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Raiders Story Conference Transcript (tape 4)

S — She becomes the driving force. She's so tired of being tied up and pushed around. She becomes a real active part of the story now.

L — What if she became involved with the Frenchman? For her own purposes. After all she's not an American agent.

G — She's a free spirit.

L — A tough woman of the world, which would appeal to him. She has been deserted by her guy.

G — Down here when we go through the villians deal with the girl, Indy finds the thing, the Germans appear, the girl ought to be with them.

L — As the thing slams shut you see her mixed emotions, but she's siding with the rival.

G — The other thing they could do is throw the girl down there with him.

S — In the snake pit?

G — Yes. That would be a natural thing. They don't need her anymore.

S — I've seen that in so many movies, they throw them in to suffer their fate together.

G — But if they throw her in, it would be a great stunt. Say it's like twenty feet down, or further. They just throw her in, and the guy would have to catch her.

S — Love among the snakes.

G — I think it is important that we get the girl back into it.

L — He pushes her up the column ahead of him, or what?

G — This solves a problem. They have two torches left, he has one and she has one. He goes up and his goes out. The snakes are going to get him. He pushes the column over and she still has her torch. The snakes are closing in on her and she's trying to burn them and keep them back, on the other side of the room.

S — All these snakes are coming to get her, and she's holding them back with the torch. All of a sudden the snakes begin to part, like they're afraid of something. They leave a certain area. Here come two king cobras.

L — I like that. And then the column falls on them.

S — And kills the king cobras.

G — You'll never get those snakes to part, and you'll never get two giant snakes to walk in unless you make them all mechanical snakes, and we're not going to have any mechanical snakes in this movie. Do it so you can shoot it all in inserts. We'll do the whole thing second unit. It's good that she's there, you can intercut with him pushing the thing and her with the torch and snakes. It's also funnier going through the catacombs with this girl. They go through that, then you cut to them looking outside the temple, seeing the Germans. "Now what?" "We have to get that Ark." Then you cut to the flying wing coming in. It lands at the gas tent. It's a tent with a couple of gas trucks out there. It's all makeshift. The thing pulls up. She's there with him. "What are you going to do?" "I'm going to pilot that plane." "How am I going to get back?" "I never thought of that. You'll find a way."

L — What about Sabu?

S — He says, "Go with Sabu."

G — I don't know how we're going to get Sabu back in this. I don't want to throw him down there.

S — He'd be serving breakfast by now.

L — His father is Indy's best friend, and we're just going to sacrifice him to the krauts?

S — Sabu could get out of it and show up later. We don't have to follow his story.

G — They don't care about the Arabs. They work for whoever they're paid by. We can use him wherever we need him. They can just bump into him, "Sabu, what are you doing here?"

S — I like it when a character just reappears.

G — If anything, we would find him after the explosion, because that would draw his attention, too.

L — When he says he's going to take over that plane, and she asks him how she's going to get back, why doesn't he just say, "You're going to be my co-pilot." Let his intention be the highest, since they're never going to have to do it anyway. He's going to fly her out of there.

G — Or he can just say, "There'll be room for you." It might be interesting to have her fight, also.

S — You mean fighting the Germans?

G — One of the German guys. Or, when he's fighting, the pilot has jumped out of the plane and the cockpit has shut. He tells her to get in the plane. She climbs up on the wing as it's moving around and tries to get the cockpit open. She's strugglin with it as he's fighting.

S — She should be responsible for the plane catching fire. He can say, "Okay, I burned your cafe. You burned our only means of transportation out of here. We're even."

G — We just have to make sure that right before we cut, we have to explain how they got out of it. She maybe falls off the plane.

S — She gets inside the cockpit and she doesn't know what to do. She's stepping on and pulling on things. She makes a mistake, pulls something, and suddenly the propellers go really fast. The plane starts heading for the gas tanks. He sees her and screams, "My God, jump out of there." She does. Then you cut to the Germans. She's directly responsible for destroying the airplane. She doesn't mean to.

G — You're going to have to be very careful about getting her out of there. Something like that happens very quick. It's not like she's going down a runway and realizes she's going to crash. The thing is right over there.

L — She could pick up one of the blocks that's holding the tires.

G — We could have a piece of phony wing that could hit it. She's in the cockpit and the wing goes and crashes into one of the trucks. It breaks into the side of the truck, and the truck crashes into the next truck and all the gas starts pouring out. Then he looks and yells for her to get out. It doesn't explode right away. She starts to get out. He starts to run. You cut to the Germans, "Where is that damn thing?" All of a sudden there's a giant explosion. Which is the way it would happen anyway, it wouldn't explode on impact. It would explode after the gas hits some kind of spark.

S — As long as she's responsible, that will work out.

G — All the Germans are running around like crazy. They're crawling around the tents. That's when he says now they're even. The Germans are saying, "The ark is in the truck. get out of here. Saboteurs." That's when they run into Sabu. You have this little scene with them under one of the trucks or something saying, "How are we going to get it now?" He says, "Look, you take Sabu, go back to his father and get him to get a plane or some kind of transportation to England. Tell him I have to get to England, and I'm going to come in quick. But I'll get that truck." "How?" "Don't worry about that. Just get there and tell him." She and Sabu sneak off. The truck is taking off. There are a bunch of Arab's horses around. He goes and jumps on one of the horses and rides off across the desert. Eventually he gets on a mountain road.

