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 Ó÷è ñëîâà ïî ôðàçàì èç ôèëüìîâ |
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Ãëàâíàÿ>Êèíîñöåíàðèè>Ïàðê Þðñêîãî ïåðèîäà II/ Jurassic Park II Ñöåíàðèé ôèëüìà Ïàðê Þðñêîãî ïåðèîäà II/ Jurassic Park II íà àíãëèéñêîì ÿçûêå áåñïëàòíî (÷àñòü 2)
Çäåñü âû ìîæåòå íàéòè ïðîäîëæåíèå ñöåíàðèÿ ê ôèëüìó: Ïàðê Þðñêîãî ïåðèîäà II/ Jurassic Park II. Ïàðê Þðñêîãî ïåðèîäà II/ Jurassic Park II AT THE RIDGE OF CAMP, Nick takes advantage of the downed lasers to slip part the bordere of the camp and disappear into the jungle in one direction, while Malcolm and Sarah vanish in the other. The burning tent, which was the equipment tent, now detonates in a series of smaller EXPLOSIONS. Dieter and several others are knocked to the ground by the series of concessive blasts. He drags himself up onto all fours, charred and bruised. A burning tire rolls slowly past him, spinning to a stop -- -- at ROLAND's feet. Dieter looks up at him. ROLAND Last time I leave you in charge. OUT IN THE JUNGLE, Nick breaks out into the jungle clearing, the same one where Ajay and Roland had their blind. He sees the baby tyrannosaur chained to the stake. NICK Sick bastards. He goes to the animal, which now BLEATS in pain, its broken leg hanging at an odd angle. With one strong tug, Nick pulls the stake out of the ground. BACK IN THE CAMP, Roland surveys the destruction. The fire has spread and several tents are now tongues of flame flapping in the air, the animals are gone or going, and their personnel are scattered and terrified. PETER LUDLOW, breathless, face smeared with dirt, and smoke, staggers up to Roland. LUDLOW What in Christ's name is going on?! ROLAND Isn't it obvious? He holds up the sniped padlock from one of the animal cages. NICK (cont'd) We're not alone on this island. CUT TO: EXT. JUNGLE - NIGHT MALCOLM and SARAH race back up onto the ridge trail, where the green AAV is parked. NICK bursts around from the other side of the car. SARAH Nick, thank God, we didn't know if -- Malcolm opens the rear door. NICK Wait, don't --- With a piercing SHRIEK, the BABY TYRANNOSAUR, now in the back of the AAV, flings itself at the open doorway, jaws SNAPPING just short of Malcolm's nose. MALCOLM HOLY SHIT!! He SLAMS the door. DOWN IN THE HUNTERS' CAMP, Roland hears the commotion up on the ridge and looks up. ROLAND Do we have anyone up there? BACK UP ON THE RIDGE, Malcolm is confronting Nick. MALCOLM <U< your of out you>?! NICK It has a broken leg! MALCOLM So do it a favor and put it out of its misery! NICK No! Get in the car before they hear us! He runs around and leaps in the driver's seat. Sarah slips into the passenger seat, quickly, leaving Malcolm no choice but the rear. CUT TO: EXT. JUNGLE - NIGHT The AAV SLAPS through the jungle foliage. From inside the car, we can hear the baby tyrannosaur SCREAMING in anger. INT. AAV - NIGHT The baby writhes on the base seat next to Malcolm, who has flattened himself against the door, as far away from the animal as possible. SARAH Ian, close the window, it's going to wake every predator in the jungle! Malcolm leans over the enraged animal and cranks up its window. The tyrannosaur SLASHES with one of its powerful hind legs, ripping the flesh of his forearm. He SHOUTS in pain. Outside, the listening jungle whizzes by. EXT. HIGH HIDE - NIGHT Up in the high hide, EDDIE, DR. JUTTSON, and KELLY are standing watch, scanning the jungle for any sign of their returning comrades. Juttson yanks the night-vision binoculars away from his face as he spots the AAV, pulling up to the base camp a couple hundred yards away. JUTTSON There they are! They all turn and look, but Eddie furrows his brow, watching them pull the wounded animal from the back seat. EDDIE What is that they have with them? EXT. CAMP - NIGHT SARAH and NICK carry the SCREECHING baby tyrannosaur in their arms, headed for the trailer. MALCOLM, holding his bleeding arm, isn't far behind. INT. TRAILER - NIGHT SARAH and NICK bring the SCREAMING infant to the metal dining table and hold it down. MALCOLM is right behind them. MALCOLM This is exceedingly unwise. Sarah turns away from a drawer of medical supplies, holding a small syringe. Her shirt is streaked with blood from the baby's injured leg. SARAH Too late to worry about that! Hold him together, Nick! Nick tightens his grip on the animal and Sarah makes an injection into its thigh, over its loudly voiced objections. MALCOLM Just do whatever you have to do and get it out of here as quickly as possible. Sarah picks up a small ultrasound transducer and runs it over the animal's leg. A green and white skeletal image appears on a monitor next to the table. SARAH Okay, there's the metatarsals -- tibia, fibula -- there it is! See it? That's a fracture, just above the epiphysis. They peer closely at the monitor. NICK That little black line? SARAH That little black line means death for this infant. The fibula won't heal straight, so the ankle joint can't pivot when he stands on his hind feet. The baby won't be able to run, and probably can't even walk. It'll be crippled, and a predator will pick it off before it gets more than a few weeks old. MALCOLM Can you set up? SARAH (thinking) It has to be temporary, something that'll break apart and fall off as the animal grows... MALCOLM Think fast, Sarah. The tyrannosaur, still in pain, SHRIEKS again. EXT. HIGH HIDE - NIGHT Through their binoculars, the rest of the group watches the trailer carefully. Even inside, the animal's SCREECHES are clearly audible. Kelly is getting scared. KELLY What are they doing? Why don't they hurry?! EDDIE Give me the radio. From the trailer, the baby lets out a long, plaintive SHRIEK -- One by one, Eddie, Kelly, and Juttson turn around and stare into the night jungle. INT. TRAILER - NIGHT NICK holds the animal while SARAH fits an aluminum foil cuff around its injured leg and paints it with a coating of resin. MALCOLM, at the window, stares out anxiously. The animal thrashes again. NICK Give it more morphine! SARAH We'll kill it with too much, we'll put it into respiratory arrest! I'm almost done. Damn it, I need another adhesive, something pliable I can -- Her eyes fall on Nick. She holds out her hand, urgently. SARAH (cont'd) Spit! He spits his bubblegum into the palm of her hand. The baby rex CRIES OUT again. EXT. HIGH HIDE - NIGHT From the swaying jungle, there is another answering ROAR. And this one's closer. In the high hide, the rest of the group stares, trembling. In the distance, a flock of birds SHRIEKS and takes flight as the tops of some trees move, a whole section of forest suddenly coming alive, as if brushed by wind. But it's not the wind. They hear noises, THUDS in the jungle. And then another section of forest trembles. Closer. Another flock of birds bursts out of the treetops and swarms past the high hide. KELLY What is it? Dr. Juttson puts an arm around Kelly, instinctively pulling her closer to him. Eddie WHISPERS urgently into the walkie-talkie. EDDIE Sarah, come in! JUTTSON It's moving. Fast. INT. TRAILER - NIGHT There is a radio box mounted on the far wall of the trailer. The speaker BUZZES urgently with Eddie's VOICE. EDDIE (o.s.) Sarah, Malcolm, can you hear me?! On the table, Sarah is frantically molding Nick's bubblegum into place on the makeshift splint. But the baby rex, regaining its strength, is thrashing again. SARAH Hold it down, Nick! NICK I'm trying! EDDIE (o.s.) (from the radio) Is anybody there?! Malcolm moves to answer the radio, but Sarah SHOUTS to him. SARAH Ian, get the bottle of amoxicillin and fill a syringe! Quick injection of antibiotics and I can get it out of here! Forsaking the radio, Malcolm moves to the medicine drawer and comes up with what she wants. Working fast, he draws twenty cc's of the pink liquid. EDDIE (o.s.) (still from the radio, now desperate) SARAH OR IAN, ANSWER ME! They ignore him as Sarah grabs the syringe and makes the injection. EDDIE (o.s.) WHATEVER YOU BROUGHT INTO THE TRAILER, GET IT OUT NOW! EXT. HIGH HIDE - NIGHT Eddie has given up on whispering as he clutches the radio desperately. EDDIE WE ESTIMATE TWO LARGE ADULTS HEADED IN YOUR DIRECTION! I REPEAT -- INT. TRAILER - NIGHT Nick, Sarah, and Malcolm spin around at hearing that terrible piece of information. MALCOLM Oh, Christ. He bolts over to the wall speaker and hits the button. MALCOLM (cont'd) Let me talk to Kelly, is she-- A deafening ROAR sound from just outside the trailer, followed immediately by a CRASHING sound. They whirl and look to the window, just in time to see -- -- the AAV tumbling by, rolling on its side! There is another ROAR, and the baby, on the table, ROARS in response. Outside the window, the head of a full-grown TYRANNOSAURUS REX lowers and peers inside. Malcolm, Sarah, and Nick all freeze in absolute terror. The rex outside GURGLES, making material cooing noises. The baby rex, calm for the first time, GURGLES back. But across the trailer, in the opposite window, ANOTHER T-REX HEAD SUDDENLY APPEARS. This one ROARS, deeply, a roar so low and loud it rattles anything in the trailer that isn't tied down. NICK What do they want?! MALCOLM What do you think they want?! SARAH That's impossible, they can't have the sensory equipment to track it all the way here! MALCOLM Current evidence seems to be to the contrary, wouldn't you say?! GIVE IT TO THEM! Nick, hands shaking, grabs the shoulder video camera he used earlier. He whips out the cassette that's in there, hurls it into an open duffel bag with half a dozen others, SLAMS a fresh cassette in, and flicks the "ON" switch. Sarah and Malcolm, meanwhile, hurry to the other end of the trailer, carrying the baby rex. Outside, the two adult rexes stay with them, walking in the same direction, watching them through the window. EXT. TRAILER - NIGHT Seen from outside, the light inside the trailers clearly illuminates Sarah and Malcolm as they carry the bay rex. The adult rexes tower over the trailer, twice as tall and nearly as long. They walk slowly alongside it, hunched over, watching their infant. INT. TRAILER - NIGHT At the door to the trailer, Sarah un-muzzles the frantic baby. SARAH Ready? Malcolm reaches for the door handle. NICK Wait! He dives down on the floor under them, pointing the video camera up at the door, getting the best shot. Malcolm takes a breath, turns the knob, and throws open the door. Outside, the enormous rex heads pause for a moment, staring, surprised. Although terrified, Sarah actually starts to sing. SARAH (softly) Born free, as free as the wind blows. As free as the grass grows -- MALCOLM Are you insane?! SARAH I swear to God, it works with lions sometimes! There we are -- your baby is free -- The baby, excited, wriggles free of them and lands on the ground outside. Not wasting a second, Malcolm SLAMS the door shut. The three of them freeze, not daring to breath. Outside, they can hear the SNUFFLING and COOING of the animals as they inspect their young -- -- and then the soft THUD of their footsteps, growing fainter as they move away. From the wall, EDDIE'S VOICE comes over the radio, relieved. EDDIE They're going back into the jungle. CUT TO: EXT. HIGH HIDE - NIGHT EDDIE, JUTTSON, and KELLY sag back against the railings of the high hide. EDDIE Thank God. Thank God. MALCOLM'S VOICE comes over the radio. MALCOLM (o.s.) Kelly? Are you all right? She takes the radio, her voice shaky. KELLY Uh huh. CUT TO: INT. TRAILER - NIGHT MALCOLM is at the radio. MALCOLM Wait there. I'll come up in a minute. Don't move, understand? KELLY (o.s.) I understand. Malcolm slump against the wall of the trailer. SARAH and NICK sit on the floor leaning against the opposite wall, completely drained. Sarah pulls out her pocket recorder and speaks shakily into it. SARAH Note to Dr. Juttson -- Tyrannosaurus rex does nurture its young. They laugh weakly. NICK There's, uh -- there's an unwritten rule when a news crew is in a war zone. You stop the van every two miles and decide whether or not to go on. Whether or not you feel lucky. One "no" from anybody in the group and you turn around right there, no question asked, nobody embarrassed. (pause) Well? Do we go on? Immediately: SARAH No. MALCOLM No. NICK No way. They all laugh. MALCOLM All right. I'm satisfied with the evidence we have right now. I feel vindicated. John Hammond will too. (to Sarah) Do you have enough