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Jurassic Park (1993) movie script

by David Koepp.
Based upon the novel by Michael Crichton and on adaption by Michael Crichton and Malia Scotch Marmo.
Final draft, December 11, 1992.

More info about this movie on IMDb.com
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, Lex SCREAMS, the flashlight goes on again,
and the tyrannosaur strikes.

SMASH!  The thing's head its the plastic sunroof, knocking the
whole frame right out of the roof of the car and down into the vehicle.
The bubble falls down onto Tim and Lex, trapping them, and the animal
lunges down, through the hole, SNAPPING at them.

The Plexiglas holds, though and protects Tim and Lex even as it
pins them to the seats.  The T-rex continues to push down, and the
glass GROANS, crack lines racing across it.

Tim, whose feet were caught above him, pushes back, only an inch
of glass between him and the dinosaur's teeth.

69	IN THE REAR CAR,

Grant and Malcolm watch in horror as the dinosaur claws at the
side of the vehicle with one of its powerful thigh legs.

It pushes, starting to tip the car over.

		MALCOLM
	Oh my God!

		GRANT
	We gotta do something.

		MALCOLM
	What?  What can we do?

		GRANT
	There's gotta be something - -

Grant looks around, climbs over the seat.  He tears apart the
back area, searching - and finally finds a metal case.  He opens it,
finding flares.  He grabs one and moves quickly back to the driver's
seat and opens the door.

Malcolm grabs a flare, too.

70	IN THE FRONT CAR,

the glass windows SHATTER, the Kids are thrown to the side, and
the Explorer tilts.

The rex bends down and nudges the car with its head, rolling it
up on its side.  Tim and Lex tumble around.

71	ON THE ROAD

the T-rex starts to nudge the Explorer toward the barrier.  Over
the barrier, there is a gentle terraced area at one side where the rex
emerged from, but the car isn't next to that, it's next to a sharp
precipice, representing a fifty or sixty foot drop.

The car, upside down now, is pushed near the edge.

The rex towers over the car.  Like a dog, its puts one foot on
the chassis and tears a the undercarriage with its jaws.

Biting at anything it can get a hold of, it rips the rear axle
free, tosses it aside, and bites into a tire.

The tire EXPLODES, startling the animal.

72	INSIDE THE CAR,

Tim and Lex are trapped inside the rapidly flattening car.  As
the frame continues to buckle, they crawl toward the open rear window,
the car collapsing behind them.  Mud and rain water pout into what
little space there is left.

Tim is ahead, nearing the back window, when there is a CRUNCH
and a seat comes down, pinning him.

73	ON THE ROAD,

the dinosaur backs up, dragging the Explorer, swinging it left
and right.  It seems ready to fling it over the edge.

Grant gets out of his car.  He's holding the flare in one hand,
which he pulls the top off of.  Bright flames shoot out the end of it.

		GRANT
	Hey!  Hey!  Over here!

The T-rex turns and looks at him

Grant waves the flare slowly in front of him from side to side.
The T-rex follows his moving arm, eyes locked on the flare.  Grant
looks over to the wall, and tosses the flare over the edge of the
barrier.  The rex lunges after it - -

Unclear with Grant's plan, Malcolm leaps out of the car and
tries to scare up the T-rex's attention with his own newly lit flare.
He begins to wave it at the animal.  Grant sees him - -

		GRANT
	Ian!  Freeze!  Freeze!  Get rid of the flare!

		MALCCOLM
	Get the kids!

Malcolm inches back slowly, then takes off, running for his life
down the road.  He runs to the cement block outhouse Gennaro went into
earlier.

The T-rex sees the movement.  It whirls and takes off after
Malcolm, fast.

Malcolm runs as fast as he can, approaching the outside just
steps ahead of the T-rex

But not far enough ahead.  Without even slowing down, the rex
leans forward and flicks Malcolm into the air with its snout.

It's just a nudge a for the rex, but it sends Malcolm sailing
right through a wooden portion of the wall, and into the building.


74	IN THE RESTROOM

Gennaro, who cowers in a corner, SCREAMS as teh head of the T-
rex EXPLODES through the front of the building, sending chunks of
cement flying in all directions inside.  The roof collapses; Gennaro
tries to protect himself from the falling junk.


75	ON THE ROAD

Grant gets on his feet and watches as the T-rex noses around in
the rubble.

It seems to find something.  It lunges, and Grant can hear
Gennaro SCREAMING, the sound piercing - -

- - until it abruptly stops.

Grant scrambles over to the car.

		GRANT
	Tim!  Lex!

		LEX
	Dr. Grant!  Dr. Grant!

He lays on the ground, looking inside, and sees Lex staring up
at him, conscious, her face covered in mud.

		GRANT
	Are you okay?  Can you move?
		(calling into the car)
	Tim!  Are you okay?

- - - - - - - - - - - - - - -VERSION 1- - - - - - - - - - - - - - -

		GRANT
	Tim, are you okay?

		TIM
	I'm stuck.  The seat's got my feet!

		GRANT
	Tim, I'll come back for you.  I'll get Lex out first.

- - - - - - - - - - - - - - -VERSION 2- - - - - - - - - - - - - - -

		LEX
	He's knocked out!  He's knocked out!  Dr. Grant!  Dr.
	Grant!  Daddy, daddy!

		GRANT
	Let's get you out.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Grant reaches in and drags her out.

		GRANT
	Are you okay?  Good girl.

Grant tries to find Tim

		GRANT (cont'd)
	Tim?  Tim?

Lex, staring over his shoulder, SCREAMS.  Grant whirls, covering
her mouth at the same time.

		GRANT (cont'd)
	Shhh!  Don't move!  It can't see us if we don't move.

Lex looks at him like he's crazy, but freezes.  They wait.

BOOM!  A big T-rex foot print smacks down in front of them as
the dinosaurs approaches the car again.  It leans down, right past
them, and SNIFFS the car, ragged bits of flesh and clothing hanging
from its teeth.

Not finding anything, the dinosaur swings its head away,
SNORTING loudly through its nose.  Grant's hat flies off his head.
Still, he doesn't move.

The rex walks to the back of the car.  It bends down.

WHAP!  The car spins as it is pushed from behind by the rex.
Grant and Lex are pushed in front of it, helpless.  They scramble
around on their knees, trying to keep ahead of the car, which the rex
is now pushing even closer to the edge of the barrier.

Grant and Lex crawl quickly, but the car is moving faster,
catching up on them.


76	INSIDE THE CAR

Tim awakens and SCREAMS.  He tries to untangle himself.


77	ON THE ROAD,

the T-rex looms over Lex and Grant, who are trapped between the
car and the sixty foot drop.


78	INSIDE THE CAR,

the rex bends down and sees Tim.  Tim backs away, furiously, but
there's almost no room to move in there.  The rex opens its mouth wide
and stretches its tongue into the car.

Tim screams and kicks as the tongue tries to wrap around him.
But it fails, and withdraws from the car.


79	ON THE ROAD,

the T-rex still tries to get to Grant and Lex, pushing the car,
spinning on its roof.  Grant and Lex scramble, trying to avoid being
caught by the T-rex and crushed by the car.

		GRANT
	This way!

The back of the car almost crushes them against the barrier - -

		GRANT (cont'd)
	Get back!

They move, as the rex continues to move the car towards the
edge.  Grant finally gets on the wall, Lex follows.

The T-rex ROARS in frustration.  It bends down for one final
lunge at the car.

Grant sees it coming.  He grabs one of the dangling fence cables
on the other side of the barrier.

		GRANT
	Grab a hold of me!

She wraps her arm around his neck.  He scrambles to the edge of
the barrier, and starts to climb down.

		LEX
		(screaming)
	Timmy!  Timmy!

The cable is slick with rain, and it's all Grant can do to hang
on as he and Lex slide rapidly down.  Above them, the vehicle is now
teetering over the edge, threatening to drop right on top of them if
they didn't hurry.

Grant GASPS, as Lex has unwittingly started to choke him as she
holds on for dear life.

		GRANT
	You're choking me!

The car GROANS, nearly over the edge now.  Grant looks to the
side.  There are other cables, out of the line of the car's impending
drop.  His feet scrambling along the concrete wall, Grant tries to
swing over towards one.

		GRANT
	Grab a wire!

But he falls short.  His momentum carries them back the other
way, but on the second swing Lex manages to grab hold of the second
cable.

		LEX
	I got it!

The car falls.  Lex and Grant are clear by inches, clinging to
the second cable.

		LEX
	Timmy!

The car CRUNCHES into the leafy top of a tree, resting on its
roof some fifteen feet below them.

The T-rex stares down at them, but they are safely out of its
reach.

It ROARS once more, in a final fit of frustration, turns - -


A80	INT	CONTROL ROOM	NIGHT

JOHN HAMMOND is lived

		HAMMOND
	I will kill Nedry.  I will kill him.

Muldoon bursts through the door.

		HAMMOND
		(to Muldoon)
	Well?

		MULDOON
	There's no sign of him anywhere.

The game show music is louder and faster now, very annoying.

		HAMMOND
	Ray will you please switch off
		(or)
	stop that music?!

RAY ARNOLD's cigarette is practically burning his lips, down to
almost nothing in his mouth.  He hovers over NEDRY's computer terminal,
which is a mass of incomprehensible commands that scroll by quickly as
he futilely examines each one of them.

MULDOON paces.  ELLIE stares at Arnold in amazement.

		ELLIE
Are we getting anywhere with these procedures of yours?
I mean, what's hanging us up?

		ARNOLD
I ran a key check on every stroke Nedry entered today.
It's all pretty standard stuff, until this one - -

		ELLIE
		(stands, joins the group at the computer)
	What one?

He points to his computer screen, to a specific series of
commands.  The others crowed over his shoulder and stare at the screen.

		ARNOLD (cont'd)
	"Keycheck /space -o keycheck off safety -o."  He's
	turning the safety systems off.  He doesn't want
	anybody to see what he's about to do.  Now look at this
	next entry, it's the kicker.  "Wht.rbt.obj."  Whatever
	it did, it did it all.  But with Keycheck off, the
	computer didn't file the keystrokes.  Only way to find
	them now is to search the computer's lines of code one
	by one.

		ELLIE
	How many lines of code are there?

		ARNOLD
	Uh - - about two million.

		ELLIE
	Two million - - great.  That would help.
		(or)
	Oh good, that'll take no time.

		HAMMOND
	Robert - - I wonder if perhaps you would be kind
		(or)
	good enough to take a gas jeep and bring back my
	grandchildren.

		MULDOON
	Sure.

		ELLIE
	I'm going with him.

They head for the door.  Hammond turns, staring out the windows
at the front of the control room.  He's gone pale, and he's sweating,
wrapped up in million thoughts.  Behind him, Ray Arnold's voice calls
to him, but he doesn't hear it.

		ARNOLD
	John - - John - -

Hammond leans on his cane, and for the first time he looks like
he's actually using it.

		ARNOLD (cont'd)
	John.

Hammond turns, finally hearing him.

		ARNOLD (cont'd)
	I can't get Jurassic Park back on line without Dennis
	Nedry.


80	EXT	PARK ROAD	NIGHT

As the rain continues to pour down, a gas-powered jeep ROARS
down another park road.


81	INT	JEEP	NIGHT

DENNIS NEDRY drives the jeep as fast as he can in the
treacherous conditions.  He MUTTERS to himself, shaking his head.

		NEDRY
	Shoulda been there by now - - shoulda been there - -

He hauls it around a corner and looks down, checking his watch.
When he looks back up, his eyes go wide.

