JURASSIC PARK

				  screenplay

				      by

				  David Koepp

			     based upon the novel

				      by

				Michael Crichton

				and on adaption

				      by

		    Michael Crichton and Malia Scotch Marmo













								December 11, 1992





1	EXT	JUNGLE	NIGHT

	An eyeball, big, yellowish, distinctly inhuman, stares raptly 
	between wooden slats, part of a large crate.  The eye darts from side 
	to side, alert as hell.

	A legend tries to place us - -

	ISLA NUBLAR
	120 MILES WEST OF COSTA RICA

	- - but to us it's still the middle of nowhere.

	It's quiet for a second.  A ROAR rises up from the jungle, 
	deafening.  The trees shake as something very, very large plows ahead 
	through them, right at us.  Every head gathered in this little clearing 
	snaps, turning in the direction of the sound as it bursts through the 
	trees.

	It's a bulldozer.  It drops its scoop and pushes forward into 
	the back end of the crate, shoving it across the jungle floor towards 
	an impressive fenced structure that towers over an enclosed section of 
	thick jungle.  There's a guard tower at one end of this holding open 
	that makes it look like San Quentin.

	The bulldozer pushes forward into the back end, the crate THUDS 
	TO THE FLOOR.  A door slides open in the pen, making a space as big as 
	the end of the crate.

	Nobody moves for a second,  A grim-faced guy who seems to be in 
	charge (Robert Muldoon, although we don't know it yet).

				MULDOON
		Alright now, pushers move in.  Loading team move it.

	The movement as agitated whatever is inside the crate, and the 
	whole thing shivers as GROWLS and SNAPS come from inside.
	Everyone moves back.

				MULDOON (cont'd)
		Alright, steady.  Get back in there now, push.  Get back 
		in there,  Don't let her know you're afraid!

	The men go back to the crate and begin to push it into the slot.  
	The crate THUDS UP AGAINST THE OPENING.  A green light on the side of 
	the pen lights up, showing contact has been made.

	FROM INSIDE THE CRATE,
	we get glimpses of what's on the other side of those wooden 
	slates - - jungle foliage, MEN with rifles, searching searchlights.  
	The view is herky-jerky as the crate put into position.

				MULDOON
		Well lockedŠ Loading team, step away.  Joffrey, raise
		the gate.

	A WORKER climbs to the top of the crate.  The search lights are 
	trained on the door.

	The RIFFLEMEN throw the bolts on their rifles and CRACK their 
	stun guns, sending arcs of current CRACKING through the air.

	The WORKER gets ready to grab the gate when all at once - -

	A ROAR from the inside the crate, and the panel flies out of his 
	hands and SMACKS into him, knocking him clear off the crate.

	Now everything happens at once.  The WORKER THUDS to the jungle 
	floor, the crate jerks away from the mouth of the holding pen flash, an 
	alarm BUZZER sounds - -

	- - and a claw SLASHES out from inside the crate.  It sinks into 
	the ankle of the WORKER. dragging him toward the dark mouth between the 
	crate and the pen.  The WORKER SCREAMS and paws the dirt, leaving long 
	claw marks as he is rapidly dragged toward the crate.

	Muldoon SHOUTS orders:

				MULDOON
	Tasers get in there, Goddamn it!

	They FIRE their guns - the wood of the crate SPLINTERS.

	Muldoon runs in and grabs the WORKER, trying to pull him free.

	The wild arcs of currents from the stun gun flash and CRACK all 
	around, but in a second - -

	- - the WORKER is gone.

	CUT TO:

2 	EXT	MOUNTAINSIDE	DAY

	MANO DE DIOS AMBER MINE
	DOMINICAN REPUBLIC

	DONALD GENNARO, forty, in a city man's idea of hiking clothes 
	and a hundred dollar haircut, approaches on a raft being pulled across 
	a river by TWO MEN.

	On the hillside, JUAN ROSTAGNO, thirty-ish, Costa Rican, a 
	smart-looking guy in workers clothes, is waiting for him.

				ROSTAGNO
		Tengo mil pesos que dicen que se cae
			(I have a thousand pesos that say he falls)
			(or)
		Apuesto mil pesos que se cae.
			(I bet a thousand pesos he falls)

	Gennaro finally lands, and Rostagno helps him off the raft.

				GENNARO
		Hola, Juanito

				ROSTAGNO
		Hola, bienvenido

	Rostagno leads Gennaro towards the mine.  Dozen of shirtless 
	WORKERS claw and SCRAPE at a rocky mountainside that is the site of an 
	extensive mining operation.  The work is all done by hand, pick and 
	shovel instead of dynamite and bulldozer.

