THE LOST WORLD SCRIPT
JURASSIC PARK 2
screenplay by
David Koepp
based on the novel by
Michael Crichton
----------------------------------------------------------------
EXT. TROPICAL LAGOON - DAY
A 135-foot-luxury yacht is anchored just offshore in a
tropical lagoon. The beach is a stunning crescent of white
sand at the jungle fringe, utterly deserted.
ISLA SORNA
87 miles southeast of Nublar
Two SHIP HANDS, dressed in white uniforms, have set up a
picnic table with three chairs on the sand and are carefully
laying out luncheon service -- fine china, silver, crystal
decanters with red and white wine.
PAUL BOWMAN, fortyish, sits in a chair off to the side,
reading. MRS. BOWMAN, painfully thin, with the perpetually
surprised look of a woman who's had her eyes done more than
once, supervises the settings of the table.
She looks up and sees a little girl, CATHY, seven or eight
years old, wandering off down the beach.
MRS. BOWMAN
Cathy! Don't wander off!
Cathy keeps wandering.
MRS. BOWMAN (cont'd)
Cathy, come back! You can look for
shells right here!
Cathy gestures, pretending she can't hear.
BOWMAN
(eyes still in his book)
Leave her alone.
MRS. BOWMAN
What about snakes?
BOWMAN
There's no snakes on a beach. Let
her have fun, for once.
FURTHER DOWN THE BEACH,
Cathy keeps wandering away, MUTTERING to herself as her
parents' quarreling voices fade in the distance.
CATHY
Please be quiet, please be quiet
please be quiet...
Rounding a curve in the beach, her parents disappear from view
behind her. A RUSTLING sound draws her attention, and she
turns, toward where the thick jungle foliage gives way to the
sand.
A large bush, maybe twelve feet tall, is moving, its branches
swaying and shaking. Curious, Cathy walks up to the bush,
which abruptly stops moving.
A small, lizard-like animal, dark green with brown stripes
along its back, steps out from the bush. Only about a foot
tall, it stands on its hind legs, balancing on its thick tail.
It walks upright, bobbing its head like a chicken.
CATHY
Well, hello there!
The animal (a COMPSOGNATHUS) just stares at her. Cathy squats
down on her haunches.
CATHY (cont'd)
What are you? A little bird or
something?
She opens her hand. She's got a handful of goldfish crackers.
CATHY (cont'd)
Are you hungry? You want a goldfish?
The compy bobs forward a few steps, cautiously.
CATHY (cont'd)
Come on. I won't hurt you.
The compy draws closer. Cathy holds the cracker in the palm
of her hand. The compy gets closer still --
-- and hops numbly up onto Cathy's palm. Her arm dips a bit
under the weight, but it's not that heavy, and she holds it up
easily. It bobs its head, scarfs up the goldfish, and eats
it.
Enchanted, Cathy breaks into an enormous grin and returns her
hand, calling back over her shoulder.
CATHY (cont'd)
Mom! Dad! You gotta come see this!
I found something!
She turns back.
Thirty more compys have come out onto the sand. They're
standing there, bobbing anxiously, staring at her from a few
feet away. Cathy's smile fades.
She turns her head slowly to the right. TWENTY MORE COMPYS
have come in from that side, forming a semi-circle, bobbing
and CHIPPING as they surround her.
CATHY (cont'd)
(terrified)
What do you guys want?
BACK ON THE BEACH,
the table is set. Mrs. Bowman calls out.
MRS. BOWMAN
Cathy, sweetheart! Lunch is ready!
From around the curve of the beach, a flock of birds bolts
from the jungle trees as Cathy's shrill SCREAMS suddenly
pierce the air.
MRS. BOWMAN
PAUL!
She takes off, running down the beach, Mr. Bowman leaps out of
his chair and follows, and all available deck hands race off
to help, kicking up geysers of sand behind them.
DOWN THE BEACH,
Mrs. Bowman stops dead in her tracks when she rounds the bend
in the beach. We don't see what she sees, but we hear the
frenzied SQUEAKING of the strange compys. Mr. Bowman and the
Hands race past her to help Cathy as Mrs. Bowman lets loose a
horrified, slack-jawed SCREAM, her mouth a perfect oval.
DISSOLVE TO:
INT. BOARD ROOM - DAY
Mrs. Bowman's screaming face dissolves slowly over the
YAWNING face of a bored CORPORATE EXECUTIVE, TWENTY OTHER
EXECUTIVES sit around a conference table in the boardroom of a
monied corporation. All are in expensive suits, most are over
sixty. There are rows of BACKBENCHERS too, whispering in their
lawyers who sit behind their clients, whispering in their
ears. Empty coffee cups and fast food containers on the table
hint that everyone's been here a long time.
A familiar VOICE resounds through the boardroom as we move
down the long table, pat the grim faces of the board members.
VOICE (O.S.)
The hurricane seemed like a disaster
at the time, but now I think it was a
blessing, nature's way of freeing
those animals from their human
confines. Of giving them another
chance to survive, but this time as
they were meant to, without man's
interference.
The source of the voice is JOHN HAMMOND, the founder of InGen
and creator of Jurassic Park. But he's not in the room. His
image is on a closed circuit TV screen, which has been wheeled
up to the end of the table.
And he doesn't look good. He's terribly infirmed, propped up
in bed, his face pale and drawn, medical equipment BEEPING
around him.
HAMMOND (cont'd)
There are some corporate issues that
are not about the bottom line. We
have so much still to learn about
those creatures. A whole world of
intricate, interlocking behaviors,
vanished everywhere -- except for
Site B. Please. Let's not do what
is good for more men at the expense
at what is best for all mankind.
The CHAIRMAN, seventyish, nods awkwardly to the television.
CHAIRMAN
Thank you, John. Mr. Ludlow?
He turns to PETER LUDLOW, late thirties, a man with the
anxious look of someone who insists the buck stop on his desk.
Ludlow flips open a file, pulls out a stack of black and white
eight by tens, and tosses them on the table.
LUDLOW
(an accent similar to
Hammond's)
These pictures were taken in a
hospital in Costa Rica forty-eight
hours ago, after an American family
on a yacht cruise stumbled onto Site
B. The little girl will be fine, but
her parents are wealthy, angry, and
very fond of lawsuits. But that's
hardly new to us, is it?
(takes a paper from the
file)
Wrongful death settlements, partial
list: family of Donald Gennaro, 36.5
million dollars; family of Robert
Muldoon, 12.6 million. Damaged or
destroyed equipment, 17.3 million.
Demolition, de-construction, and
disposal of Isla Nublar facilities,
organic and inorganic, one hundred
and twenty-six million dollars. The
list goes on, gentlemen -- research
funding, media payoffs. Silence is
expensive.
He's warming up. Not a bad performer.
LUDLOW (cont'd)
This corporation has been bleeding
from the throat for four years. You,
our board of directors, have set
patiently and listened to ecology
lectures while Mr. Hammond signed
your checks and spent your money.
You have watched your stock drop from
seventy-eight and a quarter to
nineteen flat with no good and in
sight. And all along, we have held a
significant product asset that we
could have safely harvested and
displayed for profit. Enormous
profit.
He reaches out to a model on the table and gives it a shove,
sending it sliding down the length of the table in front of
them. It's a mini-mall version of a zoo. Cages hold tiny
replicas of various kinds of dinosaurs while Boy Scout troops
and Tourists look on in wonder.
LUDLOW (cont'd)
Enough money to wipe out four years
of lawsuits and damage control and
unpleasant infighting, enough to not
only send our stock back to where it
was but to double it. And the one
thing, the only thing standing
between us and this asset is a
born-again naturalist who happens to
be our own CEO. Well, I don't work
for Mother Nature. I work for you.
Two of his Backbenchers distribute documents from a stack.
Ludlow takes one and reads from it.
LUDLOW (cont'd)
"Whereas the Chief Executive
Officer has engaged in wasteful and
negligent business practices to
further his own personal
environmental beliefs --
Whereas these practices have
affected the financial performance
of the company by incurring
significant losses --
Whereas the shareholders have been
materially harmed by these losses --
Thereby, be it resolved that John
Parker Hammond should be resolved from
the office of Chief Executive
Officer, affective immediately." Mr.
Chairman, I move the resolution be
put to an immediate vote. Do I have
a second?
BOARD MEMBER
I second the motion, Mr. Chairman,
Please poll the members by a show of
hands.
The CHAIRMAN signs heavily, feeling like a traitor. He can't
bear to look at Hammond on the TV monitor.
CHAIRMAN
All those in favor of InGen Corporate
Resolution 213C, please signify your
approval by raising your right hand.
It starts slowly, guiltily, but every hand in the room goes
up. Ludlow sits back, victorious. Hammond, furious, raises
his right hand, which holds a remote control, and points it at
the TV screen. It goes blank.
CUT TO:
EXT. WELDER'S YARD - NIGHT
Sparks fly out the windows and doors of a shed in the middle
of a welder's yard. Scrap iron and steel lies everywhere.
Somewhere inside the shed, a phone RINGS.
The WHOOSH of the arc welder shuts off. DIETER STARK, a big
barrel-chested man of forty or so, his face streaked with soot
and grime, steps outside with a cordless phone, a cigarette
dangling from his lips.
DIETER
Yeah.
He takes a deep drag while someone talks on the other end. He
smiles and blows out a cloud of smoke.
CUT TO:
INT. NEW YORK SUBWAY - NIGHT
Smoke turns into steam as a subway THUNDER into a station
underneath Manhattan. The door WHOOSH open, spit out some
COMMUTERS and suck up a few more.
A tall man hurries down the platform, limping heavily, moving
as fast as he can. The subway doors begin to close, but just
before they meet --
-- the man jams a cane in between, stopping them. The man
is IAN MALCOLM, fortyish, dressed in black from head to toe.
There's a hard wisdom in Malcolm's eyes that may not have been
there's a few years ago -- he know what you think, and he
doesn't care.
INT. SUBWAY CAR - NIGHT
MALCOLM finds a seat on the crowded subway car and sits down.
He looks awful. Tired. Weathered. He notices a CURIOUS MAN
across from his is staring at his. Malcolm looks away. The
Curious Man still stares. Nervy, the Curious Man gets up and
approaches.
MALCOLM
(under his breath)
Shit.
The Curious Man sits down next to Malcolm, grinning.
MAN
You're him, aren't you?
MALCOLM
Excuse me?
MAN
The guy. The scientist. I saw you
on TV.
(conspiratorially)
I believed you.
No response from Malcolm. The guy leans in even closer.
MAN (cont'd)
Roooooarr.
MALCOLM
(a withering look)
I was misquoted. I was merely
speculating on the evolutionary
scenario of a Lost World. I never
said I was in any such place.
He gets up and moves to another seat on the car, away from the
Curious Man. As he sits down, he notices two other COMMUTERS
across from him are staring at him.
He looks at them. They looks away.
He pulls the collar of his coat up tight around him. Nowhere
to hide.
INT. JOHN HAMMOND'S APARTMENT - NIGHT
A UNIFORMED BUTLER has a question:
BUTLER
Whom shall I tell Mr. Hammond is
calling?
MALCOLM stands in the foyer of an expensively decorated Park
Avenue apartment.
MALCOLM
Ian Malcolm
A door opens and a little dog comes YAPPING out of the back.
It bounds straight at Malcolm, GROWLING, jaws SNAPPING. It
lunges --
-- and Malcolm BATS it away with one swift swing of his cane.
The dog rolls across the floor and slinks away, WHINING. The
Butler looks at Malcolm disapprovingly.
BUTLER
Not an animal lover?
MALCOLM
Not really.
INT. HAMMOND'S BEDROOM - NIGHT
MALCOLM enters a darkened bedroom. JOHN HAMMOND lies in the
bed we saw earlier, on the other side of the room;
Medical equipment has been disguised as well as possible among
the furniture and flowers, but the sheer abundance of it tells
us that whatever has stricken him is going to win this battle.
HAMMOND
Ian! Don't linger in the doorway
like an ingenue, come in, come in!
Malcolm steps further into the room.
HAMMOND (cont'd)
It's good to see you. It really is.
How's the leg?
MALCOLM
Resentful.
HAMMOND
When you have a lot of time to think,
it's funny who you remember. It's
the people who challenged you. It is
the quality of our opponents that
gives our accomplishments meaning. I
never told you how sorry I was about
what happened after we returned.
Noticing Hammond's deteriorated condition, Malcolm finds it
hard to sustain anger.
MALCOLM
I didn't know you -- weren't well.
HAMMOND
It's the lawyers. The lawyers are
finally killing me.
MALCOLM
They do have motives. Why did you
want to see me? Your message said it
was urgent.
HAMMOND
You were right -- and I was wrong.
There! Did you ever think you'd hear
me say that? Spectacularly wrong.
Instead of observing those animals, I
tried to control them. I squandered
an opportunity and we still know next
to nothing about their lives. Not
their lives as man would have them,
behind electric fences, but in the
wild. Behavior in their natural
habitat, the impossible dream of any
paleontologist. I could have had it,
but I let it slip away.
(pause)
Thank God for Site B.
Malcolm just looks at him for a long moment.
MALCOLM
What?
HAMMOND
(a spark in his eye)
Well? Didn't it all seem a trifle
compact to you?
MALCOLM
What are you talking about?
HAMMOND
The hatchery, in particular? You
know my initial yields had to be low,
far less than one percent, that's a
thousand embryos for every single
live birth. Genetic engineering on
that scale implies a giant operation,
not the spotless little laboratory I
showed you.
MALCOLM
I don't believe you.
HAMMOND
Isla Nublar was just a showroom, Ian,
something for the tourists, Site B
was the factory floor. We built it
first, on Isla Sorna, eight-some
miles from Nublar.
MALCOLM
No, no, no, no, no, no . . .
HAMMOND
After the accident at the park, a
hurricane wiped out our facility on
Site B. We had to evacuate and leave
the animals to fend for themselves.
And they did. For four years I've
fought to keep them safe from human
meddling, now I want you to go there
and document them.
MALCOLM
Are you out of your mind? I still
have nightmares, my reputation's a
joke, my leg is shot -- you think I
need more of that?
HAMMOND
It would be the most extraordinary
living fossil record the world has
ever seen.
MALCOLM
So what?
Hammonnd picks up a thick file folder from the night table near
to him and open it on his lap. Inside, there are memos,
charts, maps and photographs.
HAMMOND
I've been putting this together for
over a year.
(MORE)
I have personal suggestions for your
entire team, phone numbers, contact
people. They won't believe you about
what they're going to see, so don't
bother trying to convince them. Just
use my checkbook to get them there.
I'll fund your expedition through my
personal accounts, as such money and
equipment as you need, but only if
you leave immediately. If we
hesitate, all will be lost.
MALCOLM
John . . .
HAMMOND
You'll need an animal behaviorist,
someone with unimpeachable
credentials. I believe you already
know Sarah Harding. She's got
theories about parenting and
nurturing among hunter/scavengers I
bet she'd be dying to prove on a
scale like this. If you convince her
to go, it'll be a major coup. When
she publishes, the scientific
community must take it seriously.
Malcolm just shakes his head, flipping through the file sadly.
HAMMOND
Your documentation, you should use
forensic photographic methods,
Hasselbladt still cameras, high
definition video. When the trick
photography analysts take your
evidence apart, make it impossible
for them to say there was enhancement
or computer graphic imaging. Oh,
this is very important -- avoid the
island interior at all costs. Stick
to the outer rim. Everything you
need to know can be found there.
Vindication lies on the outer rim.
Malcolm gently closes the file and pushes it back to Hammond.
MALCOLM
I'm not going, John.
HAMMOND
(fatigue returning)
Ian, you are my last chance to give
something of real value to the world.
I can't walk so far and leave no
footprints; die and leave nothing
with my name on it. I will not be
known only for my failures. And you
will not allow yourself to go down in
history as a lunatic. You're too
smart. You'e too proud. Dr.
Malcolm. Please. This is a chance
at redemption. For both of us.
There's no time to equivocate, we
must seize it now, before --
He stops, staring over Malcom's shoulder. Malcom turns.
PETER LUDLOW, still in his overcoat, is standing in the
doorway to the bedroom. He looks back and forth from Hammond
to Malcolm suspiciously.
LUDLOW
Hello, Uncle John. Dr. Malcolm.
Malcolm doesn't answer. He seems to know Ludlow, and dislikes
him.
LUDLOW (cont'd)
Did I interrupt something?
Malcolm turns back to Hammond.
MALCOLM
Find someone else.
CUT TO:
INT. HAMMOND'S APARTMENT/FOYER - NIGHT
In the foyer, LUDLOW hands MALCOLM his coat, just a trifle
rudely, and shepherds him to the door.
LUDLOW
So, you two were just, uh, telling
old campfire stories, were you?
MALCOLM
Do me a favor. Don't pretend for a
second that you and I don't know the
truth. You can convince Time
magazine and the Skeptical Inquirer
of whatever you want, but I was
there.
LUDLOW
You signed a non-disclosure agreement
before you went to the island that
expressly forbade you from discussing
anything you saw. You violated that
agreement.
MALCOLM
You cost me my livelihood. That on
which I relied to support my
children.
LUDLOW
If your university felt you were
causing it embarrassment by selling
wild stories to Hard Copy, I hardly
see how I am to--
MALCOLM
I didn't tell anything, I told the
truth.
LUDLOW
You version of it.
MALCOLM
There are no versions of the truth!
This isn't a corporate maneuver, it's
my life.
LUDLOW
We made a generous compensatory offer
for your injuries.
MALCOLM
It was a payoff and an insult. InGen
never--
LUDLOW
InGen is my livelihood, Dr.
Malcolm, and I will jealously defend
its interests. People will know what
I want them to know when I want them
to know it.
Ludlow tosses something to Malcolm, hard. It sails across the
foyer, upright, and Malcolm reaches out and catches it with
one hand. It's his cane.
LUDLOW (cont'd)
Don't forget that.
Malcolm stares at him for a long moment. Finally, he turns
and walks away.
But he does not out of the apartment. Instead, he
walks directly past Ludlow, crosses the living room, and steps
back into Hammond's bedroom, closing the door behind him with
a determined CLICK.
INT. HAMMOND'S BEDROOM - NIGHT
HAMMOND looks up, hopeful, as MALCOLM comes back into the room
and walks over to his bed. He reaches down --
-- and picks up the file folder.
MALCOLM
Do you have a satellite phone?
CUT TO:
INT. MOMBASSA BAR - DAY
ROLAND TEMBO, late sixties, skin like leather and the diamond
hard look of a cobra, sits at a table in the middle of an
African cafe/bar in Mombassa.
It's daytime and the place is half full, mostly with locals,
but there are a few obnoxious TOURISTS too, Americans on
safari who somehow found the local handout.
They're a noisy bunch, but Roland tunes them out, calmly
eating his lunch and drinking a beer while he reads a book,
eyeglasses hanging low on his nose.
Roland suddenly stops reading and furrows his brow. He looks
up. He SNIFFS the air once, then smiles and calls out a
person's name.
ROLAND
Ajay?
He turns around. AJAY (AH-jay) SIDHU, a wiry East Indian in
his late forties, is standing behind him, caught trying to
sneak up.
AJAY
(delighted)
How did you know?
ROLAND
(taps his nose)
That cheap aftershave I send you
every Christmas, you actually wear
it. I'm touched. Sit down, sit
down, what brings you to Mombassa?
AJAY
You. Tell me, Roland, when was the
last time you answered your phone?
ROLAND
Last time I plugged it in, I suppose.
Why?
Behind them, the group of TOURISTS, all men, laughs loudly.
One of them, the MOST OBNOXIOUS TOURISTS, berates the WAITRESS.
AJAY
I got a call from a gentleman who's
going to Costa Rica, or thereabouts.
If he's to be believed, it's a most,
uh, unique expedition. And very
well-funded.
ROLAND
Well, I'm a very well-funded old son
of a bitch. You go.
The Most Obnoxious Tourist bellows for the Waitress. His
buddies LAUGHS. Roland throws a glance, annoyed.
AJAY
But alone? We always had great
success together, you and I.
ROLAND
Just a little bit too much, I
think.
AJAY
How do you mean?
ROLAND
A true hunter doesn't mind if the
animal wins. If it escapes. But
there weren't enough escapes from you
and me, Ajay. I've decided to spend
a bit less time in the company of
death. Maybe I just feel too close
to it my--
The Waitress comes to the Tourists' table and the Most
Obnoxious Tourist actually paws her ass. Roland is out of his
chair in a second.
ROLAND (cont'd)
(to Ajay)
Excuse me.
Romand walks over to the Tourists' table, says something to
the Waitress in the local dialect, and she walks away, behind
him. He stares down at the Most Obnoxious Tourist.
ROLAND (cont'd)
You, sir -- are no gentleman.
TOURIST
Is that supposed to be an insult?
ROLAND
I can think of none greater.
The Tourist looks at his Buddies and laughs.
TOURIST
Buzz off, you silly old bastard.
ROLAND
What do I have to do to pick a fight
with you, bring your mother into it?
TOURIST
Are you kidding? I could take you
with one arm tied down.
ROLAND
Really?
IN THE MIDDLE OF THE FLOOR,
the Waiter finishes tying a man's wrist to his belt in the
back of his pants with a napkin. He pulls the knot tight and
the man turns around.
It's Roland, with his arm tied down. The Tourist stands
across from him.
TOURIST
I mean my arm.
POW! Roland punches him square in the jaw. The Tourist
reels, stunned. Enraged, he lunges at Roland, swinging with
both arms.
Roland bobs, neatly ducking the punches, waits for the Tourist
to turn around, and POPS him thrice in the face. The Tourist
spins and goes down to the floor, face first. A cloud of
sawdust and a loud CHEER from the locals rise up in the bar.
BACK AT HIS TABLE,
Roland drops the napkin on the table and sits back down with
Ajay. In the background, the Tourist's Buddies hurriedly
carry their fallen cohort out of the bar.
ROLAND
Sorry. We were saying?
AJAY
You broke that idiot's jaw for no
reason other than your boredom. Tell
the truth, Roland. Aren't you even
interested in knowing this
expedition's quarry?
ROLAND
Ajay. Go on up to my ranch, take a
look around the trophy room, and tell
me what kind of quarry you think
could possibly be of any interest
to me.
Ajay just smiles.
