diff --git "a/scripts/Jurassic Park.txt" "b/scripts/Jurassic Park.txt" new file mode 100644--- /dev/null +++ "b/scripts/Jurassic Park.txt" @@ -0,0 +1,8667 @@ + 1. + + + + +1 EXT. JUNGLE - NIGHT 1 + + An eyeball, big, yellowish, distinctly inhuman, stares + raptly between wooden slats, part of a large crate. The eye + darts from side to side, alert as hell. + + A legend tries to place us -- + + ISLA NUBLAR 120 MILES WEST OF COSTA RICA + + -- but to us it's still the middle of nowhere. + + It's quiet for a second. A ROAR rises up from the jungle, + deafening. The trees shake as something very, very large + plows ahead through them, right at us. Every head gathered + in this little clearing snaps, turning in the direction of + the sound as it bursts through the trees. + + It's a bulldozer. It drops its scoop and pushes forward + into the back end of the crate, shoving it across the + jungle floor towards an impressive fenced structure that + towers over an enclosed section of thick jungle. There's a + guard tower at one end of this holding open that makes it + look like San Quentin. + + The bulldozer pushes forward into the back end, the crate + THUDS TO THE FLOOR. A door slides open in the pen, making a + space as big as the end of the crate. + + Nobody moves for a second, A grim-faced guy who seems to be + in charge (Robert Muldoon, although we don't know it yet). + + MULDOON + Alright now, pushers move in. + Loading team move it. + + The movement as agitated whatever is inside the crate, and + the whole thing shivers as GROWLS and SNAPS come from + inside. + + Everyone moves back. + + MULDOON + Alright, steady. Get back in there + now, push. Get back in there, Don't + let her know you're afraid! + + The men go back to the crate and begin to push it into the + slot. + 2. + + +The crate THUDS UP AGAINST THE OPENING. A green light on +the side of the pen lights up, showing contact has been +made. + +FROM INSIDE THE CRATE, we get glimpses of what's on the +other side of those wooden slates -- jungle foliage, MEN +with rifles, searching searchlights. + +The view is herky-jerky as the crate put into position. + + MULDOON + Well lockedŠ Loading team, step + away. Joffrey, raise the gate. + +A WORKER climbs to the top of the crate. The search lights +are trained on the door. + +The RIFFLEMEN throw the bolts on their rifles and CRACK +their stun guns, sending arcs of current CRACKING through +the air. + +The WORKER gets ready to grab the gate when all at once -- + +A ROAR from the inside the crate, and the panel flies out +of his hands and SMACKS into him, knocking him clear off +the crate. + +Now everything happens at once. The WORKER THUDS to the +jungle floor, the crate jerks away from the mouth of the +holding pen flash, an alarm BUZZER sounds -- + +-- and a claw SLASHES out from inside the crate. It sinks +into the ankle of the WORKER. dragging him toward the dark +mouth between the crate and the pen. The WORKER SCREAMS and +paws the dirt, leaving long claw marks as he is rapidly +dragged toward the crate. + +Muldoon SHOUTS orders: + + MULDOON + Tasers get in there, Goddamn it! + +They FIRE their guns - the wood of the crate SPLINTERS. + +Muldoon runs in and grabs the WORKER, trying to pull him +free. + +The wild arcs of currents from the stun gun flash and CRACK +all around, but in a second -- + +-- the WORKER is gone. + + CUT TO: + 3. + + +2 EXT. MOUNTAINSIDE - DAY 2 + + MANO DE DIOS AMBER MINE DOMINICAN REPUBLIC + + DONALD GENNARO, forty, in a city man's idea of hiking + clothes and a hundred dollar haircut, approaches on a raft + being pulled across a river by TWO MEN. + + On the hillside, JUAN ROSTAGNO, thirty-ish, Costa Rican, a + smart-looking guy in workers clothes, is waiting for him. + + ROSTAGNO + Tengo mil pesos que dicen que se + cae + (I have a thousand pesos + that say he falls) (or) + Apuesto mil pesos que se cae. + (I bet a thousand pesos + he falls) + + Gennaro finally lands, and Rostagno helps him off the raft. + + GENNARO + Hola, Juanito. + + ROSTAGNO + Hola, bienvenido. + + Rostagno leads Gennaro towards the mine. Dozen of shirtless + WORKERS claw and SCRAPE at a rocky mountainside that is the + site of an extensive mining operation. The work is all done + by hand, pick and shovel instead of dynamite and bulldozer. + + GENNARO + What's this I hear at the airport? + Hammond's not even here? + + ROSTAGNO + He sends his apologies. + + GENNARO + You're telling me that we're facing + a $20 million lawsuit from the + family of that injured worker and + Hammond couldn't even be bothered + to see me? + + ROSTAGNO + He had to leave early to be with + his daughter. She's getting a + divorce. + + GENNARO + 4. + + + I understand that. + (or) + I'm sorry to hear that. We'd be + well advised to deal with this + situation now. The insurance + company -- + +Gennaro almost falls, Rostagno helps him. + + GENNARO + -- the underwriters of the park + feel the accident raises some very + serious questions about the safety + of the park, and they're making the + investors very anxious. I had to + promise I would conduct a thorough + on-site inspection. + + ROSTAGNO + Hammond hates inspections. They + slow everything down. + + GENNARO + Juanito, if they pull the funding, + that will really slow things down. + (or) + If they pull the funding that's + going to slow things down around + here. + +A WORKER hurries up to them and busts into the +conversation, breathless. + + WORKER + (to Rostagno) + Jefe, encontramos otro mosquito, en + el mismo sitio. + (Chief, we found another + mosquito in the same + place) + + ROSTAGNO + Seguro? Muestrame! + (Are you sure? Show me.) + +The WORKER and ROSTAGNO scramble back deeper into the mine. + +Rostagno calls back over his shoulder to Gennaro. + + ROSTAGNO + It seems like it's going to be a + good day after all. They found + another one! C'mon. + 5. + + + Gennaro struggles to keep up. + + +3 EXT. CAVE - DAY 3 + + ROSTAGNO and GENNARO move into the dark, dripping cave, + where at least a dozen other WORKERS are gathered in a + tight circle, staring at something intently. + + Rostagno fights his way to the center of the group. One of + the WORKERS hands him something and Rostagno examines it + carefully. + + It's a chuck of amber, a shiny yellow rock about the size + of a half dollar. + + GENNARO + If two experts sign off on the + island, the insurance guys'll back + off. I already got Ian Malcolm, but + they think he's too trendy. They + want Alan Grant. + + ROSTAGNO + Grant? You'll never get him out of + Montana. + + GENNARO + Why not? + + ROSTAGNO + Because he's like me. He's a + digger. + + Rostagno turns and holds the amber up to the sunlight + streaming through the mouth of the cave. + + With the light pouring through it, the amber is + translucent, and we can see something inside this strange + stone -- + + -- a huge mosquito, long dead, entombed there. + + ROSTAGNO + (smiles) + Hay que lindo eres vas hacer a much + gente feliz. + (Oh you're so beautiful. + You will make a lot of + people happy) + + CUT TO: + 6. + + +4 EXT. THE DIG - DAY 4 + + An artist's camel hair brush carefully sweeps away sand and + rock to slowly reveal the dark curve of a fossil - it's a + claw. A dentist's pick gently lifts it from the place its + has laid for millions of years. + + Pull up to reveal a group of diggers working on a large + skeleton. All we see are the tops of their hats. The + paleontologist working on the claw lays it in his hand. + + GRANT + (thoughtfully) + Four complete skeletons... such a + small area... the same time horizon + -- + + ELLIE + They died together? + + GRANT + The taphonomy sure looks that way. + + ELLIE + If they died together, they lived + together. Suggests some kind of + social order. + + DR ALAN GRANT, mid-thirties, a ragged-looking guy with + intense concentration you wouldn't want to get in the way + of, carefully examines a claw. + + DR ELLIE SATTLER, working with him, leans in close and + studies it too. She paints the exposed bone with rubber + cement. Ellie in her late twenties, athletic-looking. + There's an impatience about Ellie, as if nothing in life + happens quite fast enough for her. + + Her face is almost pressed up against his, she's sitting so + close. + + GRANT + They hunted as a team. The + dismembered tenontosaurus bone over + there - that's lunch. But what + killed our raptors in a lakebed, in + a bunch like this? We better come + up with something that makes sense. + + ELLIE + A drought. The lake was shrinking - + - + 7. + + + GRANT + (excited) + That's good. That's right! They + died around a dried-up puddle! + Without fighting each other. This + is looking good. + +From the bottom of the hill a voice SHOUTS to them: + + VOLUNTERR (O.S.) + Dr Grant! Dr Sattler! We're ready + to try again! + +Grant SIGNS and sits up, stretching out his back. + + GRANT + I hate computers. + +He shoves the claw absent-mindedly into his pocket and he +and Ellie walk toward the source of the voice. As they +walk, we get our first look at the badlands. Exposed +outcroppings of crumbling limestone stretch for miles in +every direction, not a tree or a bush in sight. + +In the dig itself, the ground is checkered with excavations +everywhere. There's a base camp with five or six teepees, a +flapping mess tent, a few cards, a flatbed truck with +wrapped fossils loaded on it, and a mobile home. There are +a dozen VOLUNTEERS of all ages at work in various places +around the dig. The Volunteers are from all walks of life, +dinosaur buffs. Three or four of them have CHILDREN with +them, and the kids run around, like in a giant sandbox. + +Grant , Ellie and a Volunteer walk down the hill. Grant +spots a KID kicking dirt onto one of the digs. He notices +and frowns. + + GRANT + What's that kid doing? + (to the kid) + What are you doing there!? Excuse + me! Can you just back off? This is + very fragile! Are you out of your + mind? Get off that and go find your + parents! + (to Ellie) + Did you see what he just did? + +The kid stomps away, pissed off. + + KID + Asshole. + 8. + + + GRANT + (to Ellie) + Why do they have to bring their + kids?! + + ELLIE + You could hire your help. But + there's four summers of work here, + with the money for one. And you say + it's a learning experience, sort of + a vacation, and you get volunteers + with kids. + +He and Ellie arrive to where several VOLUNTEERS are +clustered around a computer terminal that's set up on a +table in a small tent, its flaps lashed open. + + GRANT + (to the Volunteer) + Ready to give it a shot, Jerry? + +A LITTLE GIRL moves a little too close to the machine. + + ELLIE + Want to watch the computer? + +Ellie quietly moves her out of Grant's way, to a place she +can see. + + VOLUNTEER + Thumper ready? + + MAN + Ready. + + VOLUNTEER + Fire. + +The VOLUNTEER throws a switch on a machine that looks a bit +like a floor buffer. The whole thing hops up into the air +as it drives a soft lead pellet into the earth with a +tremendous force. There is a dull THUD, the earth seems to +vibrate, and all eyes turn to the computer screen -- + + ELLIE + How long does this usually take? + + VOLUNTEER + 9. + + + It should be immediate return. You + shoot the radar into the ground, + the bone bounces back.... The + screen suddenly comes alive, yellow + contour lines tracing across it in + three waves, detailing a dinosaur + skeleton. + + VOLUNTEER + This new program's incredible! A + few more years of development and + you don't have to dig any more! + +Grant looks at him, and his expression is positively +wounded. + + GRANT + Well, where's the fun in that? + + VOLUNTEER + It looks a little distorted, but I + don't think that's the computer. + + ELLIE + (shakes her head) + Postmortem contraction of the + posterior neck ligaments. + (to Grant) + Velociraptor? + + GRANT + Yes. Good shape, too. Five, six + feet high. I'm guessing nine feet + long. Look at the -- + +He points to part of the skeleton, but when his finger +touches the screen the computer BEEPS at him and the image +changes. He pulls his hand back, as if it shocked him. + + VOLUNTEER + What's you do? + + ELLIE + He touched it. Dr. Grant is not + machine compatible. + + GRANT + They've got it in for me. + +The Volunteer LAUGHS and touches a different part of the +screen, which brings the original image back. Grant +continues, but doesn't get as close. + 10. + + + GRANT + Look at the half-moon shaped bone + in the wrist. No wonder these guys + learned to fly. + +The group laughs. Grant is surprised. + + GRANT + Now, seriously. Show of the hands. + How many of you have read my book? + +Everyone stops laughing and looks away. Ellie raises her +hand supportively. So does the Volunteer, Grant sighs. + + GRANT + Great. Well maybe dinosaurs have + more in common with present-day + birds than reptiles. Look at the + public bone -- it's turned + backwards, just like a bird. The + vertebrae -- full of hollows and + air sacs, just like a bird. Even + the word raptor means "bird of + prey". + +The kid steps forward and looks at the computer skeleton +critically. + + KID + That doesn't look very scary. More + like a six-foot turkey. + +Everyone sort of draws in their breath and steps aside, +revealing the KID, standing alone. Grant turns to the Kid, +lowers his sunglasses, and stares at him like he just came +from another planet. + +Grant strolls over to the KID , puts his arms around his +shoulders in a friendly way. + + GRANT + Try to imagine yourself in the + Jurassic Period. + (or) + Try to imagine yourself in the + Cretaceous Period. + +Ellie rolls her eyes. + + ELLIE + (under her breath) + Here we go. + 11. + + + GRANT + You'd get your first look at the + six-foot turkey as you move into a + clearing. But raptor, he knew you + were there a long time ago. He + moves like a bird; lightly, bobbing + his head, And you keep still, + because you think maybe his visual + acuity's based on movement, like a + T-rex, and he'll lose you if you + don't move. But no. Not + VELOCIRAPTOR. You stare at him, and + he just stares back. That's when + the attack comes -- not from the + front, no, from the side, from the + other two raptors you didn't even + know were there. + +Grant walks around the Kid. + + GRANT + Velociraptor's a pack hunter, you + see, he uses coordinated attack + patterns, and he's out in force + today. And he slashes at you with + this -- + +He takes the claw from his pocket and holds it at the front +of the raptor's three-toed foot. + + GRANT + -- a six-inch retractable claw, + like a razor, on the middle toe. + They don't bother to bite the + jugular, like a lion, they just + slash here, here -- + +He points to the Kid's chest and thigh. + + GRANT + -- or maybe across the belly, + spilling your intestines. Point is, + you're alive when they start to eat + you. Whole thing took about four + seconds. + +The Kid is on the verge if tears. + + GRANT + So, you know, try to show a little + respect. + 12. + + +And with that he walks back across the camp, returning to +his skeleton. Ellie hurries to catch up with him. + + ELLIE + You know, if you really wanted to + scare the kid you could've just + pulled a gun on him. + + GRANT + Yeah, I know, you know...kids. You + want to have one of those? + + ELLIE + Well, not one of those, well yeah, + a possibly one at some point could + be a good thing. What's so wrong + with kids? + + GRANT + Oh, Ellie, look. They're noisy, + they're messy, they're sticky, + they're expensive. + + ELLIE + Cheap, cheap, cheap. + + GRANT + They smell. + + ELLIE + Oh my god, they do not! They don't + smell. + + GRANT + They do smell. Some of them smell.. + babies smell. + + ELLIE + Alright, the one on the airplane + had an accident, but usually babies + don't smell. + + GRANT + They know very little about the + Jurassic Period they know less + about the Cretaceous. + + ELLIE + The what? + + GRANT + The Cretaceous. + 13. + + + ELLIE + Anything else, you old fossil? + + GRANT + Yeah, plenty. Some of them can't + walk! + + ELLIE + It frustrates me so much that I + love you, that I need to strangle + you right now! + + Ellie playfully takes Grant's hat off and gives him a tight + hug. + + They kiss. + + A strange wind seems to be whipping up. Grant and Ellie + look around, confused. The wind is getting stronger, + blowing dirt and sand everywhere, filling in everything + they've dug out, blowing the protective canvasses off. Now + there's a more familiar ROAR, and they look up and see it - + - + + -- a huge helicopter, descending on the camp. + + ELLIE + (to the volunteers) + Get some canvasses and cover + anything that's exposed! + + Grant's already on it, trying to desperately to protect the + skeleton he's excavating. He looks up at the helicopter and + SHOUTS, shaking his fist. + + CUT TO: + + +5 EXT. BASE CAMP - DAY 5 + + Down at the base camp, the helicopter has landed. The PILOT + is already out, waiting as GRANT comes down from the + mountaintop like Moses steaming. Grant gestures wildly at + him to turn the chopper off. + + The pilot points timidly to a mobile home across the camp. + + Grant runs to the trailer. + + +6 EXT. TRAILER - DAY 6 + + The door to the trailer SLAPS open, and GRANT storms in. + 14. + + + GRANT + What the hell do you think you're + doing in here? + +The trailer serves as the dig's office. There are several +long wooden tables set up, every inch covered with bone +specimens that are neatly laid out, tagged, and labeled. + +Farther along are ceramic dishes and crocks, soaking other +bones in acid and vinegar. + +There's old dusty furniture at one end of the trailer, and +a refrigerator. A man roots around in the refrigerator, his +back to us. + +GRUMBLING about the contents which are mostly beer. + +His hand falls across a bottle of expensive champagne in +the back. + + MAN + Ah hah! + +He pulls it out - the cork POPS. + +The Man turns around. JOHN HAMMOND, seventy-ish, is +sprightly as hell, with bright, shining eyes that say +"Follow me!" + +Grant stares incredulously at the Man, holding his +champagne bottle without an invitation. + + GRANT + Hey, we were saving that! + + HAMMOND + For today, I guarantee it. + + GRANT + And who in God's name do you think + you are...? + + HAMMOND + John Hammond. And I am delighted to + finally meet you in person Dr + Grant. + +Grant is struck silent. He shakes his hand, staring dumbly. + + GRANT + Mr. -- Hammond? + 15. + + +Hammond looks around the trailer approvingly, at the +enormous amount of work the bones represent. + + HAMMOND + I can see my fifty thousand a year + as been well spent. + +The door SLAPS open again and ELLIE comes in, just as +pissed off as Grant was. + + ELLIE + Okay, who's the jerk? + + GRANT + Uh, this is our paleobotanist, Dr + Ellie... + + ELLIE + Sattler. + + GRANT + Dr Sattler. Ellie, this is Mr. + HAMMOND. + (in case she didn't catch + it) + John Hammond. + + ELLIE + Did I say jerk? + + HAMMOND + I'm sorry for the dramatic + entrance, but I'm in a hurry. Will + you have a wee bit of a drink now + and then? + +Hammond begins to walk into the kitchen, making himself at +home. + +Ellie follows him tries to help. Grant settles behind the +table. + + HAMMOND + Come along then, don't let it get + warm! + (expansively) + Come on in, both of you. Sit down. + +As Hammond moves, they notice he walks with a slight limp +and uses a cane -- for balance or style, it's hard to say +witch. + + ELLIE + 16. + + + I have samples all over the + kitchen. + (she takes some stones + out of one of the + glasses) + + HAMMOND + Come along. I know my way around a + kitchen. Come along. + +Ellie goes around towards Grant. She grabs a bottle of +water. + +They look at each other, really aback by this guy's +bravado, and site down. Hammond dries the glasses. + + HAMMOND + Well now, I'll get right to the + point. I like you. Both of you. I + can tell instantly with people; + it's a gift. + (new subject) + I own an island. Off the coast of + Costa Rica. I leased it from the + government and spent the last five + years setting up a kind of + biological preserve down there. + Really spectacular. Spared no + expense. It makes the one I had in + Kenya look like a petting zoo. No + doubt that sooner or later our + attractions will send + (drive the) + kids right out of their minds. + + GRANT + And what are those? + + ELLIE + Small versions of adults, honey. + +He gives her a dirty look. + + HAMMOND + Not just kids -- for everyone. + We're going to open next year. + Unless the lawyers kill me first. I + don't care for lawyers. You? + + GRANT + I, uh, don't really know any. We -- + + HAMMOND + 17. + + +Well, I'm afraid I do. There's one, +a particular pebble in my shoe. He +represents my investors. He says +they insist on outside opinions. + + GRANT +What kind of opinions? + + HAMMOND +Not to put a fine point on it, your +kind. Let's face it, in your +particular field, you're the top +minds. If I could just get you two +to sign off on the park -- you +know, give a wee testimonial -- I +could get back on schedule -- + (he Americanizes him + pronunciation) +-- schedule. + + ELLIE +Why would they care what we think? + + GRANT +What kind of park is it? + + HAMMOND + (smiles) +Well, it's -- right up your alley. + (hands Grant a drink) +Look, why don't you both + (the pair of you) +come on down for the weekend. Love +to have the opinion of a +paleobotoanist as well. + (hands Ellie a drink) +I've got a jet standing by at +Choteau. + (he jumps up and sites on + the counter) + + GRANT +No, I'm sorry, that wouldn't be +possible. We've just discovered a +new skeleton, and -- + + HAMMOND + (pours himself a drink) +I could compensate you by fully +funding your dig. + + GRANT + 18. + + + -- this would be an awfully unusual + time -- + + HAMMOND + For a further three years. + + Grant OOFS as Ellie elbows him hard in the ribs. + + ELLIE + Where's the plane? + + CUT TO: + + +7 EXT. CAFE - DAY 7 + + DENNIS NEDRY is in his late thirties, a big guy with a + constant smile that could either be laughing with you or at + you, you can never tell. He sits at a table in front of a + Central American cafe, eating breakfast + + Another Legend: + + SAN JOSE, COSTA RICA + + Nedry looks up and sees a man get out of a taxi - - LEWIS + (Louis) DODGSON, fiftyish, wearing a large straw hat and + looking almost too much like an American tourist. Dodgson + clutches as attaché case close to him and scans the cafe + furtively. + + Nedry laughs, shakes his head, and waves to him. + + NEDRY + Dodgson! + + Dodgson hurries over to the table. + + DODGSON + (as he sites) + You shouldn't use my name. + + NEDRY + Dodgson, Dodgson. + (loud) + We got Dodgson here! See, nobody + cares. Nice hat. What are you + trying to look like, a secret + agent? + + Dodgson ignores that, sets his attaché case down next to + the table, and slides it towards Nedry, + 19. + + + DODGSON + Seven fifty. + +Nedry smiles and pulls the attaché closer to him. + + DODGSON + On delivery, fifty thousand more + for ever viable embryo. That's one + point five million. If you get all + fifteen species off the island. + + NEDRY + Oh, I'll get 'em all. + + DODGSON + Remember - - viable embryos. + They're no use to us if they don't + survive. + + NEDRY + How am I supposed to transport + them? + +Dodgson pulls an ordinary can of shaving cream from a +shoulder bag he carries and sets it on the table. + + DODGSON + The bottom screws open; it's cooled + and compartmentalized inside. They + can even check it if they want. + Press the top. + +Nedry presses the top of the can and real shaving cream +comes out. He grins, impressed. While Dodgson talks, Nedry +looks around for somewhere to wipe the shaving cream and +ends up dumping it on top of someone's Jell-O on a dessert +tray next to him. + + DODGSON + There's enough coolant gas for + thirty-six hours. + +Nedry looks at the can. + + NEDRY + What? No menthol? + + DODGSON + Mr Nedry, Mr Nedry. The embryos + have to be back here in San Jose by + then. + + NEDRY + 20. + + + That's up to your guy on the boat. + Seven o'clock tomorrow night, at + the east dock. Make sure he got it + right. + + DODGSON + I was wondering, how are you + planning to beat the security? + + NEDRY + I got an eighteen minute window. + Eighteen minutes, and your company + catches up on ten years of + research. + + A WAITER arrives and puts the check down on the table, + between them. Nedry looks down at it pointedly, then up at + Dodgson. + + NEDRY + Don't get cheep on me Dodgson. + + Dodgson rolls his eyes and picks up the check. + + NEDRY + That was Hammond's mistake. + + +8 EXT. OPEN SEA - DAY 8 + + A helicopter, "IN-GEN CONSTRUCTION" emblazoned on the side, + skims low over the shimmering Pacific. + + +9 EXT. HELICOPTER - DAY 9 + + GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back + of the chopper; HAMMOND is in the front with the PILOT. + + There are two other passengers was well -- DONALD GENNARO, + the lawyer from the amber mine, now dressed in safari + clothes, everything