There's a white wood guard rail fence, right in front of him.
He stands on the brakes as hard as he can.  The jeep fishtails,
skidding out of control in the mud towards the fence.

Nedry hauls the wheel hard to the side to try to control the
skid, but the jeep skids off the road, going halfway over the muddied
embankment.

		NEDRY (cont'd)
	God damn it!

He drops the car in reverse and hits the gas.  The wheels spin,
sending mud flying everywhere, but the jeep goes nowhere, just digs in
further.

Nedry can't believe it.  Frustrated, he gets out of the jeep.
He stops suddenly - he can see another park road, down the sloping
embankment, about twenty feet below.

There is a large sign alongside the road.  Nedry leans forward
excitedly to get a better look.  It reads "TO EAST DOCK."  He scrambles
to the front of the jeep.

ON THE HILLSIDE

Nedry CRANKS a winch its coil on the front end of the jeep.

		NEDRY
		(mumbling to himself)
	No problem.  Winch this sucker off the thing - - tie it
	do a thing - - pull it down the thing - - and pull it
	back up.

He loses his balance and slips - falling back on his rear.  He
slides down the muddy embankment, across the road below.  Pissed, he
gets to his knees and searches for his glasses.

		NEDRY (cont'd)
	Where are my glasses?  I can afford new ones.

He stands and grabs the winch, and goes to a sturdy-looking tree
on the other side.

		NEDRY (cont'd)
	You can make it!

From the distance, there is a soft HOOTING sound.  There's some
movement in the bushes - Nedry looks around for the source of the sound
and movement.  He doesn't find it.  He nervously checks his watch and
goes back to the winch, but faster.

		NEDRY (cont'd)
	No problem - - pop this thing right down - -

The HOOTING comes again and Nedry turns - again, nothing.

A figure ducks around the tree and pops out on the other side,
HOOTING playfully.

Nedry looks around one side of the tree - nothing.  It pops up
on the other side, HOOTING again.  And Nedry looks again.  Nothing.  It
seems like a friendly game of hide-and-seek.  But Nedry begins to get
rattled.

		NEDRY
That's nice.  Gotta go. I'm getting out of here.  C'mon
you can make it!

He secures the winch and starts across the road, back up the
embankment.  He freezes, as he feels something behind him.  He turns
around slowly and sees:

A dilophosaur.  It stands only about four feet high, its spotted
like an owl, and has a brilliant colored crest that flanks its head.
It doesn't look very dangerous.  In fact, it's kind of cute.

		NEDRY (cont'd)
	Oh.  Uh - - nice boy.  Nice boy.  Okay. Run along.  I
	don't have anything for you!  Go on!  	Go home!  Dinner
	time!  Are you hungry?  They'll feed you!  Go, boy.
	Girl.  Whatever.

The dilophosaur just stares at Nedry, tilting its head
curiously.  Nedry looks around on the ground and finds a stick.  He
picks it up and chucks it at the thing.  He throws it as far as he can.

		NEDRY (cont'd)
	Nice juicy stick!  Fetch!

The dilophosaur gets into the spirit of the game, but not the
object.

		NEDRY (cont'd)
	Lame brain!  What's the matter with you?
		(or)
	What's the matter with you?

He shakes his head and starts back towards the jeep, muttering
to himself.

		NEDRY (cont'd)
Walnut brain...extinct kangaroo...hope I run over you on
the way down - -

- - - - - - - - - - - - - - -??-OR-??- - - - - - - - - - - - - - -

		NEDRY (cont'd)
	Walnut brain...extinct kangaroo...hope I run over you on
	the way down - -

He's near the top when the dilophosaur suddenly hops out right
in front him, startling him.  Nedry loses his balance and falls back,
right on his rear.  He gets to his feet, angry.

		NEDRY (cont'd)
	I said - -

He picks up a stick and chucks it at the thing.

		NEDRY (cont'd)
	- - beat it!

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

		NEDRY (cont'd)
	What are you do - -

The animals HISSES.  The brightly colored fan around its neck
flares wildly, two bulbous sacs on either side of its neck inflate.  It
rears its head back again - -

- - and it SPITS.

SPLAT!  A big glob of something wet SMACKS into the middle of
Nedry's chest.  He reaches down and touches the goo that's dribbling
down his slicker.

		NEDRY (cont'd)
	That's disgusting!

SPLAT!  Another glob of goo SMACKS into the highlight, right
next to Nedry's head.

He stands up.  A look of confusion crosses his face.  He lifts
his right hand, the one that he touched the spit with, and looks at it
strangely, flexing it.

POW!  This time the lugie hits Nedry right smack in the face.
He SCREAMS and rubs it away, frantically.

Because it hurts.  Like hell.  Nedry falls back, clawing at this
eyes, in excruciating pain.  He pulls his hands away, starting to
hyperventilate.  He flails his arms in front of him, blinking a mile a
minute, but blinded.

He staggers forward, to try to get into the jeep.  He gets the
door open, but SMACKS his head on the door frame and collapses.

The can of shaving cream flies out of Nedry's jacket pocket - -
and tumbles into runoff water, down the muddy hillside.  Nedry gets to
his feet again and staggers in the general direction of the jeep.  He
reaches the open door and feels his way in.  He SLAMS the door.

There is another HOOT.  From inside the jeep.

Nedry turns and SCREAMS.  The dilophosaur is right there, in the
passengers seat.  It HISSES louder than before, its crest fans angrily,
vibrating, reaching a crescendo - -

- - and the thing pounces, SLAMMING Nedry back against the
driver's window, SHATTERING it.  As Nedry shrieks - -

Rain and mud wash over the shaving cream can, burying it.


82	OMITTED


83	EXT	PARK GROUNDS	NIGHT

The rain has all stopped now.  GRANT and LEX are at the bottom
of the large barrier leading up to the park road.  Like it or not,
they're in the park now, and are surrounded by think jungle foliage on
all sides.  They're both beaten up, and Grant's face is covered in
blood.

He's bent over a big puddle, splashing water on his face,
rinsing the blood off and trying to bring himself to.

Poor Lex is scared as hell.  She stands behind Grant, ramrod
straight, her breath coming short, desperate GASPS.  Her eyes are wide,
and she doesn't look like she can move.

As Grant gets rid of the blood, his injury doesn't look so bad,
just a gash on his forehead.

He turns and looks up to the tree the Explorer fell in.  It's
stuck there, nose down in the thickest top branches.

Lex's GASPS are getting louder.  She's terrified.

		GRANT
	Hey, come on, don't - - don't -- don't - - just - -just
	- - stop, stop.

He touches her, but it's awfully awkward, more of a pat on the
head than anything strong or reassured.

But she responds to the contact, hurling herself forward and
throwing her arms tightly around his waist.  She clamps here, holding
on for dear life, SOBBING.

		GRANT (cont'd)
	Lex, you gotta be quiet, please.  Stop it.  Shhhhh.

This seems to quiet her.

		GRANT (cont'd)
	Because if we make too much noise, he's going to hear us
	and come back.

Lex bursts out crying again, a WAILING scream, nearly hysterical
now.  Grant holds her, no idea what to do.  He turns and looks around.

		GRANT (cont'd)
		(a whispered shout)
	Timmy?!  Timmy!

He hears a CRACKING sound.  He looks up to the tree again.  The
Explorer has fallen a few feet lower into the branches.

Grant looks down at Lex, who is sitting on a rock.

		LEX
	Dad - - Dad - -

		GRANT
Shhh - - I'm right here, Lex.  I'm going to look after
you.  I'm going to help your brother.  I want you to
stay here and wait for me, okay?

		LEX
	He left us!  He left us!

		GRANT
	That's not what I'm going to do.  Good!

Grant walks to the tree.  Lex scampers into the culvert.


84	EXT	TREE	-	NIGHT

GRANT takes a deep breath. grabs hold of the first branch, and
starts his long climb.  Fortunately, it's a good climbing tree, its
branches thick and regularly spaced.

Grant moves at a good pace.  He reaches the car's level, on the
driver's side five or six feet to one side of it.

The car's in rough shape.  It's much thinner that it use to be,
its nose completely smashed in, the front wheels driven solidly into a
thick branch.  They are what hold it in place.

		GRANT
	Tim?  Tim?

Grant comes up to the car and looks in.  TIM is huddled on the
floor on the passenger side, frightened, hugging his knees to his
chest.

He looks up at Grant with a tear and blood-streaked faced.  His
voice is barely audible.

		TIM
	I threw up.

		GRANT
	That's okay.  Listen, give me your hand.

Tim doesn't move.

		GRANT (cont'd)
	I won't tell anybody you threw up.  Just give me your
	hand, okay?

He reaches out.  Tim reaches too, but they're still about a foot
apart.  Grant grabs hold of the steering wheel, to pull himself further
in.  The wheel turns.

On the branch, the front wheel turns, losing a bit of their grip
on the thick branch they're resting on.

Tim and Grant grab hands.  Grant holds on to him, getting an arm
securely around his waist.  They climb down.  They stop on a branch.

		GRANT
	Okay, that's not so bad, ah Tim?

		TIM
	Yes it is.

		GRANT
It's just like coming out of a tree house.  Did your dad
ever build you a tree house, Tim, eh?

		TIM
	No.

		GRANT
	Me too.
		(he starts to move down)
	Okay.  Well, the main thing about climbing is never,
	never look down, never.

		TIM
	This is impossible.  How am I going...I can't make it.
	This is...it's about fifty feet.

		GRANT
	So am I going to help you with your foot?

		TIM
	What if the car falls?
		(or)
	What if the wheels fall?

The car GROWNS forward on the branch, which sags in their
direction.  They look up.  The car begins to shift dramatically towards
them.

		GRANT
	Oh, no!  GO, Tim, go!  Go!

They climb down, as fast as they can, as the big branch that is
supporting the car CREAKS, ready to give way any second.

		GRANT (cont'd)
	Faster!  Faster!

The branch breaks.  Disintegrates, really, and the car falls
straight at them.

Grant and Tim let go of the branch they're on and fall, THUDDING
into another branch a few feet down.  The car SMACKS into the bug
branch they just vacated, and stops there.

Grant and Tim are half climbing, half falling down the tree now,
slipping on the resin-covered branches, just trying like hell to get
out of the way.

CREEEE-POW!  The second branch breaks, and now the car SMASHES
and CRASHES through a network of thinner branches, headed right for
them.  It hits open space and goes into free fall.

Grant turns, and puts up his arms in defense --

-- and the car stops, SLAMMING into a thick branch just above
him.

Grant looks up, eyeball to eyeball with the front grill.

The new branch starts to CREAK.

Grant and Tim basically fall down the rest of the tree, the car
BASHING its way through right behind them.  They jump the last six or
seven feet and hit the ground, hard.

Grant grabs Tim and rolls with him, to the side, just as the car
SMASHES into the earth, nose first, standing upright that way.

They look up in relief, but the damn thing's still heading for
them, now tipping over, falling straight at them, and there's no way
they have time to get out of the way this time, so Grant just balls
himself up on top of Tim to try to protect him and --

-- CRASH!  The jeep falls on top of them.  Grant, amazingly
unhurt, looks up confused.

They're inside the jeep again, saved by the hole sunroof.


CUT TO:


85	EXT	CULVERT	-	NIGHT

LEX is still in the culvert, terrified, slowly BANGING her head
against the wall.

GRANT is at the mouth of the culvert, carefully studying the
rinky-dink map of the park he picked up during the slide show.

