moedred (moedred) wrote,
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moedred

Raiders Story Conference Transcript (tape 3)

G — He goes out with Sabu, the Arab clown, and the girl. No, the girl is gone.

L — And the number one son of the digger.

G — Well, number twenty-three son. The girl has been kidnapped already...

S — And he's sad and remorseful.

G — Kidnapped and killed. He killed her, then talked to his old friend. In the scene with the old friend it might be interesting to zap it with something. Meaning a shadow on the wall... We don't want the bad guys to find out about the trick, the discrepancy. At the same time, if one of the waiters started to pull out a knife... Some kind of thing to hype that scene in terms of action and suspense and terror. Maybe somebody plants a bomb while they're talking. An Arab walks by and leaves something, then walks off. At the last minute he figures it out or something and they duck and the thing blows up.

S — An Arab sent by the Germans?

G — Somebody who was following him.

S — What if the guy who's bringing the tray of food in is pouring powder in the drinks all through the food and the soup. He's laced everything with poison, for both of them. He brings it in and sets it down, and they're wrapped up in conversation, but the food is always there with this implied threat. At one point our hero would take the chicken and just start gesturing with it. He's too caught up to eat it. He's not paying attention and this cat jumps up on the table and nibbles on the food. The cat freaks, just goes crazy and jumps up, climbs up the walls. He says. "I'm not going to eat this." What if it's an animal we hate, an animal the audience can't stand. It's always after our hero and doesn't like him very much, like a mongoose.

G — A monkey is a perfect thing.

S — What animal don't people like?

G — A rat.

S — A pet rat.

G — It doesn't have to be a pet.

L — He's looking the other way, the rat comes up.

S — That's a pretty brave rat.

G — It wouldn't come on the table.

G — Let's say we make two scenes with this old friend, or maybe even three. After the girl dies maybe we can cut back to him and the Arab family, a very short remorse scene. We say where he's going. An expression of grief from the family. Then we go to the old friend.

L — They were on their way there when the whole thing started.

G — Rather than she dies and he just continues on his way, he goes back and we have a short scene with the family, consoling. Maybe the old man gives him another piece of information about what the Nazis are doing, so we move the plot along just a bit. It's very short. Half a page or a page. Mainly it's just a little respite. Now we know he's going back on his mission again. That way it makes her getting killed into a little more of a thing.

L — The minute they hit Cairo we can assume they're being followed. Maybe this Arab operative is the one who has the monkey. It's a villian monkey. The Arab can make him do things, and he sends him in there to steal the piece.

G — They arrive at the airport or whatever.

L — We don't see them at the airport.

G — So we cut from the Himalayas to Cairo, busy streets. We see them walking down the street. We realize they're being followed. The guy is carrying a cage or a little box. And this can be like two or three shots. They stop for a second. She stops to look at something. He's irritated and wants to keep moving. The guy opens up the little cage and he pets the little monkey and sends him off. The little monkey goes to the girl or to the guy and makes friends, and tags along. They get to the house and the monkey comes in. They can't get rid of this monkey. The girl says she loves the monkey. The guy says to get rid of it. The monkey is making faces and doing cute things. You establish the monkey. Oh the street they're going to the friends house and the monkey is riding on the guys shoulder or something. It goes on the camel chase and everything. Then you go back to the friend's house for this little respite scene and they write something down. Or they do it in the first scene. The monkey looks around as they write something down. The monkey picks up the piece of paper and goes out and gives it to a guy outside and then comes back. He's like a little spy. It has to happen real quick because it's very short until the time we want to kill him. He kill the monkey spy.

S — Can it wear a turban? It should be dressed up.

G — Yes. In these three scenes, because the fourth scene is where he dies, we have to establish that he's spying on them.

S — What is the monkey trying to get?

G — Information, pieces of paper and things.

L — Before we kill this monkey, I want to really make him a villian. What if he is along when they're headed out to the friends. The ambush takes place and as Indy is fighting them off, the girl jumps into a basket to hide and the monkey leads the Arabs to the girl. That's how they get her.

G — That's good.

S — Also, there's this sleeping cat that the monkey knocks in the face. Something you really hate the monkey for.

G — That can be over the dinner table. I like the cat coming up and starting to eat the food and the monkey whacks it and takes the food away from it.

L — He charms his way into their confidence.

S — The monkey should be dressed up as a little Arab.

G — I like the idea of not only having a turban, but also a little backpack. When he's in the thing, he's sort of picking up letters, any mail, scraps of paper, wads it up and puts it in his pack. We give him a chance in one of these scenes... He follows them down the street.

L — He doesn't have to follow them, they take him with them. He climbs on and they can't get him off. When she's taken away, he could just go back to his master. Then when Indy is with the friend, he could appear again. Indy is not going to suspect the monkey.

G — When they get ambushed on the way to the house, we have to have that short scene when the monkey takes all the stuff out of his pack and gives it to the guy. What if we do that before. I don't want to have a big scene where they say they're going to leave. We should do these in cuts. They're walking down the street, the monkey is on his shoulder. Suddenly the monkey jumps off and runs away. She yells for him to come back. He says good riddance. Then you follow him and takes all his stuff out and gives it to some guy.

L — The same guy who dropped him off.

G — And then you follow that guy and he sort of signals to somebody and then they attack. In the middle of the fight the monkey sort of appears again. When she hides the monkey runs over to the thing and points her out. He gets on the camel. You cut back to the home and he's back there lamenting, and the monkey comes back in.

