JURASSIC PARK screenplay by David Koepp based upon the novel by Michael Crichton and on adaption by Michael Crichton and Malia Scotch Marmo December 11, 1992 1 EXT JUNGLE NIGHT An eyeball, big, yellowish, distinctly inhuman, stares raptly between wooden slats, part of a large crate. The eye darts from side to side, alert as hell. A legend tries to place us - - ISLA NUBLAR 120 MILES WEST OF COSTA RICA - - but to us it's still the middle of nowhere. It's quiet for a second. A ROAR rises up from the jungle, deafening. The trees shake as something very, very large plows ahead through them, right at us. Every head gathered in this little clearing snaps, turning in the direction of the sound as it bursts through the trees. It's a bulldozer. It drops its scoop and pushes forward into the back end of the crate, shoving it across the jungle floor towards an impressive fenced structure that towers over an enclosed section of thick jungle. There's a guard tower at one end of this holding open that makes it look like San Quentin. The bulldozer pushes forward into the back end, the crate THUDS TO THE FLOOR. A door slides open in the pen, making a space as big as the end of the crate. Nobody moves for a second, A grim-faced guy who seems to be in charge (Robert Muldoon, although we don't know it yet). MULDOON Alright now, pushers move in. Loading team move it. The movement as agitated whatever is inside the crate, and the whole thing shivers as GROWLS and SNAPS come from inside. Everyone moves back. MULDOON (cont'd) Alright, steady. Get back in there now, push. Get back in there, Don't let her know you're afraid! The men go back to the crate and begin to push it into the slot. The crate THUDS UP AGAINST THE OPENING. A green light on the side of the pen lights up, showing contact has been made. FROM INSIDE THE CRATE, we get glimpses of what's on the other side of those wooden slates - - jungle foliage, MEN with rifles, searching searchlights. The view is herky-jerky as the crate put into position. MULDOON Well lockedŠ Loading team, step away. Joffrey, raise the gate. A WORKER climbs to the top of the crate. The search lights are trained on the door. The RIFFLEMEN throw the bolts on their rifles and CRACK their stun guns, sending arcs of current CRACKING through the air. The WORKER gets ready to grab the gate when all at once - - A ROAR from the inside the crate, and the panel flies out of his hands and SMACKS into him, knocking him clear off the crate. Now everything happens at once. The WORKER THUDS to the jungle floor, the crate jerks away from the mouth of the holding pen flash, an alarm BUZZER sounds - - - - and a claw SLASHES out from inside the crate. It sinks into the ankle of the WORKER. dragging him toward the dark mouth between the crate and the pen. The WORKER SCREAMS and paws the dirt, leaving long claw marks as he is rapidly dragged toward the crate. Muldoon SHOUTS orders: MULDOON Tasers get in there, Goddamn it! They FIRE their guns - the wood of the crate SPLINTERS. Muldoon runs in and grabs the WORKER, trying to pull him free. The wild arcs of currents from the stun gun flash and CRACK all around, but in a second - - - - the WORKER is gone. CUT TO: 2 EXT MOUNTAINSIDE DAY MANO DE DIOS AMBER MINE DOMINICAN REPUBLIC DONALD GENNARO, forty, in a city man's idea of hiking clothes and a hundred dollar haircut, approaches on a raft being pulled across a river by TWO MEN. On the hillside, JUAN ROSTAGNO, thirty-ish, Costa Rican, a smart-looking guy in workers clothes, is waiting for him. ROSTAGNO Tengo mil pesos que dicen que se cae (I have a thousand pesos that say he falls) (or) Apuesto mil pesos que se cae. (I bet a thousand pesos he falls) Gennaro finally lands, and Rostagno helps him off the raft. GENNARO Hola, Juanito ROSTAGNO Hola, bienvenido Rostagno leads Gennaro towards the mine. Dozen of shirtless WORKERS claw and SCRAPE at a rocky mountainside that is the site of an extensive mining operation. The work is all done by hand, pick and shovel instead of dynamite and bulldozer. GENNARO What's this I hear at the airportŠ Hammond's not even here? ROSTAGNO He sends his apologies. GENNARO You're telling me that we're facing a $20 million lawsuit from the family of that injured worker and Hammond couldn't even be bothered to see me? ROSTAGNO He had to leave early to be with his daughter. She's getting a divorce. GENNARO I understand that. (or) I'm sorry to hear that. We'd be well advised to deal with this situation now. The insurance company - - Gennaro almost falls, Rostagno helps him. GENNARO (cont'd) - -the underwriters of the park feel the accident raises some very serious questions about the safety of the park, and they're making the investors very anxious. I had to promise I would conduct a thorough on-site inspection. ROSTAGNO Hammond hates inspections. They slow everything down. GENNARO Juanito, if they pull the funding, that will really slow things down. (or) If they pull the funding that's going to slow things down around here. A WORKER hurries up to them and busts into the conversation, breathless. WORKER (to Rostagno) Jefe, encontramos otro mosquito, en el mismo sitio. (Chief, we found another mosquito in the same place) ROSTAGNO Seguro? Muestrame! (Are you sure? Show me.) The WORKER and ROSTAGNO scramble back deeper into the mine. Rostagno calls back over his shoulder to Gennaro. ROSTAGNO (cont'd) It seems like it's going to be a good day after all. They found another one! C'mon. Gennaro struggles to keep up. 3 EXT CAVE DAY ROSTAGNO and GENNARO move into the dark, dripping cave, where at least a dozen other WORKERS are gathered in a tight circle, staring at something intently. Rostagno fights his way to the center of the group. One of the WORKERS hands him something and Rostagno examines it carefully. It's a chuck of amber, a shiny yellow rock about the size of a half dollar. GENNARO If two experts sign off on the island, the insurance guys'll back off. I already got Ian Malcolm, but they think he's too trendy. They want Alan Grant. ROSTAGNO Grant? You'll never get him out of Montana. GENNARO Why not? ROSTAGNO Because he's like me. He's a digger. Rostagno turns and holds the amber up to the sunlight streaming through the mouth of the cave. With the light pouring through it, the amber is translucent, and we can see something inside this strange stone - - - - a huge mosquito, long dead, entombed there. ROSTAGNO (smiles) Hay que lindo eres vas hacer a much gente feliz. (Oh you're so beautiful. You will make a lot of people happy) CUT TO: 5 EXT THE DIG DAY An artist's camel hair brush carefully sweeps away sand and rock to slowly reveal the dark curve of a fossil - it's a claw. A dentist's pick gently lifts it from the place its has laid for millions of years. Pull up to reveal a group of diggers working on a large skeleton. All we see are the tops of their hats. The paleontologist working on the claw lays it in his hand. GRANT (thoughtfully) Four complete skeletons. . . . such a small area. . . the same time horizon - - ELLIE They died together? GRANT The taphonomy sure looks that way. ELLIE If they died together, they lived together. Suggests some kind of social order. DR ALAN GRANT, mid-thirties, a ragged-looking guy with intense concentration you wouldn't want to get in the way of, carefully examines a claw. DR ELLIE SATTLER, working with him, leans in close and studies it too. She paints the exposed bone with rubber cement. Ellie in her late twenties, athletic-looking. There's an impatience about Ellie, as if nothing in life happens quite fast enough for her. Her face is almost pressed up against his, she's sitting so close. GRANT (cont'd) They hunted as a team. The dismembered tenontosaurus bone over there - that's lunch. But what killed our raptors in a lakebed, in a bunch like this? We better come up with something that makes sense. ELLIE A drought. The lake was shrinking - - GRANT (excited) That's good. That's right! They died around a dried-up puddle! Without fighting each other. This is looking good. From the bottom of the hill a voice SHOUTS to them: VOLUNTERR (o.s.) Dr Grant! Dr Sattler! We're ready to try again! Grant SIGNS and sits up, stretching out his back. GRANT I hate computers. He shoves the claw absent-mindedly into his pocket and he and Ellie walk toward the source of the voice. As they walk, we get our first look at the badlands. Exposed outcroppings of crumbling limestone stretch for miles in every direction, not a tree or a bush in sight. In the dig itself, the ground is checkered with excavations everywhere. There's a base camp with five or six teepees, a flapping mess tent, a few cards, a flatbed truck with wrapped fossils loaded on it, and a mobile home. There are a dozen VOLUNTEERS of all ages at work in various places around the dig. The Volunteers are from all walks of life, dinosaur buffs. Three or four of them have CHILDREN with them, and the kids run around, like in a giant sandbox. Grant , Ellie and a Volunteer walk down the hill. Grant spots a KID kicking dirt onto one of the digs. He notices and frowns. GRANT What's that kid doing? (to the kid) What are you doing there!? Excuse me! Can you just back off? This is very fragile! Are you out of your mind? Get off that and go find your parents! (to Ellie) Did you see what he just did? The kid stomps away, pissed off. KID Asshole. GRANT (to Ellie) Why do they have to bring their kids?! ELLIE You could hire your help. But there's four summers of work here, with the money for one. And you say it's a learning experience, sort of a vacation, and you get volunteers with kids. He and Ellie arrive to where several VOLUNTEERS are clustered around a computer terminal that's set up on a table in a small tent, its flaps lashed open. GRANT (to the Volunteer) Ready to give it a shot, Jerry? A LITTLE GIRL moves a little too close to the machine. ELLIE Want to watch the computer? Ellie quietly moves her out of Grant's way, to a place she can see. VOLUNTEER Thumper ready? MAN Ready. VOLUNTEER Fire. The VOLUNTEER throws a switch on a machine that looks a bit like a floor buffer. The whole thing hops up into the air as it drives a soft lead pellet into the earth with a tremendous force. There is a dull THUD, the earth seems to vibrate, and all eyes turn to the computer screen - - ELLIE How long does this usually take? VOLUNTEER It should be immediate return. You shoot the radar into the ground, the bone bounces back.... The screen suddenly comes alive, yellow contour lines tracing across it in three waves, detailing a dinosaur skeleton. VOLUNTEER This new program's incredible! A few more years of development and you don't have to dig any more! Grant looks at him, and his expression is positively wounded. GRANT Well, where's the fun in that? VOLUNTEER It looks a little distorted, but I don't think that's the computer. ELLIE (shakes her head) Postmortem contraction of the posterior neck ligaments. (to Grant) Velociraptor? GRANT Yes. Good shape, too. Five, six feet high. I'm guessing nine feet long. Look at the - - He points to part of the skeleton, but when his finger touches the screen the computer BEEPS at him and the image changes. He pulls his hand back, as if it shocked him. VOLUNTEER What's you do? ELLIE He touched it. Dr. Grant is not machine compatible. GRANT They've got it in for me. The Volunteer LAUGHS and touches a different part of the screen, which brings the original image back. Grant continues, but doesn't get as close. GRANT Look at the half-moon shaped bone in the wrist. No wonder these guys learned to fly. The group laughs. Grant is surprised. GRANT (cont'd) Now, seriously. Show of the hands. How many of you have read my book? Everyone stops laughing and looks away. Ellie raises her hand supportively. So does the Volunteer, Grant sighs. GRANT (cont'd) Great. Well maybe dinosaurs have more in common with present-day birds than reptiles. Look at the public bone - - it's turned backwards, just like a bird. The vertebrae - - full of hollows and air sacs, just like a bird. Even the word raptor means "bird of prey". The kid steps forward and looks at the computer skeleton critically. KID That doesn't look very scary. More like a six-foot turkey. Everyone sort of draws in their breath and steps aside, revealing the KID, standing alone. Grant turns to the Kid, lowers his sunglasses, and stares at him like he just came from another planet. Grant strolls over