from a screenplay blog elsewhere

Sunday, November 28, 2010
Studio's $15M lawsuit against a screenwriter
Some of you may be aware of this:

[11/25/10]: A Long Island screenwriter was slapped with a $15 million federal lawsuit for posting 20th Century Fox movie scripts on the Internet -- including a major comic-book flick still in the works [i.e., "Dead Pool"], court papers say.

Patricia McIlvaine, of Mount Sinai, said she maintains a script database that she was using to help educate other screenwriters.

Those of you who have traversed the screenwriting blogosphere may well have bumped into PJ along the way. She is a produced screenwriter with two credits. She is a blogger. And by all accounts, a good soul. Now imagine this happening to you:

Supposed to be celebrating the baptism of a child, two strangers knocked on her door and informed her, in front of her children, 20th Century Fox was suing her for 15 million dollars. Two hours later, after grilling her with questions for two solid hours, they left her stunned and crying in her living room staring at a business card that stated they were “private investigators.”

This was the first contact PJ had from 20th Century Fox regarding a Media Fire online script library she created — and was the day 20th Century Fox filed a law suit against PJ in federal court for fifteen million dollars.

Sheridan who hosts the script-hosting site MyPDFscripts.com posted two items, one Friday when the story first broke and one yesterday about the case: here and here. An excerpt:

Let’s start at the beginning of the Complaint:

Twentieth Century Fox Film Corporation vs. Patricia McIlvaine and Does 1-10.

What does “Does 1-10″ mean, exactly? It means that P.J. is not alone in this lawsuit.

Does signify currently unidentifiable individuals whose true identities may or may not be revealed once the Plaintiff (Fox) begins the discovery process. It’s a way of saying “we know there are more people involved.” So, once the discovery process starts, up to 10 more people can be named in this suit. And, if found guilty, will be individually responsible for settling with Fox.

Note: 10 more potential targets of the lawsuit. Another excerpt from Sheridan's post:

Yesterday, I said there are three unspoken rules regarding script websites. These are the same unspoken rules that have allowed sites like Drew’s Script-O-Rama and Simply Scripts to exist for as long as they have. In Drew’s case, fifteen years now. Fifteen years!

The rules, which I actually learned from Don over at Simply Scripts, are simple (and have already been implied):

1. Do not make available a currently in development screenplay.
2. Do not make screenplays available until their respective films are released in theaters or on home video.
3. Respond immediately to studio requests.
But, as we are about to learn rather quickly, Paragraph 8 doesn’t care about the unspoken rules and this is where it gets scary for EVERY screenplay website in general:

Additionally, McIlvaine has uploaded and made available roughly 100 other movie and television scripts for which Fox is the copyright holder. All of these scripts had been registered by Fox with the Copyright Office prior to the acts of infringement by McIlvaine. The illegal uploads all occurred in 2009 and 2010. Some of these illegally uploaded scripts relate to works that Fox has not released, while others relate to well-known and released works, such as the movie Aliens, the movie Edward Scissorhands, the movie Wall Street, and the television show Glee. The Copyright Registration number for each of the these works is included in a list attached as an Appendix to this Complaint.

Oh. Shit.

They went there.

And, please, before any of you wish to point out that I’m guilty of this, too (much like the gentleman FoxyOne pointed out in the comments of my previous post), stop for a second and listen to me: I KNOW. Yes, I make available several produced screenplays here for free. You don’t have to tell me. You don’t have to remind me. It’s my website. I’m fully aware of that fact. Why? Because it’s a screenplay website. And I am one of many. As I said yesterday, posting produced screenplays up to this moment in time has been an accepted practice. As already noted, Drew’s Script-O-Rama has been doing it for fifteen years.

What does all this mean? Obviously for PJ McIlvaine, it means a world of shit [I'll provide information later how you can help]. For 20th Century Fox, it seems this is a shot across the bow to any website which posts their scripts.

So even though I assert that what I do here on this blog, like my teaching at UNC, through UCLA Extension's Writers' Program, and at Screenwriting Master Class is for educational purposes only and should be covered by Fair Use (you can see the site's Fair Use notice here), until this thing settles out, I will suspend any further posts with links to studio scripts.

It would be one thing if the suit was limited to scripts not yet produced into movies such as "Dead Pool," the leaking of which may well be the precipitating incident for Fox's legal action. [I long ago settled on a policy on this site not to post anything about scripts in active development.] But the fact the suit includes produced scripts, that needs to get sorted out.

Screenwriter Max Adams, who hosts the blog Celluloid Blonde, posted this on PJ's behalf:

PJ doesn’t have the kind of cash needed to hire an attorney. Like I said, days she works a telephone line selling flowers to make ends meet and nights she writes — fighting to bridge that artist-who-does-art vs. artist-who-gets-paid-for-art gap. In between she is caring for an elderly relative suffering from dementia. In between that she is caring for an infant. She is going to need help. If you can help, please send a small gift donation via :::PayPal::: to pjscriptcooperative@gmail.com — people are putting together a small fund to help PJ retain an attorney.

I have been assured that if PJ can find an attorney specializing in copyright law who will take on the case pro bono, whatever funds sent her way will be returned.

Any lawyers or legal scholars out there who care to weigh in on the matter, please feel free. And as always, I'm interested to hear the thoughts of the GITS community on this matter.
Posted by Scott at 6:00 PM

USS Indianapolis speech - classic movie monologue

Jaws
screenplay written by Peter Benchley & Carl Gottlieb / Indianapolis speech written by uncredited writers Howard Sackler, John Milius, and Robert Shaw




Hooper (Richard Dreyfuss): You were on the Indianapolis?
Brody (Roy Scheider): What happened?
Quint: Japanese submarine slammed two torpedoes into our side, chief. It was comin' back, from the island of Tinian Delady, just delivered the bomb. The Hiroshima bomb. Eleven hundred men went into the water. Vessel went down in twelve minutes. Didn't see the first shark for about a half an hour. Tiger. Thirteen footer. You know how you know that when you're in the water, chief? You tell by lookin' from the dorsal to the tail. What we didn't know... was our bomb mission had been so secret, no distress signal had been sent. Huh huh. They didn't even list us overdue for a week. Very first light, chief. The sharks come cruisin'. So we formed ourselves into tight groups. You know it's... kinda like ol' squares in battle like a, you see on a calendar, like the battle of Waterloo. And the idea was, the shark comes to the nearest man and that man, he'd start poundin' and hollerin' and screamin' and sometimes the shark would go away. Sometimes he wouldn't go away. Sometimes that shark, he looks right into you. Right into your eyes. You know the thing about a shark, he's got...lifeless eyes, black eyes, like a doll's eye. When he comes at ya, doesn't seem to be livin'. Until he bites ya and those black eyes roll over white. And then, ah then you hear that terrible high pitch screamin' and the ocean turns red and spite of all the poundin' and the hollerin' they all come in and rip you to pieces.
Y'know by the end of that first dawn, lost a hundred men! I don't know how many sharks, maybe a thousand! I don't know how many men, they averaged six an hour. On Thursday mornin' chief, I bumped into a friend of mine, Herbie Robinson from Cleveland. Baseball player, boson's mate. I thought he was asleep, reached over to wake him up. Bobbed up and down in the water, just like a kinda top. Up ended. Well... he'd been bitten in half below the waist. Noon the fifth day, Mr. Hooper, a Lockheed Ventura saw us, he swung in low and he saw us. He's a young pilot, a lot younger than Mr. Hooper, anyway he saw us and come in low. And three hours later a big fat PBY comes down and start to pick us up. You know that was the time I was most frightened? Waitin' for my turn. I'll never put on a lifejacket again. So, eleven hundred men went in the water, three hundred and sixteen men come out, the sharks took the rest, June the 29, 1945. Anyway, we delivered the bomb.

(apparently it was just after noon June 30 that the sinking happened, and June 29 is the date the Kitner boy is killed in the film so Quint may have fused the two psychologically.)

Original story conference for Raiders of the Lost Ark

"RAIDERS OF THE LOST ARK"

Story Conference Transcript
George Lucas, Lawrence Kasdan and Steven Spielberg in attendance.