S — (garbled, something about the monkey going "Heil Hitler.")

G — That's up to you and the trainer, and the monkey.

L — The monkey could come back in the quiet scene and put his arm around him.

G — You might even want to play it where he thinks the monkey ran when the bad guys came. Back at the house when the monkey comes in the window. "At least you came back." At the next scene with the old friend the monkey is there. The monkey beats up the cat. We break this into three parts — the first scene is with the family, the second is at the digs wherever this old friend is working, or the house. You go into one of these nice Arabian houses, with servants and everything. I like the idea of them catching this servant. The servant brings in the food, then goes out. There's a scuffle outside, a fight, and our guy goes out. They think he's there to spy or something. You don't know there's poison. It should happen before they put the thing together and discover the mistake. It's important that it be very clear that whoever the spy is, the poisoner, has no idea that they are making that discovery. The other thing is, possibly when they're writing stuff down we could still have the monkey taking somethig, being a thief in that scene too. It would be interesting if Indy caught the guy or the other servants caught the guy. Something where he's sort of found out afterwards. I don't know how important that is. We have to see him do the poison. We cut from the digs when he says, "Come on over and have some dinner." Cut to the servant putting the powder on the stuff and bringing it into them.

L — I don't know why it concerns you that he get caught. Let's say he puts in the poison and then take off. He wouldn't hang around there. He's not a listening spy, he's a poisoning spy. He takes off, they continue their conversation, the monkey eats the food and drops deas.

G — It would be more plausible if the guy... You cut to them going into the house, and they're being followed. When they go in the house you follow the bad guy. He goes into the back, into the kitchen. He poisons the food without the servants knowing it. The regular servant brings the food in. If it's a strange servant, the guy would know. Nobody would know there's poison. Even the monkey wouldn't know.

L — The monkey comes with Indy?

G — Right. You're going to have the monkey in four or five scenes.

S — Monkeys bite.

L — The monkey drops dead and then they get to the staff.

S — What does this scene accomplish between the two of them?

G — Plotwise, they're discovering the major difference between the new and the old. We get a little bit of old friendship, a little bit of character stuff about them. Plus we have the tension of the poison going on through the whole thing.

L — Where do you see the digs?

G — I see them sort of in the city. There are city digs and distant digs. One of the reasons I was worried about them catching the guy was I was worried about the guy hearing. What would be interesting, this might be too complex, they're sitting there talking with a plate of poison food. There has to be one thing that they would eat around the dip or bread, something you might not eat, like the olives or something. It would be off to the side, not something that's on their plates.

L — The real servant brought in the food, and they're engrossed and they just don't get to it yet. Then when they get really close to the puzzle, behind their back the monkey is eating. So they say, "This puts us way up on the Germans. Let's have a bite to eat."

G — I was thinking they bring in the couscous and stuff, and they put a plate of olives there.

L — Would the guy put the poison just on the olives?

G — That's all he could get to. That's the only thing he could find in the kitchen. Maybe it's an oil he pours on the olives. The olives are sitting there, and they're eating, and maybe a guy reaches for an olive and drops it. He throws one up and he misses it, it bounces off his forehead. This is is while they're carrying on their exposition conversation, and just beginning to talk about the thing. They haven't really mentioned tha fact that he has the thing. As he grabs for another olive, he sees a shadow on the wall, or something behind the window. He maybe grabs his bullwhip and gets the guy. That's the guy who poisoned the food and is also listening in on them. He has to do away with him. The guy has to be run off or killed. The guy asks what he was after. He was after this thing that I got. We know the guy is nowhere around when they talk about it. That gives them a break to get away from their meal. While they're doing that, the monkey is eating the food. I don't know if he even needs the staff. The guy just takes a string and says this is eighty-nine inches. Then he takes it and puts it in his picket, so when he gets down there he can just take the string off and measure off a stick somewhere, break it off and use it. When they say that's the answer to the thing they realize the Germans must be digging in the wrong place. They turn around and the monkey is dying.

S — I think it would be funny if, as they're talking about this and the olives are between them, you see a hairy little paw is pulling olives off the plate, coming in and out of frame. Finally the paw comes up to grab an olive and begins slipping, like palsy. You use a little mechanical paw. And then you hear a thump.

G — The monkey eats the olives during the exposition. It would be great if the monkey keeled over with the olive in his hand. "I wouldn't eat those olives."

S — As our hero looks over and sees this dead monkey with pits all around him, his friend is tossing one up, and he finally catches one in his mouth. "Hey, I got got one." Our guy hits him on the back and makes him spit it out, saves him at the last minute.

G — Either one can save the other. He flips it up, and as it's going into his mouth, the other guy grabs it. The guy asks him why in the hell he did that. He points to the monkey sprawled out with pits all over him. "Bad olives."

L — One thing that bothere me, the monkey eats just the olives? He can eat other stuff, too.

G — Rather than olives, it could be dates. They would stick to his head instead of bounce off. It's better with olives, an olive would bounce around the room. The good thing about dates is that's something monkeys would be crazy about.

L — How does he put the poison on them?

G — He could do it with an oil. You assume it would dry up. Maybe it's just a liquid that he pours on. They look like they've just been washed. You see a guy washing the dates and putting them in a bowl, then the other guy comes in and pours this stuff on them.

S — Is this a daytime scene.

G — I always envisioned it as a nighttime scene.