				GENNARO
		What's this I hear at the airportŠ Hammond's not even
		here?

				ROSTAGNO
		He sends his apologies.

				GENNARO
		You're telling me that we're facing a $20 million 
		lawsuit from the family of that injured worker and Hammond couldn't 
		even be bothered to see me?

				ROSTAGNO
		He had to leave early to be with his daughter.  She's
		getting a divorce.

				GENNARO
		I understand that.
			(or)
		I'm sorry to hear that. We'd be well advised to deal
		with this situation now.  The insurance company - -

	Gennaro almost falls, Rostagno helps him.

				GENNARO (cont'd)
		- -the underwriters of the park feel the accident raises 
		some very serious questions about the safety of the park, and they're 
		making the investors very anxious.  I had to promise I would conduct a 
		thorough on-site inspection.

				ROSTAGNO
		Hammond hates inspections.  They slow everything down.

				GENNARO
		Juanito, if they pull the funding, that will really 
		slow things down.
			(or)
		If they pull the funding that's going to slow things
		down around here.

	A WORKER hurries up to them and busts into the conversation, 
	breathless.

				WORKER
			(to Rostagno)
		Jefe, encontramos otro mosquito, en el mismo sitio.
			(Chief, we found another mosquito in the same place)

				ROSTAGNO
		Seguro? Muestrame!
			(Are you sure? Show me.)

	The WORKER and ROSTAGNO scramble back deeper into the mine.  
	Rostagno calls back over his shoulder to Gennaro.

				ROSTAGNO (cont'd)
		It seems like it's going to be a good day after all.
		They found another one! C'mon.

	Gennaro struggles to keep up.


3 	EXT	CAVE	DAY


	ROSTAGNO and GENNARO move into the dark, dripping cave, where at 
	least a dozen other WORKERS are gathered in a tight circle, staring at 
	something intently.

	Rostagno fights his way to the center of the group.  One of the 
	WORKERS hands him something and Rostagno examines it carefully.

	It's a chuck of amber, a shiny yellow rock about the size of a 
	half dollar.
	GENNARO
	If two experts sign off on the island, the insurance 
	guys'll back off.  I already got Ian Malcolm, but they think he's too 
	trendy.  They want Alan Grant.

				ROSTAGNO
		Grant?  You'll never get him out of Montana.

				GENNARO
		Why not?

				ROSTAGNO
		Because he's like me.  He's a digger.

	Rostagno turns and holds the amber up to the sunlight streaming 
	through the mouth of the cave.

	With the light pouring through it, the amber is translucent, and 
	we can see something inside this strange stone - -

	- - a huge mosquito, long dead, entombed there.

				ROSTAGNO
			(smiles)
		Hay que lindo eres vas hacer a much gente feliz.
			(Oh you're so beautiful.  You will make a lot of 
			people happy)


	CUT TO:


5 	EXT	THE DIG	DAY

	An artist's camel hair brush carefully sweeps away sand and rock 
	to slowly reveal the dark curve of a fossil - it's a claw.  A dentist's 
	pick gently lifts it from the place its has laid for millions of years.  
	Pull up to reveal a group of diggers working on a large skeleton.  All 
	we see are the tops of their hats.  The paleontologist working on the 
	claw lays it in his hand.

				GRANT
			(thoughtfully)
		Four complete skeletons. . . .
		such a small area. . . 
		the same time horizon - -

				ELLIE
		They died together?

				GRANT
		The taphonomy sure looks that way.

				ELLIE
		If they died together, they lived together.  
		Suggests some kind of social order.

	DR ALAN GRANT, mid-thirties, a ragged-looking guy with intense 
	concentration you wouldn't want to get in the way of, carefully 
	examines a claw.

	DR ELLIE SATTLER, working with him, leans in close and studies 
	it too.  She paints the exposed bone with rubber cement.  Ellie in her 
	late twenties, athletic-looking.  There's an impatience about Ellie, as 
	if nothing in life happens quite fast enough for her.

	Her face is almost pressed up against his, she's sitting so 
	close.

				GRANT (cont'd)
		They hunted as a team.  The dismembered tenontosaurus
		bone over there - that's lunch.  But what killed our
		raptors in a lakebed, in a bunch like this?  We better
		come up with something that makes sense.

				ELLIE
		A drought.  The lake was shrinking - -

				GRANT
			(excited)
		That's good.  That's right!  They died around a dried-up
		puddle!  Without fighting each other.  This is looking
		good.

	From the bottom of the hill a voice SHOUTS to them:

				VOLUNTERR (o.s.)
		Dr Grant!  Dr Sattler!  We're ready to try again!

	Grant SIGNS and sits up, stretching out his back.

