more faithful to the book than the final film, was rewritten by Lorenzo Semple Jr. to expand the role of Louis Dega in order to convince Dustin Hoffman to join the cast and eliminate depictions of homosexuality among prisoners. After Hoffman's casting Dalton Trumbo further rewrote the screenplay. Papillon was filmed at various locations in Spain and Jamaica, with the cave scenes filmed beneath what is now the Xtabi hotel on the cliffs of Negril. The town scenes near the beginning of the film were shot in Hondarribia in Spain. The St-Laurent-du-Maroni penal colony scenes were actually filmed in Falmouth, Jamaica, and the swamp scenes were shot near Ferris Cross. Interior scenes were shot in Montego Bay while other scenes were filmed in Kingston, Ocho Rios, and Savanna-la-Mar. Most of the French prisoners on the island were portrayed by German-Jamaican extras. Steve McQueen’s famous cliff-jumping scene near the end of the film took place from the cliffs in Maui, Hawaii. McQueen insisted on performing the cliff-jumping stunt himself. He later said that it was "one of the most exhilarating experiences of my life." McQueen was paid $2 million along with the contractual stipulation that he receive first billing over Dustin Hoffman. In addition, author Henri Charrière himself acted as consultant on location, apprising the filmmakers of the things he encountered during his years of imprisonment. The Prison of St-Laurent-du-Maroni where Henri Charrière was held, and where most of the action takes place, was faithfully recreated using the original blueprints. Footage of the historic Prison in French Guiana plays under the end credits, which is shown to be abandoned and covered in jungle growth. Soundtrack The score to Papillon was composed and conducted by Jerry Goldsmith. It was recorded in Rome, Italy at the Ortophonic Recording Studio by the "Unione Musicisti Roma Orchestra". The film marked Goldsmith's fourth of seven collaborations with director Franklin J. Schaffner, following his Academy Award-nominated scores to Planet of the Apes (1968) and Patton (1970). Both the director and composer shared the belief that film music should be used economically; they wanted the music as commentary only in sequences where it can emphasize the psychological aspects of the film. In Papillon, the film is two and a half hours long, but has 40 minutes with music. Goldsmith's compositions, characterized by a late romantic symphonic and impressionistic style suffused with a metered, exotic timbre (using instruments from