S — Also, the interior of the hole has to be beveled in such a way that the sun only pierces it at a certain time.
G — I was thinking that the Germans would be doing it mathematically and building models more or less reproducing what our guy has. They don't have some of the key information, so they're doing it in sort of rough. They figure it out and it points to a building on the map. When he comes they're in the process of digging at that building. In the process of the film we get the information that they've found it. But they haven't.
S — They're digging the wrong building.
G — The reason is that the sun has changed so drastically in the three thousand years or whatever, that they didn't take that calculation into... If they were all bright people they would have thought of it. But they're dumb. The Nazis and his partner weren't that well-versed in astronomy and he was. He knew that the asmath was wrong, and he moves the thing over. You see him digging in one spot while they're digging in another. Sort of one-upsmanship, where our guy is brighter than they are.
L — Wouldn't the Germans know that too?
G — Maybe we can cover that by saying that the Germans thought it was from one period, say two thousand years ago, and he finds out on the sceptor information that... One advantage we have is that the whole thing has never been put together before, and that reveals a new thing. They had read the two things seperately before, but when they put it together. I was thinking it either gave you a new reading on the height of the stick, or it gave you a new reading on the date that it happened, so they may be five hundred years off, which would add four degrees to the computation.
S — Any way you look at it, the whole inside of the staff has to be cut in such a way that only at a certain time of day, and only for the distance of the hole, would the sun show the exact spot where the Ark is hidden. Yes, if they had a spotlight they could shine it, and that would the most expedient way to do it. Otherwise they would have to wait for the sun. It's more dramatic to see the sun rising, and he's waiting around looking at this little figure, and the sun hits it and he marks- the spot. We could rationalize it by saying that in that day they didn't have spotlight units, which they didn't unless you went to Hollywood.
G — The thing about sunrise and sunset that I like is that it gives you such a precise thing. When you say noon, it's very hard to tell when noon unless you have a clock. But sunrise and sunset is when1 the sun is halfway over the horizon and it will always line up that way, for eternity, except for the earth shifting, and you fix that with precise calculations. Also, the time of the year has a big effect. That would be another part of the calculation they would all have to go into. I thought we would relate the date to the summer solstice or the rites of spring or some particular date, the Ides of March or however you want to do it. What they would do is not be there on the particular date, but they know where the sun would be, so they move it sixteen degrees east and that's where it is.
S — This can't take much time or the audience will go right to sleep. It has to be quickly explained and accomplished.
G — We have to decide what we want to do in terms of... We can have common knowledge, if we want the Nazis to have figured it out. Do it in general conversation, the height of the staff was four hands, three hoves high. One point should be the bugaboo, the date, I think that's a little complex too, or the fact that the earth has shifted slightly.
L — It has to be information contained on the missing sculpture.
G — The other way to do it is when you put the two parts together. The general information says that the staff is four hands high, that's in the textbooks. So the Germans use that. When he puts it together, right in the crack it's fourteen hands high and nobody ever knew that before. That part was on her thing, and when it's fit together you can just see the outline of a one there. It's not four it's fourteen.
L — And that's real easy to grasp.
G — So when he goes in there the Germans are using this short staff. He puts it on a real tall staff and he gets the right information.
S — They could be a mile away from where he is.
G — They're all doing it right, but they have misinformation because nobody ever put the two pieces together before. That makes it all different.
S — It's especially good if it's a whole maze where the digs are that you could very easily get lost in. When he begins digging on his side, you can always hear the Germans working on the other side of the city, the echos of their equipment.
G — My whole idea, although it does complicate the way the sun comes through, was that it was all underground. The main dig where they found the city was a hole about the size of a house. When he goes and digs for his thing, he just measures off into the desert and starts digging down, and finally he hits something. He opens it up, a stone or something. So it's just a little hole about that big. The it leads into a big underground temple. When he gets caught and they close him in down there, they just roll this thing on the hole and the desert's like the way it was, except he's trapped down there. Although he could hear some of those people, strange sounds. He could also hear them in the desert, they're yelling at each other.
L — When he's trapped in that tomb, he should get out himself.
G — There are several things of interest that might work there in terms of the serial aspect of the movie. It's difficult in the desert, but it is conceivable. (garbled) ...having the room fill with water. Not only do they get trapped in there, the thing starts filling up with water.
L — Wouldn't it make more sense for it to be sand? That would be a more logical kind of mechanism.
G — That might be nice. It's not nearly as dramatic.
S — The problem is, you can't shoot the guy under the sand. The camera is always restricted to just one level.
G — The thing about water that's more dramatic is that when it comes crashing in, it goes splashing all over the place. One way of doing it, I thought maybe the city was built on a river. You assume it would be on a river or an oasis. It wouldn't be built out in .the middle of nowhere. It's possible that whatever it was dried up over the years. He would go down and there would be a river or a stream that he would be working on the edge of. Maybe a flat thing, and then a cliff and a river bed.