to publish? SARAH They will come after me. But I can collect some stool samples, for DNA with that, Nick's tapes, and the rest of you to back me up, it should stand when we get back. MALCOLM (getting up) Then the only thing left to do is make sure we do get back. I'll call the mainland on the satellite phone and have them send the boat right now. This expedition is over. He goes to the desk and picks up the heavy gray satellite phone that's resting in a battery pack. The front panel lights up, a brilliant green. But from the wall speaker, the radio CRACKLES and EDDIE'S VOICE breaks through, soft and empty. EDDIE (o.s.) Oh, God. I am so sorry. Malcolm and Sarah look at the speaker box. MALCOLM What the hell is he sorry f- A low RATTLE sneaks into the trailer. Malcolm, Sarah, and Nick takes a step forward from the walls, looking around. The RATTLE gets louder, the trailer shakes and vibrates, everything in it starts to BANG against the walls -- -- and something huge SMASHES into the side of the trailer. They're all thrown against the far wall, there is an earsplitting CRACK of electricity, the entire trailer rocks and sparks a brilliant blue, and then everything goes black. The satellite phone flies out of Malcolm's hands and SMACKS against the wall. It lands on the floor, its number pad still glowing green. Nick crawls over and looks out one of the windows. Outside, the flank of one of the tyrannosaurs wipes past the window, revealing the second tyrannosaur, charging straight at the trailer! NICK HANG ON TO SOMETHING! They hurl themselves at the nearest solid object and hang on for dear life. The charging rex SLAM into the side of the trailer, which rocks up on one side, BANGS back down, and is quickly RAMMED again by the furious animal. This time the entire trailer rolls over, completely upside down. Sarah, Nick, and Malcolm let go of their precarious handholds and drop onto the ceiling. The tables, chairs, lab equipment, everything that's bolted down clings to the floor above them; everything that isn't RAINS DOWN ON THEM. But the rexes aren't done. The trailer JOLTS INTO MOTION, sliding forwards. SEEN FROM OUTSIDE, the upside down trailer, which is the rear of the two trailers, slides along the muddy ground, pushing up earth in front of it. IN THE TRAILER, SARAH They're pushing us! Malcolm, frantic, crawls up to a window to get a look outside. He looks down and sees a T-rex footprint in the earth outside as they move past it. He cranks his head to get a look at the direction in which they are being pushed. His eyes widen at something he sees outside the window. MALCOLM Oh, God. SARAH What?! MALCOLM They're pushing us over the cliff. Sure enough, out the back window, we see a few more feet of muddy earth, and then nothing but inky black. The three of them look at each other for a moment -- -- and then crawl like hell toward the other end of the trailer. The opposite end reaches the edge of the cliff and starts up to tip ever-so-slightly downward. They reach the accordion-like connector and Malcolm crawls into it. THROUGH THE WINDSHIELD OF THE FRONT TRAILER, which is right-side-up, Malcolm can see the two rexes hard at it, pushing the front end of the trailer. IN THE REAR TRAILER, Nick has a pretty good grip at the top of the trailer, but Sarah can only cling to an air vent in the ceiling as stuff starts to roll and tumble past her, headed downhill. The angle increases, the trailer dips, and now stuff starts to freefall, right past her, some SMASHING her in the head. Malcolm, still in the connecting tube, grabs hold. Sarah, starting to be pulled downward, paws at the refrigerator, getting a g rip on the handle. The door, held by a safety latch, doesn't open. Below Sarah, debris falls to the rear window of the trailer. Through the CRACKING glass, we can see the surf, CRASHING five hundred feet below. The refrigerator bolts suddenly CRUNCH free of the wall. The box strains on its power cord. Still clinging to the handle, Sarah swings wildly as it starts to come loose, swaying above her. The safety latch on the door gives, it swings open, and a shower of food BANGS off of her as gravity empties the contents. Sarah loses her grip and plummets through the now-vertical trailer. She SCREAMS, covers her head, and SMASHES into the rear window. The glass spiderwebs, but does not break. FIVE HUNDRED FEET BELOW, an enormous wave POUNDS the rocky shore. Above, Sarah is a tiny figure, sprawled out on the glass, held invisibly by the breaking window. IN THE TRAILER, Nick SHOUTS to her. NICK SARAH! DON'T MOVE! Sarah, stunned by the fall, blinks a few times, regaining her senses. She looks down, at the crashing surf so far below. For a person with a fear of heights, this is a real drag. As she stares, the rocks seem to move even farther away from her. She blanches; the world spins around her. SARAH OH... GOD ... please... Her breath fogs the cracked glass. Slowly, she tries to get up, caaaaaarefully pulling herself up to her hands and knees. But as she puts pressures on her hands, the glass CRACKS even more, tiny spiderwebs shooting out around her fingers. The whole glass panel sags, bowing out around the bottom of the trailer. UP ABOVE HER, Malcolm looks down and sees the satellite phone precariously balanced on one leg of the kitchen table, its number pad still glowing green. Nick is closest to it. MALCOLM Nick! Grab the phone! SARAH looks to her right, at a metal grating that runs along the wall of the trailer. She shifts her weight, leaning on one hand to reach for the grating with the other. NICK reaches for the satellite phone, its antenna just six inches from his outstretched fingers. SARAH leans toward the metal grating, all hairline cracks shoot out around her pivot hand, shaking through the glass. The splintered glass spread like a disease, it reaches the edge of the frame -- -- and her hand CRACKS right through the glass. She GASPS and pulls her hand out, but now she knees SMASH through the glass. NICK has two fingers on the phone, but suddenly the whole trailer shudders and the heavy phone tips off the table leg and falls. NICK SARAH LOOK OUT! SARAH lunges for the metal grating and clings to it just as the heavy phone whizzes past her head and SMASHES into the glass, opening up a huge hole in the center of the back window. UNDERNEATH THE TRAILER, glass, food, lab equipment, and the precious satellite phone fall out the broken window and SMASH on the rocks far below. IN THE CLEANING, the trailers are split, like an L, the rear trailer hanging straight down, the forward one resting on the edge of the cliff. Satisfied with their work, the T-rexes turn and lumber back into the jungle. IN THE TRAILER, Sarah climbs carefully up the metal grating. Above her, Nick lowers himself as far as he can, reaching for her. ON THE CLIFFSIDE, we realize the hanging trailer halted its descent because one corner of it is wedged in the branches of a tree that grows out from the muddy cliff. But now those branches SPLINTER. IN THE TRAILER, Malcolm sees the bellows, the connector between the trailers, stretch as the lower trailer JERKS and dips lower. BELOW HIM, Sarah mountain-climbs through the trailer's kitchen, inadvertently kicking the faucet on as she struggles for purchase. OUTSIDE, the tree branch SNAPS and the trailer jerks, stretching down again. The bellows expands to its full length, stretching like a Slinky. INSIDE, Nick knows he has to hurry. He climbs down, bouncing off the built-in furniture, moving ever closer to Sarah. But Sarah slips and loses her grip, dropping a few feet. She gabs hold of the sink, the flowing water spraying her face. EXT. JUNGLE - NIGHT EDDIE CARR is in the driver's seat of the jeep, racing through the jungle as fast as he can. EDDIE Hang on -- hang on -- The foliage SMACKS the windshield, then clears suddenly, revealing the endangered trailers on the cliffside ahead of him. The jeep bounces through the deep footprints left by the rex and SKIDS to a halt. INT. TRAILER - NIGHT Sarah loses her grip on the sink and falls, SMASHING into the frame of the half-broken rear window again. OUTSIDE, Eddie bolts out of the car and runs to the front trailer. He SHOUTS in through the broken front window. EDDIE HEY! HELLO?! IN THE REAR TRAILER, The three look up from their precarious positions. MALCOLM WE'RE IN HERE! GET SOME ROPE! OUTSIDE, Eddie turns and run back to the jeep. He grabs a coil of rope, secures one end around a tree, and hurries back to the trailer. IN THE REAR TRAILER, Eddie dashes over the mess in the front trailer and crawls out into the extended connector. He peers over the edge, down into the second trailer, and tosses the rope. EDDIE Catch! The rope falls through the center of the trailer, its end dangling all the way out the smashed rear window. But the trailer SHUDDERS, starting to move again. SARAH We're sliding! EDDIE Climbs up if you can! OUTSIDE, Eddie runs out of the trailer in time to see the wheels dragging forward through the mud as the weight of the dangling trailer pulls the whole thing toward the edge of the cliff. He runs for the jeep and grabs hold of the power winch on the front grill. Behind him, the trailer rolls closer to the edge of the cliff. Eddie races back to the trailer, pulling out a length of cable behind him. He runs up to the still-moving trailer, dives for its towing hook, the cable goes taut -- -- and he falls short. Just by six inches, but he's out of cable. EDDIE Damn it! INSIDE THE TRAILER, Nick and Sarah are now together, clinging to the rope near the bottom of the trailer as it shifts around them. Malcolm is further up, also clinging to the rope. OUTSIDE, dirt and rocks pile up around the wheels and spill over the edge of the cliff. Eddie, back at the jeep, reels out more winch cable. He turns and races back to the trailer just as gravity starts to LIFT THE FRONT END OFF THE GROUND! Eddie dives again, and this time the cable hook CLICKS securely into the trailer's towing hook. The trailer lurches toward the edge of the cliff and stops. But the jeep is jerked forward by the sudden pressure. IN THE TRAILER, Malcolm clings to the rope in the middle of the trailer while Nick and Sarah try to struggle up it, but a sudden dig knocks them back, and their hands slide down the line. SCREAMING, they slide through the trailer and their feet SMASH through the remains of the rear window. Regaining hold of the rope at the very end, the two of them now find themselves hanging out of the rear end of the trailer, dangling over the rocky shore below. IN THE JEEP, Eddie hits the gas and the tires slosh in the mud, trying to get a grip. The jeep pulls just enough to lower the front trailer back to earth. But the tires spin, fighting to hold it there. ON THE CLIFFSIDE Sarah and Nick dangle, desperate. IN THE JEEP Eddie CHUNKS the shifter into four wheel drive and GUNS the engine. As the motor ROARS, the sound is topped by another ROAR, in the distance. And this one's not a machine. But Eddie doesn't hear it. He GUNS the engine again. There is another ROAR from the jungle. Eddie hears this one. He darts a look at the side view mirror. In it, he sees one of the TYRANNOSAURS bolt out of the jungle behind him. He GASPS and looks at the other side view. In it, he sees the OTHER REX racing toward him. The tyrannosaurs STOMP forward to confront the ROARING jeep. The first rex bends over, CHOMPS down on the rear tire, and lifts the car to its teeth. But the spinning tire LINGS in the rex's mouth, burning it. Surprised by the fight in this foe, the rex loses its grip and the jeep BANGS back down onto the ground. Eddie, horrified, dives down under the steering wheel, to get away. The gas pedal pops up -- -- which makes the trailer pitch over the side of the cliff. But the rex STOMPS down on the jeep to prevent its escape. The trailers stop. Now the rexes lean down, over the jeep, and focus on Eddie, who still covers under the steering wheel. The first rex SNAPS at him, hitting the steering column with it, leaving Eddie fully exposed. He SCREAMS and the second rex lashes in, seizing him in its teeth and tossing him out of the car. Eddie pops up into the air between the two rexes, both their heads flash at him at the same time, and in a split-second, he disappears between their teeth. Now completely ignored, the jeep rolls freely forward