straight from Banana Republic. The + other Dr. IAN MALCOLM, fortyish, dressed all in black, with + a snakeskin boots and sunglasses. Malcolm, who finds it + hard to take his eyes off Ellie, leans over and SHOUTS over + the engine whine. + + MALCOLM + So you two dig up dinosaurs? + + GRANT + Try to! + 21. + + +Malcolm laughs, finding this very amusing, which confuses +Grant. + +Hammond turns around annoyed. + + HAMMOND + You'll have to get use to Dr. + Malcolm! He suffers from a + deplorable excess of personality, + especially for a mathematician! + + MALCOLM + Chaotician, actually! Chaotician! + +Hammond SNORTS, not even bothering to cover his contempt +for Malcolm. + + MALCOLM + John doesn't subscribe to Chaos, + particularly what it has to say + about his little science project! + + HAMMOND + Codswollop! Ian, you've never come + close to explaining these concerns + of yours about this island! + + MALCOLM + I certainly have! Very clearly! + Because of the behavior of the + system in phase space! + +Hammond just waves him off. + + HAMMOND + A load, if I may say so. of + fashionable number crunching, + that¹s all it is! + + MALCOLM + (poking at Hammond's + knee) + John, John. + + HAMMOND + (pushing him away) + Don't do that! + + MALCOLM + Dr. Grant, Dr. Sattler -- you've + heard of Chaos Theory? + + ELLIE + 22. + + + (shaking her head) + No. + + MALCOLM + No? Non-linear equations? Strange + attractions? + (again, she shrugs) + Dr. Sattler, I refuse to believe + that you are not familiar with the + concept of attraction! + +Grant just rolls his eyes as Malcolm gives her an oily +grin, but Ellie smiles, enjoying Grant's jealousy. Hammond +turns to Gennaro and gives him a dirty look. + + HAMMOND + I bring scientists -- you bring a + rock star. + +Hammond looks out the windshield, and CLAPS his hands +excitedly. + + HAMMOND + There it is! + +Up ahead, the others see it. + +ISLA NUBLAR. It's a smallish island, completely ringed by +thick clouds that give it a lush, mysterious feel. The +PILOT pulls up over a spot in the clouds and starts to +descend, fast. + + HAMMOND + Bad wind shears! We have to drop + pretty fast! Hold on, this can be a + little thrilling! + +The helicopter drops like a stone. Outside the windows, +they can see cliff walls racing by, uncomfortably close. +They bounce like hell, hitting wind up and down drafts. + +Only Hammond still feels chatty. + + HAMMOND + We're planning an airstrip! On + pilings, extending out into the + ocean twelve thousand feet! Like La + Guardia, only a lot safer! What do + you think? + 23. + + + They don't answer, just hold on. As they near the ground, a + luminous white cloud cross appears below them, a landing + pad shining through the Plexiglas bubble in the floor of + the chopper. + + The cross grows rapidly larger as the chopper plummets, but + a sudden updraft catches them and they bounce skyward for a + moment then drop again, even faster if possible, before + landing with a hard BUMP. + + +10 EXT. HELICOPTER LANDING PAD - DAY 10 + + The chopper plummets and finally lands. One of the workers + opens the door and the group gets out. Hammond looks out, + proudly. + + +11 EXT. HILLTOP - DAY 11 + + Two large, open-top jeeps ROAR down the hilltop away from + the landing cross as the helicopter engines WHINE back to + life and the rotors start to spin again. + + ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, + HAMMOND and GENNARO are in the rear jeep. Both cars have + DRIVERS. + + They pass through an enormous gate in a thirty foot high + fence, which is closed behind them by two PARK ATTENDANTS. + + There are large electrical insulators on the fences, + warning lights that strobe importantly and clear signs -- + "ELECTRIFIED FENCE! + + 10,000 VOLTS!" + + IN THE REAR JEEP, Gennaro regards the fences critically. + + GENNARO + The full fifty mile of perimeter + fence are in place? + + HAMMOND + And the concrete moats, and the + motion sensor tracking systems. + Donald, dear boy, do try to relax + and enjoy yourself. + + GENNARO + 24. + + + Let's get something straight, John. + This is not a weekend excursion, + this is a serious investigation of + the stability of the island. Your + investors, whom I represent, are + deeply concerned. Forty-eight hours + from now, if they -- + (gestures to Grant, + Ellie, and Malcolm) + -- aren't convinced. I'm not + convinced. And I can shut you down + John. + + HAMMOND + Forty-eight hours from now, I'll be + accepting your apologies. Now get + out of the way. So I can see them! + +He shoves Gennaro aside, to get a clear view of Grant, +Ellie, and Malcolm. + + HAMMOND + I wouldn't miss this for the world. + +The jeeps wind their way along a mountain road. + +IN THE LEAD JEEP, Ellie stares off to the right, fascinated +by the thick tropical plant life around them. She tilts her +head, as if something's wrong with this picture. + +She reaches out and grabs hold of a leafy branch as they +drive by, TEARING it from the tree. + +IN THE REAR JEPP, Hammond watching Grant, signals to his +Driver . + + HAMMOND + Just stop here, stop here. Slow, + slow. + +He slows down, then stops. So does the front jeep. + +IN THE FRONT JEEP, Ellie stares at the leaf, amazed, +running her hand lightly over it. + + ELLIE + Alan -- + +But Grant's not paying attention. He's staring too, out the +other side of the jeep. + +Grant notices that several of the tree trunks are leafless +- just as thick as the other trees, but gray and bare. + 25. + + + ELLIE + (still staring at the + leaf) + This shouldn't be here. + +Grant twists in his seat as the jeep stops and looks at one +of the gray tree trunks. Riveted, he slowly stands up in +his seat, as if to get closer. He moves to the top of the +seat, practically on his tiptoes. + +He raises his head, looking up the length of the trunk. He +looks higher. + +And higher. + +And higher. + +That's no tree trunk. That's a leg. Grant's jaw drops, his +head falls all the way back, and he looks even higher, +above the tree line. + + ELLIE + (still looking at the + leaf) + This species of vermiform was been + extinct since the cretaceous + period. This thing -- + +Grant, never tearing his eyes from the brachiosaur, reaches +over and grabs Ellie's head, turning it to face the animal. + +She sees it, and drops the leaf. + + ELLIE + Oh -- my -- God. + +Grant lets out a long, sharp, HAH - a combination laugh and +shout of joy. + +He gets out of the jeep, and Ellie follows. Grant points to +the thing and manages to put together his first words since +its appearance: + + GRANT + THAT'S A DINOSAUR! + +-- a dinosaur. Chewing the branches. Technically, it's a +brachiosaur, of the sauropod family, but we've always +called it brontosaurus. It CRUCHES the branch in its mouth, +which is some thirty-five feet up off the ground, at the +end of its long, arching neck. It stares down at the people +in the car with a pleasant, stupid gaze. + 26. + + +Ellie looks up at the sauropods in wonder. + +They've pretty light on their feet - a far cry from the +sluggish, lumbering brutes we would have expected. + +Hammond gets out of his jeep and comes back to join them. +He looks like a proud parent showing off the kid. + +Ian Malcolm looks at Hammond, amazed, and with an +expression that is a mixture of admiration and +rapprochement. + + MALCOLM + You did it. You crazy son of a + bitch, you did it. + +Grant and Ellie continue walking, following the dinosaur. + + GRANT + The movement! + + ELLIE + The -- agility. You're right! + +In their amazement, Grant and Ellie talk right over each +other. + + GRANT + Ellie, we can tear up the rule book + on cold-bloodedness. It doesn't + apply, they're totally wrong! This + is a warm-blooded creature. They're + totally wrong. + + ELLIE + They were wrong. Case closed. This + thing doesn't live in a swamp to + support it's body weight for God's + sake! + +Several of the top branches are suddenly RIPPED away. +Another sauropod, reaching for a branch high above their +heads, stands effortlessly on its hind legs. + + GRANT + (to Hammond) + That thing's got a what, twenty- + five, twenty-seven foot neck? + + HAMMOND + The brachiosaur? Thirty. + Grant and Ellie continue to walk. + 27. + + + GRANT + -- and you're going to sit there + and try to tell me it can push + blood up a thirty-foot neck without + a four-chambered heart and get + around like that?! Like that!? + (to Hammond) + This is like a knockout punch for + warm-bloodedness. + + HAMMOND + (proudly) + We clocked the T-rex at thirty-two + miles an hour. + + ELLIE + You've got a T-rex!? + (to Grant) + He's got a T-rex! A T-rex! He said + he's -- + + GRANT + Say again? + + HAMMOND + Yes, we have a T-rex. + +Grant feels faint. He sits down on the ground. + + ELLIE + Honey, put your head between your + knees, and breathe. + +Hammond walks in front of them and looks out. + + HAMMOND + Dr. Grant, my dear Dr. Sattler. + Welcome to Jurassic Park. + +They turn and look at the view again. It's beautiful vista, +reminiscent of an African plain. A whole herd of dinosaurs +crosses the plain, maybe a hundred that we see in a quick +glance alone. + + GRANT + Ellie, they're absolutely -- + they're moving in herds. They do + move in herds! + + ELLIE + We were right! + + GRANT + 28. + + + (to Hammond) + How did you do it?! + (or) + How did you do this?! + + HAMMOND + I'll show you. + + Finally, we notice Gennaro, who was sort of faded into the + background while the others reacted. He's just staring, a + look of absolute rapture on his face. + + He speaks in a voice that is hushed and reverent. + + GENNARO + We are going to make a fortune with + this place. + + +12 EXT. MAIN COMPOUND - DAY 12 + + The main of Jurassic Park is a large area with three main + structures connected by walkways and surrounded by two + impressive fences, the outer fence almost twenty feet high. + + Outside the fences, the jungle has been encouraged to grow + naturally. + + The largest building is the visitor's center, several + stories tall, its walls still skeletal, unfinished. There's + a huge glass rotunda in the center. + + The second building looks like a private residence, a + compound unto itself, with smoked windows and its own + perimeter fence. + + The third structure isn't really a building at all, but the + impressive cage we saw earlier, overgrown inside with thick + jungle foliage. The jeeps pull up in front of the visitor's + center. + + +13 EXT. VISITOR'S CENTER - DAY 13 + + HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the + stairs, talking as he goes, Two ladies open the doors to + the Visitor Center. + + +14 INT. VISITOR'S CENTER - DAY 14 + 29. + + + The lobby of the still-unfinished visitor's center is a + high-ceilinged place, and has to be house its central + feature, a large skeleton of a tyrannosaur that is + attacking bellowing sauropod. + + WORKMEN in the basket of a Condor crane are still + assembling skeletons. + + A staircase climbs the far wall, to another wing. + + HAMMOND + (continuing) + -- the most advanced amusement park + in the world, combining all the + latest technologies. I'm not + talking rides, you know. Everybody + has rides. We made a living + biological attractions so + astonishing they'll capture the + imagination of the entire planet! + + Grant stares up at the dinosaur skeletons and just shakes + his head. + + Ellie catches his reaction. + + ELLIE + So what are you thinking? + + GRANT + We're out of a job. + + Ian Malcolm pops in between them + + MALCOLM + Don't you mean "extinct"? + + Ellie and Malcolm move on ahead. + + CUT TO: + + +15 INT. SHOW ROOM - DAY 15 + + HAMMOND + Why don't you all sit down. + + GRANT, ELLIE, and MALCOLM take their seats in the front row + of the fifty seat auditorium. GENNARO sits behind them. + HAMMOND walks over to the giant screen in front of them. + + Behind him, a huge image of himself beams down at him from + the giant television screen. + 30. + + + HAMMOND (SCREEN) + Hello, John! + + HAMMOND (STAGE) + (to the group) + Say hello! + (then, fumbling with his + three by five cards) + Oh, I've got lines. + +He scans them, looking for his place. The screen Hammond +continues without him, + + HAMMOND (SCREEN) + Fine, I guess! But how did I get + here?! + + HAMMOND (STAGE) + Uh - - + (finding his place) + "Here, let me show you. First I'll + need a drop of blood. Your blood!" + +The screen-Hammond extends his finger and the stage-Hammond +reaches out and mimes pocking it with a needle. + + HAMMOND (SCREEN) + Ouch, John! That hurt! + + HAMMOND (STAGE) + "Relax, John. It's all part of the + miracle of cloning!" + +While the two Hammonds rattle on, the screen image splits +into two Hammonds, then four then eight, and so on, like a +shampoo commercial. + +Grant, Ellie, and Malcolm huddle together excitedly in the +audience. + + GRANT + Cloning from What?! Loy extraction + has never recreated an intact DNA + strand! + + MALCOLM + Not without massive sequence gaps! + + ELLIE + Paleo-DNA? From what source? Where + do you get 100 million year old + dinosaur blood?! + 31. + + + GENNARO + Shhhhh! + +IN THE FILM, the screen-Hammond is joined by another +figure, this one animated. MR. DNA is a cartoon character, +a happy-go-lucky double-helix strand of recombinant DNA. +Mr. DNA jumps down onto the screen-Hammond's head and +slides down his nose. + + HAMMOND + Well! Mr. DNA! Where'd you come + from? + + MR. DNA + From your blood! Just one drop of + your blood contains billions of + strands of DNA, the building blocks + of life! + +IN THE FILM, Mr. DNA has taken over the show, and is +speaking to the audience from the screen. + + MR. DNA + A DNA strand like me is a blueprint + for building a living thing! And + sometimes animals that went extinct + millions of years ago, like + dinosaurs, left their blueprints + behind for us to find! We just had + to know where to look! + +The screen image changes from animated to a nature- +photography look. It's an extreme close-up of a mosquito, +its fangs suck the deep into some animals flesh, its body +pulsing and engorging with blood it's drinking. + + MR. DNA + A hundred million years ago, there + were mosquitoes, just like today. + And, just like today, they fed on + the blood of animals. Even + dinosaurs! + +The camera races back to show the mosquito is perched on +top of a giant animated brachiosaur. + +The image changes, to another close-up, this one of a tree +branch, its bark glistening with golden sap. Mr. DNA leaps +on the sap. + + MR. DNA + 32. + + + Sometimes, after biting a dinosaur, + the mosquito would land on a branch + of a tree, and get stuck in the + sap! + + The engorged mosquito lands in the tree sap, and gets + stuck. So is Mr. DNA. He tugs his legs, but they stay + stuck. + + MR. DNA + WHOA! + + Now the tree sap flows over them, covering up Mr. DNA and + the mosquito completely. Mr. DNA SHOUTS from inside the + tree sap. + + MR. DNA + After a long time, the tree sap + would get hard and become + fossilized, just like a dinosaur + bone, preserving the mosquito + inside! + + +16 INT. A SCIENCE LABORATORY 16 + + The place buzzes with activity. Everywhere, there are piles + of amber, tagged and labeled with SCIENTISTS in white coats + examining it under microscopes. + + One SCIENTIST moves a complicated drill apparatus next to + the chuck of amber with a fossilized mosquito inside and + BORES into the side of it. MR. DNA escapes through the + drill hole as the Scientist moves the amber onto a + microscope and peers through the eyepiece. + + MR. DNA (O.S.) + This fossilized tree sap -- which + we call amber - waited millions of + years, with the mosquito inside - + until Jurassic Park's scientists + came along! + + THROUGH THE MICROSCOPE + + We see the greatly enlarged image of a mosquito through the + lens. + + MR. DNA (O.S.) + Using sophisticated techniques, + they extract the preserved blood + from the mosquito, and - - + 33. + + + A long needle is inserted through the amber, into the + thorax of the mosquito, and makes an extraction. + + MR. DNA + - -Bingo! Dino DNA! + + Mr. DNA jumps down in front of DNA data as it races by at + headache speed. He holds his head, dizzied by it. + + MR. DNA + A full DNA strand contains three + billion genetic codes! If we looked + at screens like these once a second + for eight hours a day, it'd take + two years to look at the entire + strand! It's that long! And since + it's so old, it's full of holes! + That's where our geneticists take + over! + + +17 INT. GENETICS LAB - DAY 17 + + SCIENTISTS toil in a lab with two huge white towers at + either side. + + MR. DNA + Thinking Machine supercomputers and + gene sequencers break down the + strand in minutes -- + + One SCIENTIST, in the back has his arms encased in two long + rubber tubes. He's strapped into a bizarre apparatus, + staring into a complex headpiece and moving his arms + gently, like Tai Chi movements. + + MR. DNA + -- and Virtual Reality displays + show our geneticists the gaps in + the DNA sequence! Since most animal + DNA is ninety percent identical, we + use the complete DNA of a frog -- + + ON THE V.R. DISPLAY + + we see an actual DNA strand, except it has a big hole in + the center, where the vital information is missing. Mr. DNA + bounds into the frame, carrying a butch of letters in one + hand. + + He puts it in the gap and turns back against it, GRUNTING + as he shoves into place. + 34. + + + MR. DNA + (straining) + -- to fill in the -- holes and -- + complete -- the -- + (finally getting it) + -- code! Whew! + + He brushes his hands off, satisfied. + + MR. DNA + Now we can make a baby dinosaur! + + IN THE AUDIENCE + + The scientist look at each other, not sure. + + HAMMOND + All this has some dramatic music -- + da dum da dum da dum dum -- march + or something, it's not written yet, + and the tour moves on -- + + He throws a switch and safety bars appear out of nowhere + and drop over their seats, CLICKING into place. + + HAMMOND + For your own safety! + + The row of seats moves out of the auditorium. + + +18 INT. HALLWAY - DAY 18 + + The row of seats moves slowly past a row of double-panned + glass window beneath a large sign that reads + "GENETICS/FERTILIZATION/HATCHERY." Inside, TECHNICIANS work + at microscopes. + + In the back is a section entirely lit by blue ultraviolet + light. + + Mr. DNA VOICE continues over a speaker in each seat. + + MR. DNA (O.S.) + Our fertilization department is + where the dinosaur DNA takes the + place of the DNA in unfertilized + emu or ostrich eggs -- and then + it's on to the nursery, where we + welcome the dinosaurs back into the + world! + 35. + + +GENNARO has a wondrous grin plastered on his face, just +loving everything now. + + GENNARO + This is overwhelming, John. Are + these characters + (people) + animatronics? + + HAMMOND + No, we don't have any animatronics + here. These are the real miracle + workers of Jurassic Park. + +GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, +straining against the safety bars for a better look. But +the cars keep going. + + GRANT + Wait a minute! How do you interrupt + the cellular mitosis?!? + + ELLIE + Can't we see the unfertilized host + eggs?! + +But the cars are already moving on to another set of +windows, which give a glimpse into what looks like a +control room. + + HAMMOND + Shortly, shortly... + + MR. DNA (O.S.) + Our control room contains some of + the most sophisticated automation + ever attempted in -- + +Grant strains to look back into the labs, but the cars move +past again, no intention of slowing down. + + GRANT + Can't you stop these things?! + + HAMMOND + Sorry! It's kind of a ride! + + GRANT + (to Malcolm) + Let's get outta here! + 36. + + + The two of them team up on the safety bars. Grant shoves + his all the way back with one foot and Malcolm does the + same. They stand up and head for the door of the hatchery. + + GENNARO + Hey! You can't do that! + + Too late. Ellie slips out from under her safety bar too and + stomps right across Gennaro's seat. + + GENNARO + Can they do that? + + They reach the door to the hatchery. Grant tries to shove + it open, but just THUDS into it. He rattles the handle, but + the door won't budge as it's on a security key-card system. + + HAMMOND steps up and takes his glasses off. + + HAMMOND + Relax, Donald, relax. They're + scientists, They ought to be + curious. + (he steps up to the code + box) + It's a retinal scanner. + + He pushes various code numbers. The door opens. He steps + aside, and the group eagerly goes up the stairs. + + +19 INT. HALLWAY - STAIRS - DAY 19 + + GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to + get a look at the lab. HAMMOND and GENNARO come up and join + Grant at the door. + + GENNARO + John, we -- what I'm just saying... + + HAMMOND + Relax Donald, relax. They're + scientists. They ought to be + curious. + + Hammond reaches the door, Grant tries to pry it open. + + HAMMOND + Dr. Grant, just a minute, just a + minute, + (or) + Dr. Grant, just a moment, dear boy. + 37. + + + (he pushes the code; the + door opens) + Remember what Samuel Johnson said. + (they step into the + cubicle) + "Curiosity is one of the permanent + and certain characteristics of a + vigorous intellect!" + (the second door opens) + Right! Come along. + + +20 INT. HATCHERY - NURSERY - DAY 20 + + The hatchery is a vast, open room, bathed in infrared + light. + + Long tables run the length of the place, all covered with + eggs, their pale outlines obscured by hissing low mist + that's all through the room. + + HAMMOND + Come on in. + + HAMMOND takes off his hat and hands it one of the + technicians. + + HENRY WU, late twenties, Asian-American, wearing a white + lab coat works at a nearby table, making notes. + + HAMMOND + Good day, Henry. + + WU + Oh, good day, Sir. + + GRANT goes to a round, open with various eggs under a + strong light. + + One of the eggs makes strong movements - a robotic arm + steadies the shell. + + GRANT + My God! Look! + + Hammond, Ellie, and Malcolm join him, as does Henry Wu. + + WU + Ah, perfect timing! I'd hoped + they'd hatch before I had to go to + the boat. + + HAMMOND + 38. + + + Henry, why didn't you tell me? you + know I insist on being here when + they're born. + +Hammond puts on a pair of plastic gloves. + +The egg begins to crack. The robotic arm moves away...a +BABY DINOSAUR tries to get out, just its head sticking out +of the shell. + +Hammond reaches down and carefully breaks away egg +fragments, helping the baby dinosaur out of its shell. + + HAMMOND + Come on, then, out you come. + + HAMMOND + They imprint on the first living + creature they come in contact with. + That helps them to trust me. I've + been present for the birth of every + animal on this Island. Just look at + that. + + MALCOLM + Surely not the ones that have bred + in the wild? + + WU + Actually, they can't breed in the + wild. Population control is one of + our security precautions here. + There is no unauthorized breeding + in Jurassic Park. + +Grant and Ellie exchange a look. She manages not to smile. + + MALCOLM + How do you know they can't breed? + + WU + Because all the animals in Jurassic + Park are females. + (I've) + We engineered them that way. + +Hammond keeps his attention trained on the new dinosaur. + + HAMMOND + There you are. Out you come. + + ELLIE + Oh my God. + 39. + + + HAMMOND + Could I have a tissue please? + + WU + Right away. + (certainly) + Coming right up. + +The animal is now free, Hammond sets in don carefully next +to its shell. Grant picks it up and holds it in the palm of +his hand, under the incubator's heat light. + + GRANT + Blood temperature feels like high + eighties. + + HAMMOND + Wu? + + WU + Ninety-one. + +Grant picks up the large, broken half-shell, but the +robotic arm snatches it back out of his hand, and puts it +down. + + GRANT + Homoeothermic? It holds that + temperature? + (to Wu) + Incredible. + +Malcolm is looking at Hammond, skeptical. + + MALCOLM + But again, how do you know they're + all female? Does someone go into + the park and, uh -- lift up the + dinosaurs' skirts? + + WU + We control their chromosomes. It's + not that difficult. All vertebrate + embryos are inherently female + anyway. It takes an extra hormone + at the right developmental stage to + create a male, and we simply deny + them that. + + HAMMOND + Your silence intrigues me. + + MALCOLM + 40. + + + John, the kind of control you're + attempting is not possible. If + there's one thing the history of + evolution has taught us, it's that + life will not be contained. Life + breaks free. It expands to new + territories. It crashes through + barriers. Painfully, maybe even... + dangerously, but and...well, there + it is. + +Ellie listens to him, impressed. + + HAMMOND + Watch her head -- support her head. + +Grant, ignoring the others, picks up the baby dinosaur, and +holds it on the palm of his hand, under the incubator's +heat light. He spreads the tiny animal out on the back of +his hand and delicately runs his finger