				GRANT
		I hate computers.

	He shoves the claw absent-mindedly into his pocket and he and 
	Ellie walk toward the source of the voice.  As they walk, we get our 
	first look at the badlands.  Exposed outcroppings of crumbling 
	limestone stretch for miles in every direction, not a tree or a bush in 
	sight.

	In the dig itself, the ground is checkered with excavations 
	everywhere.  There's a base camp with five or six teepees, a flapping 
	mess tent, a few cards, a flatbed truck with wrapped fossils loaded on 
	it, and a mobile home.  There are a dozen VOLUNTEERS of all ages at 
	work in various places around the dig.  The Volunteers are from all 
	walks of life, dinosaur buffs.  Three or four of them have CHILDREN 
	with them, and the kids run around, like in a giant sandbox.

	Grant , Ellie and a Volunteer walk down the hill. Grant spots a 
	KID kicking dirt onto one of the digs.  He notices and frowns.

				GRANT
		What's that kid doing?
			(to the kid)
		What are you doing there!? Excuse me!  Can you just back
		off?  This is very fragile!  Are you out of your mind? 
		Get off that and go find your parents!
			(to Ellie)
		Did you see what he just did?

	The kid stomps away, pissed off.

				KID
		Asshole.

				GRANT
			(to Ellie)
		Why do they have to bring their kids?!

				ELLIE
		You could hire your help.  But there's four summers of
		work here, with the money for one.  And you say it's a 
		learning experience, sort of a vacation, and you get 
		volunteers with kids.

	He and Ellie arrive to where several VOLUNTEERS are clustered 
	around a computer terminal that's set up on a table in a small tent, 
	its flaps lashed open.

				GRANT
			(to the Volunteer)
		Ready to give it a shot, Jerry?

	A LITTLE GIRL moves a little too close to the machine.

				ELLIE
		Want to watch the computer?

	Ellie quietly moves her out of Grant's way, to a place she can 
	see.

				VOLUNTEER
		Thumper ready?

				MAN
		Ready.

				VOLUNTEER
		Fire.

	The VOLUNTEER throws a switch on a machine that looks a bit like 
	a floor buffer.  The whole thing hops up into the air as it drives a 
	soft lead pellet into the earth with a tremendous force.  There is a 
	dull THUD, the earth seems to vibrate, and all eyes turn to the 
	computer screen - -

				ELLIE
		How long does this usually take?

				VOLUNTEER
		It should be immediate return.  You shoot the radar into
		the ground, the bone bounces back....

		The screen suddenly comes alive, yellow contour lines tracing 
		across it in three waves, detailing a dinosaur skeleton.

				VOLUNTEER
		This new program's incredible!  A few more years of 
		development and you don't have to dig any more!

	Grant looks at him, and his expression is positively wounded.

				GRANT
		Well, where's the fun in that?

				VOLUNTEER
		It looks a little distorted, but I don't think that's 
		the computer.

				ELLIE
			(shakes her head)
		Postmortem contraction of the posterior neck ligaments.
			(to Grant)
		Velociraptor?

				GRANT
		Yes.  Good shape, too.  Five, six feet high.  I'm
		guessing nine feet long.  Look at the - -

	He points to part of the skeleton, but when his finger touches 
	the screen the computer BEEPS at him and the image changes.  He pulls 
	his hand back, as if it shocked him.

				VOLUNTEER
		What's you do?

				ELLIE
		He touched it.  Dr. Grant is not machine compatible.

				GRANT
		They've got it in for me.

	The Volunteer LAUGHS and touches a different part of the screen, 
	which brings the original image back.  Grant continues, but doesn't get 
	as close.

				GRANT
		Look at the half-moon shaped bone in the wrist.  No 
		wonder these guys learned to fly.

	The group laughs.  Grant is surprised.

				GRANT (cont'd)
		Now, seriously.  Show of the hands.  How many of you
		have read my book?

	Everyone stops laughing and looks away.  Ellie raises her hand 
	supportively.  So does the Volunteer, Grant sighs.

				GRANT (cont'd)
		Great.  Well maybe dinosaurs have more in common with 
		present-day birds than reptiles.  Look at the public 
		bone - - it's turned backwards, just like a bird.  The 
		vertebrae - - full of hollows and air sacs, just like a 
		bird.  Even the word raptor means "bird of prey".

	The kid steps forward and looks at the computer skeleton 
	critically.

				KID
		That doesn't look very scary.  More like a six-foot 
		turkey.

	Everyone sort of draws in their breath and steps aside, 
	revealing the KID, standing alone.  Grant turns to the Kid, lowers his 
	sunglasses, and stares at him like he just came from another planet.