and the trailers drop over the edge of the cliff. INSIDE THE TRAILER, Nick, Sarah and Malcolm cling to each other and the rope as the trailers fall around them. The windows flash by as the trailers plummet, equipment BANGS and SCRAPES them, but they hold on to the rope, still tied to the tree, for dear life. ON THE CLIFFSIDE, the trailers slide the rest of the way, exposing the three, who pop out the space where the front windshield was. Dangling from the rope, they look up and see the jeep, which is now rolling to the edge of the cliff. It falls, past them, and the whole mess EXPLODES on the rocks below. Finally, it is silent, except for the sound of the surf. EXT. CLEARING - NIGHT It's quiet up here too, the rexes nowhere to be seen. At the cliff, a hand appears from over the edge. Then another. SARAH pulls herself up, back onto solid ground, then comes NICK, then both of them reach over and help MALCOLM up over the edge. They collapse there, in the mud, completely exhausted. MALCOLM (softly) Eddie? He looks at the other two. They glance around, then drop their heads. Sarah hears a SOUND in the distance. SARAH Oh, God. Now what? From the edge of the jungle, a cris-cross of flashlight beams moves toward them. But rather than the three or four that would signify their own group, there are nearly twenty of them. The HUNTERS, PETER LUDLOW is in the lead, ROLAND and AJAY with him. DIETER is there too, shepherding KELLY and DR. JUTTSON along in front of him. Malcolm sees Kelly, they call out to each other, and race together. Malcolm falls to his knees and hugs her as tightly as he possibly can. MALCOLM Are you all right?! Anything broken? KELLY I'm fine, I'm fine, I was scared, I thought you, are you okay?! MALCOLM I'm fine... I'm fine... Roland looks around, at the mess that was their base camp. ROLAND (mostly to himself) That's what you think. CUT TO: EXT. RUINED BASE CAMP - NIGHT In the ruins of the first team's base camp, the survivors of the night's two separate catastrophes stand face to face, in a heated argument. MALCOLM sits off to the side, still holding Kelly in his arms, just looking down at the ground and shaking his head. There's something about his posture of defeat that is far more ominous than any of the hot tempers that are flaring. LUDLOW rants to SARAH while DIETER looms menacingly over NICK. LUDLOW Trespassing, sabotage -- you could go to jail just for being here, did you know that? SARAH Don't start a legal argument with me, this island isn't your property, and neither are these animals! DR. JUTTSON has encountered DR. BURKE. JUTTSON What are you doing here, Burke? There's no TV cameras, what's the point? BURKE Dr. Juttson, you exist outside the classroom. I am amazed. Dieter continues to get in Nick's face. NICK Are you looking for a problem? JUTTSON (an urgent whisper) Everyone, keep your voices down! ROLAND Back off, Dieter. JUTTSON Listen to me, by moving the baby rex into our camp, we changed the adults' perceived territory! LUDLOW Their what? SARAH (she understands) Oh, God. JUTTSON That's why they persisted in destroying the trailers, they now feel they have to defend this entire area! We're not safe here. LUDLOW (of Sarah and Nick) Thanks to you people. SARAH Hey, we came here to observe, you came here to strip-mine the place! It's a looter mentality, all you care about is what you can take. ROLAND None of that matters. Our communications equipment's been destroyed. If your radio and satellite phone were in those trailers that went off the cliff, and I'm guessing by the look on his face -- He points at Malcolm, who is still off to the side, sitting in stunned silence. Malcolm looks up and nods, slowly. The grimness of their situation sinks in. ROLAND (cont'd) We are stuck here, ladies and gentlemen. And we're stuck together. CUT TO: EXT. HUNTERS' CAMP - NIGHT Back in the hunters' now-demolished camp, members of the two groups combine their diminished supplies. They have half a dozen large plastic containers of water, thirty-seven containers of food, ranging from Ziploc bags to aluminum tins, a variety of weapons, mot of them borne on the hips or shoulders of the HUNTER team, the charred and scraggly remnants of several pieces of now-useless electrical equipment, a flare gun and several flares, somebody's tattered paperback ("Crime and Punishment"), a box of Hershey bars, and a cartoon of Marlboros. ROLAND supervises the assembling of the resources, which are displayed in front of him. LUDLOW, NICK, SARAH, JUTTSON, and MALCOLM, who is still holding KELLY close to him, are with him. They hold their discussion in quiet tones. ROLAND If we can't stay in the rex's territory, we have to move tonight. SARAH Move where? Our boat's not coming for two days, your airlift is waiting for an order you have no way to send -- Ludlow refers to the charred and trampled satellite photographs of the island, which are still mostly legible. LUDLOW There's a communication center, here, in the old worker village. Hammond put in some kind of renewable power source replenishing. It may still work. If we could get there, we could send a radio call for the airlift. NICK How far is the village? LUDLOW I said if we could get there. NICK Well, how far is it? LUDLOW A day's walk, maybe more. That's not the problem. ROLAND What is? LUDLOW The velociraptors. Malcolm looks up sharply. LUDLOW (cont'd) Our infrareds show their nesting sites are concentrated in the island interior. That's why we planned on keeping to the outer rim. Malcolm shepherds Kelly away from the conversation and mutters something to her quietly in the background. DIETER What are velociraptors? JUTTSON Carnivores. Pack hunters. About six feet long, three or four hundred pounds, and very, very fast. Dieter brandishes his weapon. DIETER I think we can handle ourselves against them. Malcolm rejoins the conversation, alone. He keeps his voice low. MALCOLM No. I'm quite certain you can't. ROLAND Look, we have two choices. We can hike back down to the lagoon, where we can sit for two days, in the open, next to a heavily used water source while we're waiting for your boat to arrive, or we can head for the village, where we might find some shelter and we can call for help. MALCOLM We'd never make it past the raptors. Trust me, I have some experience in this matter. Roland looks at him. ROLAND That may be. But you weren't with me at the time. Malcolm just shakes his head, then turns and walks back to Kelly. Roland turns to the others. ROLAND (cont'd) Load up. Let's get this moveable feast underway. CUT TO: EXT. ISLAND - NIGHT The SURVIVORS set forth, marching through the jungle in a column. Two HUNTERS strap on small shoulder-mounted servo-flashlights. Wires run from the lights end in sensor pads which they stick to the skin of their necks. Thus attached, when the hunters turn their heads, the servo-lights turn with them, illuminating whatever direction they look in. MALCOLM screws the barrel into the Lindstradt rifle and slings it over his shoulder as he marches, limping heavily. He looks down at KELLY, who is marching alongside him. His face shows the deepest of regret. He shakes his head, cursing himself. MALCOLM Damn it. He looks away as Kelly looks up at him, questioning. ROLAND falls into step with Malcolm and notices his limp. ROLAND You all right? Malcolm looks at him, then looks away without answering. ROLAND (cont'd) Wrong question? MALCOLM You ever heard of Gambler's Ruin? ROLAND What's that? MALCOLM A statistical phenomenon. Says everything in the world goes in streaks. It's real, you see it everywhere -- in weather, in river flooding, in baseball, in blackjack, in stock markets. Once things go bad, they tend to stay bad. Bad things cluster. They go to hell together. ROLAND Feeling a bit blue, are we? Malcolm glances at Kelly, who has taken a slightly faster pace and is a few steps ahead of them now. MALCOLM Just -- flawed. Very deeply flawed. ROLAND Why did you come here? MALCOLM So that others would know about this place? ROLAND Why should they? MALCOLM Because it exists. ROLAND It'll still exit if they go on not knowing, won't it? MALCOLM Yes. And people will live in the absence of truth. ROLAND So the truth is more important to you than your life? MALCOLM (lowers is voice) I don't care about my life. But if I'd ever thought for a second that she would be in danger -- Roland follows his gaze forward, to Kelly, who's about ten yards ahead now. ROLAND She yours? AHEAD OF THEM, Kelly can hear their voices, faint, but clear. They are not as far away as they think they are. MALCOLM (o.s.) I'm afraid so. I don't know what the hell I'm doing with kids. I never should have had her. Kelly's face shows she heard that part. BEHIND HER, Malcolm, unaware, continues with Roland. MALCOLM (cont'd) Why are you here? ROLAND Somewhere on this island, there exits the greatest predator that ever lived. And the second greatest predator must take him down. MALCOLM But why? ROLAND You remember that guy, about twenty years ago, I forget his name, but he climbed Everest without any oxygen, came down almost dead. And they asked him, "why did you go up there to die?" And he said "I didn't. I went up there to live." MALCOLM (nods) It's called self-testing. But in your case, it sounds more like self-destruction. A uniquely human characteristic. In fact, human beings destroy things so well that I sometimes think that's our function. Maybe every few sons, some animal comes along that kills off the rest of the world, clears the decks, and lets evolution proceed to his next phase. Maybe death and destruction are our job, maybe we're supposed to destroy ourselves and every other living thing that- Every person on the trail within earshot has stopped and is staring at Malcolm, shaken by his words. Roland grabs Malcolm by the shirt collar and pulls him close, GROWLING in his ear. ROLAND Tell you what. You can see whatever you want to, to me, but you will not spew any more nihilist rants at anyone else in the group. I'm fighting panic, and you push the wrong buttons. Understand? Malcolm just blinks. This guy's in charge. CUT TO: EXT. JUNGLE - DAWN As a purple dawn dissolves the night sky, the SURVIVORS stagger on, exhausted. Some are starting to tire, and there are spaces in the column. MALCOLM's limp seems to be getting worse. NICK reaches out, to take Malcolm's pack, but Malcolm swats his hand away. KELLY, still ahead of him, falls into step with SARAH. KELLY I don't think -- my dad doesn't think we're going to make it. Sarah looks at her. SARAH Your dad is wrong. About a lot more than he knows. She puts an arm around her. Kelly looks up at her, grateful. The long march continues. UP AT THE FRONT, NICK catches up to ROLAND. NICK I think you should call a break. ROLAND Another half hour. NICK Some of them won't make another half hour. We didn't come this far to start dropping in the middle of the jungle. If you don't call it, I will. Roland looks at him, steely, then SHOUTS to the group. ROLAND FIVE MINUTES BREAK! Immediately, the marchers drop where they stood, absolutely drained. AT THE REAR OF THE GROUP, DRS. BURKE and JUTTSON are bickering. JUTTSON I can't believe you're still angry about that. BURKE You know, it's very easy to criticize the first person who studies something. JUTTSON No, it's easy to criticize sloppy research and hasty conclusions. NEARBY, MALCOLM checks Nick's bag of videotapes, making sure they're still dry and undamaged. Sarah comes up, watching him. SARAH You know, even if we do get those tapes back, people are going to say it's just another hoax. Ian Malcolm's alien autopsy. MALCOLM Maybe. Maybe not. SARAH Ian, they will misplace our evidence, shoot holes in our testimony, and say some special effects genius created the animals. The only way people will ever believe that dinosaurs exist is if you dump a T-rex in the middle of times Square. He doesn't look at her. She sits down beside her. SARAH (cont'd) There's something more important that you should be thinking about instead. BEHIND THEM, Dr. Burke, furious, has stalked away from Juttson and sits down on a rock. H does a double take, noticing something behind the rock. He leans over and picks it up. It's an oval shape about eight inches long, with a pebbled exterior. A dinosaur egg. Burke's face lights up, fascinated, and he carefully pieces the egg in