		GRANT
	Okay -- okay --

He's trying to get his bearings from the crude, cartoon-like
drawing on the map, but it's tough.

He looks up, picking a direction, and shoves the map in his
pocket decisively.

He looks back in at Lex.

		GRANT (cont'd)
	Lex, you're going to have to get out of there.
		(he walks towards her)
	Hiding isn't a rational solution; we have to improve our
	situation.

She doesn't move.  Grant looks at Tim.

		GRANT (cont'd)
	Tim's out here.
		(Grant picks Tim up)
	He's okay.

Still nothing.  Grant tries a new tact.

		GRANT
		(walking away)
	'Course you could just wait in there while we go back
	and get help.

		TIM
		(following Grant)
	That's a good idea.

		GRANT
	You'll probably be safe enough (alone) on your own --

		TIM
	I doubt it.

		GRANT
	Maybe -- it's hard to say.

		LEX
	Liar!  You said you wouldn't leave!

		GRANT
	I'm trying to use psychology to get you out of the
	drain, you know!

She just stares at him like he's nuts.  Tim shakes his head at
Grant, as if to say "nice try."  Grant calms his tone.

- - - - - VERSION 1 - - - - -

		GRANT (cont'd)
	We can't go back the way we came.  What we have is a
	free-range T-rex on the road.  There's (there are)
	fences on either side.  If we meet him between here and
	the lodge, we'd have problems.  But what this means,
	what this means, is that this whole paddock is empty.
	It's safe.

		LEX
	It's safe?

		GRANT
	It's safe.

		LEX
	It's safe.

		GRANT
	Go (and) that's the way we're going to go.  What do you
	say?

		LEX
	Alright.

- - - - - END - - - - -

- - - - - VERSION 2 - - - - -

		GRANT (cont'd)
	Alright.  We're just going to walk back home.  Together.

We walks over to Lex at the culvert and sits across from her.

		GRANT (cont'd)
	But we can't walk back on the road.  There are fences on
	either side.  And if we meet the Rex between here and
	the lodge we'd -- have problems.

Lex covers her ears.  Grant tries to calm her.

		GRANT
	He's probably staked out the road as a feeding ground,
	which means this whole paddock is empty.  It's safe.
	It's safe, and that's the way we're going to go.  What
	do you say?

- - - - - END - - - - -

He's spoken calmly and confidently, so Lex crawls out of the
culvert and stands next to him.

		GRANT
	Good girl.

He kisses her hand and helps her crawl out of the culvert.

Tim and Lex nod, and he starts off in the direction he
indicated.  They trail behind him.

		GRANT (cont'd)
	Might be kind of slow, but it can't be more than three
	or four miles.  I'd hoped the rex finished feeding by
	now, but let's not kid ourselves.  Did you know a
	carnivore can eat up to 25% of its body weight in
	(about) one sitting, so he's probably just ready to move
	on to the main course by now --

He stops in the middle of the sentence, noticing he's alone.  He
turns around.  Now both kids have scampered all the way back into the
culvert, terrified.


86	EXT	PARK ROAD	NIGHT

MULDOON and ELLIE race down the park road in an open-topped jeep
like the one Nedry took earlier.  Neither of them speak, they just
stare ahead grimly, wondering what they're about to find.

		MULDOON
	There they are!

They round a corner and come to the top of the hill, where the
attack took place.  The jeep skids to a stop and they jump out.

The road is rutted, muddy mess.  The cement block house is a
pile of rubble.  One of the Explorers is gone, the other stands
untouched, both doors hanging open.

		ELLIE
	Oh, God.  Where's the other car?

She runs to the Explorer.  Muldoon follows, looking around.

AT THE EXPLORER,

Ellie leans in and looks around.  Nobody's there.  She and
Muldoon walk towards the wreckage of the outhouse, calling out:

		ELLIE (cont'd)
	I think it's ahead of us.

		MULDOON
	It could be anywhere.  With the fences out, it can go in
	and out of any paddock it likes.

They hear a MOANING sound from somewhere in the wreckage of the
restroom building.  They rush over to it.

IAN MALCOLM lies on his back, semiconscious among the twisted
wood and cement.

		MULDOON
	It's Malcolm!

He shines his light along the length of Malcolm's body.  His
shirt is soaked with blood, but his right leg is even worse off.  The
right ankle it bent outward at a strange angle from his leg, the
trousers flattened, soaked with blood.

Malcolm's belt has been twisted around his thigh.

		ELLIE
	He's put a tourniquet on.  Ian!  Ian!

Malcolm GROANS as she touches him, groggy.

		MALCOLM
	Remind me to talk John for a lovely weekend.

The T-rex ROARS again.  But closer now.  Ellie and Muldoon look
at each other.

		ELLIE
	Can we chance moving him?

		MALCOLM
	Please - - chance it.

Muldoon lays Malcolm as carefully as possible in the back of the
jeep.

		MALCOLM
	Where are the kids?

Ellie looks around.

		ELLIE
	Lex!  Tim!

She turns and looks back at the empty road.  She's on the verge
of tears, but is fighting them back.

		MULDOON
	Dr. Sattler, I've seen a lot of animal attacks.  People
	just disappear.  No blood, no trace.  	That's the way it
	happens.

		ELLIE
	No, no, no!

She walks to the edge of the road, her eyes following the deep
ruts the Explorer made when it went over the edge.  Muldoon gets ready
to leave.

		MULDOON
	Ellie, com one!!

		ELLIE
	The other car!


87	EXT	CLEARING	NIGHT

ELLIE's and MULDOON's flashlight beams spray light by the base
of the tree.

		MULDOON
	Dr. Grant!

		ELLIE
	Alan!

They find the wrecked Explorer.  Muldoon peers inside, looking
for anything.

		ELLIE
	Do you see anything?

		MULDOON
	I don't know.

The T-rex ROARS again, closer still

Ellie nervously goes to the other side of the car and looks in.

		ELLIE
	Alan?!

		MULDOON
	They're not here.

Ellie desperately searches the ground for any signs of Grant.
She finds their footprints.

		ELLIE (O.S.)
	Thank God.


88	EXT	PARK ROAD	NIGHT

MALCOLM, laid out in the back of the jeep, feels something
strange.  He looks down, at the one of the T-rex footprints in the
road.  It's filled with water.

The water in the puddle vibrates rhythmically.

Malcolm's eyes widen.  He looks around, frantically.

		MALCOLM
	Uh - - anybody?  Anybody hear that?


89	EXT	CLEARING	NIGHT

ELLIE is still looking around, to MULDOON's chagrin.  Her
flashlight falls on three sets of footprints in the mud.

		ELLIE
	Look!

Wit her flashlight, she follows the trail the footprints made.
They lead into the jungle and disappear.


90	EXT	PARK ROAD	NIGHT

MALCOLM's staring , wide-eyed, at the rings in the water, which
are getting bigger now.

		MALCOLM
	It's a - - an impact tremor is what it is, it, uh - -

BOOM.  BOOM.

		MALCOLM (cont'd)
	I'm fairly alarmed here!

ELLIE and MALCOLM come up over the embankment, excited.

		MALCOLM
	Gotta move, gotta get out of here.  Let's go - we gotta
	go, we gotta get out of here, right now!  Go, go!  Let's hurry, let's
	get out of here!

They stop talking.  The BOOMING is louder now, and faster.  Much
faster.  They look back, over their shoulders.

		ELLIE
	Oh.

Ellie and Muldoon get into the jeep, Muldoon in the driver's
seat.

		MALCOLM
	Move now!  Let's go, let's go, right now, right now!

The tyrannosaur SMASHES out of the jungle foliage, bursts onto
the road, and runs straight at them, moving at least thirty miles an
hour.

		MALCOLM
	GOGOGOGOGOGOGOGOGOGO!

Muldoon fumbles for the keys, turns the jeep over, and SLAMS it
into gear.  He drops the clutch, hits the gas, and tears ass out of
there.

But the jeep is slow to work through the first few gears.
Terrified, Ellie dares to look down, to the side view mirror, which
tells her "Objects Are Closer Than They Appear."

And they sure are.  The T-rex is still gaining on the slowly
accelerating jeep.  All three of them stare back at the rex in terror -
-

		ELLIE
	Faster, faster!

		MALCOLM
	Must go faster, it's getting closer - must go faster!

		ELLIE
	Faster!  Shit, shit, shit, faster!

		MALCOLM
	Must go faster, go, go.  Open it up, 5th gear, 5th gear!
	Here it comes!  Stand on it!  Fifth - stand on it, 5th
	gear, go!

- - which means they don't see the half-fallen tree branch right
in front of them, blocking the path of the road.  Muldoon looks back
first, SHOUTS - -

		MULDOON
	DOWN!

- - they all duck.

The windshield hits the branch and SHATTERS as the jeep flies
ahead, really picking up speed now.

The T-rex just runs right through the branch, SMASHING it
entirely.

They're bounced around pretty badly.  Malcolm is knocked into
the front, and in so doing knocks the gear shift into neutral.  The
engine RACES, the T-rex closes in again - -

Losing ground now, the dinosaur makes a final lunge for the jeep
and CRUNCHES into the left rear quarter panel - -

		ELLIE
	Faster, faster!

- - but Muldoon SLAMS it back into gear and guns it.  The T-rex
gives up, fading into the distance.

They drive in silence for a few moments, all scared out of their
wits.

		MALCOLM
	Think they'll have that on the tour?


91	EXT PARK GROUND	NIGHT

GRANT, LEX, and TIM make their way through Jurassic Park.  Far
in the distance, there's another ROAR.  Grant hears it, but tries not
to show it.

		LEX
	Hear that?
		(or)
	Are you hearing this?

		GRANT
	No, I didn't hear anything.
		(or)
	No, we're okay.

They keep walking, but now Grant is looking around for a safe
place to hide.  He looks up, to the towering trees around them.

		GRANT (cont'd)
	You (guys) both look pretty tired.  I think
		(or)
	why don't we find
		(or)
	we ought to find someplace to rest.

He hears another ROAR

		GRANT (cont'd)
	Like about now.  C'mon!  Hurry up!  Like this tree.

		LEX
	Why are we hurrying if there's nothing wrong?

		TIM
	What if we fall?  I hate trees.


92	EXT	TREE	NIGHT

LEX, TIM, and GRANT climb.  Grant is behind, watching the other
two, giving them a push up when they need it.

		TIM
	I hate trees!

		LEX
	They don't bother me.

		TIM
	Yeah, you weren't in that last one.

Now, near the top of the tree, the three of them sit there,
dangling their legs, looking out over the park.

It's an incredible view.  They can see in all directions.  And
with the full moon, there's a lot of detail.

Most striking of all are dozens of sauropod heads, at the end of
long necks, that tower over the park.

		TIM (cont'd)
	Hey!  Those are brontosauruses - - I mean, those are
	brachiosauruses.

		GRANT
	It's okay to call them brontosaurs, Tim.  It's a great
	name.  It's a romantic name.  It means "thunder lizard".

		TIM
		(digging that)
	"Thunder lizard!"

Grant finds a solid web of branch and settles himself in it,
leaning back against the trunk of the tree, with a little room on
either side of him. Lex nestles up next to him on the branch.  Grant is
surprised, but accepts it.

Tim climbs off to the side, to a nook in the branch of his own.
Silent of a moment, the three can hear the HOOTS of the animals as they
call.  Some are almost musical.

