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Old 03-05-2013, 06:49 AM   #126
micsteam
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I'm checking them out today Stoo, thanks !!!
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Old 03-05-2013, 07:08 AM   #127
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Quote:
Originally Posted by Stoo
Starving for more footage of Indiana Jones? StooTV delivers.

Will be watching soon...but thanks in advance, my hero!
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Old 03-07-2013, 03:59 PM   #128
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Quote:
Originally Posted by Stoo
Hi, NonStop. I remember you from way back and recall your excitement about the upcoming DVDs back in 2007 so it's surprising that you still don't have them yet, after all these years later.

The 1999 VHS tapes are the same as the DVDs but a portion of the original episodes were released a few years earlier. There were 12 on VHS in Europe in 1992 (U.K., Netherlands, Finland and maybe more countries) and 15 in Japan, on Laserdisc in 1993 and VHS in c.1994.

From the changes that I've identified so far, here is a guide of where the "butchered" originals can be found (star-rated by order of importance).
5 star = Major changes
1 star = Minor changes

1992 European VHS / 1993 Japanese Laserdisc / 1994 Japanese VHS:
***** German East Africa 1916 - scenes were cut, camera angles were changed, main voices were changed
-**** Curse of the Jackal - scenes were cut, shots were replaced, a sound effect was removed
--*** British East Africa 1909 - a scene was cut (which was a nice connection to "Last Crusade")
--*** Austria 1917 - a scene was cut, a shot was cut
---** Vienna 1908 - a shot was cut
----* Verdun 1916 - a couple of shots were placed in different order


1993 Japanese Laserdisc / 1994 Japanese VHS:
---** Paris 1916 - the digital cover-up of nudity (for TV) was removed (to expose the nudity on DVD)

Never released in their original format:
***** Princeton 1916 - scenes were cut
-**** Palestine 1917 - shots were cut, a shot was replaced, a shot was moved into a different order
-**** Travels With Father - scenes were cut, shots were digitally modified, dialogue was changed
--*** Peacock's Eye - a main voice was changed
---** Ireland 1916 - a shot was digitally modified, a sound effect was removed
----* Hollywood Follies - the 'earthquake' credit was removed


NOTE: This list covers only the titles where things were changed within the main story. To get ALL of the Old Indy bookends, you'd need to get 17 more titles and 10 of those have never been officially released. ("Scandal of 1920" counts for 3 of that number because there are differences between the movie version and the 2-episode version.)

If anyone has more information to add, please do. Don't be shy!
Does this mean that you're going to disappear again?

I do disappear and reappear from time to time! I was indeed very excited about the DVD releases, I think KOTCS really killed my enthusiasm for Indy. But I recently re-watched the original trilogy with my girlfriend (she'd never even seen ROTLA or TLC - only TOD and KOTCS!), and man I forgot how much I loved these films!

Thank you for your epicly detailed response. What would you say personally is worth getting? Are the DVD's worth it? I loved the young indiana tv series, and really want to be able to watch them all as I remember them (i watched them on TV with my Dad back in the day). However, I don't want to spend a fortune, and the DVD's do seem like a quick cheap way to get them all (I'm moving to Canada in a few months, anything better over there?).
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Old 03-08-2013, 08:35 AM   #129
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Quote:
Originally Posted by NonStop
Are the DVD's worth it? I loved the young indiana tv series, and really want to be able to watch them all as I remember them (i watched them on TV with my Dad back in the day). However, I don't want to spend a fortune, and the DVD's do seem like a quick cheap way to get them all (I'm moving to Canada in a few months, anything better over there?).

It's always better in Canada, eh Stoo? (Where are you moving NonStop?) The DVD's in Canada are exactly the same as the US set and are definitely worth it if you're looking to get them all in one scoop, plus they're a hell of a lot cheaper than when they came out five years ago. I think the whole DVD set is available to stream on Netflix in the US too, isn't it? It is not available on Netflix Canada.

Ha, I used to watch the show every week with my dad too when it aired on ABC. (Can't wait to watch it when my son is old enough.) It's not quite the same on DVD, but the picture is clean. There are some drawbacks, the biggest one for me is no bonus features besides the historical documenatries and silly games.

Just to stay on topic- yes, there are some scenes that have been cut off of the DVDs which Stoo and the others have painstakingly detailed in this thread and are hopefully uploading when time allows!
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Old 03-11-2013, 06:20 PM   #130
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Quote:
Originally Posted by Demitasse
It's always better in Canada, eh Stoo? (Where are you moving NonStop?) The DVD's in Canada are exactly the same as the US set and are definitely worth it if you're looking to get them all in one scoop, plus they're a hell of a lot cheaper than when they came out five years ago. I think the whole DVD set is available to stream on Netflix in the US too, isn't it? It is not available on Netflix Canada.

Ha, I used to watch the show every week with my dad too when it aired on ABC. (Can't wait to watch it when my son is old enough.) It's not quite the same on DVD, but the picture is clean. There are some drawbacks, the biggest one for me is no bonus features besides the historical documenatries and silly games.

Just to stay on topic- yes, there are some scenes that have been cut off of the DVDs which Stoo and the others have painstakingly detailed in this thread and are hopefully uploading when time allows!

All being well should be hading to Vancouver shortly, can't wait

Interesting stuff about streaming it, I think I will endeavour to get the DVD set and put up with it's drawbacks. Such a shame that it isn't like what it was, would be good like you say for everything to be uploaded one day.
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Old 04-01-2013, 09:30 AM   #131
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Quote:
Originally Posted by Stoo
Starving for more footage of Indiana Jones? StooTV delivers.

As promised, I've uploaded the deleted scenes from the "Prinecton 1916" episode. Four segments, forming a total of 3:30 minutes, are missing from "Spring Break Adventure" and it's a shame they were left out, especially the extra parts of the car chase.


Thank you so much Stoo! I have never seen this before and it's a wonderful feeling to see "new" stuff from our favorite Young Indy.
Is there any more footage of deleted scenes from other episodes to come?
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Old 04-01-2013, 12:39 PM   #132
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You're very welcome, Nils, and I'm glad that you enjoyed the scenes. It makes me happy to share these rarities with fans of the series.

Yes, there is plenty more to come! I might do "Palestine/Daredevils" next (See post #110 for an overview of what else to expect). The bookends for "Travels With Father" were the first to be uploaded so check those out if you haven't do so already.
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Old 04-14-2014, 10:06 PM   #133
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Deleted/Unfilmed scenes from "London, May 1916"

Let me start by extending a very hearty THANKKKK YOUUU to the kind party at the Raven who made some of the scripts available. I recently did a read-through of the script for "London, May 1916" and compared it with the edited version in Love's Sweet Song. As I'm sure we suspected, there were a few "deleted scenes" of interest in the script that didn't make it to the DVD version. There are a few extra words here and there as well as some omissions, but I tried to only include ones that were really interesting or added depth. The bold text is new/deleted.

