Script structure Raiders of The Lost Ark

J

Jerryv

Active member
Hello everyone,

I am looking for information about the script structure of 'Indiana Jones: Raiders of the Lost Ark'. A analyse about first, second and third act. A were the plotpoints are. Does anyone knows a site were i can find this kind of information?

For example, what is the first plotpoint?
I think its when Marion says to Indie "iam your goddamn partner!" in front of the burning house. But iam not sure... so thats the reason i want another sourche.

Thanks!
 
I would pin the first one here:

Jones: You think she'll still be with him?
Brody: Marion's the least of your worries right now - believe me, Indy...
Jones: What do you mean?
Brody: Well, I mean, for nearly three thousand years, man has been searching for the lost Ark. That's not something to be taken lightly. No one knows its secrets. It's like... nothing you've ever gone after before.
Jones: Oh, Marcus! What are you trying to do? Scare me? You sound like my mother! We've known each other for a long time, you know I don't believe in magic, a lot of superstitious hocus-pocus. I'm going after a find of incredible historical significance - you're talking about the boogie-man. [Mumbling as he tosses his gun into his suitcase] Besides, you know what a cautious fellow I am.



...the above mentioned combined with the follow-up scene of the Nazi spy (cameoed by ILM guru Dennis Muren) shadowing Indy on the plane(s) to Nepal would get my vote.
 
CallaghanFilms said:
I would pin the first one here:

Jones: You think she'll still be with him?
Brody: Marion's the least of your worries right now - believe me, Indy...
Jones: What do you mean?
Brody: Well, I mean, for nearly three thousand years, man has been searching for the lost Ark. That's not something to be taken lightly. No one knows its secrets. It's like... nothing you've ever gone after before.
Jones: Oh, Marcus! What are you trying to do? Scare me? You sound like my mother! We've known each other for a long time, you know I don't believe in magic, a lot of superstitious hocus-pocus. I'm going after a find of incredible historical significance - you're talking about the boogie-man. [Mumbling as he tosses his gun into his suitcase] Besides, you know what a cautious fellow I am.



...the above mentioned combined with the follow-up scene of the Nazi spy (cameoed by ILM guru Dennis Muren) shadowing Indy on the plane(s) to Nepal would get my vote.
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But a plotpoint is a point of 'No return' and in this case, Indie can still quits any time, there is nothing at stake if he refuses the task. So, can this be a plotpoint?
 
I've never heard a plot point defined as a "point of no return". Although, I have heard the mid-point of act II described that way.

As to plot point 1, I believe Callaghan is correct. Plot Point 1 is when Indy realize he has to go to Tibet to get the relic to find the Ark. This is the moment that sends him on his adventure.
 
Problem with analyzing the script for Indiana Jones is: the script and the film deviate quite a bit, especially with the ending (at least according to the script I found on drew's script-o-rama).

If you want an easily-decipherable film that exactly hits every plotpoint on the nose, look at "The Prince of Egypt". You can practically follow along with Syd Field's book and see exactly where every one of Syd's identified structural elements hit.
 
Jerryv said:
But a plotpoint is a point of 'No return' and in this case, Indie can still quits any time, there is nothing at stake if he refuses the task. So, can this be a plotpoint?
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Not knowing what we know about him (a major historical artifact/treasure hunter.) I don't see him quitting on the quest for the biggest artifact/treasure of all time. Packing the suitcase/tossing the gun in seals the deal in my book.

Chris Messineo said:
I've never heard a plot point defined as a "point of no return". Although, I have heard the mid-point of act II described that way...
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Agreed, Chris...that one left me scratching my head too.
 
When I taught screenwriting, I used to use "The Wizard of Oz". Everyone has seen it and it has textbook three act structure.

Act 1 - Kansas (everything is black and white)

Plot Point 1 - "It's a twister"

Act 2 - Follow the yellow brick road and get to the Wizard

Plot Point 2 - "Get me the broom of the wicked witch"

Act 3 - Get the broom and get home

Climax - "I'm melting"

Denoument - "There's no place like home."
 
Oh, and more generally: the act breaks are usually pretty simple to identify if you look at 'em in the larger context of the film and describe what's going on with the acts.

So in Star Wars, the act breaks pretty much shape up as act 1 is passive up until Luke states "I wanna be a jedi"; then it becomes an active quest through Act II as they basically rescue the princess, and act III is rebellion vs. death star.

In Mulan, Act 1 is the passive activity up until she runs away to join the army, Act II is "mulan in the army" and ends with her being thrown out of the army, and Act III is "rescue the emperor".

In Indiana Jones, Act I is informational, indy teaching at school, blah blah, up until he goes on the quest. Act II is "go find the ark." Act III starts when he abandons the finding-the-ark quest and gets taken prisoner; Act III is largely "open the ark." (but it's been a few years since I've seen it so I don't remember the exact points).