		GRANT
	Listen to that!  They're singing!
		(he moves over to a higher branch)
	Of course no one's ever heard one from a dinosaur
	before, but - - I could swear that sounds  suspiciously
	to me like a mating call (to me).  In an all-female
	environment - -
		(or)
	On an all-girl island?

He smiles, enchanted.  He HOOTS himself, trying to imitate one
of the calls.  Immediately, five or six of the heads turn in their
direction and HOOT back.

		LEX
	No, no, sh, sh, sh - - stop!  Stop! Stop!  Don't let the
	monsters come over here!

		LEX
	They're not monsters, Lex. They're just animals.  And
	these are herbivores.

		TIM
	That means they only eat vegetables.  But for you, I
	think they'd make an exception.

		GRANT
	Tim, Tim, Tim....

		LEX
	Oh, I hate the other kind.

		GRANT
	They're just doing what they do.
		(or)
	Well the other kind - -
		(he gets off the branch and goes back to sit with
		the kids)
	- - just do what they do.

		LEX
	Dorkatops!

		TIM
	Straight-A brainiac!

		GRANT
	Could you guys possibly cool that for a - -

Satisfied, Tim settles in for the night.  Grant shifts too,
getting comfortable, but something in his pocket pinches him.  He
winces and digs it out.  It's the velociraptor claw he unearthed so
long ago in Montana

Yesterday, actually.  He looks at it, thinking a million
thoughts, staring at this thing that used to be so priceless.

		LEX
	What are you gonna do now if you don't have to dig of
	dinosaur bones any more?

		GRANT
	I guess we'll just have to evolve too.

		TIM
	What do you call a blind dinosaur?

		GRANT
	I don't know.  What do you call a blind dinosaur?

		TIM
	A Do-you-think-he-saurus. What do you call a blind
	dinosaur's dog?

		GRANT
	You got me.

		TIM
	A Do-you-think-he-saurus Rex.

Grant laughs.  Both kids finally close their eyes, but after a
moment, Lex pops hers open again.

		LEX
	What if the dinosaur comes back while we're all asleep?

		GRANT
	I'll stay awake.

		LEX
		(skeptical)
	All night?

		GRANT
	All night.

Grant lets the claw fall to the ground.


93	OMITTED


94	INT	RESTAURANT	NIGHT

ELLIE comes into the darkened restaurant, following the source
of the flickering light.  A candle burns at a table in the corner.

JOHN HAMMOND sits at the table, alone.  There is a bucket of ice
cream in the middle, and he's eating a dish of it, staring down
morosely.

Ellie draws up to the table and Hammond looks up at her.  His
eyes are puffy, his hair is messed up - - for the first time we've seen
him, the fire is gone from his eyes.

		HAMMOND
	They were all melting.
		(or)
	It was all melting.

Ellie just nods.

		ELLIE
	Malcolm's okay for now.  I gave him a shot of morphine.

		HAMMOND
	They'll all be fine.  Who better to get the children
	through Jurassic Park than a dinosaur expert?

Ellie nods.  Another pause.  Hammond breaks it again.

		HAMMOND (cont'd)
	You know the first attraction I ever built when I came
	down south from Scotland?  Was a Flea Circus, Petticoat
	Lane.  Really quite wonderful. We had a wee trapeze, a
	roundabout - - a merry-go - - what you call it?

		ELLIE
	Carousel.

		HAMMOND
	A carousel - - and a seesaw.  They all moved, motorized
	of course, but people would swear they could see the
	fleas.  "I see the fleas, mummy!  Can't you see the
	fleas?" Clown fleas, high wire fleas, fleas on parade...
		(he trails off)

	Ellie just looks at him, not sure what his state is.  He goes
	on.

		HAMMOND
	But with this place, I - - I wanted to give (show) them
	something real, something that wasn't an illusion,
	something they could see and (feel) touch.  An aim
	devoid of (without) merit.

		ELLIE
	But you can't think through this one.  You have to feel
	it.

		HAMMOND
	You're absolutely right.  Yes, you're right.  Hiring
	Nedry was a mistake, that's obvious.  	We're over-
	dependent on automation, I can see that now.  But that's
	all correctable for the next time around.

		ELLIE
	John, John.  John, you're still building onto that Flea
	Circus, that illusion.  And now you're adding onto it by
	what you're doing here.  That's the illusion.


		HAMMOND
	(When) Once we have control again we - -

		ELLIE
	Control?!  You never had control!  I was overwhelmed by
	the power of this place.  So I made a mistake too.  I
	didn't have enough respect for that power, and it's out
	now.  You're sitting here trying to pick up the pieces.
	John, there's nothing worth picking up.  The only thing
	that matters now are the people we love.  Alan, Lex, and
	Tim.  And John, they're out there where people are dying
	- - people are dying, you know?

There is a long pause.  Hammond avoids her gaze.  Ellie reaches
out and takes a spoon out of one of the buckets of ice cream, and licks
it.  Finally:

		ELLIE (cont'd)
	It's good.

He looks up at her, and his face is different, as the unhappy
irony of what he's about to say finally hits home.

		HAMMOND
	Spared no expense.


95	OMITTED


96	EXT	PARK	DAWN

The sun comes up over Jurassic Park.  The danger of the night
before is overcome by the sheer beauty of the place - - it really is
like the Serengeti Plain.

Over at the edge of a great open field, a huge tree marks the
border between the open area and the thick of the jungle.

UP IN THE TREE,

GRANT, TIM, and LEX are asleep in the branches of the tree, both
kids now curled up under Grant's arms.

A heavy shadow falls over all three of them, blocking out the
sun entirely.  Grant awakens, only a little bit asleep, as - -

- - a brachiosaur's head pushes into the tree branches, right up
beside them.  It hesitates there for a second, seemingly staring at
them.  Grant just watches as it opens its mouth very wide and CHOMPS
down on a branch over their heads.

The kids awaken with a start.  Tim points, Lex opens her mouth
to scream, but nothing comes out.  Then - -

		LEX
	Go away!

		GRANT
		(quietly)
	It's okay!  It's okay!  It's a brachiosaur!

		TIM
	Veggiesaurus, Lex, Veggiesaurus!

But Lex isn't taking any chances and scrambles back, away from
its mouth.  Tim and Grant come together on the branch, just staring at
the dinosaur in wonder as it eats its breakfast.

Grant gets another branch.

Tim scampers up, trying to get the brachiosaur's attention.

		TIM (cont'd)
	Come here, boy - - I mean girl.
		(he tries  whistling)

Grant moves forward and tries to feed the brachiosaur.  The
animal gets the end of the branch and starts a tug-of-war with Grant.

Tim tries to help him - - they really begin to have a good time
with the brachiosaur.

HONK!  The brachiosaur makes a loud honking noise, startling
Grant and the kids.

		GRANT
	Take a bite, take a bite.  I'm not letting go.

		TIM
	It's so strong!  Look at its nose.
		(he grabs onto the branch)
	Need help?

Tim reaches out, petting the dinosaur's head while it chews.

		TIM (cont'd)
	That's a girl.  Hey Lex, you can touch it.  It's a girl,
	just like you.  Come on, it's okay.  Lex, come on and
	touch it.  It likes you.  It's gotta like you.  Come on
	Lex.  Lex, come over and touch - - it's a girl, it has
	to like you.  Lex, why don't you touch it.  It has to
	like you.  It's a girl.

		GRANT
	Come on, try some.  Take a bite.

		TIM
	It's good protein.  Come on, Lex.  Why don't you touch
	it?  Look at his nose.

		GRANT
	This is a seventy-seven ton animal.  Come on over, Lex!
	Just think of it as a big cow.  Look at it's teeth?
		(he moves in closer)
	Come here, girl.  This is a seventy-seven ton animal.
	Just think of it as a big cow!

Grant maneuvers in closer.  He reaches out and grabs hold of the
thing's lip with both hands and pulls it down, revealing the jaw at
work.

		LEX
	I like cows.

		GRANT
	You're a beautiful big animal.

		TIM
	His nose is running.  It looks like it has a cold.

The dinosaur keeps chewing, not objecting to the inspection.

		TIM
	Did you smell that?

Lex tentatively edges forward in the tree to the inspection.

		LEX
	Come on girl, up here.

She barely touches the thing on the tip of its nose - -

- - and it SNEEZES.  It's a vast explosion, and Lex falls back,
dripping wet from head to toe.

		TIM
	God bless you!


96A	OMITTED


97	ON THE GROUND,

Lex, her shirt is soaked, and face all wet, walks away from the
tree.  Tim and Grant follow.

		TIM
	Oh, great.  Now she'll never try anything new!

Lex is embarrassed and ticked off.

		TIM (cont'd)
	She'll just sit in her room and never come out and play
	with her computer - -

		LEX
		(as she wipes off some of the wet and throws it
		at Tim)
	I'm a hacker!

		TIM
	That's what I said!  You're a nerd!  They don't call you
	people hackers anymore - - they call you people nerds!

Tim and Lex continue talking, oblivious to Grant, who has
stopped by  a tree root trunk.

		TIM
	Hey Lex, ahhhchooo!
		(or)
	Hey Lex, com here.

		LEX
	What?

		TIM
	Hey Lex, you forgot to say gazundheit.

Grant is still crouching on the ground below the tree where he
landed, staring at something in the palm of his hand.  They both come
and look over his shoulder, curious.  They stare in amazement - -

- - at a whole clutch of dinosaur eggs!  All hatched, now empty.
Grant picks up one of the fragments, a large one - nearly half an egg.

		GRANT
	You know what this is?  It's a dinosaur egg.  The
	dinosaurs are breeding.

		TIM
		(taking the shell from him)
	But - - my grandpa said all the dinosaurs were girls.

		GRANT
	Amphibian DNA.

		LEX
	What's that?

		GRANT
	Well, on the tour - - the film said they used frog DNA
	to fill in the gene sequence gaps.  They mutated the
	dinosaur's genetic code and blended it with that of
	frogs.  Now, some West African frogs have been known to
	spontaneously change sex from male to female, in a
	single sex environment.  Malcolm was right!  Look, life
	found a way!


98	INT	CONTROL ROOM	DAY

The mood in the room is hopeless.  MALCOLM, his wounds bandaged,
but in real pain, hangs around with ELLIE and MULDOON, hoping for some
development while RAY ARNOLD is still at the computer terminal and
looking a mess, he doggedly sorts through the computer system's lines
of code.  One.  By one.  By one.  They BLIP by, reflected in his
glasses.  He turns and stares up at HAMMOND with a look of absolute
incredulity on his face.

		ARNOLD
	No, no, no, that's crazy, you're out of your mind, he's
	absolutely out of his mind - -

		ELLIE
	Wait a minute.  What exactly does this mean?

Hammond turns to her, the twinkle back in his eye.

		HAMMOND
	We're talking, my dear, about a calculated risk, which
	is the only option left to us.  We will never find the
	command NEDRY used.  He covered his tracks far too well,
	and I think it's obvious he's not coming back.  So
	shutting down the system - -

		ARNOLD
	I will not do it.  You'll have to get somebody else,
	because I will not.

		HAMMOND
	- - shutting down the system is the only way to
	guarantee wiping out everything he did. If I understand
	correctly, all the system will come back on their
	original start-up modes correct?

		ARNOLD
	Theoretically, yeah (yes), but we've never shut down the
	whole system.  It may not come back at all.

		ELLIE
	But would we get the phones back?

		ARNOLD
	Yeah, again, in  theory, but - -

		MULDOON
		(desperate)
	What about the lysine contingency?  We could put that
	into effect!

