVENTURES Dark Horse published The Young Indiana Jones Chronicles as an ongoing series (Feb. 1992–Feb. 1993) based on the TV show. Written by Dan Barry, the series ran for 12 issues and adapted the first 12 episodes of the show, with artwork provided by Barry (#1–3, 9–12), Gray Morrow (#4–6), and Gordon Purcell (#7, 8). From 1992 to 1996, Dark Horse also released seven more Indiana Jones comic-book adventures. “Back in those days, [senior editor] Randy Stradley and I would sit down and work out stories that were basically sequels to the films,” Richardson explains. “We’d bring the writers into town and we’d come up with an outline that we liked, and then fit it into the continuity. It wasn’t a situation where any writer just comes in and writes whatever comes into his head, which was always the tradition with comics based on films. They had no real connection to the movies and didn’t advance the stories in any way. We continued the franchise, basically, in comic form.” When it came to working with the various artists, care was taken not to make Indy look too much like the actor who portrayed him. “I think when we try to draw Indy,” Richardson notes, “we don’t try to draw him as Harrison Ford. We try to draw him so he’s basically recognizable as Indy. It’s consistent with Harrison’s look but without using his likeness.” The next Indiana Jones adventure was serialized in four parts in the Dark Horse Comics anthology series #3–6 (Oct. 1992–Dec. 1993). Indiana Jones and the Shrine of the Sea Devil, written and penciled by Gary Gianni, was later collected as a one-shot in September 1994. “The editors seemed to think [it] might receive more attention serialized,” Gianni says. Sea Devil is unique among the Dark Horse Indiana Jones comics—not just because it wasn’t released as a miniseries, but also because the story didn’t follow the same pattern used by both the movies and the comics. Set in 1936, Indy sets sail on the South Pacific in search of a lost temple that was flooded centuries ago but is still believed to exist underwater off the shore of a volcanic island. Eager to find the temple before the volcano can erupt and bury it again, Indy goes diving and discovers giant stone statues, similar to those on Easter Island, inlaid with pearls. Unfortunately, he also discovers a giant octopus—the so-called “Sea Devil”—that guards the temple. Indy makes it to the surface just in time to see the octopus attack the ship and kill most of the crew, but he is rescued by a passing plane piloted by Amelia Earhart, who is on her way to California after leaving from Hawaii to set a record for the first solo flight from to the US mainland. “[Earhart’s] exploit just managed to dovetail into the end of the plot nicely,” Gianni says. “It was a requirement of Lucasfilm to fit Jones into some sort of historical context. Of course, this device was a jumping off place for all sorts of flights of fancy.” THUNDER ROAD The next miniseries, Indiana Jones: Thunder in the Orient, was the longest, at six issues (Sept.–Dec. 1993, Mar.–April 1994). A sequel to Fate of Atlantis, it was also written and drawn by Dan Barry (except for #6, which was drawn by Dan Spiegle) and featured the return of Sophie Hapgood. In the story, Indy befriends an orphan boy named Khamal and receives a request from Sophie to come to Nepal, where she has discovered scrolls that refer to a “covenant” written by Buddha 500 years before any known Buddhist writings. Buddhism has become divided into many different sects over the years, but the original words of Buddha could reunite them into an unstoppable force. Their quest is made more urgent by a rival Japanese expedition led by General Kyojo, who wants the covenant to rule over Asia. Searching for further clues at a lost city in the Himalayas, our heroes are attacked by barbarians, but Indy scares them off with his gunfire, which the barbarians refer to as “thunder” (hence the series title). In the city, Khamal is mistaken for a god, and when Indy sees a female slave being beaten, Khamal uses his “divine influence” to have her released. To their surprise, the slave girl turns out to be a warlord called the Serpent Lady, who accompanies the group on their quest. While the Serpent Lady’s army battles the Japanese, Indy locates the covenant scrolls in a hidden temple and has to fight Kyojo for them. However, the long-buried scrolls disintegrate upon being exposed to air, and a sudden earthquake splits the ground open. The temple is destroyed, and Indy escapes while Kyojo is killed. Indy realizes the covenant is better gone than in the hands of the Japanese. The series returned to four issues with Indiana Jones and the Arms of Gold (Feb.–May 1994), written by Lee Marrs and penciled by Leo Durañona. In 1937, Indy meets visiting associate professor Francisca Uribe Del Arco, who receives a package from her missing brother, Felipe, that contains a gold finger. Indy recalls that the mummies of dead Incan rulers were encased in gold armor, and Francisca notes that the golden forearms on the mummy of Pachacuti were said to have the power to reshape stones, which is supposedly how the pyramids were built. They go to Lake Titicaca, the birthplace of the Incan Empire (so don’t laugh), where they discover that the Incans’ new ruler is Felipe, who has become obsessed with finding the golden arms and wants Francisca to rule at his side. Indy finds Pachacuti’s burial chamber and removes the mummy’s arms of gold, only to have them taken away by the Incans. Felipe puts them on and tries to use their stone-shifting powers, which results in an earthquake that destroys the chamber. Felipe saves Francisca from a falling statue, only to be crushed himself, and Indy and Francisca barely manage to escape. Indiana Jones and the Golden Fleece was a two-issue series (June–July 1994), written by Pat McGreal and Dave Rawson, and penciled by Ken Hooper. In 1941, Indy is on an expedition in Greece when the Nazis take over. Indy unearths an ancient blade and has to flee to the nearest town on bicycle, where a pregnant Greek woman named Omphale hides him from the Nazis in exchange for his help in escaping from the country. Along the way, the Cult of Hecate attacks them and takes the blade, which was used to kill a Golden Ram and create the legendary Golden Fleece. Indy and Omphale follow them to the Valley of Hecate, where Omphale suddenly goes into labor, and Indy has to deliver her baby while fighting off the cultists. When Indy offers the child’s purity and innocence to Hecate, the goddess destroys the cultists while the Fleece transforms back to a Golden Ram and ascends into the sky. Indiana Jones and the Iron Phoenix (Dec. 1994–Mar. 1995) reunited the team of writer Lee Marrs and artist by Leo Durañona from Arms of Gold. Like Fate of Atlantis, the story was based on a videogame from LucasArts designed by Joe Pinney, Hal Barwood, Bill Stoneham, and Aric Wilmunder. Unlike Fate of Atlantis, the Iron Phoenix game was never released because of distribution problems with Germany due to the depiction of neo-Nazis as the villains. In 1947, Indy is in Berlin to evaluate artifacts at a monastery, and finds an ancient scroll that leads to the Philosopher’s Stone, which can turn metal into gold and bring the dead back to life. The stone has been divided into three parts and Indy must track them all down, only to run afoul of Major Nadia Kirov, a Soviet security agent in charge of evaluating and rescuing artifacts from former fascist territories. Indy tries to warn her of the stone’s power, but Nadia and the stone fall into the hands of the cadaverous looking Dr. Jager, who uses the stone to bring a group of rotting Nazi corpses back to life. Indy disrupts the ceremony and rescues Nadia, causing the pieces of the stone to reunite and destroy Jager along with the undead Nazis. Indiana Jones and the Spear of Destiny (Apr.–July 1995) was also planned as a videogame but wound up being reworked into another four-issue series by writer Elaine Lee and artist Dan Spiegle. In 1945, Indy is in Ireland when he receives a letter from his father, who writes that Nazi Colonel Dieterhoffmann is after the Spear of Destiny. Indy and associate Brendan O’Neal meet Henry in Glastonbury, England, where the Spear’s shaft was put into the ground and blossomed into a thorn tree. The Nazis already have the Spear’s tip and are coming for the tree. After several misadventures, the group returns to Ireland, where O’Neal carves a new shaft and attaches a thorn from the tree. When the Nazis find them hiding in a cave, the Spear tip takes on a life of its own and attaches itself to the staff. The reunited Spear flies around, knocking down the cave walls. The Spear’s power proves to be too much for Col. Dieterhoffmann, as blood pours from both him and the Spear, and Indy and friends escape before the cave is destroyed. Months later, Indy is having a drink at O’Neal’s pub and says that the Spear was eventually found by the American government. Suddenly, the TV announces that the US dropped an atomic bomb on Japan, and Indy recalls his father’s words: “It is said that he who claims the Spear and solves its mystery, holds the fate of the world in his hands … for good or for evil!” PIRATES OF THE SARGASSO Indiana Jones and the Sargasso Pirates (Dec. 1995– Mar. 1996), written and drawn by Karl Kesel (with Paul Guinan and Eduardo Barreto co-penciling the first and fourth issues respectively), was the last Dark Horse Indiana Jones comic for over a decade. “I have been a fan of Indiana Jones since the first time I saw Raiders,” Kesel says, “partly because I could see a direct connection between Indy and the comic strips from the same time period, but also because I’m a fan of stories about ordinary people in extraordinary situations, fighting overwhelming odds, and winning.” Ironically, Kesel’s first published artwork was inking an Indiana Jones sample page penciled by Kerry Gammill in the “New Talent Department” section of Marvel Age #9 (Dec. 1983). “My first [Dark Horse Indy] job was inking Dan Barry … but somehow, that quickly morphed into me writing and drawing my own Indy story.” However, the project was delayed for a long time. “About then, [DC editor] Mike Carlin offered me a job writing Adventures of Superman,” Kesel explains, “to start right after they killed the character! It completely derailed my work on Indy. It was a few years later that [editor] Diana Schutz offered to bring in Ed Barretto to do the art so the book could finally be finished and printed! While I never should have allowed the project to slip that far for that long, in the end, I could not have been happier with the result. After all, the first two covers [were] painted by this new guy that no one had heard of … named Alex Ross.” In 1939, Indy hires Captain Bill Lawton to take him to an iceberg in the North Atlantic in search of a frozen Viking ship. Lawton has a score to settle with Indy, whom he blames for the loss of his leg. The two become stranded and are rescued by a passing ocean liner, where Indy meets his “brother,” New Jersey Jones—a con artist using Indy’s reputation to sell fake artifacts— and his mysterious female companion, “Cairo.” During a fight between Indy and Lawton, the four wind up going overboard in a lifeboat and are drawn into the Sargasso Sea—a graveyard of lost ships trapped in thick seaweed, which prevents anyone from leaving. The foursome is found by a band of pirates led by the beautiful-but-deadly Sea Witch. Lawton tries to become leader of the pirates by shooting the Sea Witch and blaming Indy. The pirates are about to torture Indy for his “crime” when a fire starts. Meanwhile, Cairo discovers the wounded Sea Witch and nurses her back to health. The fire spreads, burning the seaweed, which causes a U-boat to rise to the surface. The Sea Witch shoots Lawton, and our heroes take the U-boat to America, where Indy tells their story to a Navy admiral, who remarks that it “sounds like something out of a … comic strip!” Kesel wrote the story (which he calls “one of my favorite assignments of all time”) as a tribute to classic adventure strips like Milton Caniff’s Terry and the Pirates and E. C. Segar’s Popeye. “Sea Witch was an amalgam of [Caniff’s] Dragon Lady and Segar’s Sea Hag,” Kesel notes. “Cairo was my version of Caniff’s Burma. In fact, the sequence where she escapes the authorities at the end was a panel-to-panel ‘homage’ to Burma’s first exit from the Terry strip. Bill Lawton was based on Bull Dawson from Roy Crane’s Wash Tubbs and Captain Easy with a little of Pegleg Pete from Gottfriedson’s Mickey Mouse strip thrown in. New Jersey was based on Popeye’s Wimpy, [whose] catch phrase was ‘Jones is my name. I’m one of the Jones boys.’ It all fit too perfectly! Even the way the art was drawn was a nod to the classic adventure strips, specifically Roy Crane’s. The strip’s panels have rounded corners, are drawn on duo-shade paper, and occasionally use a thin first panel to recap the action in a newspaper headline style. The [series] was structured and paced as if it was a collection of daily comic strips. Every two tiers of a page is equal to one daily; each double-page spread is three dailies.” As for working with Lucasfilm, Kesel describes the experience as “absolutely wonderful. Lucasfilm had a well-written list of rules all Indy stories had to follow. For instance: All historical facts had to be absolutely correct. At [one point], Indy is rescued at sea by the ocean liner Normandie. Not only did that ocean liner really exist, but I set the story at a time when the ship was actually crossing the Atlantic and could have really rescued Indy! It’s kind of fun to re-read the mini with [all] this in mind. I think it holds up pretty well!” Decreasing sales led to the cancellation of the next miniseries, Indiana Jones and the Lost Horizon (see page 76). Dark Horse collected the previous comics in two omnibus books, but it would not release another new Indiana Jones comic for 12 years. THE ADVENTURE CONTINUES… In 2008, Indy was back on the big screen in Lucasfilm’s new movie, Indiana Jones and the Kingdom of the Crystal Skull. He was also back on the comic-book pages in the Dark Horse adaptation of the movie by writer John Jackson Miller and artist Luke Ross. Indy also returned in an all-new series titled Indiana Jones and the Tomb of the Gods (June 2008–Mar. 2009), written by Rob Williams and penciled by Steve Scott (with Bart Sears penciling #4). In 1936, Indy is competing with Nazi Col. Von Hassell to find three pieces of an ancient key that leads to “the beginning and the end.” Von Hassell is aided by mercenary/ archaeologist Janice Le Roi, who isn’t a Nazi but is willing to work for them if the price is right. However, once Von Hassell has no further use for her, he quickly turns on Janice, leaving she and Indy for dead. After another narrow escape, they follow Von Hassel to Siberia, where they discover an underground tomb beneath the ice. Von Hassell assembles the key to unlock a huge doorway, which contains a swirling vortex. Von Hassell believes that aliens landed there and left behind a gateway to a new universe of knowledge. Indy destroys the doorway with dynamite, and he and Janice escape as the tomb collapses. This story (which Williams calls “Indy meets Lovecraft”) is the first time science-fiction elements were acknowledged in the Indiana Jones comics (probably because it had just been done in Crystal Skull). At the same time, Dark Horse released Indiana Jones Adventures, a new series aimed at younger readers. The stories were lighter in tone and the artwork was similar to the popular “animated style.” Only two issues have been released, with #1 (July 2008) written by Philip Gelatt and #2 (Sept. 2009) written by Mark Evanier. Evan Beevers was the artist on both issues. Issue #1 is set in 1930 with Indy in Sweden, seeking ancient Norse scrolls with Dr. Theresa Lawrence from the British Museum. His old enemy, Belloq, wants the scrolls to sell to the Nazis because they have the power to turn ordinary men into monstrous Berserkers. In #2, titled “Curse of the Invincible Ruby,” Indy searches for a magic ruby that supposedly makes its owner invincible and is again opposed by Belloq and his new employer, Ali Bey-Faisel, who is the direct descendant of the ruler that originally possessed the ruby. THE LAST CRUSADE? Although Dark Horse doesn’t currently have any new projects scheduled, Indy’s adventures will continue … perhaps when a fifth movie is finally released? “We’re always talking about what the next [Indiana Jones project] will be,” Mike Richardson says. “We’re always trying to come up with a clever new idea.” DANIEl DeANGELO is a freelance writer/artist in Florida. He would like to thank Michael Eury, TheRaider.com, Mike Richardson, Diana Schutz, Zach Klassen, Gary Gianni, Karl Kesel, and Rob Williams for their assistance with this article. --------------- GREATEST STORIES NEVER TOLD: Indiana Jones Unplugged Dr. Jones’ dealings with Wilford Brimley and other unseen epics According to Jeffrey Lang’s article in Amazing Heroes #189, the next Indiana Jones series following Fate of Atlantis was supposed to be written and drawn by Adam Hughes. Promo art was made for a series to be called “Indiana Jones and the Jungle Queen,” while a plot synopsis for a series called “Indiana Jones and the Dance of Death” is posted on TheRaider.net–Indiana Jones Timeline website, which reads: “Indy has a dance with death on an island in the Indian Ocean. During an observation of native worshippers, many of them become ill with an outbreak of the plague. The source of the plague is the Fourth Horseman of the Apocalypse, who is releasing his evils upon the world. Indy fights some zombies and barely escapes an earthquake which hits the area, killing the Horseman.” Whether this was the same series or two different series proposed by Hughes has yet to be ascertained. Adam Hughes could not be reached for comment. Another proposed series that was never published was Indiana Jones and the Lost Horizon, to be written by Pete Ford and illustrated by Hugh Fleming. In an interview with Paul Shipper on TheRaider.net–Interviews website (Dec. 2002), Fleming explained, “Unfortunately, the series was canned before we could begin because sales on the Indy comics were not that good at the time. The story was set in 1926 and featured Indy and Abner Ravenwood traveling to Tibet, where they eventually recover the headpiece to the Staff of Ra from a Chinese warlord’s treasure trove.” Fleming’s design for Abner was based on the likeness of Cocoon actor Wilford Brimley (inset). “It also would have been fun to play with the idea of Indy as sidekick and protégé to another character,” Fleming continued. “We even intended to write an ‘explanation’ of sorts [as to] why Indy’s attitude [toward] the supernatural is inconsistent between Raiders and Temple of Doom. We were gonna have it that Abner taught Indy to keep a ‘skeptical’ point of view when in professional company. You know, ‘Keep this stuff under your hat; people will think you’re crazy; etc.’ We also had a young Belloq in the opening teaser. It was set on a skyscraper in NYC and the treasure/MacGuffin was a bogus Shroud of Turin.” When asked if the story would ever see print, Fleming replied, “I don’t think I could face the prospect of drawing 96 pages of comics these days.” Karl Kesel once had an idea for a story that was rejected by Lucasfilm: “I pitched another mini that would open with Indy and a beautiful gal at some ancient temple. Indy is trying to find a way in, while the gal translates the carvings. She says, ‘It seems to be talking about something that happened a long time ago, in a galaxy far, far away,’ just as Indy triggers open a hidden door revealing … the Millennium Falcon! Mothballed for God-knows-how-long, but operational. C-3PO and R2-D2 would have been on it, and I imagined some fun dialogue where C-3PO notices an uncanny resemblance between Indy and the previous pilot of the ship. Of course, the Nazis would be out to get the technology, and hi-jinx and high-adventure would follow. But Lucasfilm would have none of it … and maybe rightly so. It’s a very ‘fan’ idea, but that doesn’t mean it couldn’t have been fun!” Finally, Tomb of the Gods was originally intended to be more than just another four-issue miniseries. Writer Rob Williams explains, “I was working on Star Wars [at the time] and … if I remember correctly, I was accidentally cc’ed in on an email by editorial that mentioned Dark Horse would be doing Indy comics again. I cheekily asked if I could pitch. My editor at the time was Jeremy Barlow. To my surprise, he offered me what was going to be, originally, an Indiana Jones ongoing series. It was going to [be] one miniseries after another, with maybe a month break in between … but, effectively, an ongoing. Dustin Weaver was going to be the artist. I forget exactly what happened, but Dustin eventually couldn't do the series. Steve Scott took over. Then, I started writing and Jeremy left Dark Horse to go freelance. A new editor came onboard and I finished writing the series, but Dark Horse—for reasons [that] were never actually told to me—didn't want to continue publishing Indy comics. I suspect sales weren’t what they were hoping for, and the reaction to Crystal Skull in general was quite underwhelming. It was a real shame. It seemed like such a great opportunity. I know we talked about creating a real nemesis for Indy in Von Hassell, the Nazi archaeologist, and the Ahnenerbe, the ancestral heritage branch of the S.S. dedicated to Aryan archaeology. Janice Le Roi was going to be an ongoing character [as] a real sassy foil to Jones. I was enormously excited about it, but it all kind of drifted away.” (Comment on this)
Saturday, January 7th, 2012
4:04 pm	Terry Moore Diamond Previews STRANGERS IN PARADISE I 1. 2. 3. STRANGERS IN PARADISE II 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. STRANGERS IN PARADISE III 1. 2. 3. 4. 5. 6. 7. 8. 9. Darcy makes Katchoo an offer she can hardly refuse, while Francine goes to Detective Walsh after making a shocking discovery. Story & art by Terry Moore, with "special thanks to Harlan Ellison for his invaluable editorial advice on this issue." Includes Moore's compilation of the order the various Strangers in Paradise series should be read in. 10. 11. 12. 13. 14. 15. 16. 17. 18. Set in the future, Francine & Katchoo are together after ten years of separation. What happened to cause the split? Find out in this story! 19. Set in the future. They haven't seen or spoken to each other in ten years, but when an older Francine sees a woman who looks like Katchoo, she begins to recall the events that changed their lives forever.. 20. Things come to a boil between Katchoo and Francie. All the anger, all the doubt is laid out in a huge fight. Doors are broken, furniture thrown, its ugly! 21. All is not well in paradise when the comfortable "understanding" between Katchoo, Francine and David about living together becomes threatened by outsiders. Who is the beautiful Japanese girl in love with David? Who has his eye on Francine, despite the fact that, as Katchoo puts it, "He's not just married, Francine, he's very married! Geez Louise!" There's a storm brewing in this hot new issue! Don't miss it! 22. It's heeeere! "The Big Rift" has begun. Francine is having an affair with a married man (we can't tell you who yet!), Katchoo is looking for another place to live, and David is torn between his friendship with the two girls and his moral dilemma with the whole living together setup. What happens next? Find out in this funny and satirical look at modern love and twenties angst! 22. Francine has gone back to her mom’s, and Katchoo, well, she’s not taking it very well. No guns or drugs involved, yet, but a lot of crying. Good thing David's there; now, will Katchoo see that, or continue to look right past him? 22s. As every regular reader of SIP knows, my advance solicitation information in the Diamond Previews catalog isn't always the most accurate. This is because, although I have an overall storyline for the coming year, I continue to write and think and write, changing anything and everything until the page is ripped from my hands and printed. So, anything I say about an upcoming issue of SIP is to be taken with a grain of suspicion. BUT, I do believe with all my heart, and have believed all morning long, that the next issue of SIP will see Casey trying herself out on David once more; Katchoo pondering the course of her life without Francine, finding the road to art-world fame and fortune suddenly open up before her like a ten-lane highway; while Francine meets Brad #2 (heh! You thought I'd make it easy for you?!) and finds the peace and quiet of her mother's country home a wonderful place to regain her perspective. Then the issue concludes with an absolutely heart-stopping moment that sends chills up my spine every time I think about it. So I think the big question of #22 will be what happens in 23! 23. As Francine struggles to adapt to life without Katchoo, or life with her (both are pretty big pills to swallow,) David and Katchoo come to a reconciliation, of sorts, aided by Casey Femur in her relentless quest for love, any love, from anyone. She’d be pathetic if she weren’t so annoying, but at least that’s something David and Katchoo can agree on, and besides, it’s not her fault. Now if Francine and Katchoo can agree that it’s her husband Freddie’s fault - well, in that case Freddie’s in deep trouble. 23s. Katchoo teaches Casey a thing or two about fooling around with other men, while David receives a phone call that will change his life forever. Francine comes to a decision concerning her friendship with Katchoo, but she returns home to find her affairs are definitely not in order! 24. Freddie is livid when he discovers Francine is having a hot and steamy love affair with a married man. Why couldn't it be him? Little does he know his own wife, Casey, is pursuing another man, David, who only has eyes for Katchoo! Make sense? Of course not! Don't miss this decidedly torrid issue of SIP, guaranteed to raise your blood pressure! 24s. Find out what happens when Casey remembers to tell Katchoo that Freddie has her paintings! Does the phrase "a police situation" mean anything to you? 25. After Darcy finally died last issue, apparently lifting her curse from Katchoo and David’s lives forever (and leaving David about a billion dollars to boot!) it’s time to head for the beach and relax! Suffice it to say that David, Katchoo and Francine all have three very different ideas about how to relax, and none of them involves battling crazed supervillains, or even calm, perfectly rational supervillains with entertaining conversational skills and excellent table manners. Not that there are any of those in here... 25. ALL BEACH, ALL THE TIME? It's a special summer swimsuit issue! Francine and Katchoo hit the beach on the hot white sands of Florida's Emerald Coast. It's summer vacation, and Katchoo is determined to relax and catch a few rays, but between Francine's shrinking bikini, a raging sandcastle war, and an endless stream of love-struck college boys, Katchoo soon finds there is no rest for the weary or diplomatically challenged. 25s. The time is two weeks after Darcy Parker's burial. Katchoo, Francine and David decide to get away to Florida for a week of sun and relaxation after their harrowing experience (as seen in Vol III, issues 1-12) to recuperate and contemplate their future. David and Katchoo begin to open up to each other and share their past, and find they have even more in common than they thought. Francine is worried about wearing a swim suit but finds no problem in attracting attention when she finally takes the plunge! 26. Francine is having trouble coping with her emotions, and this leads to problems in her relationships. Meanwhile, Katchoo is on a very bumpy flight to New York and something goes wrong with the plane. Hold on to your hats! 26. Francine returns from Tennessee determined to find a man and begin a new life. But when she goes back to the rent house to get her things, she finds that David and Katchoo have already left, and they¹re not coming back! Will she accept their invitation to join them in an idyllic life in Hawaii, or will she stick to her decision to become the suburban mom of her dreams? It’s a tough day for the girls that is rudely interrupted when Francine discovers Freddie has the nude painting of her hanging in his living room! 27. In the aftermath of a plane crash, Katina tries to rescue David from the wreckage. Meanwhile, the news of the tragedy spreads and Katina’s friends must face their worst fears. A dark, sad, disturbing tale that will grip you like no other comic book ever will. A must read. 27. David finds himself at odds with the Big Six who want him to join their ranks and fill his sister's role. But Tambi has made it known to David that joining the covert group will cost him his life. Who is Tambi working for now, and why has David suddenly become the key ingredient for America's impending fall from power? This is the answer Katchoo is determined to find out before it's too late! 27s. All the solicitation copy you've seen for this issue was a red herring. Everything you've heard is speculation. Moore has the kept the contents of this issue under a cloak of absolute secrecy! Nobody knows what to expect and this issue is bound to have a dramatic effect on the entire SIP storyline. Ships Oct 1. A sedative is recommended before reading. 28. Who survived the plane wreck? Who didn’t make it out? Was it David or Katchoo or neither? And who arranged the crash? Now Mr. Tuccanni wants some answers so he can get his hands on Darcy Parker’s company and the extremely dangerous Tambi gets to play Sherlock Holmes. A late night visit to the hospital could change everything! 28. "First Strike!" ? A horrible commercial airplane crash has claimed the lives of 153 people. Katchoo and David were on that plane, traveling to New York to claim his billion-dollar inheritance. As a distraught Francine arrives on the scene, she finds Katchoo alive but badly injured and David... missing! Was it all an unfortunate accident? When Katchoo receives a bedside phone call from Tambi, the horrible truth becomes clear. 28s. This issue takes a very bold step forward when the bigger picture is revealed concerning David and Katchoo's role in the inheritance of Darcy Parker's estate and her place in The Company -- resulting in a frightening edict given to Tambi concerning all Parker Girls, including Katchoo! The results are immediate and devastating to Katchoo and Francine. Major, major changes in this issue and the story to come!!! 29. In the wake of the plane crash that put David on an iron lung, Katchoo returns to her "other life", as the Parker Girls are being started up again! Francine can't find Katchoo, her mother's not being any help, and is there any chance she'll ever be able to get back to where her life used to be? Maybe not ... but if she is going back to the Parkers, she's going back with a ruthlessness that may allow her to make her life more the way she wants it. 29. Strangers in Paradise begins a new storyline with "Twilight's Child" and provides an excellent jumping on point for new readers. Katchoo, Francine, and David's lives have been changed forever by a horrible plane crash that turns out to be a sabotage. Knowing they will never be safe until their enemies are dealt with, Katchoo goes underground in an all-out assault, Darcy Parker style! 30. Once again, Katchoo is dragged back into Tambi's world of sleazy corruption. But this time it comes out differently -- the people who are watching Francine, taking care of David, and generally haunting the background seem to have their good at heart. Is Katchoo taking over? 30. Katchoo sets out in search of the woman who wants to destroy her and her loved ones. But finding her won't be easy in the underground world of organized crime, so it's a good thing she has someone beside her to help in her quest? Tambi! Meanwhile, Francine shifts her attention to David, who lies helpless in a hospital bed. Nursing him in his hour of need, David finally begins to open up to Francine, and tells her the story of his violent past. 31. Meet the new boss, same as the old boss -- except we know this one personally! In the wake of Darcy's death, Veronica's taken over, and she's hardcore. In between murders, though, she's really steaming that David got Darcy's money instead of her. Now, the question is -- who's in David's will, and how long before it gets read? 31. Francine spends months by David's side, helping him recuperate from his serious injuries. With Katchoo absent, David shares the secrets of his violent past and the friendship between him and Francine grows until they become close -- very close. Meanwhile, Katchoo spends months retraining herself with only one goal in mind: revenge, and the complete annihilation of the enemies that have destroyed her life. 31s. Katchoo sets out in search of the woman who wants to destroy her and her loved ones. But finding her won’t be easy in the underground world of organized crime, so it’s a good thing she has someone beside her to help in her quest - Tambi! Meanwhile, Francine shifts her attention to David, who lies helpless in a hospital bed. Nursing him in his hour of need, David finally begins to open up to Francine, and tells her the story of his violent past. 32. Katchoo keeps getting in deeper with Tambi and the resurrected Parker Girls, but Francine's even worse off -- she's about to marry Brad, and David won't come and save her! Can anyone? 33. A dream and an imaginary story -- or is it? Katchoo and Francine are superheroines, and Freddy Femur is a supervillain, the kind who rents his death-rays by the hour and can't remember which blond henchling he's talking to. See how lucky you truly are that this isn't usually a superhero comic! 33s. It's the annual SiP Special Summer One-Shot! The SiP gang is featured in a super-hero parody entitled "Not With My Cape You Don't!" with Francine as The Wallflower, Katchoo as Razormouth and David as Captain Ahhh! Casey dreams that she and her SiP friends are heroes battling Freddie Femur, as the arch-villain, Fex Femur, for world peace when he attempts to seize semi-control of a very small town outside of a major metropolitan area. (Sorry, but as the slacker generation hits the villain ranks, this is about as ambitious as they seem to get!) 34. David Qin meets someone from his past that he never wanted to see again -- himself! And Katchoo makes an easy decision which leads to a very hard crusade. And Francine is wandering in a place where nothing ever changes, when a kind lady offers her some helpful advice ... from the grave. 