CUT TO:
EXT. AFRICAN SAVANNAH - NIGHT
The African savannah appears in shades of fluorescent green,
seen through night-vision goggles. An ANIMAL YELP comes from
the left and the green vista sweeps abruptly toward it. The
world blurs momentarily, then comes into focus on a field of
long grass.
The grass ripples in a complex pattern as animals move
stealthily through it. One animal head pops up above the
grass for a split-second, teeth bared, a white stripe between
its eyes. SARAH HARDING pulls the goggles away from her face.
SARAH
Hyenas. Ace Face is the striped
snout.
Sarah is thirty, with a compact, athletic body built for the
outdoors. She loos through the goggles again, sweeping ahead
of the hyenas to their prey.
It's a herd of African buffalo, standing belly-deep in the
grass, agitated, bellowing and stamping their feet.
Sarah turns to MAKENA, her African assistant.
SARAH (cont'd)
They'll try to take down a calf.
Come on.
MAKENA
Closer?
Sarah scurries up and over a rock face. Makena follows.
Closer now, they watch as the hyenas rush the herd, running
through it, trying to break it up.
MAKENA (cont'd)
You know, we could see everything
from up on the edge of that cliff.
SARAH
No way.
MAKENA
But the view would --
SARAH
No cliffs.
(into a pocket recorder)
F1 headed sough, F2 and F5 flanking,
twenty yards. F3 center. F6
circling wide east. Can't see F7.
While she talks, breathless, fascinated by the drama before
her, Sarah continues to creep closer and closer to the action.
Makena follows, with growing unease.
MAKENA
Sarah.
SARAH
F8 circling north. F1 straight
through, disrupting. Herd moving,
stamping. There's F7. Straight
through. F8 angling through from the
north.
She's practically on top of the animals now.
MAKENA
Dr. Harding.
Makena has a hold of Sarah's sweatshirt and is tugging her
back, at least trying to slow down her progress as Sarah,
wide-eyed with fascination, creeps even closer.
Suddenly there is a tremendous BELLOWING and the grass right
in front of them rips apart, trampled under the feet of the
hyenas as they cluster around a fallen buffalo calf. They
yelp and jump, their muzzles bloody.
The adults move aside, making room as the hyena pups come
forward, squealing to get at the kill. Sarah's eyes shine
with excitement and she moves even closer, whispering into the
tape recorder.
SARAH
Brooding behavior in evidence at the
kill site, pups are ushered forward
and adults help them eat, pulling
flesh away from the carcass and--
A telephone rings.
Sarah stops in mid-sentence, unsure if she heard what she
thought she heard. It rings again, the unmistakable CHIRPING
of a cellular phone. Sarah and Makena both move at once,
pawing at a backpack.
SARAH (cont'd)
(a frantic whisper)
I thought you turned it off!
Two hyenas look inquisitively in the direction of the phone.
Sarah comes up with it and jabs at a button in irritation.
SARAH (cont'd)
Yes?!
Someone speaks on the other end. Sarah rolls her eyes.
SARAH (cont'd)
Ian. This better be important.
Sarah doesn't say anything for a long moment, just listens as
the voice on the other end talks. And talks.
SARAH (cont'd)
When?
CUT TO:
INT. MOBILE FIELD SYSTEMS - DAY
Ian Malcolm's leg, badly scarred, is bared and draped over the
end of a bench. Two sandbags are fastened to his ankle and
MALCOLM is lifting them, painfully rehabbing his injury while
talking on a satellite phone.
MALCOLM
We leave in twenty-four hours. Five
member team.
Behind them, the SPARKS of a acetylene torch fly as WORKMEN
make modifications on several vehicles, including a dark-green
Mercedes Benz AAV (all-activity vehicle). The hood of the AAV
is up and the V-6 engine has been pulled out; a new, smaller
engine is lowered in its place. To one side are two long
trailers, connected by an accordion-like passageway, like on a
subway car, allowing one to be towed behind the other.
MALCOLM
Eddie Carr's handling all our
equipment and he'll be there to
maintain it. He's designing special
field trailers now, top of the line
mobile research units.
EDDIE CARR, fortyish, is barking out orders to the Workmen.
EDDIE
No, no, look at the plans, Henry,
you can't place that strut laterally,
it has to be crosswise, LOOK AT THE
PLANS!
From the ceiling, a large metal age CRASHES down, landing
next to them on the floor with a deafening CLANG. They leap
back and look up. A WORKMAN waves from a scaffolding.
WORKMAN
Sorry, Eddie! Specs say it can't
deform at 12,000 PSI, we had to test
it
Eddie bends down to inspect the cage, which is rectangular,
constructed of inch-thick titanium-alloy bars. Malcolm hangs
up the phone and walks up, joining him.
MALCOLM
Any damage?
EDDIE
Minimal.
MALCOLM
"Minimal" is too much. It has to be
light, it has to be strong --
EDDIE
Light and strong, light and strong,
sure, why not, it's only impossible.
God save me from academics.
MALCOLM
You are an academic.
EDDIE
Former academic. Now I actually make
things. I don't just talk.
MALCOLM
You think I'm all talk, Eddie?
EDDIE
(doesn't look at him)
It doesn't matter what I think.
MALCOLM
Is there anything we've forgotten?
Anything at all?
Behind them, someone CLEARS THEIR THROAT. Eddie and Malcolm
turn around. KELLY MALCOLM, an African-American girl around
twelve years old, stands in the doorway to the garage, a
duffel bag slung over one shoulder. She looks at Malcolm and
breaks into a wide grin.
KELLY
Hi, Dad.
MALCOLM
Kelly! What are you doing here?
She drops the bag on the floor, and wraps her arms around him
in a warm embrace. He responds stiffly.
KELLY
Vacation. I'm all yours. You didn't
forget, did you?
She pulls back and looks at him.
KELLY (cont'd)
Did you?
CUT TO:
INT. EDDIE'S OFFICE - DAY
KELLY is slumped in a chair in Eddie's office next to the
construction floor. Outside the glass windows work on the
vehicles continues unabated. MALCOLM hangs up the phone.
MALCOLM
Okay, Karen is expecting you in half
an hour. You only have to stay with
her one night, she'll put you on a
bus in the morning and your mother
will be at the station when you get
there.
KELLY
I don't even know this woman.
MALCOLM
Well, I do, and she's fantastic.
She'll take you to the museum, maybe
to a movie if you play your cards
right. You're going to have a
fantastic time.
KELLY
Stop saying fantastic. Where are you
going?
MALCOLM
I can't tell you. But I'll be back
within a week.
KELLY
My vacation is over in a week.
MALCOLM
I'll make it up to you this summer.
I promise.
KELLY
I'm your daughter all the time, you
know. Not just when it's convenient.
MALCOLM
Very hurtful. Your mother tell you
to say that?
KELLY
No, Dad. I have thoughts of my own
once in a while.
From the construction floor, EDDIE calls out.
EDDIE (o.s.)
Dr. Malcolm!
Malcolm looks at her, trying to make peace. Quickly.
MALCOLM
Is that kid still bothering you?
KELLY
Which one?
MALCOLM
You know, at the bus stop. With the
hair?
KELLY
That was about a year ago.
MALCOLM
Well, is he?
KELLY
No. Richard talked to his parents.
MALCOLM
That Richard.
EDDIE (o.s.)
Ian, come here a minute!
KELLY
(to Malcolm)
I could come with you.
MALCOLM
Out of the question. You'd miss the
gymnastics trials. You've been
training for that for a year.
KELLY
I don't care about the trials, I
want to be with you. I could be your
research assistant, like I was in
Austin.
MALCOLM
This is nothing like Austin. Forget
about it.
KELLY
You like to have kids, you just
don't want to be with them, do you?
He looks at her, hurt. Eddie calls out a third time,
impatient now. Grateful for the escape, Malcolm gets up and
heads for the door. He pauses guiltily.
MALCOLM
I'm not like you wan me to be. I've
what I can be.
He leaves.
INT. MAIN FLOOR - DAY
While MALCOLM and EDDIE argue over something in the
background, KELLY circles around the trailers and looks up at
the windows. They're all made of tempered glass, fine wire
mesh inside it. She looks around, to see if anybody's
watching. They're not, so she quickly slips inside the front
trailer.
INT. TRAILER - DAY
Inside, the trailer is a miracle of planning and design. It's
divided into sections, for different laboratory functions.
The main area is a biological lab, with specimen trays,
dissecting pans, and microscopes that connect to video
monitors.
Next to it there's an extensive computer section, a bank of
processors, and a communications section. All the lab
equipment is miniaturized and built into small tables that
slides into the walls. Everything is bolted down.
She notices a large map on the wall. Off the coat of Costa
Rica, there is an area that has been circled in heavy black
ink.
Kelly puts a finger on the map, crossing westward, through the
Pacific Ocean. Thegre are dozen s of islands out here, but in
the highlighted region, there is a semi-circle of five.
Matanceros. Muerte. Tacano. Pena. And Sorna. Underneath
the whole island chain, there is a bold legend.
"The Five Deaths," it says.
Slowly, an ocean barge starts to chug its way across the
face of the map, leaving a wake that rolls the printed letters
of those three ominous words.
DISSOLVE TO:
EXT. OPEN SEA - DAY
The map dissolves slowly away as the barge SPALASEHS through
five foot ocean swells in the open sea. The barge is crammed
with equipment, the AAV, trailers, a jeep, and the members of
Malcolm's team.
ON THE BOAT,
MALCOLM stands in the bow, riding the choppy seas. Next to
him, DR. JUTTSON, fortyish, holds onto the railing,
seasick. He SHOUTS over the DRONE of the boat's engines.
JUTTISON
(as the waves pound the
boat)
Couldn't -- we just -- airlift --
into the -- island?
MALCOLM
Dr. Harding insisted we go by sea!
Helicopters are too disruptive.
These aren't piles of bones you'll be
studying this time, Dr. Juttson, they
live, they breathe, and they react!
Juttson looks at him skeptically --
-- and throws up.
AT THE BACK OF THE BOAT,
NICK VAN OWEN, a good-looking American in his late
twenties, is sitting amid a pile of video cameras and other
photographic equipment, playing with a Game Bow. SARAH
HARDING, dressed in field gear, sits down next to him.
SARAH
So what's your story, Nick?
NICK
I was a cameraman for Nightline for
six years, been freelance since '91.
Do a lot of work for Greenpeace.
SARAH
That must be interesting. What drew
you there?
NICK
Women. 'Bout eighty percent female
in Greenpeace.
SARAH
Very noble of you.
(of the noisy Game Boy)
You don't think you're bringing that
thing onto the island, do you?
Nick grins and shuts it off.
NICK
Hey, I wouldn't want to spook the
woolly mammoths.
SARAH
You think this is all a joke?
NICK
Oh, please. How am I supposed to
keep a straight face when --
(gestures to the
black-clad Malcolm)
-- Johnny Cash here tells me I'm
going to Skull Island?
SARAH
(not amused)
Ian's a very good friend of mine.
NICK
He doesn't need a friend, he needs a
shrink.
SARAH
I believe in him.
But her face says even she has her doubts.
NICK
Come on, there's only one reason any
of us are here. His check cleared.
She looks at him.
SARAH
Drop the cynical pose. You can't
pull it off while playing Donkey
Kong.
The boat's CAPTAIN, a Costa Rican, points ahead and SHOUTS to
them.
CAPTAIN
There it is!
They all turn and look out over the bow. Up ahead, shear,
reddish-gray cliffs of volcanic rock rise dramatically out of
the fog-heavy ocean.
CAPTAIN (cont'd)
Isla Sorna!
The boat ROARS ahead, plowing into a heavy wreath of fog. The
mist swirls and encircles it.
EXT. ISLAND FIORD - DAY
A narrow inlet cuts through the steep cliffs, leading to the
island interior. The barge bursts through the fog at the
mouth of the fiord and heads deeper into the island.
EXT. LAGOON - DAY
Lush green plants drip everywhere in this verdant lagoon.
Sulfurous yellow steam issues from the ground, bleaching the
nearby foliage white. In the distance one can hear the cries
of JUNGLE BIRDS.
The boat is now beached and the CREW flips the tarps off the
AAV, the jeep, and the trailers. The trucks back down a
narrow ramp and onto the soft clay shore at the edge of the
lagoon. There is a large three-toad animal imprint in the
clay at the water's edge, and the AAV backs right over it,
swapping its track for the animal's.
MALCOLM is at the edge of the water with the CAPTAIN.
MALCOLM
Be back in three days, but keep the
satellite phone on and your radio
tuned to the frequency I specified in
case we need you sooner.
CAPTAIN
Don't worry. I've lived around here
all my life, these islands are
completely --
In the distance, they hear the faint, strange ROAR of a very
large animal. The Captain looks at Malcolm, eyes wide.
CAPTAIN (cont'd)
-- safe.
CUT TO:
EXT. GRASSY PLAIN - DAY
The jeep tows the double trailer to the edge of a grassy plain
just beyond the lagoon, overlooking the interior of the
island. The noon sun is high overhead; below, the valley
shimmers in midday heat.
EDDIE connects a flexible cable to the jeep's power winch and
flicks it on. The cable turns slowly in the sunlight. Moving
along the length of it, we see the cable leads to a pile of
aluminum, some kind of strut assembly painted a camouflage
color.
As the winch pulls the cable tight, the jumble of thin struts
begins to move, slowly rising into the air. The emerging
structure climbs, spidery, struts unfolding, fifteen feet into
the air. The light house at the top (the cage that was
tested back at Eddie's workshop) is now just beneath the
lowest branches of the nearby trees, which almost conceal it
from view.
NICK lights a cigarette and carelessly tosses the match on the
ground. Malcolm notices.
MALCOLM
Listen. I know you all have probably
concluded that I'm out of my mind.
Is it our imagination, or did the trees behind Malcolm just
sway slightly?
MALCOLM (cont'd)
That's all right, for now. But just
humor me and be careful.
No, it's not our imagination, there they go again. Whole
trees shivering and swaying from left to right and back
again.
MALCOLM (cont'd)
Even if you think I'm harmless and
deluded, I promise --
Now the trees CREAKS and GROAN as they sway. Everyone has seen
it, and now Malcolm turns around too.
MALCOLM (cont'd)
-- this place is for real.
CUT TO:
INT. DOUBLE TRAILERS - DAY
It's quiet inside the trailers that serve as their command
post/living quarters. The books are lined up neatly on the
shelves. The computers sit, booted up and awaiting data
input.
All the way in the back, past the spare tires and life
preservers and canned food and bottled water, up in one
storage bin all the way on top, there's a RUSTLING SOUND.
A plastic student ID card pops out in the cracks under the
bin's door. A photograph in the lower right hand corner of
the card is visible -- it's Kelly, Malcolm's twelve-year-old
daughter.
The card wriggles against the lock and, with a soft CLICK, the
door pops open. KELLY herself tumbles out, wrapped in several
blankets and carrying a mason jar half full of a yellowish
liquid. We can guess.
She leaps to her feet, blinks the light out of her eyes, and
bolts to the back of the trailer as fast as she possibly can.
She races through a narrow door and SLAMS it shut.
A sign on the door says "RESTROOM." Inside, a SIGH of relief
is heard.
CUT TO:
EXT. JUNGLE TRAIL - DAY
Along a stream bed, the jungle trees still shiver. NICK loads
a three quarter inch tape into his heavy video camera and
chews anxiously on a piece of gum. SARAH and DR. JUTTSON are
beside him as the group nervously follows the GROANING forest
trees to their right.
At the rear, EDDIE and MALCOLM walk side by side. Eddie is
carrying a heavy silver rifle, an aluminum canister hanging
beneath the barrel. He shows it to Malcolm, his voice low and
urgent.
EDDIE
Lindstradt air rifle. Fires a
subsonic Fluger impact-delivery dart.
He cracks open the cartridge bank, revealing a row of plastic
containers filled with straw-colored liquid. Each is tipped
with a three inch needle and carries a bright yellow warning
tag -- "EXTREME DANGER! LETHAL TOXICITY!"
EDDIE (cont'd)
I loaded the enhanced venom of Conus
purpurascens, the South Sea cone
shell. Most powerful neurotoxin in
the world. Acts within a
two-thousandth of a second. Faster
than the nerve-conduction velocity.
The animal's down before it feels the
prick of the dart.
From their right, the shaking trees seen closer now. By
walking down the stream bed, the humans are tracking right
along with the animals as they move in the foliage.
MALCOLM
(to Eddie)
Is there an antidote?
EDDIE
Like if you shoot yourself in the
foot? Wouldn't matter. You'd be
dead before you realized you'd
accidentally pulled the trigger.
Ahead of them, thick foliage blocks the path of the dried up
stream bed to the height of about fifteen feet. But around
them, the CRASHING sounds get louder and closer, the swaying
trees shiver right beside them. Eddie raises the rifle in
defense as the trees right at the edge of the stream bed sway
and part. Above the foliage, they see the sudden
movement --
-- of a row of STEGOSAUR fins. The spade-shaped fins run
along a ridge down the middle of the animal's back, about
three feet tall each. The group freezes, amazed, and as the
stegosaur continues on, they get a good look at it through a
break in the foliage.
It's a large dinosaur with a small head, a thick neck, and a
huge lumbering body.
A double row of plates runs along the crest of its back, and
it has a dragging trail with long spikes in it.
The gum drops out of Nick's mouth, FLOPS onto his shirt, and
sticks there.
NICK
Oh --
JUTTSON
-- my --
EDDIE
-- God!
SARAH
It's beautiful!
A second stegosaur, a baby about a quarter the size of the
first animal, breaks through the foliage, following the adult.
While the group is reaching to that, the earth vibrates and
a third stego, by far the biggest of the three, walks out of
the foliage right behind them, crossing within ten feet.
Apparently unconcerned about these little creatures in their
environment, the stegos continue on across the stream bed.
Sarah raises a still camera and shoots pictures. Her shutter
is muted, so that a muffled CLICK is all that's audible.
Juttson raises a pocket recorder to his lips and whispers into
it breathlessly.
JUTTSON
Stegosaurus, family Stegosauridae,
infraorder Stegosauria, suborder
Thyreophora. Length, adult male,
estimate twenty-five to thirty feet.
His breathy words turn into almost helpless laughter, of all
things, as he can't contain his astonishment. Eddie covers
his mouth, trying to keep him quiet.
SARAH
(to Juttsn)
That was a pair bond! A family
group, even, long after that infant
was nestbound!
JUTTSON
I want to see the nesting ground!
Nick turns to Malcolm, eyes like saucers, and makes a futile,
wordless, boy-was-I-wrong-on-this-one gesture. Malcolm
smiles, leans over, and TAPS softly on Nick's video camera.
Nick raises it to his shoulder and flicks it on as the group
continues on into the bush after the animals.
IN THE BUSH,
the baby wanders away from the group and ambles over near
where Sarah crouches in the bushes. Sarah raises her camera
again and silently SNAPS a picture. She WHISPERS to Juttson,
who is beside her.
SARAH
Lone nest -- not colonial. I don't
see an egg clutch...
She gestures and Juttson peers through a pair of field
glasses.
JUTTSON
(whispering back)
The empty shells are crushed and
trampled. The young stay in the
birth environment, that's conclusive!
SARAH
Not without a shot of the nest.
She sees an opportunity. As the baby heads back to its
parents, Sarah scoots right along with it, moving behind it,
using its body as a shield to block her from the view of the
other two.
Nick and Eddie's faces whiten in alarm. Nick reaches out to
stop her, but he barely gets hold of the sole of her boot
before she pulls away from him and duckwalks out into the
clearing.
IN THE CLEARING,
Sarah slinks along behind the baby stego as it walks back,
toward the nest, chewing the branches it carries in its south.
She raises up sightly, squeezing off pictures of the herd,
ever better as she gets closer.
BACK AT THE HILL,
the others can only watch her, aghast.
NICK
She's gutty.
MALCOLM
She's nuts.
IN THE CLEARING,
Sarah keeps moving closer. The baby passes a small grouping
of rocks and Sarah ducks behind them. She's now in a perfect
position to photograph the nest, and she squeezes off picture
after picture from this ideal vantage point.
She shoots the last picture on the roll --
-- and the camera's autowinder WHIRS to life. Sarah looks
down in horror as the camera's motor WHINES loudly in her
hands.
Th noise startles the animals. The male turns toward her
the plates on its back bristling. Sarah gets to her feet and
starts to move away, slowly.
The male turns away from her and swings its tail, spikes
extended. It WHIZZES through the air, right at her, but Sarah
leaps back at the last second --
-- and the tail's spikes THUD into the dirt where she was.
Sarah CRUNCHES to the ground and the three stegosaurs dart
away, disappearing into the bush, moving surprisingly quickly
for animals their size.
The others run to Sarah, help her to her feet, and pull her
back, against a massive tree trunk. But the tree trunk lifts
right up off the ground.
It's no tree, it's a DINOSAUR'S LEG, a massive one, six feet
across, God knows how many feet high. The Group gasps and
looks up as a MAKENCHIASAURUS, an enormous saurupod over a
hundred feet from nose to tail, lumbers away from them.
The Group stares in wonder as the mamenchiasaur stops and
HONKS furtively, its long neck stretched out above them.
Now a second mamenchiasaur neck cranes out of the
surrounding forest trees and wraps around the first. The
first mamenchiasaur THUNDERS around in a semi-circle, getting
into position behind the second.
Nick swings his video camera straight up and the group
suddenly finds itself in the middle of a mamenchiasaur mating.
The mighty tails swing and SNAP around them as the two animals
come together, and trees start snapping and falling, CRASHING
to the jungle floor.
The group panics and bolts for cover toward the only place
where the trees are not falling -- which is directly underneath
the animals!
Amid HONKS and BLEATS, the swinging tails continue to deforest
the jungle around them.
The noise and chaos is deafening, drowning out the LAUGHTER
and SCREAMS of the fascinated and terrified group.
There is a momentary lull and the group dashes out from
underneath the animals, disappearing into the thick forest.
A SHORT DISTANCE AWAY,
the Group collapses to the ground, breathless, chests heaving
with wild, frightened laughter. Sarah goes to Malcolm and
throws her arms around him, exhilarated.
SARAH
Ian, you're not insane! I'm so
glad!
JUTTSON
(out of breath)
Dr. Malcolm -- the world -- owes you
an apology.