over its tail, +counting the vertebrae. A look of puzzled recognition +crosses his face. + + WU + You're implying that a group of + composed entirely of females will + breed? + + MALCOLM + I'm simply saying that life -- + finds a way. + + ELLIE + "You can't control anything." I + agree with that. I like that. + +She walks over to Malcolm, he smiles at her, too warmly. + + ELLIE + You can talk. I don't k now how to + say it. You're just articulate. You + say everything that I think, that I + feel. It's exciting. + (or) + I find it so exciting. It's + exciting that you can't control + life, that you know -- + (or) + You know that, I find it + terrifying. Life will always find a + way. + + MALCOLM + 41. + + + That's right. Will break through. + + ELLIE + I get ah -- + + MALCOLM + I know, it's very exciting. + + ELLIE + And scary. + + MALCOLM + And scary. + + ELLIE + When people try to control things + that it's out of their power -- + + MALCOLM + It's anti-nature. + + ELLIE + Anti-nature. + + Grant doesn't notice, as he's still obsessed with the + infant dinosaur, measuring and weighing it on a nearby lab + bench. He stops, a strange look on his face. He knows what + this animal is -- but it can't be. + + GRANT + (dreading the answer) + What species is this? + + WU + Uh -- it's a Velociraptor. + + Grant and Ellie turn slowly and look at each other, then + look at Hammond, astonished. + + GRANT + You bred raptors? + + +21 EXT. RAPTOR PEN - DAY 21 + + Grant charges across the compound, a fire in his eyes, + ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to + keep up. + + HAMMOND + Dr. Grant, Dr. Grant? Uh -- we + planned to show you the raptors + later, after lunch. + 42. + + +But Grant has stopped abruptly next to the Velociraptor +pen, which we recognize as the heavily fortified cage we +some earlier, which the San Quentin towers at one end. + +Grant stands right up against the fence, eyes wide, dying +for a glimpse. + +HAMMOND catches up, slightly out of breath. + + HAMMOND + Dr. Grant -- as I was saying, we've + laid out lunch for you before you + head out into the park. Alejandro, + our gourmet chef -- + + GRANT + What are they doing? + +As they watch, a giant crane lowers something large down +into the middle of the jungle foliage inside the pen. +Something very large. + +It's a steer. They poor thing looks disconcerted as hell, +helpless its in a harness, flailing its legs in the air. + + HAMMOND + Feeding them. + (moving along) + Alejandro is preparing a delightful + meal for us. A Chilean sea bass, I + believe. Shall we? + +Grant goes up to the viewing deck. The others follow, +staring as the steer disappears into the shroud of foliage. +The line from the crane hangs for a moment. + +The jungle seems to grow very quiet. They all stare at the +motionless crane line. It jerks suddenly, like a fishing +pole finally getting a nibble. There's a pause -- + +-- and then a frenzy. The line jerks every which way, the +jungle plants sway and SNAP from some frantic activity +within, there is a cacophony of GROWLING, of SNAPPING, of +wet CRUNCHES that mean the steer is literally being torn to +pieces and is almost makes it worse that we can't see +anything of what's going on -- + +-- and then it's quiet again. The line jerks a few times, +then stops. Slowly the SOUND of the jungle starts up again. + + HAMMOND + Fascinating animals, fascinating. + 43. + + + ELLIE + Oh my God. + + HAMMOND + Give time, they'll out draw the T- + rex. Guarantee it. + + GRANT + I want to see them. Can we get + closer? + +Ellie puts a hand on his arm, like calming an overexcited +child. + + ELLIE + Alan, these aren't bones anymore. + + HAMMOND + We're -- still perfecting a viewing + system. The raptors seem to be a + bit resistant to integration into a + park setting. + +A VOICE comes from behind them. + + VOICE (O.S.) + They should all be destroyed. + +They turn and look at the man who spoke. ROBERT MULDOON, +the grim-faced man who was present at the accident in the +beginning, is fortyish, British. + +He joins them and takes his hat off. When Muldoon talks, +you listen. + + HAMMOND + Robert. Robert Muldoon, my game + warden from Kenya. Bit of an + alarmist, I'm afraid, But he's + dealt with the raptors more than + anyone. + + GRANT + (introducing himself) + Alan Grant. Tell me, what kind of + metabolism do they have? What's + their growth rate? + (or) + rate of growth. + + MULDOON + 44. + + +They're lethal at eight months. And +I do lethal. I've hunted most +things that can hunt you, but the +way these things move -- + + GRANT +Fast for biped? + + MULDOON +Cheetah speed. Fifty, sixty miles +per hour if they ever got out in +the open. And they're astonishing +jumpers. + + HAMMOND +Yes, yes, yes, which is why we take +extreme precautions. They viewing +area below us will have eight-inch +tempered glass set in reinforced +steel frames to -- + + GRANT +Do they show intelligence? With the +brain cavity like theirs we assumed +-- + + MULDOON +They show extreme intelligence, +even problem solving. Especially +the big one. We bred eight +originally, but when she came in, +she took over the pride and killed +all but two of the others. That one +-- when she looks at you, you can +see she's thinking + (or) +working things out. She's the +reason we have to feed 'em like +this. She had them all attacking +the fences when the feeders came. + + ELLIE +The fences are electrified, right? + + MULDOON +That's right. But they never attack +the same place twice. They were +testing the fences for weaknesses. +Systematically. They remembered. + 45. + + + Behind them, the crane WHIRRS back to life, raising the + cable back up out of the raptor pen. The guest turn and + stare as the end portion of the cable becomes visible. The + steer has been dragged completely away, leaving only the + tattered, bloody harness. + + Hammond claps his hands together excitedly. + + HAMMOND + Who's hungry? After you, my dear. + + +22 INT. VISITOR CENTER PRESENTATION ROOM - DAY 22 + + HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a + long table in the visitor's center restaurant. + + There is a large buffet table and two WAITERS to serve + them. + + The room is darkened and Hammond is showing slides of + various scenes all around them. Hammond's own recorded + voice describes current and future features of the park + while the slides flash artists' renderings of all them. + + The real Hammond turns and speaks over the narration. + + HAMMOND + None of these attractions have been + finished yet. The park will open + with the basic tour you're about to + take, and then other rides will + come on line after six or twelve + months. Absolutely spectacular + designs. Spared no expense. + + More slides CLICK past, a series of graphs dealing with + profits, attendance and other fiscal projections. Donald + Gennaro, who has become increasingly friendly with Hammond, + even giddy, grins from ear to ear. + + GENNARO + And we can charge anything we want! + Two thousand a day, ten thousand a + day -- people will pay it! And then + there's the merchandising -- + + HAMMOND + Donald, this park was not built to + carter only to the super rich. + Everyone in the world's got a right + to enjoy these animals. + 46. + + + GENNARO + Sure, they will, they will. + (laughing) + We'll have a -- coupon day or + something. + +Grant looks down, at the plate he's eating from. It's in +the shape of the island itself. He looks at his drinking +cup. It's got a T-rex on it, and a splashy Jurassic Park +logo. + +There are a stack of folded amusement park-style maps on +the table in front of Grant. He picks one up. Boldly, +across the top it says, "Fly United to Jurassic Park!" + + HAMMOND + (on tape) + -- from combined revenue streams + for all three parks should reach + eight to nine billion dollars a + year -- + + HAMMOND + (to Gennaro) + That's conservative, of course. + There's no reason to speculate + wildly. + + GENNARO + I've never been a rich man. I hear + it's nice. Is it nice? + +Ian Malcolm, who was been watching the screens with +outright contempt, SNORTS, as if he's finally had enough. + + MALCOLM + The lack of humility before nature + that's been displayed here staggers + me. + +They all turn and look at him. + + GENNARO + Thank you, Dr. Malcolm, but I think + things are a little different than + you and I feared. + + MALCOLM + Yes, I know. They're a lot worse. + + GENNARO + 47. + + +Now, wait a second, we haven't even +see the park yet. Let's just hold +out concerns until -- + (or alt. version) +Wait -- we were invited to this +island to evaluate the safety +conditions of the park, physical +containment. The theories that all +simple systems have complex +behavior, that animals in a zoo +environment will eventually begin +to behave in an unpredictable +fashion have nothing to do with +that evaluation. This is not some +existential furlough, this is an +on-site inspection. You are a +doctor. Do your job. You are +invalidating your own assessment. +I'm sorry, John -- + + HAMMOND +Alright Donald, alright, but just +let him talk. I want to hear all +viewpoints. I truly do. + (or) +I truly am. + + MALCOLM +Don't you see the danger, John, +inherent in what you're doing here? +Genetic power is the most awesome +force ever seen on this planet. But +you wield it like a kid who's found +his dad's gun. + + MALCOLM GENNARO +If I may... It is hardly +appropriate to start hurling Excuse +me, excuse me -- generalizations +before -- I'll tell you. + + MALCOLM + 48. + + +The problem with scientific power +you've used is it didn't require +any discipline to attain it. You +read what others had done and you +took the next step. You didn't earn +the knowledge yourselves, so you +don't take the responsibility for +it. You stood on the shoulders of +geniuses to accomplish something as +fast as you could, and before you +knew what you had, you patented it, +packages it, slapped in on a +plastic lunch box, and now you want +to sell it. + + HAMMOND +You don't give us our due credit. +Our scientists have done things no +one could ever do before. + + MALCOLM +Your scientists were so preoccupied +with whether or not they could that +they didn't stop to think if they +should. Science can create +pesticides, but it can't tell us +not to use them. Science can make a +nuclear reactor, but it can't tell +us not to build it! + + HAMMOND +But this is nature! Why not give an +extinct species a second chance?! I +mean, Condors. Condors are on the +verge of extinction -- if I'd +created a flock of them on the +island, you wouldn't be saying any +of this! + (or) +have anything to say at all! + + MALCOLM +Hold on -- this is no species that +was obliterated by deforestation or +the building of a dam. Dinosaurs +had their shot. Nature selected +them for extinction. + + HAMMOND +I don't understand this Luddite +attitude, especially from a +scientist. How could we stand in +the light of discovery and not act? + 49. + + + MALCOLM + There's nothing that great about + discovery. + (or) + What's so great about discovery? + It's a violent, penetrative act + that scars what it explores. What + you call discovery I call the rape + of the natural world! + + GENNARO + Please -- let's hear something from + the others. Dr. Grant? I am sorry - + - Dr. Sattler? + + ELLIE + The question is -- how much can you + know about an extinct ecosystem, + and therefore, how could you assume + you can control it? You have plants + right here in this building, for + example, that are poisonous. You + picked them because they look + pretty, but these are aggressive + living things that have no idea + what century they're living in and + will defend themselves. Violently, + if necessary. + +Exasperated, Hammond turns to Grant, who looks shell- +shocked. + + HAMMOND + Dr. Grant, if there's one person + who can appreciate all of this -- + (or) + What am I trying to do? + +But Grant speaks quietly, really thrown by all of this. + + GRANT + I feel -- elated and -- frightened + and -- + (starts over) + The world has just changed so + radically. We're all running to + catch up. I don't want to jump to + any conclusions, but look -- + +He leans forward, a look of true concern on his face. + + GRANT + 50. + + + Dinosaurs and man -- two species + separated by 65 million years of + evolution -- have just been + suddenly thrown back into the mix + together. How can we have the + faintest idea of what to expect? + + HAMMOND + I don't believe it. I expected you + to come down here and defend me + from these characters and the only + one I've got on my side it the + bloodsucking lawyer!? + + GENNARO + Thank you. + + One of the WAITERS whispers to Hammond. + + HAMMOND + Ah -- they're here. + + GRANT + Who? + + +23 INT. VISITOR'S CENTER LOBBY - DAY 23 + + HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of + the restaurant and into the lobby of the visitor's center. + They head down the stairs, and pass the skeletons of the + dinosaurs again. + + HAMMOND + You four are going to have a little + company out in the park. Spend a + little time with our target + audience. Maybe they'll help you + get the spirit of this place. + + GRANT + What does he mean by "target + audience"? + + Hammond turns toward the door of the center and throws his + arms out expansively. + + HAMMOND + (bellowing) + KIDS!! + 51. + + + Two kids standing in the doorway to the center break into a + broad smiles. TIM, the boy, is about nine years old; + ALEXIX, his sister, looks around twelve. + + TIM & LEX + Grandpa! + + They race across the lobby and into Hammond's arms, + knocking him over on the steps. + + LEX + We miss you. + + TIM + Thanks for the presents. + + LEX + We love the presents. + + HAMMOND + You must be careful with me. Did + you like the helicopter? + + TIM + It was great! It drops, we were + dropping! + + Grant looks on. + + +24 EXT. VISITOR'S CENTER - DAY 24 + + Two modified Ford Explorers leap up out of an underground + garage beneath the visitor's center. They move quietly, + with a faint electronic HUM, and straddle a partially + buried metal rail is the middle of the road. They pull to a + stop where the group is gathered. + + Ellie is off to the side with ALEXIS, introducing herself + warmly. + + HAMMOND is with MALCOLM, GRANT, and GENNARO. + + HAMMOND + Have a heart gentlemen. Their + parents are getting a divorce and + they need the diversion. + + GENNARO + Hey! Where are the brakes? + + HAMMOND + 52. + + + Brakes? No. No brakes. They're + electric cars, guided by this track + in the roadway, and totally non- + polluting, top of the line! + + LEX + It's interactive CD-ROM. Look, see + -- you just touch the right part of + the screen and it talks about + whatever you want. + + HAMMOND + Spared no expense. Have fun. I'll + be watching you from the control + (or) + back in control. + (to Ellie) + Come along, my dear. You'll ride in + the second car, I can promise you + you'll have a real wonderful time. + + ELLIE + Oh thank you so much. So you'll see + you later then. + +Hammond turns and head back towards the Visitor's Center. + + MALCOLM + (too eagerly; to Grant) + I'll ride with Dr. Sattler. + (or) + I'm going to ride with Dr. Sattler. + +He turns and walks over to Ellie. Grant frowns, not liking +this one bit. He moves to follow, but TIM cuts him off, and +stares up at him, wide-eyed + + TIM + I read your book. + + GRANT + Oh, yeah -- great. + +Grant heads for the rear car. Tim follows. + + TIM + You really think dinosaurs turned + into birds? And that's where all + the dinosaurs went? + +Grant opens the door of the rear car and climbs in. Tim +follows. + 53. + + + GRANT + Well, uh, a few species -- may have + evolved, uh -- along those lines -- + yeah. + +A mechanical voice intones from inside: + + VOICE + "Two to four passengers to a car, + please. Children under ten must be + accompanied by an adult." + +Tim is right behind Grant, so Grant keeps moving, across +the back seat of the car and out the other door. But Tim +follows. + + TIM + Because they sure don't look like + birds to me. I heard a meteor hit + the earth and made like this one + hundred mile crater someplace down + in Mexico -- + + GRANT + Listen, ahh -- + + TIM + Tim. + + GRANT + Tim. Which car were you planning on + -- + + TIM + Whichever one you are. + +Grant goes to the front car again, opens the rear door, and +holds it for Tim, who climbs in the back seat, rattling on +and on. + + TIM + Then I head about this thing in + OMNI? About the meteor making all + this heat that made a bunch of + diamond dust? And that changed the + weather and they died because of + the weather? Then my teacher told + me about this other book by a guy + named Bakker? And he said the + dinosaurs died of a bunch of + diseases. + 54. + + + SLAM! Grant closes the car door on Tim. He turns and head + for the rear vehicle -- + + -- and bumps right into Lex. + + LEX + (points at Ellie) + She said I should ride with you + because it would be good for you. + + Grant looks over at Ellie, annoyed. + + GRANT + She's a deeply neurotic woman. + + CUT TO: + + +25 INT. CONTROL ROOM - DAY 25 + + The Jurassic Park control room looks like a mission control + for a space launch, with several computer terminals and + dozens of video screens that display images of various + dinosaurs, taken from all over the park. + + There's a large glass map of the island at the front of the + room that is lit up like a Christmas tree with various + colored lights, each one with a number and identification + code next to it. + + But the place is unfinished, with unattached cables, + construction materials, and ladders scattered about. + + The mood among the half dozen TECHNICIANS present is + chaotic as they rush around with last-minute adjustments. + + MULDOON whisks in through the double doors. HAMMOND is + right behind him. They go straight to the main console, + where RAY ARNOLD fortyish, a chronic worrier and chain- + smoker, is seated. + + MULDOON + National Weather Service is + tracking a tropical storm about + seventy-five miles west of us. + + Hammond sighs and looks over Arnold's shoulder. + + HAMMOND + Why didn't I build in Orlando? + + MULDOON + 55. + + + I'll keep an eye on it. Maybe it'll + swing south like the last one. + + HAMMOND + (a deep breath) + Ray, start the tour program. + + He punches a button on the console. + + ARNOLD + (not exactly comforting) + Hold onto your butts. + + CUT TO: + + +26 EXT. VISITOR'S CENTER - DAY 26 + + With a loud CHUNK, the Explorers start forward along the + electrical pathway. + + GENNARO, TIM, and LEX are in the front vehicle; GRANT, + ELLIE, and MALCOLM in the rear. + + +27 EXT. MAIN GATES - DAY 27 + + They pass through two enormous, primitive gates, torches + blazing on either side. + + +28 EXT. JURASSIC PARK - DAY 28 + + IN THE REAR CAR, the Explorer's speakers BLARE with fanfare + of trumpets, and the interior video screen flashes "Welcome + to Jurassic Park." A familiar VOICE comes over the speaker: + + VOICE (O.S.) + Welcome to Jurassic Park. You are + now entering the lost world of the + prehistoric past, a world - - + + VOICE + creatures long gone from the face + of the earth, which you are + privileged to see for the first + time. + + +29 INT. CONTROL ROOM 29 + + HAMMOND watches the monitor. His grandchildren are enjoying + themselves. + 56. + + + HAMMOND + By the way, that's James Earl Jones + (or) + Richard Kiley. We spared no + expense! + +IN THE PARK, the fences are retaining walls are covered +with greenery and growth, to heighten the illusion of +moving through a jungle. + +IN THE FRONT CAR + + GENNARO + The accident took place in a + restricted area. It would not have + been available to the public + access. So how can the safety of + the public be called into question? + +The cars come to the top of a low rise, where a break in +the foliage gives them a view down a sloping field that is +broken by a river. The tour voice continues. + + VOICE (O.S.) + To the right, you will see a herd + of the first dinosaurs on our tour, + called Dilophosaurus. + +IN THE FRONT CAR, Tim and Lex practically SLAM up against +the windows, to get a look. + + GENNARO + (keeps talking) + The safety. That's the problem I + had to answer. + + LEX + Shhh. + + TIM + I can't see. + + GENNARO + What are we looking for? + + TIM + Dilophosaurus. + +IN THE REAR CAR, Grant looks at his map. Ellie, hearing the +voice, reacts. + + ELLIE + Oh, shit. + 57. + + + GRANT + Dilophosaurus. + + Grant, Malcolm, and Ellie press against the windows. + + DOWN NEAR THE RIVER BANK there are a lot of beautiful + plants, but no sign of a herd of anything. + + The tour voice continues anyway. + + VOICE (O.S.) + One of the earliest carnivores, we + now know Dilophosaurus is actually + poisonous, spitting its venom at + its prey, causing blindness and + eventually paralysis, allowing the + carnivore to eat at its leisure. + This makes Dilophosaurus a + beautiful, but deadly addition to + Jurassic Park. + + Corny SCARY MUSIC plays over the speaker. + + IN THE FRONT CAR. + + TIM + There's nothing there! + + IN THE REAR CAR. + + ELLIE + Alan, where? + + Grant and the others sit back, disappointed. + + GRANT + Damn. + + ON THE ROAD, the cars move on. As they roll past, we notice + the headlights are on, even in the daytime. + + CUT TO: + + +30 INT. CONTROL ROOM - DAY 30 + + RAY ARNOLD watches his computer screen and the video + monitors at the same time, keeping an eye on the cars as + they move through the park. HAMMOND hovers over his + shoulder. + + ARNOLD + 58. + + + Vehicle headlights are on and don't + respond. Those shouldn't be running + off the car batteries. He signs and + reaches for a clipboard hanging + next to his chair and jots this + down. + + ARNOLD + Item one fifty-one on today's + glitch list. We've got all the + problems of a major theme park and + a major zoo, and the computer's not + even on its feet yet. + +Hammond shakes his head and turns to the TECHNICIAN to his +right, who still has his back to them, watching a Costa +Rican game show on one of his monitors and drinking a Jolt +cola. + + HAMMOND + Dennis, our lives are in your hands + and you have butterfingers. + +The Technician turns around his chair and extends his arms +in a Christ-like pose. As we get a good look at him, we get +the sinking feeling that we've seen him somewhere before. +And we have. DENNIS NEDRY is the man who accepted a +suitcase full of cash in San Jose. + + NEDRY + I am totally unappreciated in my + time. We can run the whole park + from this room, with minimal staff, + for up to three days. You think + that kind of automation is easy? Or + cheap? You know anybody who can + network eight Connection Machines + and de-bug two million lines of + code for what I bid this job? + Because I'd sure as hell like to + see them try. + + HAMMOND + I'm sorry about your financial + problems. I really am. But they are + your problems. + + NEDRY + You're right, John. You're + absolutely right. Everything's my + problem. + + HAMMOND + 59. + + + I will not get drawn into another + financial conversation with you, + Dennis. I really will not. + + NEDRY + I don't think there's been any + debate. There's no debate...my + mistakes... + + HAMMOND + I don't blame people for their + mistakes, but I do ask that they + pay for them. + + NEDRY + Thanks, Dad. + + ARNOLD + Dennis -- the headlights. + + NEDRY + I'll de-bug the tour program when + they get back. Okay? It'll eat a + lot of computer cycles; parts of + the system may go down for a while + -- Don't blame me. If I am + playing...losing memory... + + MULDOON, who has been hovering near the video monitors as + always, turns towards them, annoyed. + + MULDOON + Quiet, all if you. They're coming + to the tyrannosaur paddock. + + CUT TO: + + +31 EXT. TYRANNOSAUR PADDOCK - DAY 31 + + The two Explorers drive along a high ridge and stop at the + edge of the large, open plain that is separated from the + road by a fifteen-foot fence, clearly marked with "DANGER!" + signs and ominous-looking electrical post. + + TIM, LEX, and GENNARO are pressed forward against the + windows, eyes wide, waiting for you-know-who. + + IN THE REAR CAR, the voice of the radio drones on, but + GRANT, ELLIE, and MALCOLM aren't even listening anymore, + dying of anticipation. + + VOICE (O.S.) + 60. + + + The mighty tyrannosaurus arose late + in the dinosaur history. Dinosaurs + ruled the earth for hundred and + fifty million years, but it wasn't + until the last- - + + GRANT + Will you turn that thing off? + +Ellie flips a switch and they wait in silence -- except for +Malcolm, who looks at the ceiling, thinking aloud. + + MALCOLM + God creates dinosaurs. God destroys + dinosaurs. God creates man. Man + destroys God. Man creates + dinosaurs. + + ELLIE + (finishing it for him) + Dinosaur eats man. Woman inherits + the Earth. + + ARNOLD (O.S.) + Hold on, we'll try to tempt the + rex. + +IN THE PADDOCK, there is a low HUMMING sound. Out in the +middle of the field, a small