34. Welcome to the fast lane, dear boy, it's New York City, SiP style! David's search for the underground Katchoo leads him to the heart of the powerful and deadly 'Big Six' operation in downtown Manhattan, where he attempts to take his inherited seat alongside the leaders. The trouble is, they don't want him... in fact, they'd rather he were dead! Can David stay alive long enough to find his beloved Katchoo? Or perhaps more importantly, will he remain true to his peaceful faith or revert to the ultra-violent ways of his youth in order to survive and protect the woman he loves? The shocking answer is in this issue! 35. Tambi Baker wants Katchoo to help her with the biggest financial deal of her life -- an attempt to leverage the power of the Big Six away from the five old men who Control a large chunk of America's wealth. And Katchoo's been offered the prize of her life -- Francine's life, that is, free and clear. If she does this, she can just walk away, or so Tambi says. And maybe she's sincere. But there are a lot of other players in the game, and none of them cares one whit about Katchoo or Francine's lives! 35s. The wicked make war and Veronica is as wicked as they come, my friends! Armageddon begins as Veronica’s plan to destroy the underworld establishment and create a new 'disorder' bears fruit. Sal Tucciani, head of The Big Six and organized crime, declares war on Veronica’s clan and Katchoo’s small but powerful group, while the two girls are engaged in a deadly game of cat and mouse... the first one to be found dies! Will David be able to do anything to stop the fire of hate that has upset the delicate balance between these dark and complex factions? The solution may be found in Tambi, the cold, calculating killer who is playing everybody against each other in a nerve-wracking game of control, and reveals the shocking reason why in this issue! Meanwhile, back home, Francine prepares for her wedding and agonizes over just how white her dress should be. 36. It's the final face off! It's the moment you've been waiting for as Katchoo finally comes face to face with her deadly rival, Veronica, in the most shocking scene ever depicted in the pages of Strangers in Paradise! After this, nothing will ever be the same. It's now or never for Katchoo as she battles not only her worst enemy, but also the dark past that has tormented her ruthlessly since her youth. One way or another, it all ends now! Witness this dramatic turning point for one of the most dynamic characters in comics! 37. In the aftermath of their showdown against the Big Six, Francine and Katchoo return to Tennessee in hopes of rebuilding their life together. But they find an angry reception when it becomes clear that Francine's fiancé, Brad, must compete for her attention against rival Katchoo! Sparks fly and someone is about to walk out of Francine's life forever! Find out in this stunning conclusion to one of the most powerful stories yet in the world of Paradise! 38. From riches to rags, David may not be so wealthy after all! Uncle Sam comes looking for Darcy Parker's estate because it seems all of her money was gained illegally! Will David have to give all 1.4 million dollars back to the government? And what about the 10 million he gave Francine, will she have to give that back, too? Egad, this could be awkward! Find out how the two nicest people in paradise handle the setback of their lives in this issue! 39. Okay. There's good news and bad news. The good news is: Francine finally meets her fiance's famous brother, Griffin Silver. The bad news: it's love at first sight! And Griffin is not to be trusted in matters of love, even when it concern's his own brother's fiancé! Meanwhile, David gives Katchoo a bold ultimatum and leaves for Hawaii. What is his demand? Find out in this new issue of SiP! 40. Is Francine engaged to the right brother? She's beginning to have serious doubts after having met her fiancé's famous rock star brother, Griffin Silver. But Katchoo offers a surprising solution to the dilemma - let's all go to the Bahamas for the weekend and see what happens! Put on your seatbelts, it's going to be a bumpy ride when bikinis, tequila, and too much fun in the sun bring out the truth in this bizarre foursome. 41. Have you ever heard the story of how Francine posed for her sculptor boyfriend in college, only to find that he produced a full-size nude statue of her that was unveiled in the center of the student courtyard on Arts & Crafts Day?! Find out what happens next in the most embarrassing moment of Francine's life - the day she was expelled from college. 42. SLUMBER PARTY! In a strange turn of events, all the SIP girls end up at Casey's house for the evening, and before you know it, it's a slumber party! Katchoo, Francine, Casey, Margie and yes, even Tambi, in a night filled with T-shirts, bunny slippers, and a scathing review of love and mankind as seen through the eyes of the SIP girls! Come on, admit it, you've always wondered what Tambi looks like in a nightie! Well, here's your chance to find out. It's a perfect evening until Freddie and Chuck crash the party and all heck breaks loose! Trust us, this is one party you don't want to miss! 43. Things heat up when Francine spends time with David and Katchoo in the "Tropic Of Desire." This is one issue you do not want to miss! Sun, private beaches, long cool drinks, and close quarters bring pent-up desires to the surface in this long-awaited issue that will make your pulse race! 44. Marooned! Not a word you want to use to describe your situation, but that's exactly what happens to two of the most beloved SiP friends! Not going to say who, but one certain female goes for an afternoon sail with another certain female, and the two end up marooned on a deserted tropical island. With nothing but their bathing suits and a healthy supply of homemade margaritas, the fearless castaways suddenly find themselves in an uncomfortably intimate situation - and that's when the sand hits the fan! Find out who ends up with whom in the latest waterlogged issue! 45. They're back! Young, beautiful, and bursting with vitality - it's Francine and Katchoo back in all their glory before any gangster or madwomen or middle-age crisis took them away to drama-land. Trust that if you're a SiP fan, you're going to like what you see! 46. Molly and Poo. The names bring a shiver to anybody who knows their story. But what was Molly like as a teenager in high school, before the sex and blood that launched her into notoriety? Find out more in this issue when Francine's brother Benjamin throws all reason out the window and begins dating the weird but sensuous Molly Lane, despite the advice of his friends and family. Madness was never so darned appealing. Don't miss this sexy look at psychosis entitled, "Borderline Lover." 47. Francine has been trying to find the right time to tell Katchoo that she is pregnant. But things don't go as planned when practically everybody they know converges on them at their small island paradise, and Katchoo must compete with Brad, Freddie, Chuck and even rock star Griffin Silver for Francine's attentions! 48. She's a high school dropout who sewed her own clothes and worked three jobs in a tiny Texas town to save up the money for beauty school. She overcame dyslexia to get her G.E.D., endured cosmetic surgery to improve her appearance and eventually, through hard work and dedication, became Francine Peter's worst nightmare: an aerobics instructor with a perfect tan. She is Casey Bullocks-Femur, and this is her story. Finally, an entire issue devoted to telling the story of one of SiP's sexiest and most likable characters, the irrepressible Casey! 49. The original Molly & Poo story sold out before it hit the stands in 1996, and was never reprinted. Achieving cult-classic status almost overnight, Molly & Poo found a fame and readership far beyond it's home series, Strangers In Paradise. Now this controversial novella by Terry Moore is offered again for the first time in six years! Molly & Poo is a poignant and heartbreaking story about the delicate psyche of a neglected woman who risks everything to find her sexual identity, and loses, in one of the most shocking endings ever printed in comics. 50. It's official! SIP has turned 50! To celebrate this magic number Abstract Studio is pulling out all the stops with a special cover and 24 pages jam-packed with new stories and blooming relationships. Katchoo... dating?! Francine... stalking a married man? Casey... an exotic dancer?! Holy cow! Find out what keeps these girls up late at night in this landmark issue of SIP! 51. Two hikers have discovered Veronica's dismembered body and now the FBI is pressing Katchoo for information about her deadly stepsister, Tambi. The Amazon blonde is a cool, calculating killer who has managed to stay one step ahead of everybody, including the FBI, but how much longer can she keep it up? Meanwhile, behind closed doors, Francine has a passionate evening of hot romance - but you'll never guess who with. 52. Francine moves in with Katchoo and the rumors begin flying! Freddie decides it's up to him to save Francine from her wayward path and determines to win his ex-girlfriend back. Meanwhile, Chuck bets the gang that he can kiss Katchoo before midnight (trained medical personnel will be standing by). 53. SIP #53 marks the conclusion of a three-part story-within-a-story, "My Maiden Voyage." Someone has been killing Parker Girls one by one. FBI Special Agent Sara Bryan wants to know whom, and she's hoping Katchoo will tell her why. But Katchoo has more important things on her mind... like girl trouble! Things are getting hot in paradise! 54. What do Elvis and Katchoo have in common? Girl trouble! This issue begins a three-part story arc focusing on the intertwined love lives of Katchoo and Francine with the Silver Surfer brothers, Brad and Griffin. Brad is Francine's former fiancé. Griffin is Brad's famous rock star brother. Brad wants Francine back. Griffin wants to help. But when he comes to meet Francine to petition on his brother's behalf, in walks Katchoo and- you won't believe it! What is the unexpected connection between the foursome that could tear them apart? 55. In Part 2 of the 3-part "Girl Trouble" story, Francine's former fiancé, Brad, wants Francine back. His famous brother, Griffin Silver, has come to pay Francine a visit and petition on his brother's behalf, but things get complicated when Griffin falls in love with Francine, and Katchoo won't come out from under the bed! Find out why in the second part of "Girl Trouble!" 56. GIRL TROUBLE: Part 3 (of 3)? All Francine ever wanted was somebody to love. Now she has more candidates than she knows what to do with! Her ex-fiancé, her ex-fiancé's brother, her best friend, her other best friend, her ex-boyfriend- suddenly everybody wants Francine! How will comic's most famous neurotic handle all the attention? 57. There's an old saying that if Katchoo ever met the 'Blue Bird Of Happiness' she'd probably eat it! Well, we have the pictures to prove it. Somebody wants Katchoo dead; somebody she knows and trusts. But who? Katchoo plays a dangerous game of cat-and-mouse with an adversary she can't see, as a rogue DUCk (Deep Underground Parker Girl) stalks her disguised as a trusted friend. But which friend? Can Katchoo uncover the identity of the lethal Judas before it's too late? 58. Katchoo faces her deadliest challenge ever when she uncovers the identity of the deadly DUCk who has been stalking her for two years! If you've ever wanted to get revenge on a stalker, this is an issue you must read! 59. An FBI agent has been using Parker Girl techniques against Katchoo, posing as her artist's model in order to gain evidence against her. Meanwhile, the plans are made and invitations sent for Francine and Brad's big wedding. The question on everybody's mind now is: will Katchoo attend the wedding? 60. Francine finally ties the knot with Brad. Friends and family gather to celebrate the happy occasion as Francine finally makes her childhood dream come true, to marry a doctor and start a family. But what about Katchoo? Is this the end of a great friendship? 61. Gang member at 13. Murderer at 15. Sober at 16. Hopelessly in love with Katchoo at 17. This issue marks the beginning of a three-part mini-series telling the story of young David Qin's turbulent teen years, illustrating why SiP's quietest member may be its most deadly. 62. At 15 he was a member of L.A.'s most powerful street gang, facing murder charges and fighting for his life, both on the streets and within his own household. This is the second in a three-part mini-series telling David's Story. From a life of violence and incest to faith and love, find out why SiP's quietest character may be its most deadly. 63. At seventeen David is a former L.A. street gang member with a bloody past. Now he's trying to build a new life at an eastern school, and the future looks bright... until he comes home to visit and meets an under-aged call girl named Katchoo. This is the final chapter in a 3-part story arc detailing the origin of one of comic's most heartbreaking love stories. 64. For the last nine months, Katchoo has been working hard to keep her mind off Francine's wedding by painting . . . nude pictures of Sara?! Poor Sara never knew what she was getting into when the FBI assigned her to go undercover and keep an eye on Katchoo. Now, everybody's eyes are on her as 100 nude paintings of her voluptuous body debut at Katchoo's first major art exhibit. 65. In the wake of her art world debut, Katchoo finds her paintings are suddenly in demand and women of all ages come out of the woodwork to commission one of her infamous nude portraits. But an anonymous patron wants to buy one painting in particular, no matter what the price... "Portrait Of Francine!" 66. Katchoo's nude portraits are the talk of the town, in fact everybody wants one! But an anonymous patron insists on buying one painting at any price ? "Portrait of Francine!" Katchoo won't sell until she knows who and why, and begins an investigation of all possible 'suspects'... leading her to a startling discovery. 67. Katchoo begins her new job teaching at the local art school, and is shocked to find that one of the models is a well-known SiP regular! Meanwhile, Freddie abandons the dating circuit for a steady girlfriend, but there's one little hitch... she's the city coroner and she loves her job! 68. Katchoo is suspicious of Tambi's reluctance to find David for her. When Katchoo confronts her stepsister about the matter, the terrible truth comes out. Meanwhile, Freddie goes to the city morgue in search of a body — and boy, does he find one! Sexy newcomer Emily Stryker is the city morgue employee assigned to help Freddie and Det. Walsh investigate a murder case. 69. Katchoo is suspicious of Tambi's reluctance to find David for her. When Katchoo confronts her step-sister about the matter, the terrible truth comes out. Meanwhile, Freddie goes to the city morgue in search of a body ? and boy, does he find one! Sexy newcomer Emily Stryker is the city morgue employee assigned to help Freddie and Detective Walsh investigate a murder case. 70. Casey is a Las Vegas showgirl? It's every fanboy's dream come true when Casey gets a job in sin city doing what she does best - looking beautiful! But what does Katchoo think of Casey's new job and what is she doing in Vegas anyway? Find out in the sexiest issue of SiP ever! 71. Things heat up as the SiP gang makes their presence known in the original Sin City... Las Vegas! We can't tell you anymore without giving away the surprise of the year! Trust us, SiP finishes the year with a bang readers won't soon forget! 72. Katchoo turns the tables on a showgirl stalker and helps showgirl Rusty find her lost husband in this exciting conclusion of the "Viva, Las Vegas" story. 73. Hannibal Lector has nothing on Molly Lane, SiP's beautiful psychopath. Institutionalized after butchering her husband with a meat cleaver, Molly "persuades" her doctor to sign her release and sets out to find her first love ? Benjamin Peters! This is the third and final chapter in the Molly & Poo saga. 74. The SiP gang is back together! Katchoo, Casey and David decide to open their own art studio together in Houston. They need a receptionist though, and you'll never guess who applies for the job! 75. It's a hold-up! Katchoo and Francine are shocked to run into each other at the bank, just in time for a hold up! It's the dysfunctional dynamic duo versus the bank robbers in this hilarious issue of Strangers in Paradise! 76. Freddie is trying to impress a very important client who thinks he is happily married. When the client wants to take Freddie and his "wife" out to dinner, Katchoo gets talked into playing the role. See the couple that would make Tennessee Williams run for his life in "Guess Who's Coming To Dinner?" 77. Francine and Katchoo meet face to face for the first time since Francine's wedding. Is it fireworks or handkerchiefs, and what happened to the forecasted ten-year split? The answers will shock you! 78. Casey devises a plan to bring Francine and Katchoo back together again, with David as an unwilling participant. Meanwhile Detective Walsh and the beautiful pathologist, Emily, pursue Houston's deadly body bomber. 79. In this emotionally hard-hitting issue, David's dark secret comes out when Tambi learns about his condition, and life for the SiP friends will never be the same. 80. Casey begs David to marry her and give her a child, but Katchoo wants to marry David as well. Which one will he choose? 81. Casey realizes she can't have the future she hoped for and makes a decision that affects the entire SiP gang. 82. The countdown to the final issue begins! "I can have both!" Francine once said, but when Brad finds out the meaning behind the Francine's lily tattoo he strongly disagrees and gives his wife an ultimatum, him or Katchoo. Who will Francine choose? The answer will shock you! 83. The final story arc begins in issue 83! The SiP girls rally around David in his time of need, and no king ever had it so good! But it's a tough day in paradise when an SiP legend meets a tragic end! 84. Who knows what will happen in SiP as the Eisner Award-winning series enters its final story arc? Who will survive and who has who's baby is one of the most closely guarded secrets in comics. One thing is for sure, it all happens in the next seven issues as the SiP counts down to #90 - the final issue! 85. With SiP drawing to a series end at issue 90, the story in the final issues is one of the most closely guarded secrets in the comics industry. All we can tell you is, big, bad dangerous things are happening in SiPland, things guaranteed to leave you breathless. Don't miss these critical issues as a comics legend draws to a close! 86. With only five issues left in this Eisner Award-winning series, the final story arc of Strangers in Paradise is not like anything else you'll read this year. Will Francine and Katchoo end up together? Will David live? The final answer is in this issue... and the next four! 87. With only four issues remaining, this series has never been hotter! Will the story of Francine and Katchoo turn out to be a romantic comedy or a tragedy? Will David live or die? What the heck was that flash forward business all about? Moore promises answers to all these questions as SIP approaches its final climax! 88. Only three issues remain in this Eisner Award-winning series, and SiP has never been hotter! Katchoo, Francine, David, Casey, and Tambi... everybody's involved in one of the most anticipated finales in comics history! No hints here, you have to read this one for yourself! 89. One of the longest continuous stories in comics has almost reached its finale. How will Terry Moore's masterpiece end? Does the epic tale of Francine and Katchoo have a happy ending? 90. Is this it? The end of an award-winning series and an era in comics? The final issue of SiP! The saga of Katchoo and Francine comes to a climactic finale in this issue as 14 years of complex stories, intrigue, romance, and adventure bring fans to the final scene. --------- PARADISE TOO 1. They're funny, they're rude, and they're wildly imaginative - they're Terry Moore's comic strip art, and they're offered for the very first time in this special one-shot issue! Terry Moore's… Paradise, Too! contains the best of Moore's pre-Strangers in Paradise work and much of it reveals early developmental versions of SiP's Francine and Katchoo! This collection of Moore's early work has been a top fan request for years. Don't miss it! 2. Since Terry just can't stop drawing cartoons, they've decided to keep publishing them! Now, in a regular bi-monthly series, Paradise Too! collects all the cartoons and comic strips Terry draws on a daily basis that never make it into SIP. The first issue was a roaring success, now issue #2 brings you more of the characters you love… Kixie the high-maintenance fairy; Plato the love-sick polar bear; Morris the ugliest little dog in the world, and many more! If you like the humor in SIP, you owe it to yourself to read Paradise Too! 3. All-new cartoons from a questionable part of Terry Moore's brain! There are new strips with Kixie the precocious fairy and Plato the love-sick polar bear; the controversial new strip Beeps with Taffy, Jobey, YY and Beeps herself, all drawn with a satirical pen dipped in acid! And as if that wasn't enough, there's Morris - The World's Ugliest Dog! If there's one comic release this month worth begging quarters at the mall to buy, this is it! 4. Oh good grief! Here's the latest collection of cartoons and twisted doodles form the run-amok mind of Terry Moore! Kixie the fairy discovers chocolate, Plato the polar bear ponders the mysteries of life under the aurora borealis, Beeps suffers through a family dinner outing at the local Steak-A-Bob, and Grace buys lingerie through a mail order company with disastrous results. All this and much more from the irresponsible side of Strangers in Paradise creator Terry Moore! 5. Kixie falls asleep in the pocket of Grace's blind date and wakes up in a strange new world… his apartment! While Grace frantically searches for her beloved lost fairy, Kixie explores the mysteries of a man's life. Other cartoons in this issue include Plato in Wonderland and Beeps! 6. What can you say about Kixie? She's 3 inches tall, loves strawberry cake and flies. She's the most popular fairy in the world (after that show off Tinker Bell!) and she can be found only in the pages of Terry Moore¹s Paradise Too! Read the latest adventures of this precocious little imp along with Plato the Polar Bear, Beeps, and Oliver Wonderbee! 7. It's a day in the life of Kixie! What does a 3' fairy do all day besides eat strawberry cake? Follow America's favorite fairy and find out, as Kixie explores her new home where hidden treasures such as makeup, caffeine, power tools, and lingerie await! 8. Three's a crowd! Michael thinks he's coming over to watch the big game on TV, but Sheila has arranged a romantic dinner. As Sheila struggles for Michael's attention, Kixie does everything she can to ruin the unsuspecting Sheila's plans! 9. Michael takes Sheila to a friend's wedding, but Kixie thinks the wedding is for Michael and Sheila… and love hath no fury like a fairy scorned! Can you say 'food fight?' Watch Michael's love put to the test in this hilarious issue of PToo! 10. Madness abounds! Terry's cartoon alter ego decides he's ready to become a he-man and begins a rigorous workout routine, limiting his soda pops to one an hour and power walking to his home office at the end of the hall. Oh, the pain. Meanwhile, Kixie and Lizzie pay a visit to a local palm reader, with disastrous results. And what the heck is a polar bear doing at Winona Ryder's house? 11. Kixie strips romp across the pages in this latest collection of Paradise whimsy! Kixie the fairy doesn't want Grace to date anybody for fear of having to share her strawberry cake with a "big oaf" in the house. When Kixie finds out that Grace is having a guy over for dinner, the kid gloves come off ? no more Missus Nice Fairy! Hilarious cartoon fun from Terry Moore! 12. 'Wonderland' -- a charming story about a little boy in a strange land filled with beautiful fairies, cloud farmers, wicked queens, and yellowphants. Plus, Kixie's back, and Plato the Philosophical Polar Bear makes a surprise appearance! 13. Oliver Wonderbee is a happy eight-year-old who falls asleep one night and wakes up 18-years-old; his parents are older, he has a girlfriend who wants to know where he's been, and a body he can't get used to! For nine straight days Timmy finds himself racing through his life a decade at a time until he reaches the end and discovers the terrifying challenge he has been brought forth to face! 14. This issue spotlights America's Favorite Fairy, Kixie! In a full-length story, Kixie meets Jennifer, a single woman on the fast track to success... and the loony bin. Overworked Jen blames stress for the sudden appearance of a fairy in her life, but Kixie thinks it's kismet! ECHO 1. Terry Moore is back with a new series, and this time he's going nuclear! Julie Martin is taking photographs in the desert when she witnesses a massive explosion in the sky. Covered in the bizarre, metallic fallout, she races home to find a chunk of the mercury-like metal came with her. When the metal becomes attached to her skin, Julie is unaware that she is host to a new symbiotic technology: a living bomb! 2. When Julie Martin becomes exposed to the fallout of a new, hi-tech weapon she seeks help, but instead finds she's become the target of a military contractor who wants her dead. The people she once depended upon either cannot or will not help, so Julie runs. Now her only allies are a park ranger she's never met and a woman who is dead. 3. We have met the enemy and she is Ivy M. Raven, head of security for the Heitzer Nuclear Research Institute. With 72% of their multi-billion dollar, liquid metal Beta suit missing, and Julie Martin as the prime suspect, Raven is on the hunt and Julie is her prey! 4. HeNRI developed the world's first liquid metal atomic weapon. Now, like it or not, Julie Martin is wearing that metal and is forced to run to keep HeNRI from continuing their deadly development! With no allies but a delusional sister and a park ranger to help her, Julie must find a way to become something she's never been before - brave! 5. The Heitzer Nuclear Reserch Institute (HeNRI) hires bounty hunter Ivy to track down Julie Martin because she possesses part of their secret weapon - a liquid metal bomb that can destroy the planet! Ivy has never failed, but Julie finds an unexpected ally in the spirit of a dead woman with a molecular bond to the metal she wears! 6. The symbiotic metal suit Julie wears is a fragment of a high-tech nuclear suit. Now she's determined to keep it away from the military contractors who made it and want it back! On the run with her mentally unstable sister in tow, Julie's only other allies are Dillon and his dead girlfriend, Annie. Surely Oppenheimer never had this much fun with atoms 7. With Agent Ivy hot on Julie's trail, the body count in Julie's wake is rising. Julie blames Ivy, Ivy blames Julie, but in their game of cat and mouse, neither suspects the rat who shadows them both! It's life and death in Terry Moore's sci-fi thriller, Echo! 8. Julie isn't the only one with remnants of the atomic armor she wears. There is another, much darker soul, who lusts for the power the armor brings. The Dark One is determined to find Julie and claim her share of the armor. To do that, he will have to kill her! 9. When Julie meets a scientist from HeNRI, she finally learns the secret behind the Beta Suit metal she's wearing, and why the Phi Project is only the tip of a catastrophic iceberg! 10. Julie and Dillon travel to the frozen wilderness of Alaska to find a HeNRI facility that is manufacturing the atomic alloy stuck to Julie. But, they are not alone. Somebody else wants the powerful metal Julie is wearing... and the only way to get it is to kill her! 11. Dillon finally learns what happened to Annie, and realizes his relationship with Julie is going to be much more complicated than he thought. Meanwhile, Ivy returns to HeNRI and confronts Foster for the truth about Julie and the Beta Suit, only to find the atomic alloy is merely the tip of the iceberg! 12. Julie and Dillon encounter a government employee who claims to have a considerable amount of Beta Suit fragments he will give to her in exchange for... well, that's the problem: his price. Expect the unexpected when Julie meets her first 'fanboy' in Echo #12! 13. The Army has intensified its search for Julie Martin, and the scientists at HeNRI warn it's only a matter of time before the liquid metal remnants of the Beta Suit she's wearing explode with the power of a hydrogen bomb. Running for her life, Julie desperately seeks a way to remove the metal, only now she faces a new problem: the metal is growing. The Beta Suit is regenerating! 14. Julie and Dillon find a valuable ally inside the HeNRI company who reveals the true purpose of Foster's Phi Project-a massive machine designed to recreate the Big Bang. However, this machine will use the Phi Principle, guaranteeing success - and ending all life as we know it with a complete reboot of the universe. With Annie dead, the only one who can stop Foster and his doom machine now is Julie Martin. 15. Dillon loves Annie, but the murdered Annie now lives inside Julie, and Julie thinks the whole thing is bizarre. As if life wasn't complicated enough, Julie and Dillon must stop HeNRI from activating its ill-fated Super Collider. But, with Special Agent Ivy Raven and half the army on their trail, getting anywhere near the secret facility will be almost impossible. Almost. 16. In order to stop HeNRI's super-collider, Julie must have the rest of the Beta Suit. When she infiltrates HeNRI's secret test facility, Julie finds what she's looking for. Question is, can she survive it? Find out in the latest issue of this radioactive hot series! 17. Julie is getting used to the idea of another woman living inside her, but she is not so crazy about Annie using her body to reunite with boyfriend Dillon! Meanwhile, HeNRI prepares to turn on its super-collider, despite global protest against it. Now it's up to Julie/Annie to stop the collider and save the world! 18. Julie Martin channels the other woman living inside her to break into HeNRI's top-secret research facility and steal the rest of the Beta Suit. But what they find is more than they could have imagined - and far more deadly! 19. Trapped in an underground bunker, Julie fights with Annie over who should use her body for the escape, and poor Dillon is the referee! Meanwhile, Dan's biker gang buries their fallen brothers. After the funeral, the boys mount up for an all out attack on HeNRI. 20. Annie lives inside Julie, and she's not happy. Annie is determined to stop the army from activating its top secret super collider, and Julie has been drafted for the job. Fortunately, she has the help of Annie's boyfriend, Dillon, and an insider at HeNRI. That makes four against the army. What are the odds? 21. The hunter becomes the hunted as Julie and Ivy team-up to track down the serial killer, Cain, and take away his only weapon, the alloy. Stakes are high as the girls must have the alloy to fight an even bigger fight - against an entire army! 22. Despite protests by the public and scientific community, the Phi Collider is complete and the 2-week activation process has begun. With the clock ticking, Congress calls an emergency session to discuss the situation. But Julie and Ivy have their own plan for stopping the controversial collider, and step one is loud. Very, very loud. 23. Time is running out for Julie and Ivy. In order to stop testing of the deadly new super-collider, they must first track down the killer Cain, and take his Phi alloy. Activation of the collider has begun, Cain is on the run, and the clock is ticking down. 24. Be careful what you wish for. Julie and Ivy's desperate search for Cain brings them face to face with the crazed killer, but it appears they've been led straight into a trap. Meanwhile, Foster flips a switch and the Phi super-collider is activated! 25. Julie meets Cain in a fight to the death for the rest of Annie's alloy, while Ivy is forced to use desperate measures to find and stop the Phi Collider. The atomic clock is ticking on a countdown to midnight, and time is running out! 26. Only 5 issues are left in this adrenaline-laced series! Julie and Annie combine forces to fight their way through state-of-the-art security systems and the world's most formidable army. With nothing more than a shared body covered in Alloy 618, the odds are against them, but the girls must win to prevent the Phi Collider from destroying the planet! 27. Alloy 618 covering her body in a liquid metal armor, Julie is at her most powerful when attacked. When Julie leads Ivy and Dillon into the heart of the secret underground Phi Collider, the military throws everything they've got at our brave girl, and the results are spectacular! Only 4 issues left in this Harvey Award-winning series! 28. Julie and Annie share the same body and must act as one to stop the Phi Collider. Once inside the top secret facility they must fight their way through indomitable security and find the man responsible for it all, Professor Foster. Only Foster can stop the machine that threatens the world, and only Foster holds the key to setting Annie free! 29. Julie and Annie work as one to fight their way into the secret underground Phi Super-Collider where they come face to face with Annie's killer. With the fate of all mankind at stake, Julie makes a brutal and very deadly decision. Don't miss the series' earth-shattering climax in issues 29 and 30 of this award-winning series! 30. This is it - the Final Issue of this award-winning series! Julie and Annie, sharing the same Alloy618-covered body, must fight their way through an army to stop the Phi Super-Collider from making a black hole that will consume Earth. Don't miss the adrenaline charged conclusion of Terry Moore's sci-fi thriller! HOW TO DRAW 1. Terry Moore is well known for his highly expressive comic art depicting realistic characters. Now his drawing secrets are revealed in a series of lessons discussing everything from anatomy to drawing tools, from body language to Photoshop, with comprehensive notes, tips and observations from the Eisner award-winning artist. The first lesson in this new quarterly series is Moore's specialty: drawing realistic women. Highly recommended for both amateurs and working professionals. 2. Terry Moore's comic art is known for it's highly expressive characters. In this issue of his How To Draw series, Moore explains the techniques he uses to render expressions of all kinds; from dark to light, on cartoons or realistic drawings. He even reveals the secret to capturing the human emotions of any given moment. This is a must-read for amateur artists and pros alike. 3. There is comic art and then there is beautiful comic art! Terry Moore continues his How To Draw series with a chapter on what makes a comic book heroine beautiful and irresistible. Covering every aspect of comic art, from panels to pinups, Moore reveals his secrets to drawing sexy characters that you can't forget. 4. Drawing to make people laugh is fun but it's also a skill that can be learned and polished. Whether you want to entertain your friends or spice up your working pro chops, Terry Moore's lesson on drawing to amuse offers a wealth of helpful tips and insights that will help you tap into your funny bone any time and every time. How To Draw: Funny is the newest chapter in Moore's acclaimed How To Draw series. Don't miss it! RACHEL RISING 1. Rachel wakes up at sunrise on a shallow grave in the woods and discovers the freshly murdered body in the dirt is her own. With events of the previous night a blur, Rachel seeks out her boyfriend Phillip. But Phillip has a new girl now and Rachel is beginning to suspect she rose from the grave for a reason... revenge! 2. Rachel Beck was murdered yesterday. Today she's back from the grave and looking for her killer. The problem is, death zaps the memory bank pretty hard. So now Rachel will have to investigate her own murder! 3. Rachel discovers her affair with death has given her the ability to see the death of other people - before it happens! Using her newfound ability gives Rachel a powerful tool to track down her killer, but it also brings her heartbreak. 4. The town of Manson has a serial killer on the loose, and Rachel is determined to find him. But probing the secret lives of her neighbors is proving to be more than she bargained for when everybody seems to be capable of murder... 5. Rachel's quest to find her own killer in the small town of Manson leads her to one of the oldest, most respected families in the country - and the vicious murder of a boy, 300 years ago! 6. Rachel and Aunt Johnny search for the deadly blonde angel leads them to the town's doctor and the horrifying truth about his shut-in wife. 7. Rachel Beck's affinity with the dead allows her to see the impending death of others. Rachel is quickly learning her newfound ability can be a powerful weapon that cuts both ways. 8. When graves begin exploding in Manson, Rachel suspects the cause is the mysterious blonde woman who leaves a trial of death behind her. Is she Death incarnate, or just one very ticked-off witch? 9. Rachel's ability to predict a person's time of death is useful when tracking a serial killer in Manson, but the unwelcome news also proves be a powerful weapon against even the hardest of hearts. Rachel takes creepy to whole new level in issue #9! (Comment on this)