to the KID , puts his arms around his shoulders in a friendly way. GRANT Try to imagine yourself in the Jurassic Period. (or) Try to imagine yourself in the Cretaceous Period. Ellie rolls her eyes. ELLIE (under her breath) Here we go. GRANT (cont'd) You'd get your first look at the six-foot turkey as you move into a clearing. But raptor, he knew you were there a long time ago. He moves like a bird; lightly, bobbing his head, And you keep still, because you think maybe his visual acuity's based on movement, like a T- rex, and he'll lose you if you don't move. But no. Not VELOCIRAPTOR. You stare at him, and he just stares back. That's when the attack comes - - not from the front, no, from the side, from the other two raptors you didn't even know were there. Grant walks around the Kid. GRANT (cont'd) Velociraptor's a pack hunter, you see, he uses coordinated attack patterns, and he's out in force today. And he slashes at you with this - - He takes the claw from his pocket and holds it at the front of the raptor's three-toed foot. GRANT (cont'd) - - a six-inch retractable claw, like a razor, on the middle toe. They don't bother to bite the jugular, like a lion, they just slash here, here - - He points to the Kid's chest and thigh. GRANT (cont'd) - - or maybe across the belly, spilling your intestines. Point is, you're alive when they start to eat you. Whole thing took about four seconds. The Kid is on the verge if tears. GRANT (cont'd) So, you know, try to show a little respect. And with that he walks back across the camp, returning to his skeleton. Ellie hurries to catch up with him. ELLIE You know, if you really wanted to scare the kid you could've just pulled a gun on him. GRANT Yeah, I know, you know...kids. You want to have one of those? ELLIE Well, not one of those, well yeah, a possibly one at some point could be a good thing. What's so wrong with kids? GRANT Oh, Ellie, look. They're noisy, they're messy, they're sticky, they're expensive. ELLIE Cheap, cheap, cheap. GRANT They smell. ELLIE Oh my god, they do not! They don't smell. GRANT They do smell. Some of them smell.. babies smell. ELLIE Alright, the one on the airplane had an accident, but usually babies don't smell. GRANT They know very little about the Jurassic Period they know less about the Cretaceous. ELLIE The what? GRANT The Cretaceous. ELLIE Anything else, you old fossil? GRANT Yeah, plenty. Some of them can't walk! ELLIE It frustrates me so much that I love you, that I need to strangle you right now! Ellie playfully takes Grant's hat off and gives him a tight hug. They kiss. A strange wind seems to be whipping up. Grant and Ellie look around, confused. The wind is getting stronger, blowing dirt and sand everywhere, filling in everything they've dug out, blowing the protective canvasses off. Now there's a more familiar ROAR, and they look up and see it - - - - a huge helicopter, descending on the camp. ELLIE (to the volunteers) Get some canvasses and cover anything that's exposed! Grant's already on it, trying to desperately to protect the skeleton he's excavating. He looks up at the helicopter and SHOUTS, shaking his fist. CUT TO: 9 EXT BASE CAMP DAY Down at the base camp, the helicopter has landed. The PILOT is already out, waiting as GRANT comes down from the mountaintop like Moses steaming. Grant gestures wildly at him to turn the chopper off. The pilot points timidly to a mobile home across the camp. Grant runs to the trailer. 10 EXT TRAILER DAY The door to the trailer SLAPS open, and GRANT storms in. GRANT What the hell do you think you're doing in here? The trailer serves as the dig's office. There are several long wooden tables set up, every inch covered with bone specimens that are neatly laid out, tagged, and labeled. Farther along are ceramic dishes and crocks, soaking other bones in acid and vinegar. There's old dusty furniture at one end of the trailer, and a refrigerator. A man roots around in the refrigerator, his back to us. GRUMBLING about the contents which are mostly beer. His hand falls across a bottle of expensive champagne in the back. MAN Ah hah! He pulls it out - the cork POPS. The Man turns around. JOHN HAMMOND, seventy-ish, is sprightly as hell, with bright, shining eyes that say "Follow me!" Grant stares incredulously at the Man, holding his champagne bottle without an invitation. GRANT Hey, we were saving that! HAMMOND For today, I guarantee it. GRANT And who in God's name do you think you are....? HAMMOND John Hammond. And I am delighted to finally meet you in person Dr Grant. Grant is struck silent. He shakes his hand, staring dumbly. GRANT Mr. - - Hammond? Hammond looks around the trailer approvingly, at the enormous amount of work the bones represent. HAMMOND I can see my fifty thousand a year as been well spent. The door SLAPS open again and ELLIE comes in, just as pissed off as Grant was. ELLIE Okay, who's the jerk? GRANT Uh, this is our paleobotanist, Dr Ellie..... ELLIE Sattler. Grant Dr Sattler. Ellie, this is Mr. HAMMOND. (in case she didn't catch it) John Hammond. ELLIE Did I say jerk? HAMMOND I'm sorry for the dramatic entrance, but I'm in a hurry. Will you have a wee bit of a drink now and then? Hammond begins to walk into the kitchen, making himself at home. Ellie follows him tries to help. Grant settles behind the table. HAMMOND (cont'd) Come along then, don't let it get warm! (expansively) Come on in, both of you. Sit down. As Hammond moves, they notice he walks with a slight limp and uses a cane - - for balance or style, it's hard to say witch. ELLIE I have samples all over the kitchen. (she takes some stones out of one of the glasses) HAMMOND Come along. I know my way around a kitchen. Come along. Ellie goes around towards Grant. She grabs a bottle of water. They look at each other, really aback by this guy's bravado, and site down. Hammond dries the glasses. HAMMOND (cont'd) Well now, I'll get right to the point. I like you. Both of you. I can tell instantly with people; it's a gift. (new subject) I own an island. Off the coast of Costa Rica. I leased it from the government and spent the last five years setting up a kind of biological preserve down there. Really spectacular. Spared no expense. It makes the one I had in Kenya look like a petting zoo. No doubt that sooner or later our attractions will send (drive the) kids right out of their minds. GRANT And what are those? ELLIE Small versions of adults, honey. He gives her a dirty look. HAMMOND Not just kids - - for everyone. We're going to open next year. Unless the lawyers kill me first. I don't care for lawyers. You? GRANT I, uh, don't really know any. We - - HAMMOND Well, I'm afraid I do. There's one, a particular pebble in my shoe. He represents my investors. He says they insist on outside opinions. GRANT What kind of opinions? HAMMOND Not to put a fine point on it, your kind. Let's face it, in your particular field, you're the top minds. If I could just get you two to sign off on the park - - you know, give a wee testimonial - - I could get back on schedule - - (he Americanizes him pronunciation) - -schedule. ELLIE Why would they care what we think? GRANT What kind of park is it? HAMMOND (smiles) Well, it's - - right up your alley. (hands Grant a drink) Look, why don't you both (the pair of you) come on down for the weekend. Love to have the opinion of a paleobotoanist as well. (hands Ellie a drink) I've got a jet standing by at Choteau. (he jumps up and sites on the counter) GRANT No, I'm sorry, that wouldn't be possible. We've just discovered a new skeleton, and - - HAMMOND (pours himself a drink) I could compensate you by fully funding your dig GRANT - - this would be an awfully unusual time - - HAMMOND For a further three years. Grant OOFS as Ellie elbows him hard in the ribs. ELLIE Where's the plane? CUT TO: 11 EXT CAFE DAY DENNIS NEDRY is in his late thirties, a big guy with a constant smile that could either be laughing with you or at you, you can never tell. He sits at a table in front of a Central American cafe, eating breakfast Another Legend: SAN JOSE, COSTA RICA Nedry looks up and sees a man get out of a taxi - - LEWIS (Louis) DODGSON, fiftyish, wearing a large straw hat and looking almost too much like an American tourist. Dodgson clutches as attaché case close to him and scans the cafe furtively. Nedry laughs, shakes his head, and waves to him. NEDRY Dodgson! Dodgson hurries over to the table. DODGSON (as he sites) You shouldn't use my name. NEDRY Dodgson, Dodgson. (loud) We got Dodgson here! See, nobody cares. Nice hat. What are you trying to look like, a secret agent? Dodgson ignores that, sets his attaché case down next to the table, and slides it towards Nedry, DODGSON Seven fifty. Nedry smiles and pulls the attaché closer to him. DODGSON (cont'd) On delivery, fifty thousand more for ever viable embryo. That's one point five million. If you get all fifteen species off the island. NEDRY Oh, I'll get 'em all. DODGSON Remember - - viable embryos. They're no use to us if they don't survive. NEDRY How am I supposed to transport them? Dodgson pulls an ordinary can of shaving cream from a shoulder bag he carries and sets it on the table. DODGSON The bottom screws open; it's cooled and compartmentalized inside. They can even check it if they want. Press the top. Nedry presses the top of the can and real shaving cream comes out. He grins, impressed. While Dodgson talks, Nedry looks around for somewhere to wipe the shaving cream and ends up dumping it on top of someone's Jell-O on a dessert tray next to him. DODGSON (cont'd) There's enough coolant gas for thirty-six hours. Nedry looks at the can. NEDRY What? No menthol? DODGSON Mr Nedry, Mr Nedry. The embryos have to be back here in San Jose by then. NEDRY That's up to your guy on the boat. Seven o'clock tomorrow night, at the east dock. Make sure he got it right. DODGSON I was wondering, how are you planning to beat the security? NEDRY I got an eighteen minute window. Eighteen minutes, and your company catches up on ten years of research. A WAITER arrives and puts the check down on the table, between them. Nedry looks down at it pointedly, then up at Dodgson. NEDRY (cont'd) Don't get cheep on me Dodgson. Dodgson rolls his eyes and picks up the check. NEDRY (cont'd) That was Hammond's mistake. 13 EXT OPEN SEA DAY A helicopter, "IN-GEN CONSTRUCTION" emblazoned on the side, skims low over the shimmering Pacific. 14 EXT HELICOPTER DAY GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back of the chopper; HAMMOND is in the front with the PILOT. There are two other passengers was well -- DONALD GENNARO, the lawyer from the amber mine, now dressed in safari clothes, everything straight from Banana Republic. The other Dr. IAN MALCOLM, fortyish, dressed all in black, with a snakeskin boots and sunglasses. Malcolm, who finds it hard to take his eyes off Ellie, leans over and SHOUTS over the engine whine. MALCOLM So you two dig up dinosaurs? GRANT Try to! Malcolm laughs, finding this very amusing, which confuses Grant. Hammond turns around annoyed. HAMMOND You'll have to get use to Dr. Malcolm! He suffers from a deplorable excess of personality, especially for a mathematician! MALCOLM Chaotician, actually! Chaotician! Hammond SNORTS, not even bothering to cover his contempt for Malcolm. MALCOLM John doesn't subscribe to Chaos, particularly what it has to say about his little science project! HAMMOND Codswollop! Ian, you've never come close to explaining these concerns of yours about this island! MALCOLM I certainly have! Very clearly! Because of the behavior of the system in phase space! Hammond just waves him off. HAMMOND A load, if I may say so. of fashionable number crunching, that¹s all it is! MALCOLM (poking at Hammond's knee) John, John. HAMMOND (pushing him away) Don't do that! MALCOLM Dr. Grant, Dr. Sattler -- you've heard of Chaos Theory? ELLIE (shaking her head) No. MALCOLM No? Non-linear equations? Strange attractions? (again, she shrugs) Dr. Sattler, I refuse to believe that you are not familiar with the concept of attraction! Grant just rolls his eyes as Malcolm gives her an oily grin, but Ellie smiles, enjoying Grant's jealousy. Hammond turns to Gennaro and gives him a dirty look. HAMMOND I bring scientists -- you bring a rock star. Hammond looks out the windshield, and CLAPS his hands excitedly. HAMMOND There it is! Up ahead, the others see it. ISLA NUBLAR. It's a smallish island, completely ringed by thick clouds that give it a lush, mysterious feel. The PILOT pulls up over a spot in the clouds and starts to descend, fast. HAMMOND (cont'd) Bad wind shears! We have to drop pretty fast! Hold on, this can be a little thrilling! The helicopter drops like a stone. Outside the windows, they can see cliff walls racing by, uncomfortably close. They bounce like hell, hitting wind up and down drafts. Only Hammond still feels chatty. HAMMOND (cont'd) We're planning an airstrip! On pilings, extending out into the ocean twelve thousand feet! Like La Guardia, only a lot safer! What do you think? They don't answer, just hold on. As they near the ground, a luminous white cloud cross appears below them, a landing pad shining through the Plexiglas bubble in the floor of the chopper. The cross grows rapidly larger as the chopper plummets, but a sudden updraft catches them and they bounce skyward for a moment then drop again, even faster if possible, before landing with a hard BUMP. 14A EXT HELICOPTER LANDING PAD DAY The chopper plummets and finally lands. One of the workers opens the door and the group gets out. Hammond looks out, proudly. 