S — Now to get him out of it, which isn't easy. We should have a hidden granite rock or something. Something, when forced by the pressure of the water, loosens a rock, that begins to come out. It would be terrific if he were forced into another chamber, the water like a big wave rushing behind him, tumbling him from one passageway to another, really getting hurt. It knocks him against walls. He could wash into the German's camp. Does he have the ark right now?
G — No. They've taken it away from him at that point.
S — How big is the ark?
G — Big, I think.
S — Does it float?
G — The ark would be gone by then. They took the ark out and threw him back. I think the ark is about as big as that fire place, a big box. If he's down in there, there would be... again, this is a little funny. There are little beams and stuff, little trees maybe. Which obviously wouldn't be down there for two thousand years. The idea was, he could take one big huge beam, as the water is coming in, and he takes a little rock. He ties the rock to the beam, to the end of the beam. And then he takes a couple of other flotsam and jetsam sort of whatever he can find that floats, and ties it about halfway up the beam. So he's got a beam like this and it has a weight on one end and then he's got a bunch of junk here. As the water takes it up, it rights the beam up like that, and teh beam is sort of floating there, suddenly the weight isn't heavy enough for the things, so it sort of lifts off and it's floating like this and he pushes it around until it gets in the right position, as the water lifts it up, just the hydrolic pressure of the water lifting it up, because the water can't sink the...
S — The beam would stop at some point.
G — It would stop, but the water would keep rising, and it would push it down. There would be a tremendous amount of pressure, depending on how much junk he had tied to it, to push through something.
S — It's a good idea, but I think that at some point the equalization inside the... If it's that big of a limb that it's going to push something out, it's not going to stay upright, it's going to be floating this way or that way.
G — If it's floating, he'd put a weight on one end and he could right it. Then he would just keep tying flotsam onto it. The more flotsam he has here, the more pressure would build up. My original idea was that he just took a beam, and if he shoved it up, eventually the pressure would make it poke through. I thought it would be some kind of big log. But I don't know why a log would be down there.
S — I wish there was a way for him to get out of it with no resources.
L — How's the water coming in? Maybe that's the way to go. Maybe there's a way out at the top of an unreachable ceiling.
G — But then you know if he's getting up toward the door, he can get out.
L — Let's talk about the Washington scene.
G — It's obviously going to be an expository scene no matter how you do it. We want to do something to make it better than just a regular scene.
S — It's better if there are some mummies around.
G — Our guy should be the one who's sort of explaining it.
L — I like that. They're telling him, but he knows more about it than they do.
S — Another way to do the scene is, "You think you're so smart." Because he knows more than they thought he knew. So they give him test questions. And our guy knows all the answers.
G — Or it's possible that they know he knows a lot about this. He knows about it because of his mentor, who has a piece of it. Which is also why they want him to do it. This is a unique way — he comes in with the Colonel and the Colonel says, "What we have here is the legend of the lost Ark. You know all about that, don't you?" "Yeah, I know every thing about it." "Here's a ticket to Cairo."
S — Do it as blatantly as possible. They'll appreciate it.
G — The otehr way to do it is let him know about the ark, and not them. Have the Army guy say that they found the lost city. Hitler is going after all these artifacts. He's believes in all the supernatural stuff and everything. We don't know what they found out there, but it must be awfully important because they're sending for this professor. Our guy is the one who puts two and two together. Then he sort of explains it. They have all the pieces of the puzzle, and they want him to get whatever the Germans are after. He says, "I'll tell you what they're after. They're after the lost Ark."
L — Is there some way to bring in the mural? They're completely unaware of it, and it's right there.
G — Yes, They could have the mural. Maybe they've intercepted some photographs of the mural that were found in the city. They snuck off some copies of the German correspondence, drugged one of the couriers or something.
L — You're talking about the map of the city?
G — Yeah.
L — I'm talking about the frescos that show the ark being carried before the Army.
S —The Army crumbling in the path, and the Hebrews valiant and racing behind the Ark, and thousands of Romans clutching their stomachs and light coming out, and they're covering their ears, they're shouting, a real mayham scene. And our guy turns and says. "And that's what Hitler wants."
G — You can do thta one of two ways. You can either move the location or you can have it in the room. If you have it in the room it's going to be, "There's the lost Ark, right there." It's a little convenient. The person we're really taking on a tour is this Army clown. He's the ignorant one. So they say they're looking for the lost ark, and that guy asks them what the lost ark is. Then cut to them in the antiquities part of the museum. You go into that room and say, "This is the lost Ark." It shouldn't be right in the office.
S — Don't even cut to the actors. We'll do the whole story on the mural, with their voices over it.