Pasted from a pdf previously uploaded by others

January 23, 1978 thru January 27, 1978

RAIDERS

G — We'll just talk general ideas, what the concept of
it was. Then I'll get down to going specifically through
the story. Then we will actually get to where we can
start talking down scenes, in the end I want to end up '/"^with a list of scenes. And the way 1 work generally is '
I figure a code, a general measuring stick perameter.
I can either come up with thirty scenes or sixty scenes
depending on which scale you, want to work on. A thirty
scene thing means that each scene is going to be around
four pages long. A sixty one means that every scene is
going to run twenty pages long. (?) It depends on, part
of it is the... (short gap in the tape) knock some of
these out, and this doesn't work out the way we thought
it would. You can move things around, but it generally
gives you an idea, assuming that what we really want at
' the end of all this is a hundred and twenty page script,
or less. But that's where we really want to go. Then
we figure out vaguely what the pace of, how fast it's
going to move and how we're going to do it. I have a
tendency to work rather mathematically about all this stuff.
I found it easier and it does lay things out. Especially
a thing like this. The basic premise is that it's sort
of a serialesque kind of movie. Meaning that there are
certain things that have to continue to happen. It's
also basically an action piece, for the most part. We
want to keep things interspaced and at the same time
build it. As I build this up, you'll see it's done
vaguely by the numbers.
Generally, the concept is a serial idea. Done like the
Republic serials. As a thirties serial. Which is where
a lot of stuff comes from anyway. One of the main ideas
was to have, depending on whether it would be every ten
minutes or every twenty minutes, a sort of a cliffhanger
situation that we get our hero into. If it's every ten
minutes we do it twelve times. I think that may be a
little much. Six times is plenty.
S — And each cliffhanger is better than the one before.
G — That is the progression we have to do. It's hard
to come up with. The trouble with cliff hangers is, you
get somebody into something, you sort have to get them
out in a plausible way. A believable way, anyway.
That's another JLmportant concept of the movie — that it
be totally believable. It's a spaghetti western, only
it takes place in the thirties. Or it's James Bond and
it takes place in the thirties. Except James Bond tends
to get a little outrageous at times. We're going to take
the.unrealistic side of it off. and make it more like the
Clint Eastwood westerns.
G — The thing with this is, we want to make a very
believable character. We want him to be extremely good
at what he does, as is the Clint Eastwood character
or the James Bond character. James Bond and the man
with no name were very good at what they did. They
were very, fast with a gun. they were very slick, they
were very:professional. They were Supermen.
S — Like Mifune.
G — Yes, like Mifune. He's a real professional. He's
really good. And that is the key to the whole thing.
That's something you don't see that much anymore.
S — And one of the things that really helped Mifune in
all the Kurosawa movies is that he was always surrounded
by really inept characters, real silly buffoons, which
made him so much more majestic. If there are occasions
where he comes up against, not the arch-villian, but
the people around him shouldn't be the smartest...
G — Well, they shouldn't be buffoons. The one thing
we're going to do is make a very good period piece,
that is realistic and believable. A thirties movie in
the, even in the Sam Spade genre. Even in the Maltese
Falcon there were some pretty goofy characters, but
they were all pretty real in their own bizarre way.
S — Elijah Cook.
G~--~ ElijaS Cook" might~not have"been-the brightest person"
in the world. In a way he was the buffoon of the piece,
but at the same time he was very dangerous and he was
very... They were strong characters. If we keep it
that mode of believability...
S — It's just like you don't put Lee Van Cleef as an
accomplice to... (garbled)
G — No, you put Eli Wallich.- Did you see "The Good, The
Bad And the Ugly"? The Eli Wallich character is a goofy
character, but at the same time he's very dangerous and
he's very funny and he's ... We can have that kind of
thing. The main thing is for him to be a super hero in
the best sense of the word, which is John Wayne, Clint
Eastwood, Sean Connery tradition of a man who we can all
look up to and say, "Now there's somebody who really
knows his job. He's really good at what he does and he's
a very dangerous person. But at the same time we're
putting him in the kind of Bogart mold, like "Treasure of
Sierra Madre" or ...
S — Or even the Clark Gable thing we talked about.
G — Yeah, the Clark Gable mold. The fact that he is slightly
scruffy. You don't know it until it happens.
Now, several aspects that we've discussed before: The image
of him which is the strongest image is the "Treasure Of
Sierra Madre" outfit, which is the khaki pants, he's
got the leather jacket, that sort of felt hat, and the
pistol and holster with a World War One sort of flap over
it. He's going into the jtingle carrying his gun. The
other thing we've added to him, which may be fun, is a
bull whip. That's really his trade mark. That's really
what he's good at. He has a pistol, and he's probably
very good at that, but at the same time he happens to be
very good with a bull whip. It's really more of a hobby
than anything else. Maybe he came from Montana, someplace,
and he... There are freaks who love bull whips. They just
do it all the time. It's a device that hasn't been used
in a long time.
S — You can knock somebody' s belt off and the guys pants
fall down.
G — You can swing over things, you can...there are so many
things you can do with it. I thought he carried it
rolled up. It's like a Samurai sword. He carries it
back there and you don't even notice it. That way it's
not in the way or anything. It's just there whenever he
wants it.
S — At some point in the movie he must use it to get a
girl back who's walking out of the room. Wrap her up
and she twirls as he pulls her back. She spins into his
arms. You have to use it for more things than just saving
himself.
G — We'll have to work that part out. In a way it's
important that it be a dangerous weapon. It looks sort
of like a snake that's coiled up behind him, and any
time it strikes it's a real threat.
L — Except there has to be that moment when he's alone
with a can of beer and he just whips it to him.
G — That's the sort of gung-ho side of the character,
which is, if we make him sort of Super Samurai Warrior,
meaning that he is Just incredibly good with a bull whip
and incredibly good with a gun. He's a dead-eye shot.
He's got the wrong kind of holster for a quick draw, but
we can always have him be a semi... we're not going to use
,-the quick draw aspects of it.,but he should be very fast
and very quick. Maybe even, this has-to do with the other
part of this character, but I was thinking of Kung-Fu, -
Karate. But I don't want to load him up too much. The
reason I was doing this "is that his character is international.
,/**fl^Vk
r
/S^N
G — He's the guy who's been all around the world. He's
a soldier of fortune. He is also... Well, this gets into
that other side of his character, which is totally alien to
that side we just talked about. Essentially, I think he
is a, and this was the original character and it's an
interesting juxtaposition. He is an archeologist and an
anthropologist. A Ph.D. He's a doctor, he's a college
professor^ What happened is, he's also a sort of rough and
tumble guy. But he got involved in going in and getting
antiquities. Sort of searching out antiquities. And it
became a very lucrative profession so he, rather than be
an archeologist, he bacame sort of an outlaw archeologist.
He really started being a grave robber, for hire, is what
it really came down to. And the museums would hire him to
steal things out of tombs and stuff. Or, locate them.
In the archeology circles he knows everybody, so he's sort
of like a private detective grave robber. A museum will
give him an assignment... A bounty hunter.
S — If there were these Arabs who just discovered some
great king's tomb, and you see the tomb being taken out.
And there are about twenty or thirty Arabs heavily armed,
and like five trucks and you realize...there's this one
guy who's all painted, and he's one of the pall bearers
who slips a thing into the back of the truck, gets behind'
the wheel and as the caravan is going to turn right,
this one thing goes left. And the rest chase him, but he
gets away.
G — The thing is, if there is an object of antiquity,
that a museum knows about that may be missing, or they
know it's somewhere. He can go like an archeologist,
but it's like rather than doing research, he goes in
to get the gold. He doesn't really go to find cheap
artifacts, he goes to- gather stuff. And the other thing
is, if something was taken from a tomb, stolen and sort
of in the underground, sometimes they may send him out
to get it. Essentially he's* a bounty hunter. He's a
bounty hunter of antiquities is what it comes down to.
If a museum says that there is this famous vase that
we know exists, it was in this tomb at this time. It
may still be there, but we doubt it. We think maybe it's
on the underground market, or in a private collection.
We'd like to have it. Actually it belongs to us. We're
the National Museum of Cairo or something. He says okay
and he tracks it down. If it's not in the thing, he finds
it.,finds out who's got it. And he swipes it back.
A lot of times it's sort of legal. All he has to do is
get it. It's not like he steals things from collectors,
and then gives them to other collectors. What he does
is steal things from private collectors who_have them
illegally, and gives them back to the national museums
and stuff. Or, being that his morality isn't all that
good, he will go into the actual grave and steal it out
of the country and give it to the museum. It's a. sort
of quasi-ethical side of that whole thing. The museum
G — does commission somebody to go into the pyramids and
you know, whatever they find, sort of get out without the
Egyptian government knowing, because they were in the process
of turmoil and nobody's going to know anyway and there's
not going to be any official protest, so Just do it- Anything^
that's quasi-legal, or amorphous, he'll do. He's not a "
totally corrupt person, where he'll steal. But if it's
sort of fair game, then he. comes in. As a result he's
essentially an anthropologist and an archeologist. He is
- a professor. He knows antiquities. So nobody can pawn
off a falce on him. He understands all that stuff. But
he really got the adventure bug and and he just kept doing
it. And it was good money. He gets a big commission on
the stuff, a big bounty. So he Just got into this crazy
business.
Now, on top of that, I have added,.I thought it would be
' interesting to have him be a sort of expert in the occult,
as an offshoot of the anthropoligical side of this thing.
He has a tendency to get into situations where there are
taboos, voodoos, things, especially when you start dealing
with pyramids you get into all that. So he sort of studies
it because he's gotten mixed up with it. A study of
ancient religions and voodoo and all that kind of stuff.
He's a guy who sort of checks out ghosts and psychic
phenomenon in connection with the kind of things he does.
He's a sort of archeological exorcist. When somebody has
a haunted house, or a haunted temple, and nobody will go
near it, he is the one who will go in there and do it,
and he has dealt with... Assuming that he believes in the ^,
supernatural because he deals with it, he is the one they )
send into the haunted house. Like one of these haunted
house professors who try and figure out why a house is
haunted. He does that. He gets involved with sacred
temples and curses and all that stuff. And actually some
were real, he came across some real curses and stuff.
He said hey, this is really interesting. A lot of the
y times they are hoaxes. And* he can figure it out. This is
Just a general history of where he comes from. Peoplje
will use the pharoahs or a curse, and something will
ahppen. People will walk through this particular temple
and they will die twenty-four hours later. Nobody knows
why. The curse of Mabutu is on that place. Well, he looks
at it and sees that there's a fissure in the thing and _
there's a deadly gas that's coming out of the ground.
Because he's an intelligent professor, he knows his science
and he can sort of deduce a hoax. There was a comic
book a long time ago about a guy who did nothing but show
up hoaxes. It was like Ripley's Believe It Or Not. They
would send things to this guy. They would send him
eight-legged dogs and stuff. It was like a TV show. If
you couldn't figure out how the hoax was done then it
would be on the show. It was all him trying to show
these complicated ways that people come up with hoaxes.
yfftP^V,
6.
G — That was just a side light. When he confronts his
antiquities and stuff, half the time he's dealing with
hoaxes. Not only hoaxes in terms of taboos and things,
but also hoaxes in terms of the antiquities. They send
him out to get them, but they also send him out to deal
with the supernatural.
L — Some of the hoaxes may, have been set up by the
natives.
G «— Yeah. They may be an original native thing, or
it might be some shyster in town who thinks he's going
to pull a fast one on somebody, for various reasons.
It's a millieu I've created for this guy that I think
is interesting because it also makes him somewhat of a
ghost chaser in his own way. I don't know actually how
much of that aspect of it will fit into the script. It's
something I've added to the character.
L — He's bound to run into those kind of things.
G — Yes. The thing is, if he is an intelligent sort of
professor who has experience with the occult and that kind
of thing, then he not only is not afraid to stand up
against any man, but he's also not afraid to stand up
against the unknown.
L — If he walks into a cave and he adds a yellow slash
to a symbol, you don't have to say too much about how he
found that out, you know.
G — We've established that he's a college professor. It
doesn't have to be done in a strong way. It starts out
in a museum. They just call him doctor this and doctor that.
We can very easily make that transition, and very quickly
establish that whole side of his character. In the st^ry
the ramifications of him as a ghost hunter have not been
dealt with yet. But I put it in his character for use
in some other way.
L — (r can't understand what he is saying here, something
about a sword and a basket.) It seems like it would be
nice if, once stripped of his bullwhip, left him weak, if
we had to worry. Just a little worried about him being too..
G — That was what I thought. That's why I was sort of
iffy about throwing it in. If we don't make him vulnerable..
S — What's he afraid of? He's got to be afraid of
something.
G — If we don't make him vulnerable, he's got no problems.
We'll shut that idea for now.
/&>&•'- "*-.
G — The other thing, which is like the Kung-Fu and the
ghost thing, which given the plot and the way it's working,
there's not really time to cope with it in an interesting
way. It's a nice aspect of this thing, might be able to
deal with it, might not. it's not really that important. ' ^
It's the same thing with the Kung-Fu. We might be
stacking too much into his character that is not necessary.
Just the fact that he's good with a bullwhip is going to
be fun enough. You could fill a script. In one way
it's better to keep it clean.
S — As long as he has brains. He should be able to talk
his way out of things.
L — I think that would be his first choice.
G — Right.
i
S — The guy should be a great gambler, too.
G — The thing of it is,. I think it's good if we delineate
a fairly clean'personality so that it doesn't become too
confused.
L — Assume there's an archeologist,who's spent years
studying this, he might have some kind of awe and respect
for virgin tombs. This guy has obviously gone past that
into, "I can make a good living out of this." what's
his stance on this? Does it bother him to go in and...
G — I think basically he's very cynical about the whole
thing. Maybe he thinks that most archeologists are just
full of shit, and that somebody's going to rip this stuff
off anyway. Better that he rips it off and gets it to
a museum where people, can study it, and rip it off right.
That's the key.also. He knows how to enter a tomb
without destroying it. He knows what's important. He
knows not to go in there like a bull in a china shop,
and destroy half the stuff that's valuable.
S — He should have a mentor in this. Somebody you never
see, but he refers to from time to time, somebody you
want to see. The man who taught him everything. The
man who gave him whatever power he has now. Maybe some
supreme archeologist who's maybe ninety years old like
Max Von Sydow, and is dying now. So you know it didn't
start with this guy. There are other greater predecessors
around of this sort.-
L — Is it necessary that he really be trained?
G — It's not absolutely necessary. I just thought it
would be amusing if people could call him a doctor.
S — I like that. The doctor with the bullwhip.
8.
G — It's such an odd Juxtaposition, especially going
around. The first sequence is in the jungle and you see
him in action. You see him going through the whole thing.
^/* And the next sequence after that you see him back in
Washington or New York, back in the museum. Where he's
in a totally academic thing, turning over this thing that
he's got.: Then in the rest of the movie you see him
back in his bullwhip mode., You understand that there's
more to him. Plus, it justifies later things that he...
*~ the fact that he's sort of an intelligent guy. Peter
Falk is one way of looking at him, a Humphrey Bogart
character. The fact that he's sort of scruffy and, not
the right image, but...
, S — Peter's too scruffy.
G — Yes. We'll figure a way of laying that out in his
personality so it's easily identifiable.
S — Remember the movie "Soldier Of Fortune" with Clark
Gable? There was a good deal of Rhett Butler in that
character. The devil-may-care kind of guy who can handle
situations. He's so damn glib he bluffs everybody around.
People think that he's a push-over. He's challanged,
and he always appears like a push-over. But in fact he's
not. He likes to set himself up in these subordinate
roles from time to time to get his way.
yjff^N.
G — What I'm saying is,, that character just would not fit
in a college classroom or even as an archeologist.
He's too much of a scruffy character to settle down. A
playboy, or however you want to do it. He's too much of
a wise-guy, maybe that's a better way to say it, to actually
be a college professor. He really loves the stuff, but
he bacame too cynical, he's too much of a wise guy to fit
into an academic situation, or even an archeological j
situation. He's really too much of an adventurer at heart.
He just loves it. So he obviously took this whole bent
that was different because it's just more fun. He just
can't-settle down. It's a nice contrast. It's like the
James Bond thing. Instead of being a martini drinking
cultured kind of sophisticate, he's the sort of intellectual
college professor James Bond. He's a superagent.
S — Clark Kent.
G — Yeah. It's that thing, which is fun. It's the same
idea, only twisted "around a little bit. A soldier of
fortune in the thirties. And also, when you think of the
thirties, you think of colleges as real institutions.
That whole genre was much different than it is now. And
also, soldier of fortune was a real genre.
S — His main adversaries will be the"Germans?
9.
G — Yeah, I think they should be. I've been trying to
move him around the world a little bit to see if we can't
get a little Oriental influence into it Just for the fun
of it. I may have fit it in. The fun thing is, he's a
soldier of fortune, so we can move him into any sort of
exotic thirties environment we want to.
S — Keep him out of the States. We don't want to do one
shot in this country.
G — I have the second scene taking place in Washington.
It's just interior museum. But at the same time we also
want to keep it, budget-wise, and everything else. We
don't want to have eight thousand screaming Chinese coming
over the hill being straffed by Japanese zeroes, unless
we can find some stock footage somewhere. We want to keep
it on a fairly ... I think generally, over all, I've
tried to keep it on a very modest scale. A la the first
James Bond. A la the first "Hang 'em High" thing. Where
it is essentially a conflict between people and things.
Obviously there is a lot of stuff going on, but there are
certain big set pieces that are fun to play with. And
if we can divide these set pieces so we can shot them
sort of second unit, then we can have all.that fun stuff
in the period, and essentially it's a set piece. We'll
just send a stock footage crew out to get certain things
that we might be able to come up with without too much
money just by sending a camera and crew and getting a shot
here and there of various things that we want. The
concept is that somehow we have to figure out a way of
making this cheap, meaning six or seven million dollars.
S — One thing, there aren't any opticals, so right away
that saves a lot of money.
G — And we want to spend our money on stunts. We want
to have "Wind and the Lion" action. Spend it all on stunt
guys falling off horses, rather than one.crowd scene
scene with sixteen thousand extras for one shot.
S — You can also steal that anywhere in the raideast.
G — Maybe we'll work something like that out. Even then,
for production value and. entertainment value, it's much
better to have a terrific stunt than to have a scene with
eight thousand extras. I don't think we need lots of
crowds.
S — (garbled) You can always get that in some other
countries. It's no problem.
G — It's all period. That's the problem.
S —"In places like Bombay it doesn't make any difference. i*t«fl£\
/*K?»V
J. u.
G — Again, that's one of those stock footage things. You
want to send an "A" camera man and a production manager
over there, tell them to make a deal with some New Delhi
film company to supply fifteen old cars and eight thousand
extras and we'll pay them seven thousand dollars. You
photograph the stuff and bring it back here. Or like
Hong Kong,- go to Run Run Shaw, say we want three shots like
this. You gaff the whole thing and we'll pay you X
number of dollars send. Send your cameraman, or a good
second unit camera man whom you trust, and a production
manager to handle it financially, and they do it, and you
come back with dailies of an establishing shot with
ten thousand extras.
S — You have a small smoke-filled room in Rome with your
two actors..
G — I think we can hopefully sort that out. Part of it
is the energy of making it reasonably low budget. It's
also a test of the idea. If it's good, then we'll be okay.
I think I will go down and describe, roughly, the plot.
After we do that, we can go through scene by scene. Then
we can start the long arduous process of saying, well this
is what the first scene should be and we really want this
scene, but how can we fit it in. and really get down to
specifics.
The film starts in the jungle. South America, someplace.
We get one of these great scenes with the pack animals
going up the mist-covered hills. Very exotic mist-filled
jungles and mountains. There's a... We actually talked
about it a little different from this, but you can correct
me if I have gone off what we had talked about the last
time. i'm going back, I think, to the original.
S — Where he goes into the cave?
G — This is where he goes into the cave. We had it where
there's a couple native bearers, whatever, and sort of a .
couple of Mexican, well not Mexican... Let's put it...
S — They're like Mayan.
G — They're the third world local sleazos. Whether, they're
Mexicans or Arabs or whatever.
S — They carry the boxes over their heads. They fall off cliffs,
G — The sleazos with the thin moustaches. Those are the
peon laborers. And you have the two guys who are the local
gaffers. Foremen, or whatever. The guys he hired. They
speak English. The interpeters, or whatever. \^
/tfffifct.
11.
G — We're assuming at this point that when we come into
^^ it, the talk is like they're all sort of partners. He's
a partner with these other two guys. He said, "Look,
I'll cut you in on the stake. I'll pay you X number of
dollars when I do this, if you do it." We'll they're notvery
trustworthy, Eli Wallich types. They're going up
this hill.- and they come into a clearing and you see the
temple across the way. All. the natives get restless
^ and start to split. One of the guys goes to him and
says, "The natives are leaving. They're not going to go
any further." It's the curse of that Buddha, or whatever.
He says they can probably get there from here without
them. So the three of us can do it. See if you can get
a couple of them to carry on, to come along.
They get about two or three guys to go with them. Our
guy, the other two guys, and about three other guys,
three other natives who are a little braver, they get.
So they continue on into the jungle with the snakes and
the spiders and the bugs and all that stuff, and they
walk forward and all the natives are looking around.
It's all sort of misty and primeval. King Kongish. The
pressure builds and one of the natives cracks, throws
down his thing and scurries off. He splits, and the other
guys realize he's gone and they split. Pretty soon,
when they get right to the clearing, right in front of
'*"~s the temple, it's just three guys. Along the way they
lost the three natives.
Also in the process of this, you understand that the two
guys are plotting against the other guy. Not only is
there the spooky danger of the curse, but you get a hint
that these two guys are plotting against our hero. He
gets up to the temples. They're nervous about the whole
thing. And they sort of sit outside the clearing and
they talk about the curse and about how dangerous it
is, and how nobody had ever survived. We set up the (whole
thing, the perameters of going into that temple. They have
a map, not a map but sort of a crude drawing. It has
the interior-of the temple onit, that somebody else made.
He brings it out at this time, . they're saying that nobody
has ever survived. He says that with this information
we've got here, I think we'll be able to manage it. He
says not to worry guys, it's gonna be okay. I think we
can get in there. We have enough information here where
I think I can deduce my way through it.
They focus on the map as he's-surveying the thing. One
of the. guys tries to kill him anaTtake the map, shoot him
in the back or whatever it was. That's when you first
see him with the bullwhip. That's where the plot comes
'*> alive. When he says with this information, he thinks
they can get in, they don't realize that you have to know . ^ r a * .
G — how to interpet that information. He kills this one
guy and the other guy sort of backs off and says he
didn't have anything to do with it, he's crazy, and I
knew he was a crook. And you knew they were in on it
together, but the guy says, "It wasn't me. It wasn't me."
So he and the other one guy go into the temple. You
know the guy's going to shoot him in the back eventually.
As they get into the temple you get into all these things,
like there's this giant spider in there.
S •,— The thing is, they're walking and our hero goes into
a shadow. When he comes out of the shadow there's two
tarantulas on him. He doesn't notice them right away.
He goes into another shadow, and he comes out with four
tarantulas on him.
G — The other process of the thing is that the guy who
is with him is beginning to freak out. He can't take it,
so he gets to a point where he can't do it any more. He
runs out and that's the last we ever see of him. We
can use him as a foil to establish the pressure. It's
getting crazy with the tarantulas and it's all very
spooky.
We get to a point in the tomb and we do this thing where
there's like this light shaft coming down from inside
the temple. It's sort of a very narrow shaft. The stone
tunnel that he's in is about this wide and right.in the
/JJN middle is a very thin shaft of light coming down through
! a hole, a little beam. You see him look at it. We had
him go through the wall. Actually we had it happen first...
S — What happen?
G — We had it first .where he sees the light and he tosses
a thing in it, a stick, and these giant spikes come out,
and go...
5 —. when the spikes come out and go like that, there should
be remains, skeletal remains skewered on some of them,
of victims that have been there before. It's kind of like
one of those rides at DisneyLand.
G — So he tests it first, and we know...
L — Why are we letting the second sleazo get away? Why
can't we sacrifice him to the temple.
G — We can. I just did it as building the pressure, but
we can keep him in. We'll follow it through, and then
we'll see where you want to dispose of him.
L — If the hero tells him to stick with him, and the guy
/~v in his panic makes that fatal one step sideways, you can
f^ build the terror.
G — The idea of having him in there in the first place
was to use him as a foil for things like where he
starts to walk into that light and the guy tells him
to wait, don't go through there. Then he throws the
stick and it all goes clang. Anyway, they have to go
through this beam of light, they have to go up against
the wall .and sort of get around it. If anything brushes
up against that light... It's great because you can use
it like this, across your.'.. It's all dark and you can
see the light just Just creeping right along the edge
of the thing there. You don't how much it would take
to actually set it off. (demonstrates)
L — And you've got to do the cliche where they're walking
along this ledge just this wide and it just goes into
balckness. And he takes a rock and he drops it, and you
don't hear anything. So they.keep going, and about
twenty seconds later you hear it hit.
G — The idea was there would be around three things, real
neat-o things, like these giant stones that jump together,
spikes that fly out, the precipice thing. Another one
would be a sort of giant stone trap door, I don't know
quite how to describe it.
5 — There could be like wall mashers, stones could mash...
G — We had the one with the spikes, another one was the
trap door. It really isn't the better of the things. The
best one is the shaft of light.
S — I would just love to see the guys walking in and
there's a whole pile of skeletons, but they're like
cardboard, completely flattened, really completely flat.
They know that something around here is going to squish
them. They don't know what's causing it, but something
if they walk the wrong way is going to come out and
make them pancakes. The piece should be like a real,
horror ride, like a DisneyLand ride. Once you're committed
to going into that cave, there's seismic rumblings all
the time and there's stalagmites and things going drip,
drip.. It's going to really be a sound experience going
through that cave. There's nothing more terrifying than
skeletons.
G — There's also things like spiders, snakes. It's very
dark, and all you have to do is cut to a snake slithering
across the ground, and he's walking through. You never
know when a snake's going to be curled up on his leg.
As he walks through the dark there's tarantulas all around
him. That kind of stuff. You don't know what's going to
happen.
S — This is the first scene in the movie. This scene
should get at- least four major screams. The audience
S — won't trust anyone after that. They won't trust
the film.
r G — There's also the thing you can do which is your
famous "Jaws", or what I call the hand on the shoulder
trick, which is not only skeletons, but we can have
skeletons-that aren't that old, they just have drawn
skin all over them, that are lurking in the shadows.
» £ — Falling into their arms. A skeleton comes out of the
cobwebs, and just embraces the guy. The guy eases him
•to the ground.
G — At the more tense moments in that whole thing.
We'll work on that more specifically. Anyway, he goes
through a series of really spooky scarey things.
S — What we're just doing here, really, is designing
a ride at DisneyLand.
G — They get into the main throne room and this guy
can either be with him or not. Or we've killed him off.
There's a temple figure, idol, whatever. I thought
at one time it would be just a little teeny idol,
rather than this giant thing. Voodoo, whatever. If
the idol is really small, it's spookier. Like one of
those voodoo dolls where you're saying this must have
some sort of very strange... So you can almost believe
the curse on the thing. We'd had a thing where there
/***•• was an eye and he tried to pry the eye out and it set
off... He had to. get the eye out without doing... It's
the same thing with the little figure. There's this
little figure sitting on a pedestal, or in a niche.
First of all, when he gets in the room, it's semi-lit
from above. It's got,sort of a sky light. The center
of the thing is this sort of shaft that runs all the way
down so there's sunlight.
S — We'll get (garbled) to photograph this movie.
G — So you can sort of see what's going on. At that
time we're afraid of sunlight and those kind of things.
It's also the kind of thing where he moves in there very
carefully. He moves in and he studies it. It's almost
like a karate or a tai-chi exercise. It's very... You
see him in a very strange, if the guy is still with him,
he says to him, "You wait here. Only I can get through
this. He studies the-whole thing. You see him go
through this very elaborate thing, one of it may be the
thing where he holds out a little' feathery thing and it
.floats down and gets -caught in an air shaft,. So he
knows there's an.air shaft and he goes under it.
'~s- S — He knows it's a trap.
15.
G — All these sort of silent things that are in there.
I know what one of those thinge was, it was poison sticks
that were put into the walls. If you spring something,
it shoots out. They're all over the place. He sees
one, he.does one — twing. Then he looks around and the
whole room is a sort of honeycomb.
S — That's a great, idea.- .
G — There's just holes everywhere. Each one is attached
to a... They don't have to be big spears, they're like
arrows.
S — More like little projectiles.
G — Yeah, little darts. It has to' be"'big-enough :to be
• something. The idea is that one goes out and he looks
at the hole, then he looks up and realizes that the whole
place is perforated with them. It goes off with air
currents, like if an air current is broken, or some kind
of thing. We don't have to fully understand, all the
mystery of light shafts, air shafts, .little things that
are sort of there that he could trip...
S — Maybe he brings his bandana up over his nose so his
breath doesn't get out.
G — The idea is he does an elaborate thing to lift this
thing off. Obviously there's some sort of weighted trap
thing there, too. Then he turns and trips something.
Whether he steps into a light thing, or however we do it..,
Or whether it was the weight of the thing, a sort of
delayed thing. Take one step and turn, then all of a
sudden you hear the... Then we cut to a little insert of
sand going... starting to fill up something. He hears
it and, I have one of two choices. One, he just runs
like hell to try and get out of the room before the
whatever it is... Or, but then I've got all these things.
I want it to be action. He hears the stuff and runs
and as he runs out of the thing, that's when the big stone
goes... But wecan work that out, make It a little more
specific about what exactly the trap is. But whatever it
is, he tips the thing off. You think he's got it, and
right when you think he's got it and he's starting his way
back, he's tripped something. Some kind of a delayed
thing. And you hear some giant mechanism at work inside
the thing that's going to have this awesome thing that
will chrush the entire temple or something. In the
process of this, one way or another, we will have to kill
the other guy off or send him fleeing, screaming into
the_ night. We can do anything to him. It will be easy
to get rid of him if you want. In the end he gets it
and comes out of the temple into sunlight and looks and
he's got the thing, and we cut to Washington, D.C.
i
16.
S — You know what it could be. I have a great idea. He
hears the sand... When he goes into the cave, it's not
straight. The whole thing is on an incline on the way
in. He hears this, grabs the thing, comes to a corridor.
There is a sixty-five foot boulder that's form-fitted
to only roll down the corridor coming right at him.' And
it's a race. He gets to outrun the boulder. It then
comes to rest and blocks the entance of the cave. Nobody
will ever come in again. This boulder is the size of
a house.
G — It mashes the partner.
S — Right. The guy can't run fast enough.
G — It's all that kind of thing, stone. Ancient gyrations
of things that are so fun. It's really sort of "Land of
the Pharoahs" stuff. Giant crazy traps that were set
so long ago to keep people from getting in there. The
idea is to keep it as a fast... 'Cause in the end all
it is is a teaser.
The next scene is in Washington. He's delivering the
idol to the museum. It's your basic exposition scene,
where the guy says thanks and we sort of understand what
this guy does for a living. He gets his money from the
museum. You understand a little more about him as a
professor and all that other bullshit. It also really
sets up the fact that he's a bounty hunter and he works
for museums. In that scene they set up, "Somebody here
wants to see you." "Who is it?" The curator of the
museum is also a good friend of his, maybe not the mentor,
but he's like an old museum curator. He says, "This is
important. I've got a big job for you now. Well, I don't
have a big job for you, but this man wants to talk to you
about something. You should take it." So they go down
into this office in the museum, and there's this intelligence
guy. Army Intelligence. A couple of them are waiting for
him. This is where we get the big assignment.scene, with
the blackboard. This is where they explain about the ark.
I'm not sure what's it's called, the Ark of the Covenent
or something. It's the Ark that carried the...
END OF TAPE ONE, SIDE A
This ArJtr. in front of the Armies of Israel, made them
invincible. Everything in front of them was destroyed. It
was the most powerful thing.
S — You know what would be interesting to do, George?
(can't understand, something about great murals of the
ArkJ
y^^N.
G — We have one of these. "In Search of the Lost Ark" things
I think also, you've been describing this to people as a
science fiction flint, which is good.
S — I have not.
G — It's-in Rolling Stone. . Anyway, the idea is you explain
the Ark arid the power it held, and the fact that they have
been searching. There's a history of it. This is, again,
where the research comes in„ Phil knew more about this
than I did, and his notes are very sketchy. This is the part
that he laid out. I didn't quite understand it all, but
I do have information on it. It's very easy to follow it.
What it is, there's this Ark, a famous Ark with a legend
that the Israeli armies would carry it in front of them and
they were invincible. The other thing is, which I have
more research on, is that Adolph Hitler, 1936 or whatever,
was a fanatic for this kind of stuff, occult craziness.
We have another book where he was looking for the spear
that killed Jesus, which was in a museum in Czechoslovakia.
Well, he was a fanatic for finding this sort of occult
stuff. He really was, and he searched the museums all over
the world. He had his agents go in to get these things
to make him all powerful. So we can tie that in. The
idea is that he was looking for this spear-, which was a
very famous thing. He stole it from the Czechs and took
it to a museum in Berlin and right now it's... It's
supposed to have occult powers. We'll Just say that Hitler
has been trying to find this, which is history, and he's
also trying to find this Ark. Obviously, what he wants
to do is... He thinks that if he gets this Ark, his Armies
will be invincible, and he will declare war on the world.
S — Which we know he does anyway.
G — Right. But that isn't the thing. He thinks once he
gets this Ark he will be invincible, although he may do it
anyway. But that's why our'hero comes in. He's goinq to
do it anyway, but if he gets this Ark there will be no
stopping him. So they're doing it semi to prevent the war,
which is sort of helpless. They're not really going after
the Ark for its supernatural powers. The Army isn't. -The
Army just wants to keep it away from Hitler. They're
afraid if Hitler gets it, he'll just declare war that much
faster, and that will give him sort of a... There can be
some interesting discussion here about the kind of stuff
that Hitler does, and about the history of the Ark. We
set up that our agents have intercepted information that
the Nazis have found the Ark, or that they know something
"about the ark. It has been located, or something. What
they want him to do is get it before the Nazis do.
L — What does he know about it so far?
/<*^\
18.
G — He doesn't know anything about it. He can know a
little bit. "Yeah, I've heard of it." We make it so he's
not completely ignorant of the situation. He knows more
about the Ark than he does abo-.it the Hitler aspects of it.
We can play that scene rather then one guy just explaining
the situation. We can play it where he's sort of explaining
some of it to the Army officer or something. Or maybe he
knows more about it than the Army guy does. Maybe the
Army officer is misinformed about some things. We can set
"" it up so it works as a good scene. Because essentially the
scene is "This is your mission."
L — Maybe the fact that he knows more about it than they
do is the turning point of the scene. He sort of talks
himself into the job.
G — One of the things of his character is that he is very
skeptical, very cynical. In the beginning he is reluctant.
"The Germans haven't found it,, for Chirst's sake. Those
guys are running all over the world being crazy. That's a
real myth." He sort of doesn't believe it. It's like a
wild goose chase. He isn't even sure it exists. The thing
of it is that in the end they convince him to do it because
they say this Professor Erich Von Daniken,. or whatever,
this German version of himself is the one who found it. Or
the other possibility is they sent a messgae to get that
guy to come. We want to get a German arch-rival involved
in it. We thought at one point he would be the Donald
Pleasence character, or whatever. The other idea was maybe
making him something like Chinese, not German. Make him
an ally of the Germans. So we can readily identify him.
When you have all these Germans, you know which one he is
immediately. So he would be different from all the other
bad guys. Also, it wouldn't be so much of a coincidence
that his arch-rival is a German, and happens to be a Nazi
like all the others. His arch-rival is really a top smuggler,
diamond dealer, antiquity... He's the corrupt version of
our guy. He's the one who really goes in and rapes the
temples and steals all that stuff and sends it off to private
collectors, and takes antiquities and breaks them into small
pieces and sells each piece for the price of the original.
He's-a real corrupt guy. Maybe he's the head of hiw own
museum or something. He's sort of legitimate, only he's
a real corrupt person, and our guys knows that. That guy
is also very intelligent, he's like Moriarity. If he
thinks the Ark is there, then there must be something to it.
"I don'-t care shit about the Germans, buy by God. I'll
stop him from getting it." So it becomes a personal grudge
thing..
S — It"has to be, because -there's nothing-in it for our
hero. They're not going to give him any more money, and
-N they're certainly not going to give him the house he's
^^ always wanted to build. He might be very cynical about it
(" until they tell him who might have it. When that name comes
/jpps
19.
up, his ears perk, and a whole change comes over him. You
realize that this thing goes way back with this grudge.
G — They offer him money in the first place, but he's still
skeptical. They offer him a lot of money. "That's only
if I get .it. and I'm nog going to get it. It's Just a wild
goose chase. There's not enough in it for me." Maybe
they add a little bit more'money, or they give him a guarantee,
whether he finds it or not, Or something Just to find out
what the Germans know. "Then I'm just a spy. I'm not a
spy. I'm an archeologist. Why don't you Just send one of
your guys over there to do that?" They say their guys don't
know an Ark from a bathtub. Then they tell him about
the other guy. If he sent the message, then it must be true.
Or better yet, there was a German archeologist who he
.doesn't know who sent the message to bring in the other
guy. Then he says, "Okay, I'll do it. I'm not going to
let him get involved."
L — It seems like.they have a very personal grudge between
them.
G — Right. That's the whole thing. It's a very old
grudge. That's his main competition, when he goes into'
a temple or something, either that guy has been there first
and ravaged it, or that guy and his sleazy henchmen try
and kill him. We can assume that those henchmen in the
beginning may have been working for the other guy. If
those guys had successfully murdered our guy in the first
scene, and gotten what they were looking for, they
probably would have sold it to the other guy* because he's
probably the largest 'fence in the world for that kind of
Junk.
L — Rather than Just a professional animosity—
G — Obviously he's stolen stuff from this guy, and th^ guy
has. tried to have him killed a couple of times.
L — That would. be> part of the game. You know that as soon
as yoetget: holdf at something, that's only half of it. Getting
it bacJfcis* the-other part. I don't know, a girl, a family,
a child?,, something in the past that would make it a step -
over the*-line-from being a professional rivalry. Some
sorrow ln> our guy. who is very cool and you never see it.
6 — 1 don't want to get it too much on a vengence thing,
but at the same time, I think we can tighten it. I don't
want it to stand.out that the only reason he's doing this is
because he really hates this guy. The nice about it being
a more professional grudge is that then you can have a
great confrontation later. If one guy wins fair and square,
they respect each other as archeologists and as opponents. /£ffl$$\
y^*»v
20.
G — So it doesn't become that if he ever gets that guy
he's going to kill him. if it's a real personal thing
like he killed his wife and raped his sister, then as soon
as they meet up, he'd just kill the guy. And it would have
been an all-consuming thing thing. This way they hate
each other, they have tried to kill each other and all that
stuff, so"it's sort of a friendly animosity. They respect
each other and sooner or leter one of them is going to
kill the other. It's Moriarity and Sherlock Holmes. One
of those things where they're constantly going back and forth
with each other.
S — I think he should be German because there's something
nonviolent about the Oriental villian. Certainly he can
use kindo (?) and be good with swords and everything, but
there's something a little more ominous about a real German.
I mean an older German, not a young Aryan. Like the way
Max Von Sydow was in "Three Days of the Condor." That sort
of danger lurking about him. A brilliant murderer.
G — He could be French or Italian No. Italians are too
crazy. He could be an Arab. One of those weasel-faced.
thln-moustached Arab professors.
S — Like Omar Sheriff. I can't thing of many Arabs who
are actors.
i
G — It's the Sidney Greenstreet character. I just think
if he's not German, then it makes it less of a coincidence.
S — Sidney Greenstreet is the type of villian who, if
you pulled a gun on him says, "You disappoint me."
G — Well, he could be Chinese, or whatever. He's not a
real killer or anything. He's just the one who's behind
everything. He wouldn't shoot anybody, but he wouldn't
hesitate for a second to say-, "Shoot him."
S — If that's the case, then he has to have a real rotten...
G — Be>.ha*to be a real slimy villian, a great villian.
S — CHarlle* Chanw a villianous Charlie Chan.
G — One*- o£ those real great characters.
S — A six foot three inch Oriental.
G — It has to be very realistic, a sort of urbane, very
exotic guy, who would run the Shang Hal Museum. He would
also be an international dope smuggler and have connections
all over the world. He could be selling off Ming treasures.
He's a real pirate. He's not a Nazi, he's a mercenary. He's
for hire.
21.
S — He's going to be surrounded by all sorts of brown shirts
Swastikas on the arm. ^AX-M.
G — Right. He's working for the Nazis. They hired him
because they found evidence of this thing, but they don't know
how to go about it. They're hot going to hire our guy, so
the other great guy in the world who does this sort of
thing is this other.guy. .There's the great American western
guy. and then there's the bad underworld guy. They have
this problem of deciphering this sort of hieroglyphic
they came up with this to help them find where the Ark is.,
S — After this, exposition scene, when he's on an airplane
going somewhere, the engines start missing. Right away
there's sabotage. It's got to be the kind of movie where
.you expect the dull spots, but suddenly it gets very
exciting when you least expect it. It's as if the moment
he gets the assignment, they already know way across the
ocean. They already have forces out to get him.
G — They know that the only guy who would ever come up
against them would be this guy.
S -- It really goes fast.
G — Just to move along, essentially he ends up in Cairo
or some exotic middle-east area, which is where most of
it takes place. In the desert, Jordan, Israel, that area.
He's given the name of a man who knows about the situation,
an agent. He goes into this very sleazy Casablance type
club and makes contact with this agent. The agent is
a girl. This part was also sort of Phil's. I wasn't
completely crazy about it. but I'll continue in the way
we had done it. She's sort of a Marlene Dietrich tavern
singer spy. A German lady singer. She's really a double
agent. She knows what the Nazis are doing, and where
they are. He gets mixed up-with her. She wants him to
make her his partner. They sort of have an affair right
away. She knows everything. She wants to get cut in on
his percentage. She's sort of a mercenary. She hates
the Germane* but at the same time, this is her chance to
get out of here, out of this hole. She sort of double
cr osses the Army-. "Look, I'm not going to give you anything
unless you cut me in on this. There's a lot of money in
this one. I can smell it." He cuts her in on it. They're
sort of working together, but they don't really. He can't
trust her very much. .They're the love story aspect of it.
She's sort of a back streets girl- She's having Tan affair
or something with one of the officers, that's how she
gets her information.. She tells him that there's a digging.
That they're out there in the desert and they have found
the opening to a-temple, and they think this ark is in
there. This middle part, part of it is to develop this
relationship. This is where a lot of the sabotage...
>
i
v^*v
22.
G — People are trying to kill him as soon as he arrives,
or maybe even before he arrives, on the airplane. As
soon as he gets there, there are knives coming out of walls,
all these slimy characters are following him, all that
stuff that happens in those places in the thirties. He's
poisoned and all kinds of things. He is trying to make
contact with some other Arab guys who are going to help him.
He tried to look up an old friend in the area and get some
information, and he's trying to get information from this
girl. Finally she gives it*to him, about where the Germans
are. We had thought of giving him another piece of information,
a MacGuffin, that he could take with him to try to analyze.
This whole section is him sneaking around exotic stuff where
he's constantly being... He beats up German agents once in
a while, and we sort of establish the German agent. That's
just for a couple scenes where we set the relationship with
the girl, the tension, some fights in rooms with lots of
boxes. They're trapped in store rooms and stuff where he's
trying to make contact with his friend. He goes out in
the desert and... I'm"not really telling this part right.
He gets this piece of information that he needs. He goes
out and sees the Germans; disguised as Arabs. He realizes...
He's piecing this puzzle together, trying to find the temple.
They have not found the temple, they're just excavating
around here. He realizes the temple is like a quarter of
a mile east of where they are. He goes and he finds it.
It's in the desert, and he digs down and finds a little
tiny bit of ruin. So he searches around until he finds
something like a post or column. He digs into the sand,
a couple of Arabs are with him. There's a stone thing that
he opens up, there's a hole into the ground. He goes down
in there and it's the temple. He finds it and he finds
the lost Ark. He's recovering it. There's a lot of tension
because we have established that everybody is trying to
kill him. People are following him all over the place.
He knows that about a quarter mile east are about fifty
Germans, with disguised tanks and guns. They have all kinds
of junk over there. So he's,working right under their
noses.
The idea in the middle sequence was to create sort of a
race, tension,- who's going to find the Ark first situation.
If he pieces the puzzle together first, he gets the Ark.
He starts- to get the Ark out of the thing, and he comes up
out of the hole, andf all the Germans are there. He's caught.
They take the Ark. Then they beat the shit out of him. He
does some fancy-stuff, but they throw him back down the
hole. We actually have the girl going off with the Germans.
We-don't know what her situation is, but we don't taint her.
But when the Germans show up, she immediately goes off with
the side that's winning. He gets throws back in the hole,
andJthey close the tomb up and leave him there to die.
Then they take the thing back to their camp. Then he sort
of tries to get away when she comes back and lets him out.
Them we realize that she was really... She just didn't want
to get thrown in the hole with him. Didn't think that
would do any good. It's night and they sneak off to the
camp. They go into a tent and start to steal the Ark, start
to take it to a truck. He's pretending, that he's one of I
the Germans, although he's wearing his regular stuff.
Most of the Germans don't know who he is. They get caught.
They're also with another Arab side kick, who also got
thrown back in the thing." A little comic relief. They
pretend like they're supposed to be carrying it. then they
put it on a truck. One guy says a little German, like
he's one of them. There are German civilians and German
soldiers. The guys who have driven up are new guys. Their
truck comes up and they get out. They meet him coming
toward them. ."Oh, good. You have come to meet us." Just
,as they're putting the ark on the truck, the old guard comes
up. They best up some guards as they're discovered. It's
too late and they, sort of sneak off. The trucks take off
into the night. He has to do something fast. Our guy
goes back into camp, jumps on .a horse, and starts chasing after
them. "Wait here. I'll get that damn thing back." The
truck is racing along in the desert, and he races along
with the horse. He jumps on the truck. We had him shoot -
the tires on the back truck, and it sort of skids and goes
off the rpad. Then he sort of turns and goes up a hill
and comes down the other side, and the other truck is there,
and stopped. So we had him get rid of the back truck.
Then he comes up alongside the other-truck. It's one of
those canvas Warner Bros, trucks from thethirties. He
races alongside the one with the Ark in it. He jumps onto
the cab and has a fight.
S — We're going to have a great fight in the truck. They're
hitting each other as the truck goes over these mountainous
roads. They beat on each other until the road gets rough,
and they help each other make the turns. Then they go on
hitting each other. The Gerjnans who are traveling with the
Ark in the back hear the scuffle. They look through the
window and they have to go along the side to get into the
cab. So our hero takes the truck and just peels them off
by. scrapping the truck against the cliff wall. There
are five Germans, and he scrapes them off and five more
climb on. A couple of them are climbing over the top. They're
all trying "to get him.
G — We have our first suspense thing in the temple. Then
there was another one in that craziness that happens when
he gets trapped, and then there's this one. This is one
of the real action ones. He gets rid of the Germans and
gets control of the truck. He has told his Arab friend to
get back to town, Cairo or whatever. In the part where
he's searching around for information,- we realize he has a
couple of friends there. He's sort of well-known. He's
obviously been there a lot before. He has sort of an -
underground there. He has told the guy to get back to town