CUT TO:
EXT. JUNGLE TRAIL - DAY
Suddenly, the Gathereres are taking their expedition a lot more
seriously. They march quickly back to base camp, their energy
and excitement palpable. NICK strikes a match and raises it
to a cigarette with a shaking hand, but SARAH leans in and
blows it out.
SARAH
No more smoking. We leave no scent
of any kind. No hair tonics, no
cologne, seal all our food in plastic
bags. We will observe and document,
but we will not interact.
MALCOLM
That's a scientific impossibility,
you know. Heisenberg uncertainty
principle. Whatever you study, you
also change.
Nick ejects the used videotape from his camera and pulls out a
sharpie, to label it.
NICK
What should I call this? "Jurassic
Pork?"
Eddie, next to him, laughs.
SARAH
(still to Malcolm)
And let's forget about the high hide.
We can't do this kind of work up in a
tower, we need to be out in the
field, as close to the animals as
possible.
JUTTSON
I'm not surprised stegosaur lived in
a family group, but there's never
been anything in the fossil record to
prove the carnivores did.
SARAH
Why wouldn't they? Look at hyenas,
jackals, nearly all species of
predator birds --
JUTTSON
That doesn't say a thing about T-rex,
they could have been rogues. Robert
Burke certainly thinks they were.
SARAH
We've got to see one to find out.
Is there any --
MALCOLM
No way.
NICK
Oh, my God.
SARAH
-- way we could safely --
NICK
Oh, no!
He takes off, running as fast as he can, down the trail,
toward base camp. They look ahead, in the direction Nick is
running. A plume of black smoke is rising up over the trees.
EDDIE
Fire!
CUT TO:
EXT. BASE CAMP - DAY
NICK bursts out of the trees and races toward the thick plume
of smoke. In the middle of the base camp, someone has neatly
built a campfire surrounded by stones. Flames burn in the
middle.
Nick races over to it and stomps it out as the OTHERS emerge
from the trees behind him.
MALCOLM
A campfire?!
Nick grabs a jug of water, but Sarah steps in.
SARAH
No! Water mixes the smoke billow,
use dirt!
They start to kick and rake dirt onto the fire with their
hands and feet. Eddie and Dr. Juttson jump in and help out.
MALCOLM
Who the hell started a campfire?!
VOICE (o.s.)
It was just to make lunch.
Malcolm turns toward the source of the voice. KELLY stands in
the doorway of the trailer, sheepish.
KELLY (cont'd)
I wanted it ready when you got back.
The whole group stares, stunned, none more so than Malcolm
himself.
MALCOLM
Oh ... man.
CUT TO:
EXT. BASE CAMP - LATER
Later, and base camp is a blur of activity. SARAH, JUTTSON,
NICK, and EDDIE are hard at work, burying the remains of the
fire, sealing their food in plastic bags, loading camera
equipment, packing up specimen containers and other
information-gathering equipment.
MALCOLM, meanwhile, is lecturing Kelly.
MALCOLM
You know you were putting yourself in
a potentially dangerous situation,
but you didn't bother to find out
how dangerous before you leapt in.
You don't have the faintest idea
what's going on on this island!
SARAH
(loading a backpack)
What do you want to do, Ian, lock her
up for curiosity? Where do you think
she gets it?
JUTTSON
(to Nick)
Do you have chromium tapes? The
others fog in high-
NICK
-humidity, I know.
(waving a tape)
Highest lead density on the market.
EDDIE
(to Malcolm)
We've got a lot of heavy marching
ahead of us. I'm not carrying
anybody.
KELLY
I can keep up.
MALCOLM
You're going home. I'm sending a
radio call for the boats. We'll all
go down to the lagoon and wait for
them.
SARAH
Lighten up, Ian, you sound like a
high school vice-principal.
MALCOLM
I'm her father.
KELLY
Sure, now.
Nick leans over and whispers to Eddie, gesturing to Malcolm
and Kelly.
NICK
Do you see any family resemblance
here?
MALCOLM
You can't stay, Kelly, that's it.
It's too dangerous.
SARAH
If it's so dangerous, why'd you bring
any of us?
KELLY
You're wrong, Dad. I do know
what's going on on this island.
MALCOLM
How could you possibly?
KELLY
Because you said so. Maybe nobody
else believed you, but I always
did.
He looks at her, touched. Nick mutters to Eddie again.
NICK
The kid scores with cheap sentiment.
SARAH
Ian, if we recall the boat now, we've
made two invasive landings in one
day. That'll have to go in any paper
I write, and it will leave room for
people to say our findings were
contaminated. You know the academic
world as well as I do, once they
smell blood in the water, you're
dead. Our presence has got to be one
hundred percent antiseptic. That
means if we bend a blade of grass, we
bend it right back the way it-
A low sound has been rising while she speaks, and now it comes
BOOMING over the jungle around them, a THUNDEROUS racket that
shakes the very ground beneath them. Suddenly, three C-130
military cargo planes THUNDER overhead and ROAR toward the
island interior, flying very low. The planes are enormous,
fat-assed creatures, their rear cargo doors hanging open.
AT A RIDGE,
the members of the gatherer expedition hit the dirt and peer
over a ledge, watching as the airplanes bank and circle over a
specific spot.
Eddie raises a pair of field glasses.
DOWN BELOW,
huge metal equipment containers are shoved out the back of the
cargo bays. They SNAP off trees like matchsticks, CRUSH flat
anything foolish enough to exist where they want to land.
Now MEN pour out the rear of the planes, their low-altitude
parachutes billowing open behind them.
UP ON THE RIDGE,
Nick looks at Sarah.
NICK
You were saying something about
antiseptic?
CUT TO:
EXT. HUNTERS' CAMP - DAY
Metal container doors CLANG to the ground, jeep engines ROAR
to life in a cloud of thick black diesel smoke, blue laser
barriers SIZZLE and BURN through foliage as this group of
HUNTERS establishes a perimeter around their new camp.
PETER LUDLOW, dressed in brand new Banana Republic safari
wear, steps into the center of the camp and surveys the
surroundings. He turns to DR. ROBERT BURKE, a ragged,
pony-tailed man in wire-rimmed glasses.
LUDLOW
Welcome to your dream come true, Dr.
Burke.
Burke has a detailed set of satellite recon photographs that
he spreads out on the hood of a jeep.
BURKE
I believe the large herbivores forage
in open plains, like bison, which
would explain the great variety of
heat dots we're reading in the
flatlands around this waterhole.
Right -- here.
LUDLOW
Then that's where we're going.
Burke flips open a manifest that he will carry with him at all
times. Inside, there are dozens of sketches of various kinds
underneath. As each vehicle ROARS out of the equipment
container, Burke slips a waterproof eight by ten card with an
icon of the various dinosaurs on the island into a slot in the
dashboard.
BURKE
(calling them off)
Hadrosaurus! Carinthosaurus!
Maiasaurus!
As the procession goes on, Ludlow turns to DIETER STARK, the
man we saw welding earlier.
LUDLOW
This is as good a place as any for
base camp. First priority is the
laser barriers, I want them all up
and running in thirty minutes. Half
an hour, understand?
Dieter nods and turns to some of the HUNTERS, who number about
twenty in all, that are working nearby. But someone steps in
front of Dieter, cutting him off. It's ROLAND TEMBO, the
hunter from the bar in Mombassa.
ROLAND
Cancel that, Dieter.
LUDLOW
What? Why?
Roland points to a stream running nearby.
ROLAND
Carnivores hunt near stream beds. Do
you want to set up base camp or an
all-you-can-eat people bar?
LUDLOW
(thinks)
You heard his, Dieter. Find a new
spot. And remember, we're after
herbivores only -- no unnecessary
risks.
Dieter SIGHS and goes to work. Roland puts an arm around
Ludlow and pulls him aside.
ROLAND
Peter, if you want me to run your
little camping trip, there are two
conditions. First -- I'm in
charge, and when I'm not around,
Dieter is. Your job is to sign the
checks, tell us we're doing a good
job, and open your case of scotch
when we have a good day. Second
condition -- my fee. You can keep
it. All I want in exchange for my
services is the right to hunt one of
the tyrannosaurs. A male. Buck
only. Why and how are my business.
If you don't like either of those
conditions, you're on your own. Go
ahead and set up your camp right
here, or in a swamp, or in the middle
of a rex nest, for all I care. But
I've been on too many safaris with
rich dentists to listen to any more
suicidal ideas. Okay?
LUDLOW
(what else can he say?)
Okay.
ROLAND
Good lad.
CUT TO:
EXT. JUNGLE
The jungle foliage shivers, quakes, and finally falls as the
Hunters' convoy ROARS into the hart of the jungle. DIETER
STARK stands in the front of the lead vehicle, the
"speedbird," waving the convoy forward, his Driver (CARTER) at
the wheel beside him.
LUDLOW is in the back seat of the speedbird next to DR. BURKE.
ROLAND and AJAY, his tracker, are in the second jeep. They
look up as the brakelights on the speedbird flash and the car
stops, forcing the rest of the convoy to halt as well.
In the front, the speedbird flashes its lights at something in
front of it. Dieter climbs out, plainly irritated. He walks
around the front of the car and sees --
-- four PACHYCEPHALOSAURS eating grass in the middle of the
jungle trail. They're about five feet tall, thick, heavy-set
animals whose distinctive feature is an enormous skull casing,
a tall, impressive crown that rises on the tops of their
heads. Dieter doesn't seem impressed. He looks back at
Ludlow, who look at Dr. Burke.
Burke stands up in his seat, a look of wonder on his face.
BURKE
Pachycephalosaurus!
LUDLOW
Carnivore?
BURKE
(enchanted)
Huh? No! No, herbivore, late
Cretaceous. Very unusual plant
eater, see that distinctive domed
skull? That's nine inches of solid
bone.
LUDLOW
(who cares?)
Just get them out of the way, Dieter.
DIETER
COME ON, MOVE IT!!
The pachys look up at him sluggishly, still eating, like cows
chewing their cuds. As unimpressive with him as he is with
them, they go back to their grass.
DIETER (cont'd)
Oh, for God's --
He slings his rifle off his shoulder and aims it at the
closest animal. Behind him, Roland has climbed out of the
second jeep.
ROLAND
Dieter. This is a round-up, not a
war. Use your powers of persuasion.
Dieter gestures to the speedbird to pull ahead, which it does,
slowly, toward the animals. The pachys look up, alert, but do
not move. Dieter walks toward them.
DIETER
Come on, come on, don't have all
day!
BURKE
(going on to no one in
particular)
See, the pachy's neck attaches at the
bottom of its skull instead of the
back of its head, as with reptiles.
The speedbird draws closer. The first pachy stares at it
intently. The lead vehicle gets closer, closer --
-- and BANGS into the pachy, knocking it back a few feet, out
of the way.
BURKE (cont'd)
So when it lowers its head, its neck
lines up directly with its
backbone --
BEHIND DIETER,
Ajay is staring at something on the ground at his feet. He
takes a few steps further into the foliage, then turns back
toward Roland.
AJAY
Roland.
UP AT THE FRONT,
the pachys turn and hop away. Dieter turns and heads back to
the speedbird. As he reaches for the door, a VOICE calls
"look out!" from behind him. Dieter spins around, just in
time to see --
-- the first pachy in full charge. It SLAMS headfirst into
the speedbird, SMASHING the headlights and denting the grill.
BURKE
(concluding his lecture)
Which is perfect for absorbing
impact.
Dieter turns and runs around to the front of the car. The
pachy has backed up for another run and is now CHARGING RIGHT
AT HIM.
Dieter retreats, quickly, and rips open the passenger door to
protect himself.
SLAM! The pachy clobbers the door, sending Dieter flying
against the car, knocking the wind out of him.
In the other jeeps, the rest of the HUNTERS stand up or lean
out the window for a better look, laughing.
POW!! The pachy head-butts the tire next to Dieter. It
bounces off, tumbles to the ground, and rolls to its feet as
Dieter gets to his knees and crawls toward the back of the
speedbird.
But the pachy is quicker and lunges at Dieter again. He's
forced to hit the dirt and crawls quickly underneath the
speedbird, just as the animal SLAMS into the rear of the
vehicle.
Now the other three animals join the jun. Ludlow and the
Driver have to cover their heads as the animals lunge at the
car again and again, SMASHING the steel-meshed windows and
MANGLING the quarter panels. The rest of the group watches,
vastly amused.
A FEW STEPS INTO THE JUNGLE,
Ajay and Roland are staring at something on the ground -- an
animal footprint, three-toed, enormous.
AJAY
It matches the pictures.
ROLAND
It certainly does.
Roland gets up and goes back to his vehicle, ignoring the
pachy demolition derby that continues up at the speedbird.
Roland opens a case in the back of the jeep, revealing --
-- his gun. It's an antique elephant gun, a double barreled
.600 Nitro Express. Nearly a hundred years old, it's still in
immaculate condition, its rosewood stock buttery smooth,
bisons delicately engraved along its silver breach.
The barrels are twenty-four inches long, topped with an ivory
bead foresight at the business end. Roland scoops up the gun,
breaks the breach, and pulls two rounds of ammunition from his
shirt pocket.
Four inches long and three-quarters of an inch in diameter,
these are the largest full metal jacket cartridges ever made.
He slips one into each barrel and heads back into the bush.
Roland pauses before he goes, as if noticing the animals
trashing the speedbird for the first time.
ROLAND
HEY!
The pachys all freeze, staring at him. Roland waves one hand,
HISSES sharply between his teeth --
-- and the pachys scatter, back into the jungle. Takes care
of that problem. Roland turns and heads back into the jungle,
calling out over his shoulder to Ludlow.
ROLAND (cont'd)
Don't worry about us. We'll catch
up.
LUDLOW
Where do you think you're going?!
ROLAND
To collect my fee.
And with that he disappears into the foliage.
The Driver of the Speedbird drops it into gear and the
battered car GROANS forward. As it moves ahead, it reveals
DIETER, lying underneath it, ego bruised worse than body.
IN THE JUNGLE,
Ajay takes a step into the bush, but at a ninety degree
angle away from the direction in which the animals tracks
lead.
ROLAND
Ajay.
Ajay turns. Roland points in the direction in which the
footprints lead.
ROLAND (cont'd)
I'm no tracker, but even I can read
this spoor.
AJAY
Do you wish to go where the animal
has been, or where the animal is?
Roland smiles. Ajay sets off in his direction and Roland
follows.
CUT TO:
EXT. ISLAND RIDGE - DAY
Seen from a ridge above them, the hunters' convoy continues to
plow through the jungle. But how the hunters themselves are
being tracked, followed by the GATHERERS. They scurry along
as fast as they can, trying to keep pace with the moving
vehicle below.
EDDIE
Why didn't you tell us about these
guys, Ian?!
MALCOLM
Because I didn't know! I don't have
the faintest idea what they're doing
here.
NICK
(angry)
Ruining everything, that's what
they're doing. You could choke on
the diesel smoke already!
SARAH
Ian, nothing we observe will be valid
if we're trailing along in the wake
of an army.
Kelly has a pair of binoculars and is studying the vehicles as
they move below.
KELLY
"InGen." What's InGen?
MALCOLM
Where does it say that?
KELLY
On the side of that one truck.
Malcolm takes the binoculars and stares down there himself.
JUTTSON
InGen is a genetics corporation,
isn't it?
NICK
(to Malcolm)
Is that who we're really working
for?! Gene splicers?!
MALCOLM
No! We're an independently funded
expedition.
SARAH
Funded by whom?
MALCOLM
John Hammond.
JUTTSON
But he's the head of InGen!
NICK
You gotta be kidding.
(to Malcolm)
You dragged me out of Greenpeace to
be a corporate stooge? You couldn't
get anybody else?
KELLY
Yeah, what have you done, Dad?
SARAH
We'd better keep moving, or we'll
lose them.
The group moves on ahead, but Malcolm lingers, angry, staring
through the binoculars.
MALCOLM
What are you doing to me, John?
CUT TO:
EXT. THE CAVES - DAY
AJAY and ROLAND make their way through the foliage and come
into a small clearing, where a cluster of caves is carved into
the rock. Ajay freezes, gesturing ahead, to the cave on the
far left.
Roland pulls up a handful of grass and releases it on the
breeze. It floats back between his legs. That's good.
He proceeds toward the cave, carefully, Ajay behind him. They
can see nothing beyond the yawning mouth of the cave, only a
black interior.
Roland pauses, looking down. On the ground to his right he
sees the partially eastern leg of a creature. It's old,
crawling with white maggots and flies.
Roland continues on. Closer to the cave, he now passes the
skull of a large animal, some of the flesh and green skin
still adhering to the bone. It, too, is covered with flies.
Still he continues on. A short rise leads into the cave, and
they edge up it. From inside the cave, they can hear an odd
SQUEAKING sound, very high-pitched.
Crawling now, Roland and Ajay scale a four-foot circular
rampart of dried mud, and peer into --
-- the tyrannosaur nest. It's flattered inside, about ten
feet in diameter, completely encircled by earthen walls.
A BABY TYRANNOSAUR, about four and a half feet long, is in the
center of the nest. It has a large head, very large eyes, and
its body is covered with a fluffy red down, which gives it a
scraggly appearance.
It SQUEAKS repeatedly, tearing awkwardly at the remains of a
chunk of animal flesh, biting decisively with tiny, sharp
teeth.
The cave itself is a foul boneyard. ANIMAL CARCASSES litter
the edges, flies BUZZ in the captive air. Roland raises a
bandana to his nose to cover the stench. He turns to Ajay and
WHISPERS.
ROLAND
It's the rex nest.
Ajay nods. The baby tyrannosaur hears the whisper and looks
up, cocking its head in curiosity.
AJAY
Make a blind here? Wait for the buck
to return?
ROLAND
(shakes his head no)
If the nest is upwind, so are we.
When he comes back, he'll know we're
here before we have a chance. The
truck --
In the nest below, the baby SQUEAKS angrily at the intruders.
ROLAND (cont'd)
-- is to get him to come where we
want him.
The baby SQUEAKS again, indignant. Roland turns and looks
down at it. Thinking.
CUT TO:
EXT. RIDGE - DUSK
As the sun glows bright orange on the horizon, NICK raises a
pair of binoculars to his eyes and peers down at the vista
below the ridge.
In the lenses of the binoculars, we can clearly see a mixed
herd of midsized herbivores -- HARDOSAURS, PACHYCEPHALOSAURS,
and CALLIMIMUSES -- racing across the plain below.
MALCOLM, also staring through binoculars, lies on the ridge
beside him. SARAH is several feet behind them, her back
pressed against a tree, unwilling to go to the lip of the
ridge.
THROUGH NICK'S BINOCULARS
We see a shaky point of view of the herd running. The
binoculars whip to the right --
-- revealing a jeep chasing the herd Not just one jeep, in
fact, but a whole FLEET OF HUNTER PURSUIT VEHICLES!
There are two herding jeeps, one motorcycle, as speedier
mini-jeep, and, further behind, a container truck and a
wrangler's pickup truck.
Although there's a great deal of commotion below, up here it's
almost eerily silent.
ON THE RIDGE,
Nick lowers the binoculars, angry. When he raises them again,
the sun FLARES off the lens --
EXT. THE PLAIN - DUSK
-- and when the brilliant flare clears, we're right down in
the middle of the roundup. Engines ROAR, wheels spin and dig
in the dirt, men SHOUT and radios SQUAWK as the hunter
vehicles pursue the fleeting herd they're flushed.
The HUNTER SHOUT and SHRIEK with glee, incredulous and
thrilled by the spectacular animals they're pursuing.
HUNTER
LOOK AT THESE THINGS!
HUNTER 2
THEY'RE BEAUTIFUL, MAN, THEY'RE
BEAUTIFUL!!!
One of the pursuit vehicles (a "snagger"), pulls ahead of the
others. DIETER STARK stands in the passenger seat, holding a
long pole with a noose dangling from the end of it.
He swings the pole out over the side of the jeep and SHOUTS to
the driver.
DIETER
FASTER!
The Driver hits the gas and the snagger leaps forward, gaining
on the herd. Aware of the danger behind them, the herd veers
to the right, toward the cover of thick jungle --
-- but the motorcycle ROARS in from the right side, cutting
them off, herding them back out into the open.
BACK IN THE CONTAINER TRUCK,
PETER LUDLOW stands in a "conning tower," a command post in
the heaviest pursuit vehicle. He BARKS into a walkie-talkie.
LUDLOW
Alive, Dieter, and uninjured!
BACK ON THE SNAGGER,
the Driver can barely keep up with the twists and feints
thrown by the herd ahead of him. Dieter CURSES and throws the
lasso pole into the back of the jeep. Ludlow's voice
continues over the radio in Dieter's jeep.
LUDLOW (o.s.)
Those are very expensive animals!
Can you hear me?!
DIETER
(to the Driver)
Turn that off!
The Driver SNAPS off the radio as Dieter grabs a long-barreled
rifle from the back of the vehicle.
THE MOTORCYCLE
guns it again, forcing the herd back into the middle of the
plain. From the trees to the left, two heads on enormous
necks rise up in alarm. Two APATOSAURS are startled from the
bush and lumber out across the middle of the plain.
The herd doesn't even break stride, but keeps running,
scampering after the giants and stampeding right between their
massive legs.
One smaller pachycephalosaur bolts loose, but the motorcycle
cuts it off and herds it back into the middle, which now takes
the motorcycle right through the rising and falling legs of
the apotosaurs.
The bike chases the pachy out the other side, and as the
apatosaurs disappear into the distance, the cycle isolates the
juvenile.
Another truck, a "scissor rig," spots the isolated animal.
High in the back of the truck, a HUNTER mans a tranquilizer
cannon, drawing a bead on the pachy as the cycle runs it down.
He FIRES and the tranquilizer dart hits the animal in the
neck. Its pace slows and another HUNTER from the truck tosses
a lasso around its neck.
They crank a winch, reeling in the animal.
As the truck gain on it, two six-foot padded arms with what
look like heavy airbags on the insides open up on the front of
the truck.
As the animal is pulled in, the scissors close with a
hydraulic WHIR, trapping the animal between its airbags.
Now a pick-up rig ROARS up and drops its back gate. The
scissor rig rolls forward, depositing the squirming pachy in
this dino-contaiment vehicle.
Two HUNTERS throw levers on the side of the scissor bars and
the scissor rig backs away, leaving the animal, still pinched
between the bars, imprisoned in the back of the pick-up rig.