1) Indy and Remy in the Belgian recruiting office.
Recruiting Sargeant to Indy: You were born in Charleville. That is in France.
Indy: Oh! No! Not that Charleville! It's -er -a very small town in Belgium. Near - near Bruges.
Recruiting Sargeant: I live in Bruges. I don't remember it-
Indy: It's really very small. Just a village.
[...]
Recruiting Sargeant: Ah. Date of birth - le troisième juillet - dix-huit quatre-vingt- (He seems to be having trouble making it out and looks up at Indy)
Indy (surprised): Oh. Er- dix-huit quatre-vingt onze.
(Remy rolls his eyes and the recruiting sargeant looks surprised).
Recruiting Sargeant: 1891. So you are twenty-five?
Indy: Oh! Non! Twenty-two. I was born in- dix-huit, quatre-vingt quarante.

[...]
Recruiting Sargeant: In a short time you will receive our call-up papers and you will go to Le Havre for your training.

2) Uncle Jean's Farewell speech
At the Cafe Belgique in London, Remy's uncle, Jean Baudoin, is addressing his luncheon guests at a long table with Remy's aunt Cecilie at the other end, and Indy and Remy flanking her on both sides. Because the guests include English friends as well as Belgian refugees, Jean speaks English. Madame Suzette Chambin (the future Mrs. Remy) is the owner of the Cafe Belgique and is sitting behind the cash desk. Her 15 year old son is a waiter and her 13 year old daughter relays orders to the kitchen. Two other kids (probably also Suzette's) scamper about making nuisances of themselves. Remy is gazing at Suzette longingly and their eyes meet as Indy watches.
Uncle Jean makes his speech:
"We welcome here today not only those noble friends, Mister and Missus Cook, who took us in when we were helpless refugees - homeless, starving, penniless... (shift to a shot of the Cooks looking embarrassed) and the kind friends we have since made here in London, but also my dear nephew, Remy, and his gallant comrade, Monsieur Indiana Jones, who have come here all the way from America to free our beloved country from the brutal oppressor. Messieurs, Mesdames, English friends, I give you a toast - Remy Baudoin, Indiana Jones - et La Belgique!"

3) Remy's Advice on Widows
Remy to Indy: [Suzette] has been alone for two years. Believe me, there is nothing like a widow. A little flattery, a little kindness- she will be so grateful that she will give everything and expect nothing.

4) Indy on the Streetcar with Lady Lavinia
Indy expresses sorrow to hear that she is a recent widow.
Lady Lavinia: How sweet of you to say so! Oh, is that the bus? I hate these horrid blackouts. One can't see a thing.

5) Vicky's hat gets knocked off during the zeppelin attack.
Vicky: Where's my cap?
Indy: Is this it?
(He offers her the crumpled, dirty hat).
Vicky: You can't find half a dozen hair-pins, can you?

6) Indy and Vicky in the tea room, out on the Thames at night
Vicky offers Indy a biscuit which he turns down.
Vicky: I think I will [have one]. I've been on duty since six a.m. and I didn't have time for lunch.
[...]
At the end of the "language duel", Vicky asks Indy in Welsh: "Tell me, is there anywhere in the world where you haven't been?"
[...]
Vicky: My father was a diplomat, and when we were children, we used to travel with him. He thought that if you were living in a country, you ought to speak the language.
[...]
Later, when Indy and Vicky are outside walking by the Thames
Indy: Have you noticed how different the moon looks in different countries?
[...]
Indy and Vicky meet the homeless Mrs. Newton and her kids who are about to be thrown out by their landlord.
Mrs Newton: My husband joined up a year ago and he sent me money every week, regular as clockwork. [...] (she glances at the children to make sure they're out of earshot). I know there's been a lot of casualties where he is, and I went to the War Office, but they couldn't tell me nothing. I know I shouldn't say it, but I think they take more trouble with officers - let you know sooner, like.
Vicky: Yes, they let me know about my brother almost at once.


7) The morning after Vicky's outburst in front of Winston Churchill.
Vicky and Miss Seymour are having breakfast in Miss Seymour's Oxford home served by her elderly parlour maid Emily. The two sit in awkward silence, waiting for Indy to come down.
Miss Seymour [to the exiting maid]: Thank you, Emily.
Vicky [to Miss Seymour]: I'm sorry. I couldn't face you last night. I took a taxi back and - I'm afraid I got your maid out of bed.
(Miss Seymour concentrates on tapping her egg).
Miss Seymour: She has a dressing-gown of a peculiarly ferocious shade of magenta.
Vicky: Yes.
(Smiling)
Miss Seymour is intent on cracking that egg.


* * *
The script mentions a few "deleted scenes" of its own, but gives us no clue what they are.

One thing I noticed by having the dialogue available in a clump (as opposed to subtitles), is how much Vanessa Redgrave's performance stood out for me this time. Sean, Liz Hurley, Miss Seymour, all did great, and it's always been (IMO) the most emotive episode of the series, but they basically just delivered the lines in the script. If you read Lady Prentiss's lines and then watch Redgrave act them out, she pauses to digest them- you can see the words play out on her face. She really just brings life to it. Pretty nice. Watch it again and you'll recognize game.

Last edited by Demitasse : 04-14-2014 at 10:14 PM.
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Old 12-08-2014, 05:42 AM   #134
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I've always steered clear of this thread as I only ever saw a couple of episodes of Young Indy and I never seemed to be able to catch them in the UK.

However today I thought I'd check out the DVD box sets on Amazon. I was dismayed (although probably not too surprised) to read in some of the reviews that scenes were cut and changes made for the DVD release.

Stoo I see you are the expert on this, so I'm assuming that the only way to get the original versions was if I had recorded them back when they were originally broadcast?

Also was any reason given for making these changes?

Its put me in 2 minds now whether to buy the dvds or not.
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Old 12-09-2014, 11:18 AM   #135
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Scenes cut from Russia 1917 script I

Sorry for the delay on this one, it's been a long time coming! Unlike the script for London, there was a LOT of stuff (in this second draft of the Russia 1917 script) which didn't make it to the screen. (Update: this morning after trying to post all of my “deleted scenes” info to the Raven, I got a message stating that it won’t fit in one post! To fit everything will take about three posts. I don’t want to clutter this thread if people are not interested in my findings. For now, I will only include the first part. If there is interest out there, I’ll post the rest or take suggestions for how best to proceed, but there are about two more posts roughly the size of this one.)