15 EXT HILLTOP DAY Two large, open-top jeeps ROAR down the hilltop away from the landing cross as the helicopter engines WHINE back to life and the rotors start to spin again. ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, HAMMOND and GENNARO are in the rear jeep. Both cars have DRIVERS. They pass through an enormous gate in a thirty foot high fence, which is closed behind them by two PARK ATTENDANTS. There are large electrical insulators on the fences, warning lights that strobe importantly and clear signs -- "ELECTRIFIED FENCE! 10,000 VOLTS!" IN THE REAR JEEP, Gennaro regards the fences critically. GENNARO The full fifty mile of perimeter fence are in place? HAMMOND And the concrete moats, and the motion sensor tracking systems. Donald, dear boy, do try to relax and enjoy yourself. GENNARO Let's get something straight, John. This is not a weekend excursion, this is a serious investigation of the stability of the island. Your investors, whom I represent, are deeply concerned. Forty-eight hours from now, if they - - (gestures to Grant, Ellie, and Malcolm) - -aren't convinced. I'm not convinced. And I can shut you down John. HAMMOND Forty-eight hours from now, I'll be accepting your apologies. Now get out of the way. So I can see them! He shoves Gennaro aside, to get a clear view of Grant, Ellie, and Malcolm. HAMMOND (cont'd) I wouldn't miss this for the world. The jeeps wind their way along a mountain road. IN THE LEAD JEEP, Ellie stares off to the right, fascinated by the thick tropical plant life around them. She tilts her head, as if something's wrong with this picture. She reaches out and grabs hold of a leafy branch as they drive by, TEARING it from the tree. IN THE REAR JEPP, Hammond watching Grant, signals to his Driver . HAMMOND Just stop here, stop here. Slow, slow. He slows down, then stops. So does the front jeep. IN THE FRONT JEEP, Ellie stares at the leaf, amazed, running her hand lightly over it. ELLIE Alan - - But Grant's not paying attention. He's staring too, out the other side of the jeep. Grant notices that several of the tree trunks are leafless - just as thick as the other trees, but gray and bare. ELLIE (cont'd) (still staring at the leaf) This shouldn't be here. Grant twists in his seat as the jeep stops and looks at one of the gray tree trunks. Riveted, he slowly stands up in his seat, as if to get closer. He moves to the top of the seat, practically on his tiptoes. He raises his head, looking up the length of the trunk. He looks higher. And higher. And higher. That's no tree trunk. That's a leg. Grant's jaw drops, his head falls all the way back, and he looks even higher, above the tree line. ELLIE (cont'd) (still looking at the leaf) This species of vermiform was been extinct since the cretaceous period. This thing - - Grant, never tearing his eyes from the brachiosaur, reaches over and grabs Ellie's head, turning it to face the animal. She sees it, and drops the leaf. ELLIE (cont'd) Oh - - my - - God. Grant lets out a long, sharp, HAH - a combination laugh and shout of joy. He gets out of the jeep, and Ellie follows. Grant points to the thing and manages to put together his first words since its appearance: GRANT THAT'S A DINOSAUR! - - a dinosaur. Chewing the branches. Technically, it's a brachiosaur, of the sauropod family, but we've always called it brontosaurus. It CRUCHES the branch in its mouth, which is some thirty-five feet up off the ground, at the end of its long, arching neck. It stares down at the people in the car with a pleasant, stupid gaze. Ellie looks up at the sauropods in wonder. They've pretty light on their feet - a far cry from the sluggish, lumbering brutes we would have expected. Hammond gets out of his jeep and comes back to join them. He looks like a proud parent showing off the kid. Ian Malcolm looks at Hammond, amazed, and with an expression that is a mixture of admiration and rapprochement. MALCOLM You did it. You crazy son of a bitch, you did it. Grant and Ellie continue walking, following the dinosaur. GRANT The movement! ELLIE The - - agility. You're right! In their amazement, Grant and Ellie talk right over each other. GRANT Ellie, we can tear up the rule book on cold-bloodedness. It doesn't apply, they're totally wrong! This is a warm-blooded creature. They're totally wrong. ELLIE They were wrong. Case closed. This thing doesn't live in a swamp to support it's body weight for God's sake! Several of the top branches are suddenly RIPPED away. Another sauropod, reaching for a branch high above their heads, stands effortlessly on its hind legs. GRANT (to Hammond) That thing's got a what, twenty-five, twenty-seven foot neck? HAMMOND The brachiosaur? Thirty. Grant and Ellie continue to walk. GRANT - - and you're going to sit there and try to tell me it can push blood up a thirty-foot neck without a four-chambered heart and get around like that?! Like that!? (to Hammond) This is like a knockout punch for warm-bloodedness. HAMMOND (proudly) We clocked the T-rex at thirty-two miles an hour. ELLIE You've got a T-rex!? (to Grant) He's got a T-rex! A T-rex! He said he's- - GRANT Say again? HAMMOND Yes, we have a T-rex. Grant feels faint. He sits down on the ground. ELLIE Honey, put your head between your knees, and breathe. Hammond walks in front of them and looks out. HAMMOND Dr. Grant, my dear Dr. Sattler. Welcome to Jurassic Park. They turn and look at the view again. It's beautiful vista, reminiscent of an African plain. A whole herd of dinosaurs crosses the plain, maybe a hundred that we see in a quick glance alone. GRANT Ellie, they're absolutely - - they're moving in herds. They do move in herds! ELLIE We were right! GRANT (to Hammond) How did you do it?! (or) How did you do this?! HAMMOND I'll show you. Finally, we notice Gennaro, who was sort of faded into the background while the others reacted. He's just staring, a look of absolute rapture on his face. He speaks in a voice that is hushed and reverent. GENNARO We are going to make a fortune with this place. 16 OMITTED 17 EXT MAIN COMPOUND DAY The main of Jurassic Park is a large area with three main structures connected by walkways and surrounded by two impressive fences, the outer fence almost twenty feet high. Outside the fences, the jungle has been encouraged to grow naturally. The largest building is the visitor's center, several stories tall, its walls still skeletal, unfinished. There's a huge glass rotunda in the center. The second building looks like a private residence, a compound unto itself, with smoked windows and its own perimeter fence. The third structure isn't really a building at all, but the impressive cage we saw earlier, overgrown inside with thick jungle foliage. The jeeps pull up in front of the visitor's center. A18 EXT VISITOR'S CENTER DAY HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the stairs, talking as he goes, Two ladies open the doors to the Visitor Center. 18 INT VISITOR'S CENTER DAY The lobby of the still-unfinished visitor's center is a high- ceilinged place, and has to be house its central feature, a large skeleton of a tyrannosaur that is attacking bellowing sauropod. WORKMEN in the basket of a Condor crane are still assembling skeletons. A staircase climbs the far wall, to another wing. HAMMOND (continuing) - - the most advanced amusement park in the world, combining all the latest technologies. I'm not talking rides, you know. Everybody has rides. We made a living biological attractions so astonishing they'll capture the imagination of the entire planet! Grant stares up at the dinosaur skeletons and just shakes his head. Ellie catches his reaction. ELLIE So what are you thinking? GRANT We're out of a job. Ian Malcolm pops in between them MALCOLM Don't you mean "extinct"? Ellie and Malcolm move on ahead. CUT TO: 19 INT SHOW ROOM DAY HAMMOND Why don't you all sit down. GRANT, ELLIE, and MALCOLM take their seats in the front row of the fifty seat auditorium. GENNARO sits behind them. HAMMOND walks over to the giant screen in front of them. Behind him, a huge image of himself beams down at him from the giant television screen. HAMMOND (screen) Hello, John! HAMMOND (stage) (to the group) Say hello! (then, fumbling with his three by five cards) Oh, I've got lines. He scans them, looking for his place. The screen Hammond continues without him, HAMMOND (screen) Fine, I guess! But how did I get here?! HAMMOND (stage) Uh - - (finding his place) "Here, let me show you. First I'll need a drop of blood. Your blood!" The screen-Hammond extends his finger and the stage-Hammond reaches out and mimes pocking it with a needle. HAMMOND (screen) Ouch, John! That hurt! HAMMOND (stage) "Relax, John. It's all part of the miracle of cloning!" While the two Hammonds rattle on, the screen image splits into two Hammonds, then four then eight, and so on, like a shampoo commercial. Grant, Ellie, and Malcolm huddle together excitedly in the audience. GRANT Cloning from What?! Loy extraction has never recreated an intact DNA strand! MALCOLM Not without massive sequence gaps! ELLIE Paleo-DNA? From what source? Where do you get 100 million year old dinosaur blood?! GENNARO Shhhhh! 20 IN THE FILM, the screen-Hammond is joined by another figure, this one animated. MR. DNA is a cartoon character, a happy-go-lucky double- helix strand of recombinant DNA. Mr. DNA jumps down onto the screen- Hammond's head and slides down his nose. HAMMOND Well! Mr. DNA! Where'd you come from? MR. DNA From your blood! Just one drop of your blood contains billions of strands of DNA, the building blocks of life! 21 OMITTED 22 IN THE FILM, Mr. DNA has taken over the show, and is speaking to the audience from the screen. MR. DNA A DNA strand like me is a blueprint for building a living thing! And sometimes animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for us to find! We just had to know where to look! The screen image changes from animated to a nature- photography look. It's an extreme close-up of a mosquito, its fangs suck the deep into some animals flesh, its body pulsing and engorging with blood it's drinking. MR. DNA (cont'd) A hundred million years ago, there were mosquitoes, just like today. And, just like today, they fed on the blood of animals. Even dinosaurs! The camera races back to show the mosquito is perched on top of a giant animated brachiosaur. The image changes, to another close-up, this one of a tree branch, its bark glistening with golden sap. Mr. DNA leaps on the sap. MR. DNA (cont'd) Sometimes, after biting a dinosaur, the mosquito would land on a branch of a tree, and get stuck in the sap! The engorged mosquito lands in the tree sap, and gets stuck. So is Mr. DNA. He tugs his legs, but they stay stuck. MR. DNA WHOA! Now the tree sap flows over them, covering up Mr. DNA and the mosquito completely. Mr. DNA SHOUTS from inside the tree sap. MR. DNA (cont'd) After a long time, the tree sap would get hard and become fossilized, just like a dinosaur bone, preserving the mosquito inside! 