The Hunters quickly fit new scissor bars onto the scissor rig
and it takes off, back into the hunt.
BACK ON THE SNAGGER,
Dieter, rifle in hand, drops down into the passenger seat,
whips a harness over himself and CLICKS it into place. He
jabs his thumb into a flashing red button in the dashboard.
Immediately, a motor underneath the seat HUMS to life and the
seat itself telescopes, extending a good four feet out to
Dieter raises the gun, picks a CARINTHOSAUR, a red-crested
herbivore, from the rear of the fleeting herd, and takes aim.
BANG!!
The carinthosaur staggers as a tranquilizer dart sticks in
its left hindquarter.
UP ON THE RIDGE,
there is utter quiet. Nick and the others stare wordlessly at
the spectacle below.
DOWN ON THE PLAIN,
the snagger SHUDDERS to a halt in the dirt, kicking up a huge
cloud of dust and dirt.
The motorcycle spins to a stop beside it, its DRIVER pushing
his mask up to reveal his sweat and dirt-streaked face.
The wrangler truck backs up and drops its rear door, which
CLANGS heavily to the ground.
FOUR WRANGLERS carrying wire noose poles and chains race down
the ramp and out of the truck.
Dieter jumps off the snagger. He puts down his tranquilizer
gun, picks up a long steel rod, and walks forward slowly.
Ahead of him, the carinthosaur is still on its feet.
The sedated animal staggers, fighting to retain its balance
while it is surrounded by the wary Wranglers.
DIETER
Easy -- easy -- not too close!
Full extension!
The Wranglers adjust their poles, extending them another three
feet, which allows them to stay further from the reeling, ten
foot tall animal.
DIETER (cont'd)
Now!
Almost as one, the Wranglers flip their noose over the
stunned animal's neck. It thrashes, but the Wranglers hold
their poles tightly, surrounding and immobilizing it.
UP ON THE RIDGE,
Nick turns away. He can't watch.
DOWN ON THE PLAIN,
a bolero-type device, a rope with a round weight at either
end, whips around the carinthosaur's legs. The animal THUDS
to the dirt with a SNORT of a defeat.
Ludlow steps up next to Dieter and both of them stare down at
the helpless animal. Ludlow's breathing heavily, eyes
glowing.
The animal is still thrashing, pumping its legs crazily.
Dieter turns a knob on the side of the steel rod he's holding
and thrusts it into the defenseless animal's neck.
A blue arc of electricity CRACKS and dances over the
carinthosaur's body. The animal convulses in pain, a
horrible, high-pitched SQUEALING rips the air.
DR. BURKE, their paleontologist, hurries forward with a
syringe.
He draws a certain amount of tranquilizer from a bottle and
injects it into the animal's thigh.
CARTER, Dieter's Driver, steps up with a can of spray paint
and quickly tags the animal with an ID number in day-glo
orange.
Dieter pulls the card with an icon of a carinthosaur from the
dashboard of the jeep and marks a black X over the drawing of
the animal.
DIETER
Next case.
CUT TO:
EXT. RIDGE - NIGHT
Night has fallen over the island. The hunters have
established base camp in an area they have trampled and
cleared just below the ridge. Blue laser fences encircle the
perimeter. Inside, half a dozen tents are set up around a
central campfire.
The vehicles are all parked at one end, away from the tents.
At the other end, there is a row of at least a dozen "capture
containers," cages that hold the imprisoned dinosaurs they
have already rounded up.
SARAH, MALCOLM, and NICK stand at the edge of the ridge above,
looking down at the scene. Sarah stands a bit further back
from the others, not wanting to get too close to the edge.
VOICES waft up to them, raucous, LAUGHING, some even SINGING.
DR. JUTTSON has a pair of night-vision binoculars trained on
the cages.
JUTTSON
Carinthosaurus -- compsognathus --
triceratops -- pachycephalosaurus --
or small scavengers only.
Malcolm, also with binoculars, furrows his brow, seeing
something below.
THROUGH MALCOLM'S BINOCULARS,
he sees PETER LUDLOW, standing in the middle of the camp,
pointing, giving orders.
ON THE RIDGE,
Malcolm drops the binoculars.
MALCOLM
Ludlow. That's why Hammond was in
such a hurry for me to get here. He
knew they were coming.
He gives the binoculars to Sarah, who moves forward gingerly.
MALCOLM (cont'd)
You okay?
SARAH
(irritated)
Heights, I can't help it. Put your
arm here, will you?
She puts his arm around her waits, to steady her while she is
close to the cliff edge.
JUTTSON
What do they want?
MALCOLM
They want their money back. To
InGen, this island is nothing more
than a bed investment.
JUTTSON
We should get back to base camp.
Eddie's waiting for us.
MALCOLM
I can't believe Peter Ludlow's
running all this.
SARAH
He isn't. Check out the guy walking
past the fire.
She hands the binoculars to Malcolm.
THROUGH THE BINOCULARS,
Malcolm sees ROLAND, who's walking with AJAY, weapons and
equipment slung over their shoulders.
SARAH (o.s.)
I've seen him before. In Brazil. He
and that guy with him were
spearhunting jaguars. Said it was
immoral to go after them any other
way. He's not just a hunter, he's a
philosopher. Kind of guy who beats
you up with your own argument.
BACK ON THE RIDGE,
SARAH (cont'd)
He's the one in charge.
MALCOLM
Well, if that's true -- the man in
charge just left camp.
Nick, who has been quietly fuming next to them, now steps
forward.
NICK
Then this is our chance.
MALCOLM
Our chance to do what?
NICK
I don't know these guys, but I know
'em. I've seen 'em on Japanese
whalers, French barges trying to dump
barrels of nuclear waste in the North
Atlantic. They're all the same.
They spray us with water cannon when
we try to stop 'em, sink our boats,
and then call us crazy.
He rummages through his pack, coming up with various tools. A
hunting knife. A bolt cutter.
NICK (cont'd)
Nobody has to come with me. I've
done this before.
SARAH
Why, Nick. You are a tree-hugger.
He looks at her, hurt.
NICK
There' no reason for name calling.
MALCOLM
Dr. Juttson, please take Kelly back
to camp right away. Leave the other
car for us and we'll meet you there
in an hour or so.
KELLY
What are you guys gonna do?
MALCOLM
(signs)
Exactly what John Hammond wanted us
to do.
CUT TO:
INT. TENT - HUNTER'S CAMP - NIGHT
In the hunters' supply tent, a case of twelve-year-old scotch
sits open amid crate after crate of weapons and ammunition.
PETER LUDLOW reaches in and pulls a bottle out.
EXT. JUNGLE - NIGHT
In the jungle, LUDLOW approaches a small clearing. ROLAND is
bent over a small stake in the ground, chaining something to
it. As Ludlow approaches and walks around him, he sees what
protest. Roland looks up.
ROLAND
Offering a little incentive.
Ludlow laughs and shakes his head. He takes a drink and
offers Roland one. Roland accepts. Ludlow notices Roland's
gun leaning against a tree.
LUDLOW
What kind of gun is that?
ROLAND
My father's .600 Nitro Express. Made
in 1904. Karimojo Bell gave it to
him after he took down his last
elephant. 8700 foot pound striking
force.
LUDLOW
How close do you have to be?
ROLAND
Forty yards. Less, maybe. I assume
it'll take a slug in the brain case
to bring him down.
LUDLOW
Why not just use a scope and a poison
dart and snipe him from a hill?
Roland just looks at him.
ROLAND
Or a laser beam from a satellite?
Ludlow leans down, close to the baby rex, and examines it
while it thrashes on its chain. Its mouth has been bound shut
with a leather strap.
LUDLOW
You rally think this'll draw the
parent?
ROLAND
I once saw a bull elephant die
charging a jeep. All the jeep had
done was startle the bull's calves.
I saw a lioness carry wounded prey
four and a half miles, all the way
back to its den, just to teach its
cubs how to finish off a kill.
LUDLOW
Killing lessons? Heartwarming.
ROLAND
Rex won't be any different. It'll
come.
LUDLOW
You're kidding yourself. An adult
T-rex cares about one thing --
filling its own belly. It acts the
way people wish they could, that's
why everyone's fascinated by it. If
people had the chance to see one
dinosaur and one only, ninety-nine
percent would --
He stops, an idea on his face.
LUDLOW (cont'd)
Wait. Why not? Sedatives...
growth inhibitors...
ROLAND
What?
LUDLOW
I hadn't planned on bringing
carnivores back because of the
liability risk, but I only thought of
adults, it never occurred to me --
(close to the animal)
You are a billion dollar idea, my
little f-
CRACK! The tyrannosaur, even with its jaws clamped shut,
lunges at Ludlow's face, head-butting him right across the
bridge of the nose. Ludlow staggers back, WAITING in pain,
clutching his bleeding face.
Roland laughs. Ludlow, like an enraged child, snatches up
Roland's gun and brings the butt down viciously on the rex's
leg. The bone breaks with a dry SNAP and the animal HOWLS in
pain.
Roland lunges and throws Ludlow to the ground, but the damage
is done.
ROLAND
What the hell you do that for?!
As his pain eases, Ludlow feels a bit foolish, but he attempts
to cover.
LUDLOW
Had to. To keep him still for the
trip.
ROLAND
You've broken its leg!
LUDLOW
We've got to transport it seven
thousand miles. Would you prefer it
bit off the leg of a crew member?
He gets up, brushes himself off, and heads back to the camp,
trying to salvage his dignity. Roland watches him go.
CUT TO:
EXT. EDGE OF HUNTERS' CAMP - NIGHT
At the edge of the hunters' camp, NICK, SARAH, and MALCOLM
scramble down a hillside and stop at the edge of the laser
barriers. There are three beams, each about two feet apart,
the tallest almost six feet off the ground.
Nick reaches the edge and crouches. Sarah, helped by Malcolm,
steps up onto his back and jumps over the top, landing with a
CRUNCH. Nick is next, given a boost by Malcolm, who is then
left alone on the other side.
He backs up a few steps, jogs right at the lasers, then
springs off his good leg --
-- and does the Fosburry Flop right over the top. He lands
with a THUD, to the silent admiration of the other two.
FURTHER IN THE CAMP,
the three of them creep along, hiding behind a stack of fuel
barrels. They lean around the edge for a look. They're
directly behind the row of vehicle.
They move, into the open, covering the ground between them and
the jeeps. Reaching them, Nick hits the dirt and wriggles
under the first one. Malcolm and Sarah stand lookout.
UNDER THE JEEP,
Nick pulls the bolt cutter from his back pocket. He squirms
along until he finds the jeep's fuel line --
-- and he snips it. He ducks out of the way just as the
stream of fuel begins to pour into the dirt.
MALCOLM AND SARAH
move slowly down the line, standing watch as Nick crawls out
from under the first jeep and proceeds to the second. They
hear another SNIP, then keep moving, to cover him as he moves
to the third.
From in the distance, Malcolm hears a sound, a faint,
high-pitched SCREECHING. He turns and looks to that
direction.
EXT. JUNGLE CLEARING - NIGHT
It's the baby T-rex, still SCREENING. Up in a nearby tree,
ROLAND and AJAY have spread some broken branches crosswise to
form a high hide of their own about ten feet off the ground.
They wait.
Roland raises his binoculars. The light of the camp spills
all the way out here, illuminating some of the jungle. He
scans it, searching for any sign of movement.
EXT. HUNTERS' CAMP - NIGHT
Back in the camp, Sarah, Malcolm, and Nick have finished with
all of the vehicles except the badly battered one, which is
parked some distance away, undergoing repairs. The motor pool
area is now a soggy lake of spilled gasoline.
The saboteurs walk casually across the camp, unnoticed in the
drunken revelry. They pass several tents, the shadows of the
partiers visible as they move inside.
They continue across the camp and arrive at the other side --
-- to face the caged animals. The carinthosaur that was
tranquilized earlier stands there dully, eyes heavy and
glassy, still under the effects. They pass a stegosaur, its
row of fine bristling.
And finally they reach the largest cage, which houses a
triceratops the size of a pickup truck, Nick pulls out his
trusty bolt cutters. He looks at them, a glint in his eye.
NICK
Hang on. We may encounter some
turbulence.
INT. HUNTERS' CAMP - NIGHT
In one of the hunter tents, PETER LUDLOW leans over the
satellite recon pictures of the island, planning the next
day's assault with DIETER and DR. BURKE, their paleontologist.
There are small wooden dinosaur models scattered around the
photos, indicating where certain species can be found.
BURKE
If you're really interested in
infants, we'll have better luck at
the seaside, because the sands offer
a cushioning surface where the egg
clutches can -- can --
He trails off. A low RUMBLING sound can be heard outside, and
the little wooden dinosaurs start shaking on the board.
They look at each other. The RUMBLING gets louder. Outside,
someone SHOUTS; on the board, the little dinosaurs start
hopping and bouncing from the vibrations, the SHOUTS outside
turn to SCREAMS, they turn and look at the back of the tent --
-- and the triceratops bursts right through the canvas!
EXT. CAMP - NIGHT
HUNTERS go flying as the tent-covered triceratops, its horns
tearing through the canvas, RUMBLES across the camp. Men
SHOUT in alarm, the triceratops BELLOWS in anger and
confusion, chaos reigns.
In the crush of PEOPLE running every which way, MALCOLM and
SARAH are swept off in one direction while NICK is buffeted
in another. They SHOUT, but cannot be heard over the frey.
The triceratops, blinded by the canvas shroud, stomps right
through the fire in the middle of the camp AND THE TENT BURSTS
INTO FLAME.
Now really upset, the animal panics and lashes out in all
directions, blasting through tents, demolishing and/or setting
ablaze anything that gets in its way. Its considerable
hindquarters SLAM into a parked jeep, sending it rolling
across the camp.
The jeep flattens the largest tent and SLAMS down on its side.
Its broken gas line SPRAYS gas over the ground, the gas hits
one of the dozens of small blazes the triceratops has left in
its wake, and the flame shoots up the ribbon of gas.
The jeep explodes.
OUT IN THE JUNGLE CLEARING,
Roland and Ajay, up in the tree, leap to their feet as a
fireball rises up from the camp in the distance.
ROLAND
What in God's -- !
BACK IN THE CAMP,
the rest of the newly-freed animals now storm through the
camp. The blue laser barriers bounce crazily and go out as
the sending units are trampled underfoot by the fleeing
animals.
AT THE RIDGE OF CAMP,
Nick takes advantage of the downed lasers to slip part the
bordere of the camp and disappear into the jungle in one
direction, while Malcolm and Sarah vanish in the other.
The burning tent, which was the equipment tent, now detonates
in a series of smaller EXPLOSIONS.
Dieter and several others are knocked to the ground by the
series of concessive blasts. He drags himself up onto all
fours, charred and bruised. A burning tire rolls slowly past
him, spinning to a stop --
-- at ROLAND's feet. Dieter looks up at him.
ROLAND
Last time I leave you in charge.
OUT IN THE JUNGLE,
Nick breaks out into the jungle clearing, the same one where
Ajay and Roland had their blind. He sees the baby tyrannosaur
chained to the stake.
NICK
Sick bastards.
He goes to the animal, which now BLEATS in pain, its broken
leg hanging at an odd angle. With one strong tug, Nick pulls
the stake out of the ground.
BACK IN THE CAMP,
Roland surveys the destruction. The fire has spread and
several tents are now tongues of flame flapping in the air,
the animals are gone or going, and their personnel are
scattered and terrified. PETER LUDLOW, breathless, face
smeared with dirt, and smoke, staggers up to Roland.
LUDLOW
What in Christ's name is going on?!
ROLAND
Isn't it obvious?
He holds up the sniped padlock from one of the animal cages.
NICK (cont'd)
We're not alone on this island.
CUT TO:
EXT. JUNGLE - NIGHT
MALCOLM and SARAH race back up onto the ridge trail, where the
green AAV is parked. NICK bursts around from the other side
of the car.
SARAH
Nick, thank God, we didn't know
if --
Malcolm opens the rear door.
NICK
Wait, don't ---
With a piercing SHRIEK, the BABY TYRANNOSAUR, now in the back
of the AAV, flings itself at the open doorway, jaws SNAPPING
just short of Malcolm's nose.
MALCOLM
HOLY SHIT!!
He SLAMS the door.
DOWN IN THE HUNTERS' CAMP,
Roland hears the commotion up on the ridge and looks up.
ROLAND
Do we have anyone up there?
BACK UP ON THE RIDGE,
Malcolm is confronting Nick.
MALCOLM
?!
NICK
It has a broken leg!
MALCOLM
So do it a favor and put it out of
its misery!
NICK
No! Get in the car before they hear
us!
He runs around and leaps in the driver's seat. Sarah slips
into the passenger seat, quickly, leaving Malcolm no choice
but the rear.
CUT TO:
EXT. JUNGLE - NIGHT
The AAV SLAPS through the jungle foliage. From inside the
car, we can hear the baby tyrannosaur SCREAMING in anger.
INT. AAV - NIGHT
The baby writhes on the base seat next to Malcolm, who has
flattened himself against the door, as far away from the
animal as possible.
SARAH
Ian, close the window, it's going to
wake every predator in the jungle!
Malcolm leans over the enraged animal and cranks up its
window. The tyrannosaur SLASHES with one of its powerful hind
legs, ripping the flesh of his forearm. He SHOUTS in pain.
Outside, the listening jungle whizzes by.
EXT. HIGH HIDE - NIGHT
Up in the high hide, EDDIE, DR. JUTTSON, and KELLY are
standing watch, scanning the jungle for any sign of their
returning comrades.
Juttson yanks the night-vision binoculars away from his face
as he spots the AAV, pulling up to the base camp a couple
hundred yards away.
JUTTSON
There they are!
They all turn and look, but Eddie furrows his brow, watching
them pull the wounded animal from the back seat.
EDDIE
What is that they have with them?
EXT. CAMP - NIGHT
SARAH and NICK carry the SCREECHING baby tyrannosaur in their
arms, headed for the trailer. MALCOLM, holding his bleeding
arm, isn't far behind.
INT. TRAILER - NIGHT
SARAH and NICK bring the SCREAMING infant to the metal dining
table and hold it down. MALCOLM is right behind them.
MALCOLM
This is exceedingly unwise.
Sarah turns away from a drawer of medical supplies, holding a
small syringe. Her shirt is streaked with blood from the
baby's injured leg.
SARAH
Too late to worry about that! Hold
him together, Nick!
Nick tightens his grip on the animal and Sarah makes an
injection into its thigh, over its loudly voiced objections.
MALCOLM
Just do whatever you have to do and
get it out of here as quickly as
possible.
Sarah picks up a small ultrasound transducer and runs it over
the animal's leg. A green and white skeletal image appears on
a monitor next to the table.
SARAH
Okay, there's the metatarsals --
tibia, fibula -- there it is! See
it? That's a fracture, just above
the epiphysis.
They peer closely at the monitor.
NICK
That little black line?
SARAH
That little black line means death
for this infant. The fibula won't
heal straight, so the ankle joint
can't pivot when he stands on his
hind feet. The baby won't be able to
run, and probably can't even walk.
It'll be crippled, and a predator
will pick it off before it gets more
than a few weeks old.
MALCOLM
Can you set up?
SARAH
(thinking)
It has to be temporary, something
that'll break apart and fall off as
the animal grows...
MALCOLM
Think fast, Sarah.
The tyrannosaur, still in pain, SHRIEKS again.
EXT. HIGH HIDE - NIGHT
Through their binoculars, the rest of the group watches the
trailer carefully. Even inside, the animal's SCREECHES are
clearly audible. Kelly is getting scared.
KELLY
What are they doing? Why don't
they hurry?!
EDDIE
Give me the radio.
From the trailer, the baby lets out a long, plaintive
SHRIEK --
One by one, Eddie, Kelly, and Juttson turn around and stare
into the night jungle.
INT. TRAILER - NIGHT
NICK holds the animal while SARAH fits an aluminum foil cuff
around its injured leg and paints it with a coating of resin.
MALCOLM, at the window, stares out anxiously. The animal
thrashes again.
NICK
Give it more morphine!
SARAH
We'll kill it with too much, we'll
put it into respiratory arrest! I'm
almost done. Damn it, I need
another adhesive, something pliable I
can --
Her eyes fall on Nick. She holds out her hand, urgently.
SARAH (cont'd)
Spit!
He spits his bubblegum into the palm of her hand. The baby
rex CRIES OUT again.
EXT. HIGH HIDE - NIGHT
From the swaying jungle, there is another answering ROAR.
And this one's closer.
In the high hide, the rest of the group stares, trembling. In
the distance, a flock of birds SHRIEKS and takes flight as the
tops of some trees move, a whole section of forest suddenly
coming alive, as if brushed by wind.
But it's not the wind.
They hear noises, THUDS in the jungle. And then another
section of forest trembles. Closer. Another flock of birds
bursts out of the treetops and swarms past the high hide.
KELLY
What is it?
Dr. Juttson puts an arm around Kelly, instinctively pulling
her closer to him. Eddie WHISPERS urgently into the
walkie-talkie.
EDDIE
Sarah, come in!
JUTTSON
It's moving. Fast.
INT. TRAILER - NIGHT
There is a radio box mounted on the far wall of the trailer.
The speaker BUZZES urgently with Eddie's VOICE.
EDDIE (o.s.)
Sarah, Malcolm, can you hear me?!
On the table, Sarah is frantically molding Nick's bubblegum
into place on the makeshift splint. But the baby rex,
regaining its strength, is thrashing again.
SARAH
Hold it down, Nick!
NICK
I'm trying!
EDDIE (o.s.)
(from the radio)
Is anybody there?!
Malcolm moves to answer the radio, but Sarah SHOUTS to him.
SARAH
Ian, get the bottle of amoxicillin
and fill a syringe! Quick injection
of antibiotics and I can get it out
of here!
Forsaking the radio, Malcolm moves to the medicine drawer and
comes up with what she wants. Working fast, he draws twenty
cc's of the pink liquid.
EDDIE (o.s.)
(still from the radio, now
desperate)
SARAH OR IAN, ANSWER ME!
They ignore him as Sarah grabs the syringe and makes the
injection.
EDDIE (o.s.)
WHATEVER YOU BROUGHT INTO THE
TRAILER, GET IT OUT NOW!
EXT. HIGH HIDE - NIGHT
Eddie has given up on whispering as he clutches the radio
desperately.