G — and tell Sabud that he'll need to get out right away.
He'll need a ship or a plane. AS he's going in to town
he's passed by a couple of German motorcycle guys. They
suddenly point and yell at him. They turn around and start
going after him. There's a car chase through the village.
S — Scattering chickens.
G — Little kids running across the street, and the streets
are only this wide, and the truck is that wide. That kind
of stuff.
S — Clothes on clothes lines are trailing after the truck.
It's "Bullet" through the streets of Cairo, its poorer section.
After being chased by two motorcycle guys with side cars,
who are firing on him, they can't do a lot because there's
no war going on in town. They're all strangers in this
country. They crash into walls and all those kinds of
things.
He finally goes into a garage — zip, clang, close the doors.
His friends are there. They pull it out and this is the
first time we see the Ark, except we don't really see It.
It's in a big packing crate, sort of a coffin or something.
Can we see it?" "No. No. I have to get this out of here
now. What arrangements have you made?" "I couldn't get
you a plane, but I got you on a boat." The boat is a tramp
steamer, a pirate ship, a Chinese tramp steamer with guns.
S — The sheet metal folds down, the canvas comes up, and
there are three inch deck guns.
G — Our guy gets on the ship and then he realizes they
are a bunch of Chinese Pirates. He sees the guns. "We
don't ask any questions. We're reliable." His friend tells
him that this guy is really trustworthy. He's a pirate and
everyhting, but he's really good. He'll get them out of
there and he hates Nazis as much as they do. So our guy
says okay. As the ship starts to steam out of the bay, the
Nazis are coming down the docks in trucks and cars. The
ship just gets away from the dock. The Germans are standing
there as the ship pulls out to sea. The captain tells our hero
that he must have really done something to make the Nazis
hate him. They talk and become friends, sort of. "we
should have you in London in five hours, or whatever."
"Fine. That's great. I'm going to get a little shut eye.
It's been a hard day. Wake me when we pass Gibralter."
He goes to bed. Fade out.
Fade in. He wakes up, and the ship has- stopped. He rushes
upstairs. "What's going on?" "We've stopped." "I know*
we've stopped. What's going on?" "Look." He looks out
and there's a ring of Wolf Pack German U-Boats around the
ship. "Shit." They're starting to come aboard. The
Chinese refuse to fire on them. The Germans would sink
the ship. The Germans come, aboard and start looking around
and they ask the Chinese (garbled) They take the Ark
and row it out to one of the submarines, and the Germans
start to depart. We see our hero swimming, catching onto
one of the submarines, the one with the Ark in it. The
submarine starts taking off. our guy yanks himself up, runs
across and gets up "into the tower. The submarine starts
to sink. It never goes below periscope depth. We see him
sort of hang onto the periscope. There's a scene with the.
Germans inside. "Achtungl" They go to the Greek Islands.
Doors open into one island, and the ship goes, in this typical
German submarine base under the island. He gets off before
it goes in. They take the ark down into a thing... He has
had a run in with this professor in the running around
sequence in Cairo with the girl.
L — Didn't he see him at the tomb?
G — Yes. Both times. So he is at this base and they take
teh Ark and take it into this... There's a thing about the
Ark, I don't know what it is, something about where they
set up sheets and stuff in a certain way. This is again •
Phil's information. They had to set up various interlocking
tents, according to the legend. In this giant cavern they
set up these tents, a maze of nylon stuff. So he sneaks in
there past the guards, past all this stuff, and goes into
the thing. The bad Nazi and the professor, our nemesis...
There's this vicious Nazi General who is the sort of sidekick
killer, Mr. Skull and Cross Bones. They are both in
there, and he's anxious to have the Ark opened; The professor
is a little leery about the whole thing. "We have to be
careful. We should deliver it to Hitler before we play
around with it." "No. No- I have to know." They uncrate
it.
This is the part that's left to interpetation. My feeling
was that maybe it was a little unbelievable. Our hero gets
into the room. They catch him. There's a fight. He's
being led away. He gets away with a little trouble, and
hides. The guys now open the crate up. They open it and
just as they open it, this lightening bolt or electrical
charge... The whole thing becomes like kinetic energy, with
lightening arcs. It's very quick. Like a lightening rod.
it attracts static electricity. The two guys get fried.
At this point our guy is sort of helpless. The tent
bursts on fire. All the guards turn around and look.
In this confusion is when he takes the opportunity and
splits.
L — Who gets fried?
G The professor and the Captain. All the Nazis are
yelling about putting the fire out. They put it out.
Our guy is hidden during all this, but he can see it.
Now we cut to smoldering ruins. Our guy sneaks in there
and gets the Ark and hustles out with it. This is more
or less the end of the movie.
S — There's no confrontation now with the arch-rival.
G — The confrontation takes place just before that. They're
starting to unpack the whol'e thing when he shows up. Then
- they have their confrontation. They get into their fight.
Our hero is beaten up, subdued. "I have the last laugh
on you. Send him to the sharks." They're leading him
away and you think that in the end the bad guys have won.
Our hero is being led out to be killed, and they're going
to open up the Ark. When they open it up this electric
stuff happens and fries them. Our guy gets away. Now we
cut to the smoldering ruins. The Ark has been pulled off
to one side. We see our guy grab the ark and sneak off.
Cut to Washington. Our guy is getting congratulated. The
end. sort of, is that he takes the Ark... It's crated up,
no one even looks at it. They crate it up put it in an
Army warehouse somewhere. That's how it ends, very
bureaucratic. The feeling is that the Ark is the real
thing, that it really is a very powerful thing.
S — Supernatural.
G — It's sitting down in the government warehouse. The
bureaucracy is the big winner in the film. In the specific
scenes, it works out that he gets beat and shit happens
to him in the process. Obviously there has to be some kind
of scene with him in Washington.
S — Headlines — "Hitler Invades Poland"... Without the Ark.
G — The problem with the girl is that we had the ending and
everything, and I didn't know how to get the girl on the
submarine, and she just sort of drops out. You can't take
a girl through that kind of story. We rationalized that she
was German, and maybe could go with the professor or
something so she could be there in the end. The story would
come back together again. She wouldn't be on the ship, but
she would be in the... The other idea was that she meets
the guy when he gets back in the garage. They get on the
Chinese ship together and have a relationship there, then
when the Germans come, suddenly our hero is gone and they
take the girl with them. She doesn't know what's happened
to him or anything. Then he shows up again in the thing.
We had worked it out where we could carry her along. It
did make sense. If she's a German, and sort of a double agent,
you could take her on one side, then take her on the other
side. The biggest problem was how you get her to go along
on everything, apart from the relationship. Obviously you
can develop the relationship between two characters.
All you have to do is get them in the same room together
somehow. These are tangential things.
We wanted to get a clipper, one of those flying boat things
when he goes across the Atlantic. And also we wanted to
get a flying wing out on the desert. Should this be in the
desert or in the jungle? They pull these bushes apart and
there's a landing strip there. This flying wing comes in
and our hero has a fight with one of the guys around the
fly ing wing. There are a few of those adventure scenes
that get stuck under the main plot.
L — In the way you have it now, in the final confrontation
with the arch-rival, the arch-rival is victorious, then
he gets fried by the ark.
G — Right. The Ark is ultimately victorious. The other thing
is, our guy would be really skeptical about the powers of
the Ark, but the arch-rival is convinced that it's all true,
the it has power, and with it they could rule the world.
They sort of trade myths and legends back and forth. In
the end the bad guy was right, and our guy is there to see
it. He doesn't see the arcs and stuff, but he sees the
tent go into a ball of fire. When he gets' back to Washington,
he's telling the guys, "That Ark, it's true. It's the lost
Ark." The Army guy tells him they'll take care of it.
It's all top secret stuff. He gets shut out of it, and
they don't believe him. They just put it away. ^
L — But you don't want him in the tent.
G — Right. I don't know how we get him out, and everybody
else out. The thing of it is, you don't know what's inside
the Ark through the whole thing. The audience is curious
about what's going to be in it in the end. In the Cairo
sequence he has some Arab friends, a family with kids (running
around, but he also has a friend who's sort of another
archeologist, who doesn't like him. They're old friends,
they went to school together, only he doesn't like him,
'cause-he doesn't like what our guy is doing. He's a serious
archeologist and doesn't really approve. They have discussions
about the Ark. In the process of all this, they sort of
explain more and more about the Ark, so we don't have one
big long scene. Everybody has different theories about
what's inside and what the power is and how it works.
Throughout the script we're establishing the mystery of
this Ark and what it can do. So at the end, when they
finally open it. it's a big surprise. The idea is, when they
open it up there should be something really neat inside.
This was stuff that Phil was going to research, and we left
it at that. The idea was that it was the head of Jesus
or a scroll or whatever. We never see. All we see are
these electrical charges and stuff. The real theory about
the Ark is that if you take this Ark and put it in this