You can't rely on the timing in the books as an absolute, though. I mean, look at "Sixth Sense": the Act I/Act II point doesn't come 25% of the way through that movie! Act I = bruce gets killed, Act II = bruce helps Cole, Act III is bruce resolves with his wife. Act 1 is about 7 minutes long.

Think about it in context with the hero's journey; Act 1 is while he's in home, until something comes along to thrust him out of home and into the "special world". Act 2 is the quest in the "special world." Act III is the completion of that quest in the special world and the journey home to acceptance/triumph.

Just watched "Enchanted": Act 1 is largely the animated section, Act 2 is Gisele in New York, Act III is the King & Queen's ball. She goes from normal world, to "special world", to the resolution when the queen comes to the "special world". But that's Gisele's "what happens" acts, there are different act breaks if you're talking about the emotional core of the story for Robert, because we don't even meet Robert until after she hits New York, and his journey is a tad different; his Act I/Act II break happens when he decides not to throw her out on the street but gets to know her. His act I is "grumpy lawyer", act II is "there's this crazy woman in my life" (a form of "special world" for him), act III happens when the prince shows up to take her away from him, which largely coincides with the King & Queens Ball anyway.

I guess what I'm saying is: don't try to pin down an exact moment on a page, you'll go crazy looking for that. Step back and see the whole forest, not the individual trees. Look at what's happening in the film in the largest possible context. I mean, in Aliens, Act I is "Ripley on Earth". Act II is "Ripley vs. the Aliens" and Act III is "Ripley saves Newt". Break it up like that and it becomes so much easier to identify the individual acts and where the break may occur (and the break isn't necessarily one individual event, it could be the culmination and tying-up of multiple events).
 
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CallaghanFilms said:
Not knowing what we know about him (a major historical artifact/treasure hunter.) I don't see him quitting on the quest for the biggest artifact/treasure of all time. Packing the suitcase/tossing the gun in seals the deal in my book.


Agreed, Chris...that one left me scratching my head too.
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I understand, you are all right! He can quit, but that is not his character... He cannot turn something like this down.

The scene were Marion is telling "iam your partner!" looks like a plotpoint too, but i guess its not.

And you are right, the 'point of no return' is the second plotpoint, not the first.
 
I am reading all the replies above, and really, thanks :thumbsup:

I have also found the following information from: http://www.rewindvideo.com/RVM/Articles/Bauer/Structure.html

Act One:
1-10 - Main Character defined
Jones gets and loses Idol. You learn he can do anything, hates snakes, has an arch enemy and escapes death while barely breaking a sweat. Probably the best opening 10 minutes in film history.
11-30 - Define Character's world
Find out he's a teacher, has past with Marian, sells to Museum, is approached by Army Intelligence to pursue the Ark of the Covenant.
Pg 30 - Plot Point 1. Where the Main Character's world is turned upside down.
Goes after Ark.
Act Two:
31-45 - The goal or objective for the main character is begun.
Flies to Nepal, finds Marian, discover she drinks like a sailor.
Pg 45 - an Action that propels the story forward.
Nazis come to bar looking for artifact, burn down bar, Marian must go with them.
46-60 - The character faces obstacles to that challenge.
Flies to Cairo, finds Sallah (sp?), has artifact read, almost gets poisoned.
Pg 60 - A Major Action occurs to propel the story forward.
Finds Ark.
60-75 - Character faces challenges associated with Major Action.
Is caught by Nazis, encased in ground, gets out.
Pg 75 - an Action occurs that propels the story forward.
Fights off Nazis, gets truck and Ark.
76-90 - More challenges.
Gets truck to ship, sets sail, has tender moment with Marian.
Pg 90 - Plot Point II. Where the Main Character's objective is turned upside down.
Loses Ark and Loses Girl to nemesis.
Act Three:
91-110 - Main Character overcomes obstacles toward resolution.
Jumps ship, literally, climbs aboard sub, impersonates Nazi, threatens to blow up Ark, relents.
110-120 - Main Character achieves resolution.
Ark nukes the baddies, is given to Army Intelligence, stored in warehouse, gets the girl.


Do you think this is right?
 
Jerryv said:
Ark nukes the baddies, is given to Army Intelligence, stored in warehouse, gets the girl.


Do you think this is right?
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Dunno if it's "Right". I don't get caught up too much in where exactly plot points occur. But for sure, the movie's opening is one of the best ever. To that list I'd add:

1) Once upon A Time in The West (my fav)
2) Casa Blanca (Wish they had the steadycam for that one)
3) 3 Days of the Condor (Chilling! Ice cold man! Ice cold!)
4) Saving Private Ryan (Boom!)
 