G — It would be simply that the curator and our hero took this Army guy, or the two Army guys, to show them the lost Ark, and say "This is what the Germans are after." Instead of being an exposition scene it's also a puzzle scene. He walks in and solves the puzzle.
S — At the end the Army guy should be completely in awe of it. "My God, if General Patton only knew." "I'm not going to tell George. He'd go down there with you."
G — I like the idea of him putting all the pieces together. The fact that the Nazis have found this lost city is interesting to them. The Army guys can give a little bit of exposition and information about Hitler, and the fact that he's going all over the world trying to find Jesus sword and all these other things.
S — They can give little anecdotes about mystical things he's been into all this time.
L — The problem is, this Army guy believed that if Hitler got this, he would be invincible. We can imply that.
S — He didn't even need the Ark to attack. Why wait for that?
G — One Army guy says, "That's nuts." The other Army guy says it's only nuts if you don't believe in it. But if you believe in it, think of what you might do.
L — And on the basis of that he has to beat the Germans.
G — In the end, the basis could be, "It's not that important to us. But if it's important to them, then we want it."
S — The Army guy should be the opposite of Patton. He should think it's all a bunch of bullshit.
G — And why doesn't the Army go get it themselves? It's too overt an operation for us to get into with the world on the brink of war. And if we tried to take this operation adn get it through the normal channels, they would laugh us crazy. It's more of a personal thing for this colonel or whoever is doing it. "If the Germans want that so bad, I want it. I want to keep them from having it." This is a semiofficial thing. The situation is too sensitive to waste the energy on something that's so nebulous. But it's important, so they want to at least send this guy off to do it. They just can't do it as an official Army thing. But if that's what they find, then the museum will pay him a commission, because they want it. Of course that fouls up the end. Of course in the end if he tells them it is a secret weapon and it destroyed them all, then they decide not to give it to the museum. They stamp "Top Secret" on it and shove it away into a vault somewhere.
S — It must be explained somewhere in this scene that this will not decide the outcome of the war or when the war will begin. It has nothing to do with that. It will give Hitler a certain kind of comfort that we don't want him to have.
G — If he gets it, then he will believe that he's invincible.
S — Otherwise the audience will say that this is not very important. That's what worries me about this part.
G — They say, "Here's two tickets to Cairo." He tells them he needs to go to Shang Hai to pick up something first. He's going to buy this thing from the Chinese War Lord and he needs X number of dollars to buy it. Immediately he starts spending money. Or we were going to have his guys go get it. We have to set up a thing where he tells the general he's going to Shang Hai. He doesn't go to steal it. He will have wired that information to Shang Hai so his agents are doing it.
L — That bothers me a little bit because it takes away the awesome power of this Chinese War Lord, if you can send just any operatives who happen to be there. He says, "You guys pick it up. I'll pick it up at the airport." What it should be is the War Lord, who is pretty frightening himself, doesn't faze our guy. "I’ll get it from him."
G — It could be that he says, "I'm going to Shang Hai. Have two of your best agents meet me there." And I also want fifty thousand dollars. "What for?" "I have to buy this little artifact. It's a key to this."
L — What happens to that money?
G — He spends it through the rest of the movie.
S — What about a vendetta with this War Lord. The War Lord gave him a big scar.
G — You don't want to make the whole too ingrown.
S — So there's some familiarity there. Would he think of this strange War Lord, someone he's never seen before?
G — Obviously he can be aware of where it is, just as we're aware of a lot of things in the film business. It's possible that he knows the guy.
L — He might not know him, but he has to know that it's there.
G — He has to know of him and he has to know it's there. Obviously this guy is one of the big art collectors of the east.
S — "I worked for him one time. He didn't pay me."
G — Obviously the villian knows he's there.
S — This War Lord should be a completely outrageous character, with all the armor and costumes. He should be a barbarian. He only becomes a gentleman around great works of art.
G — He collects it for some bizarre reason. He collects it because he heard that's what gentlemen do, and that will make him a gentleman. But lie hasn't the vaguest idea what it is.
S — That's a good angle on his character. Here's a man who's desperately trying to become civilized, and he fails at every turn.
G — Now we cut to the airplane flying across the ocean. Cut to the airplane landing on the ocean, a long shot of him walking out of the airplane and down the dock. Cut to him in airport or whatever met by one or two, maybe one American and one Chinese, agents. He could have sent them a telegram so we culd zip by a lot of the exposition. "I've made an appointment to meet with General Fu Man Chu." Somehow they know the Germans are on their way there. So they immediately tell him. What we want to do is very quickly get rid of all that exposition where he explains what he has to do
L — Somewhere in here we have to mention the staff.
G — The thing is, do we do it in Washington or do we do it in Shang Hai? Why would he bother to explain it to these guys?
S — One of the things is to demonstrate, not talk about it.
G — The demonstration thing would be with the girl when they put it together.