EDDIE
WE ESTIMATE TWO LARGE ADULTS HEADED
IN YOUR DIRECTION! I REPEAT --
INT. TRAILER - NIGHT
Nick, Sarah, and Malcolm spin around at hearing that terrible
piece of information.
MALCOLM
Oh, Christ.
He bolts over to the wall speaker and hits the button.
MALCOLM (cont'd)
Let me talk to Kelly, is she--
A deafening ROAR sound from just outside the trailer,
followed immediately by a CRASHING sound. They whirl and look
to the window, just in time to see --
-- the AAV tumbling by, rolling on its side!
There is another ROAR, and the baby, on the table, ROARS in
response. Outside the window, the head of a full-grown
TYRANNOSAURUS REX lowers and peers inside.
Malcolm, Sarah, and Nick all freeze in absolute terror.
The rex outside GURGLES, making material cooing noises. The
baby rex, calm for the first time, GURGLES back.
But across the trailer, in the opposite window, ANOTHER T-REX
HEAD SUDDENLY APPEARS.
This one ROARS, deeply, a roar so low and loud it rattles
anything in the trailer that isn't tied down.
NICK
What do they want?!
MALCOLM
What do you think they want?!
SARAH
That's impossible, they can't have
the sensory equipment to track it all
the way here!
MALCOLM
Current evidence seems to be to the
contrary, wouldn't you say?! GIVE IT
TO THEM!
Nick, hands shaking, grabs the shoulder video camera he used
earlier. He whips out the cassette that's in there, hurls it
into an open duffel bag with half a dozen others, SLAMS a
fresh cassette in, and flicks the "ON" switch.
Sarah and Malcolm, meanwhile, hurry to the other end of the
trailer, carrying the baby rex. Outside, the two adult rexes
stay with them, walking in the same direction, watching them
through the window.
EXT. TRAILER - NIGHT
Seen from outside, the light inside the trailers clearly
illuminates Sarah and Malcolm as they carry the bay rex. The
adult rexes tower over the trailer, twice as tall and nearly
as long. They walk slowly alongside it, hunched over,
watching their infant.
INT. TRAILER - NIGHT
At the door to the trailer, Sarah un-muzzles the frantic baby.
SARAH
Ready?
Malcolm reaches for the door handle.
NICK
Wait!
He dives down on the floor under them, pointing the video
camera up at the door, getting the best shot. Malcolm takes a
breath, turns the knob, and throws open the door.
Outside, the enormous rex heads pause for a moment, staring,
surprised.
Although terrified, Sarah actually starts to sing.
SARAH
(softly)
Born free, as free as the wind blows.
As free as the grass grows --
MALCOLM
Are you insane?!
SARAH
I swear to God, it works with lions
sometimes! There we are -- your baby
is free --
The baby, excited, wriggles free of them and lands on the
ground outside. Not wasting a second, Malcolm SLAMS the door
shut.
The three of them freeze, not daring to breath. Outside, they
can hear the SNUFFLING and COOING of the animals as they
inspect their young --
-- and then the soft THUD of their footsteps, growing fainter
as they move away.
From the wall, EDDIE'S VOICE comes over the radio, relieved.
EDDIE
They're going back into the jungle.
CUT TO:
EXT. HIGH HIDE - NIGHT
EDDIE, JUTTSON, and KELLY sag back against the railings of the
high hide.
EDDIE
Thank God. Thank God.
MALCOLM'S VOICE comes over the radio.
MALCOLM (o.s.)
Kelly? Are you all right?
She takes the radio, her voice shaky.
KELLY
Uh huh.
CUT TO:
INT. TRAILER - NIGHT
MALCOLM is at the radio.
MALCOLM
Wait there. I'll come up in a
minute. Don't move, understand?
KELLY (o.s.)
I understand.
Malcolm slump against the wall of the trailer. SARAH and
NICK sit on the floor leaning against the opposite wall,
completely drained. Sarah pulls out her pocket recorder and
speaks shakily into it.
SARAH
Note to Dr. Juttson -- Tyrannosaurus
rex does nurture its young.
They laugh weakly.
NICK
There's, uh -- there's an unwritten
rule when a news crew is in a war
zone. You stop the van every two
miles and decide whether or not to go
on. Whether or not you feel lucky.
One "no" from anybody in the group
and you turn around right there, no
question asked, nobody embarrassed.
(pause)
Well? Do we go on?
Immediately:
SARAH
No.
MALCOLM
No.
NICK
No way.
They all laugh.
MALCOLM
All right. I'm satisfied with the
evidence we have right now.
I feel vindicated. John Hammond will
too.
(to Sarah)
Do you have enough to publish?
SARAH
They will come after me. But I can
collect some stool samples, for DNA
with that, Nick's tapes, and the rest
of you to back me up, it should stand
when we get back.
MALCOLM
(getting up)
Then the only thing left to do is
make sure we do get back. I'll
call the mainland on the satellite
phone and have them send the boat
right now. This expedition is over.
He goes to the desk and picks up the heavy gray satellite
phone that's resting in a battery pack. The front panel
lights up, a brilliant green.
But from the wall speaker, the radio CRACKLES and EDDIE'S
VOICE breaks through, soft and empty.
EDDIE (o.s.)
Oh, God. I am so sorry.
Malcolm and Sarah look at the speaker box.
MALCOLM
What the hell is he sorry f-
A low RATTLE sneaks into the trailer. Malcolm, Sarah, and
Nick takes a step forward from the walls, looking around. The
RATTLE gets louder, the trailer shakes and vibrates,
everything in it starts to BANG against the walls --
-- and something huge SMASHES into the side of the trailer.
They're all thrown against the far wall, there is an
earsplitting CRACK of electricity, the entire trailer rocks
and sparks a brilliant blue, and then everything goes black.
The satellite phone flies out of Malcolm's hands and SMACKS
against the wall. It lands on the floor, its number pad still
glowing green.
Nick crawls over and looks out one of the windows. Outside,
the flank of one of the tyrannosaurs wipes past the window,
revealing the second tyrannosaur, charging straight at the
trailer!
NICK
HANG ON TO SOMETHING!
They hurl themselves at the nearest solid object and hang on
for dear life. The charging rex SLAM into the side of the
trailer, which rocks up on one side, BANGS back down, and is
quickly RAMMED again by the furious animal. This time the
entire trailer rolls over, completely upside down.
Sarah, Nick, and Malcolm let go of their precarious handholds
and drop onto the ceiling. The tables, chairs, lab equipment,
everything that's bolted down clings to the floor above them;
everything that isn't RAINS DOWN ON THEM.
But the rexes aren't done. The trailer JOLTS INTO MOTION,
sliding forwards.
SEEN FROM OUTSIDE,
the upside down trailer, which is the rear of the two
trailers, slides along the muddy ground, pushing up earth in
front of it.
IN THE TRAILER,
SARAH
They're pushing us!
Malcolm, frantic, crawls up to a window to get a look outside.
He looks down and sees a T-rex footprint in the earth outside
as they move past it.
He cranks his head to get a look at the direction in which
they are being pushed. His eyes widen at something he sees
outside the window.
MALCOLM
Oh, God.
SARAH
What?!
MALCOLM
They're pushing us over the cliff.
Sure enough, out the back window, we see a few more feet of
muddy earth, and then nothing but inky black. The three of
them look at each other for a moment --
-- and then crawl like hell toward the other end of the
trailer. The opposite end reaches the edge of the cliff and
starts up to tip ever-so-slightly downward. They reach the
accordion-like connector and Malcolm crawls into it.
THROUGH THE WINDSHIELD OF THE FRONT TRAILER,
which is right-side-up, Malcolm can see the two rexes hard at
it, pushing the front end of the trailer.
IN THE REAR TRAILER,
Nick has a pretty good grip at the top of the trailer, but
Sarah can only cling to an air vent in the ceiling as stuff
starts to roll and tumble past her, headed downhill.
The angle increases, the trailer dips, and now stuff starts to
freefall, right past her, some SMASHING her in the head.
Malcolm, still in the connecting tube, grabs hold. Sarah,
starting to be pulled downward, paws at the refrigerator,
getting a g rip on the handle. The door, held by a safety
latch, doesn't open.
Below Sarah, debris falls to the rear window of the trailer.
Through the CRACKING glass, we can see the surf, CRASHING five
hundred feet below.
The refrigerator bolts suddenly CRUNCH free of the wall. The
box strains on its power cord.
Still clinging to the handle, Sarah swings wildly as it starts
to come loose, swaying above her.
The safety latch on the door gives, it swings open, and a
shower of food BANGS off of her as gravity empties the
contents.
Sarah loses her grip and plummets through the now-vertical
trailer. She SCREAMS, covers her head, and SMASHES into the
rear window. The glass spiderwebs, but does not break.
FIVE HUNDRED FEET BELOW,
an enormous wave POUNDS the rocky shore. Above, Sarah is a
tiny figure, sprawled out on the glass, held invisibly by the
breaking window.
IN THE TRAILER,
Nick SHOUTS to her.
NICK
SARAH! DON'T MOVE!
Sarah, stunned by the fall, blinks a few times, regaining her
senses. She looks down, at the crashing surf so far below.
For a person with a fear of heights, this is a real drag. As
she stares, the rocks seem to move even farther away from her.
She blanches; the world spins around her.
SARAH
OH... GOD ... please...
Her breath fogs the cracked glass. Slowly, she tries to get
up, caaaaaarefully pulling herself up to her hands and knees.
But as she puts pressures on her hands, the glass CRACKS even
more, tiny spiderwebs shooting out around her fingers. The
whole glass panel sags, bowing out around the bottom of the
trailer.
UP ABOVE HER,
Malcolm looks down and sees the satellite phone precariously
balanced on one leg of the kitchen table, its number pad still
glowing green. Nick is closest to it.
MALCOLM
Nick! Grab the phone!
SARAH
looks to her right, at a metal grating that runs along the
wall of the trailer. She shifts her weight, leaning on one
hand to reach for the grating with the other.
NICK
reaches for the satellite phone, its antenna just six inches
from his outstretched fingers.
SARAH
leans toward the metal grating, all hairline cracks shoot out
around her pivot hand, shaking through the glass. The
splintered glass spread like a disease, it reaches the edge
of the frame --
-- and her hand CRACKS right through the glass. She GASPS and
pulls her hand out, but now she knees SMASH through the
glass.
NICK
has two fingers on the phone, but suddenly the whole trailer
shudders and the heavy phone tips off the table leg and falls.
NICK
SARAH LOOK OUT!
SARAH
lunges for the metal grating and clings to it just as the
heavy phone whizzes past her head and SMASHES into the glass,
opening up a huge hole in the center of the back window.
UNDERNEATH THE TRAILER,
glass, food, lab equipment, and the precious satellite phone
fall out the broken window and SMASH on the rocks far below.
IN THE CLEANING,
the trailers are split, like an L, the rear trailer hanging
straight down, the forward one resting on the edge of the
cliff. Satisfied with their work, the T-rexes turn and lumber
back into the jungle.
IN THE TRAILER,
Sarah climbs carefully up the metal grating. Above her, Nick
lowers himself as far as he can, reaching for her.
ON THE CLIFFSIDE,
we realize the hanging trailer halted its descent because one
corner of it is wedged in the branches of a tree that grows
out from the muddy cliff.
But now those branches SPLINTER.
IN THE TRAILER,
Malcolm sees the bellows, the connector between the trailers,
stretch as the lower trailer JERKS and dips lower.
BELOW HIM,
Sarah mountain-climbs through the trailer's kitchen,
inadvertently kicking the faucet on as she struggles for
purchase.
OUTSIDE,
the tree branch SNAPS and the trailer jerks, stretching down
again. The bellows expands to its full length, stretching
like a Slinky.
INSIDE,
Nick knows he has to hurry. He climbs down, bouncing off the
built-in furniture, moving ever closer to Sarah.
But Sarah slips and loses her grip, dropping a few feet. She
gabs hold of the sink, the flowing water spraying her face.
EXT. JUNGLE - NIGHT
EDDIE CARR is in the driver's seat of the jeep, racing through
the jungle as fast as he can.
EDDIE
Hang on -- hang on --
The foliage SMACKS the windshield, then clears suddenly,
revealing the endangered trailers on the cliffside ahead of
him. The jeep bounces through the deep footprints left by the
rex and SKIDS to a halt.
INT. TRAILER - NIGHT
Sarah loses her grip on the sink and falls, SMASHING into the
frame of the half-broken rear window again.
OUTSIDE,
Eddie bolts out of the car and runs to the front trailer. He
SHOUTS in through the broken front window.
EDDIE
HEY! HELLO?!
IN THE REAR TRAILER,
The three look up from their precarious positions.
MALCOLM
WE'RE IN HERE! GET SOME ROPE!
OUTSIDE,
Eddie turns and run back to the jeep. He grabs a coil of
rope, secures one end around a tree, and hurries back to the
trailer.
IN THE REAR TRAILER,
Eddie dashes over the mess in the front trailer and crawls out
into the extended connector. He peers over the edge, down
into the second trailer, and tosses the rope.
EDDIE
Catch!
The rope falls through the center of the trailer, its end
dangling all the way out the smashed rear window. But the
trailer SHUDDERS, starting to move again.
SARAH
We're sliding!
EDDIE
Climbs up if you can!
OUTSIDE,
Eddie runs out of the trailer in time to see the wheels
dragging forward through the mud as the weight of the dangling
trailer pulls the whole thing toward the edge of the cliff.
He runs for the jeep and grabs hold of the power winch on the
front grill.
Behind him, the trailer rolls closer to the edge of the cliff.
Eddie races back to the trailer, pulling out a length of cable
behind him. He runs up to the still-moving trailer, dives for
its towing hook, the cable goes taut --
-- and he falls short. Just by six inches, but he's out of
cable.
EDDIE
Damn it!
INSIDE THE TRAILER,
Nick and Sarah are now together, clinging to the rope near the
bottom of the trailer as it shifts around them. Malcolm is
further up, also clinging to the rope.
OUTSIDE,
dirt and rocks pile up around the wheels and spill over the
edge of the cliff.
Eddie, back at the jeep, reels out more winch cable. He turns
and races back to the trailer just as gravity starts to LIFT
THE FRONT END OFF THE GROUND!
Eddie dives again, and this time the cable hook CLICKS
securely into the trailer's towing hook. The trailer lurches
toward the edge of the cliff and stops.
But the jeep is jerked forward by the sudden pressure.
IN THE TRAILER,
Malcolm clings to the rope in the middle of the trailer while
Nick and Sarah try to struggle up it, but a sudden dig knocks
them back, and their hands slide down the line. SCREAMING,
they slide through the trailer and their feet SMASH through
the remains of the rear window.
Regaining hold of the rope at the very end, the two of them
now find themselves hanging out of the rear end of the trailer,
dangling over the rocky shore below.
IN THE JEEP,
Eddie hits the gas and the tires slosh in the mud, trying to
get a grip. The jeep pulls just enough to lower the front
trailer back to earth. But the tires spin, fighting to hold
it there.
ON THE CLIFFSIDE
Sarah and Nick dangle, desperate.
IN THE JEEP
Eddie CHUNKS the shifter into four wheel drive and GUNS the
engine. As the motor ROARS, the sound is topped by another
ROAR, in the distance.
And this one's not a machine. But Eddie doesn't hear it. He
GUNS the engine again. There is another ROAR from the jungle.
Eddie hears this one. He darts a look at the side view
mirror. In it, he sees one of the TYRANNOSAURS bolt out of
the jungle behind him.
He GASPS and looks at the other side view. In it, he sees the
OTHER REX racing toward him.
The tyrannosaurs STOMP forward to confront the ROARING jeep.
The first rex bends over, CHOMPS down on the rear tire, and
lifts the car to its teeth.
But the spinning tire LINGS in the rex's mouth, burning it.
Surprised by the fight in this foe, the rex loses its grip and
the jeep BANGS back down onto the ground.
Eddie, horrified, dives down under the steering wheel, to get
away. The gas pedal pops up --
-- which makes the trailer pitch over the side of the cliff.
But the rex STOMPS down on the jeep to prevent its escape.
The trailers stop.
Now the rexes lean down, over the jeep, and focus on Eddie,
who still covers under the steering wheel. The first rex
SNAPS at him, hitting the steering column with it, leaving Eddie fully
exposed.
He SCREAMS and the second rex lashes in, seizing him in its
teeth and tossing him out of the car.
Eddie pops up into the air between the two rexes, both their
heads flash at him at the same time, and in a split-second, he
disappears between their teeth.
Now completely ignored, the jeep rolls freely forward and the
trailers drop over the edge of the cliff.
INSIDE THE TRAILER,
Nick, Sarah and Malcolm cling to each other and the rope as
the trailers fall around them. The windows flash by as the
trailers plummet, equipment BANGS and SCRAPES them, but they
hold on to the rope, still tied to the tree, for dear life.
ON THE CLIFFSIDE,
the trailers slide the rest of the way, exposing the three,
who pop out the space where the front windshield was.
Dangling from the rope, they look up and see the jeep, which
is now rolling to the edge of the cliff.
It falls, past them, and the whole mess EXPLODES on the rocks
below. Finally, it is silent, except for the sound of the
surf.
EXT. CLEARING - NIGHT
It's quiet up here too, the rexes nowhere to be seen. At the
cliff, a hand appears from over the edge. Then another.
SARAH pulls herself up, back onto solid ground, then comes
NICK, then both of them reach over and help MALCOLM up over
the edge.
They collapse there, in the mud, completely exhausted.
MALCOLM
(softly)
Eddie?
He looks at the other two. They glance around, then drop
their heads. Sarah hears a SOUND in the distance.
SARAH
Oh, God. Now what?
From the edge of the jungle, a cris-cross of flashlight beams
moves toward them. But rather than the three or four that
would signify their own group, there are nearly twenty of
them.
The HUNTERS, PETER LUDLOW is in the lead, ROLAND and AJAY
with him. DIETER is there too, shepherding KELLY and DR.
JUTTSON along in front of him.
Malcolm sees Kelly, they call out to each other, and race
together. Malcolm falls to his knees and hugs her as tightly
as he possibly can.
MALCOLM
Are you all right?! Anything broken?
KELLY
I'm fine, I'm fine, I was scared, I
thought you, are you okay?!
MALCOLM
I'm fine... I'm fine...
Roland looks around, at the mess that was their base camp.
ROLAND
(mostly to himself)
That's what you think.
CUT TO:
EXT. RUINED BASE CAMP - NIGHT
In the ruins of the first team's base camp, the survivors of
the night's two separate catastrophes stand face to face, in a
heated argument.
MALCOLM sits off to the side, still holding Kelly in his arms,
just looking down at the ground and shaking his head. There's
something about his posture of defeat that is far more ominous
than any of the hot tempers that are flaring. LUDLOW rants to
SARAH while DIETER looms menacingly over NICK.
LUDLOW
Trespassing, sabotage -- you could go
to jail just for being here, did
you know that?
SARAH
Don't start a legal argument with me,
this island isn't your property, and
neither are these animals!
DR. JUTTSON has encountered DR. BURKE.
JUTTSON
What are you doing here, Burke?
There's no TV cameras, what's the
point?
BURKE
Dr. Juttson, you exist outside the
classroom. I am amazed.
Dieter continues to get in Nick's face.
NICK
Are you looking for a problem?
JUTTSON
(an urgent whisper)
Everyone, keep your voices down!
ROLAND
Back off, Dieter.
JUTTSON
Listen to me, by moving the baby
rex into our camp, we changed the
adults' perceived territory!
LUDLOW
Their what?
SARAH
(she understands)
Oh, God.
JUTTSON
That's why they persisted in
destroying the trailers, they now
feel they have to defend this entire
area! We're not safe here.
LUDLOW
(of Sarah and Nick)
Thanks to you people.
SARAH
Hey, we came here to observe, you
came here to strip-mine the place!
It's a looter mentality, all you care
about is what you can take.
ROLAND
None of that matters. Our
communications equipment's been
destroyed. If your radio and
satellite phone were in those
trailers that went off the cliff, and
I'm guessing by the look on his
face --
He points at Malcolm, who is still off to the side, sitting in
stunned silence. Malcolm looks up and nods, slowly. The
grimness of their situation sinks in.
ROLAND (cont'd)
We are stuck here, ladies and
gentlemen. And we're stuck together.
CUT TO:
EXT. HUNTERS' CAMP - NIGHT
Back in the hunters' now-demolished camp, members of the two
groups combine their diminished supplies. They have half a
dozen large plastic containers of water, thirty-seven
containers of food, ranging from Ziploc bags to aluminum tins,
a variety of weapons, mot of them borne on the hips or
shoulders of the HUNTER team, the charred and scraggly
remnants of several pieces of now-useless electrical
equipment, a flare gun and several flares, somebody's tattered
paperback ("Crime and Punishment"), a box of Hershey bars, and
a cartoon of Marlboros.
ROLAND supervises the assembling of the resources, which are
displayed in front of him. LUDLOW, NICK, SARAH, JUTTSON, and
MALCOLM, who is still holding KELLY close to him, are with
him. They hold their discussion in quiet tones.
ROLAND
If we can't stay in the rex's
territory, we have to move tonight.
SARAH
Move where? Our boat's not coming
for two days, your airlift is waiting
for an order you have no way to
send --
Ludlow refers to the charred and trampled satellite
photographs of the island, which are still mostly legible.
LUDLOW
There's a communication center, here,
in the old worker village. Hammond
put in some kind of renewable power
source replenishing. It may still
work. If we could get there, we
could send a radio call for the
airlift.
NICK
How far is the village?
LUDLOW
I said if we could get there.
NICK
Well, how far is it?
LUDLOW
A day's walk, maybe more. That's not
the problem.
ROLAND
What is?
LUDLOW
The velociraptors.
Malcolm looks up sharply.
LUDLOW (cont'd)
Our infrareds show their nesting
sites are concentrated in the island
interior. That's why we planned on
keeping to the outer rim.
Malcolm shepherds Kelly away from the conversation and mutters
something to her quietly in the background.
DIETER
What are velociraptors?
JUTTSON
Carnivores. Pack hunters. About six
feet long, three or four hundred
pounds, and very, very fast.
Dieter brandishes his weapon.
DIETER
I think we can handle ourselves
against them.
Malcolm rejoins the conversation, alone. He keeps his voice
low.