Also, while I have folks' attention on this thread, hey Stoo-- any chance we might get another video instalment of your YIJC deleted scenes up on StooTV before year's end?? (Fingers crossed!! I have a suggestion/request if you're up for it!)

As for Russia 1917, here goes:
It seems pretty clear that the final script for Russia 1917 underwent some evolution. Most of what was deleted from this version of the script seems to flesh out the background story of the Russian Revolution and serves to illustrate (by example) Russian society at the time. Very little of the big picture was lost, but we do get a few accidental splashes of back-story (here and there) for Indy's revolutionary pals. (The stage directions give us a little more of writer Gavin Scott's original vision).
Sorry for the lack of context/reference, but I am assuming that most of you have already seen the episode, probably more than once. I'm giving the scenes chronologically, so please use your recollection of the episode to decide where they are plugged in.
Bold text is new material, stage directions in italics:

***

Old Indy [to museum curator] on the Tsar: The people chased him off the throne because he'd messed up the war and there was nothing to eat. A thousand years of monarchy went up in smoke in three days. The big question then was - who would take over instead?

***

Indy and his rival Brossard are having a discussion with their supervisor at the French embassy, Msr. Laurentine. Indy wants to see more action as a spy in the field, but Laurentine wants him to stay on the analysis desk.
Laurentine: The facts are no use without analysis. Your Russian is good, you decode well, we need you here. What is the use of having agents risking their lives all over the country if there's no-one to collate their reports?
Indy: Collate!?
Laurentine
(leaving): Collate, Captain.
Indy (as the door closes): I'm in the middle of the Russian Revolution and I spend all day typing!
Brossard: You've got the cheek of the devil, Defense.
Why should he let you out in the field instead of me?
Indy: Because I'm a natural agent, Brossard, and you're a natural - clerk!

Background on Indy's revolutionary friends and their haunt, the Bearpit (the communist version of 90210's Peach Pit?).
The group are all young people in their late teens, early twenties. Sergei is a young ex-soldier in the remains of military uniform with the insignia torn off and a rough red star sewn on instead. Irena, his fiancée, is a beautiful young Literature student. Rosa is a young, rather plain medical student who is sitting at a table with Dmitri, a slight, undernourished seminarian with a large crucifix around his neck.
Indy pushes open the door of "traktir" or cafe/pub known as "The Bearpit". It is filled with customers sitting at tables drinking tea, vodka and beer. White-bloused waiters run back and forward from the wooden counter along one wall. The counter is filled with bottles, glasses and plates of sausages. Above it is a huge lantern with "Traktir" painted on it; beside that an Ikon; beside that a revolutionary poster. A blind musician is playing a concertina; a peddler going round with a tray full of old clothes; a crippled beggar asking for alms. The atmosphere is full of noise and smoke. As the creaking door slams behind him, Indy stands in the entrance peering into the crowd.

Rosa: How are things at the embassy?
Indy
(teasingly): Oh, it's tough being a Cultural Attaché in the middle of a revolution, Rosa. What about the hospital?
Rosa: Well, there are no anesthetics, no medicines and half the doctors have fled the country- but apart from that we're in great shape.
Dmitri: As for the seminary, I'm about the only student left.
Indy: Dmitri, I hate to be discouraging, but you have to admit theology students in Russia are going to be a drug on the market for some time to come.
Dmitri
(with touchingly naive passion): On the other hand, Indy, if ever there was a time for our country to find her own soul, this is it. With the Tsar gone, we have no direction.
Rosa: Except democracy.
Dmitri: If we get there.
Rosa: Of course we'll get there. Who's going to stop us?
(Cue Sergei and Irena who come in and start looking for their friends. We get our first inclination that Rosa likes Indy the way she makes googly eyes at him and looks at him while addressing Dmitri.) If ever there was a time of hope, this is it. When the government calls the elections - Russians are going to be able to decide their own destiny for the first time in a thousand years. It's going to be wonderful!

Indy hooks his friends up with food stolen from the embassy and says if the ambassador knew he was feeding a nest of revolutionaries "he'd have apoplexy". (The apoplexy bit obviously didn't make it to the screen. Apoplexy is the inability to feel certain body parts due to a sudden loss of blood to the brain. I had to look it up too.)
Sergei: How would he feel if he knew those same revolutionaries had found you a room in a town house stolen from runaway nobles?
Indy
(with his mouth full): Well, with housing as short as it is in St. Petersburg right now, I don't think he cares where we stay - as long as he doesn't hear any embarrassing details.
Irena: I sometimes wonder if he's sent you to spy on us.
Indy:
Come on Irena... We may be in opposite camps but we're friends, right?


***

The Bearpit at night. Indy and his friends emerge swiftly from the cafe and the door slams behind them.
Rosa: That is the fourth time Boris has gotten us thrown out of a cafe in ten days.
Boris: You'd think people would be able to have a rational discussion in the middle of a revolution, wouldn't you?
Dmitri: A rational discussion yes - but why did you have to throw the samovar?

(Boris doesn't hear this last remark. He's busy opening the door of the traktir again and having the last word.)
Boris: Don't write us anarchists off too soon, you Bourgeois dunderheads! This is a revolution, you know! It's not a tea party!
Rosa: It was when Boris threw the samovar!


Rosa dashes across the street in anticipation of Boris seeking revenge. The others follow and run right into Bogucharsky, an irate middle-aged man in a bowler hat.
Bogucharsky: Police! I want the police! Now!
Rosa: There are no police, sir. Not since we got rid of the Tsar!
Bogucharsky: Then who's going to get me my factory back? Who's going to get those women out of there?
Irena: What women?
Ekaterina: Us women! We've taken over the Bogucharsky Shirt and Blouse Factory. It's ours now!

(On the corner of the street is a three-story factory building with a large gate leading into the yard: the gate and the front door have been nailed over with planks. The women, including Ekaterina, are leaning out of all the windows, waving shirts, blouses and rolls of cotton.)
Bogucharsky: The hell it's yours! It's mine! I worked for years to create this factory! I never treated you badly. What right have you to take it away from me?
Ekaterina: Because this is the revolution! We're the workers! When else should the workers take over?
Irena: Hey! Let me in! I've got some leaflets from Lenin I want to give you!
Ekaterina: What's Lenin going to do for us?
Irena: Let me in and you'll find out!
Boris: Don't let her in! She'll turn you all into Bolsheviks!
Sergei: You NEED to be organized if you're going to survive!
Bogucharsky: I want my factory back! NOW!
Rosa: I think this is our cue to go, Indy. I'm on duty in fifteen minutes. Will you walk me to the hospital?