Friday, February 11th, 2011
5:44 pm	Infernal Machine art (Comment on this)
Tuesday, November 23rd, 2010
5:59 pm	Lost Treasures magazine comics (2 Comments |Comment on this)
Wednesday, June 2nd, 2010
11:43 am	Temple of Yearning (Comment on this)
Tuesday, May 25th, 2010
5:39 pm	Staff of Kings PS2 script SUDAN - 1939 Magnus Völler - A fellow student under Professor Kingston, Magnus went back to Germany after being expelled and offered his services to the German government. Charles Kingston - Teaches Archeology at the University of Chicago, where he taught both Indy and Magnus. German Desert Commandos - These German soldiers should not be in Sudan. They are probably here to help Magnus and keep an eye on him. After observing some German activity near a forgotten temple, Indy looks for another way in. Indy is making his way into the temple. A torch would be handy to illuminate the way. At the door of the temple. The temple is falling apart! Reach the exit before it comes down on Indy. Now that he has escaped from the temple, Indy has to make his way through the German camp. First, he must learn how to punch. Now Indy learns how to use objects and hotset items. Indy learns how to use his whip in combat. Indy learns how to grapple with enemies. A large group of soldiers stands between Indy and certain escape. Finally escaping from the Germans. Too bad the plane is damaged... I'm in Sudan to recover some relics from the area's Nubian pyramids before they're lost to looters and graverobbers. I just hope I'm not too late. IND Germans...Why are they here? IND That's better! IND I need a torch to cross the bridge. IND Not bad... IND That was close! IND Oh... great. IND Es ist ein Fehler. Ich kann erklären, bitte. MAG Then by all means, Doctor Jones. Explain. IND Magnus Völler? MAG I see you already found what we were looking for. MAG Thank you. You've saved us a lot of work. IND What's a'matter Magnus? Can't go on digs without the Führer's babysitters? MAG Sticks and stones, as you Americans say. IND Professor Kingston was right about you. I'm just glad he's not around to see it. MAG The idol, Jones! IND How're those reflexes? MAG Bring him back! SAN FRANCISCO Magnus Völler - Like a bad penny, Magnus turns up all the time. What is he doing here? Blind Duck - A Tong leader with many followers in Chinatown. Archie Tan - An old friend and antique dealer. He has many connections both in the US and in Asia. Suzie Tan - Archie's young granddaughter. Quick witted, usually gets in trouble but manages to get herself out quickly. Charles Kingston - According to Archie Tan, Kingston has disappeared. Indy is in Chinatown to investigate a possible lead. Tong gang members - Gangs of ruffians that came from China, they work for whomever gives them the most cash. Indy has received a note from his friend Archie Tan about the disappearance of Kingston and the possible connection to the mysterious Jade Sphere. Someone was waiting for Indy. He must be on the right path. More hired muscle. Blind Duck really wants to get rid of Indy, but why? After a short flight, more trouble awaits Indy. Seconds after the Tong leader entered the factory, it blew up. Indy must go in there and save Suzie! Almost had Blind Duck. He just went up the staircase with Suzie. All Indy needs to do is deal with two shooting Tongs. They have nowhere to go. This fight ends now. Suzie led Indy to Archie's import shop. Unfortunately, someone else seems to have been here before... Cleaned up the mess in Archie's secret store room but there's no clue of what he was working on down here. There must be another secret path... The Star of the Orient! What secret does that ship hide? Another group of Tongs and the Jade Sphere is still nowhere to be found. Better deal with them and then look for the Sphere. Having managed not to give Magnus the Jade Sphere, Indy makes his escape on a cable car. This is the Lao Che Lounge. The local Tong thugs use this place as their meeting house. The Star of the Orient was used to smuggle goods out of China in the 1800s. It was buried as landfill after the 1906 quake, and the city rebuilt on top of it. ART Indy, I have information about Charles Kingston's disappearance in 1933. It involves something called "The Jade Sphere." ART I must show you in person. Please come at once. Be careful. Other parties may be interested. Archie Tan. SUT Indy! Over here. IND Suzie? Suzie Tan? SUT Aaah! Help! IND Hey! IND I gotta find Suzie... IND Suzie needs my help! CHM I'm trying to sleep here! SUT Help! SUT Hurry up, Indy! SUT Help me, Indy! SUT Let me go, you big oaf! SUT Let...me...go! BDK Stop him! BDK He's coming! Get ready! BDK I'm going to hurt you! BDK You don't stand a chance! BDK I'm stronger than you! BDK C'mon! BDK You are weak, Jones! IND Maybe there's a better way to do this... CPP Your friend is upstairs. Hurry if you wish to save her! BDK Put her up there under the billboard. SUT I'm gonna fall. SUT Indy, watch out! SUT ...so, when they came back, Grandpa hid me in a cabinet. I heard them dragging him away... SUT They kept asking for something called the Star of the Orient. IND Some sort of jewel? SUT I guess so. If I knew where it was, I'd give it to them. I just want my grandfather back. IND Did they mention anything about The Jade Sphere? SUT What's that? IND Probably nothing... can you get to somewhere safe? IND Don't worry, I'll find him. TOB No excuses! If we don't find that Jade Sphere, we're all dead men! TOX Maybe the boss was wrong! TOB I'll tell him you said that. Shut up and keep looking! TOA Dr. Jones, I presume. IND Don't think I've had the pleasure... TOA No? Allow me to introduce myself. TOA We want the Jade Sphere. IND I don't have it. TOA You think we're fools? IND Kill me, and you'll never find it! TOA You're running out of time, Dr. Jones! IND There's no way that cannon will fire. TOA Where is it? TOA WHERE? IND Wonder where that goes... TOA Hey, you! IND There's gotta be something around here I can use... IND There's gotta be a way to make this fall. IND The Jade Sphere isn't here. Maybe Archie moved it... IND Finally! I've found it! IND Völler. I should have known it was you. MAG The Sphere, Jones. Give it to me, or your friend dies. IND You want the sphere, huh? MAG Go! ART Don't give it to them Indy. IND Archie, grab the controls! IND Archie get ready to Jump. ART Who was that, Indy? He seemed to know you. IND Magnus Völler. We studied together under Charles Kingston. IND He got thrown out of the program for selling artifacts on the black market. IND After that, he crawled back to Germany, started running errands for Der Fuhrer. ART Kingston asked me to keep the Jade Sphere safe... I didn't think it was worth killing for. IND Neither did I. Something's going on here. I need to start looking for answers. ART Where? IND The same place Kingston found this. Central America. PANAMA Magnus Völler - Magnus seems to be chasing Kingston as well. Maybe he doesn't have anything to do with his disappearance. Charles Kingston - Panama is where Indy, Kingston and Magnus found the Jade Sphere originally. Maybe there is some clue as to Kingston's whereabouts in the temple. Maggie O'Malley - A photographer that Indy met by chance during his trip to Panama. Sudao - The leader of the pillagers, Sudao's mastery of fire is a sight to behold. Villagers - The guardians of the temple, these villagers live a peaceful life at one with nature. Village Chief - The village chief knew Kingston well. He saw him last when Kingston went into the temple, a few months back. Pillagers - Pillagers who will work for anyone, they seem to be in cahoots with the Germans. German Commandos - These soldiers seem to have been personally assigned to Magnus. What are they really looking for? Knowing the Jade Sphere is from Panama, Indy makes his way there to get his old professor's notes and find more clues as to his disappearance. As much as Maggie tries to help, sometimes it is not appreciated. Especially when she triggers a rock slide. The inhabitants of this village were good friends of Kingston. It can't be a coincidence that they are under attack. After having helped the villagers, Indy makes his way to the temple to pick up Kingston's trail. More pillagers. Their main camp should be close by. The leader of the pillagers seems to love fire a bit too much. Still, Indy must go through this man to reach the entrance to the temple. Finally, the Mayan temple. Magnus' men are here already! Must make it to the Planetarium before them. There must be a different way to deal with this machine gunner... Indy has reached the top of Three Rivers, but looks like company is coming... A strange room, with four different paths opening in front of Indy. Which way to go? Giant stone blocks falling behind Indy! He must dash to safety. Another Mayan puzzle. How to get the swinging boulders to open up the path? These large boulders are blocking Indy's path. They sort of look like giant marbles... This room looks like some ancient version of basketball, but much more dangerous. With the staircase leading up destroyed, maybe there is a different way out... Indy must find the way around this large hole in the ground. Good thing that Indy has a torch to light his way down this dark corridor... Another trial from the Mayans... a burning bridge. Indy must hurry across the bridge before the flames reach him. Kingston was fascinated by this room last time. He must have hidden his notes somewhere around here. Kingston did a lot of work in this area of the jungle. He was on good terms with the local natives. Maybe they know where he went. They don't try court cases like this anymore... The Maya used to pit champions against each other to determine a person's guilt or innocence. Kingston brought Magnus and I to this temple back when we were both students. This is where we found the Jade Sphere. In the Mayan myth of Xibalba, there were three rivers guarding the underworld... one made of blood, a second of pus, and a third of scorpions. Another room based on the legend of Xibalba: these four paths were meant to confuse and test the traveler, leading him to his doom. The Ball Court is part of the legend of the Hero Twins who defied Xibalba. They let the Lords of the Underworld beat them, in order to fool them into letting their guard down. A bridge of fire was the last test before the Planetarium, the resting place of the gods. IND Holà, señor. Are you going upriver? MOM Can I help you? IND I'm trying to hire this boat. Miss...? MOM Maggie O'Malley. And you can't. That's my gear on the deck. Find another boat. IND Listen, sweetheart... MOM No, you listen. I've got about a hundred pounds of camera equipment here, about two weeks of work to do in five days, and I've already missed half my deadlines. MOM Sweetheart? BPI Same way. BPI I take you both, but no argue on boat. IND All right, I better get moving. MOM Where are you going? IND The temple. What I'm looking for is inside. Just stay here till I get back. PGR He's here! Get him! IND I think I've got enough clues to know who's funding those pillagers... Magnus Völler. IND I can't go back there! MOM Watch out! IND Woah! That was too close! IND Looks like I found their camp. Better stay on my toes. IND Germans. Why does it always have to be Germans... IND Huh. This seems to symbolize the three Rivers from Mayan mythology, one color for each of them... IND Huh. This seems to represent the three Rivers from Mayan mythology... IND Somehow, I don't think I'll have it as simple as the Hero Twins did... IND Guess I'll have to find the right path the hard way. IND The ball court from the Mayan underworld. Looks like I'm on the right track! IND I need to get out of here... IND Four... IND Three... IND Two... IND One... IND Hrm. Maybe a chain reaction would clear the path... IND Jaguar House. Only it looks like someone forgot to feed the kitties... IND And lo, the demons loved to play the ball game, but only the Hero Twins were able to find them all... IND Eight... IND Seven... IND Six... IND Five... IND Four... IND Three... IND Two... IND One... IND The Ball Court. In the myth, the Twins LOST the game to the demons on purpose... IND Wrong hoop! IND Got it! IND Looks like I'm going to find out how good a ball player I am... IND Amazing... IND Kinda looks good from all the way up here.... IND I need some kind of bridge... IND That's more like it. IND This looks pretty shabby, as far as dungeons go... Might even be worse than my office. IND A bridge lined by dragon statues... Very subtle. Too bad I don't have an asbestos suit with me. IND Planetariums were often used to model the alignment of the stars. Let's see if I remember my old Astronomy classes... IND Six boulders... These must represent the six planets the Maya knew about. IND What are you doing here? MOM I might ask you the same thing. IND Looking for this. MOM A notebook? Belonged to your friend? IND Yeah. MOM Why would he leave that here? IND To keep it safe. He must have been on to something. Something big. IND Cut it out. IND See here? IND Then Moses stretched out his STAFF over the sea, and all that night the LORD drove the sea back with a strong east wind and turned it into dry land. IND The waters were divided, and the Israelites went through the sea on dry ground, with a wall of water on their right and on their left... MOM The Staff of Kings? IND Kingston must have been looking for that when he disappeared. MOM And you think our German friends are after it? IND Yeah. And I've been nice enough to find it for them. We gotta get out of here, cover our tracks. IND Oh... great. MAG Ah. Indiana. I see you found Kingston's notes. Allow me to save you the trouble of a trip to Istanbul. IND Istanbul? These are just old Mayan calendar translations. MAG Of course. How convincing you are. MAG The notes, Jones. Now. MAG No! IND What took you so long? MOM You're welcome. MOM So, headed for Istanbul, are we? IND What do you mean, "we"? MOM Dr. Jones... Indiana, let me save you some trouble. You're going to tell me that I can't come with you. MOM I'm going to remind you how I saved your life. You'll tell me I have to stay behind, for my own safety or some such nonsense. MOM You'll leave, I'll follow, and you'll keep wondering when I'll be showin' up. Now wouldn't you rather avoid all that? ISTANBUL Magnus Völler - Of all the places in the world, what is Magnus doing at this reception? He must be after the same thing Indy is. Maggie O'Malley - The British photographer is here, at the museum covering the reception. Curator - A good friend of Marcus Brody, he might have some information that Indy can use. Charles Kingston - Kingston's notebook led Indy here. He was looking for the Shepherd, which would in turn lead him to the Staff of Kings. German secret agents - It's no coincidence that these German spies are here seeing as Magnus is here as well. Indy uses the cover of a reception to go looking for three more mosaics depicting Moses' life. They will lead him to the Staff of Kings. German spies! On the path to the second mosaic. More German spies. The German spies stand between Indy and the path to the third mosaic. The path to the third mosaic. Indy finds himself in an ancient mausoleum. A trap! Indy must run or get killed by a giant thresher! On the path to the fourth mosaic. Indy must find a way to open up the bladed corridor in order to reach the fourth mosaic. So close yet so far: blades block Indy's path. Indy must jump at the right time. Some German spies await Indy as he is about to find the Shepherd. The Shepherd is close. Only a few thousand bugs stand in the way... The Shepherd. Finally. Indy and Maggie must escape the Germans using this elephant as a ride. This used to be the Sultan's private palace in Istanbul. But it was recently converted into a museum. Tonight they're having a gala ball to celebrate the opening. This mosaic seems to portray baby Moses being placed in the river by his mother... Another part of the Moses story -- this mosaic shows Moses facing the Burning Bush. Another Moses mosaic -- this one shows him parting the Red Sea on the Exodus from Egypt. A final mosaic depicting Moses. This one shows him descending from Mt. Sinai with the Ten Commandments. This room is filled with treasures from the Ottoman Empire. Many of the Sultanate's most valuable treasures are kept here. This mausoleum was the final resting place for some of the most important historical figures of the Ottoman Empire. May they rest in peace. IND You go in, I'll be there in a minute. MOM Hurry up, I don't care much for diplomats. CUR Indy, so good to see you again. IND You too, Yasin. CUR Come with me. MAG Lovely night, isn't it? MAG I saw you and thought: such a woman should never lack for company. Champagne, Miss...? MOM O'Malley. And thank you. CUR Professor Kingston spent hours looking for a secret passage in here. Apparently, it had something to do with these murals. IND "...and when she saw the ark among the reeds, she sent her maid to fetch it." Baby Moses. CUR I've got to go back. Take the time you need. MOM ...it must be fascinating work. Where are you off to next, Mr. Völler? MAG Well... With any luck, I'll be spending April in London. MAG But enough about me...tell me about our common acquaintance, Indiana Jones. MAG I know who you are, Miss O'Malley, and I know who you work for. The question is, does Jones? MAG Bring her back. And try not to cause a diplomatic incident. MOM Shh... IND The Germans made it to the Palace already... IND This is another of those Markers Kingston was looking for. IND Looks like something's going on... IND Those are priceless antiques... And those bozos are using them for target practice. IND How did they get in here? IND Maybe I can use those skulls to jam the gears... IND Let's see, a sultan and some harem girls... I think I can guess how these are supposed to be placed. IND I should be able to get through this if I can just figure out the timing... IND I need to get to that coffin. Hrm. Those swords don't look like they're there just for decoration... I wonder... IND That switch has the same motif as the one in the Moses Chamber... wonder if it does the same thing? IND From a guarding position to one used in knighting ceremonies... I'm gonna take that as a sign to go ahead. IND Well. Only one way to find out if this was the right combination... I might as well go check this out. IND That's the Bay of Bengal...the Himalayas... IND I need some sort of light... IND Better watch my step. IND This must be what Kingston was after! IND Four... IND Three... IND Two... IND One... IND Where'd you learn to do that? MOM Kenya. Shall we? IND We're gonna need something a little faster. We can't ride this all the way to Nepal. MOM Nepal? I'm a bit underdressed for that... NEPAL Magnus Völler - Magnus was looking for the same thing as Indy after all: the Staff of Kings. Maggie O'Malley - O'Malley followed Indy to Nepal, but has vanished at the first occasion. Charles Kingston - Finally caught up with Kingston. Villagers - Peaceful villagers who happen to be in the path of the Germans. However peaceful they are, they will not let the Germans trample over them. German Snow Patrols - Specialized soldiers who know how to deal with snow conditions. Magnus seems to be well equipped for this mission. When Indy awakes, Maggie is gone. She must be crazy to brave the cold cliffs of Nepal by herself. Good. A place to warm up. The wind is really picking up out there. Good thing Indy found shelter. This dark tunnel seems like a good path to go forward. Indy knows that he is on the right path: this village should be near the Staff's resting place. Where are all these German soldiers coming from? Indy must hurry up and find a way out of the village before it is overrun by German soldiers. A small encampment of German soldiers stands between Indy and the Ice Cave. The Ice Cave: the final resting place of the Staff of Kings. Indy must find a way to bring down both Snake Bridges. This room seems to be built around the story of Moses and the Nile. Finally, the Staff of Kings! Now to find a way to get it out of its icy prison. Collapse! No time to find out why, run Indy! Indy must find a way out of the Ice Cave now that the only exit has collapsed. Indy found a way out, but this boat ride won't be a pleasure cruise. The giant statue in this room seems to represent the guardian of the Staff. I bet those two stones it's holding are supposed to represent the Ten Commandments. These statues must represent the Guardians of the Staff. They were a select group of priests, chosen to take the Staff into hiding and safeguard it until it could be reclaimed by someone worthy... This object must be the Shepherd. The legend says the Shepherd will reveal the final resting place of the Staff. That's great... but how does it work? This city must have been founded by the Guardians of the Staff as a final resting place for their treasure. The current inhabitants must have descended from them, as well as the local Nepalese. This room is probably based on the story of Moses and the Burning Bush. If I'm right, the story of baby Moses being placed in the river by his mother has something to do with this room... The Guardians of the Staff must have carved this chamber out of the stone of the mountain itself. It must have taken them years. MOM We're not stopping... IND Boy, you don't let up, do ya? MOM We're running out of time. IND Relax. We need to warm up... get some sleep. We'll get there first thing tomorrow. IND Trust me. IND Maggie? IND It's...f-f-freezing! IND Can't stay in this cold much longer... IND I gotta light a fire... IND I need shelter... Now! IND Gotta find another way. IND Whew. That was close... IND C-Can't light a fire till I b-block that wind... IND Ugh. More Germans... IND If those Germans are on my tail, I'm in trouble... Well, more trouble, anyway. KIN I knew if anyone could find this place, it'd be you. You shouldn't have brought your friend, though. IND Maggie. Where is she? KIN She's safe...it's a bit complicated. KIN These people have watched over the staff for centuries. KIN It's in the temple above the city, but they will not let anyone near it... as your journalist friend found out. IND I'm sure she didn't mean any harm, Charles. KIN She tried to break into the temple. Making the Staff's existence known could have dire consequences. KIN Imagine the people who might attempt to claim it...and misuse it. IND I don't have to imagine, Charles. Magnus Völler is coming for the staff. KIN Magnus? Hmmp. No matter. As long as you located both the other Shepherds, he should have no way to follow you. IND Both... the other Shepherds? KIN You read my notes... IND Well sure, but... KIN All my notes? IND We were a little pressed for time. KIN Indiana, if Magnus found the other Shepherd... KIN Indy, you must get the staff before they do. IND And the angel of the Lord appeared unto him in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed. IND So... I need to find a way to open those gates and then set the bush on fire... Yeah, something to fuel the fire would be nice too. IND All that's left now is to set the bush on fire... IND And the daughter of Pharaoh came down to wash herself at the river; and her maidens walked along by the river's side; and when she saw the ark among the reeds, she sent her maid to fetch it. IND And Moses stretched out his hand over the sea; and the Lord caused the sea to go back by a strong east wind all that night, and made the sea dry land, and the waters were divided. IND Looks like things are going to need to get a little hot around here... IND Huh. Maybe I can use this puzzle to my advantage... IND There's a crack in the wall... That wasn't there before! MOM You found it. I was almost hoping you'd come back empty-handed. IND What do you-- IND What do you mean? IND I've got to say, Fraulein, you've got one heck of an Irish accent. MOM I'm no German, you idiot! I'm working with British Intelligence! MOM My mission was to get the staff before Völler... but it's too late for that now, we're surrounded! MOM We can't let him have the Staff, Indy. MOM But we can seal it inside this cave forever. IND Story of my life. Come on, let's blow this place from the outside. MAG Indiana. I grow tired of these reunions. I should bury you here, in this temple. IND Funny you should say that, Magnus. MAG Take the spy and the Staff aboard the Odin. And reconnect these. MOM Let me go, you bastards! MAG Goodbye, Indy. MAG Jagt diesen Tempel in die Luft! ODIN Magnus Völler - Magnus has not only taken the Staff from Indy, he's also kidnapped both Kingston and Miss O'Malley. Maggie O'Malley - Turns out that Miss O'Malley is a British spy. Magnus has kidnapped her and is holding her hostage on his flying fortress, the Odin. Charles Kingston - Kingston has been kidnapped by Magnus. Hopefully no harm will come to him. German Marine - The best soldiers of the German army. This mission must be very important if they are part of Magnus' retinue. This zeppelin must be the airship that Magnus uses as a mobile base of operation. Lots of interesting things in here... Maggie and Kingston must be kept prisoner around here somewhere... Quite the view from up here. Falling is not an option, but now Indy must find a way in and locate Maggie and Kingston. The good news is that Indy knows where Maggie is. The bad news is that the Germans aren't keen on stow aways... Magnus took off with the Staff! Indy must stop him before he escapes! The Eagle was a clipper brig - it was sailing from Calcutta to Hong Kong in 1850 when it got caught in a typhoon. If this is it, then whatever prisoners she carried never got their shot at parole... IND Maggie! MOM Indy! IND Hang on, I'll get you out. KIN Magnus, please... would you just listen to me? MAG Listen? To you? I have beaten you, Herr Professor. What I do, I do for the glory of Germany. MAG And there is nothing you can do to stop me. Your lap dog, Indiana Jones, is dead. And I have THIS! OPI Herr Völler! Alarm! MAG You again? Must I do everything myself? MAG Jones! This time, I will WATCH you die! MAG So long, Indiana! KIN Magnus! IND Charles! KIN The staff... MAG How touching... IND Hold on! MAG You want the staff, Jones? Come and get it! IND Come on! IND Heh - how often do I get to knock German soldiers around with a piano? IND If they get up those ladders, I'm in trouble... IND I need to knock 'em off those ladders! IND There's gotta be an easier way in... IND The plane's been shot... IND Woah! IND If I don't shoot that crate, I'm dead! IND A little chilly out here. And REALLY far away from the ground... IND We need to slow down! IND We're not going fast enough! MOM Not good! MOM Oh no! MOM Watch out! MOM Ouch! MOM Hey, that hurt! MOM Oh, I don't like this. MAG It... can't... be... MAG You don't have what it takes! MAG Ha! Is that all you've got? MAG Do you really think you can win this? MAG You.. cheat! MAG Damn you, Jones! MAG Just die, already! IND Come on! IND Come on, hurry! MOM What are you doing? Come on! IND I'm not... doing... anything! MAG Jones! IND You ok? MOM I'm fine. How about you, Dr. Jones? IND Not bad. MOM You know, I have my orders. I'm supposed to keep the staff away from unsavory types. IND Little late for that, don't you think? IND Aaah! IND It'll take care of itself. Come on. COOPERATIVE Indy and Henry must make their way down a raging river to reach the temple. At the Mayan temple. Can Henry and Indy survive the tests to get the ancient artifacts? Germans again. They stole the artifacts and now Indy and Henry must race after them in a tank. The artifacts are on that plane! Henry and Indy must shoot it down to prevent the Germans from running away with them. They brought the artifacts into that warehouse. Using their guns, Henry and Indy must fight the Germans inside. With the help of some heavy artillery, Indy and Henry must fight a tank that is blocking their way. With the artifacts back in their hands, Indy and Henry attempt to outrun the Germans. Indy and Henry must stop the zeppelin airship from stealing the giant Mayan statue. ARTIFACTS: Nubian Bust - This Nubian bust dates from about 1300 BC. It's a nice piece. Marcus should pay handsomely for it. Limestone Tablet - This limestone tablet depicts a Nubian archer named Nenu, if I'm reading the inscription right. It's almost 4000 years old. Gold Ram's Head - This gold ram's head looks like it was some sort of amulet. It's pure gold, probably from about 700BC or so. Gold Bowl - This gold bowl dates from the 8th century Tang dynasty. Ceramic Figures - This is a ceramic figurine of an Earth spirit, probably from the Tang dynasty. Bronze Flask - This bronze flask dates from the Zhou period, around the fourth century BC. Bronze Horses - These bronze horses date back to the 2nd century AD, eastern Han dynasty. They're good pieces. Gold Censer - Looks like a censer for burning incense. Western Han dynasty, if I'm not mistaken. Dog Statue - It looks like a crude piece, but it deserves a place in a museum. It's a burial offering, hard to tell when it was made. I'd say right around two thousand years ago, give or take. Ming Vase - This jar is a genuine Ming artifact. I can't just leave it here. Earthenware Jar - This jar is earthenware, painted and shaped to look like bronze. It would have been used for burial offerings. What it's doing here, I have no idea. Ancient Bank Note - If I'm reading this right, this is a bank note from the 13th century. It was worth about a thousand coins back then... I wonder how much Marcus would be willing to part with for it. Jade Figurine - Interesting piece. Jade was reserved for the elite of Maya society, but this figure is clearly a servant or captive. Maybe it served as a trophy or commemoration of some kind... Ceramic Bowl - This ceramic bowl is covered with scenes of human sacrifice. Maybe it was used in those rituals in some way -- possibly to collect blood from the dying victims. Ceramic Figurine - Marcus will want to see this. It's ceramic, but remarkably well-preserved. I better be careful with it. Wooden Figurine - This is actually a wooden carving, covered in stucco and painted. It depicts the Maya rain god, Chac. Something like this was found at the dig site at Tikal. Jade Pendant - This piece looks like some sort of pendant. This type of bright green jade would have been highly prized by the Maya. Death Mask - This looks like a death mask for a Mayan ruler. It's a combination of jade and mother of pearl... it would have been priceless a treasure to the Maya. Ceramic Monkey - This ceramic monkey figurine was taken from a dig site in Uaxactun, Guatemala. Royal Shield - This shield must be part of the armor of Sultan Mustapha III. Royal Gauntlets - These gauntlets look like part of a set. I bet they're part of Sultan Mustapha III's suit of armor. Gold Belt Buckle - This belt buckle predates the palace by almost two thousand years. It's a priceless artifact. I'm not about to let the Germans find it. Crystal Bottle - This bottle was carved from a single piece of rock crystal... I'm guessing late 16th century. Holy Book Receptacle - This would have been used to house the Sultan's Koran. I better keep it away from the Germans. Gold Relic - This thing is real gold, all right. Those jewels are real, too. Germany could pay all her troops for a week with this thing. Royal Crown - This is the crown worn by Suleiman the Magnificent. It's probably worth more than... well, more than I've ever made, that's for certain. Bejeweled Aigrette - This aigrette would have been used to adorn the headdress of the Sultan himself. These gems are the genuine article. It must be priceless. Dagger of Topkapi - This is the Dagger of Topkapi -- one of the most famous treasures in all of Istanbul. I can't let those Germans get their hands on this. Gold Flask - This flask is solid gold, and encrusted with precious stones. I better keep this safe until the Germans have left town. Selim's Water Bottle - This water bottle was made for Sultan Selim II in the late 1500s. It's even inscribed with his name. Gold Writing Case - This writing case is jewel-encrusted gold. I'd hate to see this bankrolling the German war machine. Ceremonial Collar - This collar depicts the god Shiva in the incarnation of Bhairava. From the style, I'd say late Malla period, maybe 1675 or so. Ivory Buddha - Looks like ivory, maybe 17th century. It's an image of the Buddha surmounting a skull. Copper Indra - Looks like a representation of Indra. It's definitely copper, and possibly from the 16th century. Jambhala Statue - It looks like gold, but it's mostly copper. Still, a nice piece depicting Jambhala, the Buddhist god of Wealth. Mask of Bhairava - Looks like late 15th or early 16th century. I'd guess this mask of Bhairava was used in religious ceremonies. Germanic Cup - I recognize this piece. It was created in the 1500s for an order of Germanic knights. The figure on the top is supposed to symbolize strength and power. No wonder Magnus likes it. Germanic Shield - This shield dates back to the old Langobard, one of the Germanic tribes of the dark ages. (Comment on this)