G — conformation with these tents, you could talk to God in
it. It's like a radio transmitter. That's the real legend.
That's what they used to do. The Israelis used to set
up these tents and they would talk to God and God would
tell them what to do. And then they would march with it in
front of their army. The other Armies would be destroyed.
Our idea was that there must actually be some kind of
super high-powered radio from one of Erick Von Daniken's
flying saucers. The fact that it's electrical charges makes
it vaguely believable. The idea was that if it was the right
kind of trunk... We have to get descriptions of what it
looks like, but supposedly it's like a big trunk. It's
like a car generator that you crank and it goes... When they
opened it up you had that sense of some kind of kinetic
generator which creates a tremendous amount of static
electricity. There are all these religious trappings and
interesting mysteries and occult stuff, and at the same time
it's something that people can carry around. It's a big
thing. We have great scenes with these poor little ARabs
trying to carry this thing to the truck. It's easy on
basic plot to lay out the good scenes, good cliffhangers.
In that sort of amorphous area in Cairo, that's where
we can fit some in. In the essence it's Just bullshit
stuff where he wanders around Cairo trying to uncover the
mystery of his puzzle. At the same time you meet all these
interesting characters and every once in a while somebody
throws a knife at him, or he beats somebody up, or somebody
beats him up. typical middle-eastern stuff. What he's doing
is going around getting the pieces of the puzzle. He starts
with one piece and he gets another piece from his friend.
The girl has one piece. He gets a piece from the Arabs
who stole it from the Germans. He finally gets all the pieces.
L — The Germans have how much of it?
G — They only have like two-thirds of it.
S — But they have already done the groundwork.
G — Right. They're working with two-thirds, and they think
they can figure it out. He has his pieces, and he gets a
drawing of the German's piece, and he fits it all together.
The Germans have found some ruins, but they haven't located
it yet. It's part of a lost city.
L — Where is it when they throw him back into the tomb?
G — I had it about two-thirds of the way in. Once he
gets the Ark. the whole thing is -like a chase right to the
end. Either he's chasing them or they're chasing him. It
goes very fast. There's a little respite on the boat, but
all around that it's a chase scene. Then he follows them
into the cave, and you have the end of the movie.
END OF TAPE

'RAIDERS" — TAPE TWO
S — ...a double agent, maybe. And I know you don't like
the idea of somebody just tagging along for conversation.
but make her someone who wouldn't have been in this picture,
if she weren't in this picture, a lot of this stuff wouldn't
have taken place. As the place is crashing, she's the pilot.
They're going to crash land together. She's really angry
at him. She gets involved-in the plot, and is useful. She's
not just somebody to be around for comic relief or romantic
relief. Rather than being a kind of quasi... In the Dietrich
mold like a double agent,
G — It's more of a plot thing. I had her a German double
agent who was stuck over there. Then we can use her in the
plot. She sort of has access to information. She is useful
and tied in. It has to be something where they're sort of
tied in together onthis thing, where it's conceivable.
Again, she doesn't have to be German, she could be American,
she could be French or whatever. But I don think that we
should come up with some reason to keep her from being
just a tagalong. The only thing I can come up with is that
she's sort of a mercenary, and she' somehow involved. Like
she has a piece of the puzzle, rather than being forced into
the situation. Because if she's forced into it, you're
constantly fighting to try and keep her there. Every scene
you're going to have to explain why she's there and why
she doesn't leave. Half of her dialogue is going to end
up being "Smokey and the Bandit" dialogue. In this we have
to come upwith something so we're not constantly justifying
her existence. She has to be there for a reason. I'd say
greed.
S — If she's a double agent, I think it would be interesting.
He goes from Washington to where?
G — To Cairo. We can have him go anywhere. The concept
is that he's chasing a puzzle. He's got one piece of it,
and he thinks he knows who has the other pieces. So you
can send him to Hong Kong. I was thinking you could do a
tiny piece in Hong Kong where people are constantly trying
to knife him in the back and shoot poison darts into his
ears. You had mentioned that you didn't want to spend all
that time in the desert, so you can condense some of that time
by taking the stuff that could happen anywhere, which is the
finding pieces of the puzzle, and put it where ever you want.
S — One thing you should d o — He's on this airplane. There
are about four or five passengers around him. He's asleep
and these passengers are looking at him- We don't know why.
They they all get up and put on parachutes, and they jump
out the door. He wakes Up when he hears the door open, and
realizes he's all alone. The door to the cockpit is
locked- The airplane begins to go into a spin. He's trapped
in this airplane and it's going down. The whole thing
was a set up. That's a great cliffhanger, to see how he gets.
out.
G — That's great. Then what happen?? One sentence further
and it's a great idea.
S — Well, he's never flown an airplane before, but he
kicks in the pilot's door- That would be interesting,
he's never flown before, but he brings it down. The other
thing would be if he knows how to fly, but he's too late.
It's one of those jungle scenes, you've seen where the
plane crashes into this dinosaur infested jungle, only now
without dinosaurs. He has to bring it down over the tree
tops. Either that or he crashes into the Mediterranean,
into the water.
G — Part of it is stylistic, but one of the things that
works in movies is when the guy gets out of that situation
in a unique very bravado sort of way. He has to do
something so audacious that you have to say, "I'd never think
of anything like that." And he gets away with it.
S — One of the things he could try, although it takes away
from the suspense... If I were him, I'd jump at the lastminute
with a parachute.
G — The way to do it is to have him... You have seat covers
or something. He starts ripping off the seat covers and tying
them together. Then he jumps out holding all these seat
covers. That's sort of unbelievable. If you could make
something like that believable. He's over the water. It's
James Bond. Not only do you have to get him out of it,
you have to do it in a very colorful way. I'm not saying
that you actually have to be clever, just make it believable.
Sometimes he does it- in a totally outrageous way. but it
works and it's truly great.__
S — One thing he can do is wait until it's almost crashed
into the ground and then jump out and land in.a tree, or
on a roof top.
G — If we take him from Washington, why don't we take him
to Hong Kong or Shang Hai. That's- a great place. It's
more exotic than Hong Kong. So he's crash in the water,
with islands and Chinese junks.
S — He does this. Under his seat is a life vest or a
life raft. He takes the life vest out from all the seats
and he blows them all up and he gets inside, and is completely
insulated. Then her jumps out of the airplane. He just
surrounds himself with these huge cushioned items.
G — Did they have those things in '36?

S — They had them in all airplanes.
G — That's a little research item. They might just have ^
had life preservers. If they had life preservers, you could
more or less do the same thing. If he's over water, the '
plane could be going down at a steep angle.
S — The other thing he can,do that's more in keeping with
the heroic side is, rather than abandon the plane, he could
kick down the door and we see the ocean just coming up at
him. He'd pull the plane up at just the last moment.
That's the old cliche shot; The plane is bellying on
teh water. The water bursts through the cockpit. The
plane begins to sink, and that would be interesting. He
gets out of this sinking airplane and finds a vacuum. He
takes a big bteath of air. He can't climb out until the
pressure is equal. That means the whole plane has to be
under water before he can climb out the window. Then he
just climbs out the window and swims to the surface.
G — I like the part where he jumps out. That's a clever
idea.
L — What if he makes himself into a ball with the life
preservers and just goes skipping into the'water.
G — If he like he ties himself into a ball with these
preservers and he jumps out at the last minute.
L — If there were a life raft he could enclose himself
in it.
G — That's a good idea. I'm just worried they didn't have
life rafts then.
S — They had life rafts all through the second world war
that were inflatable* I wanted him to be on a clipper.
It's a big plane.
G — Is there one we could use for take off and landing,
and use a miniature for the crash.
S — I heard that there's one left in South America someplace.
G — I just want to send a second unit to shoot it taking
off and maybe get some extrs stuff. If we send him to
Shang Hai we could have him going to see his enemy and we
could connect it rather than having it unconnected. The
only reason we're talking about the Orient is that it's
exotic. He's going to leave Washington and go to three
exotic places. He'll go to the Orient with the crowded"
streets and dragon ladies. Then we send'him to the Himalayas,
with the snow. And then we send him to Cairo. Going
from the Himalays to Cairo he would be going over water.

L — He could land in the snow. One thing about landing
in the water that bothers me is that we end up in the water
on the sub.
G — Actually, he could land in the snow.
S — When he hits, the raft comes open and he has a toboggan
ride.
G — It's even better, because when he thinks of the raft
over, well that's why he thought of it. But if he thinks
of it over snow, that's even more clever. And snow is
soft.
S — If the plane gets to crash in the. mountains, there would
be a huge explosion that we wouldn't have in the water.
The plane is going into a box canyon and the guy has to jump.
On top of a mountain he jumps out. The plane hits the mountain
adn there's a big fire ball. The pieces go everywhere.
He's on thie raft holding onto the ropes, coming down the
mountain. And for comic relief he should go right through
some sort of village, with a fiesta or something happening,
with llamas. He knocks a llama over.
L — There could be a ceremony with monks... (garbled)
They're all looking up.
G — It can be amusing, but at the same time it has to be
very realistic. It has to be what would really happen.
You have to believe that someone could live through it
like that. We have to concentrate on keeping it clean and
not go through unnecessary explanations. The fun part of
that flight is that it comes out of nowhere. You just
don't expect it. It's great if it's the second flight
in the movie. We'll -cut to him flying various places.
We want to get all that great period stuff. We have
all these flights, and then .suddenly you cut inside
to all this craziness going on. I think he should go to
Shang Hai to find this guy, his enemy. We get a little
more information about the enemy. Also, maybe he gets a
piece of the puzzle that sends him to the Himalayas.
L — "(garbled, something about a museum)
G — Right. Sort of the Shang Hai Museum of Modern Art.
L — He knows his enemy is in Paris, so he's on his own
protecting the museum, his henchmen are. Is there anything
our guy can do to pick up whatever information his enemy
already has? Somehow see the information that has already
passed through that room?
G — Right. He's trying to find out what that guy knows.


L — It takes him right to the heart of the other guys
strength.
G — I like that. We can do that easy. Before I had the
girl providing that. We can decide which way. I had the
girl get a copy of the drawing. If that guy had it, it
would have to be in a safe or something. (not clear, something
about an indentation)
L — Exactly how do you see this puzzle?
G — I see it as a tablet, a piece of stone with a map.
It's not really a map. It's a description of the site. It's
like a plan of the city. It was drawn at that time. And
it has hieroglyphics on it telling the legend. It's an
architects drawing that was done in stone, and it shows
the placement of various temples, and of the Ark. The tablet
was found out in the desert where the Germans are. it has
to be the lost city of something.
L — Does it lead you to the Ark?
G — It shouldn't be something that shows you where the
Ark is. It shows you where a certain temple is. If you
find this city, and you have the map that'shows you where
this temple is, then you can find the Ark. Otherwise you
have to dig up the whole city. The Germans have found the
lost city. And they have two-thirds of the map, which
maybe they found when they were digging. Other portions
of this map have been found before, antiquities in various
museums and other places
L — Let's say her father is there. Her father may have
been his mentor. He has been working on some unrelated project.
But it was her father who discovered the first fragment of
the map. She has it. Her father dies. That's why he's
going to Nepal, to get it from her. That's why they know
each other. That's why she's reluctant to part with it.
Does any of this sound possible?
G — Sounds possible.
L — so they have a previous relationship through her father.
G — The other thing we can do, twisting what you've just
done with what we've already got... My immediate reaction
is to shy away from the professor's daughter goes along.
But what if we do it, and since her father dies, he left
her broke. He was an archeologist and le left her so broke
she didn't have any money to get back. So she's stuck there.
She runs the bar. She's the local Rick. Sort of the
American Rick. She's sort of goofy...
S — Earning money to get back to the states.