23 A SCIENCE LABORATORY The place buzzes with activity. Everywhere, there are piles of amber, tagged and labeled with SCIENTISTS in white coats examining it under microscopes. One SCIENTIST moves a complicated drill apparatus next to the chuck of amber with a fossilized mosquito inside and BORES into the side of it. MR. DNA escapes through the drill hole as the Scientist moves the amber onto a microscope and peers through the eyepiece. MR. DNA (O.S.) This fossilized tree sap -- which we call amber ­ waited millions of years, with the mosquito inside ­ until Jurassic Park's scientists came along! 24 THROUGH THE MICROSCOPE We see the greatly enlarged image of a mosquito through the lens. MR. DNA (O.S.) Using sophisticated techniques, they extract the preserved blood from the mosquito, and - - A long needle is inserted through the amber, into the thorax of the mosquito, and makes an extraction. MR. DNA (cont'd) - -Bingo! Dino DNA! Mr. DNA jumps down in front of DNA data as it races by at headache speed. He holds his head, dizzied by it. MR. DNA (cont'd) A full DNA strand contains three billion genetic codes! If we looked at screens like these once a second for eight hours a day, it'd take two years to look at the entire strand! It's that long! And since it's so old, it's full of holes! That's where our geneticists take over! 25A INT GENETICS LAB DAY SCIENTISTS toil in a lab with two huge white towers at either side. MR. DNA Thinking Machine supercomputers and gene sequencers break down the strand in minutes - - One SCIENTIST, in the back has his arms encased in two long rubber tubes. He's strapped into a bizarre apparatus, staring into a complex headpiece and moving his arms gently, like Tai Chi movements. MR. DNA (cont'd) - - and Virtual Reality displays show our geneticists the gaps in the DNA sequence! Since most animal DNA is ninety percent identical, we use the complete DNA of a frog - - 25B ON THE V.R. DISPLAY we see an actual DNA strand, except it has a big hole in the center, where the vital information is missing. Mr. DNA bounds into the frame, carrying a butch of letters in one hand. He puts it in the gap and turns back against it, GRUNTING as he shoves into place. MR. DNA (straining) - - to fill in the - - holes and - -complete - - the - - (finally getting it) - - code! Whew! He brushes his hands off, satisfied. MR. DNA (cont'd) Now we can make a baby dinosaur! 26 IN THE AUDIENCE The scientist look at each other, not sure. HAMMOND All this has some dramatic music - - da dum da dum da dum dum - - march or something, it's not written yet, and the tour moves on - - He throws a switch and safety bars appear out of nowhere and drop over their seats, CLICKING into place. HAMMOND For your own safety! The row of seats moves out of the auditorium. 27 INT HALLWAY DAY The row of seats moves slowly past a row of double-panned glass window beneath a large sign that reads "GENETICS/FERTILIZATION/HATCHERY." Inside, TECHNICIANS work at microscopes. In the back is a section entirely lit by blue ultraviolet light. Mr. DNA VOICE continues over a speaker in each seat. MR. DNA (O.S.) Our fertilization department is where the dinosaur DNA takes the place of the DNA in unfertilized emu or ostrich eggs - - and then it's on to the nursery, where we welcome the dinosaurs back into the world! GENNARO has a wondrous grin plastered on his face, just loving everything now. GENNARO This is overwhelming, John. Are these characters (people) animatronics? HAMMOND No, we don't have any animatronics here. These are the real miracle workers of Jurassic Park. GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, straining against the safety bars for a better look. But the cars keep going. GRANT Wait a minute! How do you interrupt the cellular mitosis?!? ELLIE Can't we see the unfertilized host eggs?! But the cars are already moving on to another set of windows, which give a glimpse into what looks like a control room. HAMMOND Shortly, shortly.... MR. DNA (O.S.) Our control room contains some of the most sophisticated automation ever attempted in - - Grant strains to look back into the labs, but the cars move past again, no intention of slowing down. GRANT Can't you stop these things?! HAMMOND Sorry! It's kind of a ride! GRANT (to Malcolm) Let's get outta here! The two of them team up on the safety bars. Grant shoves his all the way back with one foot and Malcolm does the same. They stand up and head for the door of the hatchery. GENNARO Hey! You can't do that! Too late. Ellie slips out from under her safety bar too and stomps right across Gennaro's seat. GENNARO Can they do that? They reach the door to the hatchery. Grant tries to shove it open, but just THUDS into it. He rattles the handle, but the door won't budge as it's on a security key-card system. HAMMOND steps up and takes his glasses off. HAMMOND Relax, Donald, relax. They're scientists, They ought to be curious. (he steps up to the code box) It's a retinal scanner. He pushes various code numbers. The door opens. He steps aside, and the group eagerly goes up the stairs. 28 INT. HALLWAY/STAIRS - DAY GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to get a look at the lab. HAMMOND and GENNARO come up and join Grant at the door. GENNARO John, we - - what I'm just saying.... HAMMOND Relax Donald, relax. They're scientists. They ought to be curious. Hammond reaches the door, Grant tries to pry it open. HAMMOND (cont'd) Dr. Grant, just a minute, just a minute, (or) Dr. Grant, just a moment, dear boy. (he pushes the code; the door opens) Remember what Samuel Johnson said. (they step into the cubicle) "Curiosity is one of the permanent and certain characteristics of a vigorous intellect!" (the second door opens) Right! Come along. INT HATCHERY/NURSERY DAY The hatchery is a vast, open room, bathed in infrared light. Long tables run the length of the place, all covered with eggs, their pale outlines obscured by hissing low mist that's all through the room. HAMMOND Come on in. HAMMOND takes off his hat and hands it one of the technicians. HENRY WU, late twenties, Asian-American, wearing a white lab coat works at a nearby table, making notes. HAMMOND (cont'd) Good day, Henry. WU Oh, good day, Sir. GRANT goes to a round, open with various eggs under a strong light. One of the eggs makes strong movements - a robotic arm steadies the shell. GRANT My God! Look! Hammond, Ellie, and Malcolm join him, as does Henry Wu. WU Ah, perfect timing! I'd hoped they'd hatch before I had to go to the boat. HAMMOND Henry, why didn't you tell me? you know I insist on being here when they're born. Hammond puts on a pair of plastic gloves. The egg begins to crack. The robotic arm moves away....a BABY DINOSAUR tries to get out, just its head sticking out of the shell. Hammond reaches down and carefully breaks away egg fragments, helping the baby dinosaur out of its shell. HAMMOND Come on, then, out you come. HAMMOND (cont'd) They imprint on the first living creature they come in contact with. That helps them to trust me. I've been present for the birth of every animal on this Island. Just look at that. MALCOLM Surely not the ones that have bred in the wild? WU Actually, they can't breed in the wild. Population control is one of our security precautions here. There is no unauthorized breeding in Jurassic Park. Grant and Ellie exchange a look. She manages not to smile. MALCOLM How do you know they can't breed? WU Because all the animals in Jurassic Park are females. (I've) We engineered them that way. Hammond keeps his attention trained on the new dinosaur. HAMMOND There you are. Out you come. ELLIE Oh my God. HAMMOND Could I have a tissue please? WU Right away (certainly). Coming right up. The animal is now free, Hammond sets in don carefully next to its shell. Grant picks it up and holds it in the palm of his hand, under the incubator's heat light. GRANT Blood temperature feels like high eighties. HAMMOND Wu? WU Ninety-one. Grant picks up the large, broken half-shell, but the robotic arm snatches it back out of his hand, and puts it down. GRANT Homoeothermic? It holds that temperature? (to Wu) Incredible. Malcolm is looking at Hammond, skeptical. MALCOLM But again, how do you know they're all female? Does someone go into the park and, uh - - lift up the dinosaurs' skirts? WU We control their chromosomes. It's not that difficult. All vertebrate embryos are inherently female anyway. It takes an extra hormone at the right developmental stage to create a male, and we simply deny them that. HAMMOND Your silence intrigues me. MALCOLM John, the kind of control you're attempting is not possible. If there's one thing the history of evolution has taught us, it's that life will not be contained. Life breaks free. It expands to new territories. It crashes through barriers. Painfully, maybe even.. dangerously, but and...well, there it is. Ellie listens to him, impressed. HAMMOND Watch her head - support her head. Grant, ignoring the others, picks up the baby dinosaur, and holds it on the palm of his hand, under the incubator's heat light. He spreads the tiny animal out on the back of his hand and delicately runs his finger over its tail, counting the vertebrae. A look of puzzled recognition crosses his face. WU You're implying that a group of composed entirely of females will breed? MALCOLM I'm simply saying that life - - finds a way. ELLIE "You can't control anything." I agree with that. I like that. She walks over to Malcolm, he smiles at her, too warmly. ELLIE (cont'd) You can talk. I don't k now how to say it. You're just articulate. You say everything that I think, that I feel. It's exciting. (or) I find it so exciting. It's exciting that you can't control life, that you know - - (or) You know that, I find it terrifying. Life will always find a way. MALCOLM That's right. Will break through. ELLIE I get ah - - MALCOLM I know, it's very exciting. ELLIE And scary. MALCOLM And scary. ELLIE When people try to control things that it's out of their power - - MALCOLM It's anti-nature. ELLIE Anti-nature. Grant doesn't notice, as he's still obsessed with the infant dinosaur, measuring and weighing it on a nearby lab bench. He stops, a strange look on his face. He knows what this animal is - - but it can't be. GRANT (dreading the answer) What species is this? WU Uh - - it's a Velociraptor. Grant and Ellie turn slowly and look at each other, then look at Hammond, astonished. GRANT You bred raptors? 29 EXT. RAPTOR PEN - DAY Grant charges across the compound, a fire in his eyes, ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to keep up. HAMMOND Dr. Grant, Dr. Grant? Uh - -we planned to show you the raptors later, after lunch. But Grant has stopped abruptly next to the Velociraptor pen, which we recognize as the heavily fortified cage we some earlier, which the San Quentin towers at one end. Grant stands right up against the fence, eyes wide, dying for a glimpse. HAMMOND catches up, slightly out of breath. HAMMOND (cont'd) Dr. Grant - - as I was saying, we've laid out lunch for you before you head out into the park. Alejandro, our gourmet chef - - GRANT What are they doing? As they watch, a giant crane lowers something large down into the middle of the jungle foliage inside the pen. Something very large. It's a steer. They poor thing looks disconcerted as hell, helpless its in a harness, flailing its legs in the air. HAMMOND Feeding them. (moving along) Alejandro is preparing a delightful meal for us. A Chilean sea bass, I believe. Shall we? Grant goes up to the viewing deck. The others follow, staring as the steer disappears into the shroud of foliage. The line from the crane hangs for a moment. The jungle seems to grow very quiet. They all stare at the motionless crane line. It jerks suddenly, like a fishing pole finally getting a nibble. There's a pause - - - - and then a frenzy. The line jerks every which way, the jungle plants sway and SNAP from some frantic activity within, there is a cacophony of GROWLING, of SNAPPING, of wet CRUNCHES that mean the steer is literally being torn to pieces and is almost makes it worse that we can't see anything of what's going on - - - - and then it's quiet again. The line jerks a few times, then stops. Slowly the SOUND of the jungle starts up again. HAMMOND Fascinating animals, fascinating. ELLIE Oh my God. HAMMOND Give time, they'll out draw the T-rex. Guarantee it. GRANT I want to see them. Can we get closer? Ellie puts a hand on his arm, like calming an overexcited child. ELLIE Alan, these aren't bones anymore. HAMMOND We're - - still perfecting a viewing system. The raptors seem to be a bit resistant to integration into a park setting. A VOICE comes from behind them. VOICE (O.S.) They should