There are two distinct turning points in an opening act, which that guide doesn't really clarify. There's an inciting incident, and then there is a plot point. Most likely there is also a hook somewhere within the first 5-10 pages.

The hook in Raiders of the Lost Ark is the opening action sequence. Aside from the introduction of Beloq, it doesn't really relate to the rest of the story, but it gets the audience excited and rooting for Indiana.

The inciting incident is where the main hero is introduced to the quest. That would be when Indiana is approached by the government to find the Ark.

The 1st plot point is the scene where the adventure and the 2nd act really kick-off. Here it is the scene in Nepal, where Indiana teams up with Marion, and learns that there is going to be a lot of danger in his mission.
 
I'm going to argue that the inciting incident and plot point 1 are one and the same thing - it's basically the event that takes our hero into the second act - depends on who you talk to but some will call it inciting incident, some will call it the first plot point - either one carries you into Act II

The hook in Raiders is yes, the introduction of Belloq but it shows us Jones' relationship with Belloq and that they are both competitive arhaeologists and also foreshadows Indy's encounter with the snakes in the Well of Souls. It immediately gives a reason to like Indy and root for him soon into his escape from the jungle natives.
 
Chenopup said:
I'm going to argue that the inciting incident and plot point 1 are one and the same thing - it's basically the event that takes our hero into the second act - depends on who you talk to but some will call it inciting incident, some will call it the first plot point - either one carries you into Act II

The hook in Raiders is yes, the introduction of Belloq but it shows us Jones' relationship with Belloq and that they are both competitive arhaeologists and also foreshadows Indy's encounter with the snakes in the Well of Souls. It immediately gives a reason to like Indy and root for him soon into his escape from the jungle natives.
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If you don't have an inciting incident well before the Plot Point that ends Act I, you are wasting time on exposition, especially if you are going to have a first Act that ends on page 25-30. That is too long a time for you not to be getting into the meat of the story.

I really can't think of any movies that jump into the 2nd Act w/ the inciting incident.

They might be close together, but they are almost always separate moments. Many times they are characterized by a character rejecting the quest at first, and then getting sucked back into it w/ the first plot point.


Marty is sent back in time (inciting incident). Marty interferes with his future (1st Plot pt).

Luke Skywalker meets Ben Kenobi, and learns about jedi (inciting incident). Luke finds that his aunt and uncle have been murdered (1st Plot Pt).
 
From the Heroes journey

Hero's Journey, basic: Raiders of the Lost Ark (1981) deconstructed

• Introduce the Hero, his nature, his capabilities and his character in his Ordinary World [Indy in South America].

• Introduce the Shape Shifter [Belloq] and the Hero's inner challenge [the snakes].

• Hero's status [attractive to women]. Introduce a Mentor / Supernatural Aid . Develop Hero's character.

• Heralds (government agents) bring the Call to Adventure . Develop the Hero's suitability to embark on the adventure. Explicitly state the Call to Adventure.

• Warnings (a form of Refusal ) before embarking to the First Threshold [by the Mentor].

• Journey to the First Threshold . Pursued by the antagonist [the Germans].

• Introduce the character of the romantic challenge.

• Hero meets and conflicts with his romantic challenge.

• Develop the Antagonism [the Germans]. A Trial [Marion in danger]. Hero passes the Trial [rescues Marion].

• No Way Back [Marion's bar burns down].

• Belly of the Whale . Physical separation from the First Threshold [Marion will journey with Indy. On the plane].

• Road of Trials . Meeting with a new Mentor. Mentor guides the Hero [updates Indy]. Mentor warns the hero about the adventure.

• Pursued by the Antagonist [the monkey and the Germans].

• Separation. Enhance the hero's back-story; Hero separates from romantic challenge. Conflict [Indy loses Marion].

• Feelings of loss at the separation.

• Meeting with the Shape Shifter and Antagonist. Appreciation of each other's abilities. Polarization. Restatement of the challenges.

• Escape from the Antagonist. Saved by the Mentor.

• Meeting with the Oracle. Antagonist sets up an attack on the Hero.

• Meeting with the Goddess . Hero discovers the location of the Sword.

• Mentor saves the Hero from the Antagonist's attack.

• Antagonist references the Reward. Polarization between the Antagonist and Shape Shifter.

• Hero travels to seize the Sword. Guardians [German soldiers] interfere, but are overcome.

• Hero seizes the Sword.

• Hero escapes from the Chamber of the Sword.

• Reward and Reattachment. Hero rejoins his romantic challenge [Indy finds
Marion]. Comedic element [Indy leaves Marion tied up].

• Woman as Temptress. Hero prepares to embark on the Night Sea Journey [Indy prepares to dig for the Ark].

• Time pressure caused by the Antagonist [Nazis push Belloq].

