Jurassic Park Page #26

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


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.

128INTRESTAURANTDAY

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.

129INTSECOND FLOOR CORRIDORDAY

GRANT, ELLIE, and the KIDS race down the second floor corridor

towards the control room, Grant helping Tim.

130INTCONTROL ROOMDAY

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 INTBUNKERDAY

A phone RINGS. HAMMOND and MALCOLM look at each other, wide-

eyed. Hammond lunges for it.

HAMMOND:

Grant?! The children alright?

132INTCONTROL ROOMDAY

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.

133INTCONTROL 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.

134INTCONTROL ROOMDAY

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.

135IN 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.

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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