S — When the Arab is outside listening, can they be in kind of a tent thing? The only time you see the Arab is when some headlights go by and make the wall translucent.

G — They had a lot of french doors over there.

S — When it's backlit you see the shadow of a man that's not there without the lighting.

G — Or you can have a giant shade that's pulled down.

S — Does he go outside and kill him?

G — That's what we have to decide.

L — What could he do with a date that would start a sort of Rube Goldberg kind of thing? Very simple, but it would spook this guy.

G — That's hard with a date. I want to get rid of him so we know they didn't learn about the thing.

S — What if he does hear. Just as they're talking about the fourteen inches, the headlights sweep by and our hero sees him. We know the guy knows. Now we have to stop him from taking this information back. When the second pair of headlights sweep buy there's nobody there anymore. So our guy quickly gets up, runs outside, and hears footsteps. Then we can justify his wiping this guy out. Either that, or he's run over by a car in his haste to escape.

L — I don't understand why you want to keep him around.

G — I just want to establish without a doubt...

L — He barely gets the poison on the dates, then he runs off.

G — The audience will think he's hanging around somewhere. I would think that, to make sure it worked. And he would hear them.

S — You know how when somebody is watching, you begin to talk normally. The guy says, "Listen, I feel a draft. I'm going to close the window." He walks over, to the window, reaches out, and the pulls the guy in the window. Right through all the stuff.

G — I don't think he has to kill him. He can either knock him cut, or he can catch him. But if you catch him, you have to sort of give him to somebody. That takes a lot of time.

L — You can have his own people kill him...(garbled)

G — I think the idea of him throwing the date... If it were a peach or banana it would be easier. If there was a big stone beam, and under it was the canvas, and above the beam it's open, with a lot of pots on the beam. He could throw the thing and hit one of the pots and the pot could fall over and hit the guy on the head, knock him out. "Who is he?" "He was trying to get to this."

L — I don't think it's a problem if this guy isn't hanging around.

S — I don't mind if he runs away after he poisons, just cut outside and this guy is running and he jumps on a truck.

G — Okay. We'll assume his job was to poison, not to listen.

L — The monkey is dead, we establish the fourteen, he says goodbye to his friend. Is this the last time we see this guy?

G — Yes. At one point I had him at the boat to see him off, but then I decided the family would be better. But we can use him there if we want. The girl is going to be sent back with the kid. The old digger would have all the contacts.

L — Then he goes out there for the first time, with Sabu.

G — Right. And he looks over the hill and there are all these Germans and tanks and tents. He has to figure out a way down there. What he has to do is try to get down into the diggings, set up the staff, and figure out where the temple is.

L — At the right time of day.

G — So he would be sitting up on the hill waiting for that time. We were talking about sunrise or sunset, because then it's a fixed time.

L — What does that do for the angle?

G — I know. If it's down in a hole it doesn't work.

S — It has to be up high enough to get into the hole.

G — The problem is if it's a big thing on the side of a mountain or something, then it's a big deal. Plus the fact that why didn't they find this city before.

L — What if they have dug it out, and the map is on the wall instead of the floor. Then you will get a spot of light.

G — You can also make it a big hole, like a hundred by a hundred feet. It's really been dug out. The sun comes down and one wall of the hole is part of the temple, and maybe it is on the wall. The idea is that it angled down. We have to make sure that the height of the thing would make a difference.

L — It seems like it would be easier to understand if it's on the floor. How important is it that it be at sunrise?

G — It's not crucial. But it's very hard to fix a time, three candles. I think you might be able to make it work at sunrise. I know how to do it. In these stills that we have, with pictures of the map and everything, we can also see pictures of the layout of the temple. Maybe it is in the ground, but when they've excavated it out, there's a big hole in the top of this temple. There's photographs of the hole and photographs of the thing. All our friend has to do is say, "When the sun hits that hole, and you stand in the center of this symbol…" There's a big symbol on the floor, there's a map on the floor, and there's a big hole in the ceiling. "When you stand on the symbol with the staff, and the sun hits the rim of the hole, it will shine through and fall on the map." All we've done is raise the horizon. Instead of having it be down there, we've made the horizon this hole in the ceiling.

L — It's the original hole?

G — Right. We see stills of it in Washington. And he says it he explains how the sun would come through the hole in the ceiling and the sun would come through the staff and point to the temple. All he has to do is figure out himself… He sees the photos and says, "I figure the sun is going to come through that hole at about 7:33."

L — We don't want this hole to be too small.

G — No. It's a big hole, like a skylight.

L — then you would see the sun... Are we creating two points already before they even get to the... As soon as we have two points, we have a line. Are we creating a second point with the hole? So they wouldn't even have to know how high to make the staff. It would be determined. A line of light would come into the room like this, and their staff would be down here.

S — They wouldn't know how high to make it.

G — Look at it like this. (demonstrates)

L — You're saying that when the sun hits the hole, the entire area is flooded with light.

G — Yes.

L — I was thinking that when it hits the hole, and the light is moving across here like this, you know that's the time, there's like a line of light...

G — It wouldn't work.

L — Why? You'd have a line which is the sun and this building. You would see it. There would be darkness here and light here.

G — Suppose this is what they found on the floor. One of these three places is the temple. We don't know which one it is. If you have the staff in the thing so that it's standing up, it doesn't matter where the sun is.

L — The only thing that's changed is that daylight comes later to this temple. As soon as there's daylight in the temple, you can mkae your calculation.