MALCOLM
No. I'm quite certain you can't.
ROLAND
Look, we have two choices. We can
hike back down to the lagoon, where
we can sit for two days, in the open,
next to a heavily used water source
while we're waiting for your boat to
arrive, or we can head for the
village, where we might find some
shelter and we can call for help.
MALCOLM
We'd never make it past the raptors.
Trust me, I have some experience in
this matter.
Roland looks at him.
ROLAND
That may be. But you weren't with
me at the time.
Malcolm just shakes his head, then turns and walks back to
Kelly. Roland turns to the others.
ROLAND (cont'd)
Load up. Let's get this moveable
feast underway.
CUT TO:
EXT. ISLAND - NIGHT
The SURVIVORS set forth, marching through the jungle in a
column. Two HUNTERS strap on small shoulder-mounted
servo-flashlights. Wires run from the lights end in
sensor pads which they stick to the skin of their necks. Thus
attached, when the hunters turn their heads, the servo-lights
turn with them, illuminating whatever direction they look in.
MALCOLM screws the barrel into the Lindstradt rifle and slings
it over his shoulder as he marches, limping heavily. He looks
down at KELLY, who is marching alongside him. His face shows
the deepest of regret. He shakes his head, cursing himself.
MALCOLM
Damn it.
He looks away as Kelly looks up at him, questioning. ROLAND
falls into step with Malcolm and notices his limp.
ROLAND
You all right?
Malcolm looks at him, then looks away without answering.
ROLAND (cont'd)
Wrong question?
MALCOLM
You ever heard of Gambler's Ruin?
ROLAND
What's that?
MALCOLM
A statistical phenomenon. Says
everything in the world goes in
streaks. It's real, you see it
everywhere -- in weather, in river
flooding, in baseball, in blackjack,
in stock markets. Once things go
bad, they tend to stay bad. Bad
things cluster. They go to hell
together.
ROLAND
Feeling a bit blue, are we?
Malcolm glances at Kelly, who has taken a slightly faster pace
and is a few steps ahead of them now.
MALCOLM
Just -- flawed. Very deeply flawed.
ROLAND
Why did you come here?
MALCOLM
So that others would know about this
place?
ROLAND
Why should they?
MALCOLM
Because it exists.
ROLAND
It'll still exit if they go on not
knowing, won't it?
MALCOLM
Yes. And people will live in the
absence of truth.
ROLAND
So the truth is more important to you
than your life?
MALCOLM
(lowers is voice)
I don't care about my life. But if
I'd ever thought for a second that
she would be in danger --
Roland follows his gaze forward, to Kelly, who's about ten
yards ahead now.
ROLAND
She yours?
AHEAD OF THEM,
Kelly can hear their voices, faint, but clear. They are not
as far away as they think they are.
MALCOLM (o.s.)
I'm afraid so. I don't know what the
hell I'm doing with kids. I never
should have had her.
Kelly's face shows she heard that part.
BEHIND HER,
Malcolm, unaware, continues with Roland.
MALCOLM (cont'd)
Why are you here?
ROLAND
Somewhere on this island, there
exits the greatest predator that
ever lived. And the second greatest
predator must take him down.
MALCOLM
But why?
ROLAND
You remember that guy, about twenty
years ago, I forget his name, but he
climbed Everest without any oxygen,
came down almost dead. And they
asked him, "why did you go up there
to die?" And he said "I didn't. I
went up there to live."
MALCOLM
(nods)
It's called self-testing. But in
your case, it sounds more like
self-destruction. A uniquely human
characteristic. In fact, human
beings destroy things so well that I
sometimes think that's our function.
Maybe every few sons, some animal
comes along that kills off the rest
of the world, clears the decks, and
lets evolution proceed to his next
phase. Maybe death and destruction
are our job, maybe we're supposed
to destroy ourselves and every other
living thing that-
Every person on the trail within earshot has stopped and is
staring at Malcolm, shaken by his words. Roland grabs Malcolm
by the shirt collar and pulls him close, GROWLING in his ear.
ROLAND
Tell you what. You can see whatever
you want to, to me, but you will not
spew any more nihilist rants at
anyone else in the group. I'm
fighting panic, and you push the
wrong buttons. Understand?
Malcolm just blinks. This guy's in charge.
CUT TO:
EXT. JUNGLE - DAWN
As a purple dawn dissolves the night sky, the SURVIVORS
stagger on, exhausted. Some are starting to tire, and there
are spaces in the column. MALCOLM's limp seems to be getting
worse. NICK reaches out, to take Malcolm's pack, but Malcolm
swats his hand away.
KELLY, still ahead of him, falls into step with SARAH.
KELLY
I don't think -- my dad doesn't
think we're going to make it.
Sarah looks at her.
SARAH
Your dad is wrong. About a lot more
than he knows.
She puts an arm around her. Kelly looks up at her, grateful.
The long march continues.
UP AT THE FRONT,
NICK catches up to ROLAND.
NICK
I think you should call a break.
ROLAND
Another half hour.
NICK
Some of them won't make another half
hour. We didn't come this far to
start dropping in the middle of the
jungle. If you don't call it, I
will.
Roland looks at him, steely, then SHOUTS to the group.
ROLAND
FIVE MINUTES BREAK!
Immediately, the marchers drop where they stood, absolutely
drained.
AT THE REAR OF THE GROUP,
DRS. BURKE and JUTTSON are bickering.
JUTTSON
I can't believe you're still angry
about that.
BURKE
You know, it's very easy to criticize
the first person who studies
something.
JUTTSON
No, it's easy to criticize sloppy
research and hasty conclusions.
NEARBY,
MALCOLM checks Nick's bag of videotapes, making sure they're
still dry and undamaged. Sarah comes up, watching him.
SARAH
You know, even if we do get those
tapes back, people are going to say
it's just another hoax. Ian
Malcolm's alien autopsy.
MALCOLM
Maybe. Maybe not.
SARAH
Ian, they will misplace our evidence,
shoot holes in our testimony, and say
some special effects genius created
the animals. The only way people
will ever believe that dinosaurs
exist is if you dump a T-rex in the
middle of times Square.
He doesn't look at her. She sits down beside her.
SARAH (cont'd)
There's something more important that
you should be thinking about instead.
BEHIND THEM,
Dr. Burke, furious, has stalked away from Juttson and sits
down on a rock. H does a double take, noticing something
behind the rock. He leans over and picks it up.
It's an oval shape about eight inches long, with a pebbled
exterior. A dinosaur egg.
Burke's face lights up, fascinated, and he carefully pieces
the egg in a satchel he wears over one shoulder.
AT THE REAR OF THE GROUP,
DIETER STARK pulls a wad of toilet paper from his pack, drops
the pack on the ground, and turns to the Hunter nearest him --
CARTER, his driver, who has his back turned.
DIETER
Wait here for me, would ya Carter?
He steps off the path, into the jungle. But as we come around
the front of Carter, we see he's wearing a Walkman, the
headphone BLARING tinnily in his ears.
And he didn't hear a word.
EXT. THICK OF THE JUNGLE - DAY
Only a few feet off the path, it's primary forest, the growth
so thick that almost all sunlight is obscured. DIETER claws
forward until he finds a suitable spot to relieve himself.
He clears away a bunch of leaves and debris and raises his
hand to his belt buckle. He freezes, hearing something we
didn't. He glances around, head darting, alert to any danger.
Nothing there. Just a few distant ANIMAL CALLS--
-- and s SCURRYING around to his left.
Dieter snaps his head in that direction. At first, he sees
nothing, but as he moves closer, gun extended in front of him,
he sees a small dinosaur, a COMPSOGRATHUS, the same
chicken-sized animal Cathy saw on the beach so long ago.
DIETER
It's not polite to --
He pulls the steel rod out of a loop in his belt and touches
it to the compy's back. The blue bolt of electricity CRACKS
and dances over the compy's body and it convulses in pain.
DIETER (cont'd)
-- sneak up on people.
The wounded compsognathus scurries back into the jungle,
whimpering. Dieter clambers through the foliage ten or twelve
paces, pushes aside two large palm fronds, and steps out
into --
-- more jungle. He stops, puzzled, not sure if he went back
or forward.
He looks behind him. He pauses, recalculating the path he
took coming into the jungle, MUTTERING to himself, gesturing
with his hands, retracing his steps.
He adjusts his angle slightly to the right and heads off in
that direction. But after five or six hard-fought steps, he
stops again. Still nothing but jungle.
DIETER
HEY! CARTER! YELL OR SOMETHING, I
GOT TURNED AROUND IN HERE!
ON THE TRAIL,
Dieter's cries are faint, but audible. The only Marchers hear
enough to hear him is CARTER, but the Walkman is blaring in
his ears.
DIETER (o.s.)
...Carter... me?...
IN THE JUNGLE,
Dieter hears that SCURRYING sound again, this time from his
right. He adjusts his angle again and SCRAPES through the
foliage, moving faster and faster.
Panicking, he ties to run, but the roots rise high out of the
ground in the jungle, and he trips on one and falls flat on
his face.
He looks up. The SCURRYING sound comes again, this time ten
times louder than before, like a hundred feet coming at him.
Dieter GASPS as something rushes in at him.
He whirls to his right. Whatever it is rushes in from that
side as well. And the left. And behind him. Dieter
scrambles up into a sitting position --
-- and laughs. He is surrounded by at least forty compys now,
the same as the one he wounded.
For a long moment, they just stare at him. Slowly, he brings
his gun around, to point it at them.
DIETER
Easy -- wait -- one more sec-
As one, the compys SHRIEK and hurl themselves forward,
covering Dieter's body. Their teeth and claws FLASH as they
each try to grab a scrap of his flesh, tearing savagely.
Dieter SCREAMS and flails, waving his arms and legs wildly.
Some of the tiny animals lose their grip and sail off,
SMASHING into trees or the ground. But dozens of others hang
on, and Dieter falls over backwards, now lying on his back on
the ground.
Hysterical, he fights like hell to get to his feet, SCREAMING,
shaking, swatting the compys loose. He spins, and that tactic
seems to work, as the compys themselves begin to panic and
drop off of him. But he also loses his grip on his weapon,
which goes flying, landing in the thick foliage five or six
feet from him.
Losing the attack, the compys turn and dart away en masse,
stopping ten yards away from him.
But they turn and regroup, facing him in a line, hopping up
and down, CHIRPING and SHRIEKING.
Dieter bounds into the foliage, looking for his gun. But the
compys follow him in and he's forced to flee, abandoning his
lost weapon.
Ten feet on, he stops, knowing he's screwed without the gun.
He turns to face the pursuing compys.
They stop.
Dieter charges them, SHOUTING, waving his arms.
The compys turn and run. Dieter stops.
The compys stop. They stare back at him. There is a moment
of quiet, then they start to hop again, CHIRPING and
SQUEALING.
Dieter, tired of this game, turns and runs away.
The compys follow.
EXT. JUNGLE - DAY
From the front of the convoy, ROLAND SHOUTS out.
ROLAND
Break's over, move on!
The exhausted marchers drag themselves back to their feet and
start to march again. At the rear of the group, someone taps
Carter, who is still listening to his music. Carter gets up,
hoists his backpack, and marches away.
Behind him, Dieter's pack is left, forgotten, on the jungle
trail.
EXT. DEEP IN THE JUNGLE - DAY
DIETER stumbles along, exhausted. He reaches the edge of a
stream that runs under the foliage, and his feet slip on the
stones. He falls, into the rocky stream.
Behind him, the army of compys pours over the little hill he
just crested. They disappear for a moment, down an incline --
-- And then swarm over his body. In a frenzy of splashing,
Dieter shrugs them off and crawls away, through the stream.
He gets to his feet but falls again, this time over a log. A
geyser of water splashes up in the air behind the log as
Dieter drops out of sight.
The compys leap over the log and disappear from view too,
throwing up their own splashes of water. SCREECHING,
CHIRPING, and the sound of TEARING flesh mixes with Dieter's
SCREAMS.
Now, as more compys leap over the log and splash into the
water below, the geysers that shoot up into our field of view
are pink.
And then they're a deep, deep red.
CUT TO:
EXT. JUNGLE - DAY
The group has stopped again. Near the rear, SARAH, NICK,
MALCOLM, LUDLOW, and ROLAND are in a tense conversation with
CARTER.
ROLAND
How long ago was this?
CARTER
Seven, eight minutes.
Roland looks at them, thinking. Finally:
ROLAND
Then he's dead. Nobody tells the
little girl. Last thing we need is
screaming hysterics.
He turns and heads back to the front of the column.
SARAH
We have to send someone to look for
him!
ROLAND
You go if you like, but we're not
waiting for you. MOVE IT OUT!!
They look at each other, appalled, but the column starts to
move. Numbed, shocked, but left with no choice, they move on,
one by one.
CUT TO:
EXT. ISLAND RIDGE - DUSK
The column of MARCHERS has finally reached the island ridge,
where they are silhouetted against the setting sun. They're
taking a break, sprawled out on rocks or over the ground.
MALCOLM sits next to KELLY, who's sitting on a log.
MALCOLM
You okay?
She doesn't look at him, just gets up and walks away, going to
sit over next to SARAH.
Malcolm watches, pained, but Sarah puts an arm around her and
makes a "she's okay" gesture to Malcolm.
AT THE RIDGE,
ROLAND steps up to the very edge and peers into the island
interior. From his vantage point, he's able to see all the
way to the far side of the island, a rim of herd black cliff,
miles away. Between here and the cliffs there is nothing but
gently undulating jungle.
He refers to one of the satellite recon photos.
ROLAND
Looks like the worker village is down
in there, about a mile and a half
northeast from the base of these
cliffs.
MALCOLM is next to him.
MALCOLM
There must be a game trail, some kind
of path that goes down there.
Roland looks around at the exhausted MARCHERS.
ROLAND
They'll have to rest before we look
for it. Eat. Sleep. Two hours.
Then we hit it.
CUT TO:
EXT. CAMPSITE - NIGHT
The group has made camp in the jungle. The mood is somber,
most of the MARCHERS asleep already. Three or four tents have
been put up.
IN ONE TENT,
KELLY sits quietly in a corner, her eyes wide, knees hugged up
to his chest. SARAH comes in.
SARAH
There you are. Your dad's looking
for you.
KELLY
I doubt that.
Sarah takes off her outer shirt and hangs it over a bar to dry
the broad red smear across its front.
SARAH
Oh, come on. Go talk to him.
KELLY
Why? He likes to be alone. I can
stay with you.
IN THE CAMPSITE,
all is still. The nocturnal jungle HOOTS and BUZZES around
the sleeping marchers.
In his tent, ROLAND abruptly sits up. As if he heard
something. He looks out the open flap. In the middle of the
campsite, he sees AJAY stop in his tracks, head cocked.
Roland gets up and goes outside, joining Ajay in the middle of
the camp.
ROLAND
You hear something?
AJAY
No. I feel something.
Roland looks at him. This isn't so good. He looks out at the
shifting jungle. He notices a thin plume of smoke rising up
over the trees just barely outside the edge of camp.
ROLAND
Oh, no.
IN SARAH'S TENT,
Kelly and Sarah have laid down on top of sleeping bags, trying
to get a few minutes' rest. Sarah's shirt hangs over them,
swaying in the gentle breeze coming through the open flap.
As the shirt dangles there, swinging softly from side to side,
we notice the broad red smear across the front. Oh, that's
right -- it's blood.
The baby T-rex's blood.
AT THE RIDGE OF CAMP,
the thin plume of smoke leads down to a tiny cooking fire
that's been lit by DR. BURKE.
He's set a small frying pan on top of it, and now he CRACKS
the dinosaur egg he picked up earlier into the pan.
Roland and Ajay run up behind him.
ROLAND
(hisses)
ARE YOU OUT OF YOUR MIND?!
Burke leaps out of the way as Roland kicks dirt on the fire.
BMBB!
Roland, Ajay, and Burke all freeze. What was that?
IN SARAH'S TENT,
Sarah and Kelly sit up. They felt it too.
BMBB!
AT THE COCKING FIRE,
ROLAND
Get my weapon.
Ajay turns and trots away a few steps, then stops cold,
staring down at the ground.
BMBB!
A recent rain has all left puddles scattered around the camp, and
impact tremors now create ripples in the puddles -- concentric
circles spreading to the outer edges.
BMBB!
IN SARAH'S TENT,
Sarah and Kelly are frantically sealing up any opened food
into Ziploc bags.
BMBB!
Now they leap into Sarah's sleeping bag, to seal themselves,
and draw the zipper up, all the way around.
Outside, the silhouette of the rex's head passes by the tent.
Sarah works faster, her fingers struggling to close the last
few inches, but --
-- the rex head pokes through the flap of the tent. It
sniffs, SNORTING the air in and out. It looks around the
tent.
It sniffs Sarah's hanging shirt, the one that is stained with
the blood of the baby tyrannosaur. The adult tyrannosaur
GURGLES again, COOING and cocking its head curiously.
In the sleeping bag, Sarah and Kelly's eyes are barely
visible, wide in panic. The rex sniffs and nudges the bag,
trying to figure out what this thing is.
It rolls the bag over once, decides it's uninteresting, and
then rises, straights up --
-- taking the whole tent with it! The stakes pop out of the
ground as the tent rises high up into the air and flutters
away, leaving the sleeping bag fully exposed on the ground
beneath it.
IN THE CAMPSITE,
the SECOND TYRANNOSAUR now steps out of the jungle, joining
the first. Panic hits the camp as the sleeping HUNTERS wake
up. Many of them start to run.
Roland scrambles toward his tent, where he can see his weapon
lying near the open flap. As he draws close, an enormous
T-rex foot stomps down on the tent, driving the rifle deep
into the mud.
Roland, weaponless, stands frozen, watching as the panicked
Hunters flee in all directions.
ROLAND
FOR CHRIST'S SAKE, DON'T RUN!
But they ignore him, sweeping him up in the wave of flushed
prey that pours across the campsite. Some toss random and
ill-aimed GUNSHOTS back at the rexes.
ACROSS THE CAMPSITE,
NICK bursts out of the crowd, sees Kelly and Sarah struggling
to get out of the sleeping bag, and grabs each by an arm. He
rips them to their feet and sweeps them off ahead of him, into
the jungle.
IN THE MIDDLE OF THE CROWD,
MALCOLM, blinking back sleep, stands a good head above the
rest of the panicking crowd. Frantically, he scans the group.
MALCOLM
KELLY? KEEEEELLLY?!
But he can't see her.
AT THE EDGE OF CAMP,
the two rexes join forces, herding the fleeing Hunters into a
narrow ravine.
UP ON A ROCK RACE,
Roland scrambles up a steep rock face. No way in hell he's
going down that ravine. He sees Malcolm, still in the middle
of the camp, start to head for the ravine.
ROLAND
MALCOLM! OVER HERE!
Malcolm runs over and hurls himself at the rock face,
scrambling to climb up the smooth, steep boulders.
Behind him, one of the rexes spots him and lunges across the
camp toward him.
ROLAND (cont'd)
FASTER!!
Malcolm gives it everything he's got, clawing his way up the
rock face --
-- and rex draws closer and pounces at his legs --
-- and Roland reaches down, grabs Malcolm by the hair and
pulls him up, out of the rex's grasp.
The rex falls short, but he's close enough that we can hear
his teeth SNAP together, closing around nothing but air. It
turns, sees easier prey in the fleeing Hunters, and takes off
after them.
Malcolm lands on top of the rock ledge with a CRUNCH. Roland
unceremoniously dumps a fistful of hair in his lap.
IN THE RAVINE,
Kelly, in the middle of the fleeing crowd with Sarah and Nick,
hears her father screaming her name and looks up. Malcolm and
Roland are on the rock ridge above them, keeping pace.
MALCOLM
(shouting)
KELLY, UP HERE!
But Kelly continues to flee, as the rexes are in the ravine
now, and drawing closer to the group.
Some Hunters try to leap up and scale the rocks, but the
ravine is deepening, there's no way out. One rex grabs hold
of a Hunter in its teeth and hurls him against the rock face.
The second rex picks up another Hunter and snaps its massive
head left and right quickly, to break its victim's neck. The
Hunter goes flying forward and crashes into --
-- CARTER, Dieter's driver, who stumbles and falls. The rest
of the fleeing humans run around or over him, but when the
rex lifts its foot, we see Carter is actually stuck to the
bottom of it --
-- and when the animal takes its next step it CRUSHES him into
the earth.
UP ON TH ROCK FACE,
Malcolm is frantic.
MALCOLM
I gotta get down there!
DOWN IN THE RAVINE,
it's obvious no one is going to outrun the rexes, and Nick
knows it. He bursts ahead of Sarah and Kelly and spots
something off to his left.
It's a waterfall, apparently right in front of a sheer rock
face. But there's something about the way the water is
falling that tells him something.
NICK
SARAH KELLY COME HERE!
He grabs each of them and hauls them forward, running straight
at the waterfall. Apparently, he intends to jump right into
the rock, and he's dragging them along with him.
SARAH
WHAT ARE YOU-
NICK
JUMP!
The three of them spring right at the waterfall and disappear
THROUGH the water.
DR. BURKE, fleeing along with everyone else, is watching as
they vanish.
BEHIND THE WATERFALL,
there is a small recess, which is what Nick had hoped for.
It's small, only four or five feet deep, but it's just enough
for him, Sarah, and Kelly to cover behind the flowing water.
Breathless, terrified, they can hear the mayhem outside.
NICK
Shhhh... shhhh...
With an enormous SPLASH, something bursts through the
cascading water and crashes into them.
Dr. Burke.
BURKE
Get out of the way!
He pulls his way up against the far wall, as far away from the
water as he can.
FOOOOM! Now another shape bursts through the watery curtain.
A Tyrannosaur head. Burke gave away the hiding spot.
The four SCREAM as the rex's jaws SNAP left and right,
searching for them, falling just inches short. They squeeze
as far back against the wall as they can get.
The rex can't quite get its head all the way through the
opening --
-- so it uses its tongue. A long, dark blue shape slithers
out of its mouth and touches the humans, trying to wrap around
them, to pull them out of the cave.
Burke, blind with panic, forces himself even further into the
cave, which pushes Kelly further out.
SARAH
STOP IT YOU'RE PUSHED HER OUT STOP
IT!
But Burke doesn't listen, throwing elbows to make room for
himself. His movements dislodge a portion of muddy earth, and
a flurry of enormous cockroaches, eight or nine inches long
each, pour out of the wall and swarm over his face and neck.
