Highly Recommended

A modern screenplay contains three types of elements: scene descriptions, stage directions, and dialog. Typically they do not contain any information at the shot level, such as camera motion or indications of close-ups. Rather, the script simply tells the story of the film, including the dialog, in a very terse and direct manner.

The scene descriptions are important; they must be succinct and clear, yet leave plenty of room for freedom. A dramatic example of this is in one of the early sequences in Disney's animated film Aladdin. Aladdin finds a magic lamp in a place the screenplay refers to a "Cave of Wonders"; just what this cave looks like is up to the reader (and, of course, the production crew of the film). Similarly, stage directions only describe what happens (e.g. "George jumps out the window"), without elaboration on the psychological motivations. Thus scene descriptions and stage action are generally on the level of shop talk from the screenwriter to the film crew, and not very much artistry is generally found there.

The Raiders script is unusual in this respect. It provides a few very evocative pictures and descriptions that allow one to grasp the intent of the action without precisely detailing it. For example, right away on Page 1 our hero, Indiana Jones, hears someone drawing a gun from behind him. Kasdan states:

"Indy's next move is amazing, graceful, and fast. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly-curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, Indy uncoils the whip to its full ten-foot length."

That passage is simple, clear, and loaded with information. It describes action and mood. In just a few sentences, Kasdan captures the essence of an emotionally-charged moment, and also gives us our first glimpse of Indiana Jones.

Beyond the scene descriptions and stage directions, a script tells us what people say. Dialog has many purposes, including atmosphere, revelation of character, foreshadowing (and payoff), exposition, and advancing the plot. In short, dialog has to participate fully in the development of the movie; it cannot bring the film to a halt while a character delivers his or her speech.

The dialog in Raiders is exceptional because a great amount of it accomplishes several goals simultaneously. Again, consider the film's opening. The very first two lines of dialog are spoken by two men in the South American forest as they examine a poison dart that Indy found stuck in a tree alongside their path.

SATIPO
The Hovitos are near. The poison is still fresh. Three days. They're following us.

BARRANCA
If they knew we were here, they would have killed us already.

This is remarkable dialog. In just a few words Kasdan has established tension and fear, provided important exposition, and revealed the characters, one frightened, one informed and concerned. Not only that, but these lines are foreshadowing, since indeed the Hovitos (a local tribe) show up in due course. When they do appear, we're ready for them, and we know they have deadly weapons and are willing to use them. The dialog is honest, tight, and multi-leveled.

The terrific thing about this script is that a great deal of it works on several levels simultaneously, as this excerpt suggests. It is not only a fun work to read, but a great example to study.

You can take a look at my reverse animatic of Raiders here.