S — Or a motorcycle would be good, like in "The Great Escape." He could do some great cross-country jumping.

L — There's no end to the fascination of a motorcycle.

G — He has to stand up on a motorcycle and make the transfer.

L — How do you see this guy?

G — Someone like Harrison Ford, Paul LeMatt. A young Steve McQueen. It would be ideal if we could find some stunt man who could act.

S — Burt Reynolds. Baryshnikov.

G — We can do two things here to hype the action. You can have him go after the truck and forget about the girl and Sabu. Or you can have the Germans going after the girl and Sabu, discovering them and chasing after them.

S — I think that's too confusing. I would rather, at this late point in the movie, concentrate on the most important action. One man against the Ark.

G — Okay. They go off to Cairo. He takes off after the thing. There are two trucks, or a truck and a car. The truck is one of those canvas Warners Bros, trucks. And a staff car. If he's on a motorcycle, he races across the desert...

L — you had him shooting out the tires. Is there something better we could do?

G — what if he just forgets about the car. He cuts across country, cmes up alongside the truck, and the car is still behind or in front, it doesn't make any difference. What is the car going to do? If he jumps onto the truck and gets into the cab, and is fighting with the guys in the cab, the guys in the car can be shooting at him or whatever. But there's nothing they can do. If they're behind them, all they can do is follow. When he gets control of the truck and he tears off, the car can chase him instead of two motorcycle guys. He has to lose the car. If the car is in front, there's still nothing they can do. The don't want to kill the driver.

L — They don't want the ark to go over the cliff.

G — It's an interesting situation, because the guys in the car are stuck.

L — If they're in front then there's a danger of them running off the cliff themselves. They don't want to get too far ahead.

S — The great thing about them being ahead is you know the hairpins because the car has to take them first. The car almost didn't make it, and here are two guys fighting in a truck. How are they going to make it? You get a preview of all the different twists and turns.

G — If the driver of the car slows down enough, the truck will suddenly be right up on them.

S — So the car has to go as fast, and eventually it can go out of control and go shooting off the cliff.

G — I like the idea of the car chasing them.

L — Especially after it's been chased.

G — Plus the fact that you have the Germans in the car going crazy. If the Ark goes over the cliff, all the Germans are as good as dead anyway. You can also have the Frenchman in the car.

L — How many guys are in the back of the truck?

S — There should be about twelve. Reinforcements. They keep getting out and walking along the side and getting knocked off on the mountain.

L — Are they coming frm both sides?

S — Yes, both sides of the truck. The guy can swerve from side to side. He has two rearview mirrors and he sees them.

G — There shouldn't be a back window, it should be steel. He races across the dune, then we dissolve and it's more mountainous.

S — The Kyber Pass.

G — He races across and jumps on the road, and then it starts getting more mountainous. Like in "Wages Of Fear."

S — The scenery itself should be frightening. You pull back and the truck is this big and the cliff is this big. It should be the most spectacular set in the picture. Where we shoot this chase should be the climax in terms of geography. "Where did they find that location?"

G — It would be good if we had two cars, so one gets sacrificed. We should have a car go over a cliff.

S — It should be an open staff car with a machine gun in the back seat.

G — We can't do it where they could shoot out the tires.

S — Why would they? The thing would go off the cliff if they did.

L — What about when he's coming up from behind on the motorcycle.

G — He doesn't. He comes alongside. He cuts them off. The truck is going like this, and he comes in at a right angle. Maybe the hills make it blind to the people in front and in back, and suddenly this motorcycle comes out of nowhere, and zips alongside. And he immediately jumps into the cab. The guys in the front and the guys in the back can't do anything about it. The car that goes over the cliff could be either one.

L — I'd like it to be the back car.

G — Then the front car spins out.

S — And the man in the car that goes off the cliff is the SS officer who was torturing her. He'll be the one close-up, he'll be the guy that screams.

G — He gets control of the truck and he scrunches off the last few guys. The front staff car has spun out. He goes by it and they tear off after him. They race through the city and he loses the car. He races into the warehouse and the Arabs close the door and put old baskets in front. As soon as the truck goes in, everybody comes and fills the street up again. The Germans come by looking for the thing, but they don't see it. We have a little exposition scene where the guy tells him he couldn't get a plane, but he got a ship. "A ship. Jesus Christ, that's going to take forever." "No, it's a good ship." The next scene is down on the docks when they're loading the Ark. You see all these slimy pirates. But, his old friend tells him these guys are trustworthy, and he introduces him to the captain. We don't have to make them Chinese, since we already have our Chinese sequence.

S — Make them Lithuanian.

L — What if they're all black?

G — That would work. They're black pirates. They're on a freighter, one of those old tramp steamers.

L — Where is the girl?