G — Yeah. She wants to get back. She's sort of made it
her hone. She started out maybe singing or being a call
girl or whatever. Eventually she bought out the guy who
ran the place, or he died. Now she's got this little
tavern, and she's doing sort of well. She could only
sell the place for as much money as it would take to get her
back to the states, and then she would be stuck there
with nothing, no job. What she'd like to do is really
strike it rich. But she doesn't see any way of doing that.
She's sort of a goofy tough, willing to take care of herself,
mercenary type lady who's really out for herself. She
has this piece and he wants it. so what she does is cut
herself in on it. "Look, you're going to have to take me
along with you." "What do you mean?" "Partners-. I have
one piece. You have the other." That old story. It's
kind of the thing where she wants to go back to the states
in style or something. She doesn't want to get on a tramp
steamer and make her way back, which she could have done
a while ago. She really wants to go back as a lady.
This is her chance. She says she'll sell it to him.
L — This is in Cairo.
G — No. This is in Nepal. She's stuck there.
L — Who are her customers at this Rick's Place in Nepal?
G — There is actually a Rick's Place in Nepal. Bill and
Gloria know about it. They stayed there. It's some expatriot
American who lives there at the foot of the Himalayas.
It's got this hotel/bar.
S — I like the idea that she's a heavy drinker and our
hero doesn't drink at all. She gets drunk a lot. She's
beautiful and she gets really sexy when she's drunk, and
silly. And he doesn't touch the stuff.
L — I don't want to soften*her. I like the fact that it's
greed. I like all the hard stuff, but you're going to love
here-.
G — This is good, but she obviously gets into something
that's way over her head as the whole thing goes along.
L — I wonder if someone hasn't approached her already.
The map has heated up considerably in three weeks. They've
found the town. Does she have some tip off that this is
worth while? When he comes to her, "That's funny. I've
had this ten years since my father died. Now in this
week two people want it."
G — If the Germans got there, first, they probably would have
offered her a lot of money. And she probably would have sold
it to them. Maybe no one knew where she is and he finds
G — her through Washington or something. Some way where
he would know, but no one else. Or government would know
and he gets it from them. Maybe the enemy doesn't know
yet where this professor died. And that would make it
interesting, because supposedly she's secure, and he gets
sabotaged on the way there. You know that they know more
or less where he's going. The immediate danger is that
they're racing to get there. She tells him that if he
wants this thing so bad it'll cost him $20,000. "I don't
have that kind of money. I don't get anything until I
get the whole thing, when we get the Ark. Then I get the
money." She says, "Okay, We're partners." It forces
her to stay with him. If the Germans came and offered her
the money right away, she'd take it. And they would give
it to her. I think it's better, at this point, to keep
the Germans one step behind them. They're one step ahead
in sabotaging him, but they don't know where he's going.
They begin to figure it out, and they decide to kill him
and go get it. They're on their way too. There's another
plane that's flying alongside his that has the bad guys
in it. They're trying to get there first. They just don't
have as specific information as he does. They'just know
he's in Nepal someplace. So we slow them down once they.
get there.
S — She gives him this map right away?
G — It has to be fairly quick. ^^
S — He has to win her confidence.
G — Right-
L — Let's say the Germans are a half hour behind them, and
they're haggling. She is in immediate jeoprady and he
represents some security to. her.
G — Since he got there first, it's too late for them to
try and buy it. All they can do is kill them both and
take it,
S — How would they know where it is unless they torture
her first to find out?
G — They won't know.
S — They wouldn't want to kill them until they have their
hands on the map.
- G — Maybe they'd just want to kill him.
S — She has a rooming house above the- cafe. He hears this
sound. In the middle of the night he gets up and looks
over the banister. There are Germans everywhere. They
have her and they're interrogating her. in the middle
of this empty cafe in the middle of the night.
G — Be comes in and saves her. You sort of introduce her
as a damsel in distress. In the other way she's sort of
a tough girl. Or you could do both. You could have him
come and haggle with her, and have her say no way. "No
money. No deal.". He gets sort of pissed off and goes out.
He comes back later and the place is empty and they're in
.. there torturing her.
L — The thing hasn't been worth anything up until now. so
she wears it around her neck, or it's on the mantle. It's
.like a joke.
G — Obviously it could be something semi-precious to her
because her father gave it to her. We'll assume that she
did love the old coot.
L — He goes off to his room for the night. He gets up;
he's going to steal it. in the interim the Germans have
arrived. When he goes down to steal it, he winds up
rescuing her. He stumbles into this heroic role. She
could doubt his motivation from then on. "You didn't
come down there to save me."
G — We have to get them cemented into a very strong relationship.
A bond.
L — I like it if they already had a relationship at one
point. Because then you don't have to build it.
G — I was thinking that this old guy could have been his
mentor. He could have known this little girl when she
was just a kid. Had an affair with her when she was eleven.
L — And he was forty-two. . '
G — He hasn't seen her in twelve years. Now she's twentytwo.
It's a real strange relationship.
S — She had better be older than twenty-two.
G — He's thirty-five, and he knew her ten years ago when
he was twenty-five and she was only twelve.
-G — It would be amusing to make her slightly young at the
time.
S — And promiscuous. She came onto him.
G — Fifteen is right-on the edge. I know it's an outrageous
idea, but it is interesting. Once she's sixteen or seventeen
it's not interesting anymore. But if she was fifteen and
I he was twenty-five and they actually had an affair the last
time they met. And she was madly in love with him and
he...
S — She has pictures of him.

G — There would be a picture on the mantle of her, her
father, and him. She was madly in love with him at the time
and he left her because obviously it wouldn't work out.
Now she's twenty-five and'she's been living in Nepal' since
she was eighteen. It's not only that they like each other,
it's a very bizarre thing, it puts a whole new perspective
on this whole thing. It gives you lots of stuff to play
off of between them. Maybe she still likes him. It's
something he'd rather forget about and not have come up again.
This gives her a lot of ammunition to fight with.
S — In a way, she could.say, "You've made me this hard."
G '— This is a resource that you can either mine or not.
It's not as blatant as we're talking about. You don't think
about it that much. You don't immediately realize how
old she was at the time. It would be subtle. She could
talk about it. "I was jail bait the last time we were
together." She can flaunt it at him, but at the same
time she never says, "I was fifteen years-old."' Even If
we don't mention it, when we go to cast the part we're going
to end up with a woman who's about twenty-three and a hero
who's about thirty-five.
S — She is the daughter of the professor who our hero was
under the tutelege of. She has this little fragment of
the map.
G — He doesn't have to have the fragment in hand. All he
has to do is get a copy of it, make a rubbing of it.
L — (this section is not clear, something about the fragments
and how he gets them)
G — His first job is to go to Shang Hai, into the lion's
den to get this, which is usually at the end, so this is a
twist. In Washington we have the advantage of being able
to set up anything we want, in terms of information, what
is going on. Say the Germans sent -him the tablet to decipher.
L — They wouldn't do that. They would send him the rubbing.
G — Suppose the rubbing wasn't articulate enough. They
could send a photograph, I guess.
L Let's say the arch-enemy is gone now, but it had been
there in his lab. Maybe the arch-villian has ahd a piece
or two all along. But it was useless to him. Our guy
knows" that it's been kept there. The actual piece is no I
longer there. But it's been sitting on felt or in
glass, and there's an impression of it. >'
G — Well, I like the idea of a sun spot, but then it would
be the shape of the broken piece rather than what's on it.
Again, we can design this however we want. It doesn't have
to be a tablet. It could have been a painting on a vase.
It can be any antiquity that we come up with. It could be
a scroll. Or some kind of a statue or some sort of tall
thing with a very strange design that is actually a design
of the city- People have various pieces of it, something
that's stacked. It could be a thing with lots of little
gizmos in it, very intricately carved. It was the top of
a stack that the mayor of the city carried around. This
would be the sun, and this would be tie city. The city
reached the sun, a symbol. It's been broken into a lot of
pieces. There's a piece at this museum, which is one of
the reasons they would call this guy in. Not only is he
a shyster and all that stuff, but he already has a major
piece of. Say the Nazis only have half of It, or a third
of it. This guy has a third.' So with their third and
his third, they have two-thirds of it. This other professor
has a little piece. Make it quarters, so the Nazis now have
half of it.
S — Can they decipher every piece?
L — The design has the sun at the top of it. What if the
way to the Ark is when the light hits a certain point on
this sculpture it shows the entrance. So if you had the
top half it would do you no good because the sun would be
hitting nothing.
G — If you have enough pieces you can deduce the exact size.
But if the Chinese and the Nazis have two sections, why
doesn't he just go right there and get both of them at once
rather than go to where Just* one piece is?
L — Unless he thinks it's going to be very difficult, as -
it turns out to be,, to walk into the Nazi camp and get it.
G — Unless he thinks the Chinese guy is still there with
both of them. He goes there to see if he can get it, and
finds out the guy is gone. He knows exactly where it is
because he's been there before. But now it's gone. Then
he looks at the shadow. He doesn't know he's going to be
able to get the Nazi piece. Right now he's going to get
all the pieces he can. So he copies the silhouette. Then
he goes to get the part the girl has. From that he figures
it out.
S — How does the audience...
END OF TAPE TWO, SIDE A

G — Or what he's going to Shang Hai for. That can either
be the stronghold of our guy, or not. He can be based in
Shang Hai, or in Paris.
S — I thought he would meet his arch-rival in Shang Hai.
G — Only because of the fact that the arch-rival is oriental.
We don't have to make him Oriental. We can make him black.
The only other thing that gets "complex is if the bad guy is
Oriental and he goes on the Oriental pirate ship, it doesn't
have to be an Oriental pirate ship. Assuming that we don't
make the arch-rival Chinese, make him French. When he goes
to Shang Hai to get the piece that it is a surprise that
it's missing.
I» ~ It could be in a private collection. You wouldn't
have to worry about stills of it. The private collection
it's in could be...
G — Some very rich Chinese war lord. In those days
they had war lords. They didn't get rid of them until the
Japanese came in. A swordsman.
S — That's what happens in Shang Hai.
G — That would be great. The war lords were actually like
banditOS.
S — I'd like to see him taking on a whole bunch of Samurai.
G — It would be Chinese swordsmen, which is different-
S — Maybe we should move it to Tokyo.
G — Shang Hai is good. We could still have swords and
stuff. It's just a different*kind of sword and it works
in different ways.
L — This could" be a Japanese swordsman who was so bad they
kicked him out of Japan. Now he's in China.
G — We have to do some research, but actually the war with-
Japan was going on then in '36. When you send him to
Shang Hai, we'll have to check this, but I think the war
was going on there then.
S — It's perfect. You have explosions and Zeros.
G — The war lords were sort of corrupt guys. If this guy
is in league with the Japanese, we just touch on a whole
other story. This guy is a war lord by virtue of the
fact that he's sold out to the Japanese and the Japanese
are using his influence and his thing as a base for their
operation. They wouldn't be Samurai, but they would be
your Rising Sun guys. Some of those guys carry Samurai

G — swords. His personal body guards could have Samurai
swords. We bring the Japanese into it, and Chinese war
lords. This guy is helping the Japanese to kill and maim
his country, so he's really a despicable person.
S — We have to have a beheading. We have to start this
scene with a mass beheading. We don't have to show-it.
If you were really bad, it took three minutes to cut your
head off. Then the Japanese Zeros strafe. They're cutting
off the heads of Flying Tigers, american mercenaries.
G — He gets on his clipper and he flies from Washington
to Shang Hai. At the end of the temple scene, probably
some transitional device there. We may have some kind of...
L — The thing we've been avoiding is that he could pick
up his piece there.
G — We were thinking that they had already got to it. Maybe
he actually gets the piece there before the other guys get
there. He's one step ahead of them at this point. An
interesting there is how close the Germans are to getting it.
You can have the Germans get it while he's there, and have
him sabotage the Germans just before they -get it on their
airplane. I think it would be good if he got in and got out.
When he gets on the plane you think he's escaping. So the
whole thing, where he's going and everything becomes a real
surprise.
S — This is where we can do our fist fight with the flying
wing. We can do that sequence in the Shang Hai area.
L — And then he hops on a DC-3. which is their plane. It's
the sabotaged plane.
G — One of the reasons I had the flying wing in the desert,
landing on a secret desert oase, was the fact that I assume
that when we get it we're going to have to get it out of a
museum somewhere around here, and we might be able to take
it out to a desert around here. The mojave or one of
these Air Force bases out there. It's clean, they can
just fly it in and fly it out. It's sort of second unit.
Fly the plane in, stage the fight, and fly it out agan
without having to get into a big deal about getting it to
a difficult location. Those flying wings are so dangerous
that you can't fly them any more. But they're still around
some where.
L — How many engines do they have?
G — Four. It depends on how big it is.
S — Is it the B-36 with eight engines backwards?
G — Yes. The wing has four engines backwards. If he gets
42.
G — into Shang Hai and he pulls off this thing, we have
to figure out... Obviously it moves fast enough that we
don't have to rationalize a lot of what we're doing. If /fm'' the expert landed in Cairo, he would think the same thing
^ our hero would think, and he would have had the Nazis wife
to Shang Hai and have the Nazi agent there contact this guy.
L — At"the same time the fight is going on with the Samurai
the Germans can be going through the formality with the
Japanese and the Chinese war lords about coming down and
"" getting it. When they open the door, he's going out over
the roofs.
G — Another way to do it would be to give our guy a jump a
little bit. In Washington they tell him he has to get on
it right away because the Germans have found the lost city
or whatever two days ago. A lot of activity going on out
in the desert. They've contacted his old friend. They're
talking about the Ark. Somehow they say that he hasn't left
Paris yet. They think he's scheduled to leave tomorrow
for Cairo. We know that his rival hasn't left Paris yet.
That's when our guy says it must be true. "I need a
ticket to Shang Hai." Assume that the French guy wouldn't
figure it out until he actually got there.

L — That's a question. How hip is the arch-rival? At
this point our guy apparently knows that he needs the
staff. He doesn't know if they've found the map. The
arch-rival must know about the staff.
G — You assume he knows this stuff if his mentor found
the top of the staff.
L — NOW why would the arch-rival, upon hearing the news
that they found the lost city, immediately say "I've got
to get that staff put together."? Why do we have to (have
such a big lead
G — What happens if we don't?
L — It makes more sense if the arch-rival hasn't gotten
all this stuff before. So it becomes a race all the way.
What is the advantage of the lead he's got?
G — That's what it comes down to. It becomes slightly
coincidence, and we have to avoid that, that his mentor
knew all about this and that's how come he knows all about
it. Of course it's not really a coincidence because he's
going for the thing. If he knows the professor, and if
he knows about this particular Ark, he is the one who is
really the expert on"it. but he's very skeptical about it.
He's sort of researched it and his mentor has researched
it, and he thinks it's sort of horse-shit. If they call
him in and say, "It seems the Germans have found the lost
43.
G — city- The lost city is the part that was the myth.
"They probably just stumbled into a big hole and think they
discovered something." "Well, we're sending for this guy."
So then our guy thinks maybe it is the lost city. If it ?
is the lost city, they're going to need the"staff. They're
not going to figure that one out for a while. "If they
have found the lost city and they're looking for the Ark,
they're going to need the staff-with the sun. I know where
to get it, and I've got to*get it right away, before they
get it, and before my arch-rival gets it."
S — Then we'd better cut to the arch-rival away from our hero,
make him a seperate character and let him give the same orders.
G — I think it's better not to. X don't want to set it
up as a race. I think it's important that we set up the
fact that our guy is getting to the thing before they do, or
Is trying to. And he does get to it before they do, and
then he goes to the girl and gets the other part.
L — It seems like he could be Just a step ahead all along.
It could be a half hour or it could be ten minutes,
(garbled, something about guns and Samurai) Do you have
any problem with the fact that they bail out over the
Himalayas when they had all the way from Shang Hai to...
S — No. That's the kind of stuff I like. I wouldn't
question it.
G — It's the crazy Oriental mind. How do we know how it
works. They always wait until the last minute or something.
forced into the situation. So he gets in there. The
_ Nazis are closing in. He has a fight with the Samurai body-
guards and maybe some of the Nazis. He steals the thing.
The great thing we have to set up on this flight to Nepal'
is that our Chinese guys are the ones who booked this great
plane and-all that stuff. So you Just assume that it's safe.
S — They would have done ^his even if he got the thing
safely.
G — Right. We won't explain how they have all this figured
out. The ideal thing is to set it up as safe a flight as
possible. You think when he gets on the plane and sits down,
everything is okay. "Well, we got out of that one." Suddenly
there's no one there. Just as you think he's safe and
there's going to be a little quiet period, he goes on to the
next thing and crashes.
S — Are we going to do the fist fight with the flying wing
here at the Shang Hai airport?
G — No. I don't think we should do that. The fight should
be at the war lord's temple. Then they jump in the car and
race out to the airport. The Army Intelligence' guys and the
Chinese underground guys say goodbye and good luck.
They put him on the plane and they send him off, and he's
safe.
S — What about the Nazis? Are there any close brushes with
them?
G — In the temple he gets caught and has a fight. They
sort of arrive together. When he arrives at the front
of the temple, the Germans are arriving at the back.
L — And the Chinese war lord insists on a sort of ritual
welcome.
G — Yeah. The Germans aren't in any hurry because they
don't know what's going on yet, we assume at this point.
"Well, close, but not close enough." They almost beat
them, but they didn't.
Once he crashes into the snow we don't need to spend any
time there. We Just cut to him hobbling into the village.
Or we can have some people bring him down.
S — After the toboggan ride.
G — The other thing we have to do, he has to hide this thing
somewhere or they'd take it. The one he picked up in Shang Hai
We assume at this point they know that this is the guy and
^rx, they want to kill him, what they also have to do is get
r this thing back. He hides it on his person. We can make it

G — as big or as small as we want. If it's a big stone
thing, then it's going to be a little difficult. We hide
it, and he carries on the airplane a little box about the
right size that he's very protective of. He sets it on
the seat next to him. When all the people are getting out
very quietly, somebody comes over and picks up the box.
"Where did everybody go? Some bastard stole ray lunch."
S — Where does he-meet the girl then, Nepal?
G — Yes. She is running this American hostel and bar. Rick's
Place, in the middle of Nepal in some little village.
L — Do you have a name for this person?
G — I do for our leader.
S — I hate this, but go ahead.
G — Indiana Smith. It has to be unique. It's a character.
Very Americana square. He was born in Indiana.
L — What does she call him, Indy?
G — That's what I was thinking. Or Jones. Then people can
call him Jones.
He crashes into the snow, then dissolve to him with his
crutch or something making hiw way down into a village.
There is a little scene where he gets transportation. Where
he lands is not. next door to the village. We might have
a lot of suspicious looking Himalayans standing around
that you might think are spies. One guy rushes to a telegraph
office. Create a little bit of tension. It's really a
scene where we have him rent a car or something and drive
to the next village.* I don't think the trek is good
getting out of the mountains, 'cause they have a tendency
to be boring. It should be getting to where the girl is.
Again we're just talking about a few shots because we don't
want to spend a lot of time in between things. We go to
- him trying to get a car, then dissolve to him driving into
the town, getting out, looking around. We have established
tha fact that he's going to Nepal or someplace. It's not
like he was going to Cairo and ended up in Nepal.
(long gap in tape)
END OF TAPE TWO, SIDE B
~ G — I have the answer. I had thought that on the sceptor.
on the part that he stole, is information about how tall
the staff was. This thing sits on top of the staff and
it says exactly how tall it was. how many hands high.
No one has ever put it together before because nobody knew
where the lost city was. They had fragments of information
about how this was the staff that the mayor held, that the
sun was the key to where the sun temple was. or had a relation
to the sun temple. But it isn't important if you don't
know where the city ir. or anything. I thought it would be
possible to develop the idea that he's discovering a lot of
this stuff as he goes along. He's interpeting stuff and
the puzzle sort of clicks together. Unless they get all
the pieces, they can't really figure it out.
«
S — Also, the interior of the hole has to be beveled in
such a way that the sun only pierces it at a certain time.
G — I was thinking that the Germans would be doing it
'mathematically and building models* more or less reproducing
what our guy has. They don't have some of the key information,
so they're doing it in sort of rough.' They figure it out
and it points to a building on the map. When he comes
they're in the process of digging at that building. In
the process of the film we get the information that they've
found it. But they haven't. -
S — They're digging the wrong building.
G — The reason is that the sun has changed so -drastically
in the three thousand years or whatever, that they didn't
take that calculation into... If they were all bright
people they would have thought of it. But they're dumb.
The Nazis and his partner.weren't that well-versed in
astronomy and he was. He knew that the asmath was wrong,
and he moves the thing over. You see him digging in one
spot while they're digging in another. Sort of oneupsmanship,
where our guy is brighter than they are.
L — Wouldn't the Germans know that too?
G — Maybe we can cover that by saying that the Germans
thought it was from one period, say two thousand years ago,
and he finds out on the sceptor information that... One
advantage we have is that the whole thing has never been
put together before, and that reveals a new thing. They
had read the two things seperately before, but when they
put it together. I was thinking it either gave you a new
reading on the height of the stick, or it gave you a new
reading on the date that it happened, so they may be five
hundred years off, which would add four degrees to the
computation.
S — Any way you look at it. the whole inside of the staff
has to be cut in such a way that only at a certain time of
day," and only for the distance of the hole,_would the sun
show the exact spot where the Ark is hidden. Yes, if they
had a spotlight they could shine it, and that would the
most expedient way to do -it. Otherwise they would have to
wait for the sun. It's more dramatic to see the sun rising.