all be destroyed. They turn and look at the man who spoke. ROBERT MULDOON, the grim-faced man who was present at the accident in the beginning, is fortyish, British. He joins them and takes his hat off. When Muldoon talks, you listen. HAMMOND Robert. Robert Muldoon, my game warden from Kenya. Bit of an alarmist, I'm afraid, But he's dealt with the raptors more than anyone. GRANT (introducing himself) Alan Grant. Tell me, what kind of metabolism do they have? What's their growth rate? (or) rate of growth. MULDOON They're lethal at eight months. And I do lethal. I've hunted most things that can hunt you, but the way these things move - - GRANT Fast for biped? MULDOON Cheetah speed. Fifty, sixty miles per hour if they ever got out in the open. And they're astonishing jumpers. HAMMOND Yes, yes, yes, which is why we take extreme precautions. They viewing area below us will have eight-inch tempered glass set in reinforced steel frames to - - GRANT Do they show intelligence? With the brain cavity like theirs we assumed - - MULDOON They show extreme intelligence, even problem solving. Especially the big one. We bred eight originally, but when she came in, she took over the pride and killed all but two of the others. That one - -when she looks at you, you can see she's thinking (or) working things out. She's the reason we have to feed 'em like this. She had them all attacking the fences when the feeders came. ELLIE The fences are electrified, right? MULDOON That's right. But they never attack the same place twice. They were testing the fences for weaknesses. Systematically. They remembered. Behind them, the crane WHIRRS back to life, raising the cable back up out of the raptor pen. The guest turn and stare as the end portion of the cable becomes visible. The steer has been dragged completely away, leaving only the tattered, bloody harness. Hammond claps his hands together excitedly. HAMMOND Who's hungry? After you, my dear. 30 INT. VISITOR CENTER PRESENTATION ROOM - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long table in the visitor's center restaurant. There is a large buffet table and two WAITERS to serve them. The room is darkened and Hammond is showing slides of various scenes all around them. Hammond's own recorded voice describes current and future features of the park while the slides flash artists' renderings of all them. The real Hammond turns and speaks over the narration. HAMMOND None of these attractions have been finished yet. The park will open with the basic tour you're about to take, and then other rides will come on line after six or twelve months. Absolutely spectacular designs. Spared no expense. More slides CLICK past, a series of graphs dealing with profits, attendance and other fiscal projections. Donald Gennaro, who has become increasingly friendly with Hammond, even giddy, grins from ear to ear. GENNARO And we can charge anything we want! Two thousand a day, ten thousand a day - - people will pay it! And then there's the merchandising - - HAMMOND Donald, this park was not built to carter only to the super rich. Everyone in the world's got a right to enjoy these animals. GENNARO Sure, they will, they will. (laughing) We'll have a - - coupon day or something. Grant looks down, at the plate he's eating from. It's in the shape of the island itself. He looks at his drinking cup. It's got a T-rex on it, and a splashy Jurassic Park logo. There are a stack of folded amusement park-style maps on the table in front of Grant. He picks one up. Boldly, across the top it says, "Fly United to Jurassic Park!" HAMMOND (on tape) - - from combined revenue streams for all three parks should reach eight to nine billion dollars a year - - HAMMOND (to Gennaro) That's conservative, of course. There's no reason to speculate wildly. GENNARO I've never been a rich man. I hear it's nice. Is it nice? Ian Malcolm, who was been watching the screens with outright contempt, SNORTS, as if he's finally had enough. MALCOLM The lack of humility before nature that's been displayed here staggers me. They all turn and look at him. GENNARO Thank you, Dr. Malcolm, but I think things are a little different than you and I feared. MALCOLM Yes, I know. They're a lot worse. GENNARO Now, wait a second, we haven't even see the park yet. Let's just hold out concerns until - - (or alt. version) Wait - we were invited to this island to evaluate the safety conditions of the park, physical containment. The theories that all simple systems have complex behavior, that animals in a zoo environment will eventually begin to behave in an unpredictable fashion have nothing to do with that evaluation. This is not some existential furlough, this is an on-site inspection. You are a doctor. Do your job. You are invalidating your own assessment. I'm sorry, John - - HAMMOND Alright Donald, alright, but just let him talk. I want to hear all viewpoints. I truly do. (or) I truly am. MALCOLM Don't you see the danger, John, inherent in what you're doing here? Genetic power is the most awesome force ever seen on this planet. But you wield it like a kid who's found his dad's gun. MALCOLM GENNARO If I may.... It is hardly appropriate to start hurling Excuse me, excuse me - - generalizations before - - I'll tell you. MALCOLM (cont'd) The problem with scientific power you've used is it didn't require any discipline to attain it. You read what others had done and you took the next step. You didn't earn the knowledge yourselves, so you don't take the responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you knew what you had, you patented it, packages it, slapped in on a plastic lunch box, and now you want to sell it. HAMMOND You don't give us our due credit. Our scientists have done things no one could ever do before. MALCOLM Your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should. Science can create pesticides, but it can't tell us not to use them. Science can make a nuclear reactor, but it can't tell us not to build it! HAMMOND But this is nature! Why not give an extinct species a second chance?! I mean, Condors. Condors are on the verge of extinction - - if I'd created a flock of them on the island, you wouldn't be saying any of this! (or) have anything to say at all! MALCOLM Hold on - - this is no species that was obliterated by deforestation or the building of a dam. Dinosaurs had their shot. Nature selected them for extinction. HAMMOND I don't understand this Luddite attitude, especially from a scientist. How could we stand in the light of discovery and not act? MALCOLM There's nothing that great about discovery. (or) What's so great about discovery? It's a violent, penetrative act that scars what it explores. What you call discovery I call the rape of the natural world! GENNARO Please - - let's hear something from the others. Dr. Grant? I am sorry - - Dr. Sattler? ELLIE The question is - - how much can you know about an extinct ecosystem, and therefore, how could you assume you can control it? You have plants right here in this building, for example, that are poisonous. You picked them because they look pretty, but these are aggressive living things that have no idea what century they're living in and will defend themselves. Violently, if necessary. Exasperated, Hammond turns to Grant, who looks shell-shocked. HAMMOND Dr. Grant, if there's one person who can appreciate all of this - - (or) What am I trying to do? But Grant speaks quietly, really thrown by all of this. GRANT I feel - - elated and - - frightened and - - (starts over) The world has just changed so radically. We're all running to catch up. I don't want to jump to any conclusions, but look - - He leans forward, a look of true concern on his face. GRANT (cont'd) Dinosaurs and man - - two species separated by 65 million years of evolution - - have just been suddenly thrown back into the mix together. How can we have the faintest idea of what to expect? HAMMOND I don't believe it. I expected you to come down here and defend me from these characters and the only one I've got on my side it the bloodsucking lawyer!? GENNARO Thank you. One of the WAITERS whispers to Hammond. HAMMOND Ah - - they're here. GRANT Who? A31 INT VISITOR'S CENTER LOBBY - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of the restaurant and into the lobby of the visitor's center. They head down the stairs, and pass the skeletons of the dinosaurs again. HAMMOND You four are going to have a little company out in the park. Spend a little time with our target audience. Maybe they'll help you get the spirit of this place. GRANT What does he mean by "target audience"? Hammond turns toward the door of the center and throws his arms out expansively. HAMMOND (bellowing) KIDS!! Two kids standing in the doorway to the center break into a broad smiles. TIM, the boy, is about nine years old; ALEXIX, his sister, looks around twelve. TIM & LEX Grandpa! They race across the lobby and into Hammond's arms, knocking him over on the steps. LEX We miss you. TIM Thanks for the presents. LEX We love the presents. HAMMOND You must be careful with me. Did you like the helicopter? TIM It was great! It drops, we were dropping! Grant looks on. 31 EXT VISITOR'S CENTER DAY Two modified Ford Explorers leap up out of an underground garage beneath the visitor's center. They move quietly, with a faint electronic HUM, and straddle a partially buried metal rail is the middle of the road. They pull to a stop where the group is gathered. Ellie is off to the side with ALEXIS, introducing herself warmly. HAMMOND is with MALCOLM, GRANT, and GENNARO. HAMMOND Have a heart gentlemen. Their parents are getting a divorce and they need the diversion. GENNARO Hey! Where are the brakes? HAMMOND Brakes? No. No brakes. They're electric cars, guided by this track in the roadway, and totally non-polluting, top of the line! LEX It's interactive CD-ROM. Look, see - - you just touch the right part of the screen and it talks about whatever you want. HAMMOND Spared no expense. Have fun. I'll be watching you from the control (or) back in control. (to Ellie) Come along, my dear. You'll ride in the second car, I can promise you you'll have a real wonderful time. ELLIE Oh thank you so much. So you'll see you later then. Hammond turns and head back towards the Visitor's Center. MALCOLM (too eagerly; to Grant) I'll ride with Dr. Sattler. (or) I'm going to ride with Dr. Sattler. He turns and walks over to Ellie. Grant frowns, not liking this one bit. He moves to follow, but TIM cuts him off, and stares up at him, wide-eyed TIM I read your book. GRANT Oh, yeah - - great. Grant heads for the rear car. Tim follows. TIM You really think dinosaurs turned into birds? And that's where all the dinosaurs went? Grant opens the door of the rear car and climbs in. Tim follows. GRANT Well, uh, a few species - - may have evolved, uh - - along those lines - - yeah. A mechanical voice intones from inside: VOICE "Two to four passengers to a car, please. Children under ten must be accompanied by an adult." Tim is right behind Grant, so Grant keeps moving, across the back seat of the car and out the other door. But Tim follows. TIM Because they sure don't look like birds to me. I heard a meteor hit the earth and made like this one hundred mile crater someplace down in Mexico - - GRANT Listen, ahh - - TIM Tim. GRANT Tim. Which car were you planning on - - TIM Whichever one you are. Grant goes to the front car again, opens the rear door, and holds it for Tim, who climbs in the back seat, rattling on and on. TIM Then I head about this thing in OMNI? About the meteor making all this heat that made a bunch of diamond dust? And that changed the weather and they died because of the weather? Then my teacher told me about this other book by a guy named Bakker? And he said the dinosaurs died of a bunch of diseases. SLAM! Grant closes the car door on Tim. He turns and head for the rear vehicle - - - - and bumps right into Lex. LEX (points at Ellie) She said I should ride with you because it would be good for you. Grant looks over at Ellie, annoyed. GRANT She's a deeply neurotic woman. CUT TO: 32 INT CONTROL ROOM DAY The Jurassic Park control room looks like a mission control for a space launch, with several computer terminals and dozens of video screens that display images of various dinosaurs, taken from all over the park. There's a large glass map of the island at the front of the room that is lit up like a Christmas tree