• Night Sea Journey . The hero descends downwards stealthily and in the dead of night [Indy digs in the dead of night].

• Danger of the descent recognized. The danger relates to the Hero's inner challenge [Serpents block the way].

• Shape Shifter pursues the Romantic Challenge; attempt to usurp the Hero's
prize [The Shape Shifter is an alternative hero; Belloq hits on Marion].

• Serpent Battle. Hero battles the serpent [Indy faces a Cobra - his inner
challenge].

• Romantic Challenge refutes the advances of the Shape Shifter [Marion rejects Belloq].

• Hero rewarded for defeating the serpent [Indy finds the Ark].

• Time pressure increases. Comedic element [Nazis prepare to torture Marion; it's a coat hanger].

• Hero et al forced into a near death experience [Indy and Marion buried underground]. Extreme time pressure.

• Antagonist foreshadows a confrontation [Belloq won't believe Indy is a problem solved until he is out of there].

• Atonement with the Father . Hero battles the Antagonism [Indy battles with the Nazi soldiers]. Extreme time pressure. [Marion is trapped and the
flames are nearing].

• Apotheosis . Hero has an insight [it's now or never; the Ark on its way to Cairo].

• Ultimate Boon Hero has inner resolve to capture the Reward [Indy chasing the truck].

• Refusal of the Return. Departure with the boon. Antagonism [Nazis and Belloq] not yet defeated. Friendships. Goodbyes. Kisses.

• Magic Flight . On the boat home. Sexual (reward) and comedic in nature [”it's not the age, it's the mileage.”]

• Rescued from Without . Hero forced to return [Marion and the Ark stolen by the Nazis].

• Hero dresses in the Wolves Clothing. Comedic element [Indy in the Nazi soldiers uniform].

• Foreshadow of the Final Conflict [Indy bumps into Belloq].

• Crossing the Return Threshold . Hero allows himself to engage in the Final
Confrontation [Indy agrees not to destroy the Ark].

• Master of the Two Worlds . Journey to a dangerous place. Final Confrontation. Hero able to cross between Worlds.

• Freedom to Live [Hero and romantic challenge together post the adventure].
 
agcohn said:
If you don't have an inciting incident well before the Plot Point that ends Act I, you are wasting time on exposition, especially if you are going to have a first Act that ends on page 25-30. That is too long a time for you not to be getting into the meat of the story.

I really can't think of any movies that jump into the 2nd Act w/ the inciting incident.
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Okay - you've got a good point - I'm used to them being so close together in many instances that they appear to run together - but I understand your take on it - I think in many ways Inciting Incident is still a vague term and pending who you speak with and who's recipe you're using to outline your script, it may or may not mean the same thing to everyone.
 
Chenopup said:
Okay - you've got a good point - I'm used to them being so close together in many instances that they appear to run together - but I understand your take on it - I think in many ways Inciting Incident is still a vague term and pending who you speak with and who's recipe you're using to outline your script, it may or may not mean the same thing to everyone.
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It doesn't matter what term you have for them, you need at least two turning points in your story before the 2nd Act.

That's why I have a problem with Syd Field. He makes it seem like screenwriting is knowing your beginning and your ending, and then bridging the gap between Plot Point 1 and Plot Point 2 with a bunch of obstacles.

It reality your story should have 10-15 turning points, and if possible, more.



You need to hook the audience with something at the very beginning. An amazing character piece. An original action scene. A tantalizing glimpse at the central mystery - monks in hoods, smoke filled rooms, whatever.

You need the point where the hero is tempted into action.

You need the point where the hero actually takes action. It is very important that this be separate from the previous point. Delay gratification, whenever possible. (Generally referred to as Plot Pt. 1)

This is not any specific point in a script, but you need a give-and-take. The hero takes one steps forward, and two steps back. One steps forward, two steps back.

It is a good idea to have a point of apparent victory somewhere in the second act.

You absolutely need a point of apparent defeat.

You need a point of no return. It's all or nothing at this point. The hero might have been tempted to give up, but nobody wants to see that movie, so he makes a decision that dramatically increases the danger, but also leads to the only chance of success. Some might say that this is the same as the point of apparent defeat, but once again, you need to delay gratification. They come close together, but they are two separate points (Generally referred to as Plot Pt. 2)

The climax is where the hero challenges the villain, or starts to do whatever he needs to do to satisfy the story.

The final revelation is when the hero finally does what needs to be done to achieve success.

The final reconciliation is where all is put right.



Those points might not fit every single script the way Syd Field's does, but they show essential story movements that Syd Field's basic system does not acknowledge.
 
I believe Robert McKee gives some page time to Raiders in his book, Story. Be careful studying that template, though, because he talks about Raiders being written in like 9 acts or something wild like that!
 
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