cage rises up into view, +lifted on hydraulics from underground. + +The cage bars slide down, leaving the cage's occupant +standing alone in the middle of the field. + +It's a goat, one leg chained to a stake. It looks around, +confused, and BLEATS plaintively. + +IN THE FRONT CAR, LEX and TIM look at the goat with widely +different reactions. + + LEX + What's going to happen to the goat? + He's going to eat the goat?! + + TIM + (in heaven) + Excellent. + + GENNARO + (to Lex) + What's the matter, kid, you never + had lamb chops? + 61. + + + LEX + I happen to be a vegetarian. + + IN THE REAR CAR. + + GRANT + (shakes his head) + + T-rex doesn't want to be fed; he wants to hunt. You can't + just suppress sixty-five million years of gut instinct. + + IN THE PADDOCK + + The goat waits. And waits. From the Explorers, six faces + watch it expectantly. The goat tugs on its chain. It walks + back and forth, nervous. It BLEATS. + + IN THE REAR CAR. + + Grant watches, his eyes glued, his breathing becoming a + little more rapid. + + IN THE FRONT CAR. + + Tim and Lex can't tear their eyes away, + + IN THE PADDOCK, finally, the goat -- + + -- lays down. + + IN THE REAR CAR, everyone sits back, disappointed again, as + the cars pull forward to continue the tour. Malcolm picks + up the microphone. + + MALCOLM + Now, eventually you do plan to have + dinosaurs on your dinosaur tour, + right? + + +32 INT. CONTROL ROOM - DAY 32 + + HAMMOND just shakes his head as Malcolm's voice comes + through, + + HAMMOND + I really hate that man. + + +33 EXT. PARK - DAY 33 + 62. + + +GRANT gets into the seat, leaving MALCOLM behind ELLIE. He +longingly looks out of the opposite window, while Malcolm +rattles on to Ellie. + + MALCOLM + You see? The tyrannosaur doesn't + obey set patterns or park + schedules. It's the essence of + Chaos. + + ELLIE + I'm still not clear on Chaos. + + MALCOLM + It simply deals with + unpredictability in complex + systems. It's only principle is the + Butterfly Effect. A butterfly can + flap its wings in Peking and in + Central Park you get rain instead + of sunshine. + +Ellie gestures with her hand to show this information has +gone right over her head. + + MALCOLM + I made a fly by, I go too fast. + +Looking out of the opposite window, Grant sees movement at +the far end of a field. He sits bolt upright, trying to get +a better look. + +Malcolm, looking for another example -- + + MALCOLM + (points to the glass of + water) + Here. Give me your glass of water. + +He dips his hand into the glass of water. He takes Ellie's +hand in his own. + + MALCOLM + Make like hieroglyphics. Now watch + the way the drop of water falls on + your hand. + +He flicks his fingers and a drop falls on the back of +Ellie's hand. + + MALCOLM + 63. + + + Ready? Freeze your hand. Now I'm + going to do the same thing from the + exact same place. Which way is the + drop going to roll off? + (or) + Which way will the drop roll? Over + which finger? Or down your thumb? + Or to the other side? + + ELLIE + Uh -- thumb! + (or) + The same way. + + MALCOLM + It changed. Why? + (or) + Okay, back over your wrist. + (then) + Because and here is the principle + of tiny variations -- the + orientations of the hairs -- + + ELLIE + Alan, listen to this. + + MALCOLM + -- on your hand, the amount of + blood distending in your vessels, + imperfections in the skin -- + + ELLIE + Oh, imperfections? + + MALCOLM + Microscopic -- never repeat, and + vastly affect the outcome. That's + what? + + ELLIE + Unpredictability... + + MALCOLM + And even if we haven't seen it yet, + I'm quite sure it's going on in + this park right now. There's + definitely something out in that + field, and Grant has to see it. + +He jerks on the door handle and opens his door a few +inches. He looks outside towards freedom, then looks around +to is anybody's watching him. + 64. + + + Malcolm lowers his voice, becoming more seductive now. + + MALCOLM + Life's a lot like that, isn't it? + You meet someone by chance you'll + never meet again, and the course of + your whole future changes. It's + dynamic -- its exciting -- I think. + + Grant throws the door open and bolts out of the moving car. + + MALCOLM + There, there see?! I'm right again! + + ELLIE + Alan? + + MALCOLM + No one could have predicted Dr. + Grant would suddenly jump out of a + moving vehicle! + + ELLIE + Alan? + + She jumps out too and follows him into the field. + + MALCOLM + There's another example! + + IN THE FRONT CAR. + + TIM + Hey! I want to go with them! + + IN THE REAR CAR. + + MALCOLM + See? Here I am now, by myself, + talking to myself -- that's Chaos + Theory! What the hell am I doing + here? I'm the only one who knows + what's going on, etc, etc... + + +34 INT. CONTROL ROOM - DAY 34 + + HAMMOND, MULDOON, and ARNOLD stare at the video monitor + incredulously as everyone now pouts out of the cars and + follows Grant down the hill. + + The cars roll on slowly, empty, their doors hanging open. + 65. + + + ARNOLD + Uh -- Mr. Hammond -- + + HAMMOND + Stop the program! Stop the program! + + MULDOON + There you are! How many times did I + tell you we needed locking + mechanisms on the vehicle doors! + + ACROSS THE ROOM + + DENNIS NEDRY sneaks a peek at the video monitor. It shows + an image of the steel door, plainly marked -- "EMBRYONIC + COLD STORAGE. RESTRICTED!" + + He looks to another monitor, which is labeled "EAST DOCK." + The monitor shows a supply ship, moored at the dock. Its + cargo is being uploaded and a large group of WORKERS is + filing aboard. + + Nedry has something in the counter, where no one can see + it. + + It's a can of shaving cream. + + +35 EXT. PARK - DAY 35 + + GRANT, ELLIE, GENNARO, and the KIDS are out in the open + field, heading towards a small stand of trees. For the + first time, we notice the sky is darken rather early in the + day. Tim dogs Grant's footsteps, so excited he can hardly + keep his feet on the ground. + + TIM + So like I was saying, there's this + other book by a guy named Bakker? + And he said dinosaurs died of a + bunch of diseases? He definitely + didn't say they turned into birds. + + Gennaro is scared as hell, following the others, but his + head darting left and right. + + ELLIE + Alan? Where are we going? You see + something? + + GENNARO + Uh - - anybody else think we + shouldn't be out here? + 66. + + + TIM + And his book was a lot fatter than + yours. + + GRANT + Really? + + ELLIE + Yours was fully illustrated, honey. + + GENNARO + Anybody at all. Feel free to speak + up. + +Lex stumbles and Grant takes her hand, to stop her from +falling. + +She looks up at him and smiles. + +Grant smiles back and tries to recover his hand, but Lex +holds tight. He's massively uncomfortable. Ellie notices. + +Suddenly they all stop in their tracks. A huge smile +spreads across the faces of both Tim and Grant. Grant walks +forward. Tim follows. + + ELLIE + Timmy, Timmy. + + LEX + Come back here, blanket head. + +Fearless, Tim walks forward behind Grant. + + HARDING (O.S.) + Hi everybody, Don't be scared. + +Tim reaches the clearing and sees: + +A Triceratops, a big one, lying on its side, blocking the +light at the end of the path. It has an enormous curved +shell that flanks its head, two big horns over its eyes, +and a third on the end of its nose. It doesn't move, just +breathes, loud and raspy, blowing up a little clouds of +dust with every exhalation. + +Grant stands next to Harding, almost in a daze. + + GRANT + Beautiful. Is it okay? Can I touch + it? + + HARDING + 67. + + + Sure. + +Grant walks next to the animal and strokes its head. Ellie + +moves forward to the animal. + + GRANT + Oh Ellie. It's so beautiful. It's + the most beautiful thing I ever + saw. + + ELLIE + It's my favorite. + +They both kneel, checking the animal. + +He furrows his bow, noticing something, all professional +curiosity now. The animal's tongue, dark purple, droops +limply from its mouth. + + GRANT + Ellie, take a look at this. + + ELLIE + Yeah, baby girl, it's okay. + +She scratches the tongue with her fingernail. A clear +liquid leaks from the broken blisters. + + ELLIE + Micro vesicles. That's interesting. + +Grant, fascinated, wanders all the way around to the back +of the animal. Harding joins Ellie and hands her his +penlight. + + ELLIE + What are her symptoms? + + HARDING + Imbalance, disorientation, labored + breathing. Seems to happen about + every six weeks or so. + + ELLIE + Six weeks? + +She takes the penlight from the veterinarian and shines it +in the animal's eyes. + + ELLIE + Are there pupillary effects from + the tranquilizer? + 68. + + + HARDING + Yes, mitotic, pupils should be + constricted. + + ELLIE + These are dilated. Take a look. + + HARDING + They are? + (checks it out) + I'll be damned. + + ELLIE + That's pharmacological. From local + plant life. + +She turns and studies the surrounding landscape. Her mind's +really at work, puzzling over each piece of foliage. + + ELLIE + (pointing) + Is that + (or) + this West Indian lilac? + + HARDING + Yes. We know they're toxic, but the + animals don't eat them. + + ELLIE + Are you sure? + + HARDING + Pretty sure. + + ELLIE + There's only one way to be + positive. I need to see some + droppings. + (or) + I have to see the dinosaur's + droppings. + + HARDING + You won't be able to miss them. + (or) + Can't miss them. + +Malcolm walks up to Ellie. + + MALCOLM + Dino droppings? + 69. + + + ELLIE + Yeah. + + She walks way, Malcolm looks on. + + +36 INT. CONTROL ROOM - DAY 36 + + HAMMOND and ARNOLD are watching the video monitors, + displeased about something. Arnold is looking at one that + gives them a view from the beach, looking out at the ocean. + The clouds beyond are almost black with a tropical storm. + + ARNOLD + That storm center hasn't dissipated + or changed course. We're going to + have to cut the tour short, I'm + afraid. Pick it up again tomorrow + where we left off. + + HAMMOND + You're sure we have to? + + ARNOLD + It's not worth taking the chance, + John. + + MULDOON + (into phone) + Sustain winds 45 knots. + + HAMMOND + (nods) + Tell them when they get back to the + cars. + + MULDOON + (into phone) + Thanks, Steve. + + ARNOLD + (making an announcement + to the others) + Ladies and gentlemen, last shuttle + to the dock leaves in approximately + five minutes. Drop what you are + doing and leave now. + + HAMMOND + Damn! + + ACROSS THE ROOM + 70. + + + NEDRY stares at his video monitor, watching the boat. He's + on the phone with the MATE, whose images he can see on the + monitor. The seas around the dock are much rougher now. + + MATE + We're not well-berthed here without + a storm barrier! We may have to + leave as soon as the last of the + works are aboard. + + NEDRY + (low voice) + No, no. You stick to the plan. You + wait till they're back from the + tour. + + +37 EXT. FIELD - DAY 37 + + As the weather grows darker, ELLIE, GRANT, HARDING, and + MALCOLM are grouped around an enormous spoor of triceratops + excreta that stands at least waist high and is covered with + BUZZING flies. + + MALCOLM + That is one big pile of shit. + + Ellie has plastic gloves on the reach up to her elbows, and + is just withdrawing her hand from the middle of the dung. + + ELLIE + (to Harding) + You're right. There's no trace of + lilac berries. That's so weird, + though. She shows all the classic + signs of Meliatoxicity, + (thinking aloud) + Every six weeks -- + + She turns and walks out into the open field a few paces, + thinking. Malcolm watches her, and looks back at the dung. + + MALCOLM + (TO GRANT) + She's, uh -- tenacious. + + GRANT + You have no idea. + + MALCOLM + (TO ELLIE) + You will remember to wash your + hands before you eat anything? + 71. + + +38 INT. CONTROL ROOM - DAY 38 + + DENNIS NEDRY is busily and surreptitiously typing a series + of commands into his console. On his screen, a cartoon hand + winds up a cartoon clock, moving its second hand up to the + twelve. The clock rotates around to face us. + + It has a large green dollar sign in the middle. A big word + appears on screen, an option surrounded by forbidding red + box. + + "EXECUTE," it says. + + +39 EXT. PARK - DAY 39 + + The skies are really foreboding now, and there's a sense of + growing urgency. ELLIE is by the animal, a short distance + away from the group. GRANT is near her, thinking. + + GRANT + Ellie, I've been thinking there's + something about the periodicity + doesn't had up. + + ELLIE + I know. + + Tim holds one of the smooth rocks up and calls out, a + little timidly. + + TIM + These look kind of familiar. + + GRANT + Triceratops was a constant browser, + and constant browsers would be + constantly sick. + + ELLIE + Constantly sick. + + GRANT + Not just every six weeks. + + ELLIE + Yeah, I know. + + TIM + I've seen pictures of these! + + Grant turns and looks at him, a little annoyed. + 72. + + + TIM + In your fully illustrated book. + +Grant just rolls his eyes, but Ellie comes over and checks +out the stones. + + ELLIE + What's that? + +A light goes on in her eyes. + + ELLIE + Alan -- gizzard stones! + +She throws Grant one of the stones. They look at each other +in amazement. + +As before, when they get excited, they talk right over each +other. + + GRANT + Elm that's it, it explains the + periodicity, the -- + + ELLIE + -- the undigested state of the + berries because it's -- + + GRANT + -- totally incidental + (or) + unrelated to the feeding pattern -- + + TIM + What are you guys saying? + + ELLIE + (turning to Tim) + It's simple, see. Some animals like + her, don't have teeth -- + + GRANT + -- like birds -- + + ELLIE + -- like birds. What happen is, they + swallow the stones and hold them in + a muscular sack in their stomachs - + - + + GRANT + -- a gizzard -- + 73. + + + ELLIE + -- which is called a gizzard, and + it helps them mash their food, but + what happens after a while -- + + GRANT + -- what happens is that after a + while, the stones get smooth, every + six weeks, so the animal + regurgitates them -- + + ELLIE + (for Tim) + -- barfs them up -- + + GRANT + -- and swallows fresh ones. + + ELLIE + And when she swallows the stones, + she swallows the poison berries + too. That's what makes her sick. + (impressed) + Good work Tim. + +She looks at Grant pointedly. Tim looks up at Grant too, +smiling from ear to ear. Grant GRUNTS, not so easily +convinced. + +THUNDER rumbles as the storm overhead is about to bust +loose. + +GENNARO, scared of more than one thing now, puts his foot +down. + + GENNARO + Doctors, if you please -- I have to + insist we get moving. + + ELLIE + Oh, you know, if it's alright, I'd + like to stay with Dr. Harding and + finish with the trike. Is that + okay? + + HARDING + Sure. I've got a gas powered jeep. + I can drop her at the visitor's + center before I make the boat with + the others. + + ELLIE + (to Grant) + 74. + + + I'll catch up with you. You can go + with the others. + + GRANT + Are you sure? + + ELLIE + I'll just finish. Yeah, I want to + finish. + + There is a lightning flash now, with a tooth-rattling + THUNDERCLAP right on its heels. + + GENNARO + Now. + + Grant turns and follows the others, Lex right in his + tracks. + + Ellie and Harding go back to the triceratops, which is + starting to come back to life. + + As Grant reaches the Explorer, he turns back for one last + look at Ellie. He raises his hand to wave, but she is + turned the other way. + + Feeling silly, he drops his hand and goes into the woods. + Just as he does, Ellie turns and waves to him, but with his + back turned, he misses it too. + + In this way, they say goodbye. + + BACK AT THE CARS, as the reflections of the GROUP approach, + the first raindrops fall on the windshields of the tour + vehicles. They're big, fat drops, and they kick up little + clouds of dust as they SMACK into the glass. + + It's going to be a hell of a storm. + + +40 EXT. PARK - DUSK 40 + + It's near dark now. The wind has whipped up, and the trees + are swaying. + + +41 INT. CONTROL ROOM - DUSK 41 + + HAMMOND is with RAY ARNOLD, staring at the video screens. + + ARNOLD + 75. + + + I found a way to re-route through + the program. I'm turning the cars + around in the rest area loop. + + HAMMOND + Rotten luck, this storm. Get my + grandchildren on the radio will + you? I don't want them to worry + about a wee bit of rain. + +Arnold reaches for the hand microphone. + +ACROSS THE ROOM, DENNIS NEDRY, sweat forming on his upper +lip now, is staring at his video monitor. The supply boat +is still docked on the island shore, but is now being +buffeted by heavy waves. Nedry whispers sharply into the +phone, arguing with the MATE of the ship again, who he can +see on the video monitor. + + MATE + There's nothing I can do! If the + Captain says we gotta go, we gotta + go! + + NEDRY + No, no, listen to me. You've got to + give me this time. I did a test run + on this thing and it took me twenty + minutes. I thought I could do it in + fifteen -- you've got to give me + fifteen minutes. + + MATE + No promises! No promises! + + NEDRY + I'll be there in ten! + +Arnold SNAPS a button on his console. + + ARNOLD + Visitor vehicles are on their way + back to the garage. + + HAMMOND + So how much for our first tour. Two + no-shows and one sick triceratops. + + ARNOLD + It could have been worse, John. It + could have been a lot worse. + +Dennis Nedry stands up. + 76. + + + He's shaking in his shoes, but trying like hell to be + casual. + + NEDRY + Anybody want a Coke? Anybody what + some from the machines? Or a soda + or something? I had too many + sweets. + (or) + I thought I'd get something sweet. + + Hammond and Arnold shake their heads. Nedry starts to + leave, then turns back with an afterthought that is so + rehearsed its almost obvious. + + NEDRY + Oh, I finished de-bugging the + phones, but the system's compiling + for eighteen minutes, or twenty. + So, some minor systems may go on + and off for a while. There's + nothing to worry about. Simple + thing... + + HAMMOND + Okay, okay, okay, okay, that's + enough! Ahh! + + Nedry turns, stretches one finger out to his screen, and + selects an option. + + "EXECUTE." + + At the same time, he presses the start button on his + digital stopwatch he holds in his hand. A digital clock on + the computer screen starts to tick down from sixty seconds + , and a musical clock starts to sound too -- something like + the "Jeopardy" theme. + + He starts to leave -- but returns when he remembers the + shaving cream can. He grabs it and leaves. + + +42 EXT. PARK ROAD - NIGHT 42 + + Night was completely fallen now, and the rain has started. + It's a tropical storm, the rain falling in drenching sheets + on the roofs and hoods of the Explorers, which are making + their way slowly back to the visitor's center. + + IN THE REAR CAR, GRANT and MALCOLM are alone. Grant is + staring out the window, lost in his thoughts. + 77. + + + GRANT + You got any kids? + + MALCOLM + Me? Oh, hell yes. Three. + (glowing) + I love 'em. I love kids. Anything + at all can and does happen. + + He takes a flask from jacket pocket and unscrews the top. + His expression darkens. + + MALCOLM + Same with wives, for that matter. + + GRANT + You're married? + + MALCOLM + Occasionally. Always on the lookout + for the future ex-Mrs. Malcolm. + + +43 INT. FERTILIZATION LAB - NIGHT 43 + + DENNIS NEDRY, waits outside the silver door marked + "EMBRYONIC COLD STORAGE," staring at the digital stopwatch + in his hand. + + NEDRY + Two -- one -- + + On cue, the security lock panel goes dark and the door + CLUNKS ajar. + + IN THE COOLER, Nedry hurries in and flips open the hatch on + the bottom of the shaving cream can, revealing slotted + compartments inside. He goes to the rack of dozens of thin + glass slides. A sign says "VIABLE EMBRYOS -- HANDLE WITH + EXTREME CARE!" + + He takes the slides out of the rack one by one. They're + labeled -- "STEGOSAURUS", "APATOSAURUS", "TYRANNOSAURUS + REX" -- and puts them into the can. + + +44 INT. CONTROL ROOM - NIGHT 44 + + ARNOLD is staring at his terminal, puzzled. On the screen, + glowing red and blue lines are blinking off, in + succession.. + + ARNOLD + 78. + + + What? + + HAMMOND comes up behind him, as does ROBERT MULDOON. + + HAMMOND + What? + + ARNOLD + The door security systems are + shutting down. + + HAMMOND + Well, Nedry said a few systems + would go off-line, didn't he? + + +45 INT. REAR CAR - NIGHT 45 + + GRANT and MALCOLM still wait in their car. They don't + notice, but the video screen in the middle of their front + console suddenly goes black. + + Malcolm continues their conversation. + + MALCOLM + By the way, Dr. Sattler -- she's + not like, uh, available, is she? -- + + GRANT + Why? + + MALCOLM + Why? Oh, I'm sorry. Are you two, uh + -- are? I wish you the best luck. + + The cars jerk to a stop. The lights in the vehicles and + along the road go out, plunging them into blackness. Grant + jerks his hands away from the steering column, immediately + assuming it's his fault. + + GRANT + What'd I touch?! + + MALCOLM + You haven't touched + (or) + didn't touch anything. We're + stopping. + (or) + We've stopped. + + GRANT + 79. + + + I must've touched something. This + happens all the time. It must be my + fault. Machines hate me. + + MALCOLM + Machines hate you? + + GRANT + Yeah, they hate me. + + MALCOLM + You want to talk about this? + + GRANT + No. + + +46 EXT. JURASSIC PARK - NIGHT 46 + + Nedry's jeep SPLASHES up to the giant gates that lead into + Jurassic Park. NEDRY jumps out and hurries to the control + panel on the side of the cement supports. + + He FLICKS a switch and gates CLICK unlocked. + + He jumps back in the car and noses into the gates, shoving + them open far enough to drive through. + + He ROARS into the park grounds + + +47 EXT. CONTROL ROOM - NIGHT 47 + + RAY ARNOLD stares at his terminal, aghast, as row upon row + of colored lights crawls off on his screen. + + ARNOLD + Woah, woah, woah, what the hell, + what the hell? + + HAMMOND + What now? + + ARNOLD + Fences are failing, all over the + park! A few minor systems, he said! + + HAMMOND + (to Muldoon, pissed) + Find Nedry! Check the vending + machines! + + ARNOLD + 80. + + + The monitors are failing. + + Muldoon heads for the door just as all the video monitors + in the control room go out with a faint electronic ZIP. + + The three of them freeze for a moment, looking at each + other. + + The tension in the room goes up a notch. + + HAMMOND + (to Arnold) + Use Nedry's terminal. Get it all + back on. He can de-bug later. + + ARNOLD pushes off on the floor and whizzes over to Nedry's + master terminal in his chair. With one stroke of his arm, + he brushes all the loose junk off Nedry's station - junk + food, soda cans, torn out magazine pages - - and tries to + work. + + ARNOLD + God, look at this workstation. + + The "Jeopardy"-type music is playing a little faster now. + + Muldoon steps forward, growing alarmed. + + MULDOON + The raptor fences aren't out, are + they? + + ARNOLD + (checks) + No, they're still on. + + HAMMOND + Why the hell would he turn the + others off?! + + +48 EXT. PARK ROAD - NIGHT 48 + + A wire mesh fence in front of us has a very clear sign: + + DANGER! ELECTRIFIED FENCE! + + This Door Cannot Be Opened + + When Fence is Armed! + 81. + + + A hand reaches out, grabs the fence by the bare wire, flips + a latch, and shoves the door open. No sparks fly. + + DENNIS NEDRY runs from the fence back to his jeep, drops it + in gear, and tears off down the park road. The rain is + absolutely flowing down now, the road is rapidly turning to + mud. + + IN THE JEEP, Nedry can barely see through the windshield. + He's driving as fast as possible, checking his watch every + few seconds. + + He leans forward, squinting to see through the windshield, + wiping off the condensation with his free hand. A fork in + the road rushes into view. He jumps on the brakes - - to + late. The jeep careens into a signpost. + + NEDRY + Shit! + + He throws the door open and hurries to the fallen sign: "To + The Docks". He props it up - the directional arrow swings + hopelessly on a nail. He clenches his jaws and growls. + + Soaked, Nedry stomps back to his car. + + Although he doesn't look too convinced, he drops the car in + gear and speeds off to the left. + + +49 EXT. CONTROL ROOM - NIGHT 49 + + HAMMOND still hovers over ARNOLD's shoulder while he works + at Nedry's terminal. Arnold MUTTERS to himself as he tries + another command. + + ARNOLD + -- access main program grid -- + + He punches a button, but a BUZZER sounds and a little + cartoon image of Nedry appears on the screen and waves its + little finger disapprovingly. + + CARTOON NEDRY + "You didn't say the magic word!" + + ARNOLD + (livid) + Please, God damn it! I hate this + hacker crap! + + He SMACKS the top of the monitor, furious. The game show + music plays still faster. + 82. + + + HAMMOND + Call Nedry's people in Cambridge! + + Arnold whisks across the floor in his chair and snatches up + the nearest phone. He punches