G —The girl is in the garage, and she goes on the boat with him. There's a scene where they're loading the thing on the boat, and it's night and they're afraid someone is going to see them. The Germans are coming and they have to get away right away. We introduce the captain, who is a friendly guy. Our family guy says that this guy is trustworthy. We're in league with the pirates and we have a good feeling about them. Except a lot of them are sort of shifty. They're cutthroats, but they trust them because the guy told them they could.

L — Didn't you have a scene in here where someone wanted to open the Ark?

G — We don't really have time to open it.

L — No. Someone wanted to and he says no.

G — That was in the warehouse scene, when they're unloading it. We could do that. The warehouse scene is everybody unloading the Ark. "We have to get out of here." "I got you a ship, it's the only thing I could come up with." It has to move fast. They get on the ship, and just as it's taking off... Actually, it would be better if the Germans weren't on the deck. So it's more of a surprise. It goes very fast, and the ship sails out into the harbor at sunset. Then you have this relaxing scene where there is no threat. They're at teh captains table or something.

S — The audience will feel that it's winding down.

G — He says, "We did it." And this is where we can have a scene between the guy and the girl, tender, reconciliation. He loves her. It's where we can really pull them together. A short little scene. It can be in the cabin or wherever. They fall asleep and everything is calm. He's asleep, and the engines shut down, then he wakes up. "The engines have shut down." "What does that mean?" "I don't know. I'm going to find out."

S — They've been making love. This is the first love scene in the movie.

G — Right. He tells her to stay there. He goes up to the cabin and asks the captain what's going on. "Look." We look, and there are like twelve wolf submarines surrounding them.

S — The Germans are manning the guns.

G — "Shit." "There was nothing we could do. They'd torpedo us out of the water if we tried to resist. There's too many of them."

S — They wouldn't torpedo them, they'd shoot them with their deck guns.

G — He says, "Shit." You cut to the Germans swarming all over the deck, treating everybody very rough. The captain is outraged. They slap the captain around.

L — They think they're Aryan supermen.

S — Heavy prejudice. They really abuse the black guys.

G — Indy is running down the deck trying to get back to the cabin and the girl. He gets cut off by the Nazis. He hides under a lifeboat. Two of the Nazis are carrying the girl. You see her struggling and screaming at them.

S — Why are they talking the girl?

L — The captain sacrifices himself in some way for the girl. Then you really hate the Germans even more.

G — We have to figure out a reason for them to take the girl at this point. Before I had it because she was a double agent.

L — Maybe here is where we can save the other thing. The Frenchman wants her, even though she's not receptive to it. We can do that in a scene when he comes in to question her. Say he's the Claude Rains character, it makes sense that he's attracted to Barbara Stanwyck. The German says it's time to get rid of her, the French guy says no.

G — The big thing with these movies is the damsel is going to get screwed by the bad guy. What we do is, in the interrogatior scene the Frenchman is in love with her, coming on to her. The German torture guy could care less. "Get out of my way." When they push her down into the snake pit, it's the German guy who does it, and the Frenchman is very upset about it. "The girl was mine." "She's a waste of time, and we don't need her." We got rid of the German guy when he went off the cliff. Now the French guy is left to his own devices. "The girl goes with me. She's important to this project." He takes her along. We know he's been sort of lusting after her. As the Frenchman takes her, they look around and say, "Where is Indy?" "Search the ship." They take the girl and the Ark, and row out to one of the submarines. Then we cut to the submarines going away.

L — When the captain sacrifices himself could be when he takes after the Germans.

G — They're maybe going to blow up the ship or something. We're going to intercut them rowing out to the Ark with something going on on the ship, without Indy being involved in it. So we can speed that time progression up. Just as they're closing the hatch on the submarine, you see this hand come up and grab the submarine. The last we say Indy, he was hidden under a life boat.

S — As the last of the Germans leave the ship, they sink it right there.

G — Expensive.

S — Or they can rake it with machine gun fire.

G — You can do that. You intercut them going out to the submarine with other Germans searching the ship for Indy. They report that he is absolutely not on board.

L — We're not going to be very interested in their searching the ship.

G — The pirate tells the Germans that Indy is not on board, "We got rid of him before we left the dock. We killed him. We're going to sell the girl into slavery." He plays up the whole pirate thing. You know that they're just protecting Indy.

L — One thing you could do to sacrifice Gossett would be the Germans are just about to discover Indy and Gossett sacrifices his life to distract them.

G — The hatch closes and the submarine starts to move away, a hand comes up and grabs onto one of the railings. He swings himself up on the deck, runs along and the ship starts sinking. He's running knee deep in the water.

S — We have research on this. There are no World War Two submarines on either coast that work. We haven't checked Europe yet.

G — There was one in Argentina that Peter Yates used. We do close-ups of him running in the water on the deck. You can do it in inserts.

S — We don't have to. We're building a (garbled) which we can use.

G — He's holding onto the periscope. We'll start tomorrow on the tunnel when he enters the underground submarine base. In Leviticus it describes it. How they built it and where it came from. He thinks Von Daniken's first book, "Chariots of the Gods" has some stuff in it about the Ark. The theory I'd heard is the one about being able to speak to God when you set up all the silk cubicles and that stuff. There was a theory that some doctors had come up with in Chicago about twenty-five years ago. There was an article. He doesn't know where it is or anything about it. We'll get that.