Burke SCREAMS and instinctively leaps away, toward the flowing
water.
And that's all the leverage the rex needs. It curls its
tongue, wrapping Burke up in it and pulling him between its
teeth. SCREAMING hideously, he is dragged out, through the
waterfall, and disappears.
Sarah, Nick, and Kelly stare in horror as the white screen of
water turn pink.
UP ON THE ROCK FACE,
Malcolm and Roland see the rex walk away from the waterfall
with Burke, leaving the hiding place unmolested. Malcolm is
nearly hysterical.
ROLAND
She's okay! They'll stay in there,
she's okay!
IN A JUNGLE CLEARING,
routed Hunters emerge from the gully at the edge of he
jungle. Ahead of them, there is a large open plain covered by
long "elephant" grass.
AJAY, running along with them, stops abruptly at the edge of
the grass, SHOUTING to the others.
AWAY
NO! DON'T GO INTO THE LONG GRASS!
Not in the frenzy, they ignore him. Behind Ajay, the enormous
shadows of the two pursuing tyrannosaurs stop as well, holding
up at the edge of the jungle.
Ajay, torn between a sense of responsibility and his better
judgement, opts for the former and races into the grass after
the other Hunters, waving his arms.
UP ABOVE THEM,
Roland and Malcolm come out onto a rocky ledge that has a view
of the plain below. Roland can see the Hunters leaving trails
as they plow through the grass.
ROLAND
Elephant grass!
ON THE PLAIN,
the groups of Hunters wades into the middle of the long grass.
One of them stops and turns, looking back at the jungle trees.
HUNTER
They gave up! They're not chasing
us!
There are CHEERS, SIGHS OF relief. In the distance, AJAY'S
VOICE can be heard, faintly calling to them to come back. Up
on the rock in the distance, they can see Roland, waving his
arms madly.
But in the giddiness of their escape, they pay it no mind.
They continue plowing into the high grass, anything to get
further away from the tyrannosaurs.
ABOUT FIFTY YARDS AWAY,
the tops of three animal heads rise up slowly, backlit by
the full moon. In the distance, the heads can seethe Hunter
party. The heads descend, back into the grass.
BACK WITH THE HUNTERS,
they continue forward, oblivious. Now behind them, four
more heads rise up in the grass. As then descend.
On all sides of the Hunters, the grass ripples as animals move
forward toward them, undetected, inexorable as torpedoes.
And these torpedoes are on target. One Hunter is suddenly
dragged down, yanked silently below the surface of the tall
grass.
In his place, a long, lizard-like tail rises up as the animal
drops its head to make the kill.
Behind him, two more Hunters are taken down, and two more
animal tails rise up in their place. A Hunter ahead hears the
RUSTLING and turns. His face turns white as, behind him --
-- a VELOCIRAPTOR springs out of the grass.
Velociraptor runs upright on its powerfully muscled hind legs,
the second tow of each foot bearing an extra-large curved
claw, carried in a retracted position, with which it slashes
on attack.
Like now. This raptor SNARLS and SLAMS into the body of the
Hunter, taking him down. A feeding frenzy ensues. The
Hunters run in all directions, but are pulled down and vanish
into the twitching long grass.
Another raptor enters from the right, leaps high into the air,
past the full moon, SLAMS into the chest of more human prey,
and takes him down, into the grass.
Behind them, Ajay's face falls, defeated. He looks around,
realizing he too is now stranded in the middle of the long
grass.
Around him, four torpedo trails head straight for him.
Ajay simply closes his eyes.
UP ON THE ROCK,
Roland turns away from the carnage, pained.
CUT TO:
EXT. RUINED CAMPSITE - NIGHT
SARAH, MALCOLM, KELLY, NICK, ROLAND, DR. JUTTSON, and PETER
LUDLOW stand in the ruins of their campsite, their ranks
decimated, spirits shattered.
Roland is at the hole in the ground where his tent once was.
He has pulled his .800 Nitro Express from the mud and more or
less cleaned it, now he's checking the loads.
Kelly, nearly catatonic with fear, clings to Sarah, and it
doesn't look as if she'll ever let go. Malcolm, who is on his
knees picking through the wreckage of a tent, looks over at
them, but Sarah waves him off -- "she's okay."
Roland appears, standing over the group. He looks at Malcolm,
who has found the Lindstradt rifle, intact.
ROLAND
How many rounds did you find for that
weapon?
MALCOLM
Four, counting the one in the
chamber.
ROLAND
Don't let it out of your hands again.
(to Sara, but looking at
Kelly)
Can the kid walk?
SARAH
Ask her.
ROLAND
Can the kid walk?
KELLY
I can. I can walk.
While he addresses the group, Roland straps on one of the
servo-lights, the shoulder-mounted flashlights that follow
your gaze.
ROLAND
We're going to find a path down into
the interior of the island. Load up
whatever you think you need, and I
mean need. If you can't carry it
indefinitely, don't bring it. We'll
hit the worker village in a couple
hours and be out of here before dawn.
AT THE EDGE OF CAMP,
Roland bends over one of the three-toed footprints left by the
rex. Behind him, the rest of the group is packing up,
slinging the remnants of their equipment over their shoulders.
Roland bends over and SNIFFS the footprint. It's filled with
a liquid of some kind.
He takes his canteen, dumps the remaining water into the
ground, and plunges the canteen into the footprint, filling
it. Ludlow hovers over his shoulder.
LUDLOW
What is that?
ROLAND
Piss.
Ludlow doesn't ask.
NOW AT THE FIRE,
Roland stares down at the ashes of the cooking fire that led
to such disaster. He grabs a handful of the ash and shoves it
in his pants pocket.
CUT TO:
EXT. VALLEY OF DEATH - NIGHT
ROLAND and LUDLOW (who, along with Sarah and Malcolm, is also
wearing a servo-light now) maneuver down a rugged hillside and
come out in a flattened area. Ludlow GASPS, looking ahead in
wonderment. MALCOLM breaks through the hillside's foliage a
moment later. He too stares in amazement.
SARAH and KELLY come next, then NICK, then JUTTSON. One by
one, they all stop and stare.
SARAH
God help us.
They're standing in a flat, sandy area lined with boulders at
the sides. The flat area stretches fifty yards from side to
side and as far as they can see ahead. But that's not what
amazes them so.
Everywhere, the sand is dotted with dinosaur skeletons. Some
are huge, apatosaurs, sixty feet from head to tail tip.
Others are smaller, herbivores of many different kinds. The
more intact skeletons lie on their sides, their ribcages arcs
of pale bone. but just as many have been ripped apart, bits
of carcass tossed in every direction.
NICK
I do not feel lucky.
ROLAND
Keep moving.
They march on, tiny figures moving among the mountainous
skeletons by the light of the full moon. Roland notices one
carcass in particular, a recent kill. It's an enormous
HADROSAUR with fresh bites taken out of it.
He bends down, studying the soft earth around it for
footprints.
FURTHER ON,
Malcolm looks up, noticing the bony shapes around them, which
fall in heavy shadows like cell bars, seem to be changing.
He turns, and his servo-light shines on the bones. But
they're not bones any more at all, they're pipes, the animal
graveyard now given over to the lifeless skeletons of manmade
objects -- twisted, rotting machinery.
LUDLOW
We made it!
They hurry over a small rise --
EXT. WORKER VILLAGE - NIGHT
-- and find themselves at the edge of what was once Isla
Sorna's worker village. The size of a football field, the
town is divided by a main street that's dotted on both sides
by stores, residences, cafes, a gas station. All the way at
the far end is a large, blocky, four-story building.
But the town is a mess. The hurricane that hit here must have
been ferocious, for everywhere things are smashed, broken,
upended. And the jungle has stepped into the breath, growing
up, around, and over everything. Huge root systems snake
through the street, making it almost impassable.
MALCOLM
The jungle. It's always ready to
return.
Roland catches up and looks at Ludlow.
ROLAND
Where's the power and radio setup?
LUDLOW
Operations building. Far end of the
street.
A light rain falls as they start down the street, carefully,
silently, Roland and Malcolm with their weapons at the ready.
They pass the skeleton of a fallen water tower. An empty gas
station, its vine-snarled pumps now useless. The only sound
is the low mechanical HUM of the servo-lights as they follow
the group's gazes obediently.
Every few feet, the group encounters strange, grayish lumps
that lies in random places in the middle of the street.
Malcolm, curious, stops and taps one of them. It's a rock-hard.
Nick looks over his shoulder.
NICK
Lava?
MALCOLM
No.
NICK
What are they?
MALCOLM
I don't know.
Finally, they reach the operation building, at the far end of
the town.
LUDLOW
The radio rig is inside. It runs
directly from the geothermal
generator, so power shouldn't be a
problem.
ROLAND
Good.
He pulls out his canteen. Ludlow watches as he screws the top
off, moves toward the building, and starts splashing the
contents on the outside of it.
The rest of the group just stares at him.
MALCOLM
What's he got in there?
LUDLOW
Piss.
SARAH
What?
LUDLOW
Don't ask me. The guy's completely
out to lunch.
NICK
What in God's name would he want
with-
Roland rejoins them.
ROLAND
Tyrannosaur urine. I don't want
anything to do with it, and neither
does any other animal on this island.
This building is now demarcated as
the rex's territory. As long as you
stay in that building, you'll all be
safe until the helicopter comes.
He drops his pack, swings his gun off his shoulder, and checks
the load. Dr. Juttson looks fearful.
JUTTSON
Where are you going?
ROLAND
After the rex. I saw a fresh kill
back in the valley with tyrannosaur
tracks all around it. If I'm not
back in time, don't wait for me.
SARAH
You've got to be kidding.
ROLAND
Runs against my nature to hole up in
a cave and wait.
LUDLOW
Do you think the rex might have the
infant with it?
ROLAND
Possible.
Ludlow takes off his hat and turns to Nick.
LUDLOW
You know how to work a radio, don't
you?
SARAH
You're going too?
LUDLOW
I lost everything I came after on
this trip, but one T-rex in one theme
park could single-handedly bail
InGen out of Chapter 11.
He takes a slip of paper from the brim of his hat and hands it
to Nick.
LUDLOW (cont'd)
This is the broadcast frequency. ID
yourself as "Harvest Leader." You
know what to tell 'em.
MALCOLM
You gentlemen feel you have to do
this now?
ROLAND
Now's the perfect time. The animal
just fed, so it won't stalk us for
food. Predators don't hurt when
they're not hungry.
Ludlow double checks the clip on his semi-automatic rifle --
NICK
No.
-- and SMACKS it back into the belly of the gun.
NICK (cont'd)
Only humans do.
CUT TO:
INT. COMMUNICATIONS ROOM - NIGHT
The console of a sophisticated radio set-up glows brightly,
all green, red, and yellow. NICK tunes the dial to a specific
frequency. The radio WHINES and HISSES tuning in.
NICK
(into microphone)
CQ, CQ. This is InGen Operation
Harvest Leader to Harvest Base. Come
in, please.
The remaining SURVIVORS, minus Ludlow and Roland, shine their
flashlights around the dusty, vine-hung interior of the
communications room. On the wall a row of chrome letters says
"We Make The Future," but the words are obscured by a tangle
of vines. Mushrooms and fungi sprout from the carpet.
On one wall, there is a mural of what the completed Jurassic
Park would have looked like. Big hotels, Ford Explorers with
tourists leaning out the windows taking pictures, big crowds
at the fences around the animal exhibits. But none of it came
true, and now even the mural is runny and dust-covered.
There is a pause, filed only with radio static. Sarah looks
at Nick tensely, waiting. Finally, a VOICE comes over the
radio, clean as can be.
VOICE (o.s.)
Go ahead, Harvest Leader.
They all breath a sign of relief.
CUT TO:
EXT. MAIN STREET - NIGHT
With Roland and Ludlow gone on the hunt and the rest of the
group inside the operations building, main street stands
deserted and silent.
Nearly deserted, anyway. Moonlight shadows lengthen at one
end of the street --
-- and FIVE VELOCIRAPTORS STROLL INTO TOWN.
CUT TO:
EXT. VALLEY OF DEATH - NIGHT
ROLAND AND LUDLOW are back in the valley of death, standing
amid the giant skeletons of long-dead animals. Roland bends
down, checking the carcass of the freshly-chewed HADROSAUR he
saw earlier.
A set of giant three-toed rex tracks leads away from the
carcass, down the stream bed. Roland follows them. Ludlow
follows Roland.
As they near a bend in the stream, Roland looks down, at the
surface of the water. A pattern of ripples moves toward them,
washing over their ankles. Roland follows the ripples with
his eyes. From up head, around the bend, he can hear the
sound of an animal eating and drinking. A very large animal.
He reaches into his pocket and pulls out a pinch of the ashes
from the cooking fire that he scooped up earlier and releases
that on the wind. They float there for a second, suspended,
then blow back at him.
LUDLOW
We're downwind. Good.
Roland darts a contemptuous look at him. He puts a finger to
his lips, gesturing for silence, then steps up, onto the
shore. Ludlow follows.
They creep forward, toward the sounds. They round the bend
and Roland hits his belly, edging up over a small rise.
Over the rise, he sees the TYRANNOSAUR, about a hundred yards
ahead. It's stooped over the stream bed, drinking. Like a
bird, it dips its head in the water and then straightens up,
to let the water fall down its throat. A dozen COMPYS are at
the water as well, drinking.
Roland gently FLICKS the safety on his gun to "off."
Ludlow edges toward the cover of a low-hanging branch. As he
puts his weight on one knee, it presses down hard on the
middle of a small stick, which CRACKS in half. Roland turns,
eyes blazing.
Out in the open, the tyrannosaur snaps its head sharply as
well, staring in the direction of the sound. But since
Roland's own head is turned, he doesn't see the dinosaur's
reaction. Roland holds a warning finger out to Ludlow.
Roland turns his head back. The tyrannosaur is gone.
FURTHER ON,
the trail of three-toed tyrannosaur footprints stops abruptly.
Roland stops too, gesturing for Ludlow to freeze behind him.
Roland glances both ways, looking for any sign of the track.
To the right, the ground gives way to hard black volcanic rock.
A short distance behind them, the rock is solid, a massive,
green, pebbled boulder ten feet high. Roland frowns and
WHISPERS in Ludlow's ear again.
ROLAND
We took to the rock.
LUDLOW
Why?
In front of Roland, a palm frond sways gently in the night
breeze. Roland's eyes widen. He pulls out another pinch of
campfire ash and releases it on the wind.
This time, the ash blows off, straight away from him.
ROLAND
Wind shift.
They freeze, terrified. Behind them, the enormous green
pebbled boulder --
-- opens an eye.
That's no boulder, that's the MALE TYRANNOSAUR, standing
rock-solid still, its natural camouflage blending into the
surrounding foliage perfectly. Very slowly and almost
silently, the rex brings its head all the way around until it
is staring directly down at them from about ten feet away.
Roland and Ludlow stand frozen, their back to the rex,
unaware of its presence.
Until it exhales. The soft SNORT of its breath isn't quite
audible, but it brushes the hair on the backs of their necks
ever so slightly.
Their hearts drop into their stomachs. Ludlow speaks, his
voice a queasy HISS.
LUDLOW
It's... behind... us.
ROLAND
(the very softest whisper)
It's just fed. It won't attack unless
it's threatened. Don't move.
As the rex silently cocks its head, sizing up the danger from
these intruders, it breathes again. A few strands of Ludlow's
hair flap in the exhalation. He closes his eyes, near tears.
He can't take it. His eyes dart, glancing down at the weapon
he holds in his hands. Unfortunately, it's extended in front
of him, away from the rex.
He risks another HISS.
LUDLOW
If I don't move, I can't shoot it.
ROLAND
Let it go, Peter. The animal won.
Behind them, the rex appears satisfied. It starts to swing
its massive head around, back toward the jungle. It lifts one
great leg and takes a step into the trees.
Roland signs and closes his eyes, relieved.
But Ludlow seizes the opportunity. He whips his weapon around
and drops to one knee.
ROLAND (cont'd)
NO!
The rex is infinitely quicker. Ludlow just has time to
squeeze off a short burst of semi-automatic gunfire when the
animal whirls, takes one elegant step forward, and POUNCES.
Ludlow's bullets rip harmlessly through the foliage between
the rex's legs as its big head snaps forward and comes down,
jaws wide. They close around Ludlow's body, lift his straight
up into the air, and toss him once, readjusting their grip so
it is firmly around his midsection.
The whole combination of movements takes but half a second.
By the time Roland turns around, the animal has pivoted and
darted back into the jungle, carrying Ludlow, still SCREAMING
and writhing in its mouth.
Roland raises his gun, to draw a bead on the animal, but
through the shivering trees, he can only see that the
tyrannosaur is gone.
CUT TO:
INT. COMMUNICATIONS ROOM - NIGHT
MALCOLM SARAH, NICK, KELLY, and DR. JUTTSON wait nervously in
the communications room. An empty can of Dr. Pepper sitting
on one of the countertops begins to RATTLE. They look over at
it, confused, as the lightweight aluminum can CHATTERS on the
formica counter.
Other objects in the lab begin to rattle too. Glass jars
CLANK against one another, books start to drop off the
shelves, a stool shudders across the floor.
KELLY
What's going on?!
Above them, the rotting wooden roof of the building starts to
actually tear away, chunks of moldy timber flying up into
the night. They look up, a deafening ROAR fills the room --
-- and a helicopter's searchlight floods in!
As the chopper dips lower, looking for a place to land, the
violent prop wash rips away huge chunks of the roof over their
heads.
INT. HELICOPTER - NIGHT
Up above the operations building, the helicopter circles. The
roof of the building is all arches and rotten timber,
impossible to land open.
Below, the PILOTS see the SURVIVORS through the torn roof of
the building. They wave frantically, their flashlight beams
piercing the night sky.
PILOT
There they are!
The Co-Pilot scans the street below, but it's choked with
overturned cars and fallen trees.
CO-PILOT
No LZ in the street, too much debris!
PILOT
Check the other buildings!
The Co-Pilot nods and they peel off, swooping over the rest of
the village.
At the far end of the street, the Co-Pilot brings the
searchlight to bear on the large, flat roof of a three story
building.
The Pilot gives him a thumbs-up.
EXT. MAIN STREET - NIGHT
MALCOLM, SARAH, KELLY, NICK and finally DR. JUTTSON run out
the front of the operations building. At the end of the
street, they can see the helicopter as it descends slowly over
the building, to land on its roof.
MALCOLM
There it is!
Happily, the group double-times it down the street, headed for
the chopper. Again, those strange rock formations are
everywhere. Some seem to be on the sides of buildings, as if
they once dripped there and then turned to stone.
This time Sarah pauses at one that is dripping over to the side
of a car like solidified lava. Her face falls as a thought
occurs to her.
SARAH
Ian. It's guano.
MALCOLM
What?
SARAH
These formations. They're dried --
MALCOLM
Birdshit?
A VELOCIRAPTORS jumps onto a fallen tree trunk behind them.
They don't see it.
NICK
Who cares? Let's go!
Unaware of the raptor's presence, they resume their trot
toward the helicopter. Behind them, the raptor crouches and
SNARLS, but the sound is lost under the WHINE of the
helicopter's engines. It springs, covering the distance
between them quickly.
The animal SLAMS into JUTTSON, the last person in the group,
and takes him down. Juttson is thrown forward, into the
others, who fall like dominoes.
Juttson SCREAMS, his voice an unnatural, high-pitched SQUEAL,
as the raptor flips him over and lowers its jaws into him.
Sarah looks up, panicked. Her eyes widen at the sight of a
SECOND RAPTOR, this one running straight at hr at top speed.
She buries her face in the dirt, covering her head with her
hands --
-- and the raptor's foot SLAMS into the ground between her
legs as it bounds over her and dives onto Juttson, joining the
first raptor in the kill.
Panicked, the group scatters in all directions. Kelly jumps
up and scrambles into the middle of the street, where she hits
the dirt and crawls under a fallen shed in the middle of the
road.
Malcolm rolls over to the space where Kelly was, but she's
gone now. He looks around frantically.
MALCOLM
Kelly?! KELLY?!
Sarah rolls onto her feet and sprints toward the building
nearest her.
Behind her, a THIRD RAPTOR gives chase, bounding after her
with horrifying speed. Sarah runs flat-out, but her speed is
nothing compared to the raptor's, and it gains on her rapidly.
The walls of a structure of some kind close in around Sarah,
and as she leaps across a leather seat and SLAMS a door behind
her, we realize she's crawled into the back seat of an
abandoned car.
But the car door is thin protection against the charging
raptor, which SLAMS into the window, head first. The window
spinderwebs, but does not yield. The raptor crumples to the
ground.
Sarah looks up, through a three inch hole in the middle of the
web. The raptor leaps back to its feet and plunges its nose
into the tiny hole, thrashing, widening it.
Sarah SCREAMS and the animal forces its entire head through
the hole, SNAPPING its jaws just short of her face.
She hurls herself over the seat and into the front as the
animal penetrates even further into the car, but its torso
will not fit through the window opening. It pulls away.
In the front seat, Sarah gets some very bad news.
There's no windshield.
The raptor springs up onto the hood, its claws CLATTERING on
the sheet metal, and tosses its body through the opening --
-- just as Sarah hurls herself out the door. While the raptor
struggles to right itself in the front seat, Sarah runs to the
nearest building, ducks inside, and SLAMS the heavy wooden
door.
CUT TO:
EXT. GAS STATION - NIGHT
MALCOLM races between the idled gas pumps and into the gas
station building, closing the door behind him. A moment
later, a raptor bounds after him, SLAMMING into the door.
Meeting resistance, it bounces off, notices the plate glass
window next to the door, and pounces at that. The window
SHATTERS and the raptor clings to the ledge, staring inside,
its tail hanging out.
Just as it gets inside, Malcolm opens the door and comes back
out, keeping the place of wall between them. He pulls the
Lindstradt rifle off his back and tries to take aim --
-- but the raptor whirls and springs, forcing him back inside,
through the door again.
Willing to play along, the raptor turns and jumps through the
window again.
INT. GAS STATION - NIGHT
Balancing on the window frame, the raptor HISSES and crouches,
ready to spring at Malcolm.
Malcolm takes cover behind the door, which is hanging open
between them. He raises the rifle.