S — Another kind of demonstration. Like a beautiful vase on a table, that is worth a complete fortune, and they're all looking at this, and a man carefully puts his glasses on, looks at the vase, takes a hammer and breaks the thing. He divides all the pieces up to be shipped all over the world, and sold. "I hate doing this. I hate destroying great art, but it's a living." Bam. Crash. You realize this is what happens to all great works of art to make more money for the greedy bastards. And the audience realizes that is why the staff is in several pieces.
L — There could be a demonstration of what the staff does before he gets to Nepal. Show why it's so important without just telling them, without adding to the exposition in Washington.
G — That was the perfect place for it. In Nepal is when ha talks about, the height of the pole and he puts it together and realizes it's fourteen, not four.
L — We have to know what he's doing in Shang Hai. If you don't know about that staff, you don't understand what he's getting from that War Lord. He can say, "We're never going to find the lost Ark until I get the Staff of the Sun." "The what?"
G — The other way to do it, as I was saying before, is if they intercepted photographs, which they were sending to his rival, that have pictures of the floor of the map. And he knows instantly what it is. It would be good for him to have that information. Instantly he knows they are going to go after the staff. It has been totally unimportant up to now. Once you have the map, then you need the staff. All of a sudden it's very important. This is a map of the lost city. The mayor had a staff with the sun on top, and when you stood there, the sun would shine through it and point to the temple where the Ark is. You could actually explain it backwards, you start with the lost city and you end with the Ark. They have these pictures, they found the lost city, this guy is going, what does it mean? Well, this is the map of the city. The mayor used to stand in this big circle with his staff, and the sun would hit the staff and the sun would then burn into the secret temple of the Ark. Which no one knew except at that time of year, or whatever. The guy says, "What's the Ark?" "The Ark is what they're after." That would work. Then we know everything. They say they'll send him to Cairo. He says he's going to Shang Hai because that's where the top of the statue is. You don't have to know any more than that.
L — When he gets the part from Shang Hai, and he gets the girl's part, how much would he have?
G — I think he would have the whole staff then.
L — I was thinking back to where they had part of it.
G — They have the map and they have the research information.
L — So it's in two parts, and she is wearing the sun, and at the bottom of the sun is the number one.
G — Right, at the point where they were broken apart.
L — In Sanskrit.
G — Whatever, it's in Cairo, but it doesn't have to be. I only use that because it's one of those thirties cities. In the research it will probably be an Israeli city. In the middle east somewhere we will be able to find a plausible city. We can say we heard about it in Cairo. We can say wahtever we want.
L — I was seeing it that they had lost it and their fortunes changed.
G — In the end it will have to be modified to fit the legend. We should try to remain as consistent with the real legend as we can. Whatever holes there are, we can fill. We shouldn't deny what the legend of the Ark is. The whole concept was that you could talk to God with it. The whole thing has to be believable. When people leave the movie they should think that the Army has this thing in one of their thousand giant warehouses, and that's where the lost Ark is.
S — Is it in Washington?
G — Wherever the Army keeps that top secret stuff. It could probably stay there for eternity, because it's lost in the bureaucratic shuffle. Now, the thing in the Himalayas we haven't really hashed out.
L — How does he get from where he ends the toboggan ride to her?
G — Oxen. Some local picturesque travel mode. That’s just a couple of second unit shots. He's within three hundred miles. We are getting into a lot of travel and problems. All you really have to do is dissolve it. One wipe and he's sitting with her, talking. "Boy, you look in bad shape. What happened to you?" "Well, I've had a bad trip."
L — Should we have a confrontation between the War Lord and Indiana?
G — We can have a direct confrontation by having Indy get caught in the act. He's standing there with the thing as the War Lord leads the Nazis into the room. That's really the way it should work.
END OF TAPE TWO A, SIDE A
G — She's a rough and tumble girl. She says, "It belonged to my father. It's mine." We have to have a good scene there. How we get into that scene is the most important part of it. He jumps out of the plane, he lands, he's all snowy, he looks around, wipe and he's walking into the thing or he's sitting there with the girl. Cut to her saying, "Long time no see." "Yeah, I guess it has been a long time." Or do you cut to him walking into the bar, and he sort of walks up and sits down and she comes up and says…
L — I don't want to throw away their first sight of each other.
S — I would like very much if she didn't see him at first, but he witnessed her dealing with a bunch of rowdies. He's on the other side and he watches her in action. He really gets a lot of respect for her. She's really grown up. Then he deals with her.
L — What if we lose him, see her dealing with the rowdies. She clears the place out and then sees him sitting there.
S — She says, "I'm sick of all this." And she almost has a nervous break down in front of everybody. She breaks up a fight and tells them to get out. Everybody leaves except for our guy. She doesn't know who he is because his back is turned. She tries to get rid of him.
G — You have to be careful, no matter what you do, when he turns around it's gonna be "Indy."