G — What it will do is the staff will cast a shadow, and then the circle on the thing with the hole in it will... the shadow will go across this like that because on the tip, at the end of the shadow, there will be a light in the center of that shadow.

L — The shadow of the staff will get increasingly shorter as the sun rises.

G — Right. The length of the shadow is determined by the time of the day. The time of the day is fixed by when it first comes over that thing.

S — The only problem there is that it's changed by the time of the year.

G — When the guy talks to his friend, they're discussing it, and he's explaining in detail. Again, we have a rough idea in Washington. With the guy we say the staff has to be fourteen feet high. And they're both archeologists, they know all this stuff. The ceremony of hte great sun god was on the Ides of March. Your Ides of March then is equivalent to December today. So it will be off by about three feet.

S — So they compensate for it.

G — If you went out there tomorrow, it would be about three feet off from where it is.

L — One thing this takes away is that moment he sticks the staff in the floor. He can't do that any more.

S — Why?

L — Because he's not compensating.

G — It depends on how dramatic you want to do it. You can ignore that whole aspect of it. The idea is, he puts the staff down and you pan across, and there is that little square with the light shining in it and you say, "That's it." Or you do it (garbled)... and he points over three feet and that’s where it is.

L — It could be at the right time.

G — That's quite a coincidence. The guy could just acknowledge that the sign lines up on the third Ide of March or something, which is December 13 in our time. We don't explain anything further. We don't even connect it. So he goes out to the desert with Sabu and looks over the thing. Do we have him do any snappiness to get down there, or do we have him tell Sabu to stay there and wait, and have shots of him sneaking down past guards and slipping down into the hole.

S — All the Germans are drunk and they have this woman dancing around the campfire.

L — It's sunrise, everybody is sleeping.

G — He stands on the hill dressed like Lawrence of Arabia. He and the kid walk in. The kid is obviously scared to death. He goes down in the hole and the kid stays up there, being scared to death, and all the Germans are walking around.

S — He walks right into the German camp, as an Arab.

G — Right. There are Arabs in the camp, and they're his friends.

S — He walks through the camp and one of the Germans says, "Hey you." The guy turns and the German puts up his plate for seconds, and our hero sees all these big kettles for breakfast. So he has to take this stuff and feed the Germans.

G — That would be a good thing to happen to the kid. He's sort of waiting there by the hole and the German yells to him, and the kid panics. He's sort of serving the Germans, and is scared to death.

S — Both of them could start to do that.

G — You're slowing down your action.

S — Also you have him, any minute now he could be caught.

G — The point of the scene is figuring out where the temple is.

S — You want to put obstacles in his path between here and the temple.

G — Once the audience figures out the point of the scene, it's just irritating to put obstacles in the way of getting to that point.

S — Let the kid do that, it's a nice way to keep him busy.

G — When he's overlooking the hill, we have to assume that some of the laborers are also his friends.

L — why can't we have them take him right in?

G — We can. But I just like that shot of him standing on the dune overlooking the thing. The digger comes and says get in. He gets in the truck and they drive on down, and go into the camp. He breaks away and goes down into the hole, and the kid is standing around being nervous.

L — The kid's father works there, so he wouldn't really be so out of place.

G — He's standing by the hole with a rope going down it, guarding. So he hopes no one will see him.

END OF TAPE THREE, SIDE A

G — So he's sitting there serving food, and he keeps looking at the hole. Then you cut to Germans sort of walking around the hole, talking and gesturing down. The kid is nervous that the guy will get caught.

L — The guy should see the kid standing there with the rope and ask him to bring it to him.

G — Or maybe they need it to pull out a truck or smething. In the middle of the kid being nervous about how he's going to get another rope to get him out, the guy asks him to bring some food. Then we can have the kid get something clever. When the guy whistles, maybe he can have brought the rope back and rolled it up, and is sitting on it. Or when our guy whistles, "Sabu, I'm ready." A whole chain of knotted Nazi shirts comes down Instead of the rope. It's like everybody’s laundry has been tied together. You only have like three cuts. You have the rope, they use it for the truck. Then you cut back to Indy, working. Then another guy asks for food from the kid. Then you see him looking around as he's serving the food, trying to figure out how he's going to do. Then you cut back to Indy, and you see the dramatic moment, and then he calls for Sabu. So, it's a real surprise. You assume at that point that the kid is trapped. When Indy calls for him, you know that he's not going to be there. So you play it, "Sabu, Sabu..." Tension. All of a sudden a bunch of laundry comes down.

S — The first thing that comes down is a German flag.

G — Then he climbs up.

L — Now, he has spotted the temple. So go on, because (garbled)

G — I would think on the map, if the thing was shorter, and at that time of day, it would cast a shadow down further on the map. On that there would be a big red circle painted that shows where the thing is. When he does the thing and it lands on the thing, he also maybe takes out like a calibrator, so he knows where they are, where this is, and where that is. Then he goes up. My idea then was that he comes up out of the hole, some Germans go "Why aren't you at the digging?", and he has to sort of sneak away at this point. He comes under suspicion, so he zips around a tent, and jumps into it to hide with the boy, and who should be tied up in the corner, but his girlfriend, "what happened to you?" She tells him about the cars being switched. "Let's get out. I know where the temple is." The go off together. She gets saved. If we do that, then we should have another scene back with the family.

S — Then he should sak how they're going to dig it up with all the Germans. He says he'll figure it out.

S — That's a problem. They go back to step one. Once he's at the dig shouldn't he just solve everything and do it right then.

