Jurassic Park Page #23

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


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:

101EXTJUNGLEDAY

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:

102EXTBUNKERDAY

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.

102AEXTPATHDAY

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:

104EXTJUNGLEDAY

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.

105INTBUNKERDAY

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?

106INTMAINTENANCE SHEDDAY

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.

108INTSHEDDAY

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?

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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