Monday, May 24th, 2010
2:37 pm	(Comment on this)
Wednesday, May 5th, 2010
1:37 pm	FX Storyboards (Comment on this)
Sunday, May 2nd, 2010
9:44 am	Raiders Storyboards (Comment on this)
Tuesday, February 16th, 2010
11:22 pm	Adventure Club Magazine Comics (Comment on this)
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5:15 pm	Young Telegraph (Comment on this)
Wednesday, August 12th, 2009
9:22 am	Temple of the Forbidden Eye Notes on Maps, Rubbings and Drawings:   Temple of the forbidden eye, Lost delta region, India. Discovered by Dr. Indiana Jones Circa 1935 - Flood debris. It is theorized that the temple was buried in a flood over 2000 years ago. Much of the temple, however, was built in underground chambers. [in red] Watch out for the crocks. Get some reinforcements up here before a stone falls and kills someone, Indy.   Snake column braziers once used to light ceremonial fires. Bas relief in 'promise of youth' corridor - note empty husk of elder. Wall paintings in promise of youth corridor depicting the old transforming into the youthful.   Common Motif found throughout the temple complex: Bowl: Earthly Riches Jug: Fountain of Youth Amulet: Future Vision   Bas relief found in hall of promise Indy believes the bas relief depicts Mara looking into the minds of his worshipers to discover their greatest secret desire - note eyes are closed so it is safe to look at this Mara.   Youthful Mara statue A 612 13X found in the promise of youth corridor - 12'-0" approx.   Absolutly no snakes in my office!! Indy.   Inscriptions:   Inscription over doorway into entry to temple: Beware the eye of Mara. Entry to temple: Look not into the eye of Mara and you shall receive the gift of eternal youth, earthly riches or future knowledge. Anteroom: It is forbidden to pass beyond this chamber without a servant of Mara to guide your path. Heed this warning of risk incurring the wrath of Mara for doom awaits the unbeliever in the darkness beyond. Obelisk of doom: [scarab=crocodile pit, skull=labyrinth of chaos, cobra=buried colonnade] Next to flooded maze: Only the blind shall see. Buddha: Earthly riches. Fountain: Only one spring can restore youth and vigor, choose wisely. Wall north of fountain: Drink deeply the water of life. Avenue of voices: The eye of Mara sees deceit. The eye of Mara never sleeps. Look not with your eyes but with your heart. Fortune favors the pure of heart. Painted next to chiseled wall: True rewards await those [who] choose wisely. Beware the deadly booby traps that [lie beyond the] hidden passage [rab]id bats pois[on spikes] [l]ead to death [eter]nal doom Mara wealth evil [w]ould quit as eye kill [t]o jammed spiked [des]ire you virtue. Rolling Stone gate: The gates of doom are ever open. Spike room: Hall of descending blocks: Rotunda calendar Sarcophagus (circle): The pure of heart are protected beneath the watchful eye of Mara, woe to the unworthy who pass beneath. Rotunda calendar Sarcophagus (four corners): Plow the field. Plant the seed. Reap the harvest. Tribute to Mara. Altar of stone tablets (in theater): Behold the gifts of Mara. Three tablets: The Observatory of the Future. Behold the amulet of Mara and you shall see visions of the future. But beware the eye of Mara. The Chamber of Earthly Riches. Wealth beyond your wildest imagination lies within and is yours for the taking. But beware the eye of Mara. The Fountain of Eternal Youth. One sip from the eternal spring shall renew vigor and youthful spirit. But beware the eye of Mara. Above queue split: Only the pure of heart shall gain admittance into the chamber of destiny. At top of stairs: Mara shall guide you through the doorway of your most secret desire in the chamber of destiny. Hall of promise at exit from the transport (both sides): Beware the eye of Mara, one look will lead through the tunnel of torment to the gates of doom. Tablet on dock: Gates of Doom.   Notebook in vestibule:   Beware the eye of Mara. The mural of Mara. Item #14-B. Painted with egg and natural pigments on wet plaster - has held up remarkably well. Mara The benevolent god Mara stands with closed eyes as a warning do not look into his eyes!! The gifts of Mara. These ancient artifacts are found in the great inner temples: The amulet of future knowledge. One glance into this mystic amulet will give you visions of future events! The bowl of earthly riches. This overflowing bowl is filled with gold and gems which are free for the taking! The fountain of eternal youth: one sip from this mystic vessel will restore youth to the aged and vigor to the ill!!   The temple of the forbidden eye outer or entry temple lost delta, India 180 BCd Sculpture--49-B identical to mural design - in main office pending shipment. Tomb of the servants: Mummified remains of village Elders lurk in this dank chamber--very delicate! Do not disturb: Indiana Mummified elder of servant of Mara. When first discovered the temple was shrouded in jungle foliage. flood debris. Inscription reads "Look not into the eye of Mara and you shall receive the gift of Eternal youth, Earthly riches or Future knowledge." Translated by Prof. Jones   Letters and telegrams:   June 4, 1935 Indy, Greetings old friend. Here is the missing piece of the temple map! Fortune truly shines on the pure of heart! (and he who has a brother-in-law in the black market!) God go with you and I will join you as well. Sallah   August 10, 1935 Indiana Jones Lost Delta Encampment, India Indy, So you have found the mysterious temple of the forbidden eye! Congratulations! But please proceed with caution. Sources in Calcutta tell me this temple of yours has a darker side. Legend has it that Pilgrims who were lured there with promises of great gifts were never seen again! Yours truly, Abner Ravenwood   Eastern Union Telegram VH 95 LD=IJ WASH 12 16P 1935 SEPTEMBER 4 PM 302 Professor Indiana Jones, Lost Delta, India Indy, The samples you sent are warnings stones. Very Important you translate before entering temple. Repeat--very important. Abner Ravenwood   Professor Indiana Jones                           Sept. 13, 1935 Lost Delta Encampment India Indiana, I concur with your findings.  Visitors were lured to the temple with the promises of gifts, but once they looked into the eyes of the god they were doomed. I believe you can gain access to the inner temple if you avoid this trap! Good Luck Abner Ravenwood   Indianensis Universitatis Sigillium MDCCCXX 1401 Flower street, Laurence, Indiana Oct. 1, 1935 Professor Indiana Jones, Lost Delta Encampment, India Professor, Marcus Brody informed us that you have located the temple. We are anxiously awaiting reports. By the way, an old friend of yours-a Dr. Beloq-called and I passed along your whereabouts to him. I believe he wants to join you at the site. Best of Luck. Regards-Professor Kauffman.   National Museum Division of Antiquities 521 Rodier Street Washington D.C. October 12, 1935 Indiana Jones Lost Delta Encampment India Dear Indy, Received the rubbings yesterday. Pictographs tell of gifts -- eternal beauty, riches, et cetera. But warning in the lower left was added at a much later date. Something about eyes and death. I can't quite make it out. I'm still working on it. George Marshall Curator Division of Antiquities National Museum   June 6, 1936 Lost Delta Encampment, India Sallah, Rotten luck Reports of "Temple of the Forbidden Eye" have hit the newspapers and newsreels. It's shaping up to be the biggest thing since Santa Claus. Counting on you to control the feeding frenzy until I return. Have deciphered a new map that may lead to the power source of the temple. I intend to try. Watch out for that snake Belloq! Indiana   Sallah, Today I'm trying out the hidden passage we talked about. I'm convinced it leads to the "Jewel of Power." I know you wanted to go with me but I need you out here to keep the tourists in line. If one of them decides to go eyeball to eyeball with the god, its adios amigo. Indiana   Mr Sallah July 3, 1936 Temple Excavation Site Lost Delta, India My good man, We are sympathetic to Jones' "grave questions" about the safety of the site. But we are not prepared to shut it down at this time - Carry on! You are doing a smashing job getting the tourists through unharmed. Regards, Col. Blumbard Attache' to the Consul General British Colonial Affairs   July 5, 1936 Temple of the Forbidden Eye Excavation Office Sallah, Received your letter detailing Indy's disappearance inside the temple. I am leaving at once. I suggest you keep the tours running. Perhaps one of them will locate Indy. Marcus Brody   Eastern Union Telegram WDI 95 DL=IJ Glen 721 Lost delta Excavation Site, India Sallah, Learned of the news of Indy's disappearance. Study all references to the "gates of doom." They seem to guard the "Jewel of Power" perhaps Indy made it past the lethal force of that trap then he would have found the immense cavern where the Jewel is stored. Abner Ravenwood   July 12, 1935 Mr. Sallah, Temple Excavation Site Lost Delta India Indiana, Greetings, good work cleaning out that infernal spike chamber! Imagine! We had no idea some of them were poisoned! Will send an antidote as soon as possible! In the meantime, please make sure the tourists are not inconvenienced by this nuisance. Regards, Sir I. M. Wooly British Colonial Affairs   Newsreels:   Eye on the Globe The remote jungles of India's Lost Delta, its perilous pathways no deterrent to tourists. From all over the world they are flocking here following a strange story of a mysterious temple and gifts from the gods. The story begins one year ago. World famous archaeologist Indiana Jones follows a tattered map to an ancient edifice. Strange symbols, puzzling pictographs. Could this be the fabled Temple of the Forbidden Eye? Jones says, Yes! According to Doctor Jones the temple contains a Chamber Of Destiny where an ancient idol lured visitors with promises of gifts. Eternal youth, earthly riches or visions of the future. But those gifts were bait in a deadly trap, for any who looked into the eyes of this double dealing deity took a detour to doom. A chilling tale indeed. But not chilling enough to cool off the hot pursuit of thousands of greedy globe trotters. They've heard of Jones' discovery and they're ready for a supernatural shopping spree.   The crème de la crème of the international smart set are wearing khaki this year and the new vacation hot spot is Temple Of The Forbidden Eye. Everyone's agog over this enchanting discovery by famed archaeologist, Indiana Jones. They've heard rumors of rewards to visitors. Unlimited riches, eternal youth or visions of the future. Now just one little hint - the ancient temple idol. Doctor Jones' long time friend, Sallah, warns that if you so much as peek into his eyes the next stop on your itinerary will be the Gates of Doom. Here's silent film star Norah West, one of the temple's recent visitors. She visited the Fountain of Eternal Youth. No more matronly roles for Norah, move over Gene Harlow! This jubliant junior visited the Chamber of Earthly Riches. Looks like his allowance has gone up. Hey buddy, can ya spare a dime? How 'bout a million of 'em? Why even Sallah confessed that he had recently visited the Observatory of the Future. Maybe he can tell us who will win the World Series? Let's ask. "Oh yes about the series, my friends, the baseball players are the big winners. Someday, they will be making millions of dollars a year!" Hmm, perhaps even the vision of the gods can be a bit blurred. Will it happen? Keep your Eye on the Globe!   Newswire – Riddle of the Lost Tourists! – Eyes on the Globe Temple of the Forbidden Eye continues to beckon visitors from around the globe. They've all heard the tantalizing tales. A matronly movie star made young again, the paupers who became Rockefellers in these ruins... but a darker tale has surfaced. Many visitors are claiming loved ones have disappeared inside. Could it be they looked into the eyes of the idol? The reports reach Indiana Jones, who returns to the site of his great discovery. Our newsreel camera follows Dr. Jones as he enters the temple. One week later, and still no Indiana Jones. Could Jones himself have locked eyes with the idol? Or will he solve the riddle of the lost tourists? When and if he does, Eye on the Globe will be there. Keep your Eye on the Globe – The End   Sallah: Welcome, my friends, to the Temple of the Forbidden Eye! I, Sallah, shall now give you counsel to safeguard a miraculous journey. Here in your transportation devices are ingenious pouches for safekeeping of earthly treasures when the journey becomes, er, bumpy. And to keep you safe and sound, here are special belts attached into the seats! Simply pull it from the right, inserting it into the left, like so. You see the excellence of this invention? Your off road journey is high speed and turbulent, going over rough and rugged terrian, and then suddenly you are turning sharply, and dropping suddenly! It is unlike anything you have ever experienced I assure you! Now my friends, one final word of advice. Once you enter the Chamber of Destiny, look not into the eyes of the idol. That would be dangerous, very dangerous. Well, my friends, your moment is drawing near! Already I am envious of the wonders that await you, if you avoid the eyes of Mara, that is.   Archeologist in well (burial chamber) each time the rope is pulled: 1. I say, leave off the rope old chap! Be a jolly good sport there. 2. ... uh oh... oh no... Oh Blimey! Ahhhh! (fall, thud) 3. Careful, I'm reading an artifact down here. ... now... "Fifty years of sorrow shall befall the destroyer of this... uh ... vessel." 4. (crash) Oh no! 5. Blast it all, don't pull the rope. You don't want to break an art... (crash) Oh dear! 6. I say, stop mucking about up there! 7. Oh blast, not again! Ahhhh! (fall, crash) 8. Leave off the rope old chap! Be a good fellow. I've a frightfully valuable artifact down here. 9. (crash) Oh no! I had a terribly valuable artifact down here.   Sallah: (before ride starts (first round)) 1. Hello, hello, are you now coming in? Please make sure your seat straps are securely fastened. 2. Come in my friends, come in. Are you now getting ready with your seat straps securely fastened? Good! 3. Attention, attention, please! Sallah speaking. Please check your seat straps making sure always they are securely fastened. 4. Are you there? Come in. Splendid! You have only to check your seat straps. Buckle up tightly now. 5. Hello my friends, come in. Are you now getting ready with your seat straps securely fastened? Good!   Sallah: (before entering the Chamber of Destiny (heard only when there is some delay)) 1. Sallah speaking. Look into the mirror. Your fellow travelers are entering the doorway to the fountain of eternal youth. On which path does your destiny lie? 2. Look, the Observatory of the Future opens to receive the travelers ahead. Which path will you be taking? 3. Look, look! In the mirror ahead, fellow travelers enter the Portal of Earthly Riches. A rewarding experience.   Sallah: (before ride starts (second round)) 1. Go easy. Easy, easy! The wheel may be needing a little work. Heh, heh. (added in a nervous tone) 2. Hellooo. Ah, please check the steering wheel, making sure it is not stiff. That would be very bad. Heh, heh. 3. Ah, the accelerating device occasionally will be sticking, but do not be concerned, the brakes are very good. Heh! 4. Hello! Hello! Oh, my friends, ah, the brakes may be needing a little adjustment, easy on the curves. Heh, heh.   Mara: (before entering the Chamber of Destiny) Future knowledge (Left door) - "You seek the future. I will lift the curtain of time for you. It is your destiny." Earthly riches (Center Door)- "You seek the treasure of Mara. Glittering gold. It is yours." Eternal youth (Right Door) - "You have chosen wisely. This path leads to timeless youth and beauty."   Mara: (upon entering the Chamber of Destiny) Future Knowledge- "So! You looked into my eyes. Your destiny now lies beyond the gates of doom!" Wealth- "Infidels! You looked into my eyes. Your path now leads to the gates of doom!" Eternal Youth- "Foolish mortals! You looked into my eyes. Your path now leads to the gates of doom!"   Indy: (at the Gates of Doom): 1. You looked? There's powers here you can't possibly comprehend. Uh. Quick, take the left passage. It's the only way out. Nice driving pal. 2. Great! I ask for help and they send me tourists! Ugh. Swerve left, up to the left. Uh! You had to look, didn't you! 3. Tourists! You had to look, didn't ya! Uh, we've got a problem here. Quick, up to the left, turn left! There's big steps up there!   Indy: (at snake area) 1. Careful. Watch out for anything that slithers. 2. Snakes! You guys are on your own!   Indy: (at the rolling stone) 1. Hey get a light on down here. You made it! Uh oh! Back up, back up! 2. I've got a bad feeling about this. Uh oh! Uh Oh! Get me out of here! Oh. 3. Get a light on down here. Good, you made it! Uh oh! Back up, back up! Ugh. 4. Hey, its dark down here. Terrific! Just what I need. Uh, oh, careful! We got company. 5. Hey get a light on down here. There you are! Let me in, let me in! Uh, oh. Get me out, get me out!   Indy: (at the broken stone) 1. Not bad for tourists. Now stay out of trouble, will 'ya. 2. You were good. You were very, very good. 3. Next time you wear blindfolds, OK? 4. There, it wasn't so bad, was it? 5. Tourists! Next time you're on your own. 6. You can't tell me that wasn't big fun! 7. Tourists, why does it have to be tourists?   Sallah: (at the end of the ride) 1. Ah, welcome back. You entered the observatory of the future. In that case I don't even have to tell you that we would like you to stay seated until your transport comes to a complete stop. 2. Greetings. You will no doubt be having many jewels and coins in your possession. Please stay seated until the transport comes to a complete stop and step out carefully with your treasure. 3. Friends I celebrate your arrival. If you drank too much from the fountain of youth we will be happy to assist you with strollers. Heh, heh. But please stay seated until your transport comes to a complete stop. (2 Comments |Comment on this)
Tuesday, July 21st, 2009
6:51 pm	Story of the trilogy on record and CD http://www.mediafire.com/?hkb22jhf03ra7 Raiders of the Lost Ark: The Movie on Record 45:08 minutes The Story of Indiana Jones and the Temple of Doom 46:52 minutes The Story of Indiana Jones and the Last Crusade 51:16 minutes (all MP3, 128 kbps) (Comment on this)
Monday, June 8th, 2009
3:15 pm	Indy / Han Solo crossover   (Comment on this)
Sunday, May 10th, 2009
7:00 pm	Desktop Adventures screenshots Alien: "Welcome to Planet Xantar! There's someone here I'd like you to meet... he's kind of lonely and depressed..." Indy: "Listen, Bug-Eyes, you told me I'd find priceless artifacts here, and instead I'm slogging through an endless swamp!" Alien: "...he's also somewhat cynical. I thought your youthful enthusiasm might be just the tonic to cheer him up!" Indy: "I'm Indiana Jones. Who are you, some kind of test pilot?" Luke: "Umm... I'm not sure how to help this guy. He obviously comes from a primitive world. Better take him home." Alien: "Perhaps you're right. I may have made a mistake." Indy: "Thanks, kid." Luke: "Sure. By the way, did anyone ever tell you that you look a lot like my friend, Han Solo...?" (Comment on this)
Tuesday, April 21st, 2009
6:02 pm	Script Checklist http://www.mediafire.com/?f1xly48v6k3zo Philip Kaufman Lucas/Kaufman story conferences (about six), late 1974 Lawrence Kasdan Lucas/Spielberg/Kasdan Raiders story conferences (117 pages) January 23-27 1978 Lucas story treatment (19 pages) January 25, 1978 Fine/Kasdan/Kaufman taped conversation (10 pages) Debbie Fine historical notes for Kasdan, April 5, 1978 First Draft (144 pages) June 15, 1978 Second Draft (106 pages) March 1979 Third Draft, August 1979 Revised Third Draft (102 pages) August 1979 Fourth Draft, November 1979 Production meeting notes, January 22, 1980 Fifth Draft (103 pages) April 25, 1980 Continuity Breakdown (72 pages) May 28, 1980 Release Dialogue Script (210 pages) June 8, 1981 Willard Huyck and Gloria Katz Lucas/Spielberg/Huyck/Katz 4-day story meeting, Spring 1982 Lucas "Temple of Death" treatment (20 pages) May 30, 1982 First Draft, August 1, 1982 Revised First Draft, September 13, 1982 Shooting script revision, March 1, 1983 Revision "Temple of Doom" (128 pages) March 10, 1983 Shooting script revision, April 10, 1983 Scenes rewritten and inserted, June 21, 1983 Scenes rewritten and inserted, July 14, 1983 Revised final shooting script (128 pages) July 20, 1983 Chris Columbus Lucas "Monkey King" story treatment (8 pages) September 1984 Lucas more detailed outline (11 pages) First Draft "Indy III" (120 pages) May 3, 1985 Debbie Fine notes, June 21, 1985 Second Draft "Lost City of Sun Wu Kung" August 6, 1985 Menno Meyjes First Draft "Indy III" October 2, 1986 Revised First Draft, November 21, 1986 Jeffrey Boam Lucas story treatment "Last Crusade" (6 pages) March 1987 First Draft "Indy III" September 15, 1987 Partial revision, September 30, 1987 Second Revision, February 23, 1988 Third Revision (134 pages) March 1, 1988 Undated Amblin revision (Barry Watson) Fourth Revision (Barry Watson) May 8, 1988 Published Transcript Jeb Stuart Story conferences, September 20-24, 1993 Lucas/Stuart story conferences, October 8, 1993 First Draft "Saucermen from Mars" May 24, 1994 Script discussions, August, September, 1994 Revised Draft "Saucer Men From Mars" (119 pages) February 20, 1995 Jeffrey Boam First Draft, 1995 Second Draft, 1995 Third Draft, December 18, 1995 "Saucermen" retyped March 1996 Lucas/Spielberg/Ford story conference, April 12, 2000 Lucas/Spielberg 2 story conferences, December 2001, June 2002 Frank Darabont Darabont/Speilberg, Darabont/Lucas story discussions, July 2002 Lucas outline for Darabont, July 31, 2002 First draft "City of the Gods" May 27, 2003 Second draft, 2003 Third draft (138 pages) November 4, 2003 Lucas revision early 2004, "Phantom City of the Gods." Jeff Nathanson Lucas/Spielberg/Nathanson story conferences, August 2004, May 2005 First Draft, November 2005 Second Draft, 2005 Third Draft "Atomic Ants" December 2005 Lucas revision David Koepp First draft "Destroyer of Worlds" July 28, 2006 First draft revisions, October 2006 Final shooting script "Kingdom of the Crystal Skull" (132 pages) October 2007 RAIDERS OF THE LOST ARK STORY TREATMENT BY GEORGE LUCAS 1-25-78 Indiana Jones is a PhD archeologist and an anthropologist. He is a professor at a small Eastern college and is a respected authority in his field although he is only thirty eight years old. He is a quiet man on campus, with rugged good looks under his horn rimmed glasses. He is the heart-throb for all the young co-eds, a situation that he has helped to foster, and isn’t reluctant to take advantage of. He is a bachelor-playboy, with a fondness for the good life; fancy nite clubs, champagne, and especially beautiful women. His nite-life is a sharp contrast to his quiet days as a college professor. In his tuxedo (and without his glasses) he is the prototype of the Eastern playboy of the 1930’s. He plays polo and pool and is quite a gambler. He lives in a large 30's-style house, and also has a penthouse apartment in Manhattan. He can afford the good life because of his second occupation. He is a soldier of fortune, and a procurer of rare antiquities. A bounty hunter hired by museums and private collectors to find ancient artifacts and bring them back no questions asked. He is a tomb robber, but draws the line at stealing from colleges or museums. He has a keen interest in the occult, and specializes in religious objects, artifacts protected by curses, etc. He is a terrible shot, but a master with the bullwhip that he always carries with him. He is a good fighter. The film opens in a misty, Peruvian jungle. A long train of natives and pack animals winds their way up the side of a steep mountain. At the head of the party are the men. One is Indy Jones, the other two are south American sleazos. They are Indy’s partners, interpreters, etc. As they reach the top of the mountain, they enter a clearing with a dark and sinister temple ruin on the far side. The natives get restless and start to split. Indy’s partners tell him that the natives are afraid of the curse of the temple. He tells them that they can probably make it the rest of the way on their own. The two partners look a little worried, but follow Indy toward the temple. […] stops in front of the entrance to the […] temple. He takes off his back pack and sits, […] two partners. We get a hint that […] two partners are trying to do him in. […] behind his back. The south American […] about the whole thing and talks about […] how dangerous it is, and how […] RAIDERS OF THE LOST ARK LAWRENCE KASDAN FIRST-DRAFT SUMMARY JUNE 15, 1978 Lawrence Kasdan's first draft names the rich wilderness of the film's opening the Eyebrow of the Jungle. It contains an enormous structure: the 2,000-year-old temple of the Chachapoyan warriors. One of Indiana's companions, Satipo, translates the porters' whispering: "They say they have never been so near the House of Death." When Indy's second companion, Barranca, pulls a gun on the archaeologist, Indy uses his whip to make Barranca shoot himself. Inside the temple's secret sanctuary, Indy places a lead weight on the pedestal to replace the idol, but as he and Satipo flee a giant boulder, Jones loses his hat, which is crushed. Outside again, the double-crossing Satipo is killed by Hovitos Indians, who remain hidden throughout their pursuit of Indy as he escapes to his waiting pilot and plane. In the National Museum in Washington, DC, Indy and Marcus Brody admire the idol, and Indy has a "new felt hat…The jeweled figurine from Peru is on a small pedestal before him..." INDY: If it's not the right one, I can always return it. BRODY: It's even more beautiful than I imagined. Brody takes Jones to meet with Musgrove, Eaton, and Davona— the "important people" who have come to discuss Hitler and his occult obsessions—and they discuss the Spear of Destiny. Hitler is planning to annex Austria to get it. Indy then leads them to the museum basement, where Calvin Stansbury debriefs them on the Ark of the Covenant. He explains that the medallion of the Staff of Ra, which enables one to locate the Ark's hiding place in the map room, is broken into two pieces, one of which can be found in Shanghai. STANSBURY: There's one other thing that Hitler undoubtedly believes about the Ark—It's said that the Lost Ark will be recovered at the time of the coming of the True Messiah. At three o'clock the following morning a sleeping Indy is awakened by the government trio, who cajole him into pursuing the Ark by revealing that a Frenchman named Victor Lovar, Indy's nemesis, is already in Egypt hot on the trail. Indy takes the job. In Shanghai, his first stop, American Buzz Kehoe and Chinese Bang Chow help Indy outrace and outsmart the Nazis who have come for the same piece of the medallion, which is housed in the museum of a warlord named Tengtu Hok. To retrieve it, Indy battles two samurai and then escapes Hok and the Germans, who are blasting machine guns at him, by hiding behind a rolling gong and crashing through a window. Kehoe and Bang then drive him to a plane bound for New Delhi; Indy can go from there to Nepal and locate the other piece of the medallion. But the plane is ditched by its passengers and pilot, so Indy wraps himself in an inflatable life raft and jumps out, inflating the raft in midair and careering down snowy slopes and through a Sherpa village where a Shaman stands before the people. Indy whizzes by on his raft. He waves once. The Shaman looks wearily... and decides not to mention it... In Patan, Nepal, at the Raven saloon, the character of Marion is introduced as she breaks up a fight between an Australian and a Nepalese. Marion's hard life after the death of her father, Abner Ravenwood, is described in more detail—it's insinuated that she had to prostitute herself, which has left her determined not to return to the United States until she can do so in style. Like Indy, she is somewhat mercenary. After Indy's fight in the saloon with a Nazi named Belzig and his cronies, Marion runs back into the burning bar to retrieve the second part of the medallion. In Cairo, Egypt, Indy meets with Sallah and pays a visit to the Tavern of the Crocodiles, intending to obtain more money from a US government agent for Marion's payoff—since Indy's first payment was burned up in the fire in her saloon. There he bumps into Lovar for the first time. LOVAR: Funny, isn't it, our meeting in Cairo? INDY: Just looking for a little sun. LOVAR: You should have come directly. There is more sun here than in Nepal. Jones then finds that his government contact, Stanton, has been murdered with three daggers in the back. Shortly afterward, Indy pursues on camel the Nazis who have kidnapped Marion in a brown Chevy. Jones believes that she is switched to a waiting Ford and killed after he shoots at the vehicle, which plunges off a cliff. At this point Sallah recruits Indiana's college roommate, a more serious and more learned archaeologist named Jules Spencer, who talks Indy out of giving up. "Her death will be meaningless if you just concede to these people," Jules says. The poisoning of the dates takes place at Spencer's, and it is Spencer who figures out that the Nazis and Lovar are digging in the wrong place, after deciphering the clues on the medallion. After their several adventures, Indy and Marion spot the Flying Wing landing on a secret strip; it's being refueled when the action begins. Indy chases the truck with the Ark on a motorcycle. Bad Nazi Belzig is killed when his car goes through a dust cloud and over a cliff. When Indy meets Katanga, the captain of the Bantu Wind is friendly to Indy because of a mutual friend named Petrovich— "the Bloody Vulture"—and his legendary adventure with Indy in the "islands." In their cabin Jones reflects: INDY: Looks like the whole damn world will be fighting soon. MARION: That won't be much of a change for you. INDY: Yes it will. I hate crowds. The following day ten German wolf-pack submarines surround them; a short but tense scene ensues in which the German captain debates with the Nazi Schliemann whether or not to blow the Bantu Wind out of the water, ultimately deciding, "Nothing is to be gained." After Indy swims over to the Nazi U-boat, the Wurrfler, and lashes himself to the periscope, we see a number of quick scenes—morning, evening, night, morning, et cetera—that depict him barely surviving as the U-boat travels to its island hideout. There Indy follows the Ark, which is taken through a railway tunnel to the Tabernacle, housed in a natural cavern. Just as Lovar emerges in robes to speak the appropriate invocation before opening the Ark, Indy arrives and threatens to blow it up with a bazooka — but Nazis come up from behind and subdue him. Because Lovar has forbidden them to kill Indy in the presence of the Ark, the Nazis hold him in the Command Center. Outside, Lovar opens the Ark — and he along with all the surrounding Nazis are instantly killed by searing arcs of light and a sound like "the whisper of God." Indy takes advantage of the subsequent havoc, subduing his captors, then locating and rescuing Marion. They escape in the chaos caused by the fire started by the Ark, but also manage to load it onto a mine car. Schliemann and others jump into a second car... and the race is on. The explosion of munitions kills the pursuing Nazis, but Indy and Marion outdistance it, going off the end of the tracks and plunging into the bay just as most of the island is blown to bits. The "cast credits roll over" the tranquil bay, with no sign of Indy or Marion. They then pop up in the bay, as does the Ark. Cut to the Pentagon, where Marion receives a cash settlement and her new start in the States, while Jones tries to find out from Davona what's happened to the Ark, but leaves unsatisfied. "As they do, crew credits roll." MARION: Just put your mind on something else. INDY: Yeah, like what? Marion makes a face, then puts her arms around his neck and plants a humdinger of a kiss on his mouth. It goes on a while. Finally they break. INDY: It's not the Ark... but it'll have to do. The "end credits roll" as the Ark is encased in a wooden crate and filed away among thousands of similar crates in a top-secret government warehouse. 23 52 CONTINUED Marion has the glimmer of a smile as she picks up the pile of money and taps it into a neat stack, eyeing the crowd. MARION All right, you no-good bums, get the hell out of here. I'm sick of seeing your ugly mugs. Loo salla haru nyan barra niska. (All right you no-good bums, get the hell out of here.) But haru li harrdha harrdha thaken. (I'm sick and tired of seeing you ghosts.) Caam Daam chiana? (Don't you have any work?) No one moves, they're all intent on Marion's final shot glass. She knows it and laughs slyly as she swoops it up and tosses it down like her first nip of the night. Again the crowd ROARS. MARION Mohan, clear 'em out. Everybody out! We're closed. Mohan in harruli necala. (Mohan get them out.) Loo subjana niska. (Everybody out.) Dhokan bundbhayo. (We're closed.) As the place clears, Marion takes her stack of money and slips it into a small wooden box on a shelf under the bar. Then she slips through a doorway and heads across the back room to a door. For the first time, the effect of all that booze is apparent. She's woozy. 