with various colored lights, each one with a number and identification code next to it. But the place is unfinished, with unattached cables, construction materials, and ladders scattered about. The mood among the half dozen TECHNICIANS present is chaotic as they rush around with last-minute adjustments. MULDOON whisks in through the double doors. HAMMOND is right behind him. They go straight to the main console, where RAY ARNOLD fortyish, a chronic worrier and chain-smoker, is seated. MULDOON National Weather Service is tracking a tropical storm about seventy-five miles west of us. Hammond sighs and looks over Arnold's shoulder. HAMMOND Why didn't I build in Orlando? MULDOON I'll keep an eye on it. Maybe it'll swing south like the last one. HAMMOND (a deep breath) Ray, start the tour program. He punches a button on the console. ARNOLD (cont'd) (not exactly comforting) Hold onto your butts. CUT TO: 33 EXT VISITOR'S CENTER DAY With a loud CHUNK, the Explorers start forward along the electrical pathway. GENNARO, TIM, and LEX are in the front vehicle; GRANT, ELLIE, and MALCOLM in the rear. 33A EXT MAIN GATES DAY They pass through two enormous, primitive gates, torches blazing on either side. 34 EXT JURASSIC PARK DAY IN THE REAR CAR, the Explorer's speakers BLARE with fanfare of trumpets, and the interior video screen flashes "Welcome to Jurassic Park." A familiar VOICE comes over the speaker: VOICE (O.S.) Welcome to Jurassic Park. You are now entering the lost world of the prehistoric past, a world - - VOICE (cont'd) creatures long gone from the face of the earth, which you are privileged to see for the first time. INT CONTROL ROOM HAMMOND watches the monitor. His grandchildren are enjoying themselves. HAMMOND By the way, that's James Earl Jones (or) Richard Kiley. We spared no expense! IN THE PARK, the fences are retaining walls are covered with greenery and growth, to heighten the illusion of moving through a jungle. IN THE FRONT CAR GENNARO The accident took place in a restricted area. It would not have been available to the public access. So how can the safety of the public be called into question? The cars come to the top of a low rise, where a break in the foliage gives them a view down a sloping field that is broken by a river. The tour voice continues. VOICE (O.S.) To the right, you will see a herd of the first dinosaurs on our tour, called Dilophosaurus. IN THE FRONT CAR, Tim and Lex practically SLAM up against the windows, to get a look. GENNARO (keeps talking) The safety. That's the problem I had to answer. LEX Shhh. TIM I can't see. GENNARO What are we looking for? TIM Dilophosaurus. IN THE REAR CAR Grant looks at his map. Ellie, hearing the voice, reacts. ELLIE Oh, shit. GRANT Dilophosaurus. Grant, Malcolm, and Ellie press against the windows. DOWN NEAR THE RIVER BANK there are a lot of beautiful plants, but no sign of a herd of anything. The tour voice continues anyway. VOICE (O.S.) One of the earliest carnivores, we now know Dilophosaurus is actually poisonous, spitting its venom at its prey, causing blindness and eventually paralysis, allowing the carnivore to eat at its leisure. This makes Dilophosaurus a beautiful, but deadly addition to Jurassic Park. Corny SCARY MUSIC plays over the speaker. IN THE FRONT CAR, TIM There's nothing there! IN THE REAR CAR, ELLIE Alan, where? Grant and the others sit back, disappointed. GRANT Damn. ON THE ROAD, the cars move on. As they roll past, we notice the headlights are on, even in the daytime. CUT TO: 35 INT CONTROL ROOM DAY RAY ARNOLD watches his computer screen and the video monitors at the same time, keeping an eye on the cars as they move through the park. HAMMOND hovers over his shoulder. ARNOLD Vehicle headlights are on and don't respond. Those shouldn't be running off the car batteries. He signs and reaches for a clipboard hanging next to his chair and jots this down. ARNOLD (cont'd) Item one fifty-one on today's glitch list. We've got all the problems of a major theme park and a major zoo, and the computer's not even on its feet yet. Hammond shakes his head and turns to the TECHNICIAN to his right, who still has his back to them, watching a Costa Rican game show on one of his monitors and drinking a Jolt cola. HAMMOND Dennis, our lives are in your hands and you have butterfingers. The Technician turns around his chair and extends his arms in a Christ-like pose. As we get a good look at him, we get the sinking feeling that we've seen him somewhere before. And we have. DENNIS NEDRY is the man who accepted a suitcase full of cash in San Jose. NEDRY I am totally unappreciated in my time. We can run the whole park from this room, with minimal staff, for up to three days. You think that kind of automation is easy? Or cheap? You know anybody who can network eight Connection Machines and de-bug two million lines of code for what I bid this job? Because I'd sure as hell like to see them try. HAMMOND I'm sorry about your financial problems. I really am. But they are your problems. NEDRY You're right, John. You're absolutely right. Everything's my problem. HAMMOND I will not get drawn into another financial conversation with you, Dennis. I really will not. NEDRY I don't think there's been any debate. There's no debate...my mistakes.... HAMMOND I don't blame people for their mistakes, but I do ask that they pay for them. NEDRY Thanks, Dad. ARNOLD Dennis - -the headlights. NEDRY I'll de-bug the tour program when they get back. Okay? It'll eat a lot of computer cycles; parts of the system may go down for a while - - Don't blame me. If I am playing...losing memory.... MULDOON, who has been hovering near the video monitors as always, turns towards them, annoyed. MULDOON Quiet, all if you. They're coming to the tyrannosaur paddock. CUT TO: 36 EXT TYRANNOSAUR PADDOCK DAY The two Explorers drive along a high ridge and stop at the edge of the large, open plain that is separated from the road by a fifteen- foot fence, clearly marked with "DANGER!" signs and ominous-looking electrical post. TIM, LEX, and GENNARO are pressed forward against the windows, eyes wide, waiting for you-know-who. IN THE REAR CAR, The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM aren't even listening anymore, dying of anticipation. VOICE (O.S.) The mighty tyrannosaurus arose late in the dinosaur history. Dinosaurs ruled the earth for hundred and fifty million years, but it wasn't until the last- - GRANT Will you turn that thing off? Ellie flips a switch and they wait in silence - - except for Malcolm, who looks at the ceiling, thinking aloud. MALCOLM God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs. ELLIE (finishing it for him) Dinosaur eats man. Woman inherits the Earth. ARNOLD (O.S.) Hold on, we'll try to tempt the rex. IN THE PADDOCK, there is a low HUMMING sound. Out in the middle of the field, a small cage rises up into view, lifted on hydraulics from underground. The cage bars slide down, leaving the cage's occupant standing alone in the middle of the field. It's a goat, one leg chained to a stake. It looks around, confused, and BLEATS plaintively. IN THE FRONT CAR, LEX and TIM look at the goat with widely different reactions. LEX What's going to happen to the goat? He's going to eat the goat?! TIM (in heaven) Excellent. GENNARO (to Lex) What's the matter, kid, you never had lamb chops? LEX I happen to be a vegetarian. IN THE REAR CAR, GRANT (shakes his head) T-rex doesn't want to be fed; he wants to hunt. You can't just suppress sixty-five million years of gut instinct. IN THE PADDOCK The goat waits. And waits. From the Explorers, six faces watch it expectantly. The goat tugs on its chain. It walks back and forth, nervous. It BLEATS. IN THE REAR CAR, Grant watches, his eyes glued, his breathing becoming a little more rapid. IN THE FRONT CAR, Tim and Lex can't tear their eyes away, IN THE PADDOCK, finally, the goat - - - - lays down. IN THE REAR CAR, everyone sits back, disappointed again, as the cars pull forward to continue the tour. Malcolm picks up the microphone. MALCOLM Now, eventually you do plan to have dinosaurs on your dinosaur tour, right? 37 INT CONTROL ROOM DAY HAMMOND just shakes his head as Malcolm's voice comes through, HAMMOND I really hate that man. 38 EXT PARK DAY GRANT gets into the seat, leaving MALCOLM behind ELLIE. He longingly looks out of the opposite window, while Malcolm rattles on to Ellie. MALCOLM You see? The tyrannosaur doesn't obey set patterns or park schedules. It's the essence of Chaos. ELLIE I'm still not clear on Chaos. MALCOLM It simply deals with unpredictability in complex systems. It's only principle is the Butterfly Effect. A butterfly can flap its wings in Peking and in Central Park you get rain instead of sunshine. Ellie gestures with her hand to show this information has gone right over her head. MALCOLM I made a fly by, I go too fast. Looking out of the opposite window, Grant sees movement at the far end of a field. He sits bolt upright, trying to get a better look. Malcolm, looking for another example - - MALCOLM (cont'd) (points to the glass of water) Here. Give me your glass of water. He dips his hand into the glass of water. He takes Ellie's hand in his own. MALCOLM (cont'd) Make like hieroglyphics. Now watch the way the drop of water falls on your hand. He flicks his fingers and a drop falls on the back of Ellie's hand. MALCOLM (cont'd) Ready? Freeze your hand. Now I'm going to do the same thing from the exact same place. Which way is the drop going to roll off? (or) Which way will the drop roll? Over which finger? Or down your thumb? Or to the other side? ELLIE Uh - - thumb! (or) The same way. MALCOLM It changed. Why? (or) Okay, back over your wrist. (then) Because and here is the principle of tiny variations - - the orientations of the hairs - - ELLIE Alan, listen to this. MALCOLM - - on your hand, the amount of blood distending in your vessels, imperfections in the skin - - ELLIE Oh, imperfections? MALCOLM Microscopic - - never repeat, and vastly affect the outcome. That's what? ELLIE Unpredictability.... MALCOLM And even if we haven't seen it yet, I'm quite sure it's going on in this park right now. There's definitely something out in that field, and Grant has to see it. He jerks on the door handle and opens his door a few inches. He looks outside towards freedom, then looks around to is anybody's watching him. Malcolm lowers his voice, becoming more seductive now. MALCOLM (cont'd) Life's a lot like that, isn't it? You meet someone by chance you'll never meet again, and the course of your whole future changes. It's dynamic - - its exciting - - I think. Grant throws the door open and bolts out of the moving car. MALCOLM (cont'd) There, there see?! I'm right again! ELLIE Alan? MALCOLM No one could have predicted Dr. Grant would suddenly jump out of a moving vehicle! ELLIE Alan? She jumps out too and follows him into the field. MALCOLM There's another example! IN THE FRONT CAR, TIM Hey! I want to go with them! IN THE REAR CAR, MALCOLM See? Here I am now, by myself, talking to myself - - that's Chaos Theory! What the hell am I doing here? I'm the only one who knows what's going on, etc, etc.... 39 INT CONTROL ROOM DAY HAMMOND, MULDOON, and ARNOLD stare at the video monitor incredulously as everyone now pouts out of the cars and follows Grant down the hill. The cars roll on slowly, empty, their doors hanging open. ARNOLD Uh - - Mr. Hammond - - HAMMOND Stop the program! Stop the program! MULDOON There you are! How many times did I tell you we needed locking mechanisms on the vehicle doors! ACROSS THE ROOM DENNIS NEDRY sneaks a peek at the video monitor. It shows an image of the steel door, plainly marked - - "EMBRYONIC COLD STORAGE. RESTRICTED!" He looks to another monitor, which is labeled "EAST DOCK." The monitor shows a supply ship, moored at the dock. Its cargo is being uploaded and a large group of WORKERS is filing aboard. Nedry has something in the counter, where no one can see it. It's a can of shaving cream. 