S — and he's waiting around looking at this little figure,
and the sun hits it and he marks- the spot. We could rationalize
s~^ it by saying that in that day they didn't have spotlight
units, which they didn't unless you went to Hollywood.
t
G — The thing about sunrise and sunset that I like is that
it gives.-you such a precise thing. When you say noon, it's
very hard to tell when noon unless you have a clock. But
sunrise and sunset is when1 the sun is halfway over the
^ horizon and it will always line up that way, for eternity,
except for the earth shifting, and you fix that with precise
calculations. Also, the time of the year has a big effect.
That would be another part of the calculation they would all
have to go into. I thought we would relate the date to the
summer solstice or the rites of spring or some particular
date, the Ides of March or however you want to do it. What
they would do is not be there on the particular date, but
they know where the sun would be, so they move it sixteen
degrees east and that's where it is.
S — This can't take much time or the audience will go right
to sleep. It has to be quickly explained and accomplished.
G — We have to decide what we want to do. in terms of... We
can have common knowledge, if we want the Nazis to have figured
it out. Do it in general conversation, the height of the
staff was four hands, three hoves high. One point should
/^s be the bugaboo, the date, I think that's a little complex
too, or the fact that the earth has shifted slightly.

L — It has to be information contained on the missing sculpture.
G — The other way to do it is when you put the two parts
together. The general information says that the staff is
four hands high, that's in the textbooks. So the Germans
use that. When he puts it together, right in the crack it's
fourteen hands high and nobody ever knew that before. That
part was on her thing, and when it's fit together you can
j ust see the outline of a one there. It's not four it's
fourteen.
L — And that's- real easy to grasp.
G — So when he goes in there the Germans are using this short
staff. He puts it on a real tall staff and he gets the
right information.
S — They could be a mile away from where he is.
G They're all doing it right, but they have misinformation
because nobody ever put the two pieces together before.
That makes it all different.
S - It's especially good if it's a whole maze where the digs
are that you could very easily get lost in. When he begins
digging on his side, you can always hear the Germans
working on the other side of the city, the echos of their'
equipment.
G — My whole idea, although it does complicate the way
the sun comes through, was that it was all underground.
The main" dig where they found the city was a hole about
the size of a house- When he goes and digs for his thing.
he just measures off into the desert and starts digging
down, and finally he hits something. He opens it up, a stone
or something. So it's just a little hole about that big.
The it leads into a big underground temple. When he gets
' caught and they close him in down there, they just roll this
thing on the hole and the desert'8 like the way it was,
except he's trapped down there. Although he could hear
some of those people, strange sounds. He could- also hear
them in the desert, they're yelling at each other.
L — When he's trapped in- that tomb, he should get out
himself.
G — There are several things of interest that might work
there in terms of the serial aspect of the movie. It's
difficult in the desert, but it is conceivable! (garbled)
...having the room fill with water. Not only do they get
trapped in there, the thing starts filling up with water.
L — Wouldn't it make more sense for it to be sand? That
would be a more logical kind of mechanism.
G — That might be nice. It's not nearly as dramatic.
S — The problem is, you can't shoot the guy under the sand.
The camera is always restricted to just one level.

G — The thing about water ,that's more dramatic is that
when it comes crashing in, it goes splashing all over the
place. One way of doing it, I thought maybe the city was
built on a river. You assume it would be on a river or an
oasis. It wouldn't be built out in .the middle of nowhere.
It's possible that whatever it was dried up over the years.
He would go down and there would be a river or a stream
that he would be working on the edge of. Maybe a flat thing,
and then a cliff and a river bed.
S — Now to get him out of it, which isn't easy. We should
have a hidden granite rock or something. Something, when
forced by the pressure of the water, loosens a rock, that
begins to come out. It would be terrific if he were forced
into another chamber, the water like a big wave rushing
behind him, tumbling him from one passageway to another,
really getting hurt. It knocks him against walls. He
could wash into the German's camp. Does he have the ark
right now?

G — No. They've taken it away from him at that point.
S — How big is the ark?
G — Big, I think.
S — Does' it float?

G — The ark would be gone by then. They took the ark out
and threw him back. I think the ark is about as big as that
fire place, a big box. If he's down in there,.there would be...
again, this is a little funny. There are little beams and
stuff, little trees maybe. Which obviously wouldn't be down
there for two thousand years.. The Idea was, he could take
one big huge beam, as the water Is coining in, and he takes
a little rock. He ties the rock to the beam, to the end of
the beam. And then he takes a couple of other flotsam and -
jetsam sort of whatever he can find that floats, and ties
it about halfway up the beam.. So he's got a beam like this
and it has a weight on one end and then he's.got a bunch of
junk here. As the water takes it up, it rights the beam
up like that, and teh beam is sort of floating there,
suddenly the weight isn't heavy enough for the things,
so it sort of lifts off and it's floating-like this and
he pushes it around until it gets in the right position,
as the water lifts it up, just the hydrolic pressure of the
water lifting it up, because the water can't sink the...
S — The beam would stop at some point.
G — It would stop, but the water would keep rising, and it
would push it down. There would be a tremendous amount of
pressure, depending on how much junk he had tied to it, to
push through something.
S — It's a good idea, but I think that at some point the
equalization inside the... If it's that big of a limb that it's
going to push something out, it's not going to stay upright,
it's going to be floating this way or that way.
G — If it's floating, he'd put a weight on one end and he
could right it. Then he would just keep tying flotsam onto
it. The more flotsam he has here, the more pressure would
build up. My original idea was that he Just took a beam,
and if he shoved it up, eventually the pressure would make
it poke through. I thought it would be some kind of big log.
But I don't know why a log would be down there.
S — I wish there was a way for him to get out of it with
no resources.
L — How's the wafer coming in? Maybe that's the way to go.
Maybe there's a way out at the top of an unreachable ceiling.

G — But then you know if he's getting up toward the door,
he can get out.
L — Let's talk about the Washington scene.
G — It's obviously going to be an expository scene no matter
how you do it. We want to do something to make it better
than just a regular- scene.
S — It's better if there are some mummies around.
G — Our guy should be the one who's sort of explaining it.
L — I like that. They're telling him, but he knows more
about it than they do.
S — Another way to do the scene is, "You think you're so
smart." Because he knows more than they thought he knew.
So they give him test questions. And our guy knows all
the answers.
G — Or it's possible that they know he knows a lot about
this. He knows about it because of his mentor, who has a
piece of it. Which is also why they want him to do it.
This is a unique way — he comes in with the Colonel and the
Colonel says, "What we have here is the legend of the lost Ark.
You know all about that, don't you?" "Yeah, I know every
thing about it." "Here's a ticket to Cairo-"
S — Do it as blatantly as possible. They'll appreciate it.
G — The otehr way to do it is let him know about the ark,
and not them. Have the Army guy say that they found the
lost city. Hitler is going after all these artifacts
He's believes in all the supernatural stuff and everything.
We don't know what they found out there, but it must be
awfully important because they're sending for this professor.
Our guy is the one who puts two and two together. Then
he sort of explains it. " They have all the pieces of the puzzle,
and they want-him to get whatever the Germans are after.
He says, "I'll tell you what they're after. They're after
the lqst Ark."
L — Is there "some way to bring in the mural? They're
completely unaware -of it, and it's right there.
G — Yes, They could have the mural. Maybe they've intercepted
some photographs- of the mural that were found in the city.
They snuck off some copies of the German correspondence,
drugged one of the couriers or something.
L — You're talking about the map of the city?
51.
G — Yeah.
L — I'm talking about the frescos that show the ark being
carried before the Army.
S —The Army crumbling in the path, and the Hebrews valiant
and racing behind the Ark, and thousands of Romans clutching
their stomachs and--light qoming out, and they're covering their ea
they're shouting, a real mayham scene. And our guy turns
and says. "And that's what Hitler wants."
G — You can do thta one of two ways. You can either move
the location or you"can have it in the room. If you have it
in the room it's going to be, "There's the lost Ark, right
there." It's a little convenient. The person we're really
taking on a tour is this Army clown. He's the ignorant one.
So they say they're looking for the lost ark, and that guy
asks them what the lost ark is. Then cut to them in the
antiquities part of the museum. You go into that room and say,
"This is the lost Ark." It shouldn't be right in the office.
S — Don't even cut to the actors. We'll do the whole story
on the mural, with their voices over it.
G — It would be simply that the curator and our hero took
this Army guy. or the two Army guys, to show them the lost
Ark, and say "This is what the Germans are after." Instead
of being an exposition scene it's also a puzzle scene. He it
walks in and solves the puzzle.
S — At the end the Army guy should be completely in awe
of it. "My God, if General Patton only knew." "I'm not
going to tell George. He'd go down there with you."
G — I like the idea-of him putting all the pieces together.
The fact that the Nazis have found this lost city is interesting
to them. The Army guys can give a little bit of exposition
and information about Hitler, and the-fact that he's going all
over the world trying to find Jesus sword and all these
other things.

S — They can give little anecdotes about mystical things
he's been into all this time.
The problem is. this Army guy believed that if Hitler
got this..,, he would be invincible. We can imply that.
S — He didn't even need the Ark to attack. Why wait for
that?
G — One Army guy says, "That's nuts.* The other Army
guy~says it's only nuts if you don't believe in it. But
if you believe in it, think of what you might do.
L And on the basis of that he has to beat the Germans.
G — In the end, the basis could be, "It's not that important
to us. But if it's important to them, then we want it."
S — The Army guy should be the opposite of Patton. He
should think it's all a bunch of bullshit.
G — And why doesn't the Army go get it themselves? It's
too overt an operation for us to get into with the world
on the brink of war. And if we tried to take this 6peration
adn get it through the normal channels, they would laugh
us crazy. It's more of a personal thing for this colonel
or whoever is doing it. "If the Germans want that so bad,
I want it. I want to keep them from having' it." This
is a semiofficial thing. The situation is too sensitive
to waste the energy on something that's so nebulous. But
it's important, so they want to at least send this guy off
'to do it. They just can't do it as an official Army thing.
But if that's what they find, then the museum will pay him
a commission, because they want it. Of course that fouls
up the end. Of course in the end if he tells them it is
a secret weapon and it. destroyed them all, then they decide
not to give it to the museum. They stamp "Top Secret" on
it and shove it away into a vault somewhere.
S — It must be explained somewhere in this scene that this
will not decide the outcome of the war or when the war will
begin. It has nothing to do with that. It will give Hitler
a certain kind of comfort that we don't want him to have.
G — If he gets it, then he will believe that he's invincible.
S — Otherwise the audience will say that this is not very
important. That's what worries me about this part.
They say, "Here's two tickets to Cairo." He tells
them he needs to go to Shang Hai to pick up something first.
He's going to buy this thing from the Chinese War Lord
and he needs X number of dollars to buy it. Immediately he
starts spending money- Or we were going to have his guys
go get it. We have to set up a thing where he tells the
general he's going to Shang Hai. He doesn't go to steal it.
He will have wired that information to Shang Hai so his
agents are doing it. ~
L — That bothers me a little bit because it takes away the.
awesome power of this Chinese War Lord, if you can send just
any operatives who happen to'be there.. He says. "You guys
pick it up. I'll pick it up at the airport." What it should
-be is the War Lord, who is pretty frightening himself, doesn't
faze our guy. "i'll get it from him."
G — It could be that he-says, "I'm going to Shang Hai. Have
two of your best agents meet me there." And I also want

G — fifty thousand dollars. "What for?" "I have to buy
this little artifact. It's a key to this."
L — What happens to that money?
G — He spends it through the rest of the movie.
S — What about a vendetta with this War Lord. The War Lord
gave him a big scar.
G — You don't want to make the whole too ingrown.
S — So there's some familiarity there. Would he think of
this strange War Lord, someone he's never seen before?
' G — Obviously he can be aware of where it is, just as
we're aware of a lot of things in the film business. It's
possible that he knows the guy.
L — He might not know him, but he has to know that it's
there.
G — He has to know of him and he has to know it's there.
Obviously this guy is one of the big art.collectors of the
east.
S — "I worked for him one time. He didn't pay me."
G — Obviously the villian knows he's there.
S — This War Lord should be a completely outrageous character,
with all the armor and costumes. He should be a barbarian.
He only becomes a gentleman around great works of art.
G — He collects it for some bizarre reason. He collects
it because he heard that's what gentlemen do, and that will
make him a gentleman. But lie hasn't the vaguest idea what
it is.
S — That's a good angle on his character. Here's a man
who's desperately trying to become civilized, and he fails
at every turn.
G — Now we cut to the airplane flying across the ocean.
Cut to the airplane landing on the ocean, a long shot of
him walking out of the airplane and down the dock. Cut to -
him in- airport or whatever met by one or two, maybe one
American and one Chinese, agents. He could have sent them
a telegram so we culd zip by a lot of the exposition. "I've
made an appointment to meet with General Fu Man Chu."
Somehow they know the Germans are on their way there. So
they immediately tell him. What _we want to do is very
quickly get rid of all that exposition where he explains
what he has to do

L — Somewhere in here we have to mention the staff.
G — The thing is, do we do it in Washington or do we do it
in Shang Hai? Why would he bother to explain it to these
guys?
S — One of the things is to demonstrate, not talk about
it.
G — The demonstration thing would be with the girl when
they put it together.
S — Another kind of demonstration. Like a beautiful vase
on a table, that is worth a complete fortune, and they're
all looking at this, and a man carefully puts his glasses
on, looks at the vase, takes a hammer and breaks the thing.
He divides all the pieces up to be shipped all over the world,
and sold. "I hate doing this. I hate destroying great
art, but it's a living." Bam. Cr.ash. You realize this
is what happens to all great works of art to make more money
for the greedy bastards. And the audience realizes that is
why the staff is in several pieces.
L — There could be a demonstration of what the staff does
before he gets to Nepal. Show why it's so important without
just telling them, without adding to the exposition in Washington
G — That was the perfect place for it. In Nepal is when
ha talks about, the height of the pole and he puts it
together and realizes it's fourteen, not four.
L — We have to know what he's doing in Shang Hai. If you
don't know about that staff, you don't understand what he's
getting from that War Lord. He can say, "We're never going
to find the lost Ark until-I get the Staff of the Sun."
"The what?"
G — The other way to do it, as I was saying before, is if
they intercepted photographs, which they were sending to his
rival, that have pictures of the floor of the map. And he
knows instantly what it is. It would be good for him to_have
that information. Instantly he knows they are going to go
after the staff. It has been totally unimportant up to now.
Once you have the map, then you need the staff. All of a ^
sudden it's very important. This is a map of the lost city.
The mayor had a staff with the sun stood there, the sun would shine through it and point to
the temple where the Ark is. You could actually explain it
backwards, you start with the lost city and you end with
the Ark. They have these pictures, they found the lost city,
this guy is going, what does it mean? Well, this is the
map of the city. The mayor used to stand in this big
circle with his staff, and the sun would hit the staff and
the sun would then burn into the secret temple of the Ark.
55.
G — Which no one knew except at that time of year, or .
whatever. The guy says, "What's the Ark?" "The Ark is
what they're after." That would work. Then we know everythi,
They say they'll send him to Cairo. He says he's going to
Shang Hai because that's where the top of the statue is.
You don't have to know any more than that.
L — When he gets the part from Shang Hai, and he gets the
girl's part, how much would he have?
G — I think he would have the whole staff then.
L — I was thinking back to where they had part of it.
G — They have the map and they have the research information.
i
L — So it's in two parts, and she is wearing the sun,
and at the bottom of the sun is the number one.
G — Right, at the point where they were broken apart.
L — In Sanskrit.
G — Whatever, it's in Cairo, but it doesn't have to be. I
only use that because it's one of those thirties cities.
In the research it will probably be an Israeli city. In
the middle east somewhere we will be able to.find a plausible
city. We can say we heard about it in Cairo. We can say
wahtever we want.
L — I was seeing it that they had lost it and their fortunes
changed.
G — In the end it will have to be modified to fit the legend.
We should try to remain as consistent with the real legend
as we can. Whatever holes'there are. we can fill. We
shouldn't deny what the legend of the Ark is. The whole
concept was that you could talk to God with it. The whole
thing has to be believable. When people leave the movie
they should think that the Army has this thing in one of their
thousand giant warehouses, and that's where the lost Ark is.
S — Is it in Washington?
G — Wherever the Array keeps that top secret stuff. It could
probably stay there for eternity, because it's lost in the
bureaucratic shuffle. Now, the thing in the Himalayas we
haven't really hashed out.
L — How does he get from where he ends the toboggan ride
to her?
G — Oxen. Some local picturesque travel mode. That^s just
a couple of second unit shots. He's within three hundred miles
I 56.
G — We are getting into a lot of travel and problems. All
you really have to do is dissolve it. One wipe and he's
sitting with her, talking. "Boy, you look in bad shape.
What happened to you?" "Well, I've had a bad trip."
L — Should we have a confrontation between the War Lord and
Indiana?
G — We can have a direct confrontation by having Indy get
caught in the act. He's standing there with the thing as
the War Lord leads the Nazis into the room. That's really
the way it should work.
END OF TAPE TWO-A, SIDE A
G — She's a rough and tumble girl. She says, "It belonged
to my father. It's mine." We have to have a good scene
there. How we get into that scene is the most important
part of it. He jumps out of the plane, he lands, he's all
snowy, he looks around, wipe and he's walking into the
thing or he's sitting there with the girl. Cut to her
saying, "Long time no see." "Yeah, I guess it has been
a long time." Or do you cut to him walking into the bar,
and he sort of walks up and sits down and she comes up
and says -
L — I don't want to throw away their first sight of each
other.
S — I would like very much if she didn't see him at first,
but he witnessed her dealing with a bunch of rowdies. He's
on the other side and he watches her in action. He really
gets a lot of respect for her. She's really grown up.
Then he deals with her.
L — What if we lose him, see her dealing with the rowdies.
She clears the place out and then sees him sitting there.
S — She says, "I'm sick of all this." And she almost has
a nervous break down in front of everybody. She breaks up
a fight and tells them to get out. Everybody leaves except
for our guy. She doesn't know who he is because his back
is turned. She tries to get rid of him.
G — You have to be careful, no matter what you do, when he
turns around it's gonna be "Indy."
S — He turns around smiling. He planned it for the dramatic
effect.
G — It has to be careful. I like the idea of cutting to
her and seeing her in action, tough. She should be Rick,
in control of the situation. This is the normal thing for
her. She shouldn't be hectic or frantic.
i 57.
L — And I like him to witness this. And she doesn't know
he's observing. **%.
G — When they meet there should be some kind of a good scene
between them. He should say, "Where's your father?" "He
died five years ago. I sent you a note. We had to bury him
up here." It's like she's really rubbing it in. Maybe she
didn't send him a note. Her feeling when he walks in is here
is a guy she loved. He left her. She's stuck up here in
the middle of nowhere. All of a sudden out of the blue.
he shows up, in the middle of Nepal. Her first reaction
would be, "My God, what are you doing here?" Or it could
be total sullen... She could still be burning over the thing
and the fact that he... Maybe she did send him a note when
her father died and he never got it.
S — I like the idea that she greets him with disdain when
he first walks in.
G — The fact that she sent him a note when her father died
five years ago, and she was hoping that he would come and
comfort her... He didn't even acknowledge the note.
S — She says, "You're too late."
G — He says he's been traveling around.
L — I wonder if her first reaction isn't to hit him.
Something unusual, not just a slap. First sight, register
who it is, wham..
S — "Still with that right cross I taught you."
G — "Hey, Junie, long time no see." Wham.
S — And she says, "Get out."
G — They should refer to the death of the father. The idea
is that he's there to find her father, his old mentor. He's
not there to find her at all. The father had the other part
and he thinks he might be able to help him.
S — She should have hair like Veronica Lake. You only see
one eye at a time.
^ — When he asks her for it she could be all pissed off
about that stuff, because that's what got her there. She
loved her father, but she puts on this act. It would be
interesting if she were putting on an act, "I threw all
that junk out when he died. It ruined his life and it
ruined my life. I neverTcept any of that junk. He was a
fool." He says he wanted to buy it -She starts pumping
him for money or something, telling him she sold it to an
agent and I can tell you who the agent is if you cut me in.