	Grant strolls over to the KID , puts his arms around his 
	shoulders in a friendly way.

				GRANT
		Try to imagine yourself in the Jurassic Period.
			(or)
		Try to imagine yourself in the Cretaceous Period.

	Ellie rolls her eyes.

				ELLIE
			(under her breath)
		Here we go.

				GRANT (cont'd)
		You'd get your first look at the six-foot turkey as you
		move into a clearing.  But raptor, he knew you were 
		there a long time ago.  He moves like a bird; lightly, 
		bobbing his head, And you keep still, because you think 
		maybe his visual acuity's based on movement, like a T-
		rex, and he'll lose you if you don't move.  But no.  Not 
		VELOCIRAPTOR.  You stare at him, and he just stares 
		back.  That's when the attack comes - - not from the 
		front, no, from the side, from the other two raptors you 
		didn't even know were there.

	Grant walks around the Kid.

				GRANT (cont'd)
		Velociraptor's a pack hunter, you see, he uses 
		coordinated attack patterns, and  he's out in force 
		today.  And he slashes at you with this - - 

	He takes the claw from his pocket and holds it at the front of 
	the raptor's three-toed foot.

				GRANT (cont'd)
		- - a six-inch retractable claw, like a razor, on the
		middle toe.  They don't bother to bite the jugular, like 
		a lion, they just slash here, here - -

	He points to the Kid's chest and thigh.

				GRANT (cont'd)
		- - or maybe across the belly, spilling your intestines. 
		Point is, you're alive when they start to eat you. 
		Whole thing took about four seconds.

	The Kid is on the verge if tears.

				GRANT (cont'd)
		So, you know, try to show a little respect.

	And with that he walks back across the camp, returning to his 
	skeleton.  Ellie hurries to catch up with him.

				ELLIE
		You know, if you really wanted to scare the kid you 
		could've just pulled a gun on him.

				GRANT
		Yeah, I know, you know...kids.  You want to have one of 
		those?

				ELLIE
		Well, not one of those, well yeah, a possibly one at
		some point could be a good thing.  What's so wrong with 
		kids?

				GRANT
		Oh, Ellie, look.  They're noisy, they're messy, they're 
		sticky, they're expensive.

				ELLIE
		Cheap, cheap, cheap.

				GRANT
		They smell.

				ELLIE
		Oh my god, they do not!  They don't smell.

				GRANT
		They do smell.  Some of them smell.. babies smell.

				ELLIE
		Alright, the one on the airplane had an accident, but
		usually babies don't smell.

				GRANT
		They know very little about the Jurassic Period they
		know less about the Cretaceous.

				ELLIE
		The what?

				GRANT
		The Cretaceous.

				ELLIE
		Anything else, you old fossil?

				GRANT
		Yeah, plenty.  Some of them can't walk!

				ELLIE
		It frustrates me so much that I love you, that I need to
		strangle you right now!

	Ellie playfully takes Grant's hat off and gives him a tight hug.  
	They kiss.

	A strange wind seems to be whipping up.  Grant and Ellie look 
	around, confused.  The wind is getting stronger, blowing dirt and sand 
	everywhere, filling in everything they've dug out, blowing the 
	protective canvasses off.  Now there's a more familiar ROAR, and they 
	look up and see it - -

	- - a huge helicopter, descending on the camp.

				ELLIE
			(to the volunteers)
		Get some canvasses and cover anything that's exposed!

	Grant's already on it, trying to desperately to protect the 
	skeleton he's excavating.  He looks up at the helicopter and SHOUTS, 
	shaking his fist.


	CUT TO:


9 	EXT	BASE CAMP	DAY

	Down at the base camp, the helicopter has landed.  The PILOT is 
	already out, waiting as GRANT comes down from the mountaintop like 
	Moses steaming.  Grant gestures wildly at him to turn the chopper off.

	The pilot points timidly to a mobile home across the camp.  
	Grant runs to the trailer.


10 	EXT	TRAILER	DAY

	The door to the trailer SLAPS open, and GRANT storms in.

				GRANT
		What the hell do you think you're doing in here?

	The trailer serves as the dig's office.  There are several long 
	wooden tables set up, every inch covered with bone specimens that are 
	neatly laid out, tagged, and labeled.

	Farther along are ceramic dishes and crocks, soaking other bones 
	in acid and vinegar.

	There's old dusty furniture at one end of the trailer, and a 
	refrigerator.  A man roots around in the refrigerator, his back to us.  
	GRUMBLING about the contents which are mostly beer.

	His hand falls across a bottle of expensive champagne in the 
	back.

				MAN
		Ah hah!

	He pulls it out - the cork POPS.