a satchel he wears over one shoulder. AT THE REAR OF THE GROUP, DIETER STARK pulls a wad of toilet paper from his pack, drops the pack on the ground, and turns to the Hunter nearest him -- CARTER, his driver, who has his back turned. DIETER Wait here for me, would ya Carter? He steps off the path, into the jungle. But as we come around the front of Carter, we see he's wearing a Walkman, the headphone BLARING tinnily in his ears. And he didn't hear a word. EXT. THICK OF THE JUNGLE - DAY Only a few feet off the path, it's primary forest, the growth so thick that almost all sunlight is obscured. DIETER claws forward until he finds a suitable spot to relieve himself. He clears away a bunch of leaves and debris and raises his hand to his belt buckle. He freezes, hearing something we didn't. He glances around, head darting, alert to any danger. Nothing there. Just a few distant ANIMAL CALLS-- -- and s SCURRYING around to his left. Dieter snaps his head in that direction. At first, he sees nothing, but as he moves closer, gun extended in front of him, he sees a small dinosaur, a COMPSOGRATHUS, the same chicken-sized animal Cathy saw on the beach so long ago. DIETER It's not polite to -- He pulls the steel rod out of a loop in his belt and touches it to the compy's back. The blue bolt of electricity CRACKS and dances over the compy's body and it convulses in pain. DIETER (cont'd) -- sneak up on people. The wounded compsognathus scurries back into the jungle, whimpering. Dieter clambers through the foliage ten or twelve paces, pushes aside two large palm fronds, and steps out into -- -- more jungle. He stops, puzzled, not sure if he went back or forward. He looks behind him. He pauses, recalculating the path he took coming into the jungle, MUTTERING to himself, gesturing with his hands, retracing his steps. He adjusts his angle slightly to the right and heads off in that direction. But after five or six hard-fought steps, he stops again. Still nothing but jungle. DIETER HEY! CARTER! YELL OR SOMETHING, I GOT TURNED AROUND IN HERE! ON THE TRAIL, Dieter's cries are faint, but audible. The only Marchers hear enough to hear him is CARTER, but the Walkman is blaring in his ears. DIETER (o.s.) ...Carter... me?... IN THE JUNGLE, Dieter hears that SCURRYING sound again, this time from his right. He adjusts his angle again and SCRAPES through the foliage, moving faster and faster. Panicking, he ties to run, but the roots rise high out of the ground in the jungle, and he trips on one and falls flat on his face. He looks up. The SCURRYING sound comes again, this time ten times louder than before, like a hundred feet coming at him. Dieter GASPS as something rushes in at him. He whirls to his right. Whatever it is rushes in from that side as well. And the left. And behind him. Dieter scrambles up into a sitting position -- -- and laughs. He is surrounded by at least forty compys now, the same as the one he wounded. For a long moment, they just stare at him. Slowly, he brings his gun around, to point it at them. DIETER Easy -- wait -- one more sec- As one, the compys SHRIEK and hurl themselves forward, covering Dieter's body. Their teeth and claws FLASH as they each try to grab a scrap of his flesh, tearing savagely. Dieter SCREAMS and flails, waving his arms and legs wildly. Some of the tiny animals lose their grip and sail off, SMASHING into trees or the ground. But dozens of others hang on, and Dieter falls over backwards, now lying on his back on the ground. Hysterical, he fights like hell to get to his feet, SCREAMING, shaking, swatting the compys loose. He spins, and that tactic seems to work, as the compys themselves begin to panic and drop off of him. But he also loses his grip on his weapon, which goes flying, landing in the thick foliage five or six feet from him. Losing the attack, the compys turn and dart away en masse, stopping ten yards away from him. But they turn and regroup, facing him in a line, hopping up and down, CHIRPING and SHRIEKING. Dieter bounds into the foliage, looking for his gun. But the compys follow him in and he's forced to flee, abandoning his lost weapon. Ten feet on, he stops, knowing he's screwed without the gun. He turns to face the pursuing compys. They stop. Dieter charges them, SHOUTING, waving his arms. The compys turn and run. Dieter stops. The compys stop. They stare back at him. There is a moment of quiet, then they start to hop again, CHIRPING and SQUEALING. Dieter, tired of this game, turns and runs away. The compys follow. EXT. JUNGLE - DAY From the front of the convoy, ROLAND SHOUTS out. ROLAND Break's over, move on! The exhausted marchers drag themselves back to their feet and start to march again. At the rear of the group, someone taps Carter, who is still listening to his music. Carter gets up, hoists his backpack, and marches away. Behind him, Dieter's pack is left, forgotten, on the jungle trail. EXT. DEEP IN THE JUNGLE - DAY DIETER stumbles along, exhausted. He reaches the edge of a stream that runs under the foliage, and his feet slip on the stones. He falls, into the rocky stream. Behind him, the army of compys pours over the little hill he just crested. They disappear for a moment, down an incline -- -- And then swarm over his body. In a frenzy of splashing, Dieter shrugs them off and crawls away, through the stream. He gets to his feet but falls again, this time over a log. A geyser of water splashes up in the air behind the log as Dieter drops out of sight. The compys leap over the log and disappear from view too, throwing up their own splashes of water. SCREECHING, CHIRPING, and the sound of TEARING flesh mixes with Dieter's SCREAMS. Now, as more compys leap over the log and splash into the water below, the geysers that shoot up into our field of view are pink. And then they're a deep, deep red. CUT TO: EXT. JUNGLE - DAY The group has stopped again. Near the rear, SARAH, NICK, MALCOLM, LUDLOW, and ROLAND are in a tense conversation with CARTER. ROLAND How long ago was this? CARTER Seven, eight minutes. Roland looks at them, thinking. Finally: ROLAND Then he's dead. Nobody tells the little girl. Last thing we need is screaming hysterics. He turns and heads back to the front of the column. SARAH We have to send someone to look for him! ROLAND You go if you like, but we're not waiting for you. MOVE IT OUT!! They look at each other, appalled, but the column starts to move. Numbed, shocked, but left with no choice, they move on, one by one. CUT TO: EXT. ISLAND RIDGE - DUSK The column of MARCHERS has finally reached the island ridge, where they are silhouetted against the setting sun. They're taking a break, sprawled out on rocks or over the ground. MALCOLM sits next to KELLY, who's sitting on a log. MALCOLM You okay? She doesn't look at him, just gets up and walks away, going to sit over next to SARAH. Malcolm watches, pained, but Sarah puts an arm around her and makes a "she's okay" gesture to Malcolm. AT THE RIDGE, ROLAND steps up to the very edge and peers into the island interior. From his vantage point, he's able to see all the way to the far side of the island, a rim of herd black cliff, miles away. Between here and the cliffs there is nothing but gently undulating jungle. He refers to one of the satellite recon photos. ROLAND Looks like the worker village is down in there, about a mile and a half northeast from the base of these cliffs. MALCOLM is next to him. MALCOLM There must be a game trail, some kind of path that goes down there. Roland looks around at the exhausted MARCHERS. ROLAND They'll have to rest before we look for it. Eat. Sleep. Two hours. Then we hit it. CUT TO: EXT. CAMPSITE - NIGHT The group has made camp in the jungle. The mood is somber, most of the MARCHERS asleep already. Three or four tents have been put up. IN ONE TENT, KELLY sits quietly in a corner, her eyes wide, knees hugged up to his chest. SARAH comes in. SARAH There you are. Your dad's looking for you. KELLY I doubt that. Sarah takes off her outer shirt and hangs it over a bar to dry the broad red smear across its front. SARAH Oh, come on. Go talk to him. KELLY Why? He likes to be alone. I can stay with you. IN THE CAMPSITE, all is still. The nocturnal jungle HOOTS and BUZZES around the sleeping marchers. In his tent, ROLAND abruptly sits up. As if he heard something. He looks out the open flap. In the middle of the campsite, he sees AJAY stop in his tracks, head cocked. Roland gets up and goes outside, joining Ajay in the middle of the camp. ROLAND You hear something? AJAY No. I feel something. Roland looks at him. This isn't so good. He looks out at the shifting jungle. He notices a thin plume of smoke rising up over the trees just barely outside the edge of camp. ROLAND Oh, no. IN SARAH'S TENT, Kelly and Sarah have laid down on top of sleeping bags, trying to get a few minutes' rest. Sarah's shirt hangs over them, swaying in the gentle breeze coming through the open flap. As the shirt dangles there, swinging softly from side to side, we notice the broad red smear across the front. Oh, that's right -- it's blood. The baby T-rex's blood. AT THE RIDGE OF CAMP, the thin plume of smoke leads down to a tiny cooking fire that's been lit by DR. BURKE. He's set a small frying pan on top of it, and now he CRACKS the dinosaur egg he picked up earlier into the pan. Roland and Ajay run up behind him. ROLAND (hisses) ARE YOU OUT OF YOUR MIND?! Burke leaps out of the way as Roland kicks dirt on the fire. BMBB! Roland, Ajay, and Burke all freeze. What was that? IN SARAH'S TENT, Sarah and Kelly sit up. They felt it too. BMBB! AT THE COCKING FIRE, ROLAND Get my weapon. Ajay turns and trots away a few steps, then stops cold, staring down at the ground. BMBB! A recent rain has all left puddles scattered around the camp, and impact tremors now create ripples in the puddles -- concentric circles spreading to the outer edges. BMBB! IN SARAH'S TENT, Sarah and Kelly are frantically sealing up any opened food into Ziploc bags. BMBB! Now they leap into Sarah's sleeping bag, to seal themselves, and draw the zipper up, all the way around. Outside, the silhouette of the rex's head passes by the tent. Sarah works faster, her fingers struggling to close the last few inches, but -- -- the rex head pokes through the flap of the tent. It sniffs, SNORTING the air in and out. It looks around the tent. It sniffs Sarah's hanging shirt, the one that is stained with the blood of the baby tyrannosaur. The adult tyrannosaur GURGLES again, COOING and cocking its head curiously. In the sleeping bag, Sarah and Kelly's eyes are barely visible, wide in panic. The rex sniffs and nudges the bag, trying to figure out what this thing is. It rolls the bag over once, decides it's uninteresting, and then rises, straights up -- -- taking the whole tent with it! The stakes pop out of the ground as the tent rises high up into the air and flutters away, leaving the sleeping bag fully exposed on the ground beneath it. IN THE CAMPSITE, the SECOND TYRANNOSAUR now steps out of the jungle, joining the first. Panic hits the camp as the sleeping HUNTERS wake up. Many of them start to run. Roland scrambles toward his tent, where he can see his weapon lying near the open flap. As he draws close, an enormous T-rex foot stomps down on the tent, driving the rifle deep into the mud. Roland, weaponless, stands frozen, watching as the panicked Hunters flee in all directions. ROLAND FOR CHRIST'S SAKE, DON'T RUN! But they ignore him, sweeping him up in the wave of flushed prey that pours across the campsite. Some toss random and ill-aimed GUNSHOTS back at the rexes. ACROSS THE CAMPSITE, NICK bursts out of the crowd, sees Kelly and Sarah struggling to get out of the sleeping bag, and grabs each by an arm. He rips them to their feet and sweeps them off ahead of him, into the jungle. IN THE MIDDLE OF THE CROWD, MALCOLM, blinking back sleep, stands a good head above the rest of the panicking crowd. Frantically, he scans the group. MALCOLM KELLY? KEEEEELLLY?! But he can't see her. AT THE EDGE OF CAMP, the two rexes join forces, herding the fleeing Hunters into a narrow ravine. UP ON A ROCK RACE, Roland scrambles up a steep rock face. No way in hell he's going down that ravine. He sees Malcolm, still in the middle of the camp, start to head for the ravine. ROLAND MALCOLM! OVER HERE! Malcolm runs over and hurls himself at