[PAGE 101 MISSING]

G — to get to the surface, and then he hits his head. That way it makes him bright, but he gets outsmarted anyway.

S — He finally gets through and he surfaces and sees...

G — an underground submarine base.

L — How big is this base?

G — Small. One sub. When he first sees it it will just be a miniature sub. All the close-ups we can just do on a set.

S — We're also experimenting on using miniatures with live action. So he comes up and he sees the base, which is sort of like Captain Nemo's place. It can't be too modern.

G — No, it has to be... It's all rocks with a little bit of concrete reinforcement. Essentially it's a natural cave. He climbs up and starts going down one of the hallways. There are guards everywhere.

L — He can watch them unload the Ark, see where they're going.

G — Somehow we have to get to the Ark already set up with the silk boxes so they can talk to God.

L — But they just got there.

G — They got there ahead of him. Somehow between where we are now and the final climactic scene, they have to set up this. Of course, they could have had this set up before. We could do that with a piece of dialogue. As they're unloading the Ark, a Nazi soldier comes over and says that "We have arranged the tents as you have described to us, Professor." "Okay, take the Ark and put it in the middle of the tents." He sent them a diagram of what it should look like.

S — At the end, when the whole thing goes, shouldn't it also hurt the German army somehow. There should be some important generals there or something when the place blows up.

G — Yeah, but you don't want to make it too outrageous. Obviously it didn't really hurt the German army at all.

S — As an example, a guy down there is minutes away from being able to split the atom and he got killed. So they won't have the bomd in '41.

G — The one thing is to make the whole thing plausible, especially the ending, so you can assume the whole thing was covered up, is lost in Nazi files, but this really happened. It's a semi-believable story. Maybe we could figure out a way where he's going to sabotage it. Not only does the thing blow up, but he has set some kind of a time bomb that will blow the whole place up. That gives him a time lock as soon as he gets there. Not only does he have to get the Ark quickly… Obviously it's not the brightest thing in the world to do. Now, another problem, the girl, which we have to cope with somehow.

S — The "Guns of Navaronne" worked because it was a mission movie. They had to destroy something rather than capture something. In this movie the audience won't be expecting anything to blow up. But, if we establish in the beginning of the movie, that all these Nazi operations are ... There is a secret base that nobody can find. We never mention in again, but in the beginning of the film we discover that there's this secret base where the supplies are coming from, and planes just seem to disappear at a spot in the ocean. In fact, it's the secret Nazi submarine base. Then there is some promise, some hope, that by the end of the movie they're going to discover this place and blow it up. His assignment is to recover the Ark, but if you see a submarine base, blow it up.

G — I only worry that we have enough trouble as it is trying to explain everything and make it work. But if they're going to lose more than the Ark, a huge ammo dump or something, that's going to cost them. The problem I have is that we wind up the way every Bond movie has ended. He's on the island, he has to get out of there with the girl, and they do get out, they're on the water, and the whole place blows up.

S — I love that. Every Bond movie has made money, too.

G — If you follow classic dramatic plotting, that's what is going to happen. You put your biggest boom last, and you create as much tension as you possibly can. The way we originally had it, the bad guys got fried by the Ark, and he dragged it back to Washington. He didn't really destroy anything. We had that time lock thing, but that gets confusing. We can hype it or we can leave it at the original. Those are the two extremes. Right now the end of the movie is, all the stuff for the Ark is set up, silk cubicles, and he goes in there, and the bad professor and the Nazi general and a couple other guys are there about to open the Ark. He gets in there and drops the gun on them. "Just pick up the Ark and follow me." Somebody comes up behind him and hits him on the head. They fight and he is subdued and hauled off. As he's being led out, the guys open up the thing and it goes off. The guy turns around and the tent turns into a big fire ball. In the resulting chaos he runs in to try and get the Ark. He drags it off and hides it, or wipe to Washington. D.C., where he's telling them that this is dangerous, and it's real. They tell him they'll take care of it. He says he wants to work on it. They tell him to apply for a grant or something. The last shot is them putting it in a warehouse. We have certain problems — the girl, does he blow up the base? The tent goes up in smoke…

END OF TAPE FOUR. SIDE A

G — Then he could jump on the cart and race out with it. And he gets into the.. We had him get on a boat. The idea was that the little mine train cane out onto the island, and there were some fishing boats that he gets away on. Or have a couple of speed boats down by the dock.

S — We want that speed boat chase.

G — Right. That's where that came from.

S — We lost the speed boat chase.

G — Hell, we were talking generally. If it went anywhere, it would go here. The only thing I wanted to do with that, and it's going to be hard to do, is that he gets chased and they're firing at each other. He gets into a harbor where all these big boats are, and he races down in between two boats just as they're starting to close. And the other boat races down and goes... There's no easy way to get out of that one. I think it would be better if we just let the villians get scrunched and that's how he gets away from them. We could put that at the end.

S — Once we're here, let's stay in this place.

G — Also, do we want to have him destroy the base?