		ELLIE
	What's that?

		HAMMOND
	It's absolutely out of the question.

Hammond walks away from the group.

		ARNOLD
	The lysine contingency - it's intended to prevent the
	spread of the animals is case they ever got off the
	island, but we could use it now.  Dr. Wu inserted a gene
	that makes a single faulty enzyme in protein metabolism.
	Animals can't manufacture the amino acid lysine.  Unless
	they're continually supplied with lysine by us, they'll
	go into a coma and die.

		ELLIE
	How would we cut off the lysine?

		ARNOLD
	No trick to it.  Just stop running the program.  Leaving
	them unattended.

Malcolm speaks up.

		MALCOLM
	How soon before they become comatose?

		ARNOLD
	It would be totally painless - - they'd just slip into
	unconsciousness and they die.

		MALCOLM
	How long before they slip into unconsciousness?

		ARNOLD
	About - - seven days, more or less.

		ELLIE
	Seven days?!  Seven days?!  Oh, great.  Oh good - -
	clever.

		MALCOLM
	That'll - it'd be a first; man and dinosaur all die
	together.  John's plan.
		(he raises a hand)

Hammond finally loses his cool. He BELLOWS, summoning every
ounce of authority at his command.  And that's quite a bit.

		HAMMOND
	PEOPLE ARE DYING!

There is a moment in which no one dares to speak.  Hammond
regains himself.

		HAMMOND (cont'd)
	Will you please shut down the system.

Arnold swallows and gets to his feet.

		ARNOLD
	You asked for it - -

He walks slowly across the room to a red metal box on the wall.
He takes a key from his belt, unlocks the door, and opens it.

There is a row of four switches inside.  He flips them off, one
by one, leaving only a single lever left.

His hand hovers over it. . . and he flips the lever.

		ARNOLD (cont'd)
	- - and you got it.

Every monitor, every terminal, every fluorescent light shuts
out. plunging them into near-darkness.

They just sit in eerie stillness for a moment.

		ELLIE
		(hushed voice)
	How long will this take?

		ARNOLD
	'Bout thirty seconds.

They wait, in tense silence.  Hammond adjusts the wilting silk
handkerchief in his breast pocket.  He notices Malcolm staring at him,
his eyes full of disapproval.

		HAMMOND
	I think perhaps I'll just sit down.  I don't suppose you
	think all that much of me now, do you?

		MALCOLM
	You're all right, John You're okay.  It's just you don't
	have intelligence.  You have "thinktelligence."  You
	think narrowly and call it "being focused."  You don't
	see the consequences.  You're very good at solving
	problems, at getting answers - - but you just don't know
	the right questions.

		ELLIE
	Ian - -

Malcolm looks at her.

		MALCOLM
	Yes?

		ELLIE
	- - shut up.

		MALCOLM
	Yes.
		(to Hammond)
	It's not a criticism, by the way.

Finally, Arnold turns back to the box.  He flips the row of
safety switches back again, then hesitates by the main switch.

		ARNOLD
	Hold on to your butts.

He throws it.  And nothing happens. There is a very long pause.

		MALCOLM
	It's not working.

		ARNOLD
	Uh - -

		MULDOON
	Listen, which of you knows how to handle a gun?

Arnold, who can't quite understand this, races over to the main
monitor

		ARNOLD
		(joyously)
	HAH!  It's okay!  It's okay!  Look!  See that?!  LOOK!

They stare at the monitor, which glows with a faint amber light,
the only mechanical thing in the room that's on.  The left hand corner
of the screen displays two words - -

/system ready.

Arnold looks at them, his face triumphant.

		ARNOLD (cont'd)
	It's on!  It worked!

		HAMMOND
	That will teach you to trust Grandpa.

		MALCOLM
	Wait a minute?  What do you mean "worked"?  Everything
	is still off!

		ARNOLD
	The shutdown must have tripped the circuit breakers.
	All we have to do is turn them back on, reboot a few
	systems in here - - the phones, security doors, half a
	dozen others - - but it worked!  System ready!

		MULDOON
	Where are the breakers?

		ARNOLD
	Out in the maintenance shed.  Other side of the
	compound.  I'll go out there.  Three minutes, and I can
	have the power back on in the entire park.

		HAMMOND
	Just to be safe, I'd like to have everybody in the
	emergency bunker until Mr. Arnold returns, and the whole
	system is back on its feet again.


CUT TO:


A99	EXT	COMPOUND	DAY

MULDOON and ELLIE carry a Gerry rigged stretcher with MALCOLM on
it down a narrow path in the compound.  HAMMOND is with them.


CUT TO:


96D	EXT	PARK GROUNDS	DAY

GRANT, TIM, and LEX walk through the park grounds, heading
across a relatively open area. Grant consults the map.

		TIM & LEX
	I'm tired, and I'm hungry.  When I get back I'm gonna
	have peanuts and...etc.

		GRANT
	The visitor's center should be just about a mile beyond
	that rise.  If we keep - -

The ANIMAL CRY they heard earlier is closer now, louder, and
repeated by many more animals.  Grant looks up.

		GRANT (cont'd)
	What is that? Can you tell me what they are?

		TIM
	Gallimimus.

He turns around, to face the direction the sound is coming from.
He squints.  The ANIMAL CRY are much louder now, accompanied by a low
rumble.

		TIM (cont'd)
	Here - - they're flocking this way.

Grant takes a few steps forward.  As he watches, he can make out
shapes in the distance.

Dinosaurs.  Dozens of them.  All at once, he figures it out.

		GRANT
	STAMPEDE!

And that's exactly what it is, a stampede of at least forty
dinosaurs, Gallimimus by name.  Lex is ready to get out of there, but
Grant and Tim hesitate, staring.

The dinosaurs kick up a flock of birds, which startles them, and
they call change direction at once, the same way.

		GRANT (cont'd)
	Look at the wheeling - - the uniform direction change!
	Like a flock of birds evading a predator!

Sure enough, they hear a ROAR, the very familiar roar - -
- - of Tyrannosaurus rex.

		GRANT
	Oh, shit.

Grant and the kids whirl at the sound, but can't place it, as it
seems to come from all around them.  They look back towards the
stampede.  The herd spontaneously changes direction again, and now
they're headed straight at them.

The three of them take off, across the meadow, toward the
relative cover of the jungle.  It's a real footrace, but the herd is
far faster, and Grant knows they're not going to make it.

They jump over a huge root network.  There's a space under it to
hide, and Grant stops the kids, shoves them underneath, then follows
them.  They cover their heads as the herd THUNDERS over the roots.

Chunks of everything fly everywhere as the herd plows overhead,
their clawed feet striking the roots dangerously close to Grant and the
kids.

Finally, they pass. Grant peers up, over the top root.  He looks
toward the trees, which the herd is now running alongside.

A ROAR comes from somewhere within the trees.

Grant scans the trees, looking for any sign of the T-rex - -

- - and then it bursts out, ahead of the herd, cutting them off,
throwing them into disarray, scattering them everywhere.

They all stare as the rex kicks it into overdrive, runs down one
of the Gallimimus, and sinks its teeth into its neck.

The T-rex makes the kill in a cloud of dust and debris.

Tim and Grant half rise to their feet, staring in wonder.

		LEX
	I wanna go - -now!

But Grant and Tim are transfixed, watching the T-rex.

		GRANT
	Watch how it eats!

		LEX
	Please!

		GRANT
	Bet you'll never look at birds the same way again!

	Tim nods in fascination.  The T-rex pauses in the middle of its
	meal and ROARS.

		LEX
	Let's go!

		GRANT
	Okay.  Keep low.  Follow me.

She turns and takes off, running as fast as she can, across the
open plain.  Tim and Grant tear themselves away and follow her.

		TIM
	Look at all it's blood!


CUT TO:


97


THRU	OMITTED


101


100	INT	BUNKER	DAY

ELLIE paces impatiently.  She comes down the stairs.

		ELLIE
	Something's happened.  Something went wrong.

MULDOON paces too.  HAMMOND and MALCOLM are also crammed in the
underground bunker.  Malcolm lays on a table, while Hammond tries to
tend to his wounds.

Hammond speaks, still feeling the obligation of the host.

		HAMMOND
	This is just a delay, that's all this is.  All major
	theme parks have had delays.  When they opened
	Disneyland in 1956, nothing worked, nothing.

		ELLIE
	John....

		MALCOLM
	But, John.  But if the Pirates of the Caribbean breaks
	down, the pirates don't eat the tourists.

Another pause.  More pacing.

		ELLIE
	I can't wait anymore.  Something went wrong.  I'm going
	to go get the power back on.

		MULDOON
	You can't just stroll down the road, you know.

		HAMMOND
	Bob, let's not be too hasty.  He's only been gone - -
		(he looks at his watch)

Muldoon walks over to a steel cabinet.  Ellie joins him.

		MULDOON
	I'm going with you.

		ELLIE
	Okay.

Muldoon CLANGS open a steel cabinet, revealing an impressive
array of weaponry inside.  He removes a shotgun and what looks like a
small rocket launcher.  He shoves a shell into the barrel of the rocket
launcher, which accepts it with a faint electronic SIZZLE.

Hammond searches out the set of blueprints, gets them out of the
file cabinet and spreads them out on top of Malcolm almost crushing his
leg.

		HAMMOND
	Sorry.

Ellie and Muldoon join Hammond.

		HAMMOND (cont'd)
	This isn't like switching on the kitchen light, but I
	think I can follow this and talk you through it.

Hammond signals with a look.

		ELLIE
	Talk.
		(or)
	Right.
		(or)
		(nothing)

Ellie gets a couple of walkie-talkies from the shelf and shoves
them in her belt.

		ELLIE (cont'd)
	Okay.

		HAMMOND
	But you know, I should  really be the one going (to go).

		ELLIE
	Why?

		HAMMOND
	Well, because you're a - - I'm a - -

		ELLIE
	Look.

		MULDOON
	Come on, let's go.

		ELLIE
	We'll discuss sexism in survival situations when I get
	back.
		(she backs towards the door)
	You just take me through this step by step.  I'm on
	channel two.


CUT TO:


101	EXT	JUNGLE	DAY

GRANT, TIM, and LEX scrambles through the jungle, completely out
of breath, exhausted.  They arrive at the base of the big electrical
fence that surrounds the main compound.

Grant looks up at the fence.  It must be over twenty feet high.

		GRANT
	It's a bit of a climb.  You guys think you can make it?

		TIM
	Nope.

		LEX
	Way too high.

Grant grabs a stick and climbs up on the ledge.  He looks at the
warning light on the fence.  It's out.  He pokes the wire with a stick.
No sparks fly

		GRANT
	Well, I guess that means the power's off.

Still not trusting the fence, he taps it with his foot.  He
moves in slowly and lays both hands on a cable and closes his fingers
around it.

Grant's body shakes!  He SCREAMS.  The kids SCREAM!  He stops,
and turns around slowly...and smiles wickedly.

		LEX
	That's not funny.

		TIM
	That was great!

Far in the distance, the T-rex ROARS.  Without a second's delay,
both kids leap to their feet.


CUT TO:


102	EXT	BUNKER	DAY

ELLIE and MULDOON step out of the bunker.

The main compound feels different now - - it belongs more to the
jungle than to civilization.  Muldoon has the big gun in his hands.

		ELLIE
		(on the radio)
	Okay, I'm on channel two.

		MULDOON
	Stick to my heels.

They start down the path, moving quickly.