Indy (trapped): Sure. Why not?
(To be continued...?)

Last edited by Demitasse : 12-09-2014 at 11:23 AM.
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Old 12-10-2014, 11:25 AM   #136
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Absolutely post more, Demitasse! To do otherwise would be unthinkable.
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Old 12-10-2014, 02:48 PM   #137
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Scenes cut from Russia 1917 script II

Ok then! (Parts II and III continue chronologically in the script):

***
The apartment which the revolutionaries have occupied was once a lavishly furnished bedroom in a town house- chandeliers hang from the ceiling, draped in dust-hangings, and one side of the room is dominated by a huge four poster bed with an elaborate coat of arms carved over it and hangings all around it. This tent-like encampment is the base for Sergei and Irena. (Indy has a bunk behind a screen in the opposite corner). Irena is cooking cabbage on the stove. Sergei is painting a banner. Boris is at the table, drawing a poster showing a landlord trampling on a peasant, and arguing with Dmitri, who is watching him.
Boris: How can you say that? You grew up in the same village as me! Didn't you see the landowners grinding the people into misery?
Dmitri: I saw a society in which everyone knew his place, in which no-one had to strive to show he was better than the next man. There at the top was the Tsar, God's own anointed ruler, holding it all together. Now he's gone, and Russia is falling apart.
Irena: Now he's gone, and we can start turning this country into somewhere worth living in.
Rosa
(enters): Hi! Is Indy about?
Sergei: He'll be in soon.
Irena: It's his cabbage.

(awkward pause)
Rosa: Is it okay if I wait?
Irena: Hey- did we ever turn you away? You can help peel the potato.

(Rosa goes over to help... Rosa and Irena have the discussion about whether or not Indy knows that Rosa likes him. Indy comes in a few minutes later.)
Indy: Hey! That smells good! (He looks in the pot) You really know how to make something out of nothing, Irena.
Boris: A skill we Russians have developed over the centuries.
Sergei: And which we soon won't need.

Rosa (happily peeling away): Once we've achieved democracy.
Irena: Once we've achieved Communism.
Rosa: Well, when we hold the elections the people will decide if they want you Bolsheviks or not.
Dmitri: I'm afraid the Bolsheviks won't let the people vote on anything at all. One of the priests at the seminary said he's heard that Lenin's going to stage a coup within the next ten days.
Indy: Oh yeah? Know anything about that Sergei?

(Sergei takes a playful swipe at Indy with his banner).
Sergei: Hey, Indy! Remember our deal?
Irena: Stop talking politics and come and do some useful work, Indy. Help Rosa with that potato. She hasn't finished it yet!


***
The way in which Indy gets lured to the birthday party differs in this script. After Indy hands over the bread to his friends, Rosa suggests the Mozart performance.
Rosa: Indy- there's a Mozart recital on at the Conservatory and I was wondering if you'd like to take --
Indy: Yeah, I would Rosa. I really would: but I have to go back to the embassy right away. I have some stuff to check there. See you around.
Indy hurries out leaving Rosa alone at the table. She watches him disappear down the street, a picture of misery. At night, at French spy headquarters, Indy comes down the steps of the basement and starts rummaging around in the stacks of paper on both desks, pulling out leaflets and posters that have silted up there. He starts dividing them into piles, looking at something on each one before he decides which pile it goes in. Gradually one pile grows larger and Indy looks at it curiously and glances at the calendar hanging on the wall.
Indy (to himself): Great way to spend my birthday, sitting in a basement in Russia, counting leaflets.
After his work, Indy makes his way home through streets crowded with even more people on soap boxes and waving posters. Suddenly a huge figure blocks his path and he starts back in alarm.
Boris: Hey! Attaché! Where are you off to in such a hurry?
Indy: Well, I'm going home, Boris. What did you expect?

Boris (putting his arm around Indy): You're going too fast. Pause and look around you! This is what revolution is all about - people speaking their minds without anyone trying to stop them. Look! Listen! It's a marvelous sight. Mensheviks, Bolsheviks, Democrats, Anarchists - all having their say. You don't realize - this has NEVER happened here before. The lid has been clamped on for a thousand years - and this summer it's off!
Indy: It's great Boris - but I've had a long day, I just want to get back -
Boris
(gripping him tighter): This fellow here, for example - listen to him. He's a friend of mine. He's gong to explain how if the peasants are left to themselves - they'll turn the entire country into a rural paradise.

Indy lets out a sigh, but submits, realizing that Boris is not going to give up. Eventually they make their way back home, up the darkened stairs. Boris still has his arm around Indy's shoulder.
Boris: And there are hundreds of people like him, ordinary men and women all over Russia, able to speak their minds at last!
Indy: You didn't tell me he was going to speak for an HOUR AND A HALF, Boris!
Boris: But it was fascinating, wasn't it?
Indy: I just want to get into my room and lie down and sleep.
As they reach the top of the stairs, Dmitri appears in front of them.
Dmitri: Hi, Boris! Hi, Indy!

Indy (going past him wearily): Hi, Dmitri- see you later.
Dmitri: No - I just want to tell you -
Indy: Tell me what?

Dmitri (floundering): Tell you - tell you - a joke I heard today at the seminary.
Indy: You have to tell it now?
Dmitri: I might forget it.

Indy (giving in): Okay, Dmitri. Shoot.
Dmitri
(launching into what is clearly going to be a long recital): One day, Ivan the Terrible was out hunting in the forest with a full retinue of his nobles, when out of the undergrowth game an enormous...

Indy makes it to his door, but Boris and Dmitri are hot on his trail.
Dmitri: And that reminds me of another story I heard once --
Indy: It may do, Dmitri, but I don't want to hear it. It's been great talking to you guys, but I need some peace and quiet now. Bye.


Indy opens the door to find the room packed with all his friends and half the people from the Bearpit. As the door opens, they all yell out "Surprise! Happy Birthday, Indy!"