L — Indy doesn't know that there is going to be this electric explosion from the ark. But there is, and it threatens the ammo stock. Now he does have a time problem. He has to move the Ark and the girl out of there without getting blown up. How does he survive that? Everyone else dies, the island blows up, but he and she survive. That would be an improvement on the Bond thing.

G — It's the ultimate cliffhanger, everybody gets killed in the end..

S — Or they turn transparent. I like the idea of the whole island blowing up and finding a clever way for them to survive. Whatever that is.

L — When the guy opens the ark, you visualize that it explodes and then the top slams down again. What if they open it up, and it takes care of everyone, and we see a lot of this electrical stuff zapping people and starting fires everywhere. And he has to close it.

G — That's possible. I saw the opening of the Ark and the resulting chaos as the climax of the movie. The quicker we get from that point to fade out the better. I just wanted him put the thing on a cart, race out, and cut to Washington.

S — It makes him very godlike if one of the bolts doesn't zap him.

G — If we make the effect real, it shouldn't last long, or that hurts it. If it happens in a split second, he opens it up and suddenly these giant arcs go for five or six seconds, then you cut outside and see the entire tent go up, then it's not that hard to get away with the whole thing.

S — We end it like "Moby Dick." After the explosion there's no life at all. Our guy and our girl come up gasping for air, they're okay. Suddenly the Ark comes up. They grab onto the Ark and hang onto it and kick ashore. The Ark presents itself.

L — I like that.

G — I like the idea on these conditions. If we put him on a little mine train, he pulls the thing onto it and jumps on, they're racing through these tunnels, and the Germans are shooting at them, the clock has started ticking and we cut to flames getting closer to destruction.

S — A mine train chase with bullets ricochetting off rocks.

G — They get to where the submarine is, in the main thing, and... The come to the entrance of the mine shaft stop, see lots of Nazis, and hear the rumble, because the thing has started already. Or, rather than have the whole thing blow up, there's a chase through the mine shaft, you cut to the time thing, they're getting to the end, and the thing blows up. You see the place where the ark was blow up. It fries some of the pursuing Germans, rocks are falling at the same. They run right through the submarine thing and go right off the dock and into the bay with the cart. He runs it right off the end of the dock. Finally, so many rocks fall they obscure the screen. Then we cut to outside to the island, and it's all quiet. You hear rumbling. Then you cut to them and they pop up.

L — Indy comes up and he sees the base. I thought the tent thing took place right there.

G — I thought they moved it down into another big cave.

L — In the old thing, they took a mine train out to air. That would work for here too. They could just shoot out into the ocean. Otherwise they have to go through the underground water passage to get out to the bay.

G — You could make that a cut. Cut outside and eventually they pop up.

S — It would be a real roller coaster ride.

G — They race off the end of the ramp, crash into the water, the mountain caves in, the submarine is destroyed. Cut out to the island, you hear a lot of rumbling, a side of the mountain slips down, a cave in. Then you sit there. And then the cast credits go up on that shot. After they finish, where the crew, credits would normally be, they pop up. Then you have to do the tag scene in Washington. You might be able to do the Washington scene with the end credits, like you do opening credits. They pop up, you cut to Washington, and then you continue with the credits. That should be a short little dialogue scene. Not more than a page. "Congratulations, Indy. You did a great job. We'll take it from here." Then you cut to the guy carrying the crated up ark stamped "Top Secret" or "Do Not Remove." He puts it in a giant warehouse. So you have three little title sequences.

S — I think we should try it.

G — If it's done with style, then you have really nice credits. It's just the reverse of opening credits.

S — This mine cart thing, we should shoot it at the DisneyLand Matterhorn. They go on it at the end, so the final run is an up and a huge down, and the out is over the ocean.

G — I don't know if you can make that believable.

S — Just the last part of the run. It's tracks and a very small closure. It's like where they have the cable to pull the thing up, except this time it's coming down. It's weightless. It's not being run by a machine. The wheels are locked on the track, but there's no machine grinding it forward. It has no brakes. They've gotten onto the tail end. It drops down to the loading zone.

G — You're talking about an expensive sequence there. To make it look great you'd have to build a whole track.

L — You're saying that it comes out in the underground bay.

S — It lets out on a loading platform about thirty feet over the water, with scaffolding, where they load things from ships that anchor just below it.

G — We had talked about having them get out in the submarine. I think that it's better if they're under the mountain when it explodes.

S — You don't know if the whole thing caved in on them. I don't know if you need that kind of thing. If you had just a straight mine train, motorized. You can have curves on it, and you can have it go very fast.

L — I don't think you have to explain why there's a dip there.

G — I can see the opening of the mine being thirty feet up. When you come into the submarine base, up on the wall you see the mine thing, and the tracks come down and goes straight. It comes down, goes onto the dock, levels out, and then at the end of the dock it goes back up again because normally it flips down and then up. It would normally flip down onto a ship. They run up, hit it, and go off that way. It will be very hard to build that cheap.

S — It will cost what our rock set did on "Close Encounters," $75,000. You just have to build the last run. I won't go into mines.

G — We'd probably have to do it on a sound stage.

S — It has to be an exterior on some island where the thing goes into the ocean.