G — I'm worried that if he finds the girl...

S — She's right back in the action again.

L — That's good, because he has nothing else to do with her but take her with.

G — I thought he would leave her all tied up. "Look. I can't take you with me, it would arouse suspicion. So I have to leave you here for a little while. I'll get you out later." If they find out the girl is missing, they're going to start searching everywhere.

S — She says, "Let me out of here. Let me out of here." He tells her to keep her voice down. She won't, so he has to gag her again. "Look, I'm glad you're okay. It's a big relief to me. I've got a lot of things to tell you. But you're going to ruin this whole thing unless you just sit here and be quiet. You've been here for forty-eight hours, another three or four hours won't make any difference at all." He leaves her tied and gagged. That would be heroic. I like that.

G — My only concern was that if he takes her, the Germans would be combing the countryside.

L — Are they just keeping her there?

G — We assume they're torturing her.

L — One more thing, execution at noon. Because they could be doing away with her at any time.

G — They could have her up on a rack. All these torture things going on. He should leave her. It's different, it's funny, and it's also very logical.

L — As long as she's in no danger.

G — And it brings her back into the movie. Then you know she's trapped back there. Suddenly it's damsel in distress. The problem we had before was why didn't he go after her. Now we know why he doesn't, because it's more important that he get the ark. It works great, we do it. She is really pissed. He's left her there. He goes about a qusrter of a mile away to dig up the real temple. He should be there, the boy should be there, and maybe a couple of Arabs. The digger had Arabs waiting off in the wings. We either cut to him, cut to the girl struggling, then you cut to him running to this little group of Arabs saying that it should be right about here. He steps it off, and tells them to start digging in this area right here. So he starts digging. At this point we either dissolve and he breaks through. Or we cut to the villians. This might be an interesting place to start going to the villians. Now it's even better because we know what's happening to the girl. We can tell parallel stories. We cut back to the girl, and the villians come back. This will be the first time we actually see the French guy and the Nazis. This is the first time we see the real villians. We have a scene with the villians torturing the girl a little bit, rape her, talk about the fact that they're not finding the Ark.

S — She should be screaming his name, she's so pissed off. He had to tie her up, otherwise they would know that he was around. At the same time, there are people raping and torturing her.

G — I was using that facetiously.

S — If they're doing anything at all, that really makes our guy a bad guy. Maybe they can be threatening her, putting the irons back in the fire.

G — He could ask her if they've hurt her. She tells him not yet. "They want to know what you know." "If they haven't killed you, they won't. Just don't tell them anything and you'll stay alive." The villians don't have to really torture her. We can threaten it. I think it's good that she's in danger.

S — There should be a real slimy German character. He's the only gestapo involved there. Every time you see him, you know it's going to be the worst pain, death by torture. This guy looks like a ferret. He's got that slick black hair. His name is Himmler or something like that. He's a stocky short guy, a master torturer.

G — We can do a threatening torture scene. If she says that they haven't hurt her yet, he can assume she's going to be safe. But then they come back and decide they're going to start torturing her. "We've had enough of this, young girl. Now you're really going to talk." It's funny on her side, too. She thought she was okay, but she's not. It is a good time to cut to the villians and establish them. Maybe they have broken into the thing and found out the Ark isn't there. Now they're figuring out what they're going to do. Saying that maybe the calculations were off. They are really angry with the Frenchman, about the fact that he didn't pick the right temple. "It's going to take us years to dig up this whole damn city." He says "Maybe it's in the other chamber. We have three chambers." "At the rate those Arabs are digging, it's going to take them a week to get into those other chambers." He says, "I know it's there. I know it's there." So there's a lot of doubt cast about whether they're going to find it. The Arabs keep slowing the production down because they're friends of the digger. We sort of get their point of view. "The Fuhrer wants this right away."

L — How did they figure out where to dig?

G — They built a four inch pole instead of a four foot pole.

L — Because they knew what one piece was?

S — Right. But they thought it said four instaed of fourteen.

L — Then how did they get a spot of light.

G — They did the same thing. In this scene, at the home of the digger, it's the first time they've met and they're talking. The digger says. "The Germans have found the temple." "What? How could they have found the temple? I've got the piece." "Ah, your Chinese friend had several copies." Because he is also a forger. They read the height of the stake off the thing.

L — They don't have the pendant, which is very important.

G — No. But he said that they made a makeshift, a crude thing, and they made it work.

L — I thought we had figured out a way that he knew... We knew why they had made a mistake. I thought we had figured out how they chose this spot.

G — We had figured but that they had just read the textbook. I like it better that the only way you can find out is to have that piece.

S — The Gestapo comes into where the girl is, she's lying there all tied up. They untie her and put her in a chair. They're going to torture her. The main Gestapo guy takes out this little case, he has little wires with felt on them. Clang... Zap. He takes his coat off and hangs it on these things.

G — As long as it's done realistically. As long as it's not played for laughs. One, he goes to the War Lord to steal the thing. That makes sense. It makes sense that the War Lord would have made copies. How did they get the top section? What if it's metal and flat, and in the fight it rolls across the floor. One guy sees it and he goes for it. What if it rolls across the floor and into the fire and the fire sort of burns past it. It's sitting there smoldering. One of the guys sees it and goes over and grabs it, and then screams. That guy runs off. Back here he says they had a copy of one part, but how did they get they other. "A man had it burned into his hand." It would just be a rough copy, it wouldn't give them any of the information, like the false number.

