Jurassic Park Page #5

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
5,439 Views


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 b*tch, 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 EXTMAIN COMPOUNDDAY

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 EXTVISITOR'S CENTERDAY

HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the stairs,

talking as he goes, Two ladies open the doors to the Visitor Center.

18 INTVISITOR'S CENTERDAY

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 INTSHOW ROOMDAY

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!"

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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