Th raptor springs into the door, BLASTING it off its hinges,
knocking Malcolm right through a window behind him.
But the door SMACKS up against the wall, covering the window,
preventing the raptor from following Malcolm out that way.
For the moment.
EXT. GAS STATION - NIGHT
Malcolm flies through the window and CRUNCHES to the ground.
He GROANS in agony and rolls off his bad leg, which is twisted
unnaturally beneath him, and claws in the mud for the gun.
ROUGH HANDS reach down, grab him by the shirt, and haul him to
his feet. It's NICK. He drags Malcolm away, but in the
commotion Nick's duffel slips off his shoulder and lands in
the street, spilling some of the precious videotapes.
Malcolm scoops them up.
NICK
Come on!
MALCOLM
Where's Kelly?
NICK
She's with Sarah!
They race off, down the street.
CUT TO:
INT. KILN HOUSE - NIGHT
High above SARAH, we see she is standing alone in a three
story kiln house, a windowless shed used for firing pottery
and other construction projects. Catwalks lined with heavy
chains hang above her, and onto the floor below, she turns in
circles, wondering what to do now.
From outside the kiln house, she hears SCRATCHING, digging
sounds. From the other side of the door comes an animal
SNORT, and a small puff of dust and dirt billows up through
the crack along the ground.
ON THE OTHER SIDE OF THE DOOR,
the claws of one of the raptors dig furiously, trying to
tunnel underneath.
INSIDE,
Sarah runs to the opposite wall, falls to her knees, and
starts digging a tunnel of her own, clawing frantically at the
ganging tools always and CLANKS as it tears at the earth below
it.
Sarah digs faster. So does the raptor.
With about eight inches of space under the wall, Sarah grabs
hold of the bottom of one of the plans and pries it up as
hard as she can. It snaps off with a loud CRACK.
At the door, the raptor stops digging. It's silent for a
moment.
Sarah has a good foot and a half of space under her wall now.
She starts to lower her body into it --
-- JUST AS THE RAPTOR'S CLAWS FLASH THROUGH FROM THE OTHER
SIDE!
Sarah falls back, SCREAMING, leaps to her feet, and jumps up,
grabbing hold of one of the catwalks above. She starts to
climb, up, anywhere up, as the RAPTOR now squirms and thrashes
its way inside, coming in through her hole.
Sarah climbs, hauling herself up, leaping from one catwalk to
another.
The raptor leaps up onto a catwalk as well and follows her.
EXT. KILM HOUSE - NIGHT
A window in the slanted roof of the kiln house EXPLODES in a
shower of glass as SARAH kicks through it and climbs outside.
CUT TO:
EXT. MAIN STREET - NIGHT
Nick drags a badly limping MALCOLM down the main street. They
can see helicopter at the far end, engine ROARING and
searchlight playing over them as they draw closer. They
approach a rusted, abandoned pickup in the middle of the
street --
-- and a RAPTOR leaps on top of it. Its claws CLACK on the
roof as it goes into its pre-attack crouch.
They don't stick around to negotiate. Nick hauls Malcolm off
into the nearest building.
INT. WORKER HOTEL - NIGHT
NICK and MALCOLM hurry inside and SLAM the door behind them.
They're standing in the lobby of a hotel of some kind,
probably used for overnight guests and day workers who had to
spend the night. The room and staircase wind around a large,
open-aired central area four stories tall. They SHOUT at each
other, frantic.
MALCOLM
We can't stay in here!
NICK
We're sure as hell not going back out
there"
MALCOLM
This is single-wall construction!
It's just a shack!
NICK
It'll hold!
MALCOLM
For sixty seconds, maybe! Look at
this!
(RAPS on the door with his
knuckles)
You could-
With a CRASH, the wood SPRINTERS around the lock and the door
swings open violently. Malcolm is thrown aside, landing hard
on the floor.
A VELOCIRAPTOR stands HISSING in the doorway. Nick throws his
weight against the door. SLAMMING it hard against the raptor.
Malcolm rolls over and paws the gun off his back.
SLAM! The raptor charges the door again, this time BLASTING
it off its hinges, knocking Nick to the floor beneath it. The
raptor turns and SNARLS at Malcolm.
Malcolm swings the gun around --
-- the raptor lunges at him --
-- Malcolm's finger closes on the trigger --
-- and the raptor lands on top of him.
The weight of the animal CRUSHES him into the floor, but the
gun barrel now stands between them. The raptor CHOMPS down
hard on the barrel, its teeth GRINDING on the metal, and SNAPS
its head, to tear it from Malcolm's hands.
Malcolm pulls the trigger.
The raptor's eyes pop wide as the dart SLAMS into the back of
its throat. It makes a GURGLING sound, then convulses
violently and rolls off of Malcolm, yanking the gun from his
hands as it falls and dies.
Nick scrambles out from under the door. Malcolm tries to
wrench the gun from the raptor's clenched jaws, but it won't
budge.
NICK
(helping him out)
Head for the roof!
MALCOLM
I have to find Kelly!
NICK
I think she's with Sarah!
MALCOLM
DAMN IT, BE SURE!!
CUT TO:
EXT. MAIN STREET - NIGHT
KELLY remains huddled under the fallen shed, trembling with
fear. She holds her breath and freezes, as just outside, only
two feet from where she's hiding --
-- a RAPTOR'S FEET pick their way past her, down the middle of
the street.
Kelly closes her eyes and suppresses a scream.
CUT TO:
EXT. ROOFTOP - NIGHT
NICK and MALCOLM burst onto the roof of the now-burning
hotel and SLAM the door behind them. The helicopter is now
only three rooftops away. They turn and head for it, Nick in
the lead, but there's an eight foot gap between the buildings.
MALCOLM
It's too wide!
Nick looks around, desperate. A fallen power pole leans
against the building they're standing on, its lines gone
slack.
NICK
Help me push this!
Malcolm understands. He and Nick throw a shoulder into the
pole and give it a mighty push, tipping it over in the other
direction. One good hard shove and it falls to the far
building, THUDDING against it solidly.
Its power lines are not taut, a lifeline from this rooftop to
the next. Nick grabs hold and starts to pull himself across
the gap, hand over hand.
Behind them, the door of the building SPLINTERS and CRASHES
open as a raptor throws all its weight into it. Malcolm leaps
onto the power line without hesitation and starts pulling
himself across.
But even with the door wide open, the raptor on the other side
hesitates. It SNARLS and backs away, refusing to come out
onto the roof.
ON THE OTHER ROOFTOP,
Malcolm lands next to Nick on the second rooftop. They look
back at the frightened animal, which takes tow steps out onto
the roof, SNARLS, and backs into the doorway again.
NICK
It's afraid to come onto the roof!
Malcolm looks around, at the rooftop. Strange bits of scrap
and debris seem to have been arranged there, in an odd,
concentric pattern.
MALCOLM
Something's wrong.
NICK
Look! Sarah!
He points to the roof of the kilm house, in the distance.
Malcolm turns, and sees SARAH crawling across the tile. His
face turns white.
MALCOLM
SHE'S ALONE!!
CUT TO:
EXT. KILM HOUSE ROOF - NIGHT
SARAH has problems. Still on top of the kilm house, she
reaches the edge and pushes off the roof, leaping to the roof
of the next building.
She lands at the peak of the intersection of the two sides of
sloping roof. As she pulls herself up --
-- a RAPTOR appears on the rooftop behind her. In full
stride, it leaps, sails over her, and lands on the roof
ahead of her.
Sarah swings to her left and starts to crawl down the slope,
away from the raptor. Suddenly the roof board under her
SPRINTERS and CRACKS under her weight. The whole section
pulls up and starts to slide off the roof. Sarah, clinging to
it, rides the roof planks down, away from the raptor.
She looks over her shoulder, down --
-- and sees ANOTHER RAPTOR, waiting for her on the roof of the
building below.
Sarah quickly rolls off the sliding section of roof, which
keeps sliding, falling. The raptor below jumps up, just in
time to get WHACKED in the head by the falling roof section.
Sarah tries to cling to the Spanish tile roof, fingers and
nails slipping on the slick ceramic surface. She slides all
the way to the edge, grabs hold of the gutter, and dangles
there, suspended above one raptor and trapped below another.
The raptor above works its way down. The one below leaps up,
at her dangling legs. She has left them in time with its
jumps, to avoid losing her feet. This can't go on for long.
Desperate, she pulls one of the Spanish tiles up from the roof
and hurls it at the raptor below. It hits the animal in the
head, for all the good that does.
But Sarah keeps on, pulling and throwing more tiles. She
edges to the right, toward a fresh supply.
The raptor above edges even closer, claws CLICKING on the
slick roof.
Something interesting is happening. As Sarah pulls the loose
tiles free, the ones above slide down, to take their place.
Sarah sees this and pulls more free, knocking them out of the
way as fast as she can.
Suddenly an avalanche of loose tiles breaks loose and the
footing underneath the raptor above disintegrates. The
animal's feet flail and grasp, it slides towards the edge amid
the tumbling tiles.
Sarah, seeing it coming, swings in close to the building,
hugging it as closely as she can. The raptor falls off the
roof, right past her --
-- and CRUNCHES into the raptor below. Both animals SNARK and
attack one another.
Now Sarah, her grip exhausted, falls too, landing right next
to the enraged animals. They fight and roll, RIGHT OVER HER.
She GROANS and hugs the wood below her, the raptors continue
to thrash and bite, they roll back, toward her, she rolls out
of their way --
-- and plunges through a hole in the roof.
INT. LAB - NIGHT
Sarah falls through the roof of a deserted laboratory and
lands in the tray of an old-fashioned hanging fluorescent
light fixture.
One end of the fixture's support SNAPS, it drops at a 45
degree angle, Sarah slides out the other end and CRASHES
through a window.
EXT. STREET - NIGHT
Sarah lands in the mud in the street below.
CUT TO:
EXT. BETWEEN TWO BUILDING - NIGHT
With a THUD, MALCOLM lands in the mud between two other
building, one of which he has just climbed off of. Panicked,
he leaps to his feet and starts to SHOUT.
MALCOLM
Kelly! KELLY!
CUT TO:
EXT. MAIN STREET - NIGHT
SARAH sprints down the main street as fast as she can, toward
the building on which sits the helicopter. Above her, she can
see NICK has now reached the helicopter and is waving to her.
Sarah reaches the fallen water tower, which is next to the
helicopter building, and starts to climb it.
ELSEWHERE IN THE STREET,
KELLY is still covering underneath the fallen shed. In the
distance, she can see the helicopter. But she is trembling
with fear, unable to move.
The whole shed suddenly RATTLES as something heavy hits it
outside. Kelly's mouth drops open to scream, but her terror
is so complex that no sound comes out. She raises her hands
in self-defense, whatever's outside ROARS with effort, the
entire shed is suddenly RIPPED right up off of her, and she
looks up --
-- into her father's eyes.
KELLY
Dad!
MALCOLM
Come on!
He grabs her by the hand and they take off down the street.
ON THE ROOFTOP,
Sarah emerges at the top of the water tower structure and
leaps onto the roof, into Nick's arms.
NICK
Where's Kelly?
SARAH
Where's Ian?
Eyes wide with panic, they both turn and look down at the
street below, where they see KELLY and MALCOLM, racing at top
speed down the middle of the street --
-- WITH A VELOCIRAPTOR CHASING THEM.
DOWN IN THE STREET,
Malcolm and Kelly have a twenty yard advantage on the animal.
They're pretty fast, but it's faster.
Above them, Nick and Sarah are at the edge of the roof,
SHOUTING and urging them on. They push it, faster.
They reach the base of the fallen water tower, the jumble of
struts and metal poles that Sarah climbed.
MALCOLM
CLIMB!
Kelly leaps ahead of him and grabs hold of one of the poles,
pulling herself neatly up to her feet and reaching for the
next one.
Malcolm stretches and makes the same effort, but for him it's
much harder.
Below them, the raptor springs and SLAMS into the struts,
shaking the whole structure. It pulls itself up.
Higher up, Kelly climbs fast, hands gliding over the poles.
She breaks out into the open, where a long, narrow pole runs
on a slight incline up to the roof. She scampers across it,
running the balance beam.
She reaches the other side, on a ledge below the roofline, and
looks back. Malcolm is at the other end, hesitating, drained,
breathing hard.
KELLY
DAD, COME ON!
Below him, the raptor closes in. Malcolm sets out across the
beam, his legs shaking. He places his feet carefully, he
doesn't have nearly the balance Kelly did.
The raptor draws closer.
KELLY (cont'd)
FASTER!
Malcolm slips.
One foot twists right off the bar and he spins, arms flailing,
trying to regain his tenuous balance.
But he overcompensates and his whole body, wrenches out from
under him. He falls, the bar SMACKS him hard in the chest,
knocking the wind out of him, and he drops, flipping right off
the bar and bouncing painfully through the maze of bars below.
He drops right past the pursuing velociraptor, CRUNCHING to
a halt in a nest of bars ten feet off the ground, probably
cracking a rib. Kelly SCREAMS from above him.
KELLY (cont'd)
DAD!
She stares down in horror at her father. Wrenched in among
the bars, Malcolm is helpless as the animal crouches only six
feet above him now, with an open attack route.
The animal SNARKS and goes into its pre-attack crouch.
Up above, Kelly wipes the palms of her hands on her jeans
and leaps out into space, grabbing hold of one of the bars.
The raptor springs.
Kelly spins around, over the top of the bar, and, at the very
peak of her trajectory, she lets go.
The raptor sails through down from above, feet first, SLAMMING
both of them squarely into the raptor's side, sending it
hurtling into space.
She lands hard and awkwardly, CLANGING into the spidery
scaffolding next to Malcolm as the raptor SMASHES to the
ground below. But Kelly manages to hold on.
KELLY
GET UP!
She grabs hold of Malcolm and pulls him to his feet.
ON THE ROOF,
Kelly and Malcolm appear over the roofline. The PILOTS SHOUTS
from inside.
PILOT
LET'S GO LET'S GO LET'S GO!!
Malcolm and Kelly scramble toward the helicopter. But at the
opposite side of the roof, a RAPTOR claws its way over the
edge as well.
Malcolm sees it and they lunge for the helicopter, but the
animal is far faster. It's only ten feet away, then five,
they're surely done for this time, when --
-- KA-BOOM!
There comes the loudest single gunshot anyone has ever heard,
and the raptor flies off its feet and lands ten feet across
the roof, dead. They look up, to the source of the
gunshot.
It's ROLAND, standing at the edge of the roof, holding his
smoking .600 Nitro Express.
But there's no time for celebration, as suddenly the
helicopter's left skid CRACKS right through the surface of the
roof.
PILOT
HURRY! THE ROOF'S GIVING WAY!
The skid dips even further, ripping right through the
thatch-and-wood construction. Kelly, who had one foot in the
helicopter, loses her balance --
-- as the roof caves in beneath her.
MALCOLM
KELLY!
She falls, SCREAMING, through the hole and down, into the
building below.
ONE FLOOR DOWN,
Kelly lands with a CRUNCH on the floor immediately below the
roof, about nine feet down. But her landing is cushioned by
an inordinate amount of straw and leaves that have been
arranged there. She lifts one hand, and a yellowy, viscous
substance drips off of it.
It's yolk. She looks around, noticing half a dozen large,
oblong shapes. Eggs.
Above her, Malcolm is scrambling, climbing down to her through
the wreckage of the CREAKING, crumbling roof.
MALCOLM
Kelly! I'm coming!
Kelly climbs to her knees, but behind her, a large, dark shape
is moving. Rising. Unfolding, in a way.
IT'S A PTERANODON.
Yep, flying dinosaur. The enormous animal raises its head, a
brilliant blue crest extending two feet behind its long,
saber-like beak. It SQUAWKS at Kelly in fury. She can only
stare, spellbound.
Malcolm reaches her and grabs hold as the angry animal unfurls
its massive twenty-two foot wingspread.
ON THE ROOF,
the helicopter lurches as it sinks further into the crumbling
roof, and now the skids are getting tangled in the debris.
Roland races over to the hole, climbs in a few feet, and
starts kicking at it, making it larger.
ROLAND
Give me a ladder!
IN THE PTERANODON NEST,
Malcolm tries to haul Kelly back up the way he came, but a
SECOND PTERANODON now appears from the depths of the building,
SCREECHING in fury at these invaders who have landed in the
middle of their clutch of eggs.
An emergency rescue ladder drops through the hole in the roof.
Malcolm grabs Kelly with one arm and the ladder with the other
and they start to climb out of the nest.
ON THE ROOF,
Malcolm and Kelly climb the ladder and are pulled into the
belly of the chopper just as two enormous beaks break
through the surface of the roof around them.
The pteranodons are emerging.
MALCOLM
GO GO GO GO GOG GO!
The helicopter lurches up a few feet, but it yanked to an
abrupt stop. The engines WHINE, the chopper just hovers
there.
PILOT
We're snagged on something!
They loos down. BOTH PTERANODONS have come out through the
hole in the roof and are clinging to the skids of the
helicopter. They flap their gigantic wings in unison, and
drag the helicopter off, into the air, away from the nest --
-- and let go. Freed, the helicopter gains altitude quickly.
IN THE HELICOPTER,
the PILOTS gape as the pteranodons coast along, right next to
the helicopter.
PILOT
Hang on! If I tip it hard, I can cut
'em with the rotors!
SARAH
NO! Don't! They're not attacking!
They look out the windows, where, indeed, the magnificent
animals are merely accompanying them, flying escort as the
chopper gains altitude.
SARAH (cont'd)
They're protecting their nest.
That's all. That's all they're
doing.
Kelly, completely drained, sits between Sarah and Malcolm,
each of whom has a protective arm around her. She sags
against her father's chest, nothing left.
He holds her tight and WHISPERS in her ear.
MALCOLM
Thank you. Kelly, thank God. Thank
God for you...
IN THE NIGHT SKY,
over the island, the helicopter steadily gains altitude. A
hundred feet. Three hundred. A thousand.
As the helicopter is clearly leaving the island, the
pteranodons now peel off, their job done. One of them banks
sharply, right in front of the moon. The moonlight
silhouettes it, shining right through its membranous wings,
lighting it up like a Halloween skeleton.
Below, the tiny green island melts away into the vastness of
the wine-dark sea.
CUT TO:
EXT. TYRANNOSAUR NEST - NIGHT
Elsewhere in the forest, it's not such a happy story. PETER
LUDLOW, still alive, drops through the air and CRUNCHES to the
muddy ground. Dizzy, bleeding, the breath knocked out of him,
he opens his eyes and sees a sloping bank of dried mud.
From behind him, he hears a CHIRPING sound. He turns.
He's in the tyrannosaur nest.
The BABY TYRANNOSAUR faces him, still with a strange
aluminum-foil cast on its leg. The baby SQUEAKS with
excitement as it toddles toward him.
Ludlow scrambles to his feet, unsure what to do. Both ADULT
TYRANNOSAURS stand outside the nest, staring down at him.
The baby runs toward Ludlow, so he turns and runs away.
But in an instant, the male brings its head down, knocking
Ludlow to the ground. Then it raises its head again.
Watching. Waiting.
Ludlow gets up again and tries to run, but now the female rex
strikes, knocking him over again.
Ludlow tries to crawl away, on all fours. The male bends down
and closes its jaws around one of his legs, holding it
tightly. Ludlow SCREAMS --
-- and the rex bits down decisively. The bone breaks with a
dry SNAP. Ludlow HOWLS in pain, unable to move, and the baby
toddles forward eagerly. Ludlow can only stare as it leaps
up, onto his chest, and opens its jaws wide.
Peter Ludlow SCREAMS.
CUT TO:
EXT. CEMETERY - DAY
Snow falls in a gray midwinter sky. In a cemetery, a group of
fifty MOURNERS is grouped around a gravesite next to a coffin
that is festooned with cascades of flowers. On a table, there
is an array of framed photographs --
-- of JOHN HAMMOND. A MINISTER reads from the Bible while the
Mourners wipe away tears. IAN MALCOLM stands a respectful
distance from the group, KELLY right beside him. Malcolm's
face is blank, tired, his sunburn out of place with the white
winter setting around him.
At gravesite, a Young Woman turns, looking back over her
shoulder. About sixteen, she's lovely, with long blonde hair
and an honest, open face. She notices Malcolm, recognizes
him.
She nudges a Young Man next to her, about thirteen years old.
The Young Man turns and breaks into a smile just as welcoming.
As the ceremony breaks up, they walk over to him.
MALCOLM
Hello, Lex. Tim.
LEX stands on her tiptoes and kisses Malcolm on the cheek.
TIM extends a hand and Malcolm shakes it.
MALCOLM (cont'd)
This is Kelly. My daughter.
They nod their hellos.
LEX
I'm glad you came, Dr. Malcolm
MALCOLM
I'm sorry about your grandfather.
TIM
Thank you.
LEX
We were going to call you, in a few
days. Tim and I have been thinking,
and we've decided we want people to
know about the island. About what we
all saw.
TIM
We think it's something our
grandfather would want us to do.
MALCOLM
(pause)
Why?
LEX
Because it's true.
Malcolm looks at her for a long moment.
MALCOLM
I know, Lex. But even if we're the
only ones who ever know, it'll still
be true. You see, I've decided
that if the world found out about
what your grandfather created, it
wouldn't be around for very long.
LEX
But -- it was real. You can't let
people go on saying it's not.
MALCOLM
That's the thing about reality.
He looks down at Kelly.
MALCOLM (cont'd)
Even when people stop believing in
it, it doesn't go away.
Kelly smiles and takes his hand, her slender fingers
interlocking with his.
EXT. JUNGLE - DAY
Back on Isla Sorna, we float over the deserted worker village,
moving lightly, as in a dream.
MALCOLM (V.O.)
Do you feel the cold wind blowing on
your face? That's real.
We sweep low, landing on the roof the helicopter took off
from, the nest below now careful rebuilt with straw and
scrap, a dozen unblemished eggs in the middle of it.
MALCOLM (V.O.)
Do you see the four of us, standing
here together, alive? That's real.
A PTERANODON land gently on the nest. Ever so carefully, it
positions itself over the eggs, lowers itself to roosting
position, and folds its giant wings around its body.
MALCOLM (V.O.)
And maybe that's still that matters.
The animal raises its head, opens its beak, and SQUAWKS
approvingly up at the heavens.
FADE OUT