***

The gang takes Indy for his "present", i.e. standing witness to the historic speech by Lenin, which was very much changed for the episode:
Lenin: Comrades! You have lost faith in the Provisional Government! If you had listened to me you would never have HAD faith in the Provisional Government! They have deceived you with sweet promises: they have deceived the entire Russian people! We have no option but to fight for a complete socialist revolution - to fight until the proletariat wins full victory! That means a Russia governed by the people in one great armed militia! The people - running their everyday affairs themselves! Classes abolished. Capitalism - wiped out. The dictatorship of the proletariat! One day, I predict, the people will create a society so perfect that the state itself will wither away, leaving only harmony - no police, no army, no bureaucrats; no compulsion! What does Kerensky offer instead? Lighter chains for the workers! As long as they are prepared to go on being slaughtered in a war whose only object is to provide immense profits for international capitalism! There can be no compromise with these frauds. That is the message we must hammer home in every factory, barracks and village in Russia. Peace! Bread! Land! Keep on saying it until all Russia rises up to demand it - and then - THEN - we will lead the proletariat to victory!

The crowd cheers wildly and Indy sees Sergei arguing with a man in a black cap, their words are hard to make out. The crowd surges out of the room and they are swept past.
Irena: Indy - come on - we've got to get you home.
Indy
(switching his attention away from Sergei and grinning at her): Hey, Irena: Thanks! This is about the most interesting birthday I ever had.

***

Later, Indy breaks into the room with the printing presses.
Indy: (reading to himself): Workers and peasants - the moment has come for the people to strike without mercy and bring Kerensky and his henchmen down into the dust of history. We will gather at -gap - and march on the Winter Palace at -gap - again!" Damn it - it's just a proof. I want the finished version. It must be here somewhere.
Indy continues to search the building, muttering to himself and gathering up as many leaflets as he can find. Suddenly he hears a noise at the door, someone is unlocking it. Indy pinches out the candle and retreats towards the window. But before he can get there the door opens and the light is switched on. Two solidly built men with rifles come in.
Bolshevik 1: See! I told you - there's nobody here.
Bolshevik 2: How do you know, comrade - you haven't looked yet.
Bolshevik 1: It's empty, I tell you. Look!

The second Bolshevik sees Indy's abandoned candle lying on a press: he picks it up - the wax is still melted. The two men glance at each other as the significance of this sinks in.
Bolshevik 2: You take that side, I'll take this. And take the safety off your rifle!
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Old 12-10-2014, 02:59 PM   #138
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Scenes cut from Russia 1917 script III

Indy runs to the French embassy, pounds on the door. He disappears inside, and dumps his booty triumphantly on his desk. To his disgust, and despite the fact that it is the middle of the night, Brossard is still working away at his desk.
Brossard: Ah! Captain! How nice of you to drop in.
Indy: What are you doing here?
Brossard: The same thing you are I imagine- trying to work out the likeliest date for the Bolshevik uprising. Care to pool our resources?
Indy: No thanks, Brossard. I think I can figure this out on my own.

(Brossard tells Indy the key is the Putilov steelworks).
Indy: Thanks Brossard, I'll remember that. But it's the date of the match we want, not the team line-up.


Indy spends the rest of the night awake, working on it, and in the morning he staggers back to the apartment block. He finds Rosa there who has been waiting for him since the party.
Indy: Rosa. Have you been waiting here-
Rosa: Since the party.
Indy: Why, Rosa?
Rosa: Funny, isn't it? Here I am in the middle of the most exciting time in history and I don't care about anything except-- that I love you. [...] You see the thing is, Indy, I feel as if you're the only reason there is for living. (Most of this scene plays out the same way as the episode. This was the only new content).

Indy confronts Sergei and Irena about Lenin and the Putilov steelworks, and they try to throw him off the scent.
Sergei: The simple fact is not enough people support us yet. [...]
Irena: That's why [Lenin] is concentrating on agitation: he's training hundreds of people every week to go into the barracks and the factories and the villages and stay there until every man, woman and child they talk to agrees with the Bolshevik program: peace, bread, land. That's what matters now, and it's all that matters. Persuading the people.

At the French embassy, Indy is manning the phones, in the doghouse because his friends betrayed him and he botched the intelligence.
Indy (into the phone): Yes? The Putilov Steelworkers? Okay. (starts writing) Whipping up the workers? Okay. Right. Any names? Sergei Aliev and: (telling the caller, not repeating): Irena Michailovna Bochareva, right? Oh, I just guessed, that's all. (He hangs up and stares despondently at his note.) Bastards. Lying Red bastards. (Indy turns to the telephone answerer next to him and says) If there's one thing you learn in a revolution, it's never to trust anybody who says he's your friend.

***
The Ambassador sits at the table drinking coffee, he is joined by a secretary.
Secretary: Well sir, it looks as though a few hours from now you could be the first French Ambassador to Bolshevik Russia.

Ambassador: A few hours from now, Andre, I won't be an Ambassador at all. France will never recognize a Russia run by the Soviets.
Laurentine comes in and joins them.
Laurentine: I Have the text of Lenin's speech to the Kronstadt Sailors, sir. It's just come in.
Ambassador: Don't bother to read it, Laurentine. I know what it says. 'All power to the soviets, forward to the Winter Palace.'
Laurentine: Not exactly, sir
[...the rest follows the episode]

Indy learns about the ambush, then rushes out to warn Sergei and Irena who rebuff him. He sits alone sulking in the apartment until Rosa enters and he tells her what's about to happen.
Rosa: We've got to warn them!
Indy: I already did. They didn't believe me because we're on opposite sides of the fence.
Rosa: But you're their friend.
Indy: Didn't count.

(Brief silence).
Rosa: So what are you going to do?
Indy: Do? Nothing. There's nothing I can do. I offered them what I had: they said no thanks. End of story.
Rosa: But they're going to die - for nothing.
Indy: Probably.
Rosa: You can't just let that happen.
Indy: Watch me.
Rosa
(looking at him hard): You're not the guy I thought you were, Indy.
Rosa turns around and walks out of the room. Indy watches her go without emotion. We hear her feet clattering down the stairs. Indy sits impassively for a moment, and then his eyes stray idly to Rosa's shopping bag: the tiny piece of meat she has found has fallen on the floor, the blood oozing through the paper it's wrapped in. Suddenly Indy runs to the window and shouts, "Hey, Rosa! wait for me! I said wait for me, dammit!"

...and, SCENE! Poignant stuff, eh? What with the bleedin' meat 'n all. I like this scene as it shows that Indy's rejection of Rosa was not just one-sided and, in fact, by the end of it she actually becomes disillusioned and loses her infatuation with him.

***

As you can see for yourselves, a lot of this was quite tedious and quite appropriately edited out of the final script. Nevertheless I thought I would include all of it for the die-hards. Still to come in 2015 (unless one of you beats me to it): Barcelona, May 1917 & Hollywood Follies.
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Old 12-10-2014, 03:26 PM   #139
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Quote:
Originally Posted by AndyLGR
was any reason given for making these changes?