G — I think you culd do that without having that dip in it. It comes around and just races off the end of the dock. You would have the same effect of it getting airborne, and then it lands down. Then you can fake it and do it on a set. Close pans and close shots.

S — On "Great Escape" they did it with a dolly track and a hundred foot cutaway. But But we need a hundred yard cutaway.

G — You just have a straight piece and a curved piece, and you do different angles. You just keep going through the same piece. It would be interesting if the mine train part was just like a foot above the metal part of the train. You had to keep down. Instead of having it be the whole mine, it would be beams, like concrete buttresses. There would be about a foot clearance. And the buttresses would be about forty or fifty feet apart, or less. As they come down, "Keep your head down." They're popping up and down.

S — I'll take that instead of a dip.

G — It will probably have to be outside.

S — Dolly track and a camera right next to it, speeding along with it.

L — Let's run through the geography of this place again. He comes up out of the water and we're in the sub base. Now we want him to go to the inner sanctum, so we can have this ride at the end, and still keep him inside.

G — Here is the way I envision it. They put the ark on the train to take it out. (making a drawing) The main base is like three stories tall on the inside. They should have concrete rooms. Something that looks like this is where their headquarters are. The tent area is sort of in a courtyard. He walks down there and when a cart comes he has to press himself up against something to get out of the way when the guys go zooming by. He could walk right down the center of the track and nobody would see him. All he would have to do is hear the thing coming and he could jump to the side.

L — Just one lane.

G — Right. And it should be very narrow in places. Not more than six or seven feet wide. At certain points it should be six or seven feet high, and then when the buttresses come, it's only four feet high.

S — How are we going to blow this place up? Is the ark going to do it?

G — We have several problems to cope with now. One, what are we going to do with the girl? Two, how is he going to blow the place up?

S — There's an easy way to blow it up. He goes in the submarine and fires all the bow and stern tubes. He does it with the torpedoes from the sub.

G — Either have the ark do it, or something where the time bomb starts ticking.

S — Where does he get a time bomb?

G — Figuratively. The fuse starts. We figure out where the fuse starts, from then on, you're worried about whether he's going to get out in time. It should start when the ark goes off, or right after that. It could be something he does, or something he does accidentally.

L — Or he may not do it at all. Let the ark do it.

S — I like the ark doing it, he doesn't do a thing. There's a door that says magazine on it, and you see torpedoes and ammunition coming out to the sub on gurneys. They're reloading the sub. When the ark blows everything up, it sets a fire that begins burning the magazine door. He has to escape before the magazine door burns down and the fire gets to it.

G — You could have a whole string of things — the magazine door that's open a bit, a stack of ammunition, and about twenty feet from that is a stack of oil drums and gas. The ark blows the tent up, it's like a gas explosion. These little burning pieces rain down. It rains down on the pile of stuff, garbage, cotton stuff. That bursts into flames. When he's getting the ark and putting it in the thing, that thing is burning like crazy. He jumps in the thing and goes racing down the thing. He's firing at the guys. This stack of stuff that's burning finally falls over and falls on the oil drums. He's still racing along, then the oil drums explode and oil and gas go onto the ammunition. You see all these boxes of ammunition burning like crazy. Then finally that blows up, right after that there's a huge explosion. We have a chain reaction until it gets to the big explosion. Each time it's worse.

S — That's great. Now what has happened to our Frenchman?

G — I wanted him to get fried by the ark.

S — The man who finally chases our hero through the mine shaft, can he be one of the continuing characters? The second main bad guy. He doesn't go off the cliff in the car.

G — I think that guy should go off the cliff. We can introduce new main bad guy on the ship.

L — How's he going to die?

S — I'd like for him to get killed by a cave-in. The thing goes off the tracks, they scream, and one big rock comes down smashing him.

G — So we have him be the one who takes Indy away. The professor is the one who's going to open it up.

L — Now, the girl.

G — We do have a problem with the girl. She could be in the main room. The other idea was that Indy saves her.

S — What if the Frenchman made her wear strange clothes? I'd love to discover her in the strangest outfit you've ever seen, because he wants her dressed up like some sort of a crazy princess. She's apologizing. "I can't help it. He made me put this on." Something completely ridiculous for the final escape. Something very elegant, but weird. She has to pick it up to run.

G — Indy climbs up on the submarine. He sneaks off. We have a couple shots of him walking down the tunnel, trains going by. Now he makes his way into the main room, and sees this silk cubicle thing set up. He looks around. He knows that they are in the cubicle, because he can hear them talking. Where is she? Actually, we also saw her get taken off. She gets pulled out as they're unloading the ark.

S — Can the Frenchman die in Indy's arms, terribly burned beyond recognition? "I've seen the face of God."

G — All he has to say is, "I saw him." You have to be careful about that line in that place. They put her and the ark on the mine train. She could either be in the silk thing with them, or she could be outside, being held prisoner.

L — It would be neat if, when they open the ark and it fries them, she would have been there if she hadn't done something. They bring in Indy, "I'm sick of this guy. Take him out and shoot him." She turns around and spits in his eye or something, "Shoot me too." He says, "I have bigger things on my mind. Take her too." She saves herself by making a sacrifice.