G — That may be later. She says no. Or maybe she says
she sold all the junk to an antiquity dealer. She tells
him where the junk is. He says thanks. "Was that all
you wanted?" "That's all I wanted." She says, "Well, why
don't you come back and see me later." Some kind of thing
where he.has to come back. Maybe it should be on a personal
level. Maybe they become friends. He leaves and then we
cut to... She reveals thatt she's got it. Instantly you say
she's got it, but she's not going to give it to him.
L — The first tender moment is they kiss, embrace, then
part. His hand draws away whatever was covering it, and
he sees she's wearing it.
G — Maybe she could be very tender about it. She's keeping it
because it does remind her of her father and she didn't
want to give it up to him.
L — He doesn't have to tell her exactly what he wants,
just that it's one of the artifacts her father had. She
tells him she threw it all away. This is the one thing
she kept. You can play it either way. she's holding out
on him or she doesn't know what he's talking about. He
almost walks out. We know she has it, but he doesn't.
G — Essentially, he tells her he wants it, and she tells
him she wants to get out of here, and how much is he willing
to pay for it. But if he went to buy the other thing...
L — That's why I was bothered by the money.
G —Or he could be a nice guy. "Look, I'll give you
fifty thousand dollars for it. I'm just trying to be nice."
"Jesus, fifty thousand dollars. This must be some little
trinket." In the middle of their negotiations the Nazis
come in. Maybe by this time they're out of the bar, gone
to the bedroom. Then the Nazis burst in and he protects her.
He kills a couple Nazis. She says, "What was that all about?"
He tells her they're after her pendant. "This must be some
pendant. What is it, anyway?" He tells her a little about it.
"This must be worth more than fifty thousand dallars if
the Nazis are willing to kill for it. I want in for half."
He makes the mistake of" offering her the money.
L — I like what you said yesterday, which is that she wants
to go back » ladv. The fifty grand would do it. That's
what bothers me about his having the money to give her. She's
going to go through a lot of hell now to increase that fifty
grand.
G — But she doesn't know what kind of hell she is going to
go through.
L — You mean she's been stuck in this hell hole and she's
going to turn down fifty grand?
59.
S — Maybe he offers her five hundred dollars and she turns
that down, them he offers her six thousand dollars. I know
what you're saying, if she got that money, she'd take itand
run. '
G — Let-fs not give him the money then. All we have to
do is...
L — We have a million places for him to lose it. On that
toboggan ride there could be a shower of money, "To hell
with that. I'm lucky to be alive."
G — Or he could lose it with the emperor. He doesn't have
to have it. The only reason he has it is so we know he's
not going to steal it from him.
L — I like him having it and I like him losing it. They're
racing to the airport and the money belt comes off and flys
into a junk. Anywhere along the line.
G — When the Germans burst in, I like the idea that they
can't come to a deal and he leaves. As he walks outside
on the street, there's all these nefarious shadows converging
on this one place. On her place. It's not just a staff
car pulling up.
G — We have to assume that these guys are agents and not
just SS officers. Trench-coated. ^
S — Like the guys in "The Great Escape." He hides in the
shadows and watches all this take place, and he has to get
back to the cafe to save her, rather than just being there
and get caught with his pants down. It's better if he comes
to the rescue.
L — I like the image you conjured yesterday of him being
on the balcony and looking down from above. Maybe he could
do something neat from up there.
(short gap in tape)
G — This is the first time he's come into a direct confrontation
your standard...
S — With Nazis you have to use your fists, because they're
despicable people.
G — That won't be too much of a problem. It's just a matter of
twisting the situations. I think the" first two are unique
enough in their own way not to conflict with this. After
this we don't really have that much more before we really
get him into the real mess. This could be a big fight.
L — And I like the fact that he's somewhere else, either
upstairs or coming back in from outside.

G — It would be nice if they left in a huff, they fought
or something. He left rather pissed. I don't think he
would leave without the pendant. That's the only thing that
bothers me about that.
S — So he goes upstairs and stays up, plotting how he's
going to" take it off her. • .
G — That makes him into a real rat.
L — That's all right. He never does it. What he does is
just the opposite, save her life.
G — No matter how you do it, the fact that he thought about
it is the rat part.
S — Rhett Butler was a rat.
G — He wasn't a real rat-
S — He proved himself by raising her family. Before that he
was a gambler, dealt with cheap ladies.
G — There's a difference between being a*rat and somebody
who's having fun. He never hurt anybody.
L — I'm a little confused about Indiana at this point. I
thought he'd do anything for this pendant.
G — But he still has to have some moral scruples. He has
to be a person we can look up to. We're doing a role model
for little kids, so we have to be careful. We need someone
who's honest, trusting and true. But at the same time he's
confronted with this difficult problem. We have a great
thing when she won't give it to him. She doesn't like him.
L -- What if you see them seperate, and you see them both
thinking about it, and it's clear that she's going to give
it to him. Then he saves her and she doubts his motivation,
was he comi-q to steal it? Or was he coming to rekindle
the .romance? It doesn't have to be crystal clear to her.
G — You could have it where he finds the pendant, they have
some kind of a thing and she hides it.
L — Although in the fight it would be great if she were
wearing it.
G -- Maybe she was writing a note to give it to him, when
they -attack. She takes it -off
L —"I'm enclosing the pendant."


G — If she took it off and it's sitting right there on the
desk, it more or less has the same effect. The Germans come
in and start punching her around and asking where the pendant
is. And it's sitting right there.
S — What's it made of?
G — It's stone. *
L — I thought it was metal.
G — It could be metal. It can't be wood because it's too
old. If it's right there on the desk, the pendant is in
jeoprady.
S — During the fight show feet almost stepping on it.
G — All you have to do is have her have a little wooden
box. She takes the pendant off and puts it in. She starts
writing the note and the Germans come in. One of the
Germans puts his hand on the box and asks where the pendant
is. He comes in and they have a fight. In the middle of
the fight they knock over the table and the little box
breaks open. The pendant goes rolling across the floor.
Immediately you think somebody is going to see it. It's
sitting out there. You're afraid one of the Germans is
going to notice it. He finally gets rid of the Germans and
he picks it up.
L — I love the idea of fire. When it rolls across the floor
could it roll into the fire. You don't think it's going
to burn up, but he has toretrieve it. Maybe at the same
moment he uses the fire as a weapon. I'd love it if he
burns down her only stake in the world, which is the inn.

S — That's a good idea.
L — The pendant might lead him to the fire. He uses the
fire.
G — The Nazis would do that. Let's have the Nazis cause
the fire. He's the one who brought the Nazis there, so it's
all his fault anyway. I like the idea of doing the old
branding iron scene before bursts in.
S — I love branding iron stuff. It's a red hot poker.
G — That's what starts the poker. It starts immediately
on the fight. When he comes in he knocks the poker out of
their hands. The poker goes into the curtains and immediately
starts the fire. They fight. The box gets knocked off the
table. One of the Nazis sees the pendant as it falls, and
starts to go foor it- He gets hit in the head by a falling be
or something. When it's all over they end up with the pendant
and a pile of rubble. She says, "You're going to be a long
time paying for this." The he feels sort of obligated to
bring her along, since he does feel sort of guilty. She has
to sort of insist. That's why it's important in the
first scene that we understand she's a tough broad. She
doesn't give a shit about going out and roughing it up a bit.
But she has no idea what they're in for. She wants to get
out of there, and she still loves that guy.
S — She 'can say. "Charlie, you're my ticket home." Wouldn't
the Germans pull guns and start shooting?
G — Yes, but he comes in and uses his whip. He also maybe
has a gun. You have to decide how many Nazis you want. You
don't have to have twenty Nazis, just a couple of agents.
S — There should be one big Nazi, the torture guy, 6' 6"
weighing 290 pounds, wearing this huge overcoat. He's the
guy if our guy hits him in the jaw it doesn't even, he only
hurts his hand.
G — And you have the local yokels, the two guys with the
tommy guns and the furry over coats, yak coats, just off
the border war, or whatever. Sort of local interpreters
they picked up. Right now we've got about five — two local
yocals, one big Nazi, and two other Nazis.
S — This Nazi is struggling with our hero, and they're kind
of rolling on the ground, and one of these henchmen is standing
at the door trying to get a clear shot because they keep
moving. Two of the other Germans who are struggling with the
girl say, "Shoot both of them." The German who's rolling
around with our hero panics, pulls out his own gun and shoots
the guy with the Tommy gun, kills them both to save himself.
L — All the bad guys in this movie are so vile, they turn on
themselves. Now they're standing on the rubble.
G — Cut to Cairo.
L — Let me ask you one thing about this fight, how gory do
you guys see this movie?
S — Not very.
G — Not very. It should be Saturday matinee violence.
L — How about death by fire?
G That's okay. Now we have two people in Cairo. We have
his old friend, who's an archeologist who's digging out there.
And we have his old friend, the Arab digger. He is like a
workmam/foreraan. He's like his old sidekick. He's got the
Arab kid. That's where they stay. Obviously he was-doing
some digs there at one time, and they go back a long way.
S — He's a Walter Huston Arab type.

G — And he has a young son who's our tag-along.
S — Never stops talking.
G — The crazy little Arab kid that's really a pickpocket.
The old man is poor but very well connected. He's the one
who gets him.the boat and the tools and the information.
Plus, he probably knows a lot about what the Germans are
doing. He's like the chief digger in the area. Obviously
the Germans have hired all these diggers, so he knows what's
going on out there, because they keep telling him every day.
He gets updates on the situation.
L -- How do' you guys feel about subtitles?
S -- I don't like them.
G — I don't either. I think it is better if we don't understand
what they're saying.
S — I like hearing English with a German accent.
G — It depends on how you work it, but I like hearing people
speak in their native tongue, except for people who have a
right to speak in a different tongue. You don't have to talk
to the people who speak in a funny otngue. Only the lead
characters speak broken English, everybody else speaks what
they speak.
L — What about when Indiana assumes German, should we know
what he's saying?
S — When does he assume German?
G — When he's carrying the Ark to the truck. I don't know
that it's important we know what he's saying. There's more
tension if you don't knwo -what's going on.
L — Let's say the arch-villian is French. When he's speaking
to this German...
G — Maybe they_could speak English.
S — Maybe the arch-villian is smart enough to speak German,
but they're not smart enough to speak French.
L — What about the-Arab kid. He's just talking endlessly
and you never understand what he's saying.
G — But if he's going to be the buffoon character, you're
going to want to understand him.
S — Maybe he slows down once in a while to say something
stupid. When he talks fast you just don't care.

G — We might be able to play on that. It's conceivable
that he and his father could speak English because they work
with English archeologists all the time.
L — I'll write the entire movie in English.
G — I think he should go to his friend first, because then
we can get a reevaluation p'f what's going on. We have a
scene around the dinner table with eighteen kids. We find
out that the Germans have made a make-shift staff. The French
professor has made it and used it to pin-point the temple.
They are now digging for the temple. It's great, the Germans
have already found the temple and they're trying to dig it up.
'The old man says, "Don't worry. I'm making it slow. It will
take them forever to find it. We had a cave-in yesterday."
Or maybe he says they will make a cave-in to slow them down.
That's the exposition that goes on in that scene. I wonder
if his friend should be the one who helps find the number.
We don't have time to do that in the Himalayas. Then he goes
- to his friend who is digging on another project. He's working
on the thing he's been working on for years. He's sort of
an east coast Yalie. He's his old roommate. Same age. but
he's gone the straight route. He goes to him at his digs, or
maybe a cafe scene. Maybe he meets him at the digs and they
go to one of these cafes to talk. The guy doesn't like him
too much. You can tell they're close friends, but the guy
disapproves of what Indy is doing. He doesn't hate him for
it, but at the same time he wonders why he didn't go straight.
I thought that could be a place where the friend helps him
put it together. You get rid of a piece of exposition there
about the thing.
L — That would have to be in the privacy of someone's quarters,
not in a cafe. Let's say she's wearing the pendant, it's metal,
and the part below it might be flat. It could be of some
size so that he could strap it to his body. But we don't want
it to be too small, because'then they'd have two small pieces.
G — If it was about that tall and that wide he could either
tape it under his arm or on his ankle, but it would be flat
sort of like a metal knife.
L — I like that his friend and he are. there when he first
puts it together.
G — And his friend helps him. His friend is really more of
a scholarly archeologist than he is. It's old college buddies.
It's "The Turning Point." Originally it was a puzzle that
everyone was puzzling over. And it was his buddy that found
the key. I don't know if the scene with his buddy should be
the next scene. It might_be good to have the Arab scene, then
have an action/danger scene, and then have the scene with the
friend. Then the next place we're going is when he's on the
dune overlooking the camp and he sees all these tanks and stuff.

L — An action scene could be a Cairo street scene, tents
and big sword.
G — They also have daggers. It's the kind of scene where
he's maybe getting followed. A bunch of Arabs try to jump
him in the street and there's a Nazi with them. They know
that he's there.
L — Now she...
G — Tags along. Before, this is where I had her go off
with the Germans and come back with all the information.
But I think we can get the information from the digger.
S — I don't know what we do with her.
G — How about if we have her kidnapped?
S —• Who would kidnap her, and for what reason?
G — The Arabs. Maybe they're going to rape her. White
slavery.
S — I would rather have a plot kidnapping than just a carnal
kidnapping.
G — If he gets jumped on the street and they take her,
it's obviously the Nazis, maybe they're taking her to find
out what she knows. He fights them off, but they get her
in the process. They take her alive rather than kill her
so they can find out what they know and what he's after.
Maybe these are semi-agents of the Nazis, but more agents
of the Frenchman. It's something he is more interested in.
Or they're Nazi agents. One Nazi and a bunch of Arabs. Maybe
there's some writing'on the thing that he can't decipher.
In the scene at the home in. Cairo he's putting the thing
together and he's trying to read some of the stuff and he
can't. He shows it to the Arab and he can't read it. It's
much older than anything he knows. Then he says, "Is Phil
still around?" Yes. Maybe Phil can read it. He takes
the thing to him to try and find out what it says. It's
on the way there that they get Shang Haied. There is
where you can have a great street~fight. Maybe use his
bullship. In the process she gets captured.
S — Whisked away to a waiting staff car.
L — How does he react to that? Does he go on to see Phil?
Or does he go right after her?
G — Yes. It seems pretty mundane that he would go on to
Phil after that.
L — Is there some way to really convince him she has died?

G — That's fun.
L — But you have to do it really well, and I don't know how.
And then he could feel bad' about it until he sees her again.
S — It could be the "Obsession" trick. The car she's in
goes offhand disappears, then appears again, goes off again
and appears again,' then it goes off a cliff and burns. In
fact, on one of those dog-legs to the left they jumped out.
with her and the driver went off alone and he actually crashed.
We and Indy feel that she's dead when we see the car burning
at the bottom of a cliff.
G — That would work. You can sort of. cheat. It's all
images of a girl in the back seat just before the thing goes
over. You don't really see her, but you think you do.
You are convinced that it actually happened. Or, you see
the cars switch, another comes in and takes•over. But Indy
knows and isn't fooled by it. You sort of think that he's
going to go after the wrong car, but he doesn't, he goes
after the right car. And that's the car that crashes. What
we don't know is also in the process of that, there's another
switch that happens that we don't see. There are two switches.
We see the first one happen. The second-one is set up the
same way.
S — That's good.
G — What can he chase them with? What if he jumps on a camel?
S — I love it. It's a great idea. There's never been a
camel chase before.
L — Is this camel going to chase a car?
S — You know how fast a camel can run? Not only that, he can
jump over vegetable carts and things. It could be a funny
chase that ends in tragedy. You're laughing your head off
and suddenly. "My God, she's dead."
G — We have to have another way of getting them off "the cliff.
They start getting on the outskirts of town, going along this
mountain road. He doesn't follow them down the road, he goes
over the hill. You have shots of him racing along and shots
of them racing along. He sort of comes down' right in front
of them, with a gun.- They're riding along and he's pointing
a gun at them, and they go off the thing. That's a way for
him to get them to crash.
S — And he thinks he killed her.
G — "This isn't working out at all." It's a cheat, but
we could have a piece of her clothing or something. Or her
purse.
67.
S — When do we have the big fight with the flying wing?
G — That's once he gets into the camp. It's a secret landing
strip, too. It's what they were going to use to fly the ark
back to Germany. f
S — We still have the big fight in the moving truck to do.
And now we have a camel chase.
G — We've added another million dollars.
S — Not really. How much trouble can a camel be.
G — It will be funny. It's also great because the camel
is so outmatched with the car. Once he gets out of town you
realize the car is going to outrun him. so he veers off. It
has a whole lot of twists in it.
S — And when you cut to a close shot of the hero, it's really
erratic and bumpy. He can go through clotheslines. The car
goes under the clothes and half the clothes on the line are
wrapped around the camel for about a block.
G — Then we have the scene with the old friend. It will be
better because he feels terrible. They can talk about old
times, his wife and his mother and the dorm, whatever.
"This thing has cost me more than I..." And it will be a
great moment when he goes in the tent and she's there all
tied up, ropes all around her and a gag. She's over in a
corner somewhere.
L — You mean she's not going to be in a rolled-up rug? And
he rolls out the rug. So we get rid of her for a while.
G — It's only for a couple scenes. He sees his old friend
and his old friend puts the thing together and gives him the
clue about the change in the exposition. He's mourning the
girl, and that's where we find out It's fourteen feet instead
of four feet.
L — Maybe the friend helps him build the staff. He would
have a lot of stuff, especially at a dig. How are they going
to carry it around?
G — It doesn't have to be fourteen feet. It could be inches.
It has to be in hands anyway. It's some ancient Hebrew
measuring system that's translated into whatever you want.
END OF"TAPE TWO A, SIDE B

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 r;> 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.
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 glr,l. 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, wa'ds 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."
71.
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 putti
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 servants" 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?
t
I 72.
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
/^v 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 onr 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 1
use him there if we want. The girl is going to be sent back
with the kid. The old digger would have all the contact's.
L — Then he goes-out there for the first time, with Sabu.
i
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 thistemple. 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 r 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.
I, — 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.
>S5s" 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 thet
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 no.t 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 dancin
around the campfire.