52-A EXT. "THE RAVEN" - IN BACK - NIGHT Marion comes out unsteadily. She walks over to a snow-bank and forms a snowball in each hand. Then, slowly, as though she's done it a hundred times before, she presses a snowball to each of her temples. 52-B INT. "THE RAVEN" - NIGHT Marion walks in behind the bar. She looks marvelously sober. Mohan, a big ax-handle in hand, is herding the last straggler out of the front. CONTINUED Belloq's eyes have disintegrated, the sockets suddenly turned to black holes.  Dietrich and his men are already eyeless, but now their skin and bone dissolves before us, not peeling or shattering but rather crumbling into fine pieces, collapsing on itself.  And finally, turning into a fine, dry dust that blows away in the whipping vortex of the Ark's storm. And then, as suddenly as it began, it ends! The lid of the ark slams shut. INDIANA JONES AND THE TEMPLE OF DEATH WILLARD HUYCK AND GLORIA KATZ FIRST DRAFT AND REVISED FIRST-DRAFT SUMMARY AUGUST 1 AND SEPTEMBER 13, 1982 The prequel begins in a nightclub named Shanghai Paradise with a ten-year-old Chinese "street urchin" named Short Round. He sneaks into the club, watches the dancers, and then leaves as a man in a tuxedo enters. It's Indiana Jones. In the fight that ensues, the ashes of Emperor Nurhachi are strewn in the face of Lao She, a crime lord. Dragged along by Indy, Willie Scott boards the plane only because Lao She's gunman opens fire on her with a Thompson machine gun; in the revised first draft she takes the plane because an extra ticket has become available thanks to the death of Wu Han, Indy's friend, in the club: WILLIE: I'll take the extra ticket. (grabbing it from Indy) Where's this plane going anyway? INDIANA: Siam. WILLIE: Siam? But I'm not dressed for Siam.... Their transport is attacked by two biplanes in the service of Lao She. As the dogfight intensifies, Willie and Short Round struggle to wake up Jones, but the poison and the antidote have combined to make him sleep deeply. The plane's passengers bail out, along with the copilot; the pilot is shot dead by the biplanes. Short Round and Willie are bickering over the last parachute when the fighters attack again; a stray bullet hits a fire extinguisher, which sprays into Indy's face, waking him up. As he takes in the situation, Short Round manages to set up a machine gun on a tripod and, with Willie feeding him ammunition, shoots down one of the biplanes. He also swivels the gun around and destroys one of the DC-3's own engines—their engine. Indy grabs the life raft for their escape, but Willie screams: "Are you crazy, a life raft?! We're not sinking, we're crashing!" They end up in a wilderness and—after spotting a menacing "seven-hundred-pound Bengal tiger"—Indy notes that they're in India. The tiger is driven away by a Shaman. On the way to Pankot Palace, Indy has a fight with a crocodile. As the trio gets to know one another, we learn that Short Round's parents were killed during the bombing of Shanghai. WILLIE: When my nightclub career was run over by the Depression, some pinhead convinced me that "a girl could go places in the Orient..." So, look where I got. As they approach the cursed palace, their guide makes an excuse and leaves to sell his elephants. Short Round, who has grown attached to a baby pachyderm, wipes a tear from his eye. In Pankot Palace the roles of Captain Phillip Blumburtt (who would be played by Philip Stone) and Chattar Lal are larger than in the final film. The British captain is clearly at the palace to investigate. The power of the voodoo dolls—the "krtya"—is explained as giving one complete control over one's enemies. The role of the Maharajah is also larger, with Jones teaching him how to use the bullwhip. The Maharajah and Short Round vie for Indy's attention, actually fighting over the whip when... The little Maharajah's eyes begin glowing yellow and he hisses softly in a strange voice. Nobody else sees or hears the bizarre transformation... Indeed, anyone who has drunk the blood of Kali has yellow eyes off and on—including the assassin who attacks Indy in his room. Indy then goes into Willie's room when she screams because of a bug crawling up her arm. Noticing insects emerging from an opening in the wall, the trio finds a secret passageway. After several close calls, they discover a hidden temple. Following the ceremony, Indy investigates and is captured, but Willie escapes thanks to Short Round's fighting abilities. Willie makes it back to the palace, where Chattar Lal makes light of her story so that Blumburtt doesn't believe her. Her case isn't helped when Indy returns, apparently unharmed. The British troops ride away, with Blumburtt noting that his report will list nothing unusual at Pankot Palace. Even Willie thinks that Indy is okay—until they kiss and she sees that his eyes are glowing yellow. He abducts her and all progresses as in the final film. When Indy confronts the slave overlord, he says: INDIANA: Listen, I'm from the union and I'd like to talk about the working conditions here. Could you step inside a minute? After a chase in the mine tunnels, when the giant water urn overturned, they descend a waterslide that deposits them in a larger tunnel. At the climax the British return and face the zombie-like enemy on the opposite cliff: Across the gorge, Kali fanatics have climbed up into the trees and are holding onto branches in crucifixion-like poses-while below them other guards bend the trees back with ropes—the trees bow backwards and become catapults! A Kali Ma priest yells and the ropes are released—the fanatics in the trees are catapulted through the air, hurtling across the gorge like human missiles. When the trio returns to the Indian village, they are riding horses (though Lucas notes in his first draft that they should be in a car). Short Round runs toward the sunset, toward the three elephants being brought back to the village. The baby elephant starts walking faster, as if he recognizes Short Round running out to meet him... INDIANA JONES AND THE MONKEY KING TREATMENT BY GEORGE LUCAS SEPTEMBER 1984 Indy is on a fishing trip in Scotland, but is interrupted by a police inspector who needs help solving a series of mysterious murders. The inspector takes Jones to "a haunted castle which sits on a forbidding hill." After a series of adventures and additional killings, Indy discovers that the murderer is a ghost possessing the body of a dead man. Indy defeats the ghost after being attacked by two dogs and two empty suits of armor. Upon returning to his college office, he finds in his mail a letter from his old friend Marcus Brody, who writes of a woman zoologist who has found "an odd race of pygmies" that may have discovered a lost Chinese civilization. Brody asks Indy to lead an expedition to the city, as she doesn't have enough experience. He starts at an unnamed colonial African port, which has already been taken over by Nazis, where Indy meets the zoologist, a "Katharine Hepburn type" who introduces him to a mysterious pygmy. He also teams up with a mystical African environmentalist. The pygmy is kidnapped by Nazis while Indy is in a bar. He chases them in a speedboat among the docks, and one of the boats is crushed between two bigger boats. They escape, but Indy pursues them across Africa. He and the zoologist meet river pirates, and they join forces. Their desert camp, however, is broken up by a stampede of wildebeests, triggered by a Nazi tank. Indy jumps on the tank and fights the Nazis. He wins and, from inside the tank, rescues a pygmy who leads them into the mountains, with the Nazis in pursuit. Eventually Indiana meets the Monkey King, a talking spider monkey, who explains that "he has magical powers and that he has been alive for a thousand years because of a fountain of youth that exists in the village." The Nazis arrive but, with large gorillas helping him, the Monkey King uses magic to turn the bad guys into stone, and orders Indy to fight the chief Nazi one-on-one. Finally the Monkey King is killed and his gorillas go crazy, but Indy escapes with the zoologist. INDIANA JONES AND THE MONKEY KING OUTLINE BY GEORGE LUCAS In the undated outline, this story is changed and enhanced. As the villain of the castle is driven away in a police wagon, Indy sees "the killer light a cigarette. And only Indy sees the reflection of the match shining through the killer's body. The killer is a ghost." The African country is identified as Mozambique. This time a female student who is madly in love with Indy follows him there as a stowaway. When he meets the older but beautiful zoologist, the two women vie for Indy's attention. After joining up with the pirate king, who is a "Toshiro Mifune" type, Indy and the girls wind up in an old Model T Ford driving across a desert. When Indy fights the tank, he is riding a rhino. When they arrive in the Lost City, they learn that the pygmy is of royal blood, and his father is king. However, the chief Nazi, who has a mechanical gun-arm, kills the king. Ultimately Indy leads gorillas and pygmies into a battle against the mechanized Nazi army for the Lost City, which contains the fountain of youth. The Nazis mine the city, and a fight takes place as the fuse is lit, extinguished, and relit. The chief Nazi escapes into the desert with vials from the fountain of youth after Indy has won the battle. But we learn that only the pygmies can drink from the fountain without dying—in the desert the Nazi eyes the vials with great thirst. Meanwhile the outline leaves Indy's fate open: He either goes home with the girls or the girls may stay in Africa and do research together. INDIANA JONES AND THE LOST CITY OF SUN WU KUNG CHRIS COLUMBUS SECOND DRAFT AUGUST 6, 1985 In Columbus's second draft, Betsy is gone, while a new character named Dash, the expat who owns the bar, is the chief villain, with the Nazis working for him. In the Lost City, Indy meets Sun Wu Kung, a not-very-nice simian Monkey King. Jones must play a game of chess against Dash using real people as the pieces; when someone is eliminated, Kung disintegrates them with his magic Golden Rod. After a series of confrontations, Kung brings the dead back to life to pursue Indy. They turn Dash into a ghost, but Indy breaks the rod, escapes, and marries Clare. INDY III MENNO MEYJES BASED ON A STORY BY LUCAS AND MEYJES FIRST-DRAFT SUMMARY OCTOBER 2, 1986 The first draft opens with a battle in Mexico between Indy and Banano, a crazed individual with a whip and a loyal band of gorillas. The object of their dispute is the death mask of Montezuma. Indy manages to throw Banano off a cliff, and his gorillas go free. No sooner is he back in the States than Indy has to depart for France to look for his father—who has disappeared while looking for the Holy Grail. With a friend named Maude he goes to Montsegur, where they meet a nun named Chantal and her relation De La War, who explains that they had found a map that led Indy's father to Venice. But Nazis, led by Baron Balder von Grimm, were hot on the trail of Indy's dad. Grimm has a hapless sidekick named Hans, whom he is always calling "Idiot!" and then throttling. After adventures in Venice and on the Orient Express where they are disguised as royalty, Indy and Chantal arrive in Istanbul. Clues and escapades put them on a train to Petra, where they are soon fighting for their lives. Fortunately Indy's old friend Sallah arrives with two horses, which they mount. Sallah then leads them to a Bedouin on horseback—who turns out to be Indy's father. Together they find the Grail in Petra, within the City of the Dead. At the climax Grimm shows up, but when he touches the Grail, he explodes; when Henry Sr. touches the Grail, a stairway to heaven appears, which he ascends. The nun Chantal is tempted to take the stairs as well, urged on by Indy. But her love for Jones makes her stay. INDY III MENNO MEYJES REVISED FIRST-DRAFT SUMMARY NOVEMBER 21, 1986 In the revised first draft the Nazi villain is Greta Von Grimm. And this time Indy finds his father tied to a pillar in a crusader's castle called Krak Des Chevalier. He'd been forced to help the Nazis in their search for the Grail, but they'd left him to die when he was no longer useful. At the place of the Grail, Indy does battle with a fantastic demon creature, whom he defeats by stabbing it in the belly with a dagger inscribed with the words GOD is KING. Bad girl Greta is vaporized by the Grail. CHANTAL A party of Germans has been digging around the castle for the last few summers. INDY Looking for the grail. CHANTAL Yes, they think it is the Cup of the Aryans. INDY Do they have government support? CHANTAL The Hitler Youth have been helping her dig. INDY Who is "She?" CHANTAL INDIANA JONES AND THE LAST CRUSADE TREATMENT BY GEORGE LUCAS MARCH 1987 Indy rides with two friends into a "guarded outback town." They give a secret password and proceed to a cantina. On the bar are a lot of trinkets that the bandits have stolen, but Indy notices that one of them is a "pre-Columbian-looking idol." He winks at his companions; they start a fight in the cantina while Indy grabs the idol. They're pursued on horseback at first, but they hitch a ride on a train where, during a big fight, Indy defeats all the bad guys. Afterward much is like the final film. "Indy's father is a strong, Victorian-type teacher who has always been very strict with Indy, so their relationship is one of a strict schoolmaster and student, rather than a father and son." Nazis are again the chief adversaries. But between the Grail and the good guys, this time around, is an armored and mounted crusader knight, whom Indy defeats with his bullwhip. INDY III JEFFREY BOAM PAGES 1-83, SEPTEMBER 15, 1987 REVISED PAGES 84-102 (END), SEPTEMBER 30, 1987 FIRST-DRAFT The story opens in Mexico 1939 with Indiana accompanied by two loyal friends. Astorga and Ponce, as he penetrates the hideout of a notorious Mexican bandit to retrieve a valuable statue of the Aztec Sun God. To create a diversion in the cantina, Indy turns to Astorga and says: INDY: (improvising) Go down to the end of the bar... count to twenty, then grab it. ASTORGA: But- INDY: -do it. (Astorga turns to go) Wait. Better make it twenty-five. Astorga nods, turns to go—but again, Indy stops him. INDY: Better yet—thirty. Count to thirty. After a big chase on a circus train—where Indy encounters a lion, a gorilla, and so on—he succeeds in keeping the statue. He gives it to Astorga, who turns out to be a museum curator: INDY: Dr. Astorga... I believe your museum is the proper home for this. Astorga takes the statue with a grateful expression... then his look sours. ASTORGA: Oh. You've scratched it. Indy returns to his college and finds in his mail a shrunken head, sent to him, presumably, by an admirer. Brody's mail contains a book sent to him from Venice by Henry Jones Sr. Brody shows it to Indy when they discover that the house of his father has been ransacked. They also find in the yard a dead housekeeper, strangled with a clothesline. When Indy arrives in Venice to find his father, Nazis—led by Vogel and a new villain, Kemal—are already waiting. They track Indy, Brody, and their contact, art historian Dr. Elsa Schneider, a woman with dark hair and dark eyes. Funded by the Chandler Foundation, she and Henry had been scouring Europe for the Grail when the latter disappeared in Venice. Indy is told by a cafe proprietor named Aldo that his last whereabouts were the catacombs. Their entrance is through a trapdoor in a library, the Biblioteca Nazionale. Elsa and Indy find the tomb of a Grail knight, but Kemal tries to kill them first by fire in the catacombs and then with machine guns mounted in boats during a chase in the Grand Canal and the Venetian harbor. Indy outsmarts Kemal and learns, with an additional tip from Elsa, that he and his Ottoman agents are from the Republic of Hatay, the city of Iskenderun, which is built on the ruins of Alexandretta. KEMAL: What you are after can never be yours! It belongs in our land—to our people! But Kemal confesses that the Nazis are holding Indy’s father in Austria. So Brody goes to Iskenderun to search for the grail, while Indy and Elsa voyage to Austria. When Indy finds his father in a castle, Henry Sr. smashes Indy over the head with a vase. INDY: If I was one of them, would I have broken in through a window?! HENRY: (sarcastically) Okay! I hit you 'cause you failed trigonometry in high school! (beat) Jesus! We haven't talked in five years. We gonna start off with an argument now? In their escape they don't take the boats because it's been established that Indy is easily seasick and hates the water. They choose to go to Berlin because the Nazis won't look for them there. When they are shot at on the beach by a Nazi fighter plane, it's Indy who makes the seagulls bring down the last plane. Inside the mountain temple, Kemal is about to force Elsa to brave the decapitation trap, having already killed all his retainers, when Indy, Henry, Brody, and Sallah arrive. Kemal shoots Henry Jones in order to make Indy do his bidding. Indy braves the traps and bests the crusader knight on horseback—"I am Lord de Bauvais, seigneur of St. Gobain and Folembray. Castellan de Cambri, Viscount of Savoy... known far and wide as William the Lion, Duke of Brittany." Kemal drinks from the wrong chalice and dies. Indy tests the water from a simple earthenware jug—and his wounds heal. The knight then breaks off the outer vessel to reveal a radiant Grail hidden within the jug. Indy cures his dad, but Vogel grabs the Grail and is immediately crushed by a giant boulder. Elsa perishes, too, falling into infinite darkness; all Indy can see is the receding light of the Grail. As they leave the mountain temple, the crusader rides out of a cloud of dust—but he and his horse are turned to stone, which then becomes sand and is blown away by the ensuing explosion that seals the cave. 1. FADE IN: EXT. MEXICO - FOOTHILLS OF THE SIERRA MADRE - DAY A mountain peak dominates the landscape. Three objects crawl across the bottom of the frame at the foot of this towering peak. It takes a moment to realize that they are THREE MEN ON HORSEBACK. TITLE: MEXICO 1939 CLOSE ON THE THREE RIDERS They wear ponchos and have their hat brims pulled down over their eyes to protect against the blowing sand. Still, one of them is instantly recognizable to us as INDIANA JONES. The other two riders are Mexicans. ASTORGA is an archeologist like Indiana Jones. PONCE is their guide. The very landscape itself communicates a sense of danger, offering perfect opportunities for an ambush. Indy takes the precaution of turning in his saddle to check the trail behind him. Astorga glances up at the sheer canyon wall and nervously wets his lips, then exchanges an anxious look with Indy. Ponce points ahead to a place where the canyon walls come together causing the trail to narrow down considerably. This natural bottleneck serves as: EXT. ENTRANCE TO BANDIT VILLAGE Indy, Astorga and Ponce are stopped by FOUR BANDITOS wearing serapes and waving Winchester rifles. Ponce makes some introductory remarks in SPANISH. The Banditos regard Astorga and Ponce with distrust, but they reserve their most suspicious and inhospitable expressions for the Gringo Indy — who meets their looks with one of his own. Ponce begins to ARGUE in SPANISH with the Banditos about — we surmise — entering the village. Finally, Indy terminates the debate with the utterance of one single name: INDY Santiago Rivas. The Banditos react to the name with fear and respect. INDY III JEFFREY BOAM SECOND REVISION FEBRUARY 23, 1988 Much like the final film, the second revision begins with Indiana Jones as a teenager on a Boy Scout field trip in Colorado, 1912. When he races home with the Cross of Coronado, his dad is on a long-distance phone call concerning an important document. Indy's mother, Margaret, shoos Indy away. A new character, only referred to in the previous draft, is rich philanthropist Walter Chandler, who tells the adult Indy: "Find the man and you will find the Grail." In Venice, Brody and Indy are introduced to a large Italian family, in whose house Elsa and his father were staying. The family provides comic relief and gives Indy a clue that leads him to the library. Elsa is more of a central character and an ambivalent figure. Her personality is more developed, with her distinguishing characteristic being that she is always eating or snacking on something. Henry Sr.'s diary is more central to the story—everyone is trying to get it because it's the key to finding the Grail. Indy, Brody, and Elsa go to a basilica, where the priest tells them the library used to be an old church. Indy and Elsa fall through a trapdoor. As they make their way through the catacombs, we learn something new about Indy's father: INDY: Ha! He never would have made it past the rats! He hates rats! He's scared to death of 'em! (beat) I know. We had one in the basement once. Guess who had to go down there and kill it? And I was only six! When Indy and Elsa travel to Austria, there is more talking in the car, as they discuss food. The Nazi Vogel makes his first appearance at the castle. Chandler is also now in the castle. Indy escapes with his dad, and, on the road, Henry explains why it's so important to obtain the Grail and his diary, and hence go to Germany instead of rescuing Brody right away: HENRY: There is an evil loose upon the world, son. Perhaps the greatest evil mankind has ever faced. The only thing that matters is the Grail... and who gets to it first. (beat) I had a lot of time to think while they were holding me in that castle. And I realized that this is why my search has taken so long... because now - at this exact moment in history - is the time to release the Grail's radiance upon the world. Now is the time to shed its light of goodness and wisdom. Of compassion and charity. Now is the time to share its power of healing and immortality, (beat) But if the Grail falls into Nazi hands, its light will be extinguished for all time... and it will be the armies of the Fuhrer who live forever. Once in Berlin, Indy crosses paths with the notorious Nazi filmmaker-propagandist Leni Riefenstahl, who is trying to shoot a documentary: LENI: One step forward, please, Mein Fuhrer. Hitler takes a step back. LENI: (sighing) All right. That's fine. Everybody else... one step back as well. They, instead, take one step forward. Leni wants to pull her hair out... CREW MEMBER: (to Leni) The Fuhrer says, 'No double chin'! Elsa is about to throw the Grail diary into the bonfire of forbidden texts, but Indy manages to switch books on her before she obliges Hitler and Riefenstahl's camera. Later, as father and son converse on the Zeppelin, Henry confesses that he slept with Elsa, too. During Indy's fight with the Nazis in the desert, Chandler goes over the side of the cliff on the Nazi tank. He plunges to his death, but Indy—believed dead—has saved himself by cutting off part of his pants: Indy carries the knife in one hand and his pants— which have been slit from the waist down-gather in a heap around his ankles... HENRY: I would have missed you, Junior. SALLAH: Junior? Indy makes a face, tries to improvise a way of holding up his pants... Sallah laughs even louder-slapping Indy on the back-causing Indy's pants to drop around his ankles again. Vogel is beheaded in the Grail trials. Then a big gun battle takes place as Kemal tries to blow everyone up so they can't retrieve the Grail; the fight is semi-comic as a trail of gunpowder is repeatedly lit and extinguished. Kemal and all his men are knocked out, with Sallah's help—but Elsa shoots Henry. After Indy locates the Grail room, it is Elsa who drinks from what she believes is the Grail cup—indeed, she is about to shoot Indy when she dies horribly. Henry and Indy cross over the seal with the Grail, provoking an earthquake. Henry almost falls to his death—but he lets the Grail go. The Grail Knight turns into a skeleton as they leave. (Comment on this)
Friday, March 27th, 2009
10:57 am	Infernal Machine script and audio Infernal Machine dialogue, 36:06 minutes mp3 file, 33.1 MB, 128 kbps: http://www.mediafire.com/moedred 0:00 Peru, 0:27 Canyon, 2:46 Babylon, 7:27 River, 11:20 Lagoon, 13:55 Temple, 14:47 Jeep, 16:16 Olmec, 18:47 Pyramids, 22:51 Nub, 25:16 Machine, 28:06 Aetherium, 29:34 dialogue files  PERU J: "Ahh...Peru!  It's been a long time since I stood here..." J: "That boulder...still blocking the exit.  I'm lucky I got out alive." J: "This trap looks familiar.  Poor old Forrestal." J: "Hello, Sapito.  You could have thrown me the whip, old pal... think it over." J: "I had that idol...in my hand." J: "Nowhere to climb here.  And I can't whip a shaft of light." J: "Another idol!  Well, Belloq won't get this one!" J: "I still can't speak Hovitos...but this time, I guess it won't matter." CANYONLANDS J: "The Canyonlands!  I never did find the treasures I know are still here..." J: "Time to go to work..." J: "Funny how I didn't spot this before..." J: "If this is the prize, I'll lose my grant for sure." J: "Where are the priceless artifacts, the gilded idols, the crowns of kings?" J: "Good news never travels that fast.  Better get up there." J: "Oh no. What now...?" J: "Sophia Hapgood...?" S: "Hello, Indy.  Been a while." J: "I'll say!  What brings you out West?  Some psychic premonition about the treasures I should have found?" S: "My, look at these wonderful potsherds." J: "It's the new thinking in archaeology.  Find some worthless debris, analyze it, understand pre-history." J: "Kinda noble, don't ya think?" S: "There's an Iron Curtain coming down on Europe, Indy.  The Russians are taking over." J: "I read the papers." S: "Want a real chance to be noble?  We need your help." J: "Unh-hunh.  Who's "we"?" S: "When I joined, during the war, it was the OSS.  Now President Truman calls us the Central Intelligence Agency." J: "Is that what you're up to these days?  Soviet sabotage?  Atomic secrets?" S: "Don't be silly.  We've got whole battalions for that." S: "It's my job to worry about more... uhh... unusual activity..." S: "...such as this dig site on the Euphrates River, south of Baghdad." J: "Babylon!" S: "Remember your bible?  That's where mortals raised the Tower of Babel to invade heaven." J: "Well, you know, this does look like the ruins of Etemenanki, the ziggurat often identified with the Tower." S: "Very good, Dr. Jones." S: "You're looking at the brainchild of one Gennadi Volodnikov of the Leningrad Physics Institute..." S: "...he thinks there's some truth to the biblical legend." J: "Isn't he a godless Communist?" S: "He's a physicist who studies manifolds and hyperspace.  Quirky theoretical stuff." J: "What's a guy like that doing in Babylon?" S: "Not sure. All we really know is, he thinks the atom bomb is a joke." J: "Then why isn't the world laughing?" S: "Indy: suppose the Tower housed some deadly force no one else had ever heard of.   Something as dangerous as nuclear fission..." J: "...and the Babylonians tore it down for reasons not discussed in the Good Book." S: "Exactly." J: "It's an amusing theory.  But, as you can see, I've got troubles of my own." S: "You don't think I flew out here from Washington just to relieve your boredom, I hope." S: "This came from the Russian dig site." J: "Somebody made a mistake.  This looks like part of a steam engine--maybe a locomotive--from the last century." S: "There's no mistake.  We've dated the thing.  It's 2600 years old." J: "Really... Look at that little wheel spin!  How'd you find it?" S: "Come on, Indy... we're the CIA." S: "We have spies." S: "...when you land in Iraq, head straight for the site.  Our field operative will contact you.  It's all expenses paid, but only if you're alive to collect, so watch out for Volodnikov and his goons..." BABYLON J: "Babylon--a lot of mud brick and not much else.  Why do the Russians want to dig it up?" J: "Quite an operation the Russians have going here.  Makes me jealous." J: "This could be Volodnikov's HQ." M: "The ministerstvo hereby reminds Comrade Doctor Volodnikov that Socialist Theory disavows the existence of supernatural powers." V: "Those doctrinaire aparatchiki!  What is it, they think I'm out here searching for God?" M: "Possibly.  I'm just decoding the message, sir." V: "I'm searching for Marduk, a creature the Babylonians worshipped as a god.  But he doesn't live in Heaven, just on another plane." M: "What kind of plane, sir?  Soviet or American?" V: "Not airplane, you idiot, it's another dimension of reality--the Aetherium!" M: "Be careful, professor.  When questions of ideology arise, they often conceal doubts about methods and results." V: "Inform ministerstvo we're making excellent progress--all according to plan." V: "We know the true story is waiting in the Room of the Tablets.  That's where we'll find out what happened to the Tower...and to the machine Marduk inspired.  We're close.  It's a matter of days, and damn the ideology!" J: "The sign says, "B xot vaspreshchyon!"  That's "no trespassing," to Americans." J: "The site is crawling with guards.  I better steer clear." J: "Their trucks go right through the checkpoint... that's my passport!" J: "I hope there's another way in..." J: "The sign says, "Off limits.  Science Personnel Only."  Well, that's me, I believe." N: "Ti! Ahstanavis!" J: "Stravstvuitye, tvarishch. Open the door, I'm here to deliver ...uhh... supplies ...uhh... you know, dig stuff ...hey, whatever you need, I've got it." N: "Ti shpeon.  Menya prekazano strelyat shpeonov." J: "Wha---?" T: "Hello, Dr. Jones. Welcome to Babel. I'm Simon Turner." T: "Remember?  C.I.A.?  Sophia works for me" J: "Ahh, you stole the cog wheel." T: "And our Commie friends don't even know it's gone.  Volodnikov's a hopeless academic, not a field man, and frankly, I need clues he doesn't have.  That's why you got tapped.  You're a famous archaeologist;  I'm just a spy." T: "This should get you through the door." T: "By the way, rumor has it they've found a gold statuette of the winged god Marduk. Be awful nice to have that." J: "C.I.A. runs a museum?" T: "The Company runs a hive of soulless bureaucrats.  But I am a passionate collector." J: "I'll bet you are." J: "I guess Mr. Otis didn't actually invent the elevator after all.  Turner was right about Volodnikov--a good digger would have found this long ago." J: "Some kind of machinery here... but it needs to be repaired." J: "What do you know?  Sophia's little gift has a purpose!" J: "Okay, where am I...?  Nebuchadnezzar's library, maybe.  Shh, don't disturb the patrons... well, that's easy, they've been dead for thousands of years!" J: "There's some cuneiform text on this tablet, but it's fragmentary." P: "Comrade Doctor Volodnikov! We have narushitel in our site!" V: "Capture him if possible!  Otherwise, strelyai the dog!" P: "Da, ser!" J: "There's some cuneiform writing here... but I can't read it.  Some of the tablets are missing." J: "There, it fits!  But I still can't read anything..." J: "Now it starts to make sense.  Let's see here..." J: "Make welcome, seeker.  Know that it was Nebuchadnezzar, in heed of the writing that Marduk made appear unto him, who builded the great engine." J: "Having no understanding, the rabble hath thrown down his work, but four trusted disciples are...are scattered upon the face of the earth, and the relics go with them." J: "Wouldst thou tread the path of knowledge, look eastward.  Urgon it is who flees to the Heavenly Mountains, where Shambala holds a mighty secret." J: "Heavenly Mountains.  I wonder if that means the Tian Shan range..." J: "Whoever wrote this was no fool.  He figured people like Volodnikov would come along and decided to offer some travel advice." J: "The Tian Shan mountains.  I better get moving before Volodnikov figures this out." J: "Marduk, wings and all.  Ha ha. Not bad as priceless treasures go." T: "Ahh, Jones, there you are.  Got a statue for me?" J: "Sorry, not yet." T: "And here I thought we were going to help each other.  You want to stay a step ahead of Volodnikov.  I want that statue." T: "Well, where's the statue?" J: "I'm working on it." T: "I'll be waiting." T: "The statue, Jones?" J: "Yeah, yeah, I know." T: "I'm still waiting." T: "Ahh, Jones, there you are.  Got a statue for me?" T: "Well, where's the statue?" T: "The statue, Jones?" J: "Will this do?" T: "(Whistle) It just might!  Anything else?" J: "According to the inscription, the Tower once housed a "great engine."  When the Babylonians smashed the thing, four priests escaped with the parts." T: "Taking them... where?" J: "Not sure, except in one case.  Some fellow named Urgon headed for the Heavenly Mountains.  There's a crude map of Central Asia." T: "That's not much help." J: "Might be enough.  The Tian Shan range straddles the border between China and Kazakstan.  The name translates as "Heavenly Mountains."" T: "Kazakstan?  Last time I looked, that was Soviet territory." J: "Maybe I won't show the border guards my passport." T: "Okay, buddy.  It's your funeral." TIAN SHAN RIVER J: "Uh-oh.  The Soviet border, and it looks well-guarded..." J: "A raft!  So this is how the Russians patrol the river." J: "I'm not jumping in there.  I'll freeze." J: "A raft!" J: "Looks like this pit has been drained on purpose..." J: "Is that a candle in there?" J: "Another candle..." J: "Strange place for a windmill..." J: "It looks like a candle holder.  There's some Old Persian writing here...  I think it says:" J: ""Pray to the four winds."" J: ""Pray to the four winds."  Okay, I'm praying.  Now what?" SHAMBALA SANCTUARY J: "This seems like a monastery, but the religion is unknown... at least to me." J: "Too bad there's no one to take care of this place.  It's falling apart." J: "This might have been a dumb-waiter once, but the rope broke." J: "Dark in here...  spooky too." J: "Commies again!  I'm beginning to hate those guys..." J: "Hmm, there's some writing etched in the bronze... "Ring for the Master."" J: "I think what this guy really wants to do is... ring that bell." J: "This thing has more sprockets than the inside of Dad's old clock." J: "As I remember, bells are rung on the hour.  What time is it?  I don't want to wait around till high noon." J: "Paddles... the monks probably ran their whole operation with water power..." W: "Hello, young man.  You rang." J: "That's right, I did." W: "And you want my help..." J: "Do I?  To tell you the truth, I'm kind of lost." W: "...but it is you who must help me. As you have guessed, a man from the desert came to us long ago with the spinning idol.  For centuries we have lived with his evil legacy.  Take it, and our blessing be upon you!" J: "Show me the way." W: "I am too old and infirm.  To be of any service I must recover my former strength--and that, I'm afraid, requires a certain golden treasure." W: "Harrumph!" J: "Okay... golden treasure... where is it?" W: "Why, in the treasury, of course!" W: "Take this, it may help you." W: "Hello again.  