102A	EXT	PATH	DAY

MULDOON and ELLIE emerge from one path and come into a slightly
more open area.  The huge raptor pen stands silently, surrounded and
penetrated by jungle, the abandoned goon toward looming over it like a
haunted house.

Muldoon slows down, Ellie right next to him.  They notice a hole
in the fence that surrounds the raptor pen.

The metal is twisted, as if gnawed, the hole is large enough for
an animal to slip through.

		ELLIE
	Oh my God.  Aw, God.

		MULDOON
The shutdown must have turned off all the fences.
Goddamn it! Even Nedry knew better than to mess with the
raptor fence.


103

He squats near the hole, looking at the ground.  He sees three
sets of footprints. He follows them with his eyes.  They head off in
different directions, but all in the jungle foliage on either side of
them.

		MULDOON
	C'mon on, this way.

		ELLIE
	I can see the shed from here!  We can make it if we run!

Muldoon walks slowly, as if he heard something.

		MULDOON
	No. We can't.

		ELLIE
	Why not?

		MULDOON
	Because we're being hunted.  From the bushes straight
	ahead.

Ellie turns, very slowly, to face the bushes.  At first, she
doesn't see anything, but then there's something very faint, like a
shifting of the light, and a shadow seems to move in the bush, RUSTLING
the leaves.

		MULDOON
	It's all right.

		ELLIE
	Like hell it is!

Muldoon raises his weapon slowly to his shoulder.

		MULDOON
	Run, towards the shed.  I've got her.

Ellie backs up, down the path, slowly. Muldoon follows behind
her, keeping his gun trained in the bushes. The shadow in the bushes
moves too, at an even pace with them.

		MULDOON
	Go!

Ellie, startled, turns and falls over a log.  She quickly stands
and starts to run towards the shed.  Muldoon walks slowly into the
bushes.

ON THE PATH,

Ellie runs as fast as she possibly can - - a real broken field
sprint, hopping over branches, flying across the open area at top
speed.  Over a log - - SPLASH!, she hits a water puddle.  She comes to
another log obstacle - - she grabs a tree and swings over it.

She nears the maintenance shed, and doesn't look back. She
reaches the door, blasts through it, and SLAMS it behind her.


CUT TO:


104	EXT	JUNGLE	DAY

A hand comes into the foreground and takes a firm grip on one of
the tight fence cables.  Another hand follows it, then a third.

GRANT, TIM, and LEX climb over the fence, pulling themselves up
by the tension wires, crawling right past a "DANGER!" sign that tells
them this fence ought to be electrified.


105	INT	BUNKER	DAY

MALCOLM and HAMMOND hover over a complex diagram of the
maintenance shed that's spread out in front of them.  Hammond clutches
the radio in his hand, almost praying to it.

Finally, it CRACKLES.

		ELLIE (o.s.)
	I'm in.  Mr. Arnold?  Mr. Arnold?


106	INT	MAINTENANCE SHED	DAY

ELLIE is at the doorway of the maintenance shed, breathing hard
from fear, listening to Hammond's VOICE on the radio

		HAMMOND (o.s.)
	Great.  Good.  Okay - - ahead of you should be a metal
	stairway.  Go down it.

Ellie does, heading into the room, shining the flashlight ahead
of her.  There is a maze of pipes. ducts, and electrical work on both
sides of her.

108	INT	SHED	DAY

ELLIE walks straight ahead from the bottom of the metal stairs.

		HAMMOND (o.s.)
Right.  After twenty or thirty feet, you'll come to a T
junction. Take a left.

		MALCOLM (o.s.)
	John. just have her follow the main cable - -

		HAMMOND (o.s.)
	I understand how to read a schematic.

Ellie keeps walking, nervous as hell.  She looks around.
Awfully dark down here.

		ELLIE
	Going down the stairs...okay... damn it!  Dead end!

		HAMMOND (o.s.)
	Wait a minute, wait a minute, there was a right back
	there somewhere - -

		MALCOLM (o.s.)
		(taking over)
	Ellie?!  Look above you - - there should be a large
	bundle of cable and pipes all leading in the same
	direction!  Follow that!

Ellie looks up, finds the bunch of cables, and follows it into a
main corridor.

		ELLIE
		(into the radio)
	Piping...okay... following the piping.  It goes back up
	the stairs and across the stairs... following the
	stairs.

		HAMMOND (o.s.)
	Look for a metal grate and that to it's longest
	direction.
		(*ADDED DIALOGUE, NOT RECORDED)

		ELLIE
	Mr. Arnold?  He's not answering me.  Okay I'm on the
	grating.

		HAMMOND
	Good!  Keep going, now.  The cable will terminate in a
	big, gray box.

		ELLIE
	Okay, I'm following the tubing.  I'm going down a
	passage way.  How long does this stuff go for?  Could
	you guys talk a little bit to me?

		(NOTE:  DIALOGUE TO BE ADDED, WASN'T RECORDED - - Steven
		Spielberg wants Malcolm to say something funny to Ellie over the radio;
		she smiles)

Walking fast Ellie follows the tubing to the end of the
corridor, where she sees just a box.

		ELLIE
		(into the radio)
	Okay - - I see the gray box.

Ellie goes through a mesh gate and walks towards the gray box.

		ELLIE (cont'd)
	It says "High Voltage".

She pushes the door open even further, revealing a vast array of
breakers and switches inside.

		HAMMOND (o.s.)
	Now, Ellie, you can't just throw the main switch by
	hand, you have to pump up the primer handle to give you
	a charge. It's a large, flat, gray - -

		ELLIE
	I see it!


109 EXT	JUNGLE	DAY

GRANT and the KIDS swig over the top of the fence and start
their climb down.


110	INT	SHED	DAY

ELLIE pumps the gray handle, which is sluggish.  Above it, a
small white indicator CHINGS over the "discharged" to "charged".  Ellie
SLAMS the gray lever back into positions.

		ELLIE
	It's charged, okay!

		HAMMOND (o.s.)
	Right (good)!  Now, under the words "contact position"
	there's a round green button that says "push to close!"
	Push it!

Ellie does.  The "contact position" light CHINGS over to
"closed" and lights start to go on all over the panel.

Did I do it?  Is the power back on?


111	EXT	JUNGLE	DAY

GRANT and LEX continue to climb down the fence.  Tim is having
difficulty - - just as he's about to take another step, he loses his
footing and almost falls... but then regains control and hangs on.


112	INT	SHED	DAY

ELLIE watches as the column of twelve white indicator lights
flash on the control panel.  They are clearly labeled, each one for a
different area of the park.

		HAMMOND (o.s.)
Now Ellie, the red buttons turn on the individual park
systems.  Switch them on.

As Ellie punches the buttons, they light up... and our eyes go
to near the end of the row.

It's marked "Perimeter Fence."


113	INT	JUNGLE	DAY

GRANT lets go, dropping the last few feet to the ground.  LEX
does the same.

A warning light begins to flash, coming back to life.  Grants
eyes go wide.  He looks up at TIM, who is still far up - - near the
top, in fact, he has to come to a complete stop.


114	INT	SHED	DAY

ELLIE keeps pushing the buttons. She's getting closer to the
button for the fence.


115	EXT	JUNGLE	DAY

TIM, terrified, has frozen where he is.

		GRANT
	Tim - - you have to let go!


116	SHED	DAY

ELLIE's still punching the buttons, now only a half a dozen away
from the one for the fence, now five, now three - -


117	EXT	JUNGLE	DAY

GRANT and LEX are botch screaming at TIM

		GRANT
	C'mon Tim, move down, damn it!

		LEX
	Timmy!  The power is coming down, quick!

		TIM
	I can't!  I'm scared!

		GRANT
	Tim, you're gonna have to let go.  I'm going to count to
	three.

		LEX
	Jump, Timmy!  It's too late!

		TIM
	I'm afraid I am gonna fall!

		GRANT
	Go, go, go, jump!

		TIM
	You're crazy!  I'm not gonna jump!

		GRANT
	Tim, you're going to have to let go of the fence.  Tim!
	Get down right now.  Get off the fence!  Now!

		LEX
	Do as he says!  The power's coming back, Timmy!

		GRANT
	Timmy, let go!  You're gonna have to let go!  Count to
	three.  I'll catch you.

		LEX
	Timmy!  Do as he says!  Timmy!  Do as Dr. Grant says,
	quick!

		TIM
	Are you crazy?  What if you miss?  I hate it up here.

		GRANT
	Tim, I'm right here.  Easy catch.  Easy catch.  Count to
	Three..

		LEX
	You're gonna get electrocuted
		(or)
	electrified!  The power's coming back!

		TIM
	Shut up!  You're scaring me.  Stop!  You're scaring me.

		GRANT
	Shhhh.  Tim, I'm right here below you.  Easy catch.
	One, two, three.  You count it yourself.  One, two,
	three - -

		LEX
	You're gonna get electrocuted
		(or)
	electrified!

		GRANT
	It's am easy catch, you let - - go - - you do the
	counting, you count it, Tim.  One, two, three -- you do
	all the counting, okay?

		LEX
	Timmy, listen to Dr. Grant!

		GRANT
	I'm coming up there Tim! I'm coming to get you!  Lex,
	I've got to get him!


118	INT	MAINTENANCE SHED	DAY

ELLIE finally pushes the button for the fences. It stops
flashing and lights up, a brilliant white.


119	OMITTED


CUT TO:


119	EXT	JUNGLE	DAY

The fence HUMS as it awakens.  GRANT and LEX are SCREAMING at
TIM:

			TIM
	Okay, okay!  I'm going to count to three.  One, two,
	three....

With a low, loud frightening BUZZ - -

- - the fence comes alive.

POW!  Tim is cut off mid-sentence, and literally thrown from the
fence.  He SLAMS into Grant.  They fall to the ground.  Lex runs over
to them.

			GRANT
	Tim, you're okay?  You're okay?

GRANT notices a larger problem.

			GRANT (cont'd)
	He's not breathing.  Tim?


120	INT	MAINTENANCE SHED

ELLIE watches as the banks of fluorescent lights in the
maintenance shed come on, one by one.

The lights are going on in rows, coming closer and closer to
her. Finally, her row comes on.  She follows the light and sees - -

- - a raptor, right there, behind the control panel!  It
SLASHES, taking a lunging sweep at Ellie, but gets stuck, its feet and
legs tangled in the maze of pipes on the floor.

This is our first good look at one of these things, and if it
weren't so terrifying, we could admit that it truly is a thing of
beauty.  It's the biggest of the raptors, intensely muscled,
coordinated as hell, a smoothly designed predator.

Ellie SHOUTS and falls back into the pipes on the other side of
the aisle.

The raptor untangles itself from the pipes and gives chase, just
as Ellie SLAMS the mesh door closed. The raptor BANGS against the mesh
door, Ellie falls to the ground.

She holds on by kicking the door shut as the raptor continues to
push himself through the door.  Ellie is able to get the door closed.
She stands, but then falls back onto one of the walls.

A dead arm falls onto her shoulder.  RAY ARNOLD is there, or
what's left of him, stuck in the tangle of pipes.  Ellie moves away,
and his arm falls to the ground.

She doesn't realize that she has moved right back near the mesh
wall - - and the raptor comes at her again. Ellie takes off running as
fast as she can, back the way she came.  She drags the flashlight with
her, running over the dead arm and Arnold's legs.

She continues to run, her headset dangling, the flashlight
dragging behind her on its cord.