G — We have to be careful about making it seem very convenient. If they both leave, then you know something is going to happen. We're also building suspense about what happens when they open the ark.

S — I would love to see her tied up and bound by the magazine door, near the explosives. When all the fire and thunder happen all of a sudden a trail of gas fire comes around the corner. It's heading for her, slowly. She gets save, untied and pulled out of there. The audience sees that the trail is going to ignite the bombs. It could be a long hallway.

G — He's standing there at the entrance to the thing and he sees the silk and stuff. That is the point where the girl should come back into the movie. Say we put her behind the tent so Indy can't see her. He goes in the tent, gets the drop on them, tells them to take the thing back on the cart. They catch him, send him outside. They open the ark. We have an awkward point here when Indy rushes back in and gets the ark. If he has to rush back to get the ark, and also sees the girl and has to rush back and get her... It's going to take too long for that to actually happen. The only that would work is if he saw the girl and the ark at the same time. He saves the girl rather than the ark. Then they save the ark together and put it on the thing. This might be an interesting touch — he goes down the corridor, he sees them talking, he either sneaks by the guards or there's nobody around, so he takes his gun out, he goes into the thing, gets the drop on them. Something clever should undo Indy at that point. He gets caught, he goes out. When he gets the drop on them, you expect the girl to be there. When he goes in the tent and sees she's not there, he looks around. He can ask where the girl is, and before there's answer he gets beaten up. You're half going for the ark and half going for the girl at this point. We can't just lose sight of the fact that she's there. He has to save the girl and the ark. If we build that relationship up, obviously she's an important factor.

S — If he has a choice of what to save, her saves her first. And then luckily gets the ark too.

L — As soon as he frees her she says she'll help him to do it.

G — She helps him carry the ark.

S — He says, "Don't look at it. I'll shut the lid."

G — I think it should have already shut.

S — By itself?

G — I do think it should be a short little effect. We don't linger on it too long.

S — Besides the effects, the light inside is so bright you can't look at it.

G — A bright light with tensor coil, those things arcing off it.

L — What happens to this final Nazi who has him by the arm, gun in his ribs?

G — He could punch him out.

L — He could be blinded.

G — He could karate chop him, get his gun, and run for the girl She could be surrounded by flame with more flame pouring toward her. That's not connected with the other fire going toward the stacked stuff. He runs through the fire to get her, comes back, picks up the ark, gets back on the train, and the fire is slowly making its way toward the magazine.

L — Maybe what's menacing her is a big flaming sheet of the silk. It's right over her head, about to drop.

S — What would it be?

G — It would be crude oil, thick and heavy. One of the cans broke and it's dripping out.

L — This is right after the opening of the ark?

G — Right. It's a trail of burning oil. Plus maybe a sheet of flame that's around her.

S — When they get her out, that part goes under the door.

G — No. We have to have more time for that. You have to have a real slow progression of the stuff getting toward the door. We're intercutting between the good guys and the bad guys, going down the tunnel, and the fire getting closer to the magazine. It doesn't even have to be a door, the stuff could just be sitting there.

L — How about if the oil were part of the ritual?

G — We're talking about oil that's in big containers. The tent has burst into flame from the arcs. Everybody fights, and you can't see anything. The flames die down, because if was just a tent. You don't know where it really came from, but there's a river of oil and flame that goes around her.

S — It's like a lava flow.

G — It doesn't just explode.

S — A good effect would be when he opens the ark and sees whatever he sees, he screams, and whatever comes out x-rays him. When he screams he's all green and blue with his skull showing through. White hair.

G — We should do something like static electricity. He hair is down and long, and all of a sudden it just goes...

L — And the top slams shut?

G — Right. You let the effect go for a little bit, then you cut outside and the arcs are going around. The river of oil is approaching her. After it's all died down, you have these flaming silk things floating around: It's clean and there's not that much to burn. The ark isn't burning, it's sitting in the center. He sees her.

S — She should be in tatters.

G — It would be a funny moment if you didn't know where she was, and then suddenly the thing blows aside. It’s like a giant entrance. He grabs the girl, they run over and grab the ark, the cans and things are blowing up. They struggle and put the ark on the mine train and shoot out.

L — The German guy comes to, gets up, there's panic all around.

G — The Germans are running around. Everything is on fire. Suddenly they're noticed. They jump in the next train and you have the racing thing.

S — He should kill a few Germans in the corridor. He shoots two of three Germans with his service revolver, then that's out of bullets. Then he picks up a machine gun, or even a Thompson sub-machine gun. Some Germans come around the corner and he gives them a burst.

G — He could jump on the mine train with a Thompson. There would be great sound in there.

S — Every time the bullets go off, rocks fall down.

G — The mine train keeps getting filled up.

L — Is just one car chasing him?

G — I think it's just one car, with like three or four people in it.

L — How do the cars move?

G — They're electric. They have a throttle. Indy just jams it down and takes off.

L — And at this point we want to get the final German.

