Jurassic Park Page #22

Synopsis: Jurassic Park is a 1993 American science-fiction adventure film directed by Steven Spielberg. The first installment of the Jurassic Park franchise, it is based on the 1990 novel of the same name by Michael Crichton, with a screenplay written by Crichton and David Koepp. The film is set on the fictional Isla Nublar, an islet located off Central America's Pacific Coast, near Costa Rica, where a billionaire philanthropist and a small team of genetic scientists have created a wildlife park of cloned dinosaurs.
Production: Universal City Studios
  Won 3 Oscars. Another 32 wins & 25 nominations.
 
IMDB:
8.1
Metacritic:
68
Rotten Tomatoes:
92%
PG-13
Year:
1993
127 min
$45,299,680
Website
5,414 Views


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:

A99EXTCOMPOUNDDAY

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:

96DEXTPARK GROUNDSDAY

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, sh*t.

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

THRUOMITTED:

101

100INTBUNKERDAY

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.

Rate this script:3.9 / 8 votes

Michael Crichton

John Michael Crichton (/ˈkraɪtən/; October 23, 1942 – November 4, 2008) was an American best-selling author, screenwriter, film director, producer, and former physician best known for his work in the science fiction, medical fiction and thriller genres. His books have sold over 200 million copies worldwide, and many have been adapted into films. In 1994, Crichton became the only creative artist ever to have works simultaneously charting at No. 1 in US television (ER), film (Jurassic Park), and book sales (Disclosure). more…

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