S — He turns around smiling. He planned it for the dramatic effect.
G — It has to be careful. I like the idea of cutting to her and seeing her in action, tough. She should be Rick, in control of the situation. This is the normal thing for her. She shouldn't be hectic or frantic.
L — And I like him to witness this. And she doesn't know he's observing.
G — When they meet there should be some kind of a good scene between them. He should say, "Where's your father?" "He died five years ago. I sent you a note. We had to bury him up here." It's like she's really rubbing it in. Maybe she didn't send him a note. Her feeling when he walks in is here is a guy she loved. He left her. She's stuck up here in the middle of nowhere. All of a sudden out of the blue. he shows up, in the middle of Nepal. Her first reaction would be, "My God, what are you doing here?" Or it could be total sullen... She could still be burning over the thing and the fact that he... Maybe she did send him a note when her father died and he never got it.
S — I like the idea that she greets him with disdain when he first walks in.
G — The fact that she sent him a note when her father died five years ago, and she was hoping that he would come and comfort her... He didn't even acknowledge the note.
S — She says, "You're too late."
G — He says he's been traveling around.
L — I wonder if her first reaction isn't to hit him. Something unusual, not just a slap. First sight, register who it is, wham.
S — "Still with that right cross I taught you."
G — "Hey, Junie, long time no see." Wham.
S — And she says, "Get out."
G — They should refer to the death of the father. The idea is that he's there to find her father, his old mentor. He's not there to find her at all. The father had the other part and he thinks he might be able to help him.
S — She should have hair like Veronica Lake. You only see one eye at a time.
G — When he asks her for it she could be all pissed off about that stuff, because that's what got her there. She loved her father, but she puts on this act. It would be interesting if she were putting on an act, "I threw all that junk out when he died. It ruined his life and it ruined my life. I never kept any of that junk. He was a fool." He says he wanted to buy it. She starts pumping him for money or something, telling him she sold it to an agent and I can tell you who the agent is if you cut me in. That may be later. She says no. Or maybe she says she sold all the junk to an antiquity dealer. She tells him where the junk is. He says thanks. "Was that all you wanted?" "That's all I wanted." She says, "Well, why don't you come back and see me later." Some kind of thing where he has to come back. Maybe it should be on a personal level. Maybe they become friends. He leaves and then we cut to... She reveals that she's got it. Instantly you say she's got it, but she's not going to give it to him.
L — The first tender moment is they kiss, embrace, then part. His hand draws away whatever was covering it, and he sees she's wearing it.
G — Maybe she could be very tender about it. She's keeping it because it does remind her of her father and she didn't want to give it up to him.
L — He doesn't have to tell her exactly what he wants, just that it's one of the artifacts her father had. She tells him she threw it all away. This is the one thing she kept. You can play it either way, she's holding out on him or she doesn't know what he's talking about. He almost walks out. We know she has it, but he doesn't.
G — Essentially, he tells her he wants it, and she tells him she wants to get out of here, and how much is he willing to pay for it. But if he went to buy the other thing...
L — That's why I was bothered by the money.
G —Or he could be a nice guy. "Look, I'll give you fifty thousand dollars for it. I'm just trying to be nice." "Jesus, fifty thousand dollars. This must be some little trinket." In the middle of their negotiations the Nazis come in. Maybe by this time they're out of the bar, gone to the bedroom. Then the Nazis burst in and he protects her. He kills a couple Nazis. She says, "What was that all about?" He tells her they're after her pendant. "This must be some pendant. What is it, anyway?" He tells her a little about it. "This must be worth more than fifty thousand dallars if the Nazis are willing to kill for it. I want in for half." He makes the mistake of offering her the money.
L — I like what you said yesterday, which is that she wants to go back a lady. The fifty grand would do it. That's what bothers me about his having the money to give her. She's going to go through a lot of hell now to increase that fifty grand.
G — But she doesn't know what kind of hell she is going to go through.
L — You mean she's been stuck in this hell hole and she's going to turn down fifty grand?
S — Maybe he offers her five hundred dollars and she turns that down, them he offers her six thousand dollars. I know what you're saying, if she got that money, she'd take it and run.
G — Let’s not give him the money then. All we have to do is...
L — We have a million places for him to lose it. On that toboggan ride there could be a shower of money, "To hell with that. I'm lucky to be alive."
G — Or he could lose it with the emperor. He doesn't have to have it. The only reason he has it is so we know he's not going to steal it from him.
L — I like him having it and I like him losing it. They're racing to the airport and the money belt comes off and flys into a junk. Anywhere along the line.
G — When the Germans burst in, I like the idea that they can't come to a deal and he leaves. As he walks outside on the street, there's all these nefarious shadows converging on this one place. On her place. It's not just a staff car pulling up.
G — We have to assume that these guys are agents and not just SS officers. Trench-coated.