Its put me in 2 minds now whether to buy the dvds or not.

Sorry to bury your post Andy!
Some of the original broadcast versions are available on youtube or elsewhere on the web. Stoo, our resident video archivist, has also been posting deleted scenes whenever he's able. (hopefully we'll get more soon!)

Basically George Lucas combined two Young Indy episodes to make one single "movie" which is what you get on the dvds, so the episodes were (somewhat unlovingly) crammed into 120 minute time constraints. A lot was cut out and retouched and in lieu of interviews, deleted scenes and other "bonus" goodies, we get about 50 mildly useful historical documentaries on the DVDs. Of course, definitely pick up the DVDs, especially since they are now available for much cheaper than when they originally hit the market. The picture is clearer than anything you'll find on youtube.
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Old 12-12-2014, 01:41 AM   #140
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Thanks for the detailed analysis, Demitasse!

Although I by no means have the episodes committed to memory, when I skimmed the script for Petrograd I could tell it had diverged greatly from the episode as released. Enough to make me suspect it was legitimate - who would fake so many additions?

I'll definitely keep your posts handy the next time I rewatch it.
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Old 12-12-2014, 12:44 PM   #141
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Quote:
Originally Posted by AndyLGR
I've always steered clear of this thread as I only ever saw a couple of episodes of Young Indy and I never seemed to be able to catch them in the UK.

However today I thought I'd check out the DVD box sets on Amazon. I was dismayed (although probably not too surprised) to read in some of the reviews that scenes were cut and changes made for the DVD release.

Stoo I see you are the expert on this, so I'm assuming that the only way to get the original versions was if I had recorded them back when they were originally broadcast?

Also was any reason given for making these changes?

Its put me in 2 minds now whether to buy the dvds or not.
Hi, Andy. Nice to see you in a Young Indy thread. Indeed, if you want ALL of the original broadcast versions there is no other option other than home recordings. Some episodes have been released on VHS & Laserdisc but not all.

Why the changes? As Demitasse already said, to fit them into packaged 'movies'. However, the specific choice of keeping certain parts instead of others remains a mystery.

Knowing your tastes, you'd probably enjoy the series very much (especially the war years) and if you've never seen the full original run then the changes shouldn't detract from the overall viewing experience. Plus, the DVDs contain about 3 hours (or more) of NEW or EXTENDED footage. Buy 'em, you'll like 'em!
Quote:
Originally Posted by Halfcup (Demitasse)
Also, while I have folks' attention on this thread, hey Stoo-- any chance we might get another video instalment of your YIJC deleted scenes up on StooTV before year's end?? (Fingers crossed!! I have a suggestion/request if you're up for it!)
Having just returned from my 2nd trip to Vienna, I'm really in the mood to share the cut scene from "Austria 1917" but am curious about your request. What is your suggestion?
Quote:
Originally Posted by Halfcup
...the episodes were (somewhat unlovingly) crammed into 120 minute time constraints. A lot was cut out and retouched...
90 minute time constraints. Excluding the Old Indy bookends, I'd say that only about 30 minutes (1.5% of broadcast footage*) was cut out, retouched or rearranged. That's a relatively minor amount of time compared to the 33 hours (approx.) of the original run.

*A rough estimate

Anyway, GREAT work on the deleted stuff from the scripts! Keep it up, mon ami.
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Old 12-16-2014, 11:31 AM   #142
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Quote:
Originally Posted by Stoo
Having just returned from my 2nd trip to Vienna, I'm really in the mood to share the cut scene from "Austria 1917" but am curious about your request. What is your suggestion?

Oops! The one I had in mind was the one you have already identified in this thread (post #61) as the "Holy Grail of YIJC Cut Scenes" from Congo, January 1917, that involves shooting into the jungle and the controversial(?) monkeys remark. Drat, I see now that you said it was never aired. The episode is not fresh on my brain, but I know the bit about Remy complaining of jiggers in his toes was definitely on TV because I remember that from the original broadcast and being freaked out by that as a kid! Not sure if the "jiggers" made it to the DVD episode. Will have to re-watch.

Anyway, if we can't do that, I'd love to see what was clipped from Vienna, which you've already mentioned a little bit in post #71 of this thread.

P.S. Just started my script analysis of the Barcelona episode, hope to have my findings up for you guys after Xmas break!
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Old 12-28-2014, 09:14 PM   #143
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Scenes cut from Spain 1917 (May) script I

Like the script for Russia, Gavin Scott’s script for the Barcelona episode has some minor differences in the dialogue which are not very interesting and which I have left out. This time I'm only including things that were cut from the script entirely:

***

Old Indy (Voiceover): The entire anti-German alliance worked as a team. There was Marcello, the Italian. He’d seen everything. Nothing could surprise Marcello. In fact, we spent quite a lot of our time just trying to keep him awake. There was Charles, the Frenchman, who went under the code name Charles the Bizarre, which was – well, appropriate. There was Cunningham, the Englishman. […]

***

Cunningham (after specifying that the reigning King of Spain is Alfonso the thirteenth): And both we and the Germans are trying desperately to make sure the King brings Spain into the war on the right side. See that bullet-headed chap over there with the monocle? That’s Colonel Schmidt, head of the German team.

***

Indy reunites with Pablo Picasso:
Picasso: Norman [Rockwell]! It’s good to see you again.
Indy (a little taken aback): No, Norman was the other kid. I’m Indiana Jones, then known all too often as Junior.
Picasso: Ha! I thought you’d filled out. Those were great days, Indiana Jones. I was poor, and unknown, and – we enjoyed ourselves.
Poor old Degas! Who thinks of Degas now? All they talk of is – Picasso. Ah, well, that’s life. Let’s go see a bullfight!
Indy: Actually – what I need is – well – I wondered if you wanted any help making the scenery for these ballet dancers. Painting, building, stuff like that.
Picasso: It’s all done, I’m afraid. These are just a few repairs. But hey-
(a glint of characteristically Picassian mischief comes into his eyes)I’ve got a better idea! Come with me.
Picasso brings Indy to Diaghilev’s office, while Diaghilev appears to be mid-rant:
Diaghilev: If I want a cow to dance I hire a cow! Or an elephant! Clump, clump, clump, just like you! How dare you dance like that! This is the Ballet Russe! The greatest ballet troupe in Europe! I am Diaghilev, the greatest impressario in Europe! And you are attempting to assassinate me with a pas de deux that a regiment of infantrymen could do better!
Ballet Dancer: But Mr. Diaghilev--
Diaghilev: Don’t speak to me! I can no more bear to hear the sound of your voice than I can the sight of your dancing! How can I be expected –
Picasso: Hi, Diaghilev: I’m not interrupting anything, am I? This is Indiana Jones, an old friend of mine. He needs a job. You got anything for him?
Diaghilev considers imploding for a moment, then decides its more interesting to inspect Indy, scanning him from head to toe.
Diaghilev: Well, Indiana Jones, you have quite nice shoulders. And your waist, hmm. Nice. Very well: drop your trousers.
Indy: What?!
Picasso: You want a job, don’t you?
Diaghilev: My, my, my, my, my! What a delightful pair of legs. Lovely powerful thighs. Yes, I quite approve of them.
You can be a eunuch.
Indy: What?!
Picasso: In the ballet, in the ballet! He means you can be an extra.
Indy: But I can’t dance!
Diaghilev: That doesn’t matter. You just need to strut about looking beautiful and holding your scimitar. And look at the costume you’ll be able to wear!
Picasso points to a drawing of a eunuch costume which is very scanty.