the rock face, scrambling to climb up the smooth, steep boulders. Behind him, one of the rexes spots him and lunges across the camp toward him. ROLAND (cont'd) FASTER!! Malcolm gives it everything he's got, clawing his way up the rock face -- -- and rex draws closer and pounces at his legs -- -- and Roland reaches down, grabs Malcolm by the hair and pulls him up, out of the rex's grasp. The rex falls short, but he's close enough that we can hear his teeth SNAP together, closing around nothing but air. It turns, sees easier prey in the fleeing Hunters, and takes off after them. Malcolm lands on top of the rock ledge with a CRUNCH. Roland unceremoniously dumps a fistful of hair in his lap. IN THE RAVINE, Kelly, in the middle of the fleeing crowd with Sarah and Nick, hears her father screaming her name and looks up. Malcolm and Roland are on the rock ridge above them, keeping pace. MALCOLM (shouting) KELLY, UP HERE! But Kelly continues to flee, as the rexes are in the ravine now, and drawing closer to the group. Some Hunters try to leap up and scale the rocks, but the ravine is deepening, there's no way out. One rex grabs hold of a Hunter in its teeth and hurls him against the rock face. The second rex picks up another Hunter and snaps its massive head left and right quickly, to break its victim's neck. The Hunter goes flying forward and crashes into -- -- CARTER, Dieter's driver, who stumbles and falls. The rest of the fleeing humans run around or over him, but when the rex lifts its foot, we see Carter is actually stuck to the bottom of it -- -- and when the animal takes its next step it CRUSHES him into the earth. UP ON TH ROCK FACE, Malcolm is frantic. MALCOLM I gotta get down there! DOWN IN THE RAVINE, it's obvious no one is going to outrun the rexes, and Nick knows it. He bursts ahead of Sarah and Kelly and spots something off to his left. It's a waterfall, apparently right in front of a sheer rock face. But there's something about the way the water is falling that tells him something. NICK SARAH KELLY COME HERE! He grabs each of them and hauls them forward, running straight at the waterfall. Apparently, he intends to jump right into the rock, and he's dragging them along with him. SARAH WHAT ARE YOU- NICK JUMP! The three of them spring right at the waterfall and disappear THROUGH the water. DR. BURKE, fleeing along with everyone else, is watching as they vanish. BEHIND THE WATERFALL, there is a small recess, which is what Nick had hoped for. It's small, only four or five feet deep, but it's just enough for him, Sarah, and Kelly to cover behind the flowing water. Breathless, terrified, they can hear the mayhem outside. NICK Shhhh... shhhh... With an enormous SPLASH, something bursts through the cascading water and crashes into them. Dr. Burke. BURKE Get out of the way! He pulls his way up against the far wall, as far away from the water as he can. FOOOOM! Now another shape bursts through the watery curtain. A Tyrannosaur head. Burke gave away the hiding spot. The four SCREAM as the rex's jaws SNAP left and right, searching for them, falling just inches short. They squeeze as far back against the wall as they can get. The rex can't quite get its head all the way through the opening -- -- so it uses its tongue. A long, dark blue shape slithers out of its mouth and touches the humans, trying to wrap around them, to pull them out of the cave. Burke, blind with panic, forces himself even further into the cave, which pushes Kelly further out. SARAH STOP IT YOU'RE PUSHED HER OUT STOP IT! But Burke doesn't listen, throwing elbows to make room for himself. His movements dislodge a portion of muddy earth, and a flurry of enormous cockroaches, eight or nine inches long each, pour out of the wall and swarm over his face and neck. Burke SCREAMS and instinctively leaps away, toward the flowing water. And that's all the leverage the rex needs. It curls its tongue, wrapping Burke up in it and pulling him between its teeth. SCREAMING hideously, he is dragged out, through the waterfall, and disappears. Sarah, Nick, and Kelly stare in horror as the white screen of water turn pink. UP ON THE ROCK FACE, Malcolm and Roland see the rex walk away from the waterfall with Burke, leaving the hiding place unmolested. Malcolm is nearly hysterical. ROLAND She's okay! They'll stay in there, she's okay! IN A JUNGLE CLEARING, routed Hunters emerge from the gully at the edge of he jungle. Ahead of them, there is a large open plain covered by long "elephant" grass. AJAY, running along with them, stops abruptly at the edge of the grass, SHOUTING to the others. AWAY NO! DON'T GO INTO THE LONG GRASS! Not in the frenzy, they ignore him. Behind Ajay, the enormous shadows of the two pursuing tyrannosaurs stop as well, holding up at the edge of the jungle. Ajay, torn between a sense of responsibility and his better judgement, opts for the former and races into the grass after the other Hunters, waving his arms. UP ABOVE THEM, Roland and Malcolm come out onto a rocky ledge that has a view of the plain below. Roland can see the Hunters leaving trails as they plow through the grass. ROLAND Elephant grass! ON THE PLAIN, the groups of Hunters wades into the middle of the long grass. One of them stops and turns, looking back at the jungle trees. HUNTER They gave up! They're not chasing us! There are CHEERS, SIGHS OF relief. In the distance, AJAY'S VOICE can be heard, faintly calling to them to come back. Up on the rock in the distance, they can see Roland, waving his arms madly. But in the giddiness of their escape, they pay it no mind. They continue plowing into the high grass, anything to get further away from the tyrannosaurs. ABOUT FIFTY YARDS AWAY, the tops of three animal heads rise up slowly, backlit by the full moon. In the distance, the heads can seethe Hunter party. The heads descend, back into the grass. BACK WITH THE HUNTERS, they continue forward, oblivious. Now behind them, four more heads rise up in the grass. As then descend. On all sides of the Hunters, the grass ripples as animals move forward toward them, undetected, inexorable as torpedoes. And these torpedoes are on target. One Hunter is suddenly dragged down, yanked silently below the surface of the tall grass. In his place, a long, lizard-like tail rises up as the animal drops its head to make the kill. Behind him, two more Hunters are taken down, and two more animal tails rise up in their place. A Hunter ahead hears the RUSTLING and turns. His face turns white as, behind him -- -- a VELOCIRAPTOR springs out of the grass. Velociraptor runs upright on its powerfully muscled hind legs, the second tow of each foot bearing an extra-large curved claw, carried in a retracted position, with which it slashes on attack. Like now. This raptor SNARLS and SLAMS into the body of the Hunter, taking him down. A feeding frenzy ensues. The Hunters run in all directions, but are pulled down and vanish into the twitching long grass. Another raptor enters from the right, leaps high into the air, past the full moon, SLAMS into the chest of more human prey, and takes him down, into the grass. Behind them, Ajay's face falls, defeated. He looks around, realizing he too is now stranded in the middle of the long grass. Around him, four torpedo trails head straight for him. Ajay simply closes his eyes. UP ON THE ROCK, Roland turns away from the carnage, pained. CUT TO: EXT. RUINED CAMPSITE - NIGHT SARAH, MALCOLM, KELLY, NICK, ROLAND, DR. JUTTSON, and PETER LUDLOW stand in the ruins of their campsite, their ranks decimated, spirits shattered. Roland is at the hole in the ground where his tent once was. He has pulled his .800 Nitro Express from the mud and more or less cleaned it, now he's checking the loads. Kelly, nearly catatonic with fear, clings to Sarah, and it doesn't look as if she'll ever let go. Malcolm, who is on his knees picking through the wreckage of a tent, looks over at them, but Sarah waves him off -- "she's okay." Roland appears, standing over the group. He looks at Malcolm, who has found the Lindstradt rifle, intact. ROLAND How many rounds did you find for that weapon? MALCOLM Four, counting the one in the chamber. ROLAND Don't let it out of your hands again. (to Sara, but looking at Kelly) Can the kid walk? SARAH Ask her. ROLAND Can the kid walk? KELLY I can. I can walk. While he addresses the group, Roland straps on one of the servo-lights, the shoulder-mounted flashlights that follow your gaze. ROLAND We're going to find a path down into the interior of the island. Load up whatever you think you need, and I mean need. If you can't carry it indefinitely, don't bring it. We'll hit the worker village in a couple hours and be out of here before dawn. AT THE EDGE OF CAMP, Roland bends over one of the three-toed footprints left by the rex. Behind him, the rest of the group is packing up, slinging the remnants of their equipment over their shoulders. Roland bends over and SNIFFS the footprint. It's filled with a liquid of some kind. He takes his canteen, dumps the remaining water into the ground, and plunges the canteen into the footprint, filling it. Ludlow hovers over his shoulder. LUDLOW What is that? ROLAND Piss. Ludlow doesn't ask. NOW AT THE FIRE, Roland stares down at the ashes of the cooking fire that led to such disaster. He grabs a handful of the ash and shoves it in his pants pocket. CUT TO: EXT. VALLEY OF DEATH - NIGHT ROLAND and LUDLOW (who, along with Sarah and Malcolm, is also wearing a servo-light now) maneuver down a rugged hillside and come out in a flattened area. Ludlow GASPS, looking ahead in wonderment. MALCOLM breaks through the hillside's foliage a moment later. He too stares in amazement. SARAH and KELLY come next, then NICK, then JUTTSON. One by one, they all stop and stare. SARAH God help us. They're standing in a flat, sandy area lined with boulders at the sides. The flat area stretches fifty yards from side to side and as far as they can see ahead. But that's not what amazes them so. Everywhere, the sand is dotted with dinosaur skeletons. Some are huge, apatosaurs, sixty feet from head to tail tip. Others are smaller, herbivores of many different kinds. The more intact skeletons lie on their sides, their ribcages arcs of pale bone. but just as many have been ripped apart, bits of carcass tossed in every direction. NICK I do not feel lucky. ROLAND Keep moving. They march on, tiny figures moving among the mountainous skeletons by the light of the full moon. Roland notices one carcass in particular, a recent kill. It's an enormous HADROSAUR with fresh bites taken out of it. He bends down, studying the soft earth around it for footprints. FURTHER ON, Malcolm looks up, noticing the bony shapes around them, which fall in heavy shadows like cell bars, seem to be changing. He turns, and his servo-light shines on the bones. But they're not bones any more at all, they're pipes, the animal graveyard now given over to the lifeless skeletons of manmade objects -- twisted, rotting machinery. LUDLOW We made it! They hurry over a small rise -- EXT. WORKER VILLAGE - NIGHT -- and find themselves at the edge of what was once Isla Sorna's worker village. The size of a football field, the town is divided by a main street that's dotted on both sides by stores, residences, cafes, a gas station. All the way at the far end is a large, blocky, four-story building. But the town is a mess. The hurricane that hit here must have been ferocious, for everywhere things are smashed, broken, upended. And the jungle has stepped into the breath, growing up, around, and over everything. Huge root systems snake through the street, making it almost impassable. MALCOLM The jungle. It's always ready to return. Roland catches up and looks at Ludlow. ROLAND Where's the power and radio setup? LUDLOW Operations building. Far end of the street. A light rain falls as they start down the street, carefully, silently, Roland and Malcolm with their weapons at the ready. They pass the skeleton of a fallen water tower. An empty gas station, its vine-snarled pumps now useless. The only sound is the low mechanical HUM of the servo-lights as they follow the group's gazes obediently. Every few feet, the group encounters strange, grayish lumps that lies in random places in the middle of the street. Malcolm, curious, stops and taps one of them. It's a rock-hard. Nick looks over