	The Man turns around.  JOHN HAMMOND, seventy-ish, is sprightly 
	as hell, with bright, shining eyes that say "Follow me!"
	
	Grant stares incredulously at the Man, holding his champagne 
	bottle without an invitation.

				GRANT
		Hey, we were saving that!

				HAMMOND
		For today, I guarantee it.

				GRANT
		And who in God's name do you think you are....?

				HAMMOND
		John Hammond.  And I am delighted to finally meet you 
		in person Dr Grant.

	Grant is struck silent.  He shakes his hand, staring dumbly.

				GRANT
		Mr. - - Hammond?

	Hammond looks around the trailer approvingly, at the enormous 
	amount of work the bones represent.

				HAMMOND
		I can see my fifty thousand a year as been well spent.

	The door SLAPS open again and ELLIE comes in, just as pissed off 
	as Grant was.

				ELLIE
		Okay, who's the jerk?

				GRANT
		Uh, this is our paleobotanist, Dr Ellie.....

				ELLIE
		Sattler.

				Grant
		Dr Sattler.  Ellie, this is Mr. HAMMOND.
			(in case she didn't catch it)
		John Hammond.

				ELLIE
		Did I say jerk?

				HAMMOND
		I'm sorry for the dramatic entrance, but I'm in a hurry.
		Will you have a wee bit of a drink now and then?

	Hammond begins to walk into the kitchen, making himself at home.  
	Ellie follows him tries to help.  Grant settles behind the table.

				HAMMOND (cont'd)
		Come along then, don't let it get warm!
			(expansively)
		Come on in, both of you.  Sit down.

	As Hammond moves, they notice he walks with a slight limp and 
	uses a cane - - for balance or style, it's hard to say witch.

				ELLIE
		I have samples all over the kitchen.  
			(she takes some stones out of one of the glasses)

				HAMMOND
		Come along.  I know my way around a kitchen.  Come
		along.

	Ellie goes around towards Grant.  She grabs a bottle of water.  
	They look at each other, really aback by this guy's bravado, and site 
	down.  Hammond dries the glasses.

				HAMMOND (cont'd)
		Well now, I'll get right to the point.  I like you.  
		Both of you.  I can tell instantly with people; it's a gift.
			(new subject)
		I own an island.  Off the coast of Costa Rica.  I leased 
		it from the government and spent the last five years setting up a kind 
		of biological preserve down there.  Really spectacular.  Spared no 
		expense.  It makes the one I had in Kenya look like a petting zoo.  No 
		doubt that sooner or later our attractions will send (drive the) kids 
		right out of their minds.

				GRANT
		And what are those?

				ELLIE
		Small versions of adults, honey.

	He gives her a dirty look.

				HAMMOND
		Not just kids - - for everyone.  We're going to open
		next year.  Unless the lawyers kill me first.  I don't
		care for lawyers.  You?

				GRANT
		I, uh, don't really know any.  We - -

				HAMMOND
		Well, I'm afraid I do.  There's one, a particular pebble
		in my shoe.  He represents my investors.  He says they 
		insist on outside opinions.

				GRANT
		What kind of opinions?

				HAMMOND
		Not to put a fine point on it, your kind.  Let's face 
		it, in your particular field, you're the top minds.  If 
		I could just get you two to sign off on the park - - you 
		know, give a wee testimonial - - I could get back on 
		schedule - -
			(he Americanizes him pronunciation)
		- -schedule.

				ELLIE
		Why would they care what we think?

				GRANT
		What kind of park is it?

				HAMMOND
			(smiles)
		Well, it's - - right up your alley.
			(hands Grant a drink)
		Look, why don't you both (the pair of you) come on down
		for the weekend.  Love to have the opinion of a 
		paleobotoanist as well.
			(hands Ellie a drink)
		I've got a jet standing by at Choteau.
			(he jumps up and sites on the counter)

				GRANT
		No, I'm sorry, that  wouldn't be possible.  We've just
		discovered a new skeleton, and - -

				HAMMOND
			(pours himself a drink)
		I could compensate you by fully funding your dig

				GRANT
		- - this would be an awfully unusual time - -

				HAMMOND
		For a further three years.

	Grant OOFS as Ellie elbows him hard in the ribs.

				ELLIE
		Where's the plane?


	CUT TO:

11 	EXT	CAFE	DAY

	DENNIS NEDRY is in his late thirties, a big guy with a constant 
	smile that could either be laughing with you or at you, you can never 
	tell.  He sits at a table in front of a Central American cafe, eating 
	breakfast

	Another Legend:
	SAN JOSE, COSTA RICA

	Nedry looks up and sees a man get out of a taxi - - LEWIS 
	(Louis) DODGSON, fiftyish, wearing a large straw hat and looking almost 
	too much like an American tourist.  Dodgson clutches as attaché case 
	close to him and scans the cafe furtively.
	Nedry laughs, shakes his head, and waves to him.