***
Allied Spy Headquarters, Cunningham, Marcello, and Charles are seated around a table engaged in animated discussion:
Charles: You must admit the anthrax in the sugar-cubes was a streak of genius.
Cunningham: But a typical Hunnish trick! Fancy poisoning Spanish mules!
Marcello: But logical. You can’t run a modern war without mules to pull the artillery through the mud. Spain provides France with mules, the Germans secretly poison them en route, and the French blame the Spanish for selling them sick animals. They are thus less likely to become allies, and the Germans are delighted.
Cunningham: I still say it was not the sort of scheme an Englishman would want to come up with.
Charles: Exactly! That’s what’s wrong. We’ve got to be EVEN more devious than Schmidt. That’s the beauty of my plan about the bewll.

Cunningham: Your plan about the – bewll is too – bizarre, Charles. I’m sorry.
Charles: Why shouldn’t the German Kaiser appear to send King Alfonso a prize bewll? Who’s to know who really sent it? Imagine the scene – the whole court at the bewllring – thousands of cheering Spaniards: the prize German bewll gallops into the ring to fight the greatest matador in Spain – and promptly falls over and falls fast asleep! The King would be furious, humiliated – the Germans in disgrace.
Marcello: But why should the – bewll fall asleep?
Charles: Because we have secretly trained it to do so! As soon as it sees a red cape this bewll will automatically fall over, close its eyes and sneur loudly.
Marcello: Sneur?
Charles
(impatiently): SNEUR! SNEUR! Like that! (He snores loudly).
Cunningham (pauses, unable to say how awful this plan is): Yes, well – I’ll tell you what, Charles, why don’t we – why don’t we…
Marcello: Why don’t we think of something that does not require any sneurring?

Charles’s face darkens furiously and Cunningham quickly brings Indy into the conversation.
Cunningham: I wonder what’s happened to our young job hunting friend? He’s been gone rather a long time.

The way Indy gains access through the secret entrance is a bit different:
A wonderfully picturesque ship’s chandler’s shop, full of nets and colored glass floats hanging from the ceiling; old fashioned diving suits with great brass helmets standing in the shadows, coils of rope and anchors. An ancient bearded man is bent over the counter. The door opens with a loud jangling of the bell and Indy gropes his way into the shadowy interior. (Cue: “The Barber Shop” by Rosenthal)
Indy: I’m looking for a left handed binnacle.
Old man: There’s no such thing as a left handed binnacle, senor-
Indy: Then I’ll have a left handed marlin spike instead.
Old man: A splendid choice, your excellency.

(The old man turns around and pulls a marlin spike out of a rack. Indy appears to skink down into the ground, but his expression as he disappears through the trap door is one of complete calm. He descends into the cellar on the secret mechanism and steps off. The mechanism returns to the ceiling.)
Cunningham: Captain! Perfect timing! We were just asking ourselves where you’d got to.
Charles: Did you get a good jerb, Captain?
Indy: I nearly got the worst jerb in the world! I only escaped by the skin of my teeth. You know what? Some crazy Russian wanted to make me a eunuch in a ballet! Wearing a costume you wouldn’t believe!
Charles: He offered you a job with the Ballet Russe?
Cunningham: And you turned it down?
Indy: Well obviously – can you see me – half naked – on a stage, being ogled by the ballet-lovers of Barcelona? (There is silence. They can.)
Marcello: It would not be wise to reject this opportunity, Captain.
Charles: All of Spanish society has its eyes on the Ballet Russe. Even the King and Queen go there.
Cunningham: I’ve even heard that Colonel Schmidt himself has been smitten by one of the dancers.
Marcello: There is no better cover for a spy in Spain at this moment.
Indy: No!
Charles
(firmly): I think you should regard this as TERP military priority, Captain.
Indy: But you haven’t seen the… costume he wants me to wear!
Cunningham
(sympathetic, but firm): Keep a stiff upper lip, old man. Anyway, you have nice legs, haven’t you?
Indy (gritting his teeth): Nice legs or not, Cunningham, hell would have to freeze over before I appear in public dressed like that.
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Old 12-28-2014, 09:25 PM   #144
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Scenes cut from Spain 1917 (May) script II

***
Indy gets on stage dressed as a eunuch.
Diaghilev: Wonderful! Wonderful! I think we will call you Igor.
Indy: But I’m NOT a Russian, Mr. Diaghilev.
Diaghilev (after explaining that all his dancers are “Russian”): I’m a very creative man. To the art of dance I have brought passion where there was once only posturing! People will forget about the war – but they will remember my ballet forever! That’ll be all, Igor.
Indy
(leaving, says to himself through gritted teeth): I am NOT an Igor!
(Indy heads backstage and is met by Picasso and Olga.)
Picasso: Indiana – you look marvelous. You were born to be a eunuch! Even Olga would be safe with you – and Olga is VERY desirable.
Olga: Which is why you are going to marry me, Pablo.
(*My note: they married the next year in 1918!)
Picasso: Of course, my dear. And this is Olga’s friend and rival –
Olga
(firmly): In the ballet –
Picasso: Nadia Kamenevsky.