She reaches the stairs and hits them hard, flying up them.  The
raptor must be right behind her, she can hear the CLICKING and CLANGING
as it scrambles up the stairs, but she doesn't look back.

She reaches the top, throws open the door, hurls herself outside
- -


121	EXT	SHED	DAY

- - and SLAMS the door behind her, just as the raptor's head
SNARLS at her from near the top of the stairs.  She runs out the fence
and collapses.

A121	EXT	JUNGLE	DAY

TIM is still unmoving.  GRANT is performing CPR, alternately
compressing Timmy's chest fifteen times, quickly, and breathing into
his mouth twice.

LEX is freaking out.

Fifteen compressions.  Two deep breaths.

		GRANT
	C'mon, Tim.

Fifteen compressions.  Two deep breaths.

		GRANT
	TIMMY!

Fifteen compress- -

Tim GASPS and comes to.

		GRANT (cont'd)
	Good boy, Tim. Good boy.

		TIM
	Three.  (Two, three).


CUT TO:


B121	EXT	JUNGLE	DAY

ROBERT MULDOON creeps slowly through the jungle foliage,
tracking his prey.  He ducks and walks through a hollow log, underneath
a fallen tree, following the RUSTLING sound up ahead of him.

He can see just a trace of the raptor's gray flesh as it movies
behind the bushes up ahead, staying camouflaged enough to deny him a
decent shot.  Thinking he's got a moment, Muldoon extends the back
handle of the gun and clicks it into place.  He prepares to take aim.

A snake slithers across a tree branch, past what looks like the
large iris of a flower.

The flower blinks.

It's the eye of the raptor.  Muldoon sees it.  He raises his
gun.

Instead of running away again, the raptor rises slowly out of
the brush, fully revealing itself to Muldoon, HISSING at him.

The corners of Muldoon's mouth twitch up into a smile.  He draws
a bead on the animal.

His finger tenses on the trigger. Suddenly, his smile vanishes,
both eyes pop open, and a terrible thought sweeps across his face.  His
eyes flick to the side - -

		MULDOON
	Clever girl.

- - which is where the attack comes from.  With a ROAR, another
raptor comes  flashing out of nowhere and pounces on him.  The gun
BLASTS, but wildly, and the raptor's claw SLASHES through Muldoon's
midsection.

Muldoon SCREAMS and falls back, the raptor locked on top of him,
all tooth and claw all of a sudden.

As the second raptor makes the kill, the first raptor strides
slowly forward and watches approvingly.

It throws its head back and SNARLS.


122	INT	VISITOR'S CENTER	DAY

GRANT, TIM, and LEX come into the deserted visitor's center.  A
large sign that says "When Dinosaurs Ruled the Earth. . ."  droops
overhead.  Grant now carries Tim, who is weakened but conscious.

		GRANT
	HELLO?!

But nobody answers.


123	INT	RESTAURANT	DAY

GRANT, TIM, and LEX come into the restaurant. Grant carefully
sets Tim in a chair at one of the tables.  Lex across from him.

		GRANT
I am gonna have to find the others and get you to a
doctor.  Will you look after Tim, Lex?

		LEX
		(scared as hell)
	Yes.

Grant nods.  He looks at Tim for a second.

		GRANT
	Your hair's all standing up.

He gently rearranges Tim's hair, which is wild, all over this
head.  Tim looks up at him weakly and manages a smile.  Grant smiles
back.

		GRANT (cont'd)
	Big Tim, the human piece of toast.

Tim laughs.  Grant pauses for a second, as if debating something
- -

		GRANT (cont'd)
	Be back soon, guys.  I promise.

He leaves.  As he goes across the lobby of the visitor's center
and outside, they can see his silhouette, moving through a translucent
mural that depicts dinosaurs in various natural settings.  It's quiet
for a second as Lex and Tim just look at each other.

Tim goes across the room, to an all-you-can-eat table on the
other side, and quickly piles some food on a tray.  He brings its back
to the table.

Lex digs in, munching on veggies, grabbing food with two hands.
Tim enjoys his food, too.

Lex comes up with a spoonful of lime Jell-O from a plastic
dinosaur egg cup - - but her hand freezes halfway to her mouth.

Tim looks up, and sees the expression on her face.  She's
staring over his shoulder, eyes wide, the Jell-O quivering in her
shaking hands.

		TIM
	What?

Tim turns around.  Behind him, one of the silhouettes on the
mural is a raptor, in a hunting pose.

While they stare, the silhouette of a real raptor moves out from
behind it and creeps forward, in the lobby of the visitor's center.


124	INT	KITCHEN	DAY

LEX pulls the shiny metal door shut as quietly as she can.  It
latches with a distinctive CLICK, but there's no lock.

She runs to a panel of lights switches and kills them all,
plunging the room into semidarkness.  She helps TIM down an aisle and
they hide at the end, behind a counter, breathing hard.

A raptor's head pops into view, visible through the round window
in the middle of the restaurant door.

It just looks for a moment, its breath steaming up the window.

THROUGH THE WINDOW,

as the steam evaporates, the raptor can see a part of Tim that
is not entirely hidden by the counter.

IN THE KITCHEN,

TIM and LEX remain frozen in fear as the raptor first SNIFFS at
the bottom of the door, then THUMPS its head against it.

But the door doesn't budge.


CUT TO:


125	EXT COMPOUND	DAY

GRANT walks quickly down the narrow path towards Hammond's
compound, eyes darting from side to side, not exactly sure where he's
going.  From far off, he hears someone SHOUTING to him.

He turns.  He sees ELLIE, standing outside the bunker.  She's
waving to him, SHOUTING something too faint for him to hear.

He furrows his brow and walks towards her.  She SHOUTS louder.
He walks faster.  He's closer now, and he can finally make out where
she's shouting.

		ELLIE
	Run!

Grant takes off running towards her, not even looking back. He
races up, and she runs into his arms.

		ELLIE (cont'd)
	Where are the kids?!


126	INT	BUNKER	DAY

JOHN HAMMOND stands between GRANT and ELLIE in the bunker,
watching as Grant RACKS the bolts on a ten gauge shotgun.

		GRANT
		(to Ellie)
	It's just the two raptors, right?  You're sure the third
	one's contained?

		ELLIE
	Yes, unless they figured out how to open doors.


CUT TO:


127	INT	KITCHEN	DAY

OUTSIDE THE DOOR TO THE KITCHEN,

the raptor stares down at the door handle, cocking its head
curiously.  It SNARLS and bumps the door handle with its head, but that
doesn't do anything.

It reaches out, toward the handle, with one clawed hand.

IN THE KITCHEN,

Tim and Lex stare in shock as the door handle starts to turn.

The door opens.  The first raptor stands in the doorway, draws
itself up to its full height, and looks around the kitchen.

Now, a second raptor joins it in the doorway.  They move into
the room, brushing against each other.  The first raptor SNAPS as the
second, as if to say "keep your distance."

Now the raptors split, taking two different aisles. Tim and Lex
crawl away, Tim awfully weak now, down a third aisle, around the other
side of the counter from the raptors, moving in the opposite direction.

As Tim and Lex pass the raptors, one of the raptor's tails SMACK
into some pots and pans, knocking them off the counter.  They fall on
the kids, who manage to keep quiet.

The kids keep moving as one of the raptors dips down, looking
through an open cabinet to inspect the racket.

Tim and Lex reach the end of the aisle and round a corner - -
but Timmy's falling behind now, and he accidentally brushes against
some hanging kitchen utensils.

Both raptors turn.  One jumps onto the counter, knocking more
kitchen stuff to the floor.  A ladle CLATTERS to a stop, and the
strange metallic sounds confuse the raptors for a moment.

But then they move, in Tim's direction, SNIFFING, heading right
for him.

The raptor on the floor is just about to turn the corner to
where Tim sits, exposed and exhausted, but both the raptors suddenly
stop, hearing a CLICKING sound from the other end of the aisle.

It's Lex, TAPPING a spoon on the floor to distract them.  The
raptor on the counter jumps down and starts cautiously towards Lex's
noise, leaving Tim.

Lex sees a steel cabinet behind her, its sliding door slid up
and open.  She crawls inside, silently.

Tim sees the raptors make the turn towards Lex, SMASHING more
stuff around with their tails.  He turns and sees a walk-in freezer in
the far wall, with a pin-locking handle.

As Lex tries to pull the overhead door to the cabinet shut, one
of the raptors rounds a corner and sees her reflection on a shiny
cabinet front.  Lex tries frantically to lower the cabinet door, but
it's stuck.

Tim takes a few deep breathes, summons what little strength he
has left - -

- - and makes a break for the walk-in freezer.  He's limping,
dragging himself, really moving like a wounded prey now, and - -

- - the other raptor spots him.  Both raptors go into a pre-
attack crouch - -

- - and they pounce, one towards each of the kids.

Lex tugs on the cover, to the avail - - Tim's raptor charges
after him, just open floor space between them - -

- - and Lex's raptor THUDS into a shiny surface bearing hr
reflection.  It chased the wrong image.  It sags to the floor,
semiconscious.

At the other end of the aisle, the real Lex SCREAMS as the other
raptor bears down on Tim. Tim reaches the freezer, rips the door open,
and falls inside.  The floor is cold and slick and his feet go right
out from under him.  He sprawls across the floor, rolls out of the way
- -

- - and the raptor slips and falls into the freezer too, right
past him.

Tim drags himself to his  feet and out of the freezer.

The raptor makes one last lunge, right on Tim's heels, its mouth
wide open - -

- - but Lex SLAMS the door shut just as Tim is clear.  The
raptor's head is caught for a second, but it SNARLS, retreats, and
Lex's gets the door shut all the way.

The raptor ROARS and SCREAMS inside. Lex jams the pin through
the handle, locking it in.

Now the other raptor staggers to is feet.  Groggy, it SMASHES
into stuff all over the kitchen. Lex throws her arms around Tim again
for support and they take off.


128	INT	RESTAURANT	DAY

TIM and LEX hurry across the restaurant.  They stare back over
their shoulders as they run.  They CRASH into GRANT and ELLIE.

		LEX
	It's in there!

		ELLIE
	Control room.


129	INT	SECOND FLOOR CORRIDOR	DAY

GRANT, ELLIE, and the KIDS race down the second floor corridor
towards the control room, Grant helping Tim.


130	INT	CONTROL ROOM	DAY

The door to the control room SMACKS open.  GRANT, ELLIE, and the
KIDS burst in. Ellie heads straight for Nedry's computer terminal.
Grant moves Tim to the side, and races back to the door to lock it.

		LEX
	We can call for help?!

		ELLIE
	We've got to reboot the system first!

She sits at the computer and studies the screen.  It's flashing
to her, dominated by a maze-like grid.  She studies it, confused.

		GRANT
		(at the door)
	Oh, no!  The door locks - - Ellie!  Boot up the door
	locks!  Boot up the door locks!

POW! Something hits the door, hard, from the outside, the kids
SCREAM, Grant hurls his back against it - - Grant loses his gun.  He
struggles.  The raptor scratches his head.

		ELLIE
	ALAN!

- - and Ellie leaps out of the chair and races over to the door
to help him.  A raptor SNARLS and SNAPS, RAMMING itself against the
door, trying to force its way into the control room.  It's all Ellie
and Grant can do to hold the door against the onslaught, but it bucks
against them viciously.

		GRANT
		(to Ellie)
	Ellie - - get back and boot up the door locks!

		ELLIE
	You can't hold it by yourself!