				NEDRY
		Dodgson!

	Dodgson hurries over to the table.

				DODGSON
			(as he sites)
		You shouldn't use my name.

				NEDRY
		Dodgson, Dodgson.
			(loud)
		We got Dodgson here!  See, nobody cares.  Nice hat.
		What are you trying to look like, a secret agent?

	Dodgson ignores that, sets his attaché case down next to the 
	table, and slides it towards Nedry,

				DODGSON
		Seven fifty.

	Nedry smiles and pulls the attaché closer to him.

				DODGSON (cont'd)
		On delivery, fifty thousand more for ever viable embryo.
		That's one point five million.  If you get all fifteen 
		species off the island.

				NEDRY
		Oh, I'll get 'em all.

				DODGSON
		Remember - - viable embryos.  They're no use to us if
		they don't survive.

				NEDRY
		How am I supposed to transport them?

	Dodgson pulls an ordinary can of shaving cream from a shoulder 
	bag he carries and sets it on the table.

				DODGSON
		The bottom screws open; it's cooled and 
		compartmentalized inside.  They can even check it if 
		they want.  Press the top.

	Nedry presses the top of the can and real shaving cream comes 
	out.  He grins, impressed.  While Dodgson talks, Nedry looks around for 
	somewhere to wipe the shaving cream and ends up dumping it on top of 
	someone's Jell-O on a dessert tray next to him.

				DODGSON (cont'd)
		There's enough coolant gas for thirty-six hours.

	Nedry looks at the can.

				NEDRY
		What?  No menthol?

				DODGSON
		Mr Nedry, Mr Nedry.  The embryos have to be back here 
		in San Jose by then.

				NEDRY
		That's up to your guy on the boat.  Seven o'clock 
		tomorrow night, at the east dock. Make sure he got it 
		right.

				DODGSON
		I was wondering, how are you planning to beat the 
		security?

				NEDRY
		I got an eighteen minute window.  Eighteen minutes, and 
		your company catches up on ten years of research.

	A WAITER arrives and puts the check down on the table, between 
	them.  Nedry looks down at it pointedly, then up at Dodgson.

				NEDRY (cont'd)
		Don't get cheep on me Dodgson.

	Dodgson rolls his eyes and picks up the check.

				NEDRY (cont'd)
		That was Hammond's mistake.



13 	EXT	OPEN SEA	DAY

	A helicopter, "IN-GEN CONSTRUCTION" emblazoned on the side, 
	skims low over the shimmering Pacific.


14 	EXT	HELICOPTER	DAY

	GRANT, ELLIE, GENNARO and MALCOLM are huddled in the back of the 
	chopper; HAMMOND is in the front with the PILOT.

	There are two other passengers was well -- DONALD GENNARO, the 
	lawyer from the amber mine, now dressed in safari clothes, everything 
	straight from Banana Republic.  The other Dr. IAN MALCOLM, fortyish, 
	dressed all in black, with a snakeskin boots and sunglasses.  Malcolm, 
	who finds it hard to take his eyes off Ellie, leans over and SHOUTS 
	over the engine whine.

				MALCOLM
		So you two dig up dinosaurs?

				GRANT
		Try to!

	Malcolm laughs, finding this very amusing, which confuses Grant.  
	Hammond turns around annoyed.

				HAMMOND
		You'll have to get use to Dr. Malcolm!  He suffers from
		a deplorable excess of personality, especially for a 
		mathematician!

				MALCOLM
		Chaotician, actually!  Chaotician!

	Hammond SNORTS, not even bothering to cover his contempt for 
	Malcolm.

				MALCOLM
		John doesn't subscribe to Chaos, particularly what it 
		has to say about his little science project!

				HAMMOND
		Codswollop!  Ian, you've never come close to explaining
		these concerns of yours about this island!

				MALCOLM
		I certainly have!  Very clearly!  Because of the 
		behavior of the system in phase space!

	Hammond just waves him off.

				HAMMOND
		A load, if I may say so. of fashionable number crunching, that¹s all it is!

				MALCOLM
			(poking at Hammond's knee)
		John, John.

				HAMMOND
			(pushing him away)
		Don't do that!

				MALCOLM
		Dr. Grant, Dr. Sattler -- you've heard of Chaos Theory?

				ELLIE
			(shaking  her head)
		No.

				MALCOLM
		No?  Non-linear equations?  Strange attractions?
			(again, she shrugs)
		Dr. Sattler, I refuse to believe that you are not 
		familiar with the concept of attraction!