his shoulder. NICK Lava? MALCOLM No. NICK What are they? MALCOLM I don't know. Finally, they reach the operation building, at the far end of the town. LUDLOW The radio rig is inside. It runs directly from the geothermal generator, so power shouldn't be a problem. ROLAND Good. He pulls out his canteen. Ludlow watches as he screws the top off, moves toward the building, and starts splashing the contents on the outside of it. The rest of the group just stares at him. MALCOLM What's he got in there? LUDLOW Piss. SARAH What? LUDLOW Don't ask me. The guy's completely out to lunch. NICK What in God's name would he want with- Roland rejoins them. ROLAND Tyrannosaur urine. I don't want anything to do with it, and neither does any other animal on this island. This building is now demarcated as the rex's territory. As long as you stay in that building, you'll all be safe until the helicopter comes. He drops his pack, swings his gun off his shoulder, and checks the load. Dr. Juttson looks fearful. JUTTSON Where are you going? ROLAND After the rex. I saw a fresh kill back in the valley with tyrannosaur tracks all around it. If I'm not back in time, don't wait for me. SARAH You've got to be kidding. ROLAND Runs against my nature to hole up in a cave and wait. LUDLOW Do you think the rex might have the infant with it? ROLAND Possible. Ludlow takes off his hat and turns to Nick. LUDLOW You know how to work a radio, don't you? SARAH You're going too? LUDLOW I lost everything I came after on this trip, but one T-rex in one theme park could single-handedly bail InGen out of Chapter 11. He takes a slip of paper from the brim of his hat and hands it to Nick. LUDLOW (cont'd) This is the broadcast frequency. ID yourself as "Harvest Leader." You know what to tell 'em. MALCOLM You gentlemen feel you have to do this now? ROLAND Now's the perfect time. The animal just fed, so it won't stalk us for food. Predators don't hurt when they're not hungry. Ludlow double checks the clip on his semi-automatic rifle -- NICK No. -- and SMACKS it back into the belly of the gun. NICK (cont'd) Only humans do. CUT TO: INT. COMMUNICATIONS ROOM - NIGHT The console of a sophisticated radio set-up glows brightly, all green, red, and yellow. NICK tunes the dial to a specific frequency. The radio WHINES and HISSES tuning in. NICK (into microphone) CQ, CQ. This is InGen Operation Harvest Leader to Harvest Base. Come in, please. The remaining SURVIVORS, minus Ludlow and Roland, shine their flashlights around the dusty, vine-hung interior of the communications room. On the wall a row of chrome letters says "We Make The Future," but the words are obscured by a tangle of vines. Mushrooms and fungi sprout from the carpet. On one wall, there is a mural of what the completed Jurassic Park would have looked like. Big hotels, Ford Explorers with tourists leaning out the windows taking pictures, big crowds at the fences around the animal exhibits. But none of it came true, and now even the mural is runny and dust-covered. There is a pause, filed only with radio static. Sarah looks at Nick tensely, waiting. Finally, a VOICE comes over the radio, clean as can be. VOICE (o.s.) Go ahead, Harvest Leader. They all breath a sign of relief. CUT TO: EXT. MAIN STREET - NIGHT With Roland and Ludlow gone on the hunt and the rest of the group inside the operations building, main street stands deserted and silent. Nearly deserted, anyway. Moonlight shadows lengthen at one end of the street -- -- and FIVE VELOCIRAPTORS STROLL INTO TOWN. CUT TO: EXT. VALLEY OF DEATH - NIGHT ROLAND AND LUDLOW are back in the valley of death, standing amid the giant skeletons of long-dead animals. Roland bends down, checking the carcass of the freshly-chewed HADROSAUR he saw earlier. A set of giant three-toed rex tracks leads away from the carcass, down the stream bed. Roland follows them. Ludlow follows Roland. As they near a bend in the stream, Roland looks down, at the surface of the water. A pattern of ripples moves toward them, washing over their ankles. Roland follows the ripples with his eyes. From up head, around the bend, he can hear the sound of an animal eating and drinking. A very large animal. He reaches into his pocket and pulls out a pinch of the ashes from the cooking fire that he scooped up earlier and releases that on the wind. They float there for a second, suspended, then blow back at him. LUDLOW We're downwind. Good. Roland darts a contemptuous look at him. He puts a finger to his lips, gesturing for silence, then steps up, onto the shore. Ludlow follows. They creep forward, toward the sounds. They round the bend and Roland hits his belly, edging up over a small rise. Over the rise, he sees the TYRANNOSAUR, about a hundred yards ahead. It's stooped over the stream bed, drinking. Like a bird, it dips its head in the water and then straightens up, to let the water fall down its throat. A dozen COMPYS are at the water as well, drinking. Roland gently FLICKS the safety on his gun to "off." Ludlow edges toward the cover of a low-hanging branch. As he puts his weight on one knee, it presses down hard on the middle of a small stick, which CRACKS in half. Roland turns, eyes blazing. Out in the open, the tyrannosaur snaps its head sharply as well, staring in the direction of the sound. But since Roland's own head is turned, he doesn't see the dinosaur's reaction. Roland holds a warning finger out to Ludlow. Roland turns his head back. The tyrannosaur is gone. FURTHER ON, the trail of three-toed tyrannosaur footprints stops abruptly. Roland stops too, gesturing for Ludlow to freeze behind him. Roland glances both ways, looking for any sign of the track. To the right, the ground gives way to hard black volcanic rock. A short distance behind them, the rock is solid, a massive, green, pebbled boulder ten feet high. Roland frowns and WHISPERS in Ludlow's ear again. ROLAND We took to the rock. LUDLOW Why? In front of Roland, a palm frond sways gently in the night breeze. Roland's eyes widen. He pulls out another pinch of campfire ash and releases it on the wind. This time, the ash blows off, straight away from him. ROLAND Wind shift. They freeze, terrified. Behind them, the enormous green pebbled boulder -- -- opens an eye. That's no boulder, that's the MALE TYRANNOSAUR, standing rock-solid still, its natural camouflage blending into the surrounding foliage perfectly. Very slowly and almost silently, the rex brings its head all the way around until it is staring directly down at them from about ten feet away. Roland and Ludlow stand frozen, their back to the rex, unaware of its presence. Until it exhales. The soft SNORT of its breath isn't quite audible, but it brushes the hair on the backs of their necks ever so slightly. Their hearts drop into their stomachs. Ludlow speaks, his voice a queasy HISS. LUDLOW It's... behind... us. ROLAND (the very softest whisper) It's just fed. It won't attack unless it's threatened. Don't move. As the rex silently cocks its head, sizing up the danger from these intruders, it breathes again. A few strands of Ludlow's hair flap in the exhalation. He closes his eyes, near tears. He can't take it. His eyes dart, glancing down at the weapon he holds in his hands. Unfortunately, it's extended in front of him, away from the rex. He risks another HISS. LUDLOW If I don't move, I can't shoot it. ROLAND Let it go, Peter. The animal won. Behind them, the rex appears satisfied. It starts to swing its massive head around, back toward the jungle. It lifts one great leg and takes a step into the trees. Roland signs and closes his eyes, relieved. But Ludlow seizes the opportunity. He whips his weapon around and drops to one knee. ROLAND (cont'd) NO! The rex is infinitely quicker. Ludlow just has time to squeeze off a short burst of semi-automatic gunfire when the animal whirls, takes one elegant step forward, and POUNCES. Ludlow's bullets rip harmlessly through the foliage between the rex's legs as its big head snaps forward and comes down, jaws wide. They close around Ludlow's body, lift his straight up into the air, and toss him once, readjusting their grip so it is firmly around his midsection. The whole combination of movements takes but half a second. By the time Roland turns around, the animal has pivoted and darted back into the jungle, carrying Ludlow, still SCREAMING and writhing in its mouth. Roland raises his gun, to draw a bead on the animal, but through the shivering trees, he can only see that the tyrannosaur is gone. CUT TO: INT. COMMUNICATIONS ROOM - NIGHT MALCOLM SARAH, NICK, KELLY, and DR. JUTTSON wait nervously in the communications room. An empty can of Dr. Pepper sitting on one of the countertops begins to RATTLE. They look over at it, confused, as the lightweight aluminum can CHATTERS on the formica counter. Other objects in the lab begin to rattle too. Glass jars CLANK against one another, books start to drop off the shelves, a stool shudders across the floor. KELLY What's going on?! Above them, the rotting wooden roof of the building starts to actually tear away, chunks of moldy timber flying up into the night. They look up, a deafening ROAR fills the room -- -- and a helicopter's searchlight floods in! As the chopper dips lower, looking for a place to land, the violent prop wash rips away huge chunks of the roof over their heads. INT. HELICOPTER - NIGHT Up above the operations building, the helicopter circles. The roof of the building is all arches and rotten timber, impossible to land open. Below, the PILOTS see the SURVIVORS through the torn roof of the building. They wave frantically, their flashlight beams piercing the night sky. PILOT There they are! The Co-Pilot scans the street below, but it's choked with overturned cars and fallen trees. CO-PILOT No LZ in the street, too much debris! PILOT Check the other buildings! The Co-Pilot nods and they peel off, swooping over the rest of the village. At the far end of the street, the Co-Pilot brings the searchlight to bear on the large, flat roof of a three story building. The Pilot gives him a thumbs-up. EXT. MAIN STREET - NIGHT MALCOLM, SARAH, KELLY, NICK and finally DR. JUTTSON run out the front of the operations building. At the end of the street, they can see the helicopter as it descends slowly over the building, to land on its roof. MALCOLM There it is! Happily, the group double-times it down the street, headed for the chopper. Again, those strange rock formations are everywhere. Some seem to be on the sides of buildings, as if they once dripped there and then turned to stone. This time Sarah pauses at one that is dripping over to the side of a car like solidified lava. Her face falls as a thought occurs to her. SARAH Ian. It's guano. MALCOLM What? SARAH These formations. They're dried -- MALCOLM Birdshit? A VELOCIRAPTORS jumps onto a fallen tree trunk behind them. They don't see it. NICK Who cares? Let's go! Unaware of the raptor's presence, they resume their trot toward the helicopter. Behind them, the raptor crouches and SNARLS, but the sound is lost under the WHINE of the helicopter's engines. It springs, covering the distance between them quickly. The animal SLAMS into JUTTSON, the last person in the group, and takes him down. Juttson is thrown forward, into the others, who fall like dominoes. Juttson SCREAMS, his voice an unnatural, high-pitched SQUEAL, as the raptor flips him over and lowers its jaws into him. Sarah looks up, panicked. Her eyes widen at the sight of a SECOND RAPTOR, this one running straight at hr at top speed. She buries her face in the dirt, covering her head with her hands -- -- and the raptor's foot SLAMS into the ground between her legs as it bounds over her and dives onto Juttson, joining the first raptor in the kill. Panicked, the group scatters in all directions. Kelly jumps up and scrambles into the middle of the street, where she hits the dirt and crawls under a fallen shed in the middle of the road. Malcolm rolls over to the space where Kelly was, but she's gone now. He looks around frantically. MALCOLM Kelly?! KELLY?! Sarah rolls onto her feet and sprints toward the building nearest her. Behind her, a THIRD RAPTOR gives chase, bounding after her with horrifying speed. Sarah runs flat-out, but her speed is nothing compared to the raptor's, and it gains on her rapidly. The walls of a structure of some kind close in