		GRANT
	Ellie, get the gun!
		(or)
	Try to reach the gun!

		ELLIE
	I can't get it!
		(or)
	I can't get it unless I move!

OVER AT THE COMPUTER,

Lex slides quickly into the command chair at Nedry's terminal.
She stares at the screen for a moment - -

		LEX
	This is a Unix system.  I know this.  It's the files for
	the whole park.  It's like a phone book - -it tells you
	everything.

- - and then her fingers start to fly over the keyboard.  Tim
watches, amazed, as the computer starts to respond to Lex's commands.

		LEX (cont'd)
	I've got to find the right file.  Oh no, this isn't
	right. This might be right, no this isn't it.

		TIM
	C'mon, Lex!  C'mon, Lex!  Go, Lexie!

Reaching another menu, Lex spots a box on the screen that reads
"DOOR INTEGRITY."  She reaches out and touches it.  The screen BEEPS -
-

		LEX
	There it is, I got it! This is it, I did it.  Yes, yes!

- - and the door latch panel BUZZES.  Grant and Ellie put
everything they have into it and finally the door SNICKS shut, locking
the raptor outside.

		GRANT
	What works?

		LEX
	Phone security systems, everything works.  You ask for
	it, we got it!


CUT TO:


131 INT	BUNKER	DAY

A phone RINGS.  HAMMOND and MALCOLM look at each other, wide-
eyed.  Hammond lunges for it.

		HAMMOND
	Grant?!  The children alright?


132	INT	CONTROL ROOM	DAY

All the screens in the control room have come alive now, and
data is scrolling by at incredible speed as every remaining system is
the park comes back on line.  ELLIE is at the keyboard with LEX now,
figuring things out, and GRANT is on the phone.

		GRANT
	The children are fine.


133	INT	CONTROL ROOM DAY

HAMMOND is on the phone, MALCOLM is trying to listen.

		HAMMOND
	Thank God.

		GRANT (o.s.)
	Listen, the phones are back up!  Call the mainland!
	Tell them to send the damn helicopters - -

Suddenly Grant stops in the middle of his sentence.  A SCREAM
cuts in, then three GUNSHOTS, fast, and a horrible CLUNKING as the
phone is dropped.

		HAMMOND
	Grant!  GRANT!

But there's no answer.


134	INT	CONTROL ROOM	DAY

Grant's rifle lies on the floor, smoking, several spent shells
alongside it.  The front window of the control room has three huge
impact shatter patterns in the glass, where the gunshots hit.

TIM goes into an open panel through the ceiling, and into the
crawl space.  LEX climbs the ladder, followed by ELLIE and GRANT.

Grant looks over to the front window, scared as hell, just as -
-

- - it SHATTERS in a shower of glass and a raptor EXPLODES into
the control room.  It lands on its feet on a work station console,
images from wall projectors falling across its head.

Grant vaults himself up into the ceiling, and knocks the ladder
with his feet.

The raptor tilts its head curiously, looking up at the swaying
ceiling.


135	IN THE CRAWL SPACE,

Grant, Ellie, and the kids dash across the ceiling panels,
moving fast, but carefully, so as not to break through.

SMASH!  The raptor's head bursts through a panel behind them,
leaping up at them, SNARLING and SNAPPING.

It drops down again, and they keep moving forward.  But now it
ERUPTS through a panel right in front of them.  They SCREAM, its teeth
CLICK just inches in from of Ellie - -

- - but the raptor can't hold itself up there, and it falls back
to the floor of the control room.

Grant looks around frantically and spots an air duct a few yards
away.

		GRANT
	Follow me!

They move for it, but the raptor's head CRASHES through the
ceiling again, this time right underneath Lex.

She SCREAMS and is lifted up, on top of its head, and pinned to
the ceiling above.

Grant SMASHES hit boot into the side of the raptor's head.  The
raptor SLAMS at him, latching onto his boot for a second before the
raptor's own weight pulls it back down.

Lex goes down with the raptor, spinning into the hole in the
ceiling, tumbling down.  Grant grabs her by the collar at the last
second, but Lex dangles there, above the raptor.

The animal flips over onto its feet and crouches to pounce just
as Grant summons his strength and jerks Lex back into the ceiling.

The raptor springs, but too late.  Grant and Lex scramble over
to the air duct and join Ellie and Tim inside it.


136	IN THE AIR DUCT,

Grant, Ellie, and the kids crawl through the air duct as fast at
they can, the thin metal BOOMING and creasing around them.  They reach
a metal gate that shows daylight beneath.  Grant reaches out and pulls
it up.

Through the gate, they can see the lobby of the visitor's center
below.  They're directly above the skeletons of the dinosaurs, the T-
rex and the sauropod it's attacking.  The unfinished skeletons are
surrounded by scaffolding.


137	INT	ROTUNDA	DAY

Grant and the others climb down out of the air duct and onto a
platform of the scaffolding that stands alongside the skeletons.  They
continue down to the second platform, then the third.  They suddenly
see - -

A RAPTOR, standing to the side by the second floor railing.

It's much too far to jump to the lobby floor, so Grant climbs
gingerly onto the nearest skeleton, the towering brachiosaur.

They climb down as fast as they can.  Grant helps Tim down, Lex
and Ellie follow.  Ellie goes to the tail.  Lex moves to the front.
Grant lands on the main body in the middle with Tim.  And the raptor
watches them.

Up in the ceiling, the skeleton's anchor bolts GROAN in the
plaster, starting to pull free.  But for now, they hold.

The raptor flies out and lands on the back of the middle section
of the skeleton.  SNAP!  It CRACKS apart with the weight, sending the
sections spinning in all different directions.

Grant and Tim twirl on the middle section. Tim begins to slide
down.  Grant tries to hold on to him - - but Tim loses his grip and
falls to the ground right underneath the swinging, large middle section
of the dinosaur skeleton.

Meanwhile, Lex spins on the front section.  She slips - - and
tries to keep from falling as she hangs by her legs.

The anchor bolts in the ceiling RIP free, ZINGING past them like
bullets.  The entire brachiosaur skeleton collapses like a house of
cards sending Ellie to the ground.  She covers herself with her arms,
trying to protect her head from the shower of falling bones.

Lex falls, landing on the ground with bones falling on top of
her.  She SCREAMS.

Grant, alone in the middle section, looks up and sees the cable
about to SNAP - - he falls!  The large section of the skeleton comes
careening down, heading straight for Tim, who lays where he fell on the
ground.  It comes SMASHING down. . . with just enough space for him to
be safe.

The raptor tumbles to the floor in a cascade of splintering
bone.

It lands on its back a few yards away and staggers for a moment,
the wind knocked out of it.

Grant lands in front of Tim.  He stands, and goes to Tim.  Lex
sits up and sees the raptor regain its feet.  She SCREAMS.

Ellie stands.  She notices the shadows of the second raptor,
standing behind the visqueen.  She stops dead in her tracks.  She backs
up towards Grant and Tim.

The raptor comes out from under the plastic and looks around.
Grant gets Tim out from under the skeleton. Lex joins them.  They back
away from the raptor, approaching from the left side.  They back up
towards the large rock in the middle of the room holding the other
skeleton.

The raptor crouch in their pre-attack stance - -

The group is caught in the middle of the two approaching
raptors.

Lex looks back and SCREAMS.  Grant and the others continue to
back up.  They look up and see - -

- - TYRANNOSAURUS REX!  It's massive head descends down from
above.  A set of six-foot jaws clamp down on the raptor.  Eighteen-inch
teeth sink into its side, and the helpless animal HOWLS in agony as
it's lifted up, up, up off the floor of the lobby.

Grant and the others look up in stunned amazement.  They step
back behind the rock for safety and look to the right.  They see
another raptor approaching.

The other raptor goes up in the air now, twenty feet off of the
lobby floor, held fast in the mouth of the Rex.  It stands in the
entrance to the lobby in front of the massive hole it ripped through
the Visqueen wall.  It shakes its enormous head once, BREAKING the neck
of the velociraptor, then drops it, dead, to the floor at its feet.

Grant, Ellie, and the kids skirt the battle royal on the lobby
floor and dash of the door of the Visitor's Center.

The second raptor turns from the humans and lunges at the Rex's
side, leaping twelve feet into the air and rending the Rex's flesh as
it comes down, slashing it open with its six-inch claw.

The rex BELLOWS in pain, and turns on the raptor, eyes raging,
and strikes, just once, quickly, as fast as the head of a serpent.  It
catches the raptor by thick back end, buts one of its enormous feet
down on it, and tears.

It rips the last velociraptor in half.

The rex whirls around - as it turns, its heavy tail
counterbalances, SNAPPING the other way, sweeping across the lobby and
SMASHING right through the T-rex skeleton.

The skeleton collapses in an explosion of bones, falling to
pieces around the living rex.

The rex stands majestically in the middle of the lobby, both
skeletons swept away, SNAPPING like matchsticks as they settle around
the animal.

The rex draws itself up to its full height - -

- - and ROARS.

The sound is deafening, and the vibrations rattle the entire
Visitor's Center.  The sign which dangled over the lobby by its one
remaining wire finally falls, CLATTERING to the floor at the Rex's
feet, face up.

"WHEN DINOSAURS RULED THE EARTH", it says.


137A	OUTSIDE THE VISITOR'S CENTER

Hammond SQUEALS the Jeep to a halt in front of the steps.
Malcolm is lying in the back.

Grant and the other practically fall into the Jeep.

		GRANT
	Mr. Hammond, I've decided not to endorse your Park.

		HAMMOND
	After careful consideration, Dr. Grant - - so have I.

Hammond hits the gas and the Jeep takes off.


137B


THRU	OMITTED


137C


139	EXT	HELICOPTER LANDING PAD	DAY

The helicopter rotors whirl to life as the chopper waits on the
landing cross.  Two Jeeps ROAR up next to it, one driven by GRANT, the
other by HAMMOND.


INT	HELICOPTER	DAY

One by one, they climb aboard, their faces white from their
ordeal.

ELLIE comes on first, holding LEX.  Then HAMMOND, carrying TIM.
And GRANT, helping MALCOLM.

No one speaks.  Hammond takes another look at his dream, Grant
comes over and takes him back to the helicopter.

The helicopter takes off immediately.  As they rise into the
air, they stare out the windows, looking down on the park as it spreads
out below.


140	DOWN IN THE PARK,

the helicopter soars over a vast plain.  The Tyrannosaur, which
is still feeding on the remains of the dinosaurs it ran down and
killed, looks up.

It throws its head back and ROARS, waving its little forelimbs
at the strange thing in frustration.  As the helicopter moves off, the
T-rex just stares, silently, with huge, yellowing eyes.  It's a moment
of utter bewilderment for the rex, and we almost feel - -

- - sad for her.


141	BACK IN THE HELICOPTER,

Hammond looks down at the park, his eyes full.  He looks over at
the kids.

They're in the back of the helicopter, with Grant.  As they look
out the window, Grant almost absently has his arms around both kids.

Now Ellie looks at him.  Both he and the kids seem so natural,
so obviously comfortable and trusting with each other.  She smiles.

The four of them sit that way, in the back of the helicopter,
huddled together.  Survivors.

Grant looks out the window.

The helicopter sweeps low over a huge flock of sea birds that's
feeding on a school of fish. As the chopper ROARS near, it kicks up the
flock.  Hundreds of birds sail off in all directions, powerful and
graceful.

Grant looks at the bids and breaks into a wide grin.

The birds reform as flock again and fly straight into the sun.

FADE OUT.


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