S — Like the guys in "The Great Escape." He hides in the shadows and watches all this take place, and he has to get back to the cafe to save her, rather than just being there and get caught with his pants down. It's better if he comes to the rescue.
L — I like the image you conjured yesterday of him being on the balcony and looking down from above. Maybe he could do something neat from up there.
(short gap in tape)
G — This is the first time he's come into a direct confrontation your standard...
S — With Nazis you have to use your fists, because they're despicable people.
G — That won't be too much of a problem. It's just a matter of twisting the situations. I think the first two are unique enough in their own way not to conflict with this. After this we don't really have that much more before we really get him into the real mess. This could be a big fight.
L — And I like the fact that he's somewhere else, either upstairs or coming back in from outside.
G — It would be nice if they left in a huff, they fought or something. He left rather pissed. I don't think he would leave without the pendant. That's the only thing that bothers me about that.
S — So he goes upstairs and stays up, plotting how he's going to take it off her.
G — That makes him into a real rat.
L — That's all right. He never does it. What he does is just the opposite, save her life.
G — No matter how you do it, the fact that he thought about it is the rat part.
S — Rhett Butler was a rat.
G — He wasn't a real rat.
S — He proved himself by raising her family. Before that he was a gambler, dealt with cheap ladies.
G — There's a difference between being a rat and somebody who's having fun. He never hurt anybody.
L — I'm a little confused about Indiana at this point. I thought he'd do anything for this pendant.
G — But he still has to have some moral scruples. He has to be a person we can look up to. We're doing a role model for little kids, so we have to be careful. We need someone who's honest, trusting and true. But at the same time he's confronted with this difficult problem. We have a great thing when she won't give it to him. She doesn't like him.
L — What if you see them seperate, and you see them both thinking about it, and it's clear that she's going to give it to him. Then he saves her and she doubts his motivation, was he coming to steal it? Or was he coming to rekindle the romance? It doesn't have to be crystal clear to her.
G — You could have it where he finds the pendant, they have some kind of a thing and she hides it.
L — Although in the fight it would be great if she were wearing it.
G — Maybe she was writing a note to give it to him, when they attack. She takes it off.
L —"I'm enclosing the pendant."
G — If she took it off and it's sitting right there on the desk, it more or less has the same effect. The Germans come in and start punching her around and asking where the pendant is. And it's sitting right there.
S — What's it made of?
G — It's stone.
L — I thought it was metal.
G — It could be metal. It can't be wood because it's too old. If it's right there on the desk, the pendant is in jeoprady.
S — During the fight show feet almost stepping on it.
G — All you have to do is have her have a little wooden box. She takes the pendant off and puts it in. She starts writing the note and the Germans come in. One of the Germans puts his hand on the box and asks where the pendant is. He comes in and they have a fight. In the middle of the fight they knock over the table and the little box breaks open. The pendant goes rolling across the floor.
Immediately you think somebody is going to see it. It's sitting out there. You're afraid one of the Germans is going to notice it. He finally gets rid of the Germans and he picks it up.
L — I love the idea of fire. When it rolls across the floor could it roll into the fire. You don't think it's going to burn up, but he has to retrieve it. Maybe at the same moment he uses the fire as a weapon. I'd love it if he burns down her only stake in the world, which is the inn.
S — That's a good idea.
L — The pendant might lead him to the fire. He uses the fire.
G — The Nazis would do that. Let's have the Nazis cause the fire. He's the one who brought the Nazis there, so it's all his fault anyway. I like the idea of doing the old branding iron scene before bursts in.
S — I love branding iron stuff. It's a red hot poker.
G — That's what starts the poker. It starts immediately on the fight. When he comes in he knocks the poker out of their hands. The poker goes into the curtains and immediately starts the fire. They fight. The box gets knocked off the table. One of the Nazis sees the pendant as it falls, and starts to go foor it. He gets hit in the head by a falling beam or something. When it's all over they end up with the pendant and a pile of rubble. She says, "You're going to be a long time paying for this." The he feels sort of obligated to bring her along, since he does feel sort of guilty. She has to sort of insist. That's why it's important in the first scene that we understand she's a tough broad. She doesn't give a shit about going out and roughing it up a bit. But she has no idea what they're in for. She wants to get out of there, and she still loves that guy.
S — She can say. "Charlie, you're my ticket home." Wouldn't the Germans pull guns and start shooting?
G — Yes, but he comes in and uses his whip. He also maybe has a gun. You have to decide how many Nazis you want. You don't have to have twenty Nazis, just a couple of agents.
S — There should be one big Nazi, the torture guy, 6' 6" weighing 290 pounds, wearing this huge overcoat. He's the guy if our guy hits him in the jaw it doesn't even, he only hurts his hand.