around Sarah, and as she leaps across a leather seat and SLAMS a door behind her, we realize she's crawled into the back seat of an abandoned car. But the car door is thin protection against the charging raptor, which SLAMS into the window, head first. The window spinderwebs, but does not yield. The raptor crumples to the ground. Sarah looks up, through a three inch hole in the middle of the web. The raptor leaps back to its feet and plunges its nose into the tiny hole, thrashing, widening it. Sarah SCREAMS and the animal forces its entire head through the hole, SNAPPING its jaws just short of her face. She hurls herself over the seat and into the front as the animal penetrates even further into the car, but its torso will not fit through the window opening. It pulls away. In the front seat, Sarah gets some very bad news. There's no windshield. The raptor springs up onto the hood, its claws CLATTERING on the sheet metal, and tosses its body through the opening -- -- just as Sarah hurls herself out the door. While the raptor struggles to right itself in the front seat, Sarah runs to the nearest building, ducks inside, and SLAMS the heavy wooden door. CUT TO: EXT. GAS STATION - NIGHT MALCOLM races between the idled gas pumps and into the gas station building, closing the door behind him. A moment later, a raptor bounds after him, SLAMMING into the door. Meeting resistance, it bounces off, notices the plate glass window next to the door, and pounces at that. The window SHATTERS and the raptor clings to the ledge, staring inside, its tail hanging out. Just as it gets inside, Malcolm opens the door and comes back out, keeping the place of wall between them. He pulls the Lindstradt rifle off his back and tries to take aim -- -- but the raptor whirls and springs, forcing him back inside, through the door again. Willing to play along, the raptor turns and jumps through the window again. INT. GAS STATION - NIGHT Balancing on the window frame, the raptor HISSES and crouches, ready to spring at Malcolm. Malcolm takes cover behind the door, which is hanging open between them. He raises the rifle. Th raptor springs into the door, BLASTING it off its hinges, knocking Malcolm right through a window behind him. But the door SMACKS up against the wall, covering the window, preventing the raptor from following Malcolm out that way. For the moment. EXT. GAS STATION - NIGHT Malcolm flies through the window and CRUNCHES to the ground. He GROANS in agony and rolls off his bad leg, which is twisted unnaturally beneath him, and claws in the mud for the gun. ROUGH HANDS reach down, grab him by the shirt, and haul him to his feet. It's NICK. He drags Malcolm away, but in the commotion Nick's duffel slips off his shoulder and lands in the street, spilling some of the precious videotapes. Malcolm scoops them up. NICK Come on! MALCOLM Where's Kelly? NICK She's with Sarah! They race off, down the street. CUT TO: INT. KILN HOUSE - NIGHT High above SARAH, we see she is standing alone in a three story kiln house, a windowless shed used for firing pottery and other construction projects. Catwalks lined with heavy chains hang above her, and onto the floor below, she turns in circles, wondering what to do now. From outside the kiln house, she hears SCRATCHING, digging sounds. From the other side of the door comes an animal SNORT, and a small puff of dust and dirt billows up through the crack along the ground. ON THE OTHER SIDE OF THE DOOR, the claws of one of the raptors dig furiously, trying to tunnel underneath. INSIDE, Sarah runs to the opposite wall, falls to her knees, and starts digging a tunnel of her own, clawing frantically at the ganging tools always and CLANKS as it tears at the earth below it. Sarah digs faster. So does the raptor. With about eight inches of space under the wall, Sarah grabs hold of the bottom of one of the plans and pries it up as hard as she can. It snaps off with a loud CRACK. At the door, the raptor stops digging. It's silent for a moment. Sarah has a good foot and a half of space under her wall now. She starts to lower her body into it -- -- JUST AS THE RAPTOR'S CLAWS FLASH THROUGH FROM THE OTHER SIDE! Sarah falls back, SCREAMING, leaps to her feet, and jumps up, grabbing hold of one of the catwalks above. She starts to climb, up, anywhere up, as the RAPTOR now squirms and thrashes its way inside, coming in through her hole. Sarah climbs, hauling herself up, leaping from one catwalk to another. The raptor leaps up onto a catwalk as well and follows her. EXT. KILM HOUSE - NIGHT A window in the slanted roof of the kiln house EXPLODES in a shower of glass as SARAH kicks through it and climbs outside. CUT TO: EXT. MAIN STREET - NIGHT Nick drags a badly limping MALCOLM down the main street. They can see helicopter at the far end, engine ROARING and searchlight playing over them as they draw closer. They approach a rusted, abandoned pickup in the middle of the street -- -- and a RAPTOR leaps on top of it. Its claws CLACK on the roof as it goes into its pre-attack crouch. They don't stick around to negotiate. Nick hauls Malcolm off into the nearest building. INT. WORKER HOTEL - NIGHT NICK and MALCOLM hurry inside and SLAM the door behind them. They're standing in the lobby of a hotel of some kind, probably used for overnight guests and day workers who had to spend the night. The room and staircase wind around a large, open-aired central area four stories tall. They SHOUT at each other, frantic. MALCOLM We can't stay in here! NICK We're sure as hell not going back out there" MALCOLM This is single-wall construction! It's just a shack! NICK It'll hold! MALCOLM For sixty seconds, maybe! Look at this! (RAPS on the door with his knuckles) You could- With a CRASH, the wood SPRINTERS around the lock and the door swings open violently. Malcolm is thrown aside, landing hard on the floor. A VELOCIRAPTOR stands HISSING in the doorway. Nick throws his weight against the door. SLAMMING it hard against the raptor. Malcolm rolls over and paws the gun off his back. SLAM! The raptor charges the door again, this time BLASTING it off its hinges, knocking Nick to the floor beneath it. The raptor turns and SNARLS at Malcolm. Malcolm swings the gun around -- -- the raptor lunges at him -- -- Malcolm's finger closes on the trigger -- -- and the raptor lands on top of him. The weight of the animal CRUSHES him into the floor, but the gun barrel now stands between them. The raptor CHOMPS down hard on the barrel, its teeth GRINDING on the metal, and SNAPS its head, to tear it from Malcolm's hands. Malcolm pulls the trigger. The raptor's eyes pop wide as the dart SLAMS into the back of its throat. It makes a GURGLING sound, then convulses violently and rolls off of Malcolm, yanking the gun from his hands as it falls and dies. Nick scrambles out from under the door. Malcolm tries to wrench the gun from the raptor's clenched jaws, but it won't budge. NICK (helping him out) Head for the roof! MALCOLM I have to find Kelly! NICK I think she's with Sarah! MALCOLM DAMN IT, BE SURE!! CUT TO: EXT. MAIN STREET - NIGHT KELLY remains huddled under the fallen shed, trembling with fear. She holds her breath and freezes, as just outside, only two feet from where she's hiding -- -- a RAPTOR'S FEET pick their way past her, down the middle of the street. Kelly closes her eyes and suppresses a scream. CUT TO: EXT. ROOFTOP - NIGHT NICK and MALCOLM burst onto the roof of the now-burning hotel and SLAM the door behind them. The helicopter is now only three rooftops away. They turn and head for it, Nick in the lead, but there's an eight foot gap between the buildings. MALCOLM It's too wide! Nick looks around, desperate. A fallen power pole leans against the building they're standing on, its lines gone slack. NICK Help me push this! Malcolm understands. He and Nick throw a shoulder into the pole and give it a mighty push, tipping it over in the other direction. One good hard shove and it falls to the far building, THUDDING against it solidly. Its power lines are not taut, a lifeline from this rooftop to the next. Nick grabs hold and starts to pull himself across the gap, hand over hand. Behind them, the door of the building SPLINTERS and CRASHES open as a raptor throws all its weight into it. Malcolm leaps onto the power line without hesitation and starts pulling himself across. But even with the door wide open, the raptor on the other side hesitates. It SNARLS and backs away, refusing to come out onto the roof. ON THE OTHER ROOFTOP, Malcolm lands next to Nick on the second rooftop. They look back at the frightened animal, which takes tow steps out onto the roof, SNARLS, and backs into the doorway again. NICK It's afraid to come onto the roof! Malcolm looks around, at the rooftop. Strange bits of scrap and debris seem to have been arranged there, in an odd, concentric pattern. MALCOLM Something's wrong. NICK Look! Sarah! He points to the roof of the kilm house, in the distance. Malcolm turns, and sees SARAH crawling across the tile. His face turns white. MALCOLM SHE'S ALONE!! CUT TO: EXT. KILM HOUSE ROOF - NIGHT SARAH has problems. Still on top of the kilm house, she reaches the edge and pushes off the roof, leaping to the roof of the next building. She lands at the peak of the intersection of the two sides of sloping roof. As she pulls herself up -- -- a RAPTOR appears on the rooftop behind her. In full stride, it leaps, sails over her, and lands on the roof ahead of her. Sarah swings to her left and starts to crawl down the slope, away from the raptor. Suddenly the roof board under her SPRINTERS and CRACKS under her weight. The whole section pulls up and starts to slide off the roof. Sarah, clinging to it, rides the roof planks down, away from the raptor. She looks over her shoulder, down -- -- and sees ANOTHER RAPTOR, waiting for her on the roof of the building below. Sarah quickly rolls off the sliding section of roof, which keeps sliding, falling. The raptor below jumps up, just in time to get WHACKED in the head by the falling roof section. Sarah tries to cling to the Spanish tile roof, fingers and nails slipping on the slick ceramic surface. She slides all the way to the edge, grabs hold of the gutter, and dangles there, suspended above one raptor and trapped below another. The raptor above works its way down. The one below leaps up, at her dangling legs. She has left them in time with its jumps, to avoid losing her feet. This can't go on for long. Desperate, she pulls one of the Spanish tiles up from the roof and hurls it at the raptor below. It hits the animal in the head, for all the good that does. But Sarah keeps on, pulling and throwing more tiles. She edges to the right, toward a fresh supply. The raptor above edges even closer, claws CLICKING on the slick roof. Something interesting is happening. As Sarah pulls the loose tiles free, the ones above slide down, to take their place. Sarah sees this and pulls more free, knocking them out of the way as fast as she can. Suddenly an avalanche of loose tiles breaks loose and the footing underneath the raptor above disintegrates. The animal's feet flail and grasp, it slides towards the edge amid the tumbling tiles. Sarah, seeing it coming, swings in close to the building, hugging it as closely as she can. The raptor falls off the roof, right past her -- -- and CRUNCHES into the raptor below. Both animals SNARK and attack one another. Now Sarah, her grip exhausted, falls too, landing right next to the enraged animals. They fight and roll, RIGHT OVER HER. She GROANS and hugs the wood below her, the raptors continue to thrash and bite, they roll back, toward her, she rolls out of their way -- -- and plunges through a hole in the roof. INT. LAB - NIGHT Sarah falls through the roof of a deserted laboratory and lands in the tray of an old-fashioned hanging fluorescent light fixture. One end of the fixture's support SNAPS, it drops at a 45 degree angle, Sarah slides out the other end and CRASHES through a window. EXT. STREET - NIGHT Sarah lands in the mud in the street below. CUT TO: EXT. BETWEEN TWO BUILDING - NIGHT With a THUD, MALCOLM lands in the mud between two other building, one of which he has just climbed off of. Panicked, he leaps to his feet and starts to SHOUT. MALCOLM Kelly! KELLY! CUT TO: EXT. MAIN STREET - NIGHT SARAH sprints down the main street as fast as