Where's the golden treasure?" J: "I haven't found it yet." W: "Examine the treasury!" W: "Peace, young man.  Where's the treasure?" J: "All I've found is a plant bulb." J: "Not much of a treasure, I'm afraid." W: "Yet it must become one before I can help you." W: "Follow the water." W: "Remember... living things need loving care." J: "What happened here?  Did the monks lose faith all of a sudden?  They didn't even bury their dead." J: "I've found the great monastic seal!" J: "This is a dead end, but there's a window to the outside over there..." J: "Look--the 2nd book of Aristotle's Poetics.  You don't see that on every shelf..." J: "Hmm.  A plant bulb." J: "What do you know?  The bulb sprouted." J: "Now the plant has a bud!" J: "This might work as a flower pot." J: "Some kind of cistern here..." J: "...but no water.  You can't sprout a seed without water." J: "...just the spot to water that bulb." J: "I'm no gardener, but I read somewhere that plants need light." J: "Now what in the name of biology was that??" W: "You again.  Do you have the treasure?" J: "Here's the best I could do.  I hope you're not disappointed." W: "Not yet." Y: "Ahhh!  Your gift is great!  Now..." Y: "Here is the way to the Babylonian curse.  Return when you have cleansed the sanctuary!  Beware the ice..." Y: "Beware the ice..." SHAMBALA WATERWORKS J: "Brr.  Cold in here." J: "The stream is frozen solid. Ice won't spin too many waterwheels..." J: "If I could melt the ice here, the river would flow again, I'll bet." J: "I need something to heat this ice up and melt it." J: "A waterwheel and four different sluiceways.  Why so many...?" J: "They certainly knew how to use water power here..." J: "It's a sluice-gate.  The monks must have used it to direct the water flow..." J: "Here's where the monks made flour for their daily bread..." J: "Quite a milling machine.  The first step in pounding out the monks' daily bread, no doubt." J: "Some lamp oil...I might be able to warm things up with this." J: "Here, I guess this belongs to you." Y: "No!  Take it away!" J: "What is it, anyway?" Y: "I don't know. A relic. You've found part of something terrible. Are you prepared to continue?" J: "Yeah.  There's supposed to be more of these things." Y: "Although Urgon dwelt with us in Shambala, his companion Taklit journeyed onward to the Eastern Ocean.  There, he took advantage of a people starving for knowledge." J: "Are you talking about the Pacific?  That's a wide stretch of water." Y: "Look for a tropical island among many others, where men have lived for eons uncounted.  They call it Palawan, I believe. Follow this path!" PALAWAN LAGOON J: "Ahh, paradise on Earth...  Hard to believe anyone living here would sign up for the troubles of civilization--unless somebody or something lured them into it..." J: "Whoa!  The War was not kind to that ship.  Or anyone aboard, I'm guessing." J: "If I had the right tool, I might be able to swing this crane around." J: "What are those totems doing over there?" J: "A torpedo. And it's still in good shape..." J: "I just need an arming device." J: "This torpedo needs an arming device." J: "I'll just aim this tin fish over here..." J: "Looks like this place used to be inhabited...and not by cave men." PALAWAN VOLCANO J: "Kinda warm in here.  The volcano can't still be active, can it?" J: "The volcano's active, all right." J: "Looks like a funeral barge.  One of the local kings... or Taklit, Marduk's man in Palawan?" S: "Hi, Indy!  Welcome to my little hothouse!" J: "Sophia!  What are you doing here?" S: "Same thing you are. I found the door.  Let's go." J: "Wait!  I'm not looking for a partner.  Too dangerous." S: "Who said we're partners? The Company has its rules, Indy--I don't tell you everything." S: "Be careful here. I know you don't believe in my psychic powers, but I sense danger." J: "I've been around long enough to believe in almost anything--even nuts like you.  Don't worry, I'll dodge the Commies." S: "No, not them.  Something else.  Something... strange." S: "Indeeeee!" J: "That gate looks pretty sturdy.  I'm not sure I can smash through it." J: "Uh-oh.  That was fast.  Maybe I need some help with this..." J: "You okay?" S: "How do I look?" J: "Like a fish in a net.  So much for your danger detector." S: "Find the key!  Get me out of these cuffs!" S: "Find the key!" J: "Okay.  Sit tight." J: "Maybe...sit tight." S: "Don't let me down, Jones!  I'm your ticket out of here." J: "Trust me." S: "Got the key?" J: "Sorry, not yet." S: "Check the guards!  One of them must have it." S: "The key...?" J: "Working on it." S: "Work on the guards, okay?" J: "Okay, Sophia, I found the key." S: "Took you long enough." J: "Be nice, or I won't use it." S: "You better.  You need my help." J: "You're right about that.  There's a gate up ahead.  I can't get through by myself." S: "Thanks, Indy.  Now I'm gonna take a good look around." J: "Wait...!" S: "See you soon." J: "Here you are.  Find anything?" S: "Nothing spooky, if that's what you mean." S: "What's this switch?" J: "It opens the gate up there.  Let me work my way into position, then push!" S: "Say when." J: "Push, Sophia!" S: "Indy?  You okay?" J: "Ugh! I can't open it from this side." S: "Doesn't matter.  I've got some spying to do." J: "Wait!  What about that premonition... still got it?" S: "Yes.  But the danger is farther along. You'll be fine... for now." J: "I like her optimism." J: "Volodnikov must have been here.  Too bad he doesn't take very good care of his equipment.  This thing needs a replacement pulley..." J: "This thing needs a replacement pulley..." J: "Okay, I'm ready to roll." J: "Oh great--here come the Reds. I should have dismantled that tram." PALAWAN TEMPLE J: "I never saw this place in any text book, but somebody built it. Long ago, somebody built it, and then left. At least, I hope they left." J: "Haaahhh! The rocks move! I don't remember studying this in geology class..." J: "A Tiki statue... with stubby little arms." J: "Mmm.  A tiki statue...hanging by its stubby little arms." J: "Hmm... Nice stonework." J: "Another Tiki... hanging by its stubby little arms." J: "Another tiki statue...also with stubby little arms." J: "This door has stubby little protrusions." J: "Now I need to get these things to move.  I'm going to need some powerful help!" J: "(Whistle) Lava with a personality!  What's this guy's body temperature?  Myself, when I run a fever, I get cranky..." J: "Is this what I think it is?  Let's see... "Frame your mind well, wherefore eyes avail not!  The unseen is unstoppable."" J: ""The unseen is unstoppable."" J: "Here it is!  Another cog in the wheel!" J: "Hmm.  Good-looking kid..." J: "She must be some Filipino Princess..." JEEP TREK J: "Sophia?  Turner?" J: "Sophia! Turner!" J: "Where is everybody?" J: "A jeep.  Let's see if this thing still runs..." S: "About time you showed up, Jones.  I was almost worried." J: "Yeah?  Ha. Me too." S: "Listen, while you were hunting artifacts I was eavesdropping on the Russians.  They've given up here.  Volodnikov got word about ancient machinery in the Pyramid of the Sun, in Teotihuacan." J: "Mexico, huh?" S: "Built by some Babylonian priest--Azerim, I think." J: "Azerim..." S: "And you might just get a jump on our friends.  They're traveling by boat." TEOTIHUACAN J: "Teotihuacan... Pyramid of the Sun. Except... it's not too sunny in here." V: "Tvarishchi!  Stay alert!  The amerikanyetz may already be here.  He's a smart one, that fellow.  That's why we summon Speytsnaz.  Our previous Security Detachment failed us.  Make sure you don't! Now, beritiye pozyetsiye!" J: "Amazing... stones carved like gears." J: "After two thousand years, the machine still works.  And old Azerim didn't even have a college degree!" J: "Nice skulls." J: "A stone goddess... with a face like that, she won't win too many beauty contests.  What are those hands supposed to be holding...?" J: "What are those hands supposed to be holding...?" J: "A silver mirror!  I know who'd like to get her hands on that!" J: "These pedestals look like a three-part shrine...but where are the idols?" J: "I better start looking around, or those Communists will find 'em before I do." J: "These pedestals look like some sort of shrine." J: "Just the spot for that Idol I found!" J: "Just the spot for those idols I found." J: "It's a shrine. And it still needs some fixing up." OLMEC VALLEY J: "Where am I?  Unmapped territory, for sure... but I'll bet Azerim found it long before I did." J: "Whoops.  I need something to hold this pressure pad down." J: "It's a monumental Olmec head!  So that's who lived here in Azerim's day..." J: "Snakes!  I hate snakes... especially big ones!" J: "Here's what I'm looking for--another part of the Babylonian Machine.  Judging by the gylphs, it even comes with instructions.  Let's see..." J: ""Harken, mortal!  Verily does my device raise Man on high.  If ye doubt, seek but the Jewels of Heaven!"  Why are these inscriptions always so damn poetic?" J: "Hmm... sounds like the Olmecs thought they could fly.  If I ever get out of here, I'll pass the word to the Wright Brothers." V: "Ha ha ha. Smotri, tvarishchi , we've captured a jungle animal!  Careful now, he's a magnificent specimen!" V.I. PUDOVKIN Q: "Nyet!  Nazat!" J: "Quick, get me up on deck!  I think I'm going to be seasick." Q: "Ha ha ha.  Khorosho shootka.  Ho ho ho." Q: "Nyet! Glupie amerikanetz!" Q: "Dovolono!" Q: "Unnhhh!" Q: "Shto...?" Q: "Ahstanavis, ti!" J: "My whip!  I don't really feel like myself without it..." J: "My trusted law firm, Smith & Wesson..." J: "Hey!  That's one of the Machine Parts." J: "Progress!  Another Machine whatzit..." J: "Finally!  The last thingamajig..." J: "Well now, the Russians have been collecting souvenirs.  Isn't this one of the heavenly jewels?" J: "This Jewel is a long way from Heaven, I'm afraid." J: "I'll just attach the hook here..." V: "Meroë, Lieutenant...  The Nile River...  The Kingdom of Kush...  These exotic sites are foreign to sovietski grazhdunye, but that will change as we change the world, eh?" V: "That's where the Babylonian secret lies, buried with King Nub, who used it to defeat his Egyptian ugnetatelii." V: "Somehow, no one has ever claimed the treasure!  Is it too well hidden?  Too dangerous?  Does the power strike the finder, like a curse?" V: "I wonder about these things.  Then, when my resolve weakens, we capture Jones!  Now, using that amerikanski avanturist and the tools he has so kindly provided, mui budyem ospiyeshnii.  Indeed, history is on our side!" R: "Tvarishchi! Zhones obezhal!" V: "What?!  Retake him immediately!  Alive if possible, but... dead if necessary!" R: "Khorosho, ser!" J: "This launch has a motor, and it's ready to go.  I just need to swing the davit out over the water." J: "This launch has a motor, and it's ready to go.  I just need to lower it into the water." J: "This boat isn't going anywhere unless I can swing it out over the water." J: "This boat isn't going anywhere unless I can drop it into the water." MEROE J: "Meroë!  The Funeral Pyramids of the Nubian Kings!  Volodnikov thinks one of those kings came from Babylon.  And his tomb is... where?" J: "This looks like the way in.  If I can find a way to get rid of these bars..." J: "This looks like the way in.  If I can get rid of these bars..." J: "This isn't a natural pit." J: "Horner dug a mighty big hole here." J: "Somebody dug a mighty big hole here." J: "What's this? "King Solomon's Mines.  Property of Heinrich Horner, Aktiengesellschaft, 1923."" J: "Huh...more like Wishful Thinking, Incorporated, if you ask me..." J: "King Solomon's Mines, Inc.  Looks like Horner believed his own fairy tale." J: "King Solomon's Mines.  Okay.  Where's the fabulous jewelry?" J: "King Solomon's Mines.  Hmm." J: "Whew.  The miners were happy to blow a hole in history. But their tunnel collapsed..." J: "Well now.  The miners were happy to blow a hole in history. But their tunnel collapsed..." J: "Hello in there!" B: "Is it safe?" J: "Don't worry, I...I won't hurt you." B: "You don't look so bad.  It's the hyenas that bother me." J: "Anybody home?" B: "I'm not coming out.  I don't like hyenas." J: "Hellooo!" J: "Hey, where you going?" J: "Hmm.  Kind of shy." J: "There's something over there, but I...I don't think I can balance on that rail..." B: "Thanks to English gentleman for killing the fierce hyenas." J: "American.  I'm an American." B: "Civilized like English, yes?" J: "Don't be too sure." B: "Industrialized too, I bet.  Here to re-open the mines!" J: "I think there's something over there I need.  You want to help me find out?" B: "That chap Horner was very industrialized!  He discovered King Solomon's Mines right here in Meroë." J: "Those mines are a myth.  Are you going to help me or not?" B: "What if there's something I need?  Will you help me?" J: "Maybe... depending... I don't do miracles or anything fancy, kid." B: "I have observed that industrialized men wear watches.  Now if I had a watch..." J: "Sorry, kid.  I have no idea what time it is." B: "I'll wait while you find out." J: "You again." B: "Hello, American.  Did you find a watch for me?" J: "No watch.  I warned you, kid." B: "And you call yourself industrialized!" B: "Where's my watch?" J: "I can't find one." B: "You don't even try!" J: "Hmm. An electric generator. The fuel tank is still half-full..." J: "...if it only had a drive chain, I might be able to crank it up." J: "This thing needs a drive chain." J: "There!  Now I've got power to spare..." J: "Well, whaddaya know?  Something shiny here... a pocket watch!" J: "It's inscribed, "Heinrich Horner"" J: "It's that kid's lucky day!" J: "Here you are!" B: "Hello, American.  Did you find a watch for me?" B: "Where's my watch?" B: "Ahhh..." J: "Hey, not so fast." J: "Take good care of this, kid.  It once belonged to the man who discovered King Solomon's Mines." B: "Ha!  Now I own a machine!  I am industrialized!" J: "It's a start." B: "Today, at Eleven O'clock A. M., I leave for Kenya.  Soon, I shall have my own factory!" J: "Hmm.  Looks like a false tomb." J: "The Egyptians often used them to throw thieves off track.  Hmm... Any thief bait left over, I wonder...?" J: "Egyptian hieratic writing.  Hmm...it says..." J: ""The Light of Knowledge opens all doors."" J: "Oh, sure, and a dime will get you a cup of coffee." J: ""The Light of Knowledge opens all doors."" J: "A prismatic eye.  What's it looking at?" J: "Another eye..." J: "The shaft is pointing at the desert floor." J: "Ah, this wood is pretty dry.  It would make a nice fire..." J: "More firewood..." J: "A now-familiar face... and eye!  But no prism--this one's blind." J: "I guess I need a prism here..." J: "In a pioneering operation, Dr. Jones deftly restores the patient's vision..." J: "Okay.  What do you see?" J: "Take a good look!" J: "There!" J: "This car's glory days are over..." J: "But I might be able to salvage something." J: "Okay.  This wheel will roll again!" J: "Horner must have been worried about fire safety.  This door is designed to stay closed unless the mine car triggers it." J: "The fire door only opens when the mine car triggers it." J: "You know, this mine car is still in pretty good shape." J: "All it needs are a wheel and some fuel." J: "All it needs is some fuel." J: "All it needs is a wheel." J: "This thing might still run..." J: "...if it had a wheel and some gas." J: "...if it had some gas." J: "...if it had a wheel." J: "All aboard!" KING SOL’S MINES J: "Whoa!" J: "I hope this isn't the end of the line..." J: "Here's where Horner ran his little railroad..." J: "...but without electric power, I can't switch the tracks." J: "...I'll bet the levers control the switches." J: "And the lights look like block signals." J: "I can't switch the tracks without some juice." J: "Hey!  There's another car on the tracks.  The Reds must have followed me..." J: "Hmm.  This one doesn't work.  Maybe the switch is stuck." J: "I think somebody blew a fuse..." J: "The fuse is blown." J: "I just need a fuse." J: "Well let's see if that changes my luck..." J: "I can't throw this switch.  And no wonder... it needs some grease." J: "This switch won't work without some grease..." J: "This imagery doesn't come from Egypt.  How about Babylon?  Or somewhere even more remote..." A: "Ahhhhhhhhhh..." J: "Better throw this back, just to be safe..." J: "Feeling better now?" NUB’S TOMB J: "Whose dreams were shattered here?  I sense King Nub's Babylonian presence..." J: "Who--or what--are you?  The door man, I bet.  Missing an arm though, huh?" J: "This thing's arm is missing..." J: "Ohh, this place is... strange.  And I used to think I knew a lot about archaeology..." V: "Naidtiye Zhones!  Socialist victory depends on those machine parts!" V: "Bozhe moi!" J: "Volodnikov!  Now I've got you!" V: "Dr. Jones... opyat!  You anticipate my every move.  Too bad we are on opposite sides...  what a waste shooting you would be!  Two originalnie muieslyteli such as ourselves ought to cooperate for the good of mankind, no?" V: "Da svidanya, Jones!" V: "Don't shoot!  It's only a bronze gear.  You can have it!" J: "What is that thing?  Still sparking after all the centuries..." J: "This is another part of the Machine, or my name is Joseph Stalin... an electrical battery of some sort, by the looks of things." J: "King Nub, I presume..." J: "Hey!  What's this?  A ruby polished like a lens, or an eye... a baleful eye!" J: "Looks like an eye socket... but where's the face?" J: "Whoa!   Take it easy, big fella, I'm no grave robber.  If you're willing to overlook this little incident, I am too..." S: "Indy?  Is that you?" J: "More or less." S: "Are you all right?" J: "I am one hurtin' archaeologist, but I'll live." S: "Oh good." S: "Hand up those machine parts you've collected, and we'll get you out of there." S: "Indy?" J: "Who's "we"?" T: "Come on, Jones.  We need those parts." J: "I don't know..." T: "Don't you love your country?  In the name of the United States of America, man!" V: "Don't trust your fellow Americans, eh?  Now you know how we Russkiye feel." V: "In the name of the CCCR..." T: "Give me the parts, Jones!  He's a Commie!" V: "The parts will be safer with me, doctor.  Your friend is a gangster." J: "What a choice!" S: "Sorry, Indy.  And... thanks!" V: "(Sigh) Perhaps it's best, Jones. Your droogye have the machinery, but you have the satisfaction of knowing their betrayal will cost them their lives!" J: "Yeah, that cheers me up." V: "Those ignorant fools know nothing of Babel, but I have studied, and I know that beneath the foundations of the Tower the cause of all the biblical turmoil waits to complete his designs on mankind." J: "Who?  What are you yammering about?" V: "Da!  The Lord Marduk himself crossed over from the Aetherium to inspire the Babylonian priests.  And Marduk, potent and malevolent to this day, will have his mest on those who desecrated the Great Machine." V: "Luckily, you and I are professors at heart.  Too wise to become so easily ensnared." V: "(Sigh) And too timid." V: "Back home to our tea and books now, eh? Ha ha ha." INFERNAL MACHINE J: "Sophia?  Turner?" J: "Sophia! Turner!" J: "They've been here all right.  Where are they now?" J: "(Whistle) Somebody inspired the Babylonians, all right!  They were either a lot smarter or a lot dumber than we are..." J: "(Whistles) Somebody inspired the Babylonians, all right!  Either that, or the ancients were a lot smarter than I am..." T: "Finally!  The new world beckons!  It's up to us, as Americans, to meet the other side and secure their cooperation with the West.  We need an ambassador!" S: "Don't be a fool!  You can't go in there!  I sense danger... an evil force waiting to destroy us." J: "Hey, you two!" J: "Hey, you two!" T: "Jones?! Stay out of this!" T: "Don't worry, Sophia,  I know my limitations.  You're the one with contacts in the spirit world." S: "Oh sure.  Do I look that crazy to you?" T: "You look like a real diplomat!" S: "Ahhh!" T: "Impressive, isn't it?  We've struck a gold mine, doctor!  Now the Soviets don't stand a chance.  Only... I'm having some trouble with the controls.  You're a professional, you've studied archaeological puzzles, help me solve this one!" J: "Why should I help a thief?" T: "In the name of Freedom, man!  We're in a war!" J: "All right, how's this?  Stop whatever you're doing right now before you ruin the site, we'll apply for a grant, and spend a few years studying the place.  Research money's tight these days, but with your connections, it's a sure bet." T: "Forget your ivory-tower, Jones!  Here's our chance to save Democracy." J: "Let's vote on it." S: "Noooo..." J: "Turner!  Come back here!" T: "See you later Jones!" S: "Indeeee..." J: "Don't worry, Sophia, I'll think of something!" J: "I hope." S: "Indy!  Help me!" J: "I'm doing the best I can.  Trust me." J: "Turner, you moron!  Get away from the controls... it's dangerous!" T: "Fine!  You figure it out..." J: "Turner!" T: "Arrrh!" J: "Hmm... a headless horseman..." J: "Look at that thing, humming like a top.  Wait, I see writing...  it says, "Verily will I shake the Earth."" J: ""The unseen shall reveal the unimagined."" J: ""Thus do I lift man to new heights."" J: ""My power will change the world."" J: "Uh-oh, Turner stuck the wrong part in there!" J: "The inscription reads..." J: ""Verily will I shake the Earth."" J: ""The unseen shall reveal the unimagined."" J: ""Thus do I lift man to new heights."" J: ""My power will change the world."" J: "Turner fouled up again!" J: "Turner!  You've got the Part I need.  Hand it over!" T: "Sorry!  Can't do that." J: "Come on, it's our only chance to save Sophia!" T: "You don't fool me, Jones: once you stop the Commies, you'll use the Machine to take over!  That's your plan!" J: "The world's seen enough dictators, don't you think?" T: "You'll never get away with it!" J: "Turner!" T: "Keep away from me!" J: "Open up, Turner!" T: "You can't win, Jones!  Uncle Sam will thank me for this!" J: "Turner!  Come out of there!" T: "Forget it, Jones!  I'm not interested!" J: "Turner!" T: "Watch yourself, Jones!" J: "You okay in there?" S: "Help me, Indeee!" I: "Krah nag vakkana yar!  Who dares disturb my slumber!?" J: "Uhh... that's me, I guess... Indiana Jones." I: "Make me whole, master, that I may obey your wishes." J: "There!" I: "Well done, master.  Prepare yourself!  My Lord Marduk, the supreme ruler, desires your attention!" S: "Jones!  Stop!  Are you crazy???" I: "Marduk is satisfied!" J: "Sophia!  What have I done?" J: "Sophiaaaaa!" AETHERIUM J: "More machinery... the whole place is a machine!" J: "Marduk!  You're one of those angry gods, I'll bet.  Ugly too!" E: "Welcome to the Aetherium, Mortal!" J: "Marduk used this thing to charge up his thunderbolts. Maybe I should try the same thing..." J: "Marduk charged up his thunderbolts here.  Maybe I should give it a try..." J: "Well now!  This gizmo seems to open up contact with ordinary reality..." J: "Well now!  From this  side, the barrier between worlds isn't so absolute.  Here's a slice of ordinary reality..." J: "...and I feel better already!" J: "Sophia?" S: "Indy, get me out of here!  I'm turning to stone or something..." S: "Jones...!" J: "Sophia!  You okay?" S: "Stay away, mortal!" J: "Wait!" J: "Your Aethereal majesty!" S: "What?  What is it?  Have I got two heads or something?" J: "No... two faces, maybe..." S: "Pardon me?" J: "You were on Turner's side... right up until the end there." S: "I never lied.  I'm a professional.  I was doing my job." J: "I guess that's human enough." S: "You bastard!" J: "Let's live to tell this tale!" V: "Did you find God, Dr. Jones?" J: "I hope not.  Whoever we ran into wasn't very forgiving." V: "That's a relief.  As you know, Socialist Theory disavows the existence of supernatural powers." J: "And you expect to win the Cold War?" V: "I expect a long struggle." J: "Listen, uh, Gennadi, you don't happen to have any socialist vodka on hand?  I'm thirsty." INCIDENTAL LINES B: "No shooting, please!" B: "Don't shoot--it's me, not a hyena!" B: "Hey, that could hurt!" B: "Stop!  Or I refuse to help you!" H: "Stoi!" H: "Ey, ti!" H: "Zdavaisya, Zhones!" H: "Zdavaisya, tvarishch!" H: "Stoi na mesti!" H: "U tebya nyet nekakovo chansa!" H: "Mui tebya okruzhili!" H: "Zdavaisya poka ne pozdno, Zhones!" H: "Ti na sovyetski terratoriyi!" H: "Kapitalisticheski glupyetz!" H: "Von ot cyuda!" H: "Ostorozhno!" H: "Ti opyat zdees!" H: "Ti, edye cyuda!" H: "Eto zapreyetko!" H: "Kakaya prekrasnaya zhaketka!" H: "Stoi!" H: "Ey, ti!" H: "Zdavaisya, Zhones!" H: "Zdavaisya, tvarishch!" H: "Stoi na mesti!" H: "U tebya nyet nekakovo chansa!" H: "Mui tebya okruzhili!" H: "Zdavaisya poka ne pozdno, Zhones!" H: "Ti na sovyetski terratoriyi!" H: "Kapitalisticheski glupyetz!" H: "Von ot cyuda!" H: "Ostorozhno!" H: "Ti opyat zdees!" H: "Ti, edye cyuda!" H: "Eto zapreyetko!" H: "Kakaya prekrasnaya zhaketka!" H: "Stoi!" H: "Ey, ti!" H: "Zdavaisya, Zhones!" H: "Zdavaisya, tvarishch!" H: "Stoi na mesti!" H: "U tebya nyet nekakovo chansa!" H: "Mui tebya okruzhili!" H: "Zdavaisya poka ne pozdno, Zhones!" H: "Ti na sovyetski terratoriyi!" H: "Kapitalisticheski glupyetz!" H: "Von ot cyuda!" H: "Ostorozhno!" H: "Ti opyat zdees!" H: "Ti, edye cyuda!" H: "Eto zapreyetko!" H: "Kakaya prekrasnaya zhaketka!" H: "Stoi!" H: "Ey, ti!" H: "Zdavaisya, Zhones!" H: "Zdavaisya, tvarishch!" H: "Stoi na mesti!" H: "U tebya nyet nekakovo chansa!" H: "Mui tebya okruzhili!" H: "Zdavaisya poka ne pozdno, Zhones!" H: "Ti na sovyetski terratoriyi!" H: "Kapitalisticheski glupyetz!" H: "Von ot cyuda!" H: "Ostorozhno!" H: "Ti opyat zdees!" H: "Ti, edye cyuda!" H: "Eto zapreyetko!" H: "Kakaya prekrasnaya zhaketka!" H: "Stoi!" H: "Ey, ti!" H: "Zdavaisya, Zhones!" H: "Zdavaisya, tvarishch!" H: "Stoi na mesti!" H: "U tebya nyet nekakovo chansa!" H: "Mui tebya okruzhili!" H: "Zdavaisya poka ne pozdno, Zhones!" H: "Ti na sovyetski terratoriyi!" H: "Kapitalisticheski glupyetz!" H: "Von ot cyuda!" H: "Ostorozhno!" H: "Ti opyat zdees!" H: "Ti, edye cyuda!" H: "Eto zapreyetko!" H: "Kakaya prekrasnaya zhaketka!" J: "Huh. This looks interesting." J: "This looks interesting." J: "This looks interesting." J: "This looks interesting." J: "What's this?" J: "Hmm.  Something's in there..." J: "Well...  something's hiding here..." J: "What have we here?" J: "(Whistle)" J: "Whoa!" J: "Whoa!" J: "Hey!" J: "Hey!" J: "Watch out!" J: "Look out!" J: "Uh-oh!" J: "Now what?" J: "Yow!" J: "Yow!" J: "Oh, great." J: "Aaaaahhh..." J: "Oof." J: "Ugh." J: "Oof." J: "Oooh." J: "Ogh." J: "Umph." J: "Ow." J: "Ow." J: "Owgh." J: "Ow." J: "Ow." J: "Ow." J: "Unnnhhh..." J: "Uughh..." J: "Ugh..." J: "Mmgghh..." J: "Unnhh..." J: "Ugh..." J: "Uuugh..." J: "Hmm.  That thing looks whippable..." J: "I might be able to whip that thing..." J: "I could probably climb this..." J: "Maybe I can climb here." J: "I'll bet I can climb this." J: "This looks climbable." J: "This wall looks like it's ready to crumble." J: "A little vibration would smash this..." J: "Is that crystal one of those Jewels of Heaven I read about?" J: "This looks like a pair of electrodes..." J: "Maybe I can move this out of my way..." J: "With a little sweat, this might move..." J: "This looks moveable..." J: "Unnh..." J: "Unnh..." J: "Unnh..." J: "Unnh..." J: "Unnh..." J: "Unnh..." J: "Unnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Errrnnh..." J: "Unnh.  There's no room to maneuver..." J: "Unnh.  I'm out of room here..." J: "Unnh.  I can't pull this any further..." J: "Unnh.  I can't push this any further..." J: "Hm. Dark in here..." J: "I can't see a thing..." J: "I need some light here..." J: "I sense a trap." J: "I sense a trap." J: "Something's wrong here..." J: "This doesn't feel right..." J: "Something's making me nervous..." J: "Danger!" J: "There's nothing to fear here... that's what scares me." J: "Skulls!  Mystic signs!  Ooh, they make me jumpy..." J: "Why am I getting this creepy feeling...?" J: "It's a switch." J: "It's some kind of switch." J: "This could be a switch." J: "Hmm.  Is this a switch?" J: "I think this is some kind of pressure switch..." J: "Must be a pressure switch..." J: "I need something to hold this switch down." J: "That looks dangerous..." J: "That looks a little too dangerous...even for me!" J: "That won't work." J: "That will never work." J: "I don't think that's the right answer." J: "I'm not sure that's a good idea." J: "Reds!" J: "Commies!" J: "Whoa.  Looks like the Commies got here first." J: "Reds!  I thought I had the jump on those guys." J: "Oh no.  Commies again." J: "Well, well.  Reds again." J: "Reds.  They're everywhere." J: "Snakes!" J: "Oh no.  Snakes!" J: "Snakes and more snakes!" J: "Snakes!  I hate snakes!" J: "Why did it have to be snakes?!" J: "You know, I should get over this irrational fear of reptiles." J: "Yow!  Keep away from me!" J: "This door is locked." J: "It's locked." J: "Locked." J: "Locked again." J: "Locked!  My luck never changes." J: "Oh no, why are these doors always locked?" J: "There's a keyhole here.  I just need the key." J: "Hmm.  Must be the wrong key." J: "Wrong key." J: "I guess that's the wrong key." J: "If there's a key, that's the wrong one." J: "Whoops." J: "Nope." J: "That didn't work." J: "That didn't work.  I'm doing something wrong." J: "Of course that didn't work." J: "Hmm, that didn't quite work." J: "Good idea, but not good enough." J: "In a perfect world, that would do the job.  But not in this one." J: "There must be another, slightly different, way." J: "I can't open it." J: "For some reason, this door won't open." J: "It won't budge." J: "Something is holding this door closed." J: "This looks like a door to me.  Why doesn't it open?" J: "There must be a way to open this door.  I just don't know how." J: "It's a door, but I can't seem to open it from this side." J: "Whoa!  It opened!" J: "Open sesame..." J: "I'll be damned, it opened." J: "What do you know?  I got lucky." J: "Hey, it's unlocked..." J: "There!" J: "It fits!" J: "Success!" J: "What do you know, it worked!" J: "That ought to do it..." J: "Look at that thing go..." J: "Got to hand it to the ancients!  They were a lot smarter than most people think..." J: "Ancient machinery!  It's worth a Ph.D. for anyone who can figure it out!" J: "Shafts and gears... this is amazing..." J: "What a gadget.  How does it work?" J: "What a contraption.  How does it work?" J: "How does that thing work?" J: "How does it work?" J: "Counterweights?" J: "Pneumatic pressure?" J: "Hydraulics?" J: "I'll bet they used a concealed weight to power that thing." J: "Sophia?" J: "Sophia?  Where are you?" J: "Where's Sophia when I need her?" J: "I could use the services of a good spy right now." J: "Volodnikov!" J: "Where's Volodnikov?" J: "Where's Volodnikov now?" J: "Doctor Volodnikov?" J: "Where is that fat little Commie rat?" J: "Where did that Commie rat scurry off to?" J: "Where did Volodnikov scurry off to?" J: "What's Volodnikov up to now?" J: "Where is that Communist nut?" J: "What is that Red Menace thinking about?" J: "Look what I found..." J: "What's this...?" J: "There's something here..." J: "What have we here?" J: "Now what?" J: "Look..." J: "Hey..." J: "Hmm..." J: "Aha..." J: "Some gold..." J: "Some silver..." J: "A valuable artifact..." J: "An idol..." J: "A tool..." J: "An interesting gadget..." J: "First aid..." J: "A medical kit..." J: "Medicinal herbs..." J: "Some medicine..." J: "Something to restore my health..." J: "A gun..." J: "An automatic..." J: "An assault rifle..." J: "A shotgun..." J: "A grenade..." J: "A bazooka..." J: "Some firepower..." J: "Some more firepower..." J: "A key..." J: "A strange key..." J: "I think it's a key..." J: "A spare part..." J: "Part of a cuneiform tablet..." J: "A fragment of text..." J: "A beeswax candle..." J: "Another candle..." J: "Fuel oil..." J: "A hammer..." J: "An entrenching tool..." J: "A torpedo fuse..." J: "A crank..." J: "A blade of the prop..." J: "A medallion... or...or is it a key?" J: "It's the key to those handcuffs!" J: "A pulley..." J: "A crank to lower that boat..." J: "A wheel to lower that boat..." J: "A bundle of firewood..." J: "A fuel can..." J: "A crescent wrench..." J: "A drive chain, if I'm not mistaken..." J: "A crystal... it looks like a prism..." J: "A length of mine rail..." J: "A fifty-amp fuse..." J: "A can of grease..." J: "One of King Sol's jewels..." J: "Another jewel... beautiful." J: "A jewel." J: "A third gem... too bad I'll never get the chance to cash it in." J: "A bronze gear..." J: "The Mystic Cocktail Shaker Part..." J: "Part Number 2, now you see it, now you don't..." J: "Ye Olde Prehistoric Helicopter Part..." J: "The Battery from Hell Part..." J: "A tool from beyond..." J: "I have no idea what this is..." J: "Some kind of whatchamacallit..." J: "A possible useful doo-hickey..." J: "A something-or-other..." J: "Something old... but what?" J: "It's not safe to get out here." J: "Part of the Infernal Machine" J: "Another piece of the Machine" J: "More machinery..." J: "I can't reach" J: "I can't quite reach." J: "I can't reach that." J: "There's nothing I can reach here." J: "I'm not lined up right." J: "I need to line myself up here." J: "I need to move over." J: "I'm not quite in position." J: "I need to get in position." J: "I need to find a better spot." J: "More firewood..." J: "A machete..." J: "What's that over there?" J: "Something's in there...but what?" J: "Something's over there...what is it?" J: "Hey...something's over there..." J: "Well, well...look at this..." J: "Hmm.  This might be important." J: "I don't think I really need this." J: "I don't think these things will work together very well." J: "I don't need any medical assistance right now..." J: "I feel pretty healthy at the moment." J: "I'm fine.  I don't wanna waste any medical kits." J: "There's nothing to trade for here." J: "Another text fragment..." J: "A raft repair kit..." J: "Some kerosene..." J: "Some gasoline..." J: "A bird idol..." J: "A jaguar idol..." J: "A fish idol..." J: "A crank wheel..." J: "An oil can..." J: "A railroad crosstie..." J: "A mine car wheel..." J: "A lever arm..." J: "A mechanical arm..." J: "An arming device for a Japanese torpedo..." J: "An arming device for that torpedo..." J: "A satchel charge..." J: "A bazooka shell..." J: "The slope here is too steep.  I can't get a foothold." J: "I better not do that.  This thing could be useful." J: "I better not do that." J: "A carving of the Eye of Horus." J: "That didn't do anything." J: "That didn't do anything." J: "Better not do that.  This thing could be useful." J: "I dunno... Maybe I've gone too far." J: "Four oriental coins... somebody made a wish" J: "Huh.  This looks kind of worn and tattered..." J: "I should be able to get through this..." J: "Hmm." J: "Hmm." J: "Maybe." J: "Okay." J: "Well..." S: "Hey!  Point that thing the other way!" S: "Cut it out!  That's not funny!" S: "Stop it!" T: "Don't shoot!" T: "Watch what you're doing!" T: "Hey!  Take it easy, pal!" V: "Ne strelyai, Zhones!" V: "Prukratye strelboo!" V: "Za nim!" V: "Pomogitye!" W: "Be careful, young man!" Y: "Don't do that!  You need my help." (Comment on this)