G — And you have the local yokels, the two guys with the tommy guns and the furry over coats, yak coats, just off the border war, or whatever. Sort of local interpreters they picked up. Right now we've got about five — two local yocals, one big Nazi, and two other Nazis.
S — This Nazi is struggling with our hero, and they're kind of rolling on the ground, and one of these henchmen is standing at the door trying to get a clear shot because they keep moving. Two of the other Germans who are struggling with the girl say, "Shoot both of them." The German who's rolling around with our hero panics, pulls out his own gun and shoots the guy with the Tommy gun, kills them both to save himself.
L — All the bad guys in this movie are so vile, they turn on themselves. Now they're standing on the rubble.
G — Cut to Cairo.
L — Let me ask you one thing about this fight, how gory do you guys see this movie?
S — Not very.
G — Not very. It should be Saturday matinee violence.
L — How about death by fire?
G — That's okay. Now we have two people in Cairo. We have his old friend, who's an archeologist who's digging out there. And we have his old friend, the Arab digger. He is like a workmam/foreman. He's like his old sidekick. He's got the Arab kid. That's where they stay. Obviously he was doing some digs there at one time, and they go back a long way.
S — He's a Walter Huston Arab type.
G — And he has a young son who's our tag-along.
S — Never stops talking.
G — The crazy little Arab kid that's really a pickpocket. The old man is poor but very well connected. He's the one who gets him the boat and the tools and the information. Plus, he probably knows a lot about what the Germans are doing. He's like the chief digger in the area. Obviously the Germans have hired all these diggers, so he knows what's going on out there, because they keep telling him every day. He gets updates on the situation.
L — How do you guys feel about subtitles?
S — I don't like them.
G — I don't either. I think it is better if we don't understand what they're saying.
S — I like hearing English with a German accent.
G — It depends on how you work it, but I like hearing people speak in their native tongue, except for people who have a right to speak in a different tongue. You don't have to talk to the people who speak in a funny otngue. Only the lead characters speak broken English, everybody else speaks what they speak.
L — What about when Indiana assumes German, should we know what he's saying?
S — When does he assume German?
G — When he's carrying the Ark to the truck. I don't know that it's important we know what he's saying. There's more tension if you don't knwo what's going on.
L — Let's say the arch-villian is French. When he's speaking to this German...
G — Maybe they could speak English.
S — Maybe the arch-villian is smart enough to speak German, but they're not smart enough to speak French.
L — What about the Arab kid. He's just talking endlessly and you never understand what he's saying.
G — But if he's going to be the buffoon character, you're going to want to understand him.
S — Maybe he slows down once in a while to say something stupid. When he talks fast you just don't care.
G — We might be able to play on that. It's conceivable that he and his father could speak English because they work with English archeologists all the time.
L — I'll write the entire movie in English.
G — I think he should go to his friend first, because then we can get a reevaluation of what's going on. We have a scene around the dinner table with eighteen kids. We find out that the Germans have made a make-shift staff. The French professor has made it and used it to pin-point the temple. They are now digging for the temple. It's great, the Germans have already found the temple and they're trying to dig it up. 'The old man says, "Don't worry. I'm making it slow. It will take them forever to find it. We had a cave-in yesterday." Or maybe he says they will make a cave-in to slow them down. That's the exposition that goes on in that scene. I wonder if his friend should be the one who helps find the number. We don't have time to do that in the Himalayas. Then he goes to his friend who is digging on another project. He's working on the thing he's been working on for years. He's sort of an east coast Yalie. He's his old roommate. Same age. But he's gone the straight route. He goes to him at his digs, or maybe a cafe scene. Maybe he meets him at the digs and they go to one of these cafes to talk. The guy doesn't like him too much. You can tell they're close friends, but the guy disapproves of what Indy is doing. He doesn't hate him for it, but at the same time he wonders why he didn't go straight. I thought that could be a place where the friend helps him put it together. You get rid of a piece of exposition there about the thing.
L — That would have to be in the privacy of someone's quarters, not in a cafe. Let's say she's wearing the pendant, it's metal, and the part below it might be flat. It could be of some size so that he could strap it to his body. But we don't want it to be too small, because then they'd have two small pieces.
G — If it was about that tall and that wide he could either tape it under his arm or on his ankle, but it would be flat sort of like a metal knife.
L — I like that his friend and he are there when he first puts it together.
G — And his friend helps him. His friend is really more of a scholarly archeologist than he is. It's old college buddies. It's "The Turning Point." Originally it was a puzzle that everyone was puzzling over. And it was his buddy that found the key. I don't know if the scene with his buddy should be the next scene. It might be good to have the Arab scene, then have an action/danger scene, and then have the scene with the friend. Then the next place we're going is when he's on the dune overlooking the camp and he sees all these tanks and stuff.
L — An action scene could be a Cairo street scene, tents and big sword.
G — They also have daggers. It's the kind of scene where he's maybe getting followed. A bunch of Arabs try to jump him in the street and there's a Nazi with them. They know that he's there.