S — They'd have to hold up a mirror to read his hand.

G — I like the fact that when they get to the Cairo home the digger says, and you think that he's going to have the stuff, so it's a big shock to Indy when he finds out they found the temple. "How could they have done it?" "The Chinese man had a copy of the thing, and one of their SS men had the top part burned into his hand."

L — But not the number.

G — Does it solve that for you?

L — I love it.

G — And at the time it's just like a joke, this guy burning his hand. You don't even suspect that it would be any kind of a plot point. Then we have the scene with the villians.

L — And they're having their problems.

G — They can also be trying to get the pendant. They know that their information may be faulty, and they want the real thing. There are a lot of things they want out of her. Then we cut back to Indy.

L — How far down are they digging? About the depth of this room?

G — Yeah. With four Arabs digging, and Indy, it would take them maybe a day. We can do a time transition there anyway. We can cut to them digging toward sunset, then cut to the girl in the tent at night, then you cut and it's the next day.

L — Maybe the action, when they throw him back in there, can take place at night.

G — It's better to have the contrast. It's good for her at night. The guys come back from the digs, and it's a pefect time for them to torture her. Then you cut and it's the next morning, the Germans are coming out. Then you cut to Indy and they're still digging away, and they say, "We've got it." They open it up and he goes down. We have a little scene where he is looking around and he sees the big box at the end of the temple. There's that moment.

S — "There it is."

L — And this tomb is going to be pretty good.

S — I know what it looks like. It's not small tomb. The ceiling is about forty feet in the air. It has all sorts of hieroglyphics and things.

L — He goes into the tomb, sees the thing.

G — And they start hauling it out, hoisting it up. He's still down in the thing. "Great. Send the thing down." Or whatever. And a German appears.

L — So he never comes out.

G — No. He sort of supervises the moving of the Ark. So he's down there when it goes up, and then he would go up.

L — Now the Frenchman appears.

G — Right.

L — And he goes, "Ah, Indiana."

S — Indiana says, "Throw me down that so and so." Someone throws it down, Indiana catches it and looks up to say thank you, and the Frenchman has thrown it to him.

G — So it's a real surprise to us. Then maybe we have a short scene between the Frenchman and Indy. "After all these years." "You've made my life so much easier." Two villians having a conversation.

S — Indiana should be able to match him in wit and intelligence in everything they say to each other.

G — This is where we get into the trouble with the water, if we're going to do that.

S — We might as well figure it out.

G — This is where he would say...

L — He would things like, "I've seen you do the impossible, but there's one thing you can't do, and that's breathe under water." Slam.

L — Do we need any explanation about how they're getting the water in there?

G — I worry about this scene a little bit. We're going to get in such a fix trying to explain why and how. It's not indigenous to the situation.

L — You could explain it. They have that conversation, and the Frenchman says. "You know so much about this thing, I suppose you know about the defense system we...

S — discovered in our diggings down the street."

L — An offshoot of the Nile.

G — Another thing... It could be a defense of the temple, like we saw in the beginning of the movie. This would really telegraph it, when he goes into the temple, they open it up, on either side it could be a hatch thing. On either side would be these giant cisterns of water that were being stored there from an oasis. They constantly filled up. When you're in the temple, it's all dripping wet.

L — That would be good, he goes in a sand temple and there's moss on the walls. That would be really strange.

G — There's like a giant water well in the middle of the temple.
It's like the temple where all the water was, which would be the key temple. The source of life. It's the source of life and the source of water. It would be like an Artesian well.

L — So the water comes up.

G — From the bottom. You like it to splash, the fact that is just sort of seeps up...

L — A geyser of water. I'm not seeing what you're talking about. What would it look like.

G — The idea would be is that there's sort of an Artesian well or sort of s cisters so that he goes past it. If there were like two levels, and he goes into one level, and there's this giant Artesian well, water pouring out of old broken fountains. There's a hole in the thing, so he continues to go down into the next level. It's nice to have it be a surprise, but the surprise may be so great that it's unbelievable. You’re never going to convince anybody that there's water there in the desert. I think it's better in a way to telegraph it, to explain the water before you actually use the trick.

S — One way he could get out, it's hard to explain, but as he's going up with the water, he passes a whole bunch of hieroglyphics on the wall. Translated, they say, "Exit. Press here." He discovers another room the hieroglyphics are telling him about. There's a way out of here. It's hard getting him out of this one.

G — It's hard getting him out, and it's also hard getting him in. We should ask ourselves if this is what we really want to do here. Do we want to close him in the temple, lock the door, and then have something else happen to him.

S — Why can't they close him in the temple and lock the door, and he sits down thinking about what he's going to do, because there's no way out, and all of a sudden you hear strange animal sounds. The Germans had put some kind of maneating animal in there to get him, like a couple of lions or tigers. He hears this growling that gets louder and louder, he goes around this corner and you realize a chute put these horrible animals in there, and they're starving. He realizes that however those animals got in. that's the way out. But the animals are trying to get him, and all he has is this bullship, and maybe some clever devices hidden under his clothes. We'll do an animal fight. He works his way to this little chute where the animals came out. Somehow he gets out that way. I don't know how.