she can, toward the building on which sits the helicopter. Above her, she can see NICK has now reached the helicopter and is waving to her. Sarah reaches the fallen water tower, which is next to the helicopter building, and starts to climb it. ELSEWHERE IN THE STREET, KELLY is still covering underneath the fallen shed. In the distance, she can see the helicopter. But she is trembling with fear, unable to move. The whole shed suddenly RATTLES as something heavy hits it outside. Kelly's mouth drops open to scream, but her terror is so complex that no sound comes out. She raises her hands in self-defense, whatever's outside ROARS with effort, the entire shed is suddenly RIPPED right up off of her, and she looks up -- -- into her father's eyes. KELLY Dad! MALCOLM Come on! He grabs her by the hand and they take off down the street. ON THE ROOFTOP, Sarah emerges at the top of the water tower structure and leaps onto the roof, into Nick's arms. NICK Where's Kelly? SARAH Where's Ian? Eyes wide with panic, they both turn and look down at the street below, where they see KELLY and MALCOLM, racing at top speed down the middle of the street -- -- WITH A VELOCIRAPTOR CHASING THEM. DOWN IN THE STREET, Malcolm and Kelly have a twenty yard advantage on the animal. They're pretty fast, but it's faster. Above them, Nick and Sarah are at the edge of the roof, SHOUTING and urging them on. They push it, faster. They reach the base of the fallen water tower, the jumble of struts and metal poles that Sarah climbed. MALCOLM CLIMB! Kelly leaps ahead of him and grabs hold of one of the poles, pulling herself neatly up to her feet and reaching for the next one. Malcolm stretches and makes the same effort, but for him it's much harder. Below them, the raptor springs and SLAMS into the struts, shaking the whole structure. It pulls itself up. Higher up, Kelly climbs fast, hands gliding over the poles. She breaks out into the open, where a long, narrow pole runs on a slight incline up to the roof. She scampers across it, running the balance beam. She reaches the other side, on a ledge below the roofline, and looks back. Malcolm is at the other end, hesitating, drained, breathing hard. KELLY DAD, COME ON! Below him, the raptor closes in. Malcolm sets out across the beam, his legs shaking. He places his feet carefully, he doesn't have nearly the balance Kelly did. The raptor draws closer. KELLY (cont'd) FASTER! Malcolm slips. One foot twists right off the bar and he spins, arms flailing, trying to regain his tenuous balance. But he overcompensates and his whole body, wrenches out from under him. He falls, the bar SMACKS him hard in the chest, knocking the wind out of him, and he drops, flipping right off the bar and bouncing painfully through the maze of bars below. He drops right past the pursuing velociraptor, CRUNCHING to a halt in a nest of bars ten feet off the ground, probably cracking a rib. Kelly SCREAMS from above him. KELLY (cont'd) DAD! She stares down in horror at her father. Wrenched in among the bars, Malcolm is helpless as the animal crouches only six feet above him now, with an open attack route. The animal SNARKS and goes into its pre-attack crouch. Up above, Kelly wipes the palms of her hands on her jeans and leaps out into space, grabbing hold of one of the bars. The raptor springs. Kelly spins around, over the top of the bar, and, at the very peak of her trajectory, she lets go. The raptor sails through down from above, feet first, SLAMMING both of them squarely into the raptor's side, sending it hurtling into space. She lands hard and awkwardly, CLANGING into the spidery scaffolding next to Malcolm as the raptor SMASHES to the ground below. But Kelly manages to hold on. KELLY GET UP! She grabs hold of Malcolm and pulls him to his feet. ON THE ROOF, Kelly and Malcolm appear over the roofline. The PILOTS SHOUTS from inside. PILOT LET'S GO LET'S GO LET'S GO!! Malcolm and Kelly scramble toward the helicopter. But at the opposite side of the roof, a RAPTOR claws its way over the edge as well. Malcolm sees it and they lunge for the helicopter, but the animal is far faster. It's only ten feet away, then five, they're surely done for this time, when -- -- KA-BOOM! There comes the loudest single gunshot anyone has ever heard, and the raptor flies off its feet and lands ten feet across the roof, dead. They look up, to the source of the gunshot. It's ROLAND, standing at the edge of the roof, holding his smoking .600 Nitro Express. But there's no time for celebration, as suddenly the helicopter's left skid CRACKS right through the surface of the roof. PILOT HURRY! THE ROOF'S GIVING WAY! The skid dips even further, ripping right through the thatch-and-wood construction. Kelly, who had one foot in the helicopter, loses her balance -- -- as the roof caves in beneath her. MALCOLM KELLY! She falls, SCREAMING, through the hole and down, into the building below. ONE FLOOR DOWN, Kelly lands with a CRUNCH on the floor immediately below the roof, about nine feet down. But her landing is cushioned by an inordinate amount of straw and leaves that have been arranged there. She lifts one hand, and a yellowy, viscous substance drips off of it. It's yolk. She looks around, noticing half a dozen large, oblong shapes. Eggs. Above her, Malcolm is scrambling, climbing down to her through the wreckage of the CREAKING, crumbling roof. MALCOLM Kelly! I'm coming! Kelly climbs to her knees, but behind her, a large, dark shape is moving. Rising. Unfolding, in a way. IT'S A PTERANODON. Yep, flying dinosaur. The enormous animal raises its head, a brilliant blue crest extending two feet behind its long, saber-like beak. It SQUAWKS at Kelly in fury. She can only stare, spellbound. Malcolm reaches her and grabs hold as the angry animal unfurls its massive twenty-two foot wingspread. ON THE ROOF, the helicopter lurches as it sinks further into the crumbling roof, and now the skids are getting tangled in the debris. Roland races over to the hole, climbs in a few feet, and starts kicking at it, making it larger. ROLAND Give me a ladder! IN THE PTERANODON NEST, Malcolm tries to haul Kelly back up the way he came, but a SECOND PTERANODON now appears from the depths of the building, SCREECHING in fury at these invaders who have landed in the middle of their clutch of eggs. An emergency rescue ladder drops through the hole in the roof. Malcolm grabs Kelly with one arm and the ladder with the other and they start to climb out of the nest. ON THE ROOF, Malcolm and Kelly climb the ladder and are pulled into the belly of the chopper just as two enormous beaks break through the surface of the roof around them. The pteranodons are emerging. MALCOLM GO GO GO GO GOG GO! The helicopter lurches up a few feet, but it yanked to an abrupt stop. The engines WHINE, the chopper just hovers there. PILOT We're snagged on something! They loos down. BOTH PTERANODONS have come out through the hole in the roof and are clinging to the skids of the helicopter. They flap their gigantic wings in unison, and drag the helicopter off, into the air, away from the nest -- -- and let go. Freed, the helicopter gains altitude quickly. IN THE HELICOPTER, the PILOTS gape as the pteranodons coast along, right next to the helicopter. PILOT Hang on! If I tip it hard, I can cut 'em with the rotors! SARAH NO! Don't! They're not attacking! They look out the windows, where, indeed, the magnificent animals are merely accompanying them, flying escort as the chopper gains altitude. SARAH (cont'd) They're protecting their nest. That's all. That's all they're doing. Kelly, completely drained, sits between Sarah and Malcolm, each of whom has a protective arm around her. She sags against her father's chest, nothing left. He holds her tight and WHISPERS in her ear. MALCOLM Thank you. Kelly, thank God. Thank God for you... IN THE NIGHT SKY, over the island, the helicopter steadily gains altitude. A hundred feet. Three hundred. A thousand. As the helicopter is clearly leaving the island, the pteranodons now peel off, their job done. One of them banks sharply, right in front of the moon. The moonlight silhouettes it, shining right through its membranous wings, lighting it up like a Halloween skeleton. Below, the tiny green island melts away into the vastness of the wine-dark sea. CUT TO: EXT. TYRANNOSAUR NEST - NIGHT Elsewhere in the forest, it's not such a happy story. PETER LUDLOW, still alive, drops through the air and CRUNCHES to the muddy ground. Dizzy, bleeding, the breath knocked out of him, he opens his eyes and sees a sloping bank of dried mud. From behind him, he hears a CHIRPING sound. He turns. He's in the tyrannosaur nest. The BABY TYRANNOSAUR faces him, still with a strange aluminum-foil cast on its leg. The baby SQUEAKS with excitement as it toddles toward him. Ludlow scrambles to his feet, unsure what to do. Both ADULT TYRANNOSAURS stand outside the nest, staring down at him. The baby runs toward Ludlow, so he turns and runs away. But in an instant, the male brings its head down, knocking Ludlow to the ground. Then it raises its head again. Watching. Waiting. Ludlow gets up again and tries to run, but now the female rex strikes, knocking him over again. Ludlow tries to crawl away, on all fours. The male bends down and closes its jaws around one of his legs, holding it tightly. Ludlow SCREAMS -- -- and the rex bits down decisively. The bone breaks with a dry SNAP. Ludlow HOWLS in pain, unable to move, and the baby toddles forward eagerly. Ludlow can only stare as it leaps up, onto his chest, and opens its jaws wide. Peter Ludlow SCREAMS. CUT TO: EXT. CEMETERY - DAY Snow falls in a gray midwinter sky. In a cemetery, a group of fifty MOURNERS is grouped around a gravesite next to a coffin that is festooned with cascades of flowers. On a table, there is an array of framed photographs -- -- of JOHN HAMMOND. A MINISTER reads from the Bible while the Mourners wipe away tears. IAN MALCOLM stands a respectful distance from the group, KELLY right beside him. Malcolm's face is blank, tired, his sunburn out of place with the white winter setting around him. At gravesite, a Young Woman turns, looking back over her shoulder. About sixteen, she's lovely, with long blonde hair and an honest, open face. She notices Malcolm, recognizes him. She nudges a Young Man next to her, about thirteen years old. The Young Man turns and breaks into a smile just as welcoming. As the ceremony breaks up, they walk over to him. MALCOLM Hello, Lex. Tim. LEX stands on her tiptoes and kisses Malcolm on the cheek. TIM extends a hand and Malcolm shakes it. MALCOLM (cont'd) This is Kelly. My daughter. They nod their hellos. LEX I'm glad you came, Dr. Malcolm MALCOLM I'm sorry about your grandfather. TIM Thank you. LEX We were going to call you, in a few days. Tim and I have been thinking, and we've decided we want people to know about the island. About what we all saw. TIM We think it's something our grandfather would want us to do. MALCOLM (pause) Why? LEX Because it's true. Malcolm looks at her for a long moment. MALCOLM I know, Lex. But even if we're the only ones who ever know, it'll still be true. You see, I've decided that if the world found out about what your grandfather created, it wouldn't be around for very long. LEX But -- it was real. You can't let people go on saying it's not. MALCOLM That's the thing about reality. He looks down at Kelly. MALCOLM (cont'd) Even when people stop believing in it, it doesn't go away. Kelly smiles and takes his hand, her slender fingers interlocking with his. EXT. JUNGLE - DAY Back on Isla Sorna, we float over the deserted worker village, moving lightly, as in a dream. MALCOLM (V.O.) Do you feel the cold wind blowing on your face? That's real. We sweep low, landing on the roof the helicopter took off from, the nest below now careful rebuilt with straw and scrap, a dozen unblemished eggs in the middle of it. MALCOLM (V.O.) Do you see the four of us, standing here together, alive? That's real. A PTERANODON land gently on the nest. Ever so carefully, it positions itself over the eggs, lowers itself to roosting position, and folds its giant wings around its body. MALCOLM (V.O.) And maybe that's still that matters. The animal raises its head, opens its beak, and SQUAWKS approvingly up at the heavens. FADE OUT
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