Wednesday, March 11th, 2009
11:03 pm	Things not found at theraider.net Script Checklist Indiana Jones 4.3 Raiders Story Conference Transcript Indiana Jones and the Temple of Streisand The Grail Diary of Henry Jones Story of the trilogy on record and CD Ford's Raiders script Raiders Storyboards FX Storyboards Mad Magazine indianajones.com - Marshall College Temple of the Forbidden Eye Indy / Han Solo crossover comic Temple of Yearning comic Desktop Adventures screenshots Young Telegraph newspaper comics Adventure Club Magazine comics Lost Treasures magazine comics Emperor's Tomb script Staff of Kings PS2 script Infernal Machine script and audio Infernal Machine art Gallery (Comment on this)
Wednesday, March 4th, 2009
11:04 pm	Raiders Story Conference Transcript (DF, LK, PK) TAPE RECORDING OF CONVERSATION BETWEEN DEBBIE FINE, LARRY KASDAN AND PHIL KAUFMAN PK I have some notes somewhere which I am still trying to find — we have moved since then and my notes are all packed away somewhere and, I don't know — I an missing a few ideas — I just haven't had the time to go in and find alot of the stuff. In general, I don't know where you're at in terns of what you're writing. LK Just gearing up, really. I've been waiting for an outline from George. PK Because the — we were talking, I don't know, I guess pre-World War II, somewhere around the 1930s, starting in South America, you know. LK Somewhere in 1936. PK Carmen Miranda, seaplanes – whatever that big thing was and kind of a Middle Eastern adventure based around a similar idea to something like that book "The Spear of Destiny" where the Nazis were into mystical cults and so forth, and they were looking for, in this case, it was a thing that I, you know, have been thinking about for maybe twenty years since a doctor — my mononucleosis doctor — when I was in college, a famous blood specialist – and he had written – with another doctor — an article on the Ark of the Covenant and how he felt it provided a means of communication with some other extra-terrestrial or God-like or whatever – it was in a sense an elaborate radio setup — it contained silk curtains and veils and other things – I've forgotten — it's all in the Bible, Leviticus, Exodus, the second book of the Bible, or whatever – or the beginning of Leviticus or something. A good part of that chapter in the Bible is the detailing of the actual Ark of the Covenant itself and all of the, you know, wood and how much – and gold cherubim and there were other components in there and he was saying that when the gold was rubbed in a certain way, and silk, and so forth, you have the ability to remit radio waves or receive, and in that case, the Levites were the only ones who could go in there and they would have to take their shoes off — I've forgotten if you — if you walk across the rug with your shoes off — but there is a whole electrical charge — it was, in fact, the holy of holies, and it was, in fact, a means of communicating with some other being, that it was a primitive or maybe highly elaborate radio wave that was on the right sensitivity for this kind of communication, and in fact when they use to go into battle there was a cloud that hovered over — they carried the Ark with them in the early days and there was always this cloud that hovered over the Ark and they were always victorious. They never lost whenever they carried it into battle. Then there was some talk that there were two Arks somewhere — I remember reading that, one of which was supposed to be on Mt. Horeb (?). I think, the one that was lost or something like that and they never found it after the, I forgot, what was it — DF Destruction of the first temple — PK 54 B.C. or something like that. DF I was 586 B.C. LK That's the last time. DP Yes, that's the last time — and even then in these articles that I got there is some discrepancy about even previous to the destruction of the temple, whether the Ark was still in it at the time that the Babylonians destroyed the temple. There's several different theories in these articles, some of them for Biblical — most of them from later – Biblical sources or legends. But basically there is no – nobody really knows where it is. It's totally just speculation. Most of it from Biblical sources. PK Never has been found and never — what happened to it has never been fully documented — it's all nebulous, right? DP That's true — that's true PK It was – but the idea as that whoever had it was invincible and the Germans being into the mystical thing were looking for it and they believed whatever that it might in fact have — these, you know, contain these powers and maybe in the story they had developed some, you know, mad German something — you know, not only discovered, like in the sword, er "Spear of Destiny", the actual thing — it's like Lord of the Rings, if you have the ring you have all the power and they were looking for all the power on earth and in fact, they — the Germans, with all their cults of golden, whatever that was — the golden rule or something — they were looking all over for ways of capturing all the mystical power on earth and our heroes were racing with them to find this in this area and I told George the other day that there was a thing on "In Search Of" the other night — The Dead Sea Scrolls — and there was, kind of the landscape with similar to what — to where I'd imagine this would happen — the tents in the desert and coming upon — suddenly in the Middle East — all of these Nazis who were out there looking for — tracking down clues to find this thing if they could in fact find it, all power would be there's — they would be invincible, and immune. In gong back over the ancient stories of whoever carried this into battle could not be beaten, or whatever. DF The only actual explanations that I found any reference to were not successful at all but it was just presumed that it was somewhere in the Jerusalem area buried in the tombs of the Kings of Judah and, you know, that it would be somewhere near the site of the first temple so that the excavations were in Jerusalem itself. PK There is another thing, I think it was in the Encyclopedia Britanica that just speculated on some of these things — the Americana or Britanica, something about one of the mountains out in the desert that there was a thought — it was two things – there was also the thought that there were two of these around and there were rumored findings somewhere I read of cherubim — you know — like there were these things that had been broken off that might indicate that somewhere in that neighborhood — like with the Dead Sea Scrolls — there was shot where they said one day, you know, an Arab, Mohammed A Fuktu (?), or something, wandered up into the hills and he found this cave and he walked in it and little did we know that that day and that moment was about to change the course of history and he found something that was an artifact and immediately brought it to a guy in Jerusalem who was a — this was 19 — right after the war — 46 or something like that — and this guy began interpreting it and one thing lead to another and suddenly he realized — and the way he checked it was — for authenticity it was a crumbling piece of parchment — was that there were a couple of changes in the document crossed out and corrections that could have only — some logical way — have only been done at the time — that kind of change and, so — finding a fragment of the Ark was the way — almost something like — you know, I mean, those movies with — I don't know — anyway — I am trying to think of some of the movies where somebody has a little piece of something — Sidney Greenstreet would have something and he would say do you realize what this could mean and we have reason — my sources have reason to believe that this is the way — and then you begin tracking down the mystery and finally arriving at a place and seeing that the other guys are already tracking it down — "I know where the black bird is". LK Right. DF You could also — well, among the different theories — one that it was carried off by the Babylonians in the destruction of Jerusalem — so it could be somewhere in the old Babylon area, or, also another theory was that an Egyptian pharoah named Shushak (?) or something raided Jerusalem and took it at that time. LK That gets us to the way we are going. DF I could possibly be an Egyptian. LK That could be good for it. DF But the most likely theories are that Solomon in foreseeing the destruction of the temple had somebody take it and hide it in a secret place in what was then the Kingdom of Judah which was the old Jerusalem and that it’s very close to the old sites there. But you could conceivably do it in Egypt. LK We've been talking (blank) Cairo 1936 — so we are talking about outside of Cairo and if there is at least one rumor — you know — an Egyptian raid — I would stick with that, I think, you know, if it's not a big problem. There's something better, I think, about Cairo in 1936 than Jerusalem. I mean, Peter Lorre would be more comfortable in Cairo. PK Right, there's more characters in there. Yeah, you're into your Casablanca type of setting. LK You don't remember where the article is that this doctor wrote. PK I wouldn't know, I mean it would be — DF Because I got — PK 1950, somewhere in the early — let's see, somewhere around 1955. DF I got everything I could find on the subject. LK Nothing by a blood specialist? DP Nothing by a blood specialist — that doesn't sound (laughs) that doesn't mean it doesn't exist, I just — PK Well, you found that thing that VonDanaken mentioned something. LK Yeah, he covers about two pages briefly, real briefly. PK Yeah, but that's essentially the same kind of thing. I was surprised to see it. I am sure these articles, whenever somebody writes anything – DF I did find reference to — PK Somewhat occult all the occultists run out and say "did you hear this latest thing"? DF Did find reference to the whole electrical charge business and all these theories in another article, I didn't find the one that you mentioned. PK I mean I forgot all the details. Other than that, I don't know. LK So basically, it was your doctor, and his article and VanDanaken, and the Bible, and nothing else that we know anything about. PK No, that's all I can think of, that "Spear of Destiny", reading a lot of that kind of stuff to find out what the Germans — I think it was the "Spear of Destiny", it may be another book also, just detailing the journey, the mysticism of Hitler. I think there's another book out about that and just how the Germans were in fact — really another kind of mentality. We've always approached them on a political level and in fact they were approaching things on another kind of Wagnerian, mystical level and that we just — we tend to explain Hitler away in terms of just a madman — he was just a bad guy — and he was, in fact, the guy who was obsessed with the whole ancient I don't know what, manakaim (?) — there's something, a whole dark side of — DF The interesting thing I found is the bulk of the sources are in German and that just might be an incredible coincidence and because alot of Biblical research — it's not necessarily a Nazi kind of a thing — it's just that most of the articles in books are in German. PK Well the mystical thing wasn't necessarily a Nazi but it was that they picked up on it so much, you know, it was one of the strange things — you get so highly involved in mysticism or with the occult that somehow conventional morality no longer has any meaning and you get into even Charles Manson kind of stuff where they are all babbling seemingly incoherently but they have a little unified occult thing that they're talking, you know, that transcends morality. They are working in Egypt out there, somewhere, might be a good idea — or out of Egypt. LK Outside of Cairo — you know that place. DF Valley of the Kings. Well this electrical charge business would really work well dramatically because it's like the curse of when they would open up tombs. It has the same feeling. Well there is a couple of things here — that were — PK Nobody else wandered into the tombs — DF That are reported that in the Middle Ages someone thought they found the tomb of David and they opened it up and there was a flash of lightening and were knocked unconscious, supposedly, from the electrical discharge. PK And they woke up singed — DF There's a couple of like recorded incidents like that although they really aren't documented but they are legend. I mean there is enough of that sort of stuff that you can get away with it, I guess. PK Yeah, all those movies are great; all those mummy movies of those times; all the curses and all of the prohibitions; if you do any kind of serial thing, I mean they always have, you have a forecast of doom and then you have something that looks like the doom strikes and then you find out that the doom itself wasn't exactly — when you replay your last scene from another angle things were – and they manage to escape somehow miraculously, (blank). That's all I can think of right now unless I can find uh — DF The thing that struck me about this tomb, what's fantastic about it is if it were ever found, when you think of the significance of it in terms of making people believers — I mean if the original tablets were ever found that sort of thing, I mean there's a terrific symbolic thing to it. LK The understanding is that the tablets are still in the Ark. They've never been found anywhere. DF They don't talk about it that much except it is presumed that, of course, the first tablets were — Moses smashed them. Then the second set remained. PK These were smashed somewhere in Egypt. DF So if tablets existed in the Ark it would be presumably the second set. Apparently God made them again. LK He went back up – DF But they were brought down from the mountain by a prophet not by Moses — someone else went up – another man went up and brought back the second set. PK Nobody knows who that man was. DF I don't know who that man was. PK He was the guy who rewrote them (laughter). You can check with the Writers Guild (laughter). DF Presumably, it would be that set that would be in it. LK And that's the assumption, that they are still in there. DF But there was another — at the building of the second temple another Ark was constructed at that time and then after that they were all just copies or — LK In building a second tmeple another Ark was constructed. DF Yeah, and then — LK But the first one had not been destroyed. DF There are two Arks. The first one, it just vanished, it's never been confirmed whether it was destroyed or if someone hid it or if someone vandalized it. LK And the second Ark — DF The second Ark, well there's alot of Biblical documentation about that, it's called the Solomon Ark or something, as opposed to the Davidic Ark which is the first one, so anyway, it's really interesting. It's fascinating. It really is. PK The one with the little cloud over its head — like that character in Al Capp. Remember him? There is a guy who would walk around with a cloud over his head in Lil Abner — Joel ? — wherever he walked there was a little dark cloud over his head. DF The only thing that struck me about this research is that there haven't been a lot of — there is no like serious people writing about — like speculations about it in this century. I mean the stuff that’s speculated is fairly hoaky — PK It’s all hoaky speculation — DF There hasn't been any serious excavations or attempts by archaeologists to really find it. PK You want it to be fun. And it is one of the great undiscovered things, like they are always looking for the Ark, and in search of Noah’s Ark and in search of this and that. Those are just the artifacts but this is a thing that had potency. In its time it was known to have potency — something — and that's PK That’s — DF They carried it around in a cart — PK What you need, that's the "Lord of the Rings". I mean and it's amazing that there isn't a single thing that I can think of in the Bible that has more detailing than that. That is the main thing in the Bible that's talked about. It's half of that book — I mean it's like really alot of talk about the construction of this and that in very elaborate detailing of things. LK And you have some drawings is that right? DF Well there is a couple of — they are all just hypotheses, I have a couple and what I didn't bring is all the different arks that had been made down through the ages. PK Have people tried to make those? DF Well I mean the arks that have been used in the synagogues ever since, I mean what holds the torah now, is a facsimile, but it's not an exact one. I mean they've changed, like the style in the Middle Ages was different from the style in the 18th century or something. But there are just like two, here are two, us — PK That's interesting too, the idea of somebody trying to build one out of the, you know that this kind of wood in that time really was another wood, you know yon find those obscure clues — that shittim wood or certain cubics of measurement and you see — it could be really dramatic to see this because you're dealing with lots of devices anyway — Strange seaplanes or whatever, I don't know — and they are trying to build something that has this magical thing with all — out there in a wind-swept desert area with different curtains blowing, and silks and all of the Arab silkmakers, I mean you could have a fabulous, ominous set out there to work with. DF This was one thing that, it says at the Kalmit (?), which I don't know what that means — this is another one — movable sanctuary (PK) — an ark showing an Egyptian — and some say it was the size of a desk. PK The Philistines — but the Ark DF The Philistine thing is earlier than uh – PK But there was a thing in the thing that contained the Ark where only Aaron and his family, only priests, the Levites, could walk inside the thing. There was a bigger thing too where it finally contained. Where was that? There was a thing about — they were the only ones. PK See only Aaron — only those guys could talk to God. DF Yeah. In the Shilo — LK I think what it is is the tabernacle in the desert – was was a tent, you know, it had to be movable. PK The tabernacle. DF The Shiloh was one of the permanent, semi-permanent resting places and they had a fairly big thing there — thing that housed it. PK Shiloh was where the civil war battle was. See all the, there's alot of the smitten people, people were smitten by fooling with the Ark. One guy got emerauds (?), that is hemmoroids and a plague of mice was sent over the land. The infliction of boils was visited upon. Uh, Philistines on the advice of their diviners returned it to the Israelites. Give it back. LK That's right and that's one where I found-- and the Etonites carried it in front of their Army and soundly trounced by the Philistines. It didn't always work. PK Right, it didn't always work but the idea was that it worked it was as close as they could come to the A-bomb – to the bomb, you know, to the big one. I guess that’s DF There, I'll just [keep this for you?] LK All right. PK Ok, well that's all I can do. LK And thank you. (4 Comments |Comment on this)
11:03 pm	Raiders Story Conference Transcript (tape 4) S — She becomes the driving force. She's so tired of being tied up and pushed around. She becomes a real active part of the story now. L — What if she became involved with the Frenchman? For her own purposes. After all she's not an American agent. G — She's a free spirit. L — A tough woman of the world, which would appeal to him. She has been deserted by her guy. G — Down here when we go through the villians deal with the girl, Indy finds the thing, the Germans appear, the girl ought to be with them. L — As the thing slams shut you see her mixed emotions, but she's siding with the rival. G — The other thing they could do is throw the girl down there with him. S — In the snake pit? G — Yes. That would be a natural thing. They don't need her anymore. S — I've seen that in so many movies, they throw them in to suffer their fate together. G — But if they throw her in, it would be a great stunt. Say it's like twenty feet down, or further. They just throw her in, and the guy would have to catch her. S — Love among the snakes. G — I think it is important that we get the girl back into it. L — He pushes her up the column ahead of him, or what? G — This solves a problem. They have two torches left, he has one and she has one. He goes up and his goes out. The snakes are going to get him. He pushes the column over and she still has her torch. The snakes are closing in on her and she's trying to burn them and keep them back, on the other side of the room. S — All these snakes are coming to get her, and she's holding them back with the torch. All of a sudden the snakes begin to part, like they're afraid of something. They leave a certain area. Here come two king cobras. L — I like that. And then the column falls on them. S — And kills the king cobras. G — You'll never get those snakes to part, and you'll never get two giant snakes to walk in unless you make them all mechanical snakes, and we're not going to have any mechanical snakes in this movie. Do it so you can shoot it all in inserts. We'll do the whole thing second unit. It's good that she's there, you can intercut with him pushing the thing and her with the torch and snakes. It's also funnier going through the catacombs with this girl. They go through that, then you cut to them looking outside the temple, seeing the Germans. "Now what?" "We have to get that Ark." Then you cut to the flying wing coming in. It lands at the gas tent. It's a tent with a couple of gas trucks out there. It's all makeshift. The thing pulls up. She's there with him. "What are you going to do?" "I'm going to pilot that plane." "How am I going to get back?" "I never thought of that. You'll find a way." L — What about Sabu? S — He says, "Go with Sabu." G — I don't know how we're going to get Sabu back in this. I don't want to throw him down there. S — He'd be serving breakfast by now. L — His father is Indy's best friend, and we're just going to sacrifice him to the krauts? S — Sabu could get out of it and show up later. We don't have to follow his story. G — They don't care about the Arabs. They work for whoever they're paid by. We can use him wherever we need him. They can just bump into him, "Sabu, what are you doing here?" S — I like it when a character just reappears. G — If anything, we would find him after the explosion, because that would draw his attention, too. L — When he says he's going to take over that plane, and she asks him how she's going to get back, why doesn't he just say, "You're going to be my co-pilot." Let his intention be the highest, since they're never going to have to do it anyway. He's going to fly her out of there. G — Or he can just say, "There'll be room for you." It might be interesting to have her fight, also. S — You mean fighting the Germans? G — One of the German guys. Or, when he's fighting, the pilot has jumped out of the plane and the cockpit has shut. He tells her to get in the plane. She climbs up on the wing as it's moving around and tries to get the cockpit open. She's strugglin with it as he's fighting. S — She should be responsible for the plane catching fire. He can say, "Okay, I burned your cafe. You burned our only means of transportation out of here. We're even." G — We just have to make sure that right before we cut, we have to explain how they got out of it. She maybe falls off the plane. S — She gets inside the cockpit and she doesn't know what to do. She's stepping on and pulling on things. She makes a mistake, pulls something, and suddenly the propellers go really fast. The plane starts heading for the gas tanks. He sees her and screams, "My God, jump out of there." She does. Then you cut to the Germans. She's directly responsible for destroying the airplane. She doesn't mean to. G — You're going to have to be very careful about getting her out of there. Something like that happens very quick. It's not like she's going down a runway and realizes she's going to crash. The thing is right over there. L — She could pick up one of the blocks that's holding the tires. G — We could have a piece of phony wing that could hit it. She's in the cockpit and the wing goes and crashes into one of the trucks. It breaks into the side of the truck, and the truck crashes into the next truck and all the gas starts pouring out. Then he looks and yells for her to get out. It doesn't explode right away. She starts to get out. He starts to run. You cut to the Germans, "Where is that damn thing?" All of a sudden there's a giant explosion. Which is the way it would happen anyway, it wouldn't explode on impact. It would explode after the gas hits some kind of spark. S — As long as she's responsible, that will work out. G — All the Germans are running around like crazy. They're crawling around the tents. That's when he says now they're even. The Germans are saying, "The ark is in the truck. get out of here. Saboteurs." That's when they run into Sabu. You have this little scene with them under one of the trucks or something saying, "How are we going to get it now?" He says, "Look, you take Sabu, go back to his father and get him to get a plane or some kind of transportation to England. Tell him I have to get to England, and I'm going to come in quick. But I'll get that truck." "How?" "Don't worry about that. Just get there and tell him." She and Sabu sneak off. The truck is taking off. There are a bunch of Arab's horses around. He goes and jumps on one of the horses and rides off across the desert. Eventually he gets on a mountain road. S — Or a motorcycle would be good, like in "The Great Escape." He could do some great cross-country jumping. L — There's no end to the fascination of a motorcycle. G — He has to stand up on a motorcycle and make the transfer. L — How do you see this guy? G — Someone like Harrison Ford, Paul LeMatt. A young Steve McQueen. It would be ideal if we could find some stunt man who could act. S — Burt Reynolds. Baryshnikov. G — We can do two things here to hype the action. You can have him go after the truck and forget about the girl and Sabu. Or you can have the Germans going after the girl and Sabu, discovering them and chasing after them. S — I think that's too confusing. I would rather, at this late point in the movie, concentrate on the most important action. One man against the Ark. G — Okay. They go off to Cairo. He takes off after the thing. There are two trucks, or a truck and a car. The truck is one of those canvas Warners Bros, trucks. And a staff car. If he's on a motorcycle, he races across the desert... L — you had him shooting out the tires. Is there something better we could do? G — what if he just forgets about the car. He cuts across country, cmes up alongside the truck, and the car is still behind or in front, it doesn't make any difference. What is the car going to do? If he jumps onto the truck and gets into the cab, and is fighting with the guys in the cab, the guys in the car can be shooting at him or whatever. But there's nothing they can do. If they're behind them, all they can do is follow. When he gets control of the truck and he tears off, the car can chase him instead of two motorcycle guys. He has to lose the car. If the car is in front, there's still nothing they can do. The don't want to kill the driver. L — They don't want the ark to go over the cliff. G — It's an interesting situation, because the guys in the car are stuck. L — If they're in front then there's a danger of them running off the cliff themselves. They don't want to get too far ahead. S — The great thing about them being ahead is you know the hairpins because the car has to take them first. The car almost didn't make it, and here are two guys fighting in a truck. How are they going to make it? You get a preview of all the different twists and turns. G — If the driver of the car slows down enough, the truck will suddenly be right up on them. S — So the car has to go as fast, and eventually it can go out of control and go shooting off the cliff. G — I like the idea of the car chasing them. L — Especially after it's been chased. G — Plus the fact that you have the Germans in the car going crazy. If the Ark goes over the cliff, all the Germans are as good as dead anyway. You can also have the Frenchman in the car. L — How many guys are in the back of the truck? S — There should be about twelve. Reinforcements. They keep getting out and walking along the side and getting knocked off on the mountain. L — Are they coming frm both sides? S — Yes, both sides of the truck. The guy can swerve from side to side. He has two rearview mirrors and he sees them. G — There shouldn't be a back window, it should be steel. He races across the dune, then we dissolve and it's more mountainous. S — The Kyber Pass. G — He races across and jumps on the road, and then it starts getting more mountainous. Like in "Wages Of Fear." S — The scenery itself should be frightening. You pull back and the truck is this big and the cliff is this big. It should be the most spectacular set in the picture. Where we shoot this chase should be the climax in terms of geography. "Where did they find that location?" G — It would be good if we had two cars, so one gets sacrificed. We should have a car go over a cliff. S — It should be an open staff car with a machine gun in the back seat. G — We can't do it where they could shoot out the tires. S — Why would they? The thing would go off the cliff if they did. L — What about when he's coming up from behind on the motorcycle. G — He doesn't. He comes alongside. He cuts them off. The truck is going like this, and he comes in at a right angle. Maybe the hills make it blind to the people in front and in back, and suddenly this motorcycle comes out of nowhere, and zips alongside. And he immediately jumps into the cab. The guys in the front and the guys in the back can't do anything about it. The car that goes over the cliff could be either one. L — I'd like it to be the back car. G — Then the front car spins out. S — And the man in the car that goes off the cliff is the SS officer who was torturing her. He'll be the one close-up, he'll be the guy that screams. G — He gets control of the truck and he scrunches off the last few guys. The front staff car has spun out. He goes by it and they tear off after him. They race through the city and he loses the car. He races into the warehouse and the Arabs close the door and put old baskets in front. As soon as the truck goes in, everybody comes and fills the street up again. The Germans come by looking for the thing, but they don't see it. We have a little exposition scene where the guy tells him he couldn't get a plane, but he got a ship. "A ship. Jesus Christ, that's going to take forever." "No, it's a good ship." The next scene is down on the docks when they're loading the Ark. You see all these slimy pirates. But, his old friend tells him these guys are trustworthy, and he introduces him to the captain. We don't have to make them Chinese, since we already have our Chinese sequence. S — Make them Lithuanian. L — What if they're all black? G — That would work. They're black pirates. They're on a freighter, one of those old tramp steamers. L — Where is the girl? G —The girl is in the garage, and she goes on the boat with him. There's a scene where they're loading the thing on the boat, and it's night and they're afraid someone is going to see them. The Germans are coming and they have to get away right away. We introduce the captain, who is a friendly guy. Our family guy says that this guy is trustworthy. We're in league with the pirates and we have a good feeling about them. Except a lot of them are sort of shifty. They're cutthroats, but they trust them because the guy told them they could. L — Didn't you have a scene in here where someone wanted to open the Ark? G — We don't really have time to open it. L — No. Someone wanted to and he says no. G — That was in the warehouse scene, when they're unloading it. We could do that. The warehouse scene is everybody unloading the Ark. "We have to get out of here." "I got you a ship, it's the only thing I could come up with." It has to move fast. They get on the ship, and just as it's taking off... Actually, it would be better if the Germans weren't on the deck. So it's more of a surprise. It goes very fast, and the ship sails out into the harbor at sunset. Then you have this relaxing scene where there is no threat. They're at teh captains table or something. S — The audience will feel that it's winding down. G — He says, "We did it." And this is where we can have a scene between the guy and the girl, tender, reconciliation. He loves her. It's where we can really pull them together. A short little scene. It can be in the cabin or wherever. They fall asleep and everything is calm. He's asleep, and the engines shut down, then he wakes up. "The engines have shut down." "What does that mean?" "I don't know. I'm going to find out." S — They've been making love. This is the first love scene in the movie. G — Right. He tells her to stay there. He goes up to the cabin and asks the captain what's going on. "Look." We look, and there are like twelve wolf submarines surrounding them. S — The Germans are manning the guns. G — "Shit." "There was nothing we could do. They'd torpedo us out of the water if we tried to resist. There's too many of them." S — They wouldn't torpedo them, they'd shoot them with their deck guns. G — He says, "Shit." You cut to the Germans swarming all over the deck, treating everybody very rough. The captain is outraged. They slap the captain around. L — They think they're Aryan supermen. S — Heavy prejudice. They really abuse the black guys. G — Indy is running down the deck trying to get back to the cabin and the girl. He gets cut off by the Nazis. He hides under a lifeboat. Two of the Nazis are carrying the girl. You see her struggling and screaming at them. S — Why are they talking the girl? L — The captain sacrifices himself in some way for the girl. Then you really hate the Germans even more. G — We have to figure out a reason for them to take the girl at this point. Before I had it because she was a double agent. L — Maybe here is where we can save the other thing. The Frenchman wants her, even though she's not receptive to it. We can do that in a scene when he comes in