for an outside line. + + ARNOLD + Phones are out too. + + HAMMOND + Where did the vehicles stop? + + +50 EXT. TYRANNOSAUR PADDOCK - NIGHT 50 + + BAAA! The goat that was brought up from the underground + earlier is still tethered in the same place, BLEATING in + the pouring rain + + The two explorers sit still in the middle of the road. A + man's form races back from the front car to the rear car. + + IN THE REAR CAR, GRANT, soaking wet, gets back into the + care and closes the door behind him. MALCOLM turns to him. + + GRANT + Their radio's out too. Gennaro said + to stay put. + + MALCOLM + The kids okay? + + GRANT + Well, I didn't ask. Why wouldn't + they be? + + MALCOLM + Kids get scared. + + GRANT + What's to be scared about? It's + just a little hiccup in the power. + + MALCOLM + I didn't say I was scared. + + GRANT + I didn't say you were scared. + + MALCOLM + I know. + + GRANT + 83. + + + Fine. + +Malcolm turns and looks out at the driving rain, and the +fence that stands between them and the tyrannosaur paddock. +He is scared. + +IN THE FRONT CAR, GENNARO, LEX, and TIM wait, bored. The +rain drums on the roof monotonously. Tim is upside down in +the front seat. Lex pushes his legs up, and he swings them +down. + + TIM + Up and down, up and down! + + GENNARO + (sotto) + I can't believe we invited Ian + Malcolm. + + TIM + People were gettin' bloody noses -- + things on your head -- aneurisms -- + + LEX + (a little dreamy) + I think Dr. Grant is really -- + smart. + + GENNARO + How he'll write a butch of + (letters) + papers, go on Larry King Live, say + we're irresponsible -- + +Tim climbs into the back seat. Lex hits him with her hat as +he moves by her. + + LEX + Don't scare me. + +Tim finds something under the seat and sits up abruptly, +holding what looks like a heavy-duty pair of safety +goggles. + + GENNARO + Hey! Where did you find those + things? + + TIM + In a box under my seat. + + GENNARO + Are they heavy? + 84. + + + TIM + Yeah. + + GENNARO + Then they're expensive. Put them + back. + +He leans back and closes his eyes. Tim ignores him and puts +on the goggles. + +Tim stares out the back window of the Explorer with Grant +and Malcolm in it, behind them. The image is bright +fluorescent green. + + TIM + Oh, cool! Night vision! + +As Tim watches, the door of the rear Explorer opens, and a +hand reaches out, holding an empty canteen out to catch +some rain water. + +IN THE REAR CAR + +Grant pulls the canteen back in, closes the door, and takes +a drink. He and Malcolm wait. + +IN THE FRONT CAR + +Tim continues to stare out of the back window with the +goggles. + +He swings his legs -- but suddenly stops. He feels +something. He pulls off the goggles and turns back. He +moves into the back seat with Lex who is tapping her hat, +and reaches forward to still her hand. + +BOOM. BOOM. BOOM. + + TIM + Did you feel that? + (or) + Can you feel that? + +She don't answer. + +Tim leans over to the front passenger seat and looks at the +two plastic cups of water that sit in the recessed holes on +the dashboard. + +As he watches, the water in the glasses vibrates, making +concentric circles -- + +-- then it stops -- + 85. + + +-- and then it vibrates again. Rhythmically. + +Like from footsteps. + +BOOM. BOOM. BOOM. + + GENNARO + (not entirely convinced) + What is that? M-Maybe it's the + power trying to come back on. + +Tim jumps into the back seat and puts the goggles on again. + + LEX + What is that? + + GENNARO + What is what? + +Tim turns and looks out the side window. He can see the +area where the goat is tethered. Or was tethered. The chain +is still there, but the goat is gone. + +BANG! + +They all jump, and Lex SCREAMS as something hits the +Plexiglas sunroof of the Explorer, hard. They look up. + +It's a bloody, disembodied goat leg. + + GENNARO + Oh, Jesus. Jesus. + +Tim whips around to look out the side window again. His +mouth pops open, but no sound comes out. Through the +goggles, he sees an animal claw, a huge one, gripping the +cables of the "electrified" fence. + +Tim whips the goggles off and presses forward, against the +window. He looks up, up, than cranes his head back further, +to look out the sunroof. Past the goat's leg, he can see -- + +-- Tyrannosaurus rex. It stands maybe twenty-five feet +high, forty feet long from nose to tail, with an enormous, +boxlike head that must be five feet long by itself. The +remains of the goat hang out of the rex's mouth. It tilts +its head back and swallows the animal in one big gulp. + +Gennaro can't even speak. His hand claws for the door +handle, he shoulders it open, and takes off, out of the +car. + + LEX + 86. + + + (freaking out) + He left us! He left us alone! Dr. + Grant! Dr. Grant! He left us! He + left us! + +ON THE ROAD, Gennaro runs away, as fast as he can, right +past the second car, towards a cement block outhouse twenty +or thirty yards away. + +He reaches it, ducks inside, and pulls the door after him - +- + +-- but there's no latch, just a round hole in the +unfinished door. Gennaro backs into a stall, frantic. + +The whole bathroom begins to shake. + +IN THE REAR CAR, Grant and Malcolm turn in the direction +Gennaro went. + + GRANT + Where does he think he's going? + + MALCOLM + When you gotta go, you gotta go. + +Malcolm looks the other way, out the passenger window. As +he watches, the fence begins to buckle, its post collapsing +into themselves, the wires SNAPPING free. + + MALCOLM + What was that all about? -- + +Grant now turns and watches as, ahead of them, the +"DANGER!" + +sign SMACKS down on the hood of the first Explorer. The +entire fence is coming down, the posts collapsing, the +cables SNAPPING as -- + +-- the T-rex chews its way through the barrier. + +They watch in horror as the T-rex steps over the ruined +barrier and into the middle of the park road. It just +stands there for a moment, swinging its head from one +vehicle to the other. + +IN THE FRONT CAR + +The rex strides around to the side of the car and peers +down, from high above. Tim leaps into the front seat and +pulls the driver's door shut. Both kids are terrified, +breathing hard, unable to speak. + 87. + + + TIM + Please! Please! + +IN THE REAR CAR + + MALCOLM + Boy, do I hate being right all the + time. + + GRANT + Look at that! + +The T-rex turns and strides quickly back towards them. It +circles, slowly, bending over to look in at them through +the window. + +Grant and Malcolm sit trembling in the front seat, watching +as the giant legs stride past their windows. + + GRANT + (a quivery whisper) + Keep absolutely still -- it's + vision's based on movement! + + MALCOLM + You're sure?! + + GRANT + (pause) + Relatively. + +Malcolm freezes as the rex bends down and peers right in +through his window. The dinosaur's giant, yellowing eye is +only slightly smaller than the entire pane of glass. + +The T-rex pulls away slightly, then reaches down and BUMPS +the car with its snout, rocking it. + +IN THE FRONT CAR, Lex is rummaging around in the back cargo +area, looking for something, anything. She finds a +flashlight. + +ON THE ROAD, the front car lights up from within as Lex +switches on the flashlight. + +The dinosaur raises its head. It turns slowly from the +second car to the first car, drawn by the light. Making a +decision, it strides over to the first vehicle. FAST. + +IN THE FRONT CAR, Tim and Lex can only stare out of the +windows as the T-rex reaches their car and starts to circle +it. + 88. + + +The rex bends down and looks in through the front +windshield, then the side window. Tim is eye to eye with +the thing for a second, then the dinosaur raises its head +up, above the car. + + LEX + I'm sorry -- I'm sorry -- + + TIM + Turn it off, Lex! Turn it off! + +Tim climbs over the seat and joins Lex. + + TIM + Where is the button then? + + LEX + I don't know, I don't know. I'm + sorry -- + + TIM + Why did you do this? + + LEX + I don't know! I'm sorry! + +The Kids look up, through the sunroof, as the head goes +higher, and higher, and higher, and then the rex turns, +looks straight down at them through the sunroof, opens its +mouth wide and -- + +-- ROARS. + +The windows RATTLE, Lex SCREAMS, the flashlight goes on +again, and the tyrannosaur strikes. + +SMASH! The thing's head its the plastic sunroof, knocking +the whole frame right out of the roof of the car and down +into the vehicle. + +The bubble falls down onto Tim and Lex, trapping them, and +the animal lunges down, through the hole, SNAPPING at them. + +The Plexiglas holds, though and protects Tim and Lex even +as it pins them to the seats. The T-rex continues to push +down, and the glass GROANS, crack lines racing across it. + +Tim, whose feet were caught above him, pushes back, only an +inch of glass between him and the dinosaur's teeth. + +IN THE REAR CAR, Grant and Malcolm watch in horror as the +dinosaur claws at the side of the vehicle with one of its +powerful thigh legs. + 89. + + +It pushes, starting to tip the car over. + + MALCOLM + Oh my God! + + GRANT + We gotta do something. + + MALCOLM + What? What can we do? + + GRANT + There's gotta be something -- + +Grant looks around, climbs over the seat. He tears apart +the back area, searching - and finally finds a metal case. +He opens it, finding flares. He grabs one and moves quickly +back to the driver's seat and opens the door. + +Malcolm grabs a flare, too. + +IN THE FRONT CAR, the glass windows SHATTER, the Kids are +thrown to the side, and the Explorer tilts. + +The rex bends down and nudges the car with its head, +rolling it up on its side. Tim and Lex tumble around. + +ON THE ROAD the T-rex starts to nudge the Explorer toward +the barrier. Over the barrier, there is a gentle terraced +area at one side where the rex emerged from, but the car +isn't next to that, it's next to a sharp precipice, +representing a fifty or sixty foot drop. + +The car, upside down now, is pushed near the edge. + +The rex towers over the car. Like a dog, its puts one foot +on the chassis and tears a the undercarriage with its jaws. + +Biting at anything it can get a hold of, it rips the rear +axle free, tosses it aside, and bites into a tire. + +The tire EXPLODES, startling the animal. + +INSIDE THE CAR, Tim and Lex are trapped inside the rapidly +flattening car. As the frame continues to buckle, they +crawl toward the open rear window, the car collapsing +behind them. Mud and rain water pout into what little space +there is left. + +Tim is ahead, nearing the back window, when there is a +CRUNCH and a seat comes down, pinning him. + 90. + + +ON THE ROAD, the dinosaur backs up, dragging the Explorer, +swinging it left and right. It seems ready to fling it over +the edge. + +Grant gets out of his car. He's holding the flare in one +hand, which he pulls the top off of. Bright flames shoot +out the end of it. + + GRANT + Hey! Hey! Over here! + +The T-rex turns and looks at him + +Grant waves the flare slowly in front of him from side to +side. + +The T-rex follows his moving arm, eyes locked on the flare. +Grant looks over to the wall, and tosses the flare over the +edge of the barrier. The rex lunges after it -- + +Unclear with Grant's plan, Malcolm leaps out of the car and +tries to scare up the T-rex's attention with his own newly +lit flare. + +He begins to wave it at the animal. Grant sees him -- + + GRANT + Ian! Freeze! Freeze! Get rid of the + flare! + + MALCCOLM + Get the kids! + +Malcolm inches back slowly, then takes off, running for his +life down the road. He runs to the cement block outhouse +Gennaro went into earlier. + +The T-rex sees the movement. It whirls and takes off after +Malcolm, fast. + +Malcolm runs as fast as he can, approaching the outside +just steps ahead of the T-rex + +But not far enough ahead. Without even slowing down, the +rex leans forward and flicks Malcolm into the air with its +snout. + +It's just a nudge a for the rex, but it sends Malcolm +sailing right through a wooden portion of the wall, and +into the building. + +IN THE RESTROOM + 91. + + +Gennaro, who cowers in a corner, SCREAMS as teh head of the +T-rex EXPLODES through the front of the building, sending +chunks of cement flying in all directions inside. The roof +collapses; Gennaro tries to protect himself from the +falling junk. + +ON THE ROAD + +Grant gets on his feet and watches as the T-rex noses +around in the rubble. + +It seems to find something. It lunges, and Grant can hear +Gennaro SCREAMING, the sound piercing -- + +-- until it abruptly stops. + +Grant scrambles over to the car. + + GRANT + Tim! Lex! + + LEX + Dr. Grant! Dr. Grant! + +He lays on the ground, looking inside, and sees Lex staring +up at him, conscious, her face covered in mud. + + GRANT + Are you okay? Can you move? + (calling into the car) + Tim! Are you okay? + + GRANT + Tim, are you okay? + + TIM + I'm stuck. The seat's got my feet! + + GRANT + Tim, I'll come back for you. I'll + get Lex out first. + +Grant reaches in and drags her out. + + GRANT + Are you okay? Good girl. + +Grant tries to find Tim + + GRANT + Tim? Tim? + 92. + + +Lex, staring over his shoulder, SCREAMS. Grant whirls, +covering her mouth at the same time. + + GRANT + Shhh! Don't move! It can't see us + if we don't move. + +Lex looks at him like he's crazy, but freezes. They wait. + +BOOM! A big T-rex foot print smacks down in front of them +as + +the dinosaurs approaches the car again. It leans down, +right past them, and SNIFFS the car, ragged bits of flesh +and clothing hanging from its teeth. + +Not finding anything, the dinosaur swings its head away, +SNORTING loudly through its nose. Grant's hat flies off his +head. + +Still, he doesn't move. + +The rex walks to the back of the car. It bends down. + +WHAP! The car spins as it is pushed from behind by the rex. + +Grant and Lex are pushed in front of it, helpless. They +scramble around on their knees, trying to keep ahead of the +car, which the rex is now pushing even closer to the edge +of the barrier. + +Grant and Lex crawl quickly, but the car is moving faster, +catching up on them. + +INSIDE THE CAR + +Tim awakens and SCREAMS. He tries to untangle himself. + +ON THE ROAD, the T-rex looms over Lex and Grant, who are +trapped between the car and the sixty foot drop. + +INSIDE THE CAR, the rex bends down and sees Tim. Tim backs +away, furiously, but there's almost no room to move in +there. The rex opens its mouth wide and stretches its +tongue into the car. + +Tim screams and kicks as the tongue tries to wrap around +him. + +But it fails, and withdraws from the car. + 93. + + +ON THE ROAD, the T-rex still tries to get to Grant and Lex, +pushing the car, spinning on its roof. Grant and Lex +scramble, trying to avoid being caught by the T-rex and +crushed by the car. + + GRANT + This way! + +The back of the car almost crushes them against the barrier +-- + + GRANT + Get back! + +They move, as the rex continues to move the car towards the +edge. Grant finally gets on the wall, Lex follows. + +The T-rex ROARS in frustration. It bends down for one final +lunge at the car. + +Grant sees it coming. He grabs one of the dangling fence +cables on the other side of the barrier. + + GRANT + Grab a hold of me! + +She wraps her arm around his neck. He scrambles to the edge +of the barrier, and starts to climb down. + + LEX + (screaming) + Timmy! Timmy! + +The cable is slick with rain, and it's all Grant can do to +hang on as he and Lex slide rapidly down. Above them, the +vehicle is now teetering over the edge, threatening to drop +right on top of them if they didn't hurry. + +Grant GASPS, as Lex has unwittingly started to choke him as +she holds on for dear life. + + GRANT + You're choking me! + +The car GROANS, nearly over the edge now. Grant looks to +the side. There are other cables, out of the line of the +car's impending drop. His feet scrambling along the +concrete wall, Grant tries to swing over towards one. + + GRANT + Grab a wire! + 94. + + + But he falls short. His momentum carries them back the + other way, but on the second swing Lex manages to grab hold + of the second cable. + + LEX + I got it! + + The car falls. Lex and Grant are clear by inches, clinging + to the second cable. + + LEX + Timmy! + + The car CRUNCHES into the leafy top of a tree, resting on + its + + roof some fifteen feet below them. + + The T-rex stares down at them, but they are safely out of + its reach. + + It ROARS once more, in a final fit of frustration, turns -- + + +51 INT. CONTROL ROOM - NIGHT 51 + + JOHN HAMMOND is live. + + HAMMOND + I will kill Nedry. I will kill him. + + Muldoon bursts through the door. + + HAMMOND + (to Muldoon) + Well? + + MULDOON + There's no sign of him anywhere. + + The game show music is louder and faster now, very + annoying. + + HAMMOND + Ray will you please switch off + (or) + stop that music?! + + RAY ARNOLD's cigarette is practically burning his lips, + down to almost nothing in his mouth. He hovers over NEDRY's + computer terminal, which is a mass of incomprehensible + commands that scroll by quickly as he futilely examines + each one of them. + 95. + + +MULDOON paces. ELLIE stares at Arnold in amazement. + + ELLIE + Are we getting anywhere with these + procedures of yours? I mean, what's + hanging us up? + + ARNOLD + I ran a key check on every stroke + Nedry entered today. It's all + pretty standard stuff, until this + one -- + + ELLIE + (stands, joins the group + at the computer) + What one? + +He points to his computer screen, to a specific series of +commands. The others crowed over his shoulder and stare at +the screen. + + ARNOLD + "Keycheck /space -o keycheck off + safety -o." He's turning the safety + systems off. He doesn't want + anybody to see what he's about to + do. Now look at this next entry, + it's the kicker. "Wht.rbt.obj." + Whatever it did, it did it all. But + with Keycheck off, the computer + didn't file the keystrokes. Only + way to find them now is to search + the computer's lines of code one by + one. + + ELLIE + How many lines of code are there? + + ARNOLD + Uh -- about two million. + + ELLIE + Two million -- great. That would + help. + (or) + Oh good, that'll take no time. + + HAMMOND + Robert -- I wonder if perhaps you + would be kind + (or) + 96. + + + good enough to take a gas jeep and + bring back my grandchildren. + + MULDOON + Sure. + + ELLIE + I'm going with him. + + They head for the door. Hammond turns, staring out the + windows at the front of the control room. He's gone pale, + and he's sweating, wrapped up in million thoughts. Behind + him, Ray Arnold's voice calls to him, but he doesn't hear + it. + + ARNOLD + John -- John -- + + Hammond leans on his cane, and for the first time he looks + like he's actually using it. + + ARNOLD + John. + + Hammond turns, finally hearing him. + + ARNOLD + I can't get Jurassic Park back on + line without Dennis Nedry. + + +52 EXT. PARK ROAD - NIGHT 52 + + As the rain continues to pour down, a gas-powered jeep + ROARS down another park road. + + +53 INT. JEEP - NIGHT 53 + + DENNIS NEDRY drives the jeep as fast as he can in the + treacherous conditions. He MUTTERS to himself, shaking his + head. + + NEDRY + Shoulda been there by now -- + shoulda been there -- + + He hauls it around a corner and looks down, checking his + watch. + + When he looks back up, his eyes go wide. + 97. + + +There's a white wood guard rail fence, right in front of +him. + +He stands on the brakes as hard as he can. The jeep +fishtails, skidding out of control in the mud towards the +fence. + +Nedry hauls the wheel hard to the side to try to control +the skid, but the jeep skids off the road, going halfway +over the muddied embankment. + + NEDRY + God damn it! + +He drops the car in reverse and hits the gas. The wheels +spin, sending mud flying everywhere, but the jeep goes +nowhere, just digs in further. + +Nedry can't believe it. Frustrated, he gets out of the +jeep. + +He stops suddenly - he can see another park road, down the +sloping embankment, about twenty feet below. + +There is a large sign alongside the road. Nedry leans +forward excitedly to get a better look. It reads "TO EAST +DOCK." He scrambles to the front of the jeep. + +ON THE HILLSIDE + +Nedry CRANKS a winch its coil on the front end of the jeep. + + NEDRY + (mumbling to himself) + No problem. Winch this sucker off + the thing -- tie it do a thing -- + pull it down the thing -- and pull + it back up. + +He loses his balance and slips - falling back on his rear. +He slides down the muddy embankment, across the road below. +Pissed, he gets to his knees and searches for his glasses. + + NEDRY + Where are my glasses? I can afford + new ones. + +He stands and grabs the winch, and goes to a sturdy-looking +tree on the other side. + + NEDRY + You can make it! + 98. + + +From the distance, there is a soft HOOTING sound. There's +some movement in the bushes - Nedry looks around for the +source of the sound and movement. He doesn't find it. He +nervously checks his watch and goes back to the winch, but +faster. + + NEDRY + No problem -- pop this thing right + down -- + +The HOOTING comes again and Nedry turns - again, nothing. + +A figure ducks around the tree and pops out on the other +side, HOOTING playfully. + +Nedry looks around one side of the tree - nothing. It pops +up on the other side, HOOTING again. And Nedry looks again. +Nothing. It seems like a friendly game of hide-and-seek. +But Nedry begins to get rattled. + + NEDRY + That's nice. Gotta go. I'm getting + out of here. C'mon you can make it! + +He secures the winch and starts across the road, back up +the embankment. He freezes, as he feels something behind +him. He turns around slowly and sees: + +A dilophosaur. It stands only about four feet high, its +spotted like an owl, and has a brilliant colored crest that +flanks its head. + +It doesn't look very dangerous. In fact, it's kind of cute. + + NEDRY + Oh. Uh -- nice boy. Nice boy. Okay. + Run along. I don't have anything + for you! Go on! Go home! Dinner + time! Are you hungry? They'll feed + you! Go, boy. Girl. Whatever. + +The dilophosaur just stares at Nedry, tilting its head +curiously. Nedry looks around on the ground and finds a +stick. He picks it up and chucks it at the thing. He throws +it as far as he can. + + NEDRY + Nice juicy stick! Fetch! + +The dilophosaur gets into the spirit of the game, but not +the object. + + NEDRY + 99. + + + Lame brain! What's the matter with + you? + (or) + What's the matter with you? + +He shakes his head and starts back towards the jeep, +muttering to himself. + + NEDRY + Walnut brain...extinct + kangaroo...hope I run over you on + the way down -- + +He's near the top when the dilophosaur suddenly hops out +right in front him, startling him. Nedry loses his balance +and falls back, right on his rear. He gets to his feet, +angry. + + NEDRY + I said -- + +He picks up a stick and chucks it at the thing. + + NEDRY + -- beat it! What are you do -- + +The animals HISSES. The brightly colored fan around its +neck flares wildly, two bulbous sacs on either side of its +neck inflate. It rears its head back again -- + +-- and it SPITS. + +SPLAT! A big glob of something wet SMACKS into the middle +of Nedry's chest. He reaches down and touches the goo +that's dribbling down his slicker. + + NEDRY + That's disgusting! + +SPLAT! Another glob of goo SMACKS into the highlight, right +next to Nedry's head. + +He stands up. A look of confusion crosses his face. He +lifts his right hand, the one that he touched the spit +with, and looks at it strangely, flexing it. + +POW! This time the lugie hits Nedry right smack in the +face. + +He SCREAMS and rubs it away, frantically. + 100. + + + Because it hurts. Like hell. Nedry falls back, clawing at + this eyes, in excruciating pain. He pulls his hands away, + starting to hyperventilate. He flails his arms in front of + him, blinking a mile a minute, but blinded. + + He staggers forward, to try to get into the jeep. He gets + the door open, but SMACKS his head on the door frame and + collapses. + + The can of shaving cream flies out of Nedry's jacket pocket + - - and tumbles into runoff water, down the muddy hillside. + Nedry gets to his feet again and staggers in the general + direction of the jeep. He reaches the open door and feels + his way in. He SLAMS the door. + + There is another HOOT. From inside the jeep. + + Nedry turns and SCREAMS. The dilophosaur is right there, in + the passengers seat. It HISSES louder than before, its + crest fans angrily, vibrating, reaching a crescendo -- + + -- and the thing pounces, SLAMMING Nedry back against the + driver's window, SHATTERING it. As Nedry shrieks -- + + Rain and mud wash over the shaving cream can, burying it. + + +54 EXT. PARK GROUNDS - NIGHT 54 + + The rain has all stopped now. GRANT and LEX are at the + bottom of the large barrier leading up to the park road. + Like it or not, they're in the park now, and are surrounded + by think jungle foliage on all sides. They're both beaten + up, and Grant's face is covered in blood. + + He's