G — One of the first suggestions that you made, replacing the water with sand, might be of interest. It's like "Land of the Phatoahs" where they had those giant sand chutes. There would be giant sand chutes to protect the temple. Not only does he close the door, he says, "This is your last hurrah. If you don't die of starvation, the temple's defense mechanism will get you." Wham. He pushes a lever and all of a sudden these old stone things fall away and suddenly sand starts pouring in on him from four directions. He's sort of fighting to keep above the sand that's filling up the room. It would be more dynamic than quicksand, where you just sink slowly. He'd be almost buried by all this sand, so he's constantly trying to climb out of it. Then the issue would be... the sand could fill up to the point where the thing collapsed. Assume that the floor of the temple is really the second story. There is another floor below it. When the sand comes in, the floor falls through down into the next level. As he's climbing, you hear creaking. You get a shot of him falling through the sand. He lands in the sand at the bottom of another temple. But there are doors. You can have him walk through the buried city. Then he finds another digging and gets himself out.

S — It's so convenient. The circumstances have permitted him to get out of this one. You could do the same thing with water. Or he sees some water being channeled, a little stream going out a crack. He realizes it's a loose rock, and he can get out that way. It just seems convenient for the sand to be too heavy, with the way those temples are constructed.

G — Suppose he's just in the temple and they lock the door. What if the temple had other doors? He came in from the roof anyway. He can't get toe door open, so what he does is there's like a giant column or something. He starts chipping away at the column, cutting it down like a tree. He finally gets the column so it falls over and crashes through the door, and opens it up. Then he climbs through. I like the idea of him climbing through the underground city. Then he finds an exit. The idea of the Nazis putting tigers in there... You know what it's like to fly in a tiger from South Africa.

S — It would have to be a neighborhood tiger.

G — There aren't any tigers out there.

S — I'm not in love with the idea.

G — You could have bats and stuff, make it slightly spooky.

S — I like the idea of, while the water's rising, he climbs up onto the moss on the rocks, he sees a column which is weak, he finds a rock and pulls it out of the wall. He begins pounding away at the column as the water is rising. His hands are all bloody. He's able to loosen the column so that it falls through a wall or through a door.

G — And then all the water rushes through?

S — And he swims out with the water. It's a waterfall.

G — The only problem with the water is it's going to be hard to do, and it's going to be hard to rationalize it. We can't. We can call it the temple of life and establish that it has a lot of water in it. But, at the same time, it's like the sand. Plus it's such a classic thing.

S — What about snakes? All these snakes come out.

G — People hate snakes. Possibly when he gets down there in the first place.

L — Asps? They're too small.

S — It's like hundreds of thousands of snakes.

G — When he first jumps down in the hole, it's a giant snake pit. It's going to detract from the... This is interesting. It is going to detract from the discovery of hte Ark, but that's all right. We can't make a big deal out of the Ark. He opens the thing, and he starts to jump down, and it's full of snakes, thousands of them. He looks down there and sees them. What if they scurry out of the light. Then when he says they're afraid of light, they throw down torches. You have a whole bunch of torches that keep the snakes back. Then he gets the thing, and they take it out. And the guy says, "Now you will die my friend." Clunk. At the clunk three of the remaining four torches go out. So he only has one more torch, and the snakes start coming in. He sits there with one torch, knowing that when the torch goes out... It's the idea of being in a room, in a black room with a lot of snakes. That will really be scary.

S — The snakes are waiting, looking at him. Thousands. And the torches are burning down. He's trying to keep it going. The torch goes out. The whole screen goes black. The sound of the snakes gets more intense. You hear him backing up. The camera pans and suddenly you see, it's black, but there's light coming from several cracks. It's not completely black. That leads him to an opening. To a rock that isn't so flush against the other rocks. He knows there's access. He keeps pushing on it, he gets a little more room.

L — What are the snakes doing?

S — The snakes are coming at him, but the darkness gives him his way out. The clue of the way to go.

G — If he was there with one torch, he'd see that. It's pretty dark. I like the idea of, he's got the last torch, or maybe the last two torches, depending on how long we want to play this out. Say there's thirty-five torches. This will be a nice scene when we go to get the Ark and there's like a landing strip of torches. It's getting very smokey in there. They close the door and almost all of them go out, except for maybe five or six. It's the only thing that's keeping him from the snakes. He looks around and tries to figure a way out. He sort of sees that there-is this door that's locked. Maybe he takes one of the torches and moves over toward this door and bangs on it, can't get it open. There is a big column. What if he takes... During this whole thing torches keep going out every minute or so. Now he only has two torches, so you know he's really getting desperate. He works his way over to this column and he shimmies up. As he goes up, he drops one of the torches, and it bounces down. He only has one left. The snskes are sort of winding their way up the column. Suddenly a bat comes flying out. He drops a torch, or he takes the torch and sort of pushes it behind the column, and snakes slither out. He starts pushing between the wall and the column. Finally the torch goes out, it's just a glow around his face. He's sweating and straining. Shots of snakes slithering toward him. He finally pushes it and the column goes crashing down. We could have a couple of crachs from above. Obviously it's very thick. The column knocks out a portion of the wall next to the door. It would be great if he were left hanging there. It breaks open the door.

S — Now he has to get over to the door.

G — I think we're going to have to leave him with one torch. I don't want to get into a big long thing. He's up there, he has one torch left, he dropped the other one, he's holding it in his teeth and it begins to go out. There are little shafts of light coming through, so it's not pitch black. He knocks the column over. It goes crashing down, knocks open a door in the far side of the temple. He's left hanging up there, about to fall onto the thing of sankes. Maybe one snake slithers across his hand. He pulls himself up on the ridge, or he drops down to another ledge. He gets into a position away from the snakes. He stands there and lights his torch again. He has matches. He didn't do it before because he was in the middle of pushing the column. He gets the torch going again and he starts walking through the temple with the torch. We have to have a torch.