G — The final thing, when the fire hits the real munitions and it's burning there for a while and suddenly it goes bang, then the whole thing starts to shake, and maybe flames come through the tunnel and fry the Germans, at the same time everything comes crushing down. He gets fried, and then they crush him. He jams it forward. Then you cut to the submarine part, and the little car comes shooting out of the shaft. The whole thing is shaking and rocks are falling down. She looks up and says, "Jesus Christ, stop." He says, "It's our only hope." And they go shooting right off the end of the dock, and sail across the water. Wham.

L — We have the sense that there's a final big explosion coming.

S — Everything will be rumblingm like an earthquake.

L — So we don't want to see the final ammo pile go up yet.

G — I think the mountain is sort of collapsing. Rocks obliterate the screen, it looks like the whole place collapses around them. Then you cut out to the island.

S — What would really be great would be to show how deep and how complete the explosion is. You see an explosion where fire and debris come shooting out of the mine holes. Then the submarine that was way in there comes shooting up through the rock. It just sits there like a huge knife wedged out of the rock. That would show the whole inside of the place is gone.

G — I think it should be done subtly. It has to be believable. I wouldn't believe that a submarine would get shoved through the rock.

S — I wouldn't believe the whole island getting blown up, either.

G — Explosions just come out of the sides of the rock and maybe out of the top and then it just sits there and steams. I don't think we should do it as a giant huge explosion that blows the island apart. It should be like if this were a real island, there were a real tunnel, and if there was a huge, like an atomic explosion in the middle of it, there would be bits of explosion shooting out various cracks and things, and then it would sort of settle, and maybe there would be one side of the mountain that would break away and collapse like in an earthquake. Then it would settle. It wouldn't be overdone. We'll consult geologists about what would happen.

S — One thing that would happen would be a huge tidal wave. A wall of water fifty feet high would just boil up and fan out in all directions.

G — A subtle and realistic explosion that says things happened. It's sort of a long shot, or a medium long shot. They're sitting there, and then the titles come up.

S — (gap in tape) ...then you hire some private pilots to get in real airplanes and fly in the background about a half mile away, which puts the airplanes. You have a miniature blowing up in the foreground while you have real planes in the background, and you're convinced that it's a real place blowing up.

L — There's a long wait through the cast credits where you think they're dead. It seems there should be some final comment between them.

G — "Slow down." "It's out only hope."

L — He says, "We tried."

G — Whatever. That whole concept... We'll look at it. The other alternative is you just hold on the island for a while, then they pop up, then you cut to the scene in Washington. It will work either way. This way it just make a big... It's a false ending, which is funny.

L — They pop up, one, two. They're circling around in the water and then plop, it's the ark.

G — She says, "It's the ark." "Well, for God's sake, don't open it."

L — If there is no cast credit, then it bothers me that there is no time lapse for them to go through the underground tunnel and everything.

S — They get out flying through the air from the roller coaster.

L — But they dont. This takes place in the sub room.

S — They go back to the sub room?

G — Yes. That's where they end up.

L — If they don't go in the sub room, then they're not in jeoprady when the island blows up.

G — The way to solve that, if it comes down to that, is that you have some shots of the island blowing up. A little montage of things blowing up. Then you cut to that long shot. It does its thig, and then they pop up. You could very easily fill that time.

L — The mine train dumps them in the sub base.

S — They're back where they bagan then.

L — That's why they're in such trouble when the place starts to collapse.

G — It collapses on them.

L — But that's the route we have set up for the train.

G — The train goes between the sub base and the thing. We don't want to have to explain other ways out. They land in the middle of this thing. That's the last we see of them. Cut to various explosions. Cut to the long shot of the island and see half of the mountain cave in. Hold for a minute. Then they pop up.

S — If we had a more pronounced entrance to the sub base, that could be what collapses. It should be a familiar area that collapses.

END OF TAPE FOUR, SIDE B

G — Or maybe caves or something. Something that we'll remember. The idea is that it caves in on them.

S — And they get out in time.

G— It's just making that little time progression there plausible. The toughest thing is to be able to get some decent shots of the island exploding.

S — You can photograph shock waves.

G — Another way to do it, they're racing on the train and she says, "Stop this thing." "No, it's our only hope." They go off the pier, splash into the water, rocks are falling and they obscure the screen, as the whole screen sort of goes black, what would happen if you faded in on them in Washington? With the Ark. And you said. "Congratulations, Indy. You did a great job." And you just assume that...

S — It's too much of a leap. They think they're dead.

G — You're only going to think they're dead if you see the thing explode, and the thing collapses.

L — If you're going to do it that way, we might as well have them take another routh on the mine train and shoot them out into the ocean. Then at least we get a big roller coaster ride into the ocean. Then they'll get out and the audience will see it.

S — Instant freedom.

G — The alternative ending is that the mine train goes in the other direction. It goes through the thing and out the other side. Then we don't know where we're going. They get chased

[PAGE 116 MISSING]

S — to run in front of the boulder and get out of the cave before it gets you. The reason the boulder is coming down is not to kill him, it's to seal off the cave.

L — I'm seeing his retreat from there as all out, but still keeping in mind what he has to do. Like when he gets to this place, when he's going back, he dodges through it. They’re a little slower than he is.

S — Fast doors closing are fun.

END OF TRANSCRIPTION
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