	Grant just rolls his eyes as Malcolm gives her an oily grin, but 
	Ellie smiles, enjoying Grant's jealousy.  Hammond turns to Gennaro and 
	gives him a dirty look.

				HAMMOND
		I bring scientists -- you bring a rock star.

	Hammond looks out the windshield, and CLAPS his hands excitedly.

				HAMMOND
		There it is!

	Up ahead, the others see it.

	ISLA NUBLAR.  It's a smallish island, completely ringed by thick 
	clouds that give it a lush, mysterious feel.  The PILOT pulls up over a 
	spot in the clouds and starts to descend, fast.

			HAMMOND (cont'd)
		Bad wind shears!  We have to drop pretty fast!  Hold on,
		this can be a little thrilling!

	The helicopter drops like a stone.  Outside the windows, they 
	can see cliff walls racing by, uncomfortably close.  They bounce like 
	hell, hitting wind up and down drafts.

	Only Hammond still feels chatty.

			HAMMOND (cont'd)
		We're planning an airstrip!  On pilings, extending out
		into the ocean twelve thousand feet!  	Like La Guardia, 
		only a lot safer!  What do you think?

	They don't answer, just hold on.  As they near the ground, a 
	luminous white cloud cross appears below them, a landing pad shining 
	through the Plexiglas bubble in the floor of the chopper.

	The cross grows rapidly larger as the chopper plummets, but a 
	sudden updraft catches them and they bounce skyward for a moment then 
	drop again, even faster if possible, before landing with a hard BUMP.


14A 	EXT	HELICOPTER LANDING PAD	DAY

	The chopper plummets and finally lands.  One of the workers 
	opens the door and the group gets out.  Hammond looks out, proudly.


15 	EXT	HILLTOP	DAY

	Two large, open-top jeeps ROAR down the hilltop away from the 
	landing cross as the helicopter engines WHINE back to life and the 
	rotors start to spin again.

	ELLIE, GRANT, and MALCOLM hold on tight in the front jeep, 
	HAMMOND and GENNARO are in the rear jeep.  Both cars have DRIVERS.

	They pass through an enormous gate in a thirty foot high fence, 
	which is closed behind them by two PARK ATTENDANTS.

	There are large electrical insulators on the fences, warning 
	lights that strobe importantly and clear signs -- "ELECTRIFIED FENCE!  
	10,000 VOLTS!"

	IN THE REAR JEEP,

	Gennaro regards the fences critically.

				GENNARO
		The full fifty mile of perimeter fence are in place?

				HAMMOND
		And the concrete moats, and the motion sensor tracking 
		systems.  Donald, dear boy, do try to relax and enjoy 
		yourself.

				GENNARO
		Let's get something straight, John.  This is not a 
		weekend excursion, this is a serious investigation of 
		the stability of the island.  Your investors, whom I 
		represent, are deeply concerned.  Forty-eight hours from 
		now, if they - -
			(gestures to Grant, Ellie, and Malcolm)
		- -aren't convinced.  I'm not convinced.  And I can shut
		you down John.

				HAMMOND
		Forty-eight hours from now, I'll be accepting your 
		apologies.  Now get out of the way.  So I can see them!

	He shoves Gennaro aside, to get a clear view of Grant, Ellie, 
	and Malcolm.

				HAMMOND (cont'd)
		I wouldn't miss this for the world.

	The jeeps wind their way along a mountain road.

	IN THE LEAD JEEP,

	Ellie stares off to the right, fascinated by the thick tropical 
	plant life around them.  She tilts her head, as if something's wrong 
	with this picture.

	She reaches out and grabs hold of a leafy branch as they drive 
	by, TEARING it from the tree.

	IN THE REAR JEPP, 

	Hammond watching Grant, signals to his Driver .

				HAMMOND
		Just stop here, stop here.  Slow, slow.

	He slows down, then stops.  So does the front jeep.

	IN THE FRONT JEEP,

	Ellie stares at the leaf, amazed, running her hand lightly over 
	it.

				ELLIE
		Alan - -

	But Grant's not paying attention.  He's staring too, out the 
	other side of the jeep.

	Grant notices that several of the tree trunks are leafless - 
	just as thick as the other trees, but gray and bare.

				ELLIE (cont'd)
			(still staring at the leaf)
		This shouldn't be here.

	Grant twists in his seat as the jeep stops and looks at one of 
	the gray tree trunks.  Riveted, he slowly stands up in his seat, as if 
	to get closer.  He moves to the top of the seat, practically on his 
	tiptoes.

	He raises his head, looking up the length of the trunk.  He 
	looks higher.