40 EXT PARK DAY GRANT, ELLIE, GENNARO, and the KIDS are out in the open field, heading towards a small stand of trees. For the first time, we notice the sky is darken rather early in the day. Tim dogs Grant's footsteps, so excited he can hardly keep his feet on the ground. TIM So like I was saying, there's this other book by a guy named Bakker? And he said dinosaurs died of a bunch of diseases? He definitely didn't say they turned into birds. Gennaro is scared as hell, following the others, but his head darting left and right. ELLIE Alan? Where are we going? You see something? GENNARO Uh - - anybody else think we shouldn't be out here? TIM And his book was a lot fatter than yours. GRANT Really? ELLIE Yours was fully illustrated, honey. GENNARO Anybody at all. Feel free to speak up. Lex stumbles and Grant takes her hand, to stop her from falling. She looks up at him and smiles. Grant smiles back and tries to recover his hand, but Lex holds tight. He's massively uncomfortable. Ellie notices. Suddenly they all stop in their tracks. A huge smile spreads across the faces of both Tim and Grant. Grant walks forward. Tim follows. ELLIE Timmy, Timmy. LEX Come back here, blanket head. Fearless, Tim walks forward behind Grant. HARDING (O.S.) Hi everybody, Don't be scared. Tim reaches the clearing and sees: A Triceratops, a big one, lying on its side, blocking the light at the end of the path. It has an enormous curved shell that flanks its head, two big horns over its eyes, and a third on the end of its nose. It doesn't move, just breathes, loud and raspy, blowing up a little clouds of dust with every exhalation. Grant stands next to Harding, almost in a daze. GRANT Beautiful. Is it okay? Can I touch it? HARDING Sure. Grant walks next to the animal and strokes its head. Ellie moves forward to the animal. GRANT Oh Ellie. It's so beautiful. It's the most beautiful thing I ever saw. ELLIE It's my favorite. They both kneel, checking the animal. He furrows his bow, noticing something, all professional curiosity now. The animal's tongue, dark purple, droops limply from its mouth. GRANT (cont'd) Ellie, take a look at this. ELLIE Yeah, baby girl, it's okay. She scratches the tongue with her fingernail. A clear liquid leaks from the broken blisters. ELLIE Micro vesicles. That's interesting. Grant, fascinated, wanders all the way around to the back of the animal. Harding joins Ellie and hands her his penlight. ELLIE (cont'd) What are her symptoms? HARDING Imbalance, disorientation, labored breathing. Seems to happen about every six weeks or so. ELLIE Six weeks? She takes the penlight from the veterinarian and shines it in the animal's eyes. ELLIE (cont'd) Are there pupillary effects from the tranquilizer? HARDING Yes, mitotic, pupils should be constricted. ELLIE These are dilated. Take a look. HARDING They are? (checks it out) I'll be damned. ELLIE That's pharmacological. From local plant life. She turns and studies the surrounding landscape. Her mind's really at work, puzzling over each piece of foliage. ELLIE (cont'd) (pointing) Is that (or) this West Indian lilac? HARDING Yes. We know they're toxic, but the animals don't eat them. ELLIE Are you sure? HARDING Pretty sure. ELLIE There's only one way to be positive. I need to see some droppings. (or) I have to see the dinosaur's droppings. HARDING You won't be able to miss them. (or) Can't miss them. Malcolm walks up to Ellie. MALCOLM Dino droppings? ELLIE Yeah. She walks way, Malcolm looks on. 41A INT CONTROL ROOM DAY HAMMOND and ARNOLD are watching the video monitors, displeased about something. Arnold is looking at one that gives them a view from the beach, looking out at the ocean. The clouds beyond are almost black with a tropical storm. ARNOLD That storm center hasn't dissipated or changed course. We're going to have to cut the tour short, I'm afraid. Pick it up again tomorrow where we left off. HAMMOND You're sure we have to? ARNOLD It's not worth taking the chance, John. MULDOON (into phone) Sustain winds 45 knots. HAMMOND (nods) Tell them when they get back to the cars. MULDOON (into phone) Thanks, Steve. ARNOLD (making an announcement to the others) Ladies and gentlemen, last shuttle to the dock leaves in approximately five minutes. Drop what you are doing and leave now. HAMMOND Damn! 41 ACROSS THE ROOM NEDRY stares at his video monitor, watching the boat. He's on the phone with the MATE, whose images he can see on the monitor. The seas around the dock are much rougher now. MATE We're not well-berthed here without a storm barrier! We may have to leave as soon as the last of the works are aboard. NEDRY (low voice) No, no. You stick to the plan. You wait till they're back from the tour. 42 EXT FIELD DAY As the weather grows darker, ELLIE, GRANT, HARDING, and MALCOLM are grouped around an enormous spoor of triceratops excreta that stands at least waist high and is covered with BUZZING flies. MALCOLM That is one big pile of shit. Ellie has plastic gloves on the reach up to her elbows, and is just withdrawing her hand from the middle of the dung. ELLIE (to Harding) You're right. There's no trace of lilac berries. That's so weird, though. She shows all the classic signs of Meliatoxicity, (thinking aloud) Every six weeks - - She turns and walks out into the open field a few paces, thinking. Malcolm watches her, and looks back at the dung. MALCOLM to Grant) She's, uh - - tenacious. GRANT You have no idea. MALCOLM to Ellie) You will remember to wash your hands before you eat anything? 43 INT CONTROL ROOM DAY DENNIS NEDRY is busily and surreptitiously typing a series of commands into his console. On his screen, a cartoon hand winds up a cartoon clock, moving its second hand up to the twelve. The clock rotates around to face us. It has a large green dollar sign in the middle. A big word appears on screen, an option surrounded by forbidding red box. "EXECUTE," it says. 44 EXT PARK DAY The skies are really foreboding now, and there's a sense of growing urgency. ELLIE is by the animal, a short distance away from the group. GRANT is near her, thinking. GRANT Ellie, I've been thinking there's something about the periodicity doesn't had up. ELLIE I know. Tim holds one of the smooth rocks up and calls out, a little timidly. TIM These look kind of familiar. GRANT Triceratops was a constant browser, and constant browsers would be constantly sick. ELLIE Constantly sick. GRANT Not just every six weeks. ELLIE Yeah, I know. TIM I've seen pictures of these! Grant turns and looks at him, a little annoyed. TIM In your fully illustrated book. Grant just rolls his eyes, but Ellie comes over and checks out the stones. ELLIE What's that? A light goes on in her eyes. ELLIE Alan - - gizzard stones! She throws Grant one of the stones. They look at each other in amazement. As before, when they get excited, they talk right over each other. GRANT Elm that's it, it explains the periodicity, the - - ELLIE - - the undigested state of the berries because it's - - GRANT - - totally incidental (or) unrelated to the feeding pattern - - TIM What are you guys saying? ELLIE (turning to Tim) It's simple, see. Some animals like her, don't have teeth - - GRANT - - like birds - - ELLIE - - like birds. What happen is, they swallow the stones and hold them in a muscular sack in their stomachs - - GRANT - - a gizzard - - ELLIE - - which is called a gizzard, and it helps them mash their food, but what happens after a while - - GRANT - - what happens is that after a while, the stones get smooth, every six weeks, so the animal regurgitates them - - ELLIE (for Tim) - - barfs them up - - GRANT - - and swallows fresh ones. ELLIE And when she swallows the stones, she swallows the poison berries too. That's what makes her sick. (impressed) Good work Tim. She looks at Grant pointedly. Tim looks up at Grant too, smiling from ear to ear. Grant GRUNTS, not so easily convinced. THUNDER rumbles as the storm overhead is about to bust loose. GENNARO, scared of more than one thing now, puts his foot down. GENNARO Doctors, if you please - - I have to insist we get moving. ELLIE Oh, you know, if it's alright, I'd like to stay with Dr. Harding and finish with the trike. Is that okay? HARDING Sure. I've got a gas powered jeep. I can drop her at the visitor's center before I make the boat with the others. ELLIE (to Grant) I'll catch up with you. You can go with the others. GRANT Are you sure? ELLIE I'll just finish. Yeah, I want to finish. There is a lightning flash now, with a tooth-rattling THUNDERCLAP right on its heels. GENNARO Now. Grant turns and follows the others, Lex right in his tracks. Ellie and Harding go back to the triceratops, which is starting to come back to life. As Grant reaches the Explorer, he turns back for one last look at Ellie. He raises his hand to wave, but she is turned the other way. Feeling silly, he drops his hand and goes into the woods. Just as he does, Ellie turns and waves to him, but with his back turned, he misses it too. In this way, they say goodbye. BACK AT THE CARS, as the reflections of the GROUP approach, the first raindrops fall on the windshields of the tour vehicles. They're big, fat drops, and they kick up little clouds of dust as they SMACK into the glass. It's going to be a hell of a storm. 45 OMITTED 46 EXT PARK DUSK It's near dark now. The wind has whipped up, and the trees are swaying. 47 INT CONTROL ROOM DUSK HAMMOND is with RAY ARNOLD, staring at the video screens. ARNOLD I found a way to re-route through the program. I'm turning the cars around in the rest area loop. HAMMOND Rotten luck, this storm. Get my grandchildren on the radio will you? I don't want them to worry about a wee bit of rain. Arnold reaches for the hand microphone. ACROSS THE ROOM, DENNIS NEDRY, sweat forming on his upper lip now, is staring at his video monitor. The supply boat is still docked on the island shore, but is now being buffeted by heavy waves. Nedry whispers sharply into the phone, arguing with the MATE of the ship again, who he can see on the video monitor. MATE There's nothing I can do! If the Captain says we gotta go, we gotta go! NEDRY No, no, listen to me. You've got to give me this time. I did a test run on this thing and it took me twenty minutes. I thought I could do it in fifteen - - you've got to give me fifteen minutes. MATE No promises! No promises! NEDRY I'll be there in ten! Arnold SNAPS a button on his console. ARNOLD Visitor vehicles are on their way back to the garage. HAMMOND So how much for our first tour. Two no-shows and one sick triceratops. ARNOLD It could have been worse, John. It could have been a lot worse. Dennis Nedry stands up. He's shaking in his shoes, but trying like hell to be casual. NEDRY Anybody want a Coke? Anybody what some from the machines? Or a soda or something? I had too many sweets. (or) I thought I'd get something sweet. Hammond and Arnold shake their heads. Nedry starts to leave, then turns back with an afterthought that is so rehearsed its almost obvious. NEDRY (cont'd) Oh, I finished de-bugging the phones, but the system's compiling for eighteen minutes, or twenty. So, some minor systems may go on and off for a while. There's nothing to worry about. Simple thing.... HAMMOND Okay, okay, okay, okay, that's enough! Ahh! Nedry turns, stretches one finger out to his screen, and selects an option. "EXECUTE." At the same time, he presses the start button on his digital stopwatch he holds in his hand. A digital clock on the computer screen starts to tick down from sixty seconds , and a musical clock starts to sound too - - something like the "Jeopardy" theme. He starts to leave - - but returns when he remembers the shaving cream can. He grabs it and leaves. 48 EXT PARK ROAD NIGHT Night was completely fallen now, and the rain has started. It's a tropical storm, the rain falling in drenching sheets on the roofs and hoods of the Explorers, which are making their way slowly back to the visitor's center. IN THE REAR CAR, GRANT and MALCOLM are alone. Grant is staring out the window, lost in his thoughts. GRANT You got any kids? MALCOLM Me? Oh, hell yes. Three. (glowing) I love 'em. I love kids. Anything at all can and does happen. He takes a flask from jacket pocket and unscrews the top. His expression darkens. MALCOLM (cont'd) Same with wives, for that matter. GRANT You're married? MALCOLM Occasionally. Always on the lookout for the future ex- Mrs. Malcolm. 