bent over a big puddle, splashing water on his face, + rinsing the blood off and trying to bring himself to. + + Poor Lex is scared as hell. She stands behind Grant, ramrod + straight, her breath coming short, desperate GASPS. Her + eyes are wide, and she doesn't look like she can move. + + As Grant gets rid of the blood, his injury doesn't look so + bad, just a gash on his forehead. + + He turns and looks up to the tree the Explorer fell in. + It's stuck there, nose down in the thickest top branches. + + Lex's GASPS are getting louder. She's terrified. + + GRANT + 101. + + + Hey, come on, don't -- don't -- + don't -- just -- just -- stop, + stop. + +He touches her, but it's awfully awkward, more of a pat on +the head than anything strong or reassured. + +But she responds to the contact, hurling herself forward +and throwing her arms tightly around his waist. She clamps +here, holding on for dear life, SOBBING. + + GRANT + Lex, you gotta be quiet, please. + Stop it. Shhhhh. + +This seems to quiet her. + + GRANT + Because if we make too much noise, + he's going to hear us and come + back. + +Lex bursts out crying again, a WAILING scream, nearly +hysterical now. Grant holds her, no idea what to do. He +turns and looks around. + + GRANT + (a whispered shout) + Timmy?! Timmy! + +He hears a CRACKING sound. He looks up to the tree again. +The Explorer has fallen a few feet lower into the branches. + +Grant looks down at Lex, who is sitting on a rock. + + LEX + Dad -- Dad -- + + GRANT + Shhh -- I'm right here, Lex. I'm + going to look after you. I'm going + to help your brother. I want you to + stay here and wait for me, okay? + + LEX + He left us! He left us! + + GRANT + That's not what I'm going to do. + Good! + +Grant walks to the tree. Lex scampers into the culvert. + 102. + + +55 EXT. TREE - NIGHT 55 + + GRANT takes a deep breath. grabs hold of the first branch, + and starts his long climb. Fortunately, it's a good + climbing tree, its branches thick and regularly spaced. + + Grant moves at a good pace. He reaches the car's level, on + the driver's side five or six feet to one side of it. + + The car's in rough shape. It's much thinner that it use to + be, its nose completely smashed in, the front wheels driven + solidly into a thick branch. They are what hold it in + place. + + GRANT + Tim? Tim? + + Grant comes up to the car and looks in. TIM is huddled on + the floor on the passenger side, frightened, hugging his + knees to his chest. + + He looks up at Grant with a tear and blood-streaked faced. + His voice is barely audible. + + TIM + I threw up. + + GRANT + That's okay. Listen, give me your + hand. + + Tim doesn't move. + + GRANT + I won't tell anybody you threw up. + Just give me your hand, okay? + + He reaches out. Tim reaches too, but they're still about a + foot apart. Grant grabs hold of the steering wheel, to pull + himself further in. The wheel turns. + + On the branch, the front wheel turns, losing a bit of their + grip on the thick branch they're resting on. + + Tim and Grant grab hands. Grant holds on to him, getting an + arm securely around his waist. They climb down. They stop + on a branch. + + GRANT + Okay, that's not so bad, ah Tim? + + TIM + Yes it is. + 103. + + + GRANT + It's just like coming out of a tree + house. Did your dad ever build you + a tree house, Tim, eh? + + TIM + No. + + GRANT + Me too. + (he starts to move down) + Okay. Well, the main thing about + climbing is never, never look down, + never. + + TIM + This is impossible. How am I + going...I can't make it. This + is...it's about fifty feet. + + GRANT + So am I going to help you with your + foot? + + TIM + What if the car falls? + (or) + What if the wheels fall? + +The car GROWNS forward on the branch, which sags in their +direction. They look up. The car begins to shift +dramatically towards them. + + GRANT + Oh, no! GO, Tim, go! Go! + +They climb down, as fast as they can, as the big branch +that is supporting the car CREAKS, ready to give way any +second. + + GRANT + Faster! Faster! + +The branch breaks. Disintegrates, really, and the car falls +straight at them. + +Grant and Tim let go of the branch they're on and fall, +THUDDING into another branch a few feet down. The car +SMACKS into the bug branch they just vacated, and stops +there. + 104. + + + Grant and Tim are half climbing, half falling down the tree + now, slipping on the resin-covered branches, just trying + like hell to get out of the way. + + CREEEE-POW! The second branch breaks, and now the car + SMASHES and CRASHES through a network of thinner branches, + headed right for them. It hits open space and goes into + free fall. + + Grant turns, and puts up his arms in defense -- + + -- and the car stops, SLAMMING into a thick branch just + above him. + + Grant looks up, eyeball to eyeball with the front grill. + + The new branch starts to CREAK. + + Grant and Tim basically fall down the rest of the tree, the + car BASHING its way through right behind them. They jump + the last six or seven feet and hit the ground, hard. + + Grant grabs Tim and rolls with him, to the side, just as + the car SMASHES into the earth, nose first, standing + upright that way. + + They look up in relief, but the damn thing's still heading + for them, now tipping over, falling straight at them, and + there's no way they have time to get out of the way this + time, so Grant just balls himself up on top of Tim to try + to protect him and -- + + -- CRASH! The jeep falls on top of them. Grant, amazingly + unhurt, looks up confused. + + They're inside the jeep again, saved by the hole sunroof. + + CUT TO: + + +56 EXT. CULVERT - NIGHT 56 + + LEX is still in the culvert, terrified, slowly BANGING her + head against the wall. + + GRANT is at the mouth of the culvert, carefully studying + the rinky-dink map of the park he picked up during the + slide show. + + GRANT + Okay -- okay -- + 105. + + +He's trying to get his bearings from the crude, cartoon- +like drawing on the map, but it's tough. + +He looks up, picking a direction, and shoves the map in his +pocket decisively. + +He looks back in at Lex. + + GRANT + Lex, you're going to have to get + out of there. + (he walks towards her) + Hiding isn't a rational solution; + we have to improve our situation. + +She doesn't move. Grant looks at Tim. + + GRANT + Tim's out here. + (Grant picks Tim up) + He's okay. + +Still nothing. Grant tries a new tact. + + GRANT + (walking away) + 'Course you could just wait in + there while we go back and get + help. + + TIM + (following Grant) + That's a good idea. + + GRANT + You'll probably be safe enough + (alone) + on your own -- + + TIM + I doubt it. + + GRANT + Maybe -- it's hard to say. + + LEX + Liar! You said you wouldn't leave! + + GRANT + I'm trying to use psychology to get + you out of the drain, you know! + 106. + + +She just stares at him like he's nuts. Tim shakes his head +at Grant, as if to say "nice try." Grant calms his tone. + + GRANT + We can't go back the way we came. + What we have is a free-range T-rex + on the road. There's + (there are) + fences on either side. If we meet + him between here and the lodge, + we'd have problems. But what this + means, what this means, is that + this whole paddock is empty. It's + safe. + + LEX + It's safe? + + GRANT + It's safe. + + LEX + It's safe. + + GRANT + Go + (and) + that's the way we're going to go. + What do you say? + + LEX + Alright. + +He's spoken calmly and confidently, so Lex crawls out of +the culvert and stands next to him. + + GRANT + Good girl. + +He kisses her hand and helps her crawl out of the culvert. + +Tim and Lex nod, and he starts off in the direction he +indicated. They trail behind him. + + GRANT + Might be kind of slow, but it can't + be more than three or four miles. + I'd hoped the rex finished feeding + by now, but let's not kid + ourselves. Did you know a carnivore + can eat up to 25% of its body + weight in + (about) + 107. + + + one sitting, so he's probably just + ready to move on to the main course + by now -- + + He stops in the middle of the sentence, noticing he's + alone. He turns around. Now both kids have scampered all + the way back into the culvert, terrified. + + +57 EXT. PARK ROAD - NIGHT 57 + + MULDOON and ELLIE race down the park road in an open-topped + jeep like the one Nedry took earlier. Neither of them + speak, they just stare ahead grimly, wondering what they're + about to find. + + MULDOON + There they are! + + They round a corner and come to the top of the hill, where + the attack took place. The jeep skids to a stop and they + jump out. + + The road is rutted, muddy mess. The cement block house is a + pile of rubble. One of the Explorers is gone, the other + stands untouched, both doors hanging open. + + ELLIE + Oh, God. Where's the other car? + + She runs to the Explorer. Muldoon follows, looking around. + + AT THE EXPLORER, Ellie leans in and looks around. Nobody's + there. She and Muldoon walk towards the wreckage of the + outhouse, calling out: + + ELLIE + I think it's ahead of us. + + MULDOON + It could be anywhere. With the + fences out, it can go in and out of + any paddock it likes. + + They hear a MOANING sound from somewhere in the wreckage of + the restroom building. They rush over to it. + + IAN MALCOLM lies on his back, semiconscious among the + twisted wood and cement. + + MULDOON + It's Malcolm! + 108. + + +He shines his light along the length of Malcolm's body. His +shirt is soaked with blood, but his right leg is even worse +off. The right ankle it bent outward at a strange angle +from his leg, the trousers flattened, soaked with blood. + +Malcolm's belt has been twisted around his thigh. + + ELLIE + He's put a tourniquet on. Ian! Ian! + +Malcolm GROANS as she touches him, groggy. + + MALCOLM + Remind me to talk John for a lovely + weekend. + +The T-rex ROARS again. But closer now. Ellie and Muldoon +look at each other. + + ELLIE + Can we chance moving him? + + MALCOLM + Please -- chance it. + +Muldoon lays Malcolm as carefully as possible in the back +of the jeep. + + MALCOLM + Where are the kids? + +Ellie looks around. + + ELLIE + Lex! Tim! + +She turns and looks back at the empty road. She's on the +verge of tears, but is fighting them back. + + MULDOON + Dr. Sattler, I've seen a lot of + animal attacks. People just + disappear. No blood, no trace. + That's the way it happens. + + ELLIE + No, no, no! + +She walks to the edge of the road, her eyes following the +deep ruts the Explorer made when it went over the edge. +Muldoon gets ready to leave. + + MULDOON + 109. + + + Ellie, com one!! + + ELLIE + The other car! + + +58 EXT. CLEARING - NIGHT 58 + + ELLIE's and MULDOON's flashlight beams spray light by the + base of the tree. + + MULDOON + Dr. Grant! + + ELLIE + Alan! + + They find the wrecked Explorer. Muldoon peers inside, + looking for anything. + + ELLIE + Do you see anything? + + MULDOON + I don't know. + + The T-rex ROARS again, closer still Ellie nervously goes to + the other side of the car and looks in. + + ELLIE + Alan?! + + MULDOON + They're not here. + + Ellie desperately searches the ground for any signs of + Grant. + + She finds their footprints. + + ELLIE (O.S.) + Thank God. + + +59 EXT. PARK ROAD - NIGHT 59 + + MALCOLM, laid out in the back of the jeep, feels something + strange. He looks down, at the one of the T-rex footprints + in the road. It's filled with water. + + The water in the puddle vibrates rhythmically. + 110. + + + Malcolm's eyes widen. He looks around, frantically. + + MALCOLM + Uh -- anybody? Anybody hear that? + + +60 EXT. CLEARING - NIGHT 60 + + ELLIE is still looking around, to MULDOON's chagrin. Her + flashlight falls on three sets of footprints in the mud. + + ELLIE + Look! + + Wit her flashlight, she follows the trail the footprints + made. + + They lead into the jungle and disappear. + + +61 EXT. PARK ROAD - NIGHT 61 + + MALCOLM's staring , wide-eyed, at the rings in the water, + which are getting bigger now. + + MALCOLM + It's a -- an impact tremor is what + it is, it, uh -- + + BOOM. BOOM. + + MALCOLM + I'm fairly alarmed here! + + ELLIE and MALCOLM come up over the embankment, excited. + + MALCOLM + Gotta move, gotta get out of here. + Let's go - we gotta go, we gotta + get out of here, right now! Go, go! + Let's hurry, let's get out of here! + + They stop talking. The BOOMING is louder now, and faster. + Much faster. They look back, over their shoulders. + + ELLIE + Oh. + + Ellie and Muldoon get into the jeep, Muldoon in the + driver's seat. + + MALCOLM + 111. + + + Move now! Let's go, let's go, right + now, right now! + +The tyrannosaur SMASHES out of the jungle foliage, bursts +onto the road, and runs straight at them, moving at least +thirty miles an hour. + + MALCOLM + GOGOGOGOGOGOGOGOGOGO! + +Muldoon fumbles for the keys, turns the jeep over, and +SLAMS it into gear. He drops the clutch, hits the gas, and +tears ass out of there. + +But the jeep is slow to work through the first few gears. + +Terrified, Ellie dares to look down, to the side view +mirror, which tells her "Objects Are Closer Than They +Appear." + +And they sure are. The T-rex is still gaining on the slowly +accelerating jeep. All three of them stare back at the rex +in terror -- + + ELLIE + Faster, faster! + + MALCOLM + Must go faster, it's getting closer + - must go faster! + + ELLIE + Faster! Shit, shit, shit, faster! + + MALCOLM + Must go faster, go, go. Open it up, + 5th gear, 5th gear! Here it comes! + Stand on it! Fifth - stand on it, + 5th gear, go! + +-- which means they don't see the half-fallen tree branch +right in front of them, blocking the path of the road. +Muldoon looks back first, SHOUTS -- + + MULDOON + DOWN! + +-- they all duck. + +The windshield hits the branch and SHATTERS as the jeep +flies ahead, really picking up speed now. + 112. + + + The T-rex just runs right through the branch, SMASHING it + entirely. + + They're bounced around pretty badly. Malcolm is knocked + into the front, and in so doing knocks the gear shift into + neutral. The engine RACES, the T-rex closes in again -- + + Losing ground now, the dinosaur makes a final lunge for the + jeep and CRUNCHES into the left rear quarter panel -- + + ELLIE + Faster, faster! + + -- but Muldoon SLAMS it back into gear and guns it. The T- + rex gives up, fading into the distance. + + They drive in silence for a few moments, all scared out of + their wits. + + MALCOLM + Think they'll have that on the + tour? + + +62 EXT. PARK GROUND - NIGHT 62 + + GRANT, LEX, and TIM make their way through Jurassic Park. + Far in the distance, there's another ROAR. Grant hears it, + but tries not to show it. + + LEX + Hear that? + (or) + Are you hearing this? + + GRANT + No, I didn't hear anything. + (or) + No, we're okay. + + They keep walking, but now Grant is looking around for a + safe place to hide. He looks up, to the towering trees + around them. + + GRANT + You + (guys) + both look pretty tired. I think + (or) + why don't we find + (or) + we ought to find someplace to rest. + 113. + + + He hears another ROAR + + GRANT + Like about now. C'mon! Hurry up! + Like this tree. + + LEX + Why are we hurrying if there's + nothing wrong? + + TIM + What if we fall? I hate trees. + + +63 EXT. TREE - NIGHT 63 + + LEX, TIM, and GRANT climb. Grant is behind, watching the + other two, giving them a push up when they need it. + + TIM + I hate trees! + + LEX + They don't bother me. + + TIM + Yeah, you weren't in that last one. + + Now, near the top of the tree, the three of them sit there, + dangling their legs, looking out over the park. + + It's an incredible view. They can see in all directions. + And with the full moon, there's a lot of detail. + + Most striking of all are dozens of sauropod heads, at the + end of long necks, that tower over the park. + + TIM + Hey! Those are brontosauruses -- I + mean, those are brachiosauruses. + + GRANT + It's okay to call them brontosaurs, + Tim. It's a great name. It's a + romantic name. It means "thunder + lizard". + + TIM + (digging that) + "Thunder lizard!" + 114. + + +Grant finds a solid web of branch and settles himself in +it, leaning back against the trunk of the tree, with a +little room on either side of him. Lex nestles up next to +him on the branch. Grant is surprised, but accepts it. + +Tim climbs off to the side, to a nook in the branch of his +own. + +Silent of a moment, the three can hear the HOOTS of the +animals as they call. Some are almost musical. + + GRANT + Listen to that! They're singing! + (he moves over to a + higher branch) + Of course no one's ever heard one + from a dinosaur before, but -- I + could swear that sounds + suspiciously to me like a mating + call. + (to me) + In an all-female environment -- + (or) + On an all-girl island? + +He smiles, enchanted. He HOOTS himself, trying to imitate +one of the calls. Immediately, five or six of the heads +turn in their direction and HOOT back. + + LEX + No, no, sh, sh, sh -- stop! Stop! + Stop! Don't let the monsters come + over here! + + LEX + They're not monsters, Lex. They're + just animals. And these are + herbivores. + + TIM + That means they only eat + vegetables. But for you, I think + they'd make an exception. + + GRANT + Tim, Tim, Tim... + + LEX + Oh, I hate the other kind. + + GRANT + They're just doing what they do. + (or) + 115. + + + Well the other kind -- + (he gets off the branch + and goes back to sit with + the kids) + -- just do what they do. + + LEX + Dorkatops! + + TIM + Straight-A brainiac! + + GRANT + Could you guys possibly cool that + for a -- + +Satisfied, Tim settles in for the night. Grant shifts too, +getting comfortable, but something in his pocket pinches +him. He winces and digs it out. It's the velociraptor claw +he unearthed so long ago in Montana + +Yesterday, actually. He looks at it, thinking a million +thoughts, staring at this thing that used to be so +priceless. + + LEX + What are you gonna do now if you + don't have to dig of dinosaur bones + any more? + + GRANT + I guess we'll just have to evolve + too. + + TIM + What do you call a blind dinosaur? + + GRANT + I don't know. What do you call a + blind dinosaur? + + TIM + A Do-you-think-he-saurus. What do + you call a blind dinosaur's dog? + + GRANT + You got me. + + TIM + A Do-you-think-he-saurus Rex. + +Grant laughs. Both kids finally close their eyes, but after +a moment, Lex pops hers open again. + 116. + + + LEX + What if the dinosaur comes back + while we're all asleep? + + GRANT + I'll stay awake. + + LEX + (skeptical) + All night? + + GRANT + All night. + + Grant lets the claw fall to the ground. + + +64 INT. RESTAURANT - NIGHT 64 + + ELLIE comes into the darkened restaurant, following the + source of the flickering light. A candle burns at a table + in the corner. + + JOHN HAMMOND sits at the table, alone. There is a bucket of + ice cream in the middle, and he's eating a dish of it, + staring down morosely. + + Ellie draws up to the table and Hammond looks up at her. + His eyes are puffy, his hair is messed up -- for the first + time we've seen him, the fire is gone from his eyes. + + HAMMOND + They were all melting. + (or) + It was all melting. + + Ellie just nods. + + ELLIE + Malcolm's okay for now. I gave him + a shot of morphine. + + HAMMOND + They'll all be fine. Who better to + get the children through Jurassic + Park than a dinosaur expert? + + Ellie nods. Another pause. Hammond breaks it again. + + HAMMOND + 117. + + + You know the first attraction I + ever built when I came down south + from Scotland? Was a Flea Circus, + Petticoat Lane. Really quite + wonderful. We had a wee trapeze, a + roundabout -- a merry-go -- what + you call it? + + ELLIE + Carousel. + + HAMMOND + A carousel -- and a seesaw. They + all moved, motorized of course, but + people would swear they could see + the fleas. "I see the fleas, mummy! + Can't you see the fleas?" Clown + fleas, high wire fleas, fleas on + parade... + (he trails off) + +Ellie just looks at him, not sure what his state is. He +goes on. + + HAMMOND + But with this place, I -- I wanted + to give + (show) + them something real, something that + wasn't an illusion, something they + could see and + (feel) + touch. An aim devoid of + (without) + merit. + + ELLIE + But you can't think through this + one. You have to feel it. + + HAMMOND + You're absolutely right. Yes, + you're right. Hiring Nedry was a + mistake, that's obvious. We're + over-dependent on automation, I can + see that now. But that's all + correctable for the next time + around. + + ELLIE + 118. + + + John, John. John, you're still + building onto that Flea Circus, + that illusion. And now you're + adding onto it by what you're doing + here. That's the illusion. + + HAMMOND + (When) + Once we have control again we -- + + ELLIE + Control?! You never had control! I + was overwhelmed by the power of + this place. So I made a mistake + too. I didn't have enough respect + for that power, and it's out now. + You're sitting here trying to pick + up the pieces. John, there's + nothing worth picking up. The only + thing that matters now are the + people we love. Alan, Lex, and Tim. + And John, they're out there where + people are dying -- people are + dying, you know? + + There is a long pause. Hammond avoids her gaze. Ellie + reaches out and takes a spoon out of one of the buckets of + ice cream, and licks it. Finally: + + ELLIE + It's good. + + He looks up at her, and his face is different, as the + unhappy irony of what he's about to say finally hits home. + + HAMMOND + Spared no expense. + + +65 EXT. PARK - DAWN 65 + + The sun comes up over Jurassic Park. The danger of the + night before is overcome by the sheer beauty of the place - + - it really is like the Serengeti Plain. + + Over at the edge of a great open field, a huge tree marks + the border between the open area and the thick of the + jungle. + + UP IN THE TREE, GRANT, TIM, and LEX are asleep in the + branches of the tree, both kids now curled up under Grant's + arms. + 119. + + +A heavy shadow falls over all three of them, blocking out +the sun entirely. Grant awakens, only a little bit asleep, +as -- + +-- a brachiosaur's head pushes into the tree branches, +right up beside them. It hesitates there for a second, +seemingly staring at them. Grant just watches as it opens +its mouth very wide and CHOMPS down on a branch over their +heads. + +The kids awaken with a start. Tim points, Lex opens her +mouth to scream, but nothing comes out. Then -- + + LEX + Go away! + + GRANT + (quietly) + It's okay! It's okay! It's a + brachiosaur! + + TIM + Veggiesaurus, Lex, Veggiesaurus! + +But Lex isn't taking any chances and scrambles back, away +from its mouth. Tim and Grant come together on the branch, +just staring at the dinosaur in wonder as it eats its +breakfast. + +Grant gets another branch. + +Tim scampers up, trying to get the brachiosaur's attention. + + TIM + Come here, boy -- I mean girl. + (he tries whistling) + +Grant moves forward and tries to feed the brachiosaur. The +animal gets the end of the branch and starts a tug-of-war +with Grant. + +Tim tries to help him -- they really begin to have a good +time with the brachiosaur. + +HONK! The brachiosaur makes a loud honking noise, startling +Grant and the kids. + + GRANT + Take a bite, take a bite. I'm not + letting go. + + TIM + It's so strong! Look at its nose. + 120. + + + (he grabs onto the + branch) + Need help? + +Tim reaches out, petting the dinosaur's head while it +chews. + + TIM + That's a girl. Hey Lex, you can + touch it. It's a girl, just like + you. Come on, it's okay. Lex, come + on and touch it. It likes you. It's + gotta like you. Come on Lex. Lex, + come over and touch -- it's a girl, + it has to like you. Lex, why don't + you touch it. It has to like you. + It's a girl. + + GRANT + Come on, try some. Take a bite. + + TIM + It's good protein. Come on, Lex. + Why don't you touch it? Look at his + nose. + + GRANT + This is a seventy-seven ton animal. + Come on over, Lex! Just think of it + as a big cow. Look at it's teeth? + (he moves in closer) + Come here, girl. This is a seventy- + seven ton animal. Just think of it + as a big cow! + +Grant maneuvers in closer. He reaches out and grabs hold of +the thing's lip with both hands and pulls it down, +revealing the jaw at work. + + LEX + I like cows. + + GRANT + You're a beautiful big animal. + + TIM + His nose is running. It looks like + it has a cold. + +The dinosaur keeps chewing, not objecting to the +inspection. + + TIM + 121. + + + Did you smell that? + +Lex tentatively edges forward in the tree to the +inspection. + + LEX + Come on girl, up here. + +She barely touches the thing on the tip of its nose -- + +-- and it SNEEZES. It's a vast explosion, and Lex falls +back, dripping wet from head to toe. + + TIM + God bless you! + +ON THE GROUND, Lex, her shirt is soaked, and face all wet, +walks away from the tree. Tim and Grant follow. + + TIM + Oh, great. Now she'll never try + anything new! + +Lex is embarrassed and ticked