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 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.