49 INT FERTILIZATION LAB NIGHT DENNIS NEDRY, waits outside the silver door marked "EMBRYONIC COLD STORAGE," staring at the digital stopwatch in his hand. NEDRY Two - - one - - On cue, the security lock panel goes dark and the door CLUNKS ajar. IN THE COOLER, Nedry hurries in and flips open the hatch on the bottom of the shaving cream can, revealing slotted compartments inside. He goes to the rack of dozens of thin glass slides. A sign says "VIABLE EMBRYOS - - HANDLE WITH EXTREME CARE!" He takes the slides out of the rack one by one. They're labeled - - "STEGOSAURUS", "APATOSAURUS", "TYRANNOSAURUS REX" - - and puts them into the can. 50 INT CONTROL ROOM NIGHT ARNOLD is staring at his terminal, puzzled. On the screen, glowing red and blue lines are blinking off, in succession.. ARNOLD What? HAMMOND comes up behind him, as does ROBERT MULDOON. HAMMOND What? ARNOLD The door security systems are shutting down. HAMMOND Well, Nedry said a few systems would go off-line, didn't he? 51 THRU OMITTED 52 53 INT REAR CAR NIGHT GRANT and MALCOLM still wait in their car. They don't notice, but the video screen in the middle of their front console suddenly goes black. Malcolm continues their conversation. MALCOLM By the way, Dr. Sattler - she's not like, uh, available, is she? - - GRANT Why? MALCOLM Why? Oh, I'm sorry. Are you two, uh - - are? I wish you the best luck. The cars jerk to a stop. The lights in the vehicles and along the road go out, plunging them into blackness. Grant jerks his hands away from the steering column, immediately assuming it's his fault. GRANT What'd I touch?! MALCOLM You haven't touched (or) didn't touch anything. We're stopping. (or) We've stopped. GRANT I must've touched something. This happens all the time. It must be my fault. Machines hate me. MALCOLM Machines hate you? GRANT Yeah, they hate me. MALCOLM You want to talk about this? GRANT No. 54 EXT JURASSIC PARK NIGHT Nedry's jeep SPLASHES up to the giant gates that lead into Jurassic Park. NEDRY jumps out and hurries to the control panel on the side of the cement supports. He FLICKS a switch and gates CLICK unlocked. He jumps back in the car and noses into the gates, shoving them open far enough to drive through. He ROARS into the park grounds 55 EXT CONTROL ROOM NIGHT RAY ARNOLD stares at his terminal, aghast, as row upon row of colored lights crawls off on his screen. ARNOLD Woah, woah, woah, what the hell, what the hell? HAMMOND What now? ARNOLD Fences are failing, all over the park! A few minor systems, he said! HAMMOND (to Muldoon, pissed) Find Nedry! Check the vending machines! ARNOLD The monitors are failing. Muldoon heads for the door just as all the video monitors in the control room go out with a faint electronic ZIP. The three of them freeze for a moment, looking at each other. The tension in the room goes up a notch. HAMMOND (to Arnold) Use Nedry's terminal. Get it all back on. He can de- bug later. ARNOLD pushes off on the floor and whizzes over to Nedry's master terminal in his chair. With one stroke of his arm, he brushes all the loose junk off Nedry's station - junk food, soda cans, torn out magazine pages - - and tries to work. ARNOLD God, look at this workstation. The "Jeopardy"-type music is playing a little faster now. Muldoon steps forward, growing alarmed. MULDOON The raptor fences aren't out, are they? ARNOLD (checks) No, they're still on. HAMMOND Why the hell would he turn the others off?! 56 EXT PARK ROAD NIGHT A wire mesh fence in front of us has a very clear sign: DANGER! ELECTRIFIED FENCE! This Door Cannot Be Opened When Fence is Armed! A hand reaches out, grabs the fence by the bare wire, flips a latch, and shoves the door open. No sparks fly. DENNIS NEDRY runs from the fence back to his jeep, drops it in gear, and tears off down the park road. The rain is absolutely flowing down now, the road is rapidly turning to mud. IN THE JEEP, Nedry can barely see through the windshield. He's driving as fast as possible, checking his watch every few seconds. He leans forward, squinting to see through the windshield, wiping off the condensation with his free hand. A fork in the road rushes into view. He jumps on the brakes - - to late. The jeep careens into a signpost. NEDRY Shit! He throws the door open and hurries to the fallen sign: "To The Docks". He props it up - the directional arrow swings hopelessly on a nail. He clenches his jaws and growls. Soaked, Nedry stomps back to his car. Although he doesn't look too convinced, he drops the car in gear and speeds off to the left. 57 EXT CONTROL ROOM NIGHT HAMMOND still hovers over ARNOLD's shoulder while he works at Nedry's terminal. Arnold MUTTERS to himself as he tries another command. ARNOLD - - access main program grid - - He punches a button, but a BUZZER sounds and a little cartoon image of Nedry appears on the screen and waves its little finger disapprovingly. CARTOON NEDRY "You didn't say the magic word!" ARNOLD (livid) Please, God damn it! I hate this hacker crap! He SMACKS the top of the monitor, furious. The game show music plays still faster. HAMMOND Call Nedry's people in Cambridge! Arnold whisks across the floor in his chair and snatches up the nearest phone. He punches for an outside line. ARNOLD Phones are out too. HAMMOND Where did the vehicles stop? 58 EXT TYRANNOSAUR PADDOCK NIGHT BAAA! The goat that was brought up from the underground earlier is still tethered in the same place, BLEATING in the pouring rain The two explorers sit still in the middle of the road. A man's form races back from the front car to the rear car. IN THE REAR CAR, GRANT, soaking wet, gets back into the care and closes the door behind him. MALCOLM turns to him. GRANT Their radio's out too. Gennaro said to stay put. MALCOLM The kids okay? GRANT Well, I didn't ask. Why wouldn't they be? MALCOLM Kids get scared. GRANT What's to be scared about? It's just a little hiccup in the power. MALCOLM I didn't say I was scared. GRANT I didn't say you were scared. MALCOLM I know. GRANT Fine. Malcolm turns and looks out at the driving rain, and the fence that stands between them and the tyrannosaur paddock. He is scared. 59 IN THE FRONT CAR, GENNARO, LEX, and TIM wait, bored. The rain drums on the roof monotonously. Tim is upside down in the front seat. Lex pushes his legs up, and he swings them down. TIM Up and down, up and down! GENNARO (sotto) I can't believe we invited Ian Malcolm. TIM People were gettin' bloody noses - - things on your head - - aneurisms - - LEX (a little dreamy) I think Dr. Grant is really - - smart. GENNARO How he'll write a butch of (letters) papers, go on Larry King Live, say we're irresponsible - - Tim climbs into the back seat. Lex hits him with her hat as he moves by her. LEX Don't scare me. - - - - - - - - - - - - - - -????- - - - - - - - - - - - - - - Tim finds something under the seat and sits up abruptly, holding what looks like a heavy-duty pair of safety goggles. GENNARO Hey! Where did you find those things? TIM In a box under my seat. GENNARO Are they heavy? TIM Yeah. GENNARO Then they're expensive. Put them back. He leans back and closes his eyes. Tim ignores him and puts on the goggles. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Tim stares out the back window of the Explorer with Grant and Malcolm in it, behind them. The image is bright fluorescent green. TIM Oh, cool! Night vision! As Tim watches, the door of the rear Explorer opens, and a hand reaches out, holding an empty canteen out to catch some rain water. 60 IN THE REAR CAR Grant pulls the canteen back in, closes the door, and takes a drink. He and Malcolm wait. 61 IN THE FRONT CAR Tim continues to stare out of the back window with the goggles. He swings his legs - - but suddenly stops. He feels something. He pulls off the goggles and turns back. He moves into the back seat with Lex who is tapping her hat, and reaches forward to still her hand. BOOM. BOOM. BOOM. TIM Did you feel that? (or) Can you feel that? She don't answer. Tim leans over to the front passenger seat and looks at the two plastic cups of water that sit in the recessed holes on the dashboard. As he watches, the water in the glasses vibrates, making concentric circles - - - - then it stops - - - - and then it vibrates again. Rhythmically. Like from footsteps. BOOM. BOOM. BOOM. GENNARO (not entirely convinced) What is that? M-Maybe it's the power trying to come back on. Tim jumps into the back seat and puts the goggles on again. LEX What is that? GENNARO What is what? Tim turns and looks out the side window. He can see the area where the goat is tethered. Or was tethered. The chain is still there, but the goat is gone. BANG! They all jump, and Lex SCREAMS as something hits the Plexiglas sunroof of the Explorer, hard. They look up. It's a bloody, disembodied goat leg. GENNARO Oh, Jesus. Jesus. Tim whips around to look out the side window again. His mouth pops open, but no sound comes out. Through the goggles, he sees an animal claw, a huge one, gripping the cables of the "electrified" fence. Tim whips the goggles off and presses forward, against the window. He looks up, up, than cranes his head back further, to look out the sunroof. Past the goat's leg, he can see - - - - Tyrannosaurus rex. It stands maybe twenty-five feet high, forty feet long from nose to tail, with an enormous, boxlike head that must be five feet long by itself. The remains of the goat hang out of the rex's mouth. It tilts its head back and swallows the animal in one big gulp. Gennaro can't even speak. His hand claws for the door handle, he shoulders it open, and takes off, out of the car. LEX (freaking out) He left us! He left us alone! Dr. Grant! Dr. Grant! He left us! He left us! 62 ON THE ROAD, Gennaro runs away, as fast as he can, right past the second car, towards a cement block outhouse twenty or thirty yards away. He reaches it, ducks inside, and pulls the door after him - - - - but there's no latch, just a round hole in the unfinished door. Gennaro backs into a stall, frantic. The whole bathroom begins to shake. 63 IN THE REAR CAR, Grant and Malcolm turn in the direction Gennaro went. GRANT Where does he think he's going? MALCOLM When you gotta go, you gotta go. Malcolm looks the other way, out the passenger window. As he watches, the fence begins to buckle, its post collapsing into themselves, the wires SNAPPING free. MALCOLM What was that all about? - - Grant now turns and watches as, ahead of them, the "DANGER!" sign SMACKS down on the hood of the first Explorer. The entire fence is coming down, the posts collapsing, the cables SNAPPING as - - - - the T-rex chews its way through the barrier. They watch in horror as the T-rex steps over the ruined barrier and into the middle of the park road. It just stands there for a moment, swinging its head from one vehicle to the other. 64 IN THE FRONT CAR, The rex strides around to the side of the car and peers down, from high above. Tim leaps into the front seat and pulls the driver's door shut. Both kids are terrified, breathing hard, unable to speak. TIM Please! Please! 65 IN THE REAR CAR, MALCOLM Boy, do I hate being right all the time. GRANT Look at that! The T-rex turns and strides quickly back towards them. It circles, slowly, bending over to look in at them through the window. Grant and Malcolm sit trembling in the front seat, watching as the giant legs stride past their windows. GRANT (a quivery whisper) Keep absolutely still - - it's vision's based on movement! MALCOLM You're sure?! GRANT (pause) Relatively. Malcolm freezes as the rex bends down and peers right in through his window. The dinosaur's giant, yellowing eye is only slightly smaller than the entire pane of glass The T-rex pulls away slightly, then reaches down and BUMPS the car with its snout, rocking it. 66 IN THE FRONT CAR, Lex is rummaging around in the back cargo area, looking for something, anything. She finds a flashlight. 67 ON THE ROAD, The front car lights up from within as Lex switches on the flashlight. The dinosaur raises its head. It turns slowly from the second car to the first car, drawn by the light. Making a decision, it strides over to the first vehicle. FAST. 68 IN THE FRONT CAR, Tim and Lex can only stare out of the windows as the T-rex reaches their car and starts to circle it. The rex bends down and looks in through the front windshield, then the side window. Tim is eye to eye with the thing for a second, then the dinosaur raises its head up, above the car. LEX I'm sorry - - I'm sorry - - TIM Turn it off, Lex! Turn it off! Tim climbs over the seat and joins Lex. TIM (cont'd) Where is the button then? LEX I don't know, I don't know. I'm sorry - - TIM Why did you do this? LEX I don't know! I'm sorry! The Kids look up, through the sunroof, as the head goes higher, and higher, and higher, and then the rex turns, looks straight down at them through the sunroof, opens its mouth wide and - - - - ROARS. The windows RATTLE,