off. + + TIM + She'll just sit in her room and + never come out and play with her + computer -- + + LEX + (as she wipes off some of + the wet and throws it at + Tim) + I'm a hacker! + + TIM + That's what I said! You're a nerd! + They don't call you people hackers + anymore -- they call you people + nerds! + +Tim and Lex continue talking, oblivious to Grant, who has +stopped by a tree root trunk. + + TIM + Hey Lex, ahhhchooo! + (or) + Hey Lex, com here. + + LEX + What? + 122. + + + TIM + Hey Lex, you forgot to say + gazundheit. + + Grant is still crouching on the ground below the tree where + he landed, staring at something in the palm of his hand. + They both come and look over his shoulder, curious. They + stare in amazement -- + + -- at a whole clutch of dinosaur eggs! All hatched, now + empty. + + Grant picks up one of the fragments, a large one - nearly + half an egg. + + GRANT + You know what this is? It's a + dinosaur egg. The dinosaurs are + breeding. + + TIM + (taking the shell from + him) + But -- my grandpa said all the + dinosaurs were girls. + + GRANT + Amphibian DNA. + + LEX + What's that? + + GRANT + Well, on the tour -- the film said + they used frog DNA to fill in the + gene sequence gaps. They mutated + the dinosaur's genetic code and + blended it with that of frogs. Now, + some West African frogs have been + known to spontaneously change sex + from male to female, in a single + sex environment. Malcolm was right! + Look, life found a way! + + +66 INT. CONTROL ROOM - DAY 66 + 123. + + +The mood in the room is hopeless. MALCOLM, his wounds +bandaged, but in real pain, hangs around with ELLIE and +MULDOON, hoping for some development while RAY ARNOLD is +still at the computer terminal and looking a mess, he +doggedly sorts through the computer system's lines of code. +One. By one. By one. They BLIP by, reflected in his +glasses. He turns and stares up at HAMMOND with a look of +absolute incredulity on his face. + + ARNOLD + No, no, no, that's crazy, you're + out of your mind, he's absolutely + out of his mind -- + + ELLIE + Wait a minute. What exactly does + this mean? + +Hammond turns to her, the twinkle back in his eye. + + HAMMOND + We're talking, my dear, about a + calculated risk, which is the only + option left to us. We will never + find the command NEDRY used. He + covered his tracks far too well, + and I think it's obvious he's not + coming back. So shutting down the + system - - + + ARNOLD + I will not do it. You'll have to + get somebody else, because I will + not. + + HAMMOND + -- shutting down the system is the + only way to guarantee wiping out + everything he did. If I understand + correctly, all the system will come + back on their original start-up + modes correct? + + ARNOLD + Theoretically, yeah + (yes) + , but we've never shut down the + whole system. It may not come back + at all. + + ELLIE + But would we get the phones back? + 124. + + + ARNOLD + Yeah, again, in theory, but -- + + MULDOON + (desperate) + What about the lysine contingency? + We could put that into effect! + + ELLIE + What's that? + + HAMMOND + It's absolutely out of the + question. + +Hammond walks away from the group. + + ARNOLD + The lysine contingency - it's + intended to prevent the spread of + the animals is case they ever got + off the island, but we could use it + now. Dr. Wu inserted a gene that + makes a single faulty enzyme in + protein metabolism. Animals can't + manufacture the amino acid lysine. + Unless they're continually supplied + with lysine by us, they'll go into + a coma and die. + + ELLIE + How would we cut off the lysine? + + ARNOLD + No trick to it. Just stop running + the program. Leaving them + unattended. + +Malcolm speaks up. + + MALCOLM + How soon before they become + comatose? + + ARNOLD + It would be totally painless -- + they'd just slip into + unconsciousness and they die. + + MALCOLM + How long before they slip into + unconsciousness? + 125. + + + ARNOLD + About -- seven days, more or less. + + ELLIE + Seven days?! Seven days?! Oh, + great. Oh good -- clever. + + MALCOLM + That'll - it'd be a first; man and + dinosaur all die together. John's + plan. + (he raises a hand) + +Hammond finally loses his cool. He BELLOWS, summoning every +ounce of authority at his command. And that's quite a bit. + + HAMMOND + PEOPLE ARE DYING! + +There is a moment in which no one dares to speak. Hammond +regains himself. + + HAMMOND + Will you please shut down the + system. + +Arnold swallows and gets to his feet. + + ARNOLD + You asked for it -- + +He walks slowly across the room to a red metal box on the +wall. + +He takes a key from his belt, unlocks the door, and opens +it. + +There is a row of four switches inside. He flips them off, +one by one, leaving only a single lever left. + +His hand hovers over it... and he flips the lever. + + ARNOLD + -- and you got it. + +Every monitor, every terminal, every fluorescent light +shuts out. plunging them into near-darkness. + +They just sit in eerie stillness for a moment. + + ELLIE + (hushed voice) + How long will this take? + 126. + + + ARNOLD + 'Bout thirty seconds. + +They wait, in tense silence. Hammond adjusts the wilting +silk handkerchief in his breast pocket. He notices Malcolm +staring at him, his eyes full of disapproval. + + HAMMOND + I think perhaps I'll just sit down. + I don't suppose you think all that + much of me now, do you? + + MALCOLM + You're all right, John You're okay. + It's just you don't have + intelligence. You have + "thinktelligence." You think + narrowly and call it "being + focused." You don't see the + consequences. You're very good at + solving problems, at getting + answers -- but you just don't know + the right questions. + + ELLIE + Ian -- + +Malcolm looks at her. + + MALCOLM + Yes? + + ELLIE + -- shut up. + + MALCOLM + Yes. + (to Hammond) + It's not a criticism, by the way. + +Finally, Arnold turns back to the box. He flips the row of +safety switches back again, then hesitates by the main +switch. + + ARNOLD + Hold on to your butts. + +He throws it. And nothing happens. There is a very long +pause. + + MALCOLM + It's not working. + 127. + + + ARNOLD + Uh -- + + MULDOON + Listen, which of you knows how to + handle a gun? + +Arnold, who can't quite understand this, races over to the +main monitor + + ARNOLD + (joyously) + HAH! It's okay! It's okay! Look! + See that?! LOOK! + +They stare at the monitor, which glows with a faint amber +light, the only mechanical thing in the room that's on. The +left hand corner of the screen displays two words -- system +ready. + +Arnold looks at them, his face triumphant. + + ARNOLD + It's on! It worked! + + HAMMOND + That will teach you to trust + Grandpa. + + MALCOLM + Wait a minute? What do you mean + "worked"? Everything is still off! + + ARNOLD + The shutdown must have tripped the + circuit breakers. All we have to do + is turn them back on, reboot a few + systems in here -- the phones, + security doors, half a dozen others + -- but it worked! System ready! + + MULDOON + Where are the breakers? + + ARNOLD + Out in the maintenance shed. Other + side of the compound. I'll go out + there. Three minutes, and I can + have the power back on in the + entire park. + + HAMMOND + 128. + + + Just to be safe, I'd like to have + everybody in the emergency bunker + until Mr. Arnold returns, and the + whole system is back on its feet + again. + + CUT TO: + + +67 EXT. COMPOUND - DAY 67 + + MULDOON and ELLIE carry a Gerry rigged stretcher with + MALCOLM on it down a narrow path in the compound. HAMMOND + is with them. + + CUT TO: + + +68 EXT. PARK GROUNDS - DAY 68 + + GRANT, TIM, and LEX walk through the park grounds, heading + across a relatively open area. Grant consults the map. + + TIM & LEX + I'm tired, and I'm hungry. When I + get back I'm gonna have peanuts + and...etc. + + GRANT + The visitor's center should be just + about a mile beyond that rise. If + we keep -- + + The ANIMAL CRY they heard earlier is closer now, louder, + and repeated by many more animals. Grant looks up. + + GRANT + What is that? Can you tell me what + they are? + + TIM + Gallimimus. + + He turns around, to face the direction the sound is coming + from. + + He squints. The ANIMAL CRY are much louder now, accompanied + by a low rumble. + + TIM + Here -- they're flocking this way. + 129. + + +Grant takes a few steps forward. As he watches, he can make +out shapes in the distance. + +Dinosaurs. Dozens of them. All at once, he figures it out. + + GRANT + STAMPEDE! + +And that's exactly what it is, a stampede of at least forty +dinosaurs, Gallimimus by name. Lex is ready to get out of +there, but Grant and Tim hesitate, staring. + +The dinosaurs kick up a flock of birds, which startles +them, and they call change direction at once, the same way. + + GRANT + Look at the wheeling -- the uniform + direction change! Like a flock of + birds evading a predator! + +Sure enough, they hear a ROAR, the very familiar roar -- + +-- of Tyrannosaurus rex. + + GRANT + Oh, shit. + +Grant and the kids whirl at the sound, but can't place it, +as it seems to come from all around them. They look back +towards the stampede. The herd spontaneously changes +direction again, and now they're headed straight at them. + +The three of them take off, across the meadow, toward the +relative cover of the jungle. It's a real footrace, but the +herd is far faster, and Grant knows they're not going to +make it. + +They jump over a huge root network. There's a space under +it to hide, and Grant stops the kids, shoves them +underneath, then follows them. They cover their heads as +the herd THUNDERS over the roots. + +Chunks of everything fly everywhere as the herd plows +overhead, their clawed feet striking the roots dangerously +close to Grant and the kids. + +Finally, they pass. Grant peers up, over the top root. He +looks toward the trees, which the herd is now running +alongside. + +A ROAR comes from somewhere within the trees. + +Grant scans the trees, looking for any sign of the T-rex -- + 130. + + + -- and then it bursts out, ahead of the herd, cutting them + off, throwing them into disarray, scattering them + everywhere. + + They all stare as the rex kicks it into overdrive, runs + down one of the Gallimimus, and sinks its teeth into its + neck. + + The T-rex makes the kill in a cloud of dust and debris. + + Tim and Grant half rise to their feet, staring in wonder. + + LEX + I wanna go -- now! + + But Grant and Tim are transfixed, watching the T-rex. + + GRANT + Watch how it eats! + + LEX + Please! + + GRANT + Bet you'll never look at birds the + same way again! + + Tim nods in fascination. The T-rex pauses in the middle of + its meal and ROARS. + + LEX + Let's go! + + GRANT + Okay. Keep low. Follow me. + + She turns and takes off, running as fast as she can, across + the open plain. Tim and Grant tear themselves away and + follow her. + + TIM + Look at all it's blood! + + CUT TO: + + +69 INT. BUNKER - DAY 69 + + ELLIE paces impatiently. She comes down the stairs. + + ELLIE + 131. + + + Something's happened. Something + went wrong. + +MULDOON paces too. HAMMOND and MALCOLM are also crammed in +the underground bunker. Malcolm lays on a table, while +Hammond tries to tend to his wounds. + +Hammond speaks, still feeling the obligation of the host. + + HAMMOND + This is just a delay, that's all + this is. All major theme parks have + had delays. When they opened + Disneyland in 1956, nothing worked, + nothing. + + ELLIE + John... + + MALCOLM + But, John. But if the Pirates of + the Caribbean breaks down, the + pirates don't eat the tourists. + +Another pause. More pacing. + + ELLIE + I can't wait anymore. Something + went wrong. I'm going to go get the + power back on. + + MULDOON + You can't just stroll down the + road, you know. + + HAMMOND + Bob, let's not be too hasty. He's + only been gone -- + (he looks at his watch) + +Muldoon walks over to a steel cabinet. Ellie joins him. + + MULDOON + I'm going with you. + + ELLIE + Okay. + +Muldoon CLANGS open a steel cabinet, revealing an +impressive array of weaponry inside. He removes a shotgun +and what looks like a small rocket launcher. He shoves a +shell into the barrel of the rocket launcher, which accepts +it with a faint electronic SIZZLE. + 132. + + +Hammond searches out the set of blueprints, gets them out +of the file cabinet and spreads them out on top of Malcolm +almost crushing his leg. + + HAMMOND + Sorry. + +Ellie and Muldoon join Hammond. + + HAMMOND + This isn't like switching on the + kitchen light, but I think I can + follow this and talk you through + it. + +Hammond signals with a look. + + ELLIE + Talk. + (or) + Right. + (or) (nothing) + +Ellie gets a couple of walkie-talkies from the shelf and +shoves them in her belt. + + ELLIE + Okay. + + HAMMOND + But you know, I should really be + the one going + (to go) + + ELLIE + Why? + + HAMMOND + Well, because you're a -- I'm a -- + + ELLIE + Look. + + MULDOON + Come on, let's go. + + ELLIE + We'll discuss sexism in survival + situations when I get back. + (she backs towards the + door) + You just take me through this step + by step. I'm on channel two. + 133. + + + CUT TO: + + +70 EXT. JUNGLE - DAY 70 + + GRANT, TIM, and LEX scrambles through the jungle, + completely out of breath, exhausted. They arrive at the + base of the big electrical fence that surrounds the main + compound. + + Grant looks up at the fence. It must be over twenty feet + high. + + GRANT + It's a bit of a climb. You guys + think you can make it? + + TIM + Nope. + + LEX + Way too high. + + Grant grabs a stick and climbs up on the ledge. He looks at + the warning light on the fence. It's out. He pokes the wire + with a stick. + + No sparks fly. + + GRANT + Well, I guess that means the + power's off. + + Still not trusting the fence, he taps it with his foot. He + moves in slowly and lays both hands on a cable and closes + his fingers around it. + + Grant's body shakes! He SCREAMS. The kids SCREAM! He stops, + and turns around slowly...and smiles wickedly. + + LEX + That's not funny. + + TIM + That was great! + + Far in the distance, the T-rex ROARS. Without a second's + delay, both kids leap to their feet. + + CUT TO: + + +71 EXT. BUNKER - DAY 71 + 134. + + + ELLIE and MULDOON step out of the bunker. + + The main compound feels different now - - it belongs more + to the jungle than to civilization. Muldoon has the big gun + in his hands. + + ELLIE + (on the radio) + Okay, I'm on channel two. + + MULDOON + Stick to my heels. + + They start down the path, moving quickly. + + +72 EXT. PATH - DAY 72 + + MULDOON and ELLIE emerge from one path and come into a + slightly more open area. The huge raptor pen stands + silently, surrounded and penetrated by jungle, the + abandoned goon toward looming over it like a haunted house. + + Muldoon slows down, Ellie right next to him. They notice a + hole in the fence that surrounds the raptor pen. + + The metal is twisted, as if gnawed, the hole is large + enough for an animal to slip through. + + ELLIE + Oh my God. Aw, God. + + MULDOON + The shutdown must have turned off + all the fences. + + Goddamn it! Even Nedry knew better than to mess with the + raptor fence. + + He squats near the hole, looking at the ground. He sees + three sets of footprints. He follows them with his eyes. + They head off in different directions, but all in the + jungle foliage on either side of them. + + MULDOON + C'mon on, this way. + + ELLIE + I can see the shed from here! We + can make it if we run! + + Muldoon walks slowly, as if he heard something. + 135. + + + MULDOON + No. We can't. + + ELLIE + Why not? + + MULDOON + Because we're being hunted. From + the bushes straight ahead. + + Ellie turns, very slowly, to face the bushes. At first, she + doesn't see anything, but then there's something very + faint, like a shifting of the light, and a shadow seems to + move in the bush, RUSTLING the leaves. + + MULDOON + It's all right. + + ELLIE + Like hell it is! + + Muldoon raises his weapon slowly to his shoulder. + + MULDOON + Run, towards the shed. I've got + her. + + Ellie backs up, down the path, slowly. Muldoon follows + behind her, keeping his gun trained in the bushes. The + shadow in the bushes moves too, at an even pace with them. + + MULDOON + Go! + + Ellie, startled, turns and falls over a log. She quickly + stands and starts to run towards the shed. Muldoon walks + slowly into the bushes. + + ON THE PATH, Ellie runs as fast as she possibly can -- a + real broken field sprint, hopping over branches, flying + across the open area at top speed. Over a log -- SPLASH!, + she hits a water puddle. She comes to another log obstacle + -- she grabs a tree and swings over it. + + She nears the maintenance shed, and doesn't look back. She + reaches the door, blasts through it, and SLAMS it behind + her. + + CUT TO: + + +73 EXT. JUNGLE - DAY 73 + 136. + + + A hand comes into the foreground and takes a firm grip on + one of the tight fence cables. Another hand follows it, + then a third. + + GRANT, TIM, and LEX climb over the fence, pulling + themselves up by the tension wires, crawling right past a + "DANGER!" sign that tells them this fence ought to be + electrified. + + +74 INT. BUNKER - DAY 74 + + MALCOLM and HAMMOND hover over a complex diagram of the + maintenance shed that's spread out in front of them. + Hammond clutches the radio in his hand, almost praying to + it. + + Finally, it CRACKLES. + + ELLIE (O.S.) + I'm in. Mr. Arnold? Mr. Arnold? + + +75 INT. MAINTENANCE SHED - DAY 75 + + ELLIE is at the doorway of the maintenance shed, breathing + hard from fear, listening to Hammond's VOICE on the radio + + HAMMOND (O.S.) + Great. Good. Okay -- ahead of you + should be a metal stairway. Go down + it. + + Ellie does, heading into the room, shining the flashlight + ahead of her. There is a maze of pipes. ducts, and + electrical work on both sides of her. + + +76 INT. SHED - DAY 76 + + ELLIE walks straight ahead from the bottom of the metal + stairs. + + HAMMOND (O.S.) + Right. After twenty or thirty feet, + you'll come to a T junction. Take a + left. + + MALCOLM (O.S.) + John. just have her follow the main + cable -- + + HAMMOND (O.S.) + 137. + + + I understand how to read a + schematic. + +Ellie keeps walking, nervous as hell. She looks around. + +Awfully dark down here. + + ELLIE + Going down the stairs...okay... + damn it! Dead end! + + HAMMOND (O.S.) + Wait a minute, wait a minute, there + was a right back there somewhere - + - + + MALCOLM (O.S.) + (taking over) + Ellie?! Look above you -- there + should be a large bundle of cable + and pipes all leading in the same + direction! Follow that! + +Ellie looks up, finds the bunch of cables, and follows it +into a main corridor. + + ELLIE + (into the radio) + Piping...okay... following the + piping. It goes back up the stairs + and across the stairs... following + the stairs. + + HAMMOND (O.S.) + Look for a metal grate and that to + it's longest direction. + + ELLIE + Mr. Arnold? He's not answering me. + Okay I'm on the grating. + + HAMMOND + Good! Keep going, now. The cable + will terminate in a big, gray box. + + ELLIE + Okay, I'm following the tubing. I'm + going down a passage way. How long + does this stuff go for? Could you + guys talk a little bit to me? + +Walking fast Ellie follows the tubing to the end of the +corridor, where she sees just a box. + 138. + + + ELLIE + (into the radio) + Okay -- I see the gray box. + + Ellie goes through a mesh gate and walks towards the gray + box. + + ELLIE + It says "High Voltage". + + She pushes the door open even further, revealing a vast + array of breakers and switches inside. + + HAMMOND (O.S.) + Now, Ellie, you can't just throw + the main switch by hand, you have + to pump up the primer handle to + give you a charge. It's a large, + flat, gray -- + + ELLIE + I see it! + + +77 EXT. JUNGLE - DAY 77 + + GRANT and the KIDS swig over the top of the fence and start + their climb down. + + +78 INT. SHED - DAY 78 + + ELLIE pumps the gray handle, which is sluggish. Above it, a + small white indicator CHINGS over the "discharged" to + "charged". Ellie SLAMS the gray lever back into positions. + + ELLIE + It's charged, okay! + + HAMMOND (O.S.) + Right. + (good) + Now, under the words "contact + position" there's a round green + button that says "push to close!" + Push it! + + Ellie does. The "contact position" light CHINGS over to + "closed" and lights start to go on all over the panel. + + ELLIE + Did I do it? Is the power back on? + 139. + + +79 EXT. JUNGLE - DAY 79 + + GRANT and LEX continue to climb down the fence. Tim is + having difficulty -- just as he's about to take another + step, he loses his footing and almost falls... but then + regains control and hangs on. + + +80 INT. SHED - DAY 80 + + ELLIE watches as the column of twelve white indicator + lights flash on the control panel. They are clearly + labeled, each one for a different area of the park. + + HAMMOND (O.S.) + Now Ellie, the red buttons turn on + the individual park systems. Switch + them on. + + As Ellie punches the buttons, they light up... and our eyes + go to near the end of the row. + + It's marked "Perimeter Fence." + + +81 INT. JUNGLE - DAY 81 + + GRANT lets go, dropping the last few feet to the ground. + LEX does the same. + + A warning light begins to flash, coming back to life. + Grants eyes go wide. He looks up at TIM, who is still far + up - - near the top, in fact, he has to come to a complete + stop. + + +82 INT. SHED - DAY 82 + + ELLIE keeps pushing the buttons. She's getting closer to + the button for the fence. + + +83 EXT. JUNGLE - DAY 83 + + TIM, terrified, has frozen where he is. + + GRANT + Tim -- you have to let go! + + +84 INT. SHED - DAY 84 + 140. + + + ELLIE's still punching the buttons, now only a half a dozen + away from the one for the fence, now five, now three -- + + +85 EXT. JUNGLE - DAY 85 + + GRANT and LEX are botch screaming at TIM + + GRANT + C'mon Tim, move down, damn it! + + LEX + Timmy! The power is coming down, + quick! + + TIM + I can't! I'm scared! + + GRANT + Tim, you're gonna have to let go. + I'm going to count to three. + + LEX + Jump, Timmy! It's too late! + + TIM + I'm afraid I am gonna fall! + + GRANT + Go, go, go, jump! + + TIM + You're crazy! I'm not gonna jump! + + GRANT + Tim, you're going to have to let go + of the fence. Tim! Get down right + now. Get off the fence! Now! + + LEX + Do as he says! The power's coming + back, Timmy! + + GRANT + Timmy, let go! You're gonna have to + let go! Count to three. I'll catch + you. + + LEX + Timmy! Do as he says! Timmy! Do as + Dr. Grant says, quick! + + TIM + 141. + + + Are you crazy? What if you miss? I + hate it up here. + + GRANT + Tim, I'm right here. Easy catch. + Easy catch. Count to Three.. + + LEX + You're gonna get electrocuted + (or) + electrified! The power's coming + back! + + TIM + Shut up! You're scaring me. Stop! + You're scaring me. + + GRANT + Shhhh. Tim, I'm right here below + you. Easy catch. One, two, three. + You count it yourself. One, two, + three -- + + LEX + You're gonna get electrocuted + (or) + electrified! + + GRANT + It's am easy catch, you let -- go - + - you do the counting, you count + it, Tim. One, two, three -- you do + all the counting, okay? + + LEX + Timmy, listen to Dr. Grant! + + GRANT + I'm coming up there Tim! I'm coming + to get you! Lex, I've got to get + him! + + +86 INT. MAINTENANCE SHED - DAY 86 + + ELLIE finally pushes the button for the fences. It stops + flashing and lights up, a brilliant white. + + CUT TO: + + +87 EXT. JUNGLE - DAY 87 + 142. + + + The fence HUMS as it awakens. GRANT and LEX are SCREAMING + at TIM: + + TIM + Okay, okay! I'm going to count to + three. One, two, three... + + With a low, loud frightening BUZZ -- + + -- the fence comes alive. + + POW! Tim is cut off mid-sentence, and literally thrown from + the fence. He SLAMS into Grant. They fall to the ground. + Lex runs over to them. + + GRANT + Tim, you're okay? You're okay? + + GRANT notices a larger problem. + + GRANT + He's not breathing. Tim? + + +88 INT. MAINTENANCE SHED 88 + + ELLIE watches as the banks of fluorescent lights in the + maintenance shed come on, one by one. + + The lights are going on in rows, coming closer and closer + to her. Finally, her row comes on. She follows the light + and sees -- + + -- a raptor, right there, behind the control panel! It + SLASHES, taking a lunging sweep at Ellie, but gets stuck, + its feet and legs tangled in the maze of pipes on the + floor. + + This is our first good look at one of these things, and if + it weren't so terrifying, we could admit that it truly is a + thing of beauty. It's the biggest of the raptors, intensely + muscled, coordinated as hell, a smoothly designed predator. + + Ellie SHOUTS and falls back into the pipes on the other + side of the aisle. + + The raptor untangles itself from the pipes and gives chase, + just as Ellie SLAMS the mesh door closed. The raptor BANGS + against the mesh door, Ellie falls to the ground. + + She holds on