L — Now she...
G — Tags along. Before, this is where I had her go off with the Germans and come back with all the information. But I think we can get the information from the digger.
S — I don't know what we do with her.
G — How about if we have her kidnapped?
S — Who would kidnap her, and for what reason?
G — The Arabs. Maybe they're going to rape her. White slavery.
S — I would rather have a plot kidnapping than just a carnal kidnapping.
G — If he gets jumped on the street and they take her, it's obviously the Nazis, maybe they're taking her to find out what she knows. He fights them off, but they get her in the process. They take her alive rather than kill her so they can find out what they know and what he's after. Maybe these are semi-agents of the Nazis, but more agents of the Frenchman. It's something he is more interested in. Or they're Nazi agents. One Nazi and a bunch of Arabs. Maybe there's some writing on the thing that he can't decipher. In the scene at the home in Cairo he's putting the thing together and he's trying to read some of the stuff and he can't. He shows it to the Arab and he can't read it. It's much older than anything he knows. Then he says, "Is Phil still around?" Yes. Maybe Phil can read it. He takes the thing to him to try and find out what it says. It's on the way there that they get Shang Haied. There is where you can have a great street fight. Maybe use his bullship. In the process she gets captured.
S — Whisked away to a waiting staff car.
L — How does he react to that? Does he go on to see Phil? Or does he go right after her?
G — Yes. It seems pretty mundane that he would go on to Phil after that.
L — Is there some way to really convince him she has died?
G — That's fun.
L — But you have to do it really well, and I don't know how. And then he could feel bad about it until he sees her again.
S — It could be the "Obsession" trick. The car she's in goes offhand disappears, then appears again, goes off again and appears again, then it goes off a cliff and burns. In fact, on one of those dog-legs to the left they jumped out with her and the driver went off alone and he actually crashed. We and Indy feel that she's dead when we see the car burning at the bottom of a cliff.
G — That would work. You can sort of cheat. It's all images of a girl in the back seat just before the thing goes over. You don't really see her, but you think you do. You are convinced that it actually happened. Or, you see the cars switch, another comes in and takes over. But Indy knows and isn't fooled by it. You sort of think that he's going to go after the wrong car, but he doesn't, he goes after the right car. And that's the car that crashes. What we don't know is also in the process of that, there's another switch that happens that we don't see. There are two switches. We see the first one happen. The second one is set up the same way.
S — That's good.
G — What can he chase them with? What if he jumps on a camel?
S — I love it. It's a great idea. There's never been a camel chase before.
L — Is this camel going to chase a car?
S — You know how fast a camel can run? Not only that, he can jump over vegetable carts and things. It could be a funny chase that ends in tragedy. You're laughing your head off and suddenly. "My God, she's dead."
G — We have to have another way of getting them off the cliff. They start getting on the outskirts of town, going along this mountain road. He doesn't follow them down the road, he goes over the hill. You have shots of him racing along and shots of them racing along. He sort of comes down right in front of them, with a gun. They're riding along and he's pointing a gun at them, and they go off the thing. That's a way for him to get them to crash.
S — And he thinks he killed her.
G — "This isn't working out at all." It's a cheat, but we could have a piece of her clothing or something. Or her purse.
S — When do we have the big fight with the flying wing?
G — That's once he gets into the camp. It's a secret landing strip, too. It's what they were going to use to fly the ark back to Germany.
S — We still have the big fight in the moving truck to do. And now we have a camel chase.
G — We've added another million dollars.
S — Not really. How much trouble can a camel be.
G — It will be funny. It's also great because the camel is so outmatched with the car. Once he gets out of town you realize the car is going to outrun him, so he veers off. It has a whole lot of twists in it.
S — And when you cut to a close shot of the hero, it's really erratic and bumpy. He can go through clotheslines. The car goes under the clothes and half the clothes on the line are wrapped around the camel for about a block.
G — Then we have the scene with the old friend. It will be better because he feels terrible. They can talk about old times, his wife and his mother and the dorm, whatever. "This thing has cost me more than I..." And it will be a great moment when he goes in the tent and she's there all tied up, ropes all around her and a gag. She's over in a corner somewhere.
L — You mean she's not going to be in a rolled-up rug? And he rolls out the rug. So we get rid of her for a while.
G — It's only for a couple scenes. He sees his old friend and his old friend puts the thing together and gives him the clue about the change in the exposition. He's mourning the girl, and that's where we find out it's fourteen feet instead of four feet.
L — Maybe the friend helps him build the staff. He would have a lot of stuff, especially at a dig. How are they going to carry it around?
G — It doesn't have to be fourteen feet. It could be inches. It has to be in hands anyway. It's some ancient Hebrew measuring system that's translated into whatever you want.
END OF TAPE TWO A, SIDE B