to question her. Say he's the Claude Rains character, it makes sense that he's attracted to Barbara Stanwyck. The German says it's time to get rid of her, the French guy says no. G — The big thing with these movies is the damsel is going to get screwed by the bad guy. What we do is, in the interrogatior scene the Frenchman is in love with her, coming on to her. The German torture guy could care less. "Get out of my way." When they push her down into the snake pit, it's the German guy who does it, and the Frenchman is very upset about it. "The girl was mine." "She's a waste of time, and we don't need her." We got rid of the German guy when he went off the cliff. Now the French guy is left to his own devices. "The girl goes with me. She's important to this project." He takes her along. We know he's been sort of lusting after her. As the Frenchman takes her, they look around and say, "Where is Indy?" "Search the ship." They take the girl and the Ark, and row out to one of the submarines. Then we cut to the submarines going away. L — When the captain sacrifices himself could be when he takes after the Germans. G — They're maybe going to blow up the ship or something. We're going to intercut them rowing out to the Ark with something going on on the ship, without Indy being involved in it. So we can speed that time progression up. Just as they're closing the hatch on the submarine, you see this hand come up and grab the submarine. The last we say Indy, he was hidden under a life boat. S — As the last of the Germans leave the ship, they sink it right there. G — Expensive. S — Or they can rake it with machine gun fire. G — You can do that. You intercut them going out to the submarine with other Germans searching the ship for Indy. They report that he is absolutely not on board. L — We're not going to be very interested in their searching the ship. G — The pirate tells the Germans that Indy is not on board, "We got rid of him before we left the dock. We killed him. We're going to sell the girl into slavery." He plays up the whole pirate thing. You know that they're just protecting Indy. L — One thing you could do to sacrifice Gossett would be the Germans are just about to discover Indy and Gossett sacrifices his life to distract them. G — The hatch closes and the submarine starts to move away, a hand comes up and grabs onto one of the railings. He swings himself up on the deck, runs along and the ship starts sinking. He's running knee deep in the water. S — We have research on this. There are no World War Two submarines on either coast that work. We haven't checked Europe yet. G — There was one in Argentina that Peter Yates used. We do close-ups of him running in the water on the deck. You can do it in inserts. S — We don't have to. We're building a (garbled) which we can use. G — He's holding onto the periscope. We'll start tomorrow on the tunnel when he enters the underground submarine base. In Leviticus it describes it. How they built it and where it came from. He thinks Von Daniken's first book, "Chariots of the Gods" has some stuff in it about the Ark. The theory I'd heard is the one about being able to speak to God when you set up all the silk cubicles and that stuff. There was a theory that some doctors had come up with in Chicago about twenty-five years ago. There was an article. He doesn't know where it is or anything about it. We'll get that. [PAGE 101 MISSING] G — to get to the surface, and then he hits his head. That way it makes him bright, but he gets outsmarted anyway. S — He finally gets through and he surfaces and sees... G — an underground submarine base. L — How big is this base? G — Small. One sub. When he first sees it it will just be a miniature sub. All the close-ups we can just do on a set. S — We're also experimenting on using miniatures with live action. So he comes up and he sees the base, which is sort of like Captain Nemo's place. It can't be too modern. G — No, it has to be... It's all rocks with a little bit of concrete reinforcement. Essentially it's a natural cave. He climbs up and starts going down one of the hallways. There are guards everywhere. L — He can watch them unload the Ark, see where they're going. G — Somehow we have to get to the Ark already set up with the silk boxes so they can talk to God. L — But they just got there. G — They got there ahead of him. Somehow between where we are now and the final climactic scene, they have to set up this. Of course, they could have had this set up before. We could do that with a piece of dialogue. As they're unloading the Ark, a Nazi soldier comes over and says that "We have arranged the tents as you have described to us, Professor." "Okay, take the Ark and put it in the middle of the tents." He sent them a diagram of what it should look like. S — At the end, when the whole thing goes, shouldn't it also hurt the German army somehow. There should be some important generals there or something when the place blows up. G — Yeah, but you don't want to make it too outrageous. Obviously it didn't really hurt the German army at all. S — As an example, a guy down there is minutes away from being able to split the atom and he got killed. So they won't have the bomd in '41. G — The one thing is to make the whole thing plausible, especially the ending, so you can assume the whole thing was covered up, is lost in Nazi files, but this really happened. It's a semi-believable story. Maybe we could figure out a way where he's going to sabotage it. Not only does the thing blow up, but he has set some kind of a time bomb that will blow the whole place up. That gives him a time lock as soon as he gets there. Not only does he have to get the Ark quickly… Obviously it's not the brightest thing in the world to do. Now, another problem, the girl, which we have to cope with somehow. S — The "Guns of Navaronne" worked because it was a mission movie. They had to destroy something rather than capture something. In this movie the audience won't be expecting anything to blow up. But, if we establish in the beginning of the movie, that all these Nazi operations are ... There is a secret base that nobody can find. We never mention in again, but in the beginning of the film we discover that there's this secret base where the supplies are coming from, and planes just seem to disappear at a spot in the ocean. In fact, it's the secret Nazi submarine base. Then there is some promise, some hope, that by the end of the movie they're going to discover this place and blow it up. His assignment is to recover the Ark, but if you see a submarine base, blow it up. G — I only worry that we have enough trouble as it is trying to explain everything and make it work. But if they're going to lose more than the Ark, a huge ammo dump or something, that's going to cost them. The problem I have is that we wind up the way every Bond movie has ended. He's on the island, he has to get out of there with the girl, and they do get out, they're on the water, and the whole place blows up. S — I love that. Every Bond movie has made money, too. G — If you follow classic dramatic plotting, that's what is going to happen. You put your biggest boom last, and you create as much tension as you possibly can. The way we originally had it, the bad guys got fried by the Ark, and he dragged it back to Washington. He didn't really destroy anything. We had that time lock thing, but that gets confusing. We can hype it or we can leave it at the original. Those are the two extremes. Right now the end of the movie is, all the stuff for the Ark is set up, silk cubicles, and he goes in there, and the bad professor and the Nazi general and a couple other guys are there about to open the Ark. He gets in there and drops the gun on them. "Just pick up the Ark and follow me." Somebody comes up behind him and hits him on the head. They fight and he is subdued and hauled off. As he's being led out, the guys open up the thing and it goes off. The guy turns around and the tent turns into a big fire ball. In the resulting chaos he runs in to try and get the Ark. He drags it off and hides it, or wipe to Washington. D.C., where he's telling them that this is dangerous, and it's real. They tell him they'll take care of it. He says he wants to work on it. They tell him to apply for a grant or something. The last shot is them putting it in a warehouse. We have certain problems — the girl, does he blow up the base? The tent goes up in smoke… END OF TAPE FOUR. SIDE A G — Then he could jump on the cart and race out with it. And he gets into the.. We had him get on a boat. The idea was that the little mine train cane out onto the island, and there were some fishing boats that he gets away on. Or have a couple of speed boats down by the dock. S — We want that speed boat chase. G — Right. That's where that came from. S — We lost the speed boat chase. G — Hell, we were talking generally. If it went anywhere, it would go here. The only thing I wanted to do with that, and it's going to be hard to do, is that he gets chased and they're firing at each other. He gets into a harbor where all these big boats are, and he races down in between two boats just as they're starting to close. And the other boat races down and goes... There's no easy way to get out of that one. I think it would be better if we just let the villians get scrunched and that's how he gets away from them. We could put that at the end. S — Once we're here, let's stay in this place. G — Also, do we want to have him destroy the base? L — Indy doesn't know that there is going to be this electric explosion from the ark. But there is, and it threatens the ammo stock. Now he does have a time problem. He has to move the Ark and the girl out of there without getting blown up. How does he survive that? Everyone else dies, the island blows up, but he and she survive. That would be an improvement on the Bond thing. G — It's the ultimate cliffhanger, everybody gets killed in the end.. S — Or they turn transparent. I like the idea of the whole island blowing up and finding a clever way for them to survive. Whatever that is. L — When the guy opens the ark, you visualize that it explodes and then the top slams down again. What if they open it up, and it takes care of everyone, and we see a lot of this electrical stuff zapping people and starting fires everywhere. And he has to close it. G — That's possible. I saw the opening of the Ark and the resulting chaos as the climax of the movie. The quicker we get from that point to fade out the better. I just wanted him put the thing on a cart, race out, and cut to Washington. S — It makes him very godlike if one of the bolts doesn't zap him. G — If we make the effect real, it shouldn't last long, or that hurts it. If it happens in a split second, he opens it up and suddenly these giant arcs go for five or six seconds, then you cut outside and see the entire tent go up, then it's not that hard to get away with the whole thing. S — We end it like "Moby Dick." After the explosion there's no life at all. Our guy and our girl come up gasping for air, they're okay. Suddenly the Ark comes up. They grab onto the Ark and hang onto it and kick ashore. The Ark presents itself. L — I like that. G — I like the idea on these conditions. If we put him on a little mine train, he pulls the thing onto it and jumps on, they're racing through these tunnels, and the Germans are shooting at them, the clock has started ticking and we cut to flames getting closer to destruction. S — A mine train chase with bullets ricochetting off rocks. G — They get to where the submarine is, in the main thing, and... The come to the entrance of the mine shaft stop, see lots of Nazis, and hear the rumble, because the thing has started already. Or, rather than have the whole thing blow up, there's a chase through the mine shaft, you cut to the time thing, they're getting to the end, and the thing blows up. You see the place where the ark was blow up. It fries some of the pursuing Germans, rocks are falling at the same. They run right through the submarine thing and go right off the dock and into the bay with the cart. He runs it right off the end of the dock. Finally, so many rocks fall they obscure the screen. Then we cut to outside to the island, and it's all quiet. You hear rumbling. Then you cut to them and they pop up. L — Indy comes up and he sees the base. I thought the tent thing took place right there. G — I thought they moved it down into another big cave. L — In the old thing, they took a mine train out to air. That would work for here too. They could just shoot out into the ocean. Otherwise they have to go through the underground water passage to get out to the bay. G — You could make that a cut. Cut outside and eventually they pop up. S — It would be a real roller coaster ride. G — They race off the end of the ramp, crash into the water, the mountain caves in, the submarine is destroyed. Cut out to the island, you hear a lot of rumbling, a side of the mountain slips down, a cave in. Then you sit there. And then the cast credits go up on that shot. After they finish, where the crew, credits would normally be, they pop up. Then you have to do the tag scene in Washington. You might be able to do the Washington scene with the end credits, like you do opening credits. They pop up, you cut to Washington, and then you continue with the credits. That should be a short little dialogue scene. Not more than a page. "Congratulations, Indy. You did a great job. We'll take it from here." Then you cut to the guy carrying the crated up ark stamped "Top Secret" or "Do Not Remove." He puts it in a giant warehouse. So you have three little title sequences. S — I think we should try it. G — If it's done with style, then you have really nice credits. It's just the reverse of opening credits. S — This mine cart thing, we should shoot it at the DisneyLand Matterhorn. They go on it at the end, so the final run is an up and a huge down, and the out is over the ocean. G — I don't know if you can make that believable. S — Just the last part of the run. It's tracks and a very small closure. It's like where they have the cable to pull the thing up, except this time it's coming down. It's weightless. It's not being run by a machine. The wheels are locked on the track, but there's no machine grinding it forward. It has no brakes. They've gotten onto the tail end. It drops down to the loading zone. G — You're talking about an expensive sequence there. To make it look great you'd have to build a whole track. L — You're saying that it comes out in the underground bay. S — It lets out on a loading platform about thirty feet over the water, with scaffolding, where they load things from ships that anchor just below it. G — We had talked about having them get out in the submarine. I think that it's better if they're under the mountain when it explodes. S — You don't know if the whole thing caved in on them. I don't know if you need that kind of thing. If you had just a straight mine train, motorized. You can have curves on it, and you can have it go very fast. L — I don't think you have to explain why there's a dip there. G — I can see the opening of the mine being thirty feet up. When you come into the submarine base, up on the wall you see the mine thing, and the tracks come down and goes straight. It comes down, goes onto the dock, levels out, and then at the end of the dock it goes back up again because normally it flips down and then up. It would normally flip down onto a ship. They run up, hit it, and go off that way. It will be very hard to build that cheap. S — It will cost what our rock set did on "Close Encounters," $75,000. You just have to build the last run. I won't go into mines. G — We'd probably have to do it on a sound stage. S — It has to be an exterior on some island where the thing goes into the ocean. G — I think you culd do that without having that dip in it. It comes around and just races off the end of the dock. You would have the same effect of it getting airborne, and then it lands down. Then you can fake it and do it on a set. Close pans and close shots. S — On "Great Escape" they did it with a dolly track and a hundred foot cutaway. But But we need a hundred yard cutaway. G — You just have a straight piece and a curved piece, and you do different angles. You just keep going through the same piece. It would be interesting if the mine train part was just like a foot above the metal part of the train. You had to keep down. Instead of having it be the whole mine, it would be beams, like concrete buttresses. There would be about a foot clearance. And the buttresses would be about forty or fifty feet apart, or less. As they come down, "Keep your head down." They're popping up and down. S — I'll take that instead of a dip. G — It will probably have to be outside. S — Dolly track and a camera right next to it, speeding along with it. L — Let's run through the geography of this place again. He comes up out of the water and we're in the sub base. Now we want him to go to the inner sanctum, so we can have this ride at the end, and still keep him inside. G — Here is the way I envision it. They put the ark on the train to take it out. (making a drawing) The main base is like three stories tall on the inside. They should have concrete rooms. Something that looks like this is where their headquarters are. The tent area is sort of in a courtyard. He walks down there and when a cart comes he has to press himself up against something to get out of the way when the guys go zooming by. He could walk right down the center of the track and nobody would see him. All he would have to do is hear the thing coming and he could jump to the side. L — Just one lane. G — Right. And it should be very narrow in places. Not more than six or seven feet wide. At certain points it should be six or seven feet high, and then when the buttresses come, it's only four feet high. S — How are we going to blow this place up? Is the ark going to do it? G — We have several problems to cope with now. One, what are we going to do with the girl? Two, how is he going to blow the place up? S — There's an easy way to blow it up. He goes in the submarine and fires all the bow and stern tubes. He does it with the torpedoes from the sub. G — Either have the ark do it, or something where the time bomb starts ticking. S — Where does he get a time bomb? G — Figuratively. The fuse starts. We figure out where the fuse starts, from then on, you're worried about whether he's going to get out in time. It should start when the ark goes off, or right after that. It could be something he does, or something he does accidentally. L — Or he may not do it at all. Let the ark do it. S — I like the ark doing it, he doesn't do a thing. There's a door that says magazine on it, and you see torpedoes and ammunition coming out to the sub on gurneys. They're reloading the sub. When the ark blows everything up, it sets a fire that begins burning the magazine door. He has to escape before the magazine door burns down and the fire gets to it. G — You could have a whole string of things — the magazine door that's open a bit, a stack of ammunition, and about twenty feet from that is a stack of oil drums and gas. The ark blows the tent up, it's like a gas explosion. These little burning pieces rain down. It rains down on the pile of stuff, garbage, cotton stuff. That bursts into flames. When he's getting the ark and putting it in the thing, that thing is burning like crazy. He jumps in the thing and goes racing down the thing. He's firing at the guys. This stack of stuff that's burning finally falls over and falls on the oil drums. He's still racing along, then the oil drums explode and oil and gas go onto the ammunition. You see all these boxes of ammunition burning like crazy. Then finally that blows up, right after that there's a huge explosion. We have a chain reaction until it gets to the big explosion. Each time it's worse. S — That's great. Now what has happened to our Frenchman? G — I wanted him to get fried by the ark. S — The man who finally chases our hero through the mine shaft, can he be one of the continuing characters? The second main bad guy. He doesn't go off the cliff in the car. G — I think that guy should go off the cliff. We can introduce new main bad guy on the ship. L — How's he going to die? S — I'd like for him to get killed by a cave-in. The thing goes off the tracks, they scream, and one big rock comes down smashing him. G — So we have him be the one who takes Indy away. The professor is the one who's going to open it up. L — Now, the girl. G — We do have a problem with the girl. She could be in the main room. The other idea was that Indy saves her. S — What if the Frenchman made her wear strange clothes? I'd love to discover her in the strangest outfit you've ever seen, because he wants her dressed up like some sort of a crazy princess. She's apologizing. "I can't help it. He made me put this on." Something completely ridiculous for the final escape. Something very elegant, but weird. She has to pick it up to run. G — Indy climbs up on the submarine. He sneaks off. We have a couple shots of him walking down the tunnel, trains going by. Now he makes his way into the main room, and sees this silk cubicle thing set up. He looks around. He knows that they are in the cubicle, because he can hear them talking. Where is she? Actually, we also saw her get taken off. She gets pulled out as they're unloading the ark. S — Can the Frenchman die in Indy's arms, terribly burned beyond recognition? "I've seen the face of God." G — All he has to say is, "I saw him." You have to be careful about that line in that place. They put her and the ark on the mine train. She could either be in the silk thing with them, or she could be outside, being held prisoner. L — It would be neat if, when they open the ark and it fries them, she would have been there if she hadn't done something. They bring in Indy, "I'm sick of this guy. Take him out and shoot him." She turns around and spits in his eye or something, "Shoot me too." He says, "I have bigger things on my mind. Take her too." She saves herself by making a sacrifice. G — We have to be careful about making it seem very convenient. If they both leave, then you know something is going to happen. We're also building suspense about what happens when they open the ark. S — I would love to see her tied up and bound by the magazine door, near the explosives. When all the fire and thunder happen all of a sudden a trail of gas fire comes around the corner. It's heading for her, slowly. She gets save, untied and pulled out of there. The audience sees that the trail is going to ignite the bombs. It could be a long hallway. G — He's standing there at the entrance to the thing and he sees the silk and stuff. That is the point where the girl should come back into the movie. Say we put her behind the tent so Indy can't see her. He goes in the tent, gets the drop on them, tells them to take the thing back on the cart. They catch him, send him outside. They open the ark. We have an awkward point here when Indy rushes back in and gets the ark. If he has to rush back to get the ark, and also sees the girl and has to rush back and get her... It's going to take too long for that to actually happen. The only that would work is if he saw the girl and the ark at the same time. He saves the girl rather than the ark. Then they save the ark together and put it on the thing. This might be an interesting touch — he goes down the corridor, he sees them talking, he either sneaks by the guards or there's nobody around, so he takes his gun out, he goes into the thing, gets the drop on them. Something clever should undo Indy at that point. He gets caught, he goes out. When he gets the drop on them, you expect the girl to be there. When he goes in the tent and sees she's not there, he looks around. He can ask where the girl is, and before there's answer he gets beaten up. You're half going for the ark and half going for the girl at this point. We can't just lose sight of the fact that she's there. He has to save the girl and the ark. If we build that relationship up, obviously she's an important factor. S — If he has a choice of what to save, her saves her first. And then luckily gets the ark too. L — As soon as he frees her she says she'll help him to do it. G — She helps him carry the ark. S — He says, "Don't look at it. I'll shut the lid." G — I think it should have already shut. S — By itself? G — I do think it should be a short little effect. We don't linger on it too long. S — Besides the effects, the light inside is so bright you can't look at it. G — A bright light with tensor coil, those things arcing off it. L — What happens to this final Nazi who has him by the arm, gun in his ribs? G — He could punch him out. L — He could be blinded. G — He could karate chop him, get his gun, and run for the girl She could be surrounded by flame with more flame pouring toward her. That's not connected with the other fire going toward the stacked stuff. He runs through the fire to get her, comes back, picks up the ark, gets back on the train, and the fire is slowly making its way toward the magazine. L — Maybe what's menacing her is a big flaming sheet of the silk. It's right over her head, about to drop. S — What would it be? G — It would be crude oil, thick and heavy. One of the cans broke and it's dripping out. L — This is right after the opening of the ark? G — Right. It's a trail of burning oil. Plus maybe a sheet of flame that's around her. S — When they get her out, that part goes under the door. G — No. We have to have more time for that. You have to have a real slow progression of the stuff getting toward the door. We're intercutting between the good guys and the bad guys, going down the tunnel, and the fire getting closer to the magazine. It doesn't even have to be a door, the stuff could just be sitting there. L — How about if the oil were part of the ritual? G — We're talking about oil that's in big containers. The tent has burst into flame from the arcs. Everybody fights, and you can't see anything. The flames die down, because if was just a tent. You don't know where it really came from, but there's a river of oil and flame that goes around her. S — It's like a lava flow. G — It doesn't just explode. S — A good effect would be when he opens the ark and sees whatever he sees, he screams, and whatever comes out x-rays him. When he screams he's all green and blue with his skull showing through. White hair. G — We should do something like static electricity. He hair is down and long, and all of a sudden it just goes... L — And the top slams shut? G — Right. You let the effect go for a little bit, then you cut outside and the arcs are going around. The river of oil is approaching her. After it's all died down, you have these flaming silk things floating around: It's clean and there's not that much to burn. The ark isn't burning, it's sitting in the center. He sees her. S — She should be in tatters. G — It would be a funny moment if you didn't know where she was, and then suddenly the thing blows aside. It’s like a giant entrance. He grabs the girl, they run over and grab the ark, the cans and things are blowing up. They struggle and put the ark on the mine train and shoot out. L — The German guy comes to, gets up, there's panic all around. G — The Germans are running around. Everything is on fire. Suddenly they're noticed. They jump in the next train and you have the racing thing. S — He should kill a few Germans in the corridor. He shoots two of three Germans with his service revolver, then that's out of bullets. Then he picks up a machine gun, or even a Thompson sub-machine gun. Some Germans come around the corner and he gives them a burst. G — He could jump on the mine train with a Thompson. There would be great sound in there. S — Every time the bullets go off, rocks fall down. G — The mine train keeps getting filled up. L — Is just one car chasing him? G — I think it's just one car, with like three or four people in it. L — How do the cars move? G — They're electric. They have a throttle. Indy just jams it down and takes off. L — And at this point we want to get the final German. G — The final thing, when the fire hits the real munitions and it's burning there for a while and suddenly it goes bang, then the whole thing starts to shake, and maybe flames come through the tunnel and fry the Germans, at the same time everything comes crushing down. He gets fried, and then they crush him. He jams it forward. Then you cut to the submarine part, and the little car comes shooting out of the shaft. The whole thing is shaking and rocks are falling down. She looks up and says, "Jesus Christ, stop." He says, "It's our only hope." And they go shooting right off the end of the dock, and sail across the water. Wham. L — We have the sense that there's a final big explosion coming. S — Everything will be rumblingm like an earthquake. L — So we don't want to see the final ammo pile go up yet. G — I think the mountain is sort of collapsing. Rocks obliterate the screen, it looks like the whole place collapses around them. Then you cut out to the island. S — What would really be great would be to show how deep and how complete the explosion is. You see an explosion where fire and debris come shooting out of the mine holes. Then the submarine that was way in there comes shooting up through the rock. It just sits there like a huge knife wedged out of the rock. That would show the whole inside of the place is gone. G — I think it should be done subtly. It has to be believable. I wouldn't believe that a submarine would get shoved through the rock. S — I wouldn't believe the whole island getting blown up, either. G — Explosions just come out of the sides of the rock and maybe out of the top and then it just sits there and steams. I don't think we should do it as a giant huge explosion that blows the island apart. It should be like if this were a real island, there were a real tunnel, and if there was a huge, like an atomic explosion in the middle of it, there would be bits of explosion shooting out various cracks and things, and then it would sort of settle, and maybe there would be one side of the mountain that would break away and collapse like in an earthquake. Then it would settle. It wouldn't be overdone. We'll consult geologists about what would happen. S — One thing that would happen would be a huge tidal wave. A wall of water fifty feet high would just boil up and fan out in all directions. G — A subtle and realistic explosion that says things happened. It's sort of a long shot, or a medium long shot. They're sitting there, and then the titles come up. S — (gap in tape) ...then you hire some private pilots to get in real airplanes and fly in the background about a half mile away, which puts the airplanes. You have a miniature blowing up in the foreground while you have real planes in the background, and you're convinced that it's a real place blowing up. L — There's a long wait through the cast credits where you think they're dead. It seems there should be some final comment between them. G — "Slow down." "It's out only hope." L — He says, "We tried." G — Whatever. That whole concept... We'll look at it. The other alternative is you just hold on the island for a while, then they pop up, then you cut to the scene in Washington. It will work either way. This way it just make a big... It's a false ending, which is funny. L — They pop up, one, two. They're circling around in the water and then plop, it's the ark. G — She says, "It's the ark." "Well, for God's sake, don't open it." L — If there is no cast credit, then it bothers me that there is no time lapse for them to go through the underground tunnel and everything. S — They get out flying through the air from the roller coaster. L — But they dont. This takes place in the sub room. S — They go back to the sub room? G — Yes. That's where they end up. L — If they don't go in the sub room, then they're not in jeoprady when the island blows up. G — The way to solve that, if it comes down to that, is that you have some shots of the island blowing up. A little montage of things blowing up. Then you cut to that long shot. It does its thig, and then they pop up. You could very easily fill that time. L — The mine train dumps them in the sub base. S — They're back where they bagan then. L — That's why they're in such trouble when the place starts to collapse. G — It collapses on them. L — But that's the route we have set up for the train. G — The train goes between the sub base and the thing. We don't want to have to explain other ways out. They land in the middle of this thing. That's the last we see of them. Cut to various explosions. Cut to the long shot of the island and see half of the mountain cave in. Hold for a minute. Then they pop up. S — If we had a more pronounced entrance to the sub base, that could be what collapses. It should be a familiar area that collapses. END OF TAPE FOUR, SIDE B G — Or maybe caves or something. Something that we'll remember. The idea is that it caves in on them. S — And they get out in time. G— It's just making that little time progression there plausible. The toughest thing is to be able to get some decent shots of the island exploding. S — You can photograph shock waves. G — Another way to do it, they're racing on the train and she says, "Stop this thing." "No, it's our only hope." They go off the pier, splash into the water, rocks are falling and they obscure the screen, as the whole screen sort of goes black, what would happen if you faded in on them in Washington? With the Ark. And you said. "Congratulations, Indy. You did a great job." And you just assume that... S — It's too much of a leap. They think they're dead. G — You're only going to think they're dead if you see the thing explode, and the thing collapses. L — If you're going to do it that way, we might as well have them take another routh on the mine train and shoot them out into the ocean. Then at least we get a big roller coaster ride into the ocean. Then they'll get out and the audience will see it. S — Instant freedom. G — The alternative ending is that the mine train goes in the other direction. It goes through the thing and out the other side. Then we don't know where we're going. They get chased [PAGE 116 MISSING] S — to run in front of the boulder and get out of the cave before it gets you. The reason the boulder is coming down is not to kill him, it's to seal off the cave. L — I'm seeing his retreat from there as all out, but still keeping in mind what he has to do. Like when he gets to this place, when he's going back, he dodges through it. They’re a little slower than he is. S — Fast doors closing are fun. END OF TRANSCRIPTION (Comment on this)