by kicking the door shut as the raptor + continues to push himself through the door. Ellie is able + to get the door closed. + 143. + + + She stands, but then falls back onto one of the walls. + + A dead arm falls onto her shoulder. RAY ARNOLD is there, or + what's left of him, stuck in the tangle of pipes. Ellie + moves away, and his arm falls to the ground. + + She doesn't realize that she has moved right back near the + mesh wall -- and the raptor comes at her again. Ellie takes + off running as fast as she can, back the way she came. She + drags the flashlight with her, running over the dead arm + and Arnold's legs. + + She continues to run, her headset dangling, the flashlight + dragging behind her on its cord. + + She reaches the stairs and hits them hard, flying up them. + The raptor must be right behind her, she can hear the + CLICKING and CLANGING as it scrambles up the stairs, but + she doesn't look back. + + She reaches the top, throws open the door, hurls herself + outside -- + + +89 EXT. SHED - DAY 89 + + -- and SLAMS the door behind her, just as the raptor's head + SNARLS at her from near the top of the stairs. She runs out + the fence and collapses. + + +90 EXT. JUNGLE - DAY 90 + + TIM is still unmoving. GRANT is performing CPR, alternately + compressing Timmy's chest fifteen times, quickly, and + breathing into his mouth twice. + + LEX is freaking out. + + Fifteen compressions. Two deep breaths. + + GRANT + C'mon, Tim. + + Fifteen compressions. Two deep breaths. + + GRANT + TIMMY! + + Fifteen compress- - + + Tim GASPS and comes to. + 144. + + + GRANT + Good boy, Tim. Good boy. + + TIM + Three. + (Two, three) + + CUT TO: + + +91 EXT. JUNGLE - DAY 91 + + ROBERT MULDOON creeps slowly through the jungle foliage, + tracking his prey. He ducks and walks through a hollow log, + underneath a fallen tree, following the RUSTLING sound up + ahead of him. + + He can see just a trace of the raptor's gray flesh as it + movies behind the bushes up ahead, staying camouflaged + enough to deny him a decent shot. Thinking he's got a + moment, Muldoon extends the back handle of the gun and + clicks it into place. He prepares to take aim. + + A snake slithers across a tree branch, past what looks like + the large iris of a flower. + + The flower blinks. + + It's the eye of the raptor. Muldoon sees it. He raises his + gun. + + Instead of running away again, the raptor rises slowly out + of the brush, fully revealing itself to Muldoon, HISSING at + him. + + The corners of Muldoon's mouth twitch up into a smile. He + draws a bead on the animal. + + His finger tenses on the trigger. Suddenly, his smile + vanishes, both eyes pop open, and a terrible thought sweeps + across his face. His eyes flick to the side -- + + MULDOON + Clever girl. + + -- which is where the attack comes from. With a ROAR, + another raptor comes flashing out of nowhere and pounces on + him. The gun BLASTS, but wildly, and the raptor's claw + SLASHES through Muldoon's midsection. + + Muldoon SCREAMS and falls back, the raptor locked on top of + him, all tooth and claw all of a sudden. + 145. + + + As the second raptor makes the kill, the first raptor + strides slowly forward and watches approvingly. + + It throws its head back and SNARLS. + + +92 INT. VISITOR'S CENTER - DAY 92 + + GRANT, TIM, and LEX come into the deserted visitor's + center. A large sign that says "When Dinosaurs Ruled the + Earth..." droops overhead. Grant now carries Tim, who is + weakened but conscious. + + GRANT + HELLO?! + + But nobody answers. + + +93 INT. RESTAURANT - DAY 93 + + GRANT, TIM, and LEX come into the restaurant. Grant + carefully sets Tim in a chair at one of the tables. Lex + across from him. + + GRANT + I am gonna have to find the others + and get you to a doctor. Will you + look after Tim, Lex? + + LEX + (scared as hell) + Yes. + + Grant nods. He looks at Tim for a second. + + GRANT + Your hair's all standing up. + + He gently rearranges Tim's hair, which is wild, all over + this head. Tim looks up at him weakly and manages a smile. + Grant smiles back. + + GRANT + Big Tim, the human piece of toast. + + Tim laughs. Grant pauses for a second, as if debating + something -- + + GRANT + Be back soon, guys. I promise. + 146. + + + He leaves. As he goes across the lobby of the visitor's + center and outside, they can see his silhouette, moving + through a translucent mural that depicts dinosaurs in + various natural settings. It's quiet for a second as Lex + and Tim just look at each other. + + Tim goes across the room, to an all-you-can-eat table on + the other side, and quickly piles some food on a tray. He + brings its back to the table. + + Lex digs in, munching on veggies, grabbing food with two + hands. + + Tim enjoys his food, too. + + Lex comes up with a spoonful of lime Jell-O from a plastic + dinosaur egg cup -- but her hand freezes halfway to her + mouth. + + Tim looks up, and sees the expression on her face. She's + staring over his shoulder, eyes wide, the Jell-O quivering + in her shaking hands. + + TIM + What? + + Tim turns around. Behind him, one of the silhouettes on the + mural is a raptor, in a hunting pose. + + While they stare, the silhouette of a real raptor moves out + from behind it and creeps forward, in the lobby of the + visitor's center. + + +94 INT. KITCHEN - DAY 94 + + LEX pulls the shiny metal door shut as quietly as she can. + It latches with a distinctive CLICK, but there's no lock. + + She runs to a panel of lights switches and kills them all, + plunging the room into semidarkness. She helps TIM down an + aisle and they hide at the end, behind a counter, breathing + hard. + + A raptor's head pops into view, visible through the round + window + + in the middle of the restaurant door. + + It just looks for a moment, its breath steaming up the + window. + 147. + + + THROUGH THE WINDOW, as the steam evaporates, the raptor can + see a part of Tim that is not entirely hidden by the + counter. + + IN THE KITCHEN, TIM and LEX remain frozen in fear as the + raptor first SNIFFS at the bottom of the door, then THUMPS + its head against it. + + But the door doesn't budge. + + CUT TO: + + +95 EXT. COMPOUND - DAY 95 + + GRANT walks quickly down the narrow path towards Hammond's + compound, eyes darting from side to side, not exactly sure + where he's going. From far off, he hears someone SHOUTING + to him. + + He turns. He sees ELLIE, standing outside the bunker. She's + waving to him, SHOUTING something too faint for him to + hear. + + He furrows his brow and walks towards her. She SHOUTS + louder. + + He walks faster. He's closer now, and he can finally make + out where she's shouting. + + ELLIE + Run! + + Grant takes off running towards her, not even looking back. + He races up, and she runs into his arms. + + ELLIE + Where are the kids?! + + +96 INT. BUNKER - DAY 96 + + JOHN HAMMOND stands between GRANT and ELLIE in the bunker, + watching as Grant RACKS the bolts on a ten gauge shotgun. + + GRANT + (to Ellie) + It's just the two raptors, right? + You're sure the third one's + contained? + + ELLIE + 148. + + + Yes, unless they figured out how to + open doors. + + CUT TO: + + +97 INT. KITCHEN - DAY 97 + + OUTSIDE THE DOOR TO THE KITCHEN, the raptor stares down at + the door handle, cocking its head curiously. It SNARLS and + bumps the door handle with its head, but that doesn't do + anything. + + It reaches out, toward the handle, with one clawed hand. + + IN THE KITCHEN, Tim and Lex stare in shock as the door + handle starts to turn. + + The door opens. The first raptor stands in the doorway, + draws itself up to its full height, and looks around the + kitchen. + + Now, a second raptor joins it in the doorway. They move + into the room, brushing against each other. The first + raptor SNAPS as the second, as if to say "keep your + distance." + + Now the raptors split, taking two different aisles. Tim and + Lex crawl away, Tim awfully weak now, down a third aisle, + around the other side of the counter from the raptors, + moving in the opposite direction. + + As Tim and Lex pass the raptors, one of the raptor's tails + SMACK into some pots and pans, knocking them off the + counter. They fall on the kids, who manage to keep quiet. + + The kids keep moving as one of the raptors dips down, + looking through an open cabinet to inspect the racket. + + Tim and Lex reach the end of the aisle and round a corner - + - but Timmy's falling behind now, and he accidentally + brushes against some hanging kitchen utensils. + + Both raptors turn. One jumps onto the counter, knocking + more kitchen stuff to the floor. A ladle CLATTERS to a + stop, and the strange metallic sounds confuse the raptors + for a moment. + + But then they move, in Tim's direction, SNIFFING, heading + right for him. + 149. + + +The raptor on the floor is just about to turn the corner to +where Tim sits, exposed and exhausted, but both the raptors +suddenly stop, hearing a CLICKING sound from the other end +of the aisle. + +It's Lex, TAPPING a spoon on the floor to distract them. +The raptor on the counter jumps down and starts cautiously +towards Lex's noise, leaving Tim. + +Lex sees a steel cabinet behind her, its sliding door slid +up and open. She crawls inside, silently. + +Tim sees the raptors make the turn towards Lex, SMASHING +more stuff around with their tails. He turns and sees a +walk-in freezer in the far wall, with a pin-locking handle. + +As Lex tries to pull the overhead door to the cabinet shut, +one of the raptors rounds a corner and sees her reflection +on a shiny cabinet front. Lex tries frantically to lower +the cabinet door, but it's stuck. + +Tim takes a few deep breathes, summons what little strength +he has left -- + +-- and makes a break for the walk-in freezer. He's limping, +dragging himself, really moving like a wounded prey now, +and -- + +-- the other raptor spots him. Both raptors go into a pre- +attack crouch -- + +-- and they pounce, one towards each of the kids. + +Lex tugs on the cover, to the avail -- Tim's raptor charges +after him, just open floor space between them -- + +-- and Lex's raptor THUDS into a shiny surface bearing hr +reflection. It chased the wrong image. It sags to the +floor, semiconscious. + +At the other end of the aisle, the real Lex SCREAMS as the +other raptor bears down on Tim. Tim reaches the freezer, +rips the door open, and falls inside. The floor is cold and +slick and his feet go right out from under him. He sprawls +across the floor, rolls out of the way -- + +-- and the raptor slips and falls into the freezer too, +right past him. + +Tim drags himself to his feet and out of the freezer. + +The raptor makes one last lunge, right on Tim's heels, its +mouth wide open -- + 150. + + + -- but Lex SLAMS the door shut just as Tim is clear. The + raptor's head is caught for a second, but it SNARLS, + retreats, and Lex's gets the door shut all the way. + + The raptor ROARS and SCREAMS inside. Lex jams the pin + through the handle, locking it in. + + Now the other raptor staggers to is feet. Groggy, it + SMASHES into stuff all over the kitchen. Lex throws her + arms around Tim again for support and they take off. + + +98 INT. RESTAURANT - DAY 98 + + TIM and LEX hurry across the restaurant. They stare back + over their shoulders as they run. They CRASH into GRANT and + ELLIE. + + LEX + It's in there! + + ELLIE + Control room. + + +99 INT. SECOND FLOOR CORRIDOR - DAY 99 + + GRANT, ELLIE, and the KIDS race down the second floor + corridor towards the control room, Grant helping Tim. + + +100 INT. CONTROL ROOM - DAY 100 + + The door to the control room SMACKS open. GRANT, ELLIE, and + the KIDS burst in. Ellie heads straight for Nedry's + computer terminal. + + Grant moves Tim to the side, and races back to the door to + lock it. + + LEX + We can call for help?! + + ELLIE + We've got to reboot the system + first! + + She sits at the computer and studies the screen. It's + flashing to her, dominated by a maze-like grid. She studies + it, confused. + + GRANT + (at the door) + 151. + + + Oh, no! The door locks -- Ellie! + Boot up the door locks! Boot up the + door locks! + +POW! Something hits the door, hard, from the outside, the +kids SCREAM, Grant hurls his back against it -- Grant loses +his gun. He struggles. The raptor scratches his head. + + ELLIE + ALAN! + +-- and Ellie leaps out of the chair and races over to the +door to help him. A raptor SNARLS and SNAPS, RAMMING itself +against the door, trying to force its way into the control +room. It's all Ellie and Grant can do to hold the door +against the onslaught, but it bucks against them viciously. + + GRANT + (to Ellie) + Ellie -- get back and boot up the + door locks! + + ELLIE + You can't hold it by yourself! + + GRANT + Ellie, get the gun! + (or) + Try to reach the gun! + + ELLIE + I can't get it! + (or) + I can't get it unless I move! + +OVER AT THE COMPUTER, Lex slides quickly into the command +chair at Nedry's terminal. + +She stares at the screen for a moment -- + + LEX + This is a Unix system. I know this. + It's the files for the whole park. + It's like a phone book -- it tells + you everything. + +-- and then her fingers start to fly over the keyboard. Tim +watches, amazed, as the computer starts to respond to Lex's +commands. + + LEX + 152. + + + I've got to find the right file. Oh + no, this isn't right. This might be + right, no this isn't it. + + TIM + C'mon, Lex! C'mon, Lex! Go, Lexie! + + Reaching another menu, Lex spots a box on the screen that + reads "DOOR INTEGRITY." She reaches out and touches it. The + screen BEEPS -- + + LEX + There it is, I got it! This is it, + I did it. Yes, yes! + + -- and the door latch panel BUZZES. Grant and Ellie put + everything they have into it and finally the door SNICKS + shut, locking the raptor outside. + + GRANT + What works? + + LEX + Phone security systems, everything + works. You ask for it, we got it! + + CUT TO: + + +101 INT. BUNKER - DAY 101 + + A phone RINGS. HAMMOND and MALCOLM look at each other, + wide-eyed. Hammond lunges for it. + + HAMMOND + Grant?! The children alright? + + +102 INT. CONTROL ROOM - DAY 102 + + All the screens in the control room have come alive now, + and data is scrolling by at incredible speed as every + remaining system is the park comes back on line. ELLIE is + at the keyboard with LEX now, figuring things out, and + GRANT is on the phone. + + GRANT + The children are fine. + + +103 INT. CONTROL ROOM - DAY 103 + + HAMMOND is on the phone, MALCOLM is trying to listen. + 153. + + + HAMMOND + Thank God. + + GRANT (O.S.) + Listen, the phones are back up! + Call the mainland! Tell them to + send the damn helicopters -- + + Suddenly Grant stops in the middle of his sentence. A + SCREAM cuts in, then three GUNSHOTS, fast, and a horrible + CLUNKING as the phone is dropped. + + HAMMOND + Grant! GRANT! + + But there's no answer. + + +104 INT. CONTROL ROOM - DAY 104 + + Grant's rifle lies on the floor, smoking, several spent + shells alongside it. The front window of the control room + has three huge impact shatter patterns in the glass, where + the gunshots hit. + + TIM goes into an open panel through the ceiling, and into + the crawl space. LEX climbs the ladder, followed by ELLIE + and GRANT. + + Grant looks over to the front window, scared as hell, just + as -- + + -- it SHATTERS in a shower of glass and a raptor EXPLODES + into the control room. It lands on its feet on a work + station console, images from wall projectors falling across + its head. + + Grant vaults himself up into the ceiling, and knocks the + ladder with his feet. + + The raptor tilts its head curiously, looking up at the + swaying ceiling. + + IN THE CRAWL SPACE, Grant, Ellie, and the kids dash across + the ceiling panels, moving fast, but carefully, so as not + to break through. + + SMASH! The raptor's head bursts through a panel behind + them, leaping up at them, SNARLING and SNAPPING. + + It drops down again, and they keep moving forward. But now + it ERUPTS through a panel right in front of them. They + SCREAM, its teeth CLICK just inches in from of Ellie -- + 154. + + + -- but the raptor can't hold itself up there, and it falls + back to the floor of the control room. + + Grant looks around frantically and spots an air duct a few + yards away. + + GRANT + Follow me! + + They move for it, but the raptor's head CRASHES through the + ceiling again, this time right underneath Lex. + + She SCREAMS and is lifted up, on top of its head, and + pinned to the ceiling above. + + Grant SMASHES hit boot into the side of the raptor's head. + The raptor SLAMS at him, latching onto his boot for a + second before the raptor's own weight pulls it back down. + + Lex goes down with the raptor, spinning into the hole in + the ceiling, tumbling down. Grant grabs her by the collar + at the last second, but Lex dangles there, above the + raptor. + + The animal flips over onto its feet and crouches to pounce + just as Grant summons his strength and jerks Lex back into + the ceiling. + + The raptor springs, but too late. Grant and Lex scramble + over to the air duct and join Ellie and Tim inside it. + + IN THE AIR DUCT, Grant, Ellie, and the kids crawl through + the air duct as fast at they can, the thin metal BOOMING + and creasing around them. They reach a metal gate that + shows daylight beneath. Grant reaches out and pulls it up. + + Through the gate, they can see the lobby of the visitor's + center below. They're directly above the skeletons of the + dinosaurs, the T-rex and the sauropod it's attacking. The + unfinished skeletons are surrounded by scaffolding. + + +105 INT. ROTUNDA - DAY 105 + + Grant and the others climb down out of the air duct and + onto a platform of the scaffolding that stands alongside + the skeletons. They continue down to the second platform, + then the third. They suddenly see -- + + A RAPTOR, standing to the side by the second floor railing. + 155. + + +It's much too far to jump to the lobby floor, so Grant +climbs gingerly onto the nearest skeleton, the towering +brachiosaur. + +They climb down as fast as they can. Grant helps Tim down, +Lex and Ellie follow. Ellie goes to the tail. Lex moves to +the front. + +Grant lands on the main body in the middle with Tim. And +the raptor watches them. + +Up in the ceiling, the skeleton's anchor bolts GROAN in the +plaster, starting to pull free. But for now, they hold. + +The raptor flies out and lands on the back of the middle +section of the skeleton. SNAP! It CRACKS apart with the +weight, sending the sections spinning in all different +directions. + +Grant and Tim twirl on the middle section. Tim begins to +slide down. Grant tries to hold on to him -- but Tim loses +his grip and falls to the ground right underneath the +swinging, large middle section of the dinosaur skeleton. + +Meanwhile, Lex spins on the front section. She slips -- and +tries to keep from falling as she hangs by her legs. + +The anchor bolts in the ceiling RIP free, ZINGING past them +like bullets. The entire brachiosaur skeleton collapses +like a house of cards sending Ellie to the ground. She +covers herself with her arms, trying to protect her head +from the shower of falling bones. + +Lex falls, landing on the ground with bones falling on top +of her. She SCREAMS. + +Grant, alone in the middle section, looks up and sees the +cable about to SNAP -- he falls! The large section of the +skeleton comes careening down, heading straight for Tim, +who lays where he fell on the ground. It comes SMASHING +down... with just enough space for him to be safe. + +The raptor tumbles to the floor in a cascade of splintering +bone. + +It lands on its back a few yards away and staggers for a +moment, the wind knocked out of it. + +Grant lands in front of Tim. He stands, and goes to Tim. +Lex sits up and sees the raptor regain its feet. She +SCREAMS. + 156. + + +Ellie stands. She notices the shadows of the second raptor, +standing behind the visqueen. She stops dead in her tracks. +She backs up towards Grant and Tim. + +The raptor comes out from under the plastic and looks +around. + +Grant gets Tim out from under the skeleton. Lex joins them. +They back away from the raptor, approaching from the left +side. They back up towards the large rock in the middle of +the room holding the other skeleton. + +The raptor crouch in their pre-attack stance -- + +The group is caught in the middle of the two approaching +raptors. + +Lex looks back and SCREAMS. Grant and the others continue +to back up. They look up and see -- + +-- TYRANNOSAURUS REX! It's massive head descends down from +above. A set of six-foot jaws clamp down on the raptor. +Eighteen-inch teeth sink into its side, and the helpless +animal HOWLS in agony as it's lifted up, up, up off the +floor of the lobby. + +Grant and the others look up in stunned amazement. They +step back behind the rock for safety and look to the right. +They see another raptor approaching. + +The other raptor goes up in the air now, twenty feet off of +the lobby floor, held fast in the mouth of the Rex. It +stands in the entrance to the lobby in front of the massive +hole it ripped through the Visqueen wall. It shakes its +enormous head once, BREAKING the neck of the velociraptor, +then drops it, dead, to the floor at its feet. + +Grant, Ellie, and the kids skirt the battle royal on the +lobby floor and dash of the door of the Visitor's Center. + +The second raptor turns from the humans and lunges at the +Rex's side, leaping twelve feet into the air and rending +the Rex's flesh as it comes down, slashing it open with its +six-inch claw. + +The rex BELLOWS in pain, and turns on the raptor, eyes +raging, and strikes, just once, quickly, as fast as the +head of a serpent. It catches the raptor by thick back end, +buts one of its enormous feet down on it, and tears. + +It rips the last velociraptor in half. + 157. + + + The rex whirls around - as it turns, its heavy tail + counterbalances, SNAPPING the other way, sweeping across + the lobby and SMASHING right through the T-rex skeleton. + + The skeleton collapses in an explosion of bones, falling to + pieces around the living rex. + + The rex stands majestically in the middle of the lobby, + both skeletons swept away, SNAPPING like matchsticks as + they settle around the animal. + + The rex draws itself up to its full height -- + + -- and ROARS. + + The sound is deafening, and the vibrations rattle the + entire Visitor's Center. The sign which dangled over the + lobby by its one remaining wire finally falls, CLATTERING + to the floor at the Rex's feet, face up. + + "WHEN DINOSAURS RULED THE EARTH", it says. + + OUTSIDE THE VISITOR'S CENTER + + Hammond SQUEALS the Jeep to a halt in front of the steps. + + Malcolm is lying in the back. + + Grant and the other practically fall into the Jeep. + + GRANT + Mr. Hammond, I've decided not to + endorse your Park. + + HAMMOND + After careful consideration, Dr. + Grant - - so have I. + + Hammond hits the gas and the Jeep takes off. + + +106 EXT. HELICOPTER LANDING PAD - DAY 106 + + The helicopter rotors whirl to life as the chopper waits on + the landing cross. Two Jeeps ROAR up next to it, one driven + by GRANT, the other by HAMMOND. + + +107 INT. HELICOPTER - DAY 107 + + One by one, they climb aboard, their faces white from their + ordeal. + 158. + + +ELLIE comes on first, holding LEX. Then HAMMOND, carrying +TIM. + +And GRANT, helping MALCOLM. + +No one speaks. Hammond takes another look at his dream, +Grant comes over and takes him back to the helicopter. + +The helicopter takes off immediately. As they rise into the +air, they stare out the windows, looking down on the park +as it spreads out below. + +DOWN IN THE PARK, the helicopter soars over a vast plain. +The Tyrannosaur, which is still feeding on the remains of +the dinosaurs it ran down and killed, looks up. + +It throws its head back and ROARS, waving its little +forelimbs at the strange thing in frustration. As the +helicopter moves off, the T-rex just stares, silently, with +huge, yellowing eyes. It's a moment of utter bewilderment +for the rex, and we almost feel -- + +-- sad for her. + +BACK IN THE HELICOPTER, Hammond looks down at the park, his +eyes full. He looks over at the kids. + +They're in the back of the helicopter, with Grant. As they +look out the window, Grant almost absently has his arms +around both kids. + +Now Ellie looks at him. Both he and the kids seem so +natural, so obviously comfortable and trusting with each +other. She smiles. + +The four of them sit that way, in the back of the +helicopter, huddled together. Survivors. + +Grant looks out the window. + +The helicopter sweeps low over a huge flock of sea birds +that's feeding on a school of fish. As the chopper ROARS +near, it kicks up the flock. Hundreds of birds sail off in +all directions, powerful and graceful. + +Grant looks at the bids and breaks into a wide grin. + +The birds reform as flock again and fly straight into the +sun. + + FADE OUT. + \ No newline at end of file