S — I think it should end quickly the minute the column falls and breaks down the door. I think he should ride the column down and get out right away. That's the end of the scene.

L — He has to ride it as it falls.

G — He goes down with the column, does a tumble and runs out. The trouble is, you're going to have him going through those temples without any light.

S — The column falls down, breaks through a wall, and light comes pouring in. It's like salvation.

L — I don't think there should be a door down there. He sees that it's weaker there.

G — Let's just make it a wall. Since he's an archeologist, he would know how it... (garbled). If it's that dark, you don't need that many snakes. You're using shafts of light, so you can just see the snakes on the edge of the light.

S — The way to do it is like "Squirm." It has more worms than you can imagine. Snakes are ugly when they're all piled up with each other.

L — I wonder what their reaction to light is.

G — You can get a snake charmer or something. I don't know how you'll do that. All you need is a lot of snakes in a very small spot, so it looks like there are a lot of snakes everywhere. You can also do a lot with sound, and close shots of snakes slithereing across hands.

S — What's real scary to me is when that rock comes down to seal the temple. The air pressure blows half the torches out. That place is air tight. A visual effect and a sound effect.

G — We shouldn't have any snakes in the opening sequence, just tarantulas. Save the snakes for now.

S — It would be funny if, somewhere early in the movie he somehow implied that he was not afraid of snakes. Later you realize that that is one of his big fears.

G — Maybe it's better if you see early, maybe in the beginning that he's afraid, "Oh God, I hate those snakes." It should be slightly amusing that he hates snakes, and then he opens this up, "I cna't go down in there. Why did there have to be snakes. Anything but snakes." You can play it for comedy. The one thing that could happen is that he gets trapped with all these snakes.

S — Another thing that would be interesting for complete abject terror, as you see these thousands of snakes, you cut to macro insert shots, snakes laying eggs, little snakes hatching, two snakes eating each other. All this propagation is going on inside this huge tomb.

G — The other thing you have here is, he's trying to push the thing away. He's pushing the column and a snake comes down and crawls up his arm. In the temple next door there is a little bit more light, but not flooding light. And maybe in the next temple it's like a tomb. There's all this embalmed stuff. A little spook house stuff, not a lot, five or six shots. Maybe like a one minute sequence where he goes through all this stuff.

S — Maybe little tiny mice climbing around on the corpses.

G — Rats.

L — Can we use the bat in the first scene, since we've taken away the snakes?

G — Okay.

L — There can't be too much light, because they've been digging in the middle of sand dunes.

S — All the light would come from above. Is there anything he could light, rags or something?

G — He has torches there. It would be a matter of relighting them.

S — Walking through these catacombs, you don't see the dead people until the light hits them.

L — If he reaches into his pocket and lights the torch again, that hurts it for me. He always had that capability.

G — Or we just don't let the last torch go out. He jumps down with the torch.

L — I think it would be good if it were almost gone, and he brings it back to life. He's blowing on it and he gets a burst of light...

S — He's in the catacombs and the bodies are piled like cord wood.

G — Bodies and skulls and things. He walks through the tombs then you cut outside. This is the point where we have a choice of doing things.

S — Does he go back and get the girl?

G — It depends on how quickly you do this. He goes through the catacombs. He sees the light at the end of the tunnel. He pokes his head up and the Germans are out there. Cut to the Germans on the airstrip, flying wing comes in, taxis around.

L — Is the airstrip revealed?

G — That's we'll have to decide. Of course, how would they have time to build it? Why would they?

S — It's probably just landing on the flat desert floor.

G — Anyway, the wing lands and taxis around. The Germans are going to load the Ark onto the plane.

S — One of the things he wants to do is take control of the airplane. He'll hijack it.

G — A lot of the wings are only like little fighter planes, a tiny cockpit with two guys in it.

S — That's even better.

G — All you need is him poling his head out of the temple and seeing all the Germans. Then you cut to the wing landing. I want a great shot of the wing flying. The wing could land, taxi to one of the buildings and say, "Fill this up with gas. We have a precious cargo to load." They're loading the wing up with gas, and he goes and gets in a fight with the guys. He can get in a fight with the pilot and a couple of other guys. He beats them all up. In the process of beating them up, the plane gets loose and crashes into something.

S — It crashes into the gas pumps and creates a fire, and the wing burns up.

G — A giant explosion. That's good, because then the ark isn't in the wing. They haven't loaded it yet. They say, "Get this thing gassed in a hurry. Don't even shut the engines off because we have a precious cargo and it has to get out of here right away." The guy starts to go to the pump and you pan over and there's Indy. He jumps the guy, the thing blows up. There's a big fight first, then the wing starts breaking loose. You see the wing hit the gas pump, then you cut to the Germans. You see a giant fire ball behind the tents.

S — That way we don't have to show the plane blowing up.

G — Then everybody runs over there, they're running around and yelling and going crazy. "Get that truck to Cairo. Get it to the main airport. We'll put it on one of our fighter planes." Then you see Indy scrambling along, black face, torn jacket.

L — Sabu is in the tent with the girl, tied up. We'll just do away with his two helpers.

G — We can play this along a bit more if we want. He looks out of the temple...

END OF TAPE THREE, SIDE B
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