L — It's sunrise, everybody is sleeping.
r— 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.
r^ 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.
I, — why can't we Have them take him right in?
G — We- can.- *ut 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 r- The guy. should see the kid standing there with the.rope
and ask him to bring it to him.
6 — 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
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.
5 — 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)
6 — 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 fie 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

G — 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 — W e 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
f*^ of burns past it. It's sitting there smoldering- One of
the guys sees it and goes over and grabs it, and then screams.
83.
G — 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,
60 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.
r
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'si 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.
i
86.
S — Why can't they close him in the temple and lock the
door, arid 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
m 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'ssort
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,
S0*^- 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 et 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.- J 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. 5o 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

S — 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 there1 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 can'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.
91.
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 wpuld 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. /"*j
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

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

G — 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.

S — Burt Reynolds. Baryshnikov.
G — 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 steelT
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
97.
S — we shoot this chase should be the climax in terss of
geography. "Where did they find that location?"
G — It would be good if we had two cars, so one gets sacrific
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 ti res.
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 hiils 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 hir.
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."
99.
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. .
B- — When the captain sacrifices himself could be when he takes
after the Germans.
G r- They're maybe going to blow up the ship or something. We're
going to intercut them re-Ming 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

G — 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 froou He thinks VonDaniken'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.

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 bomb 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


G — 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 ypu 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 to
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
2ap 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 watery
the mountain caves in, the submarine is destroyed. Cut out
to the island, you hear a lot of rumbling, a side of the mounta
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 sce.rife 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 i t . .
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.
1S — 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
•*ould 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 atall. 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

G -- 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 ouv 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
carefd '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.
J.J.U.
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
shoot him." She turns around and spits in his eye or some.
"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 leavei 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 happe:
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 shoul
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.
i
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.
i 114.
G — 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're1 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
Like when he gets to this a little slower than he throws it.
S — Fast doors closing are fun.

END OF TRANSCRIPTION

TAPE RECCRDING OF CCNVEH5ATION BETWEEN DEBBIE FINE.
LARRY KASDAN AND PHIL KAUFMAN
PK I have some notes somewhere which I am still trying to find —
we have moved since then and my notes are all packed eway
somewhere and, I don't know — I an missing a few ideas —
I just haven't had the time to go in and find alot of the
stuff. In general, I don't know where you're at in terns
of what you're writing.
LK Just gearing up, really. I've been waiting for an outline
from George.
PX Because the — we were talking, I don't know, I guess pre-
World War II, somewhere around the 1930s, starting in South
America, you know.
LK Somewhere in 1936.
PX Carmen Miranda, seaplanes - whatever that big thing was and
kind of a Middle Eastern adventure based around a similar
idea to something like that book "The Spear of Destiny*
where the Haiis were into mystical cults and so forth, and
they were looking for. in this case, it was a thing that
I, you know, have been thinking about for maybe twenty years
since a doctor — my mononucleosis doctor — when I was in
college, a famous blood specialist -- and he had written -
with another doctor — an article on the Ark of the Covenant
and how he felt it provided a means of communication with some
other extra-terrestrial or God-like or whatever -- it was in
a sense an elaborate radio setup — it contained silk curtains and
veils and other things-- I've forgotten — it's all in the Bible,
Leviticus. Exodus, the second book of the Bible, or whatever -
or the beginning of Leviticus or something. A good part of
that chapter in the Bible is the detailing of the actual Ark
of the Covenant itself and all of the, you know, wood and
how much -- and gold cherubim and there were other components
in there and he was saying that when the gold was rubbed in a
certain way, and silk, and so forth, you have the ability to
remit radio waves or receive, and in that case, the Levites
were the only ones who could go in there and they would have
to take their shoes off — I've forgotten if you — if you
walk across the rug with your shoes off — but there is a whole
electrical charge — it was, in fact, the holy of holies, and
it was, in .fact, a means of communicating with some other being,
that it was a primitive or maybe highly elaborate radio wave
that was on the right sensitivity for this kind of communication."
Page 2
and in fact when they use to go into battle there was a
cloud that hovered over — they carried the Ark with them
in the early days and there was always this cloud that
hovered over the Ark and they were always victorious.
They never lost whenever they carried it into battle. Then
there was some talk that there were two Arks somewhere —
Z remember reading that, one of which was supposed to be on
Mt. Horeb (?). I think, the one that was lost or something
like that and they never found it after the, I forgot, what
was it —
DP Destruction of the first temple —
PK 54 B.C. or something like that.
DP Z was 586 B.C.
a*.
LK That's the last time.
DP Yes, that's the last time — and even then in these articles
that X got there is some discrepancy about even previous to the
destruction of the temple, whether the Ark was still in it at
the time that the Babylonians destroyed the temple. There's
several different theories in these articles, some of them
for Biblical — most of thea from later - Biblical sources or
legends. But basically there is" no - nobody really knows
where it is. It's totally just speculation. Most of it from
Biblical sources.
PK
V
Never has been found and never —• what happened to it'
has never been fully documented — it's all nebulous, right?
DP That's true — that's true
PK It waa ~ but the idea as that whoever had it was invincible
and the Germans being into the mystical thing were looking
for it and they believed whatever that it might in fact have —
these, you know, contain these powers and maybe in the story
they had developed some, you know, mad German something — you
know, not only discovered, like in the sword, er "Spear of
Destiny", the actual thing'— it's like Lord of the Rings, if
you have the ring you have all the power and they were looking
for all the power on earth and in fact, they — the Germans,
with"all their cults of golden, whatever that was — the golden
Page 3
/^*\
rule or something — they were looking all over for ways' of
capturing all the mystical power on earth and our heroes were
racing with them to find this in this area and I told George
the other day that there was a thing on "In Search Of* the
other night — The Dead Sea Scrolls — and there was, kind of
the landscape with similar to what — to where I'd imagine
this would happen — the tents in the desert and coming upon
— suddenly in the Middle East — all of these Nazis who were
out there looking for — tracking down clues to find this thing
if they could in fact find it, all power would be there's —
they would be invincible, and immune. In gong back over the
ancient stories of whoever carried this into battle could not
be beaten, or whatever.
f*t^
DP The only actual explanations that I found any reference to
were not successful at all but it was just presumed that it
was somewhere in the Jerusalem area buried in the tombs
of the Kings of JudaJh and, you know, -that-it would be somewhere
near the site of the first temple so that the excavations were
in Jerusalem itself.
»•*
233&to--.
*:£-•
PK There is another thing, I think it was in the Encyclopedia
Britanica that just speculated on some of these things — the
Americana or Britanica, something about one of the mountains
out in the desert that there waa a thought — it was two things -
there was also the thought that there were two of these around
and there were rumored findings somewhere I read of cherubim —
you know — like there were these things that had been broken
off that might indicate that somewhere in that neighborhood —
like with the Dead Sea Scrolls — there was shot where they said
one day, you know, an Arab, Mohammed A Fuktu (?), or something,
wandered up into the hills and he found this cave and he
- walked in it and little did we know that that day and that .
moment was about to change the course of history and he found
something that was an artifact and immediately brought it to
a guy in Jerusalem who was a — this was 19 — right after the
war — 46 or something like that — and this guy began
interpreting it and one thing lead to another and suddenly
he realized — and the way he checked it was — for authenticity
it was a crumbling piece of parchment — was. that there were
a couple of changes in the document crossed out and corrections
that could have only —» some logical way — have only been
done at the time-— that kind of change and, so — finding a
fragment of the Ark was the way "— almost something like —
you know, I mean, those movies with — I don't know — anyway —
I
Page 4
I am trying to thin) of some of the movies where somebody has
a little piece of something — Sidney Greenstreet would have
something and he would say do you realize what this could mean
and we have reason — my sources have reason to believe that
this is the way — and then you begin tracking down the
mystery and finally arriving at a place and seeing that the
other guys are already tracking it down — "I know where the
black bird is".
LK Right.
DF You could also — well, among the different theoriea — one.
that it was carried off by the Babylonians in the destruction
of Jerusalem — so it could be somewhere in the old Babylon area,
or, also another theory was that an Egyptian pharoah named
Shushak (?) or something raided Jerusalem and took it at
that time.
LK That gets ua to the way we are going•
DF I could possibly be an Egyptian.
LK That could be good for it.
DF But the most likely theories are that Solomon in foreseeing
the destruction of the temple had somebody take it and hide
it in a secret place in what was then the Kingdom of Judah
which was the old Jerusalem and that it'a very cloae to the
old sites there. But you could conceivably do it in Egypt.
LK We've been talking (blank)- Cairo 1936 — so we are talking
about outside of Cairo and if there is at least one rumor —
you know — an Egyptian raid — I would atick with that,
I think, you know, if it's not a big problem. There's
something better, I think, about Cairo in 1936 than
Jerusalem. I mean, Peter Lorre would be more comfortable
in Cairo.
•PK Right, there'* more characters in there. Yeah, you're into
your Casablanca type of setting.
*&Sar
LX You don't remember where the article is that this doctor
wrote. _
PK I wouldn't know, i mean it would be —
,#***,
Page 5
DF Because I got —
PK 1950. somewhere in the early — let's see, somewhere around
1955.
DF I got everything I could find on the subject.
LK Nothing by a blood specialist?
DP Nothing by a blood specialist — that doesn't sound (laughs)
that doesn't mean it doesn't exist, I just —
PK Well, you found that thing that VonDanaken mentioned something.
LK Yeah, he covers about two pages briefly, real briefly.
PK Yeah, but that's essentially the same kind of thing. I waa
surprised to see it. I am sure these articles, whenever
somebody writes anything ~
DF X did find reference to —
PK Somewhat occult all the occultists run out and say "did you
hear this latest thing"?
DF Did find reference to the whole electrical charge business
and all these theories in another articlei X didn't find the
one that you mentioned.
PK X mean I forgot all the details. Other than that, X don't know.
LK So basically, it was your doctor, and his article and VanDanaken,
and the Bible, and nothing else that we know anything about.
PX No, that's all X can think of, that "Spear of Destiny", reading
a lot of that kind of stuff ts find out what the Germans —
I think it waa the "Spear of Destiny", it may be another book
also, just detailing the journey, the mysticism of Hitler.
X think there's another book out about that and just how the
Germans were in fact — really another kind of mentality. We've
always approached them on a political level and in fact they
were approaching things on another kind of Wagnerian, mystical
level and that we just — we tend to explain Hitler away in
terms of just a madman — he was just a bad guy — and he was.
in fact, the guy who was obsessed with the whole ancient I
don't know what, manakaim (?) — there's something, a whole
Page 6
dark side of —
DF The interesting thing I found is the bulk of the sources
are in German and that just might be an incredible coincidence
and because alpt of Biblical research — it's not necessarily
a Nazi kind of a thing — it's just that most of the articles
in book* are in German.
PK 'Well the mystical thing wasn't necessarily a Nazi but it was
- that they picked up on it so much, you know, it was one of the
strange things — you get so highly involved in mysticism or with
' the occult that somehow conventional morality no longer has any
meaning and you get into even Charles Hanson kind o f stuff
where they are all babbling seemingly incoherently but they have
a little unified occult thing that they're talking, you know,
that transcends morality. They- are working in Egypt out there,
somewhere, might be a good idea — or out of Egypt.
LK Outside of Cairo — you know that place.
DF Valley of the King*. Well this electrical charge business
would really work well dramatically because it's like the curse
of when they would open up tombs. It has the same feeling.
Well there is a couple of thing* here — that were —
PK Nobody else wandered into the tomb* —
DF That are reported that in the Middle Ages someone thought
they found the tomb of David and they opened it up and there
was a flash of lightening and were knocked unconscious,
supposedly, from the electrical discharge.
PK And they woke up singed —
DF There's a couple of like recorded incidents like that
although they really aren't documented but they are legend.
X mean there is enough of that sort of stuff that you can get
away with it, X guess.
PX Yeah, all those movies are great; all those mummy movies of
those times; all the curses and all of the prohibitions; if
would (garbled) of serial thing, X mean they always have,
have a forecast of doom and then you have something that
looks like the doom strikes and then you find out that the
doom itself wasn't exactly — when you replay your last scene

Page 7
from another angle things were -- and they manage to -scape
somehow miraculously, (blank). That's all I can think of right
now unless I can find uh —
DF The thing that struck me about this tomb, what's fantastic
about it is if it were ever found, when you think of the
significance of it in terras of making people believers — I
mean if the original tablets were ever found that sort of
thing, I mean there's a terrific symbolic thing to it.
LK. The understanding is that the tablets are still in the Ark.
They've never been found anywhere.
DF They don't talk about it that much except it is presumed
that, of course, the first tablets were — Moses smashed them.
Then the second set remained.
PX These were smashed somewhere in Egypt.
DF So if tablets existed in the Ark it would be presumably the
second set. Apparently God made them again.
LK Re went back up ~
DF But they were brought down from the mountain by a prophet
not by Moses — someone else went up - another nan went up
and brought back the second set.
PX Nobody knows who that man was.
DF I don't know who tfiat man was.
PK He waa the guy who rewrote them (laughter). You can check with
the Writers Guild (laughter).
DF Presumably, it would be that set that would be in it. _
LK And that's the assumption, that they are still in there.
DF But there was another — at the building of the second temple
another Ark was constructed at that time and then after that
they were all just copies or —-
LX In building a second tmeple another Ark was constructed.
DF Yeah, and then —

Page 8
' LK But the first one had not been destroyed.
r DF There are two Arks. The first one, it just vanished, it's
never been confirmed whether it was destroyed or if someone
hid it or if someone vandalized it.
LK And the second Ark —
DF The second Ark, well there's alot of Biblical documentation
about that, it's called the Solomon Ark or something, as
opposed to the Davidic Ark which is the first one, so anyway,
it'* really interesting. It's fascinating. It really is.
PX The one with the little cloud over it* head — like that
character in Al Capp. Remember him? There is a guy who would
walk around with a cloud over his head la Lil Abner — Joel
? — wherever be walked there was a little dark eloudr
over hi* head.
DF The only thing that struck ma about this research i* that there
haven't been a lot of — there is no like serious people writing
about — like speculations about it in thla century. X mean
the stuff that'a speculated is fairly hoaky
PK It'a all hoaky speculation —
DF There hasn't been any serious excavation* or attempt* by
archaelogista to really find it.
PX You want it to be'fun. And it ia one of the great undiscovered
thing*, like they are always looking for the Ark, and in search
of Noasb's Ark and in search of this and that. Those are juat
th* artifacts but thia is a thing that had potency. In it
time it was known to have potency — something — and that's
PK That's a —
DF They carried it around in a cart —
PX What you need, that's the "Lord of the Rings". X mean and it's
amazing that there isn't a single thing that X can think of in
the Bible that has more detailing than that. That is the main
& thing in the Bible that'* talked about. It's half of that
book — I mean it's like really alot of talk about the
k. -construction of this and that in very elaborate detailing of
3 things.

Page 9
LK And you have some drawings is that right?
DF Well there ia a couple.of — they are all juat hypotheses,
I have a couple and what X didn't bring ia all the different
arks that had been made down through the agea.
PX Have people tried to make those?
DF Well I mean the arks that have been used in the synagogues
ever since, X mean what holds the torah now, ia a facsimile,
* but it's not an exact on*. X mean they've changed, like
the style in the Middle Age* we* different from the style in the
18th century or something. But there are juet like two, here
are two, u* —
PX . That'* interesting too, the idea of somebody trying to build
one out of the, you know that thia kind of wood in that time
really was another wood, you know yon find those obscure clues —
that shlttia wood or certain eubies of measurement and you see —
it could be really dramatic to see this because you're dealing
with lot* of device* anyway — Strang* seaplane* or whatever,
X don't know — end they are trying to build something that rN ha* thia magical thing with all — out there in a wind-swept
desert area with different curtains blowing, and silk* and all
of the Arab silkmakera, X mean you could have a fabulous,
ominous sat out there to work with.
DF Thie wee one thing-that, it saya at the Kalmit (?), which X
don't know what that means — this is another onei — movable
sanctuary (PX) — an ark showing an Egyptian — and some say
-it was the size of s desk.
PK The Philistines — but the Ark
DF The Philistine thing is earlier than ub ~
PK But there waa a thing in the thing that contained the Ark
where only Aaron and hia family, only prieata, the Levites,
could walk inside the thing. There was a bigger thing too
where it finally contained. Where was that? There waa a thing
about — they were the only ones.
PX See only Aaron — only those guye could talk to God.
DF Yeah. In the Shilo —

Page 10
LK X think what it is is the tabernacle in the desert - was
waa a tent, you know, it had to be movable.
PX The tabernacle.
DF The Shiloh waa one of the permanent, semi-permanent resting
placea and they had a fairly big thing there — thing that
housed it.
PX Shiloh waa where the civil war battle was. See all the, there's
alot of the smitten people, people were smitten by fooling
with the Ark. One guy got eaeraud* (?), that ia hemmoroids
and a plague of mice waa aeat over the land. Th* infliction
of boll* waa visited upon. Oh, Phlleatlne* on th* advice of
their diviners returned it to the Israelite*. Give it back.
LX That's right and that's one where X found-- and the Etonitaa
carried it ia front of their Army ana soundly trounced by the
Phlleatlne*. It didn't alwaya work.
PX Right, it didn't alwaya work but th* idea waa that it worked
it waa aa eloae as they could coma to the A-bomb ~ to the
bomb, you know, to the big one. Z gueaa that*a
DF There, I'll just Sleep on this for you?
LX All right.
PK Ok, well that's all' I can do.
LX And thank you.