(Indy and Nadia are introduced, joined a few moments later by Colonel Schmidt who takes an immediate dislike to Indy’s getup.)
Colonel Schmidt: You see as Germans, as a warrior nation, do not approve of decadence. (Schmidt flicks Indy’s costume with his riding crop). I suppose it gives you some kind of perverse pleasure to wear this kind of thing, young man?
(Before Indy can respond to Colonel Schmidt’s diss, Diaghilev “sails into view.”)
Diaghilev: Ah! Colonel Schmidt! What can I do for you?
Schmidt: You can ensure that the German Embassy has the best box for the theatre for the entire run of your ballet. We have many influential guests we wish to entertain.
Diaghilev: Provided you pay for the privilege, Colonel, I do not object to German money supporting Russian culture. The house manager will see to your requirements.
Nadia: I’ll show the Colonel the way, Mr. Diaghilev. Colonel Schmidt?

(Nadia takes Schmidt by the army; he clinks his heels, nods stiffly to Diaghilev and marches out. Everybody turns to watch them disappear).
Olga: Nadia is SO helpful. I came into her dressing room the other day and she was down on the floor, helping Colonel Schmidt look for his monocle. At least, that’s what she said she was doing – and who am I to disbelieve her?
Picasso: Who indeed, Olga?

***
The Allied spies are trying to convince Marcello to lop off his hair so that the Count of Toledo’s chauffer will mistake him for Colonel Schmidt trying to make time with the Countess. (Cue Rosenthal’s “The Countess”).
Marcello (agonized): My hair has only just grown back from last time!
Cunningham: Nonsense! You look splendid with the back of your head covered in bristles! Very manly.
Charles: And the monocle. It’s you, Marcello, that monocle!
(To Indy): You should see him when he’s in costume! From twenty yards he’s the living image of the Colonel.
Marcello: Women recoil from me for weeks afterwards!

(My note: IMO, they should have left that last bit in the script. I didn’t realize Terry Jones was supposed to be dressed-up as Col. Schmidt until the second time I watched this episode!)

***
Nadia takes Indy out to a restaurant to “get to know him better”, then calls him out on tampering with the note.
Nadia: Poor Colonel Schmidt! You wicked man, you’ve been reading the cultural attache’s love letter to me!
Indy: I couldn’t help myself. How dare he! That bristly Prussian swine!
Nadia (laughing): How do you know I don’t like bristles?
Indy
(shocked): How could you?
Nadia: Don’t worry, I hate them.
But I like red roses and champagne and expensive dinners – and if it gives and elderly German officer a little pleasure to take me out occasionally – why not?

***

The Allied Spies’ scheme to embarrass Schmidt gets under way and a page delivers a bogus letter to the Count supposedly from the Countess to the Colonel.
Page (appearing between the Count and Contessa): Note from Colonel Schmidt, Contessa.
Count: Give me that!
(Snatches it and reads it aloud): “The noise of our bells will echo off every wall in Barcelona!” Consuella – have you gone out of your mind?

Meanwhile, Delfina is making her way painfully down a row of seats while Indy and Nadia are signaling to others frantically, as Diaghilev and Picasso are watching off stage.
Diaghilev: I don’t think I entirely believe what I am seeing.
Indy is virtually doing a solo in his efforts to get his message across. Nadia is being pretty original too: she has managed to attract Delfina’s attention.

***

Later, after the show, a party is going on backstage for the cast and stagehands: a much less elegant party than the one upstairs – and more fun. Impromptu flamenco dances are being danced and large quantities of rough Spanish wine are being drunk. Picasso comes in dragging Indy with him.
Picasso: You never told me you were a great choreographer, Indy! Here! Drink! They should devise a special number for you: The Dance of the Energetic Eunuchs.
Male Dancer: The Dance of the Limelight-hoggers!
Indy
(sticking to his story): There were fleas in my jockstrap.

***

Indy, after seizing Nadia and holding her captive in a dressing room, brings her some food.
Indy: Gee Nadia, I was just – look, I’m sorry about tying you up and all, but there was a really good reason for it. I’m sorry you’re missing the party, too, so I brought you some stuff to eat and drink. (Nadia looks at him with silent contempt). I guess you can’t eat it with your gag on – but will you promise not to yell if I take it off?
Indy unties her and after an upbraiding, she tells him that Schmidt is a valuable double-agent working with American intelligence who is about to be shot to death in a duel with the Count.
Indy: American Intelligence!? But America isn’t even in the war!
Nadia: You think that matters a red cent?
Indy: But – how come we didn’t know?
Nadia:
You want it published in a newsletter? There was no NEED for you to know. There was no need for ANYONE to know! This is espionage!
Indy: You could just be saying this.
Nadia:
I could, but I’m not. Now untie me immediately and let’s get this mess sorted out.
[…]
Indy: Not until I’ve talked to my friends.
Nadia: Well take me with you. You haven’t got the sense to convince them on your own.
Indy: Well…
Nadia: NOW!

* * *

At Allied spy HQ, the spies get confirmation that Nadia is telling the truth across the wire while she is still bound and gagged.

Cunningham: Madam – we owe you an apology.
Nadia: You’ll owe Colonel Schmidt more than an apology if you don’t get a move on, you dithering English clown! According to that clock he has thirty five minutes before the Count of Toledo starts shooting him. And, in case you hadn’t bothered to check this, the Count of Toledo is generally acknowledged to be the best shot in Iberia!
Charles
(gallantly): Madam – you may rely on us to prevent this misfeurtune from occurring.
Nadia: I would rather rely on a pack of Barbary apes.

Indy: But if Colonel Schmidt is really an American agent why doesn’t he just refuse to fight?
Nadia: And entirely destroy his credibility with the Germans?
Marcello: To say nothing of the Spaniards. When they hear of such a disgrace Berlin would recall him at once.
While trying to come up with a way out, Marcello suggests releasing the bulls.
Charles (leaping up): I have it – I’ve just remembered: There is a beekeeper with several hives of ferocious beus just around the corner from (Nadia cuts him off).

***
The gang makes it to the bullring and Nadia runs up to Schmidt and the Count.
Nadia (leaping out of the car, waving the letter): Stop! Count! I have proof here that the enemies of Spain and Germany have been at work!

(My note: How then, would the count be cool with the Allied Spies for all their intrigue and meddling?!)

The scene pulls out of the bullring and Old Indy gets the last word before returning to the scene in the classroom:
Old Indy (voice over): And that pretty much sums it up. It was a jolly good effort, we were right back where we started – thus proving the concept, which I explained at the start of this talk, that anything that can go wrong WILL go wrong… Except – well, you know something? The Spaniards, wise people that they were, never came into World War One on EITHER side. I think there’s a lesson there… Somewhere.


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Old 12-31-2015, 01:52 PM   #145
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Currently working on acquiring Japanese LDs of the unedited version from '93. I will let members know when that happens and be happy to help those interested. Happy New Year ALL !!!!
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