	And higher.

	And higher.

	That's no tree trunk.  That's a leg.  Grant's jaw drops, his 
	head falls all the way back, and he looks even higher, above the tree 
	line.

				ELLIE (cont'd)
			(still looking at the leaf)
		This species of vermiform was been extinct since the 
		cretaceous period.  This thing - -

	Grant, never tearing his eyes from the brachiosaur, reaches over 
	and grabs Ellie's head, turning it to face the animal.

	She sees it, and drops the leaf.

				ELLIE (cont'd)
		Oh - - my - - God.

	Grant lets out a long, sharp, HAH - a combination laugh and 
	shout of joy.

	He gets out of the jeep, and Ellie follows.  Grant points to the 
	thing and manages to put together his first words since its appearance:

				GRANT
		THAT'S A DINOSAUR!

	- - a dinosaur.  Chewing the branches.  Technically, it's a 
	brachiosaur, of the sauropod family, but we've always called it 
	brontosaurus.  It CRUCHES the branch in its mouth, which is some 
	thirty-five feet up off the ground, at the end of its long, arching 
	neck.  It stares down at the people in the car with a pleasant, stupid 
	gaze.

	Ellie looks up at the sauropods in wonder.

	They've pretty light on their feet - a far cry from the 
	sluggish, lumbering brutes we would have expected.

	Hammond gets out of his jeep and comes back to join them.  He 
	looks like a proud parent showing off the kid.

	Ian Malcolm looks at Hammond, amazed, and with an expression 
	that is a mixture of admiration and rapprochement.

				MALCOLM
		You did it.  You crazy son of a bitch, you did it.

	Grant and Ellie continue walking, following the dinosaur.

				GRANT
		The movement!

				ELLIE
		The - - agility.  You're right!

	In their amazement, Grant and Ellie talk right over each other.

				GRANT
		Ellie, we can tear up the rule book on cold-bloodedness.  
		It doesn't apply, they're totally wrong!  This is a warm-blooded 
		creature.  They're totally wrong.

				ELLIE
		They were wrong.  Case closed.  This thing doesn't live
		in a swamp to support it's body weight for God's sake!

	Several of the top branches are suddenly RIPPED away.  Another 
	sauropod, reaching for a branch high above their heads, stands 
	effortlessly on its hind legs.

				GRANT
			(to Hammond)
		That thing's got a what, twenty-five, twenty-seven foot 
		neck?

				HAMMOND
		The brachiosaur?  Thirty.

		Grant and Ellie continue to walk.

				GRANT
		- - and you're going to sit there and try to tell me it 
		can push blood up a thirty-foot neck without a four-chambered heart and 
		get around like that?!  Like that!?
			(to Hammond)
		This is like a knockout punch for warm-bloodedness.

				HAMMOND
			(proudly)
		We clocked the T-rex at thirty-two miles an hour.

				ELLIE
		You've got a T-rex!?
			(to Grant)
		He's got a T-rex!  A T-rex!  He said he's- -

				GRANT
		Say again?

				HAMMOND
		Yes, we have a T-rex.

	Grant feels faint.  He sits down on the ground.

				ELLIE
		Honey, put your head between your knees, and breathe.

	Hammond walks in front of them and looks out.

				HAMMOND
		Dr. Grant, my dear Dr. Sattler.  Welcome to Jurassic
		Park.

	They turn and look at the view again.  It's beautiful vista, 
	reminiscent of an African plain.  A whole herd of dinosaurs crosses the 
	plain, maybe a hundred that we see in a quick glance alone.

				GRANT
		Ellie, they're absolutely - - they're moving in herds.  
		They do move in herds!

				ELLIE
		We were right!

				GRANT
			(to Hammond)
		How did you do it?!
			(or)
		How did you do this?!

				HAMMOND
		I'll show you.

	Finally, we notice Gennaro, who was sort of faded into the 
	background while the others reacted.  He's just staring, a look of 
	absolute rapture on his face.

	He speaks in a voice that is hushed and reverent.

				GENNARO
		We are going to make a fortune with this place.

16 	OMITTED


17 	EXT	MAIN COMPOUND	DAY


	The main of Jurassic Park is a large area with three main 
	structures connected by walkways and surrounded by two impressive 
	fences, the outer fence almost twenty feet high.

	Outside the fences, the jungle has been encouraged to grow 
	naturally.

	The largest building is the visitor's center, several stories 
	tall, its walls still skeletal, unfinished.  There's a huge glass 
	rotunda in the center.

	The second building looks like a private residence, a compound 
	unto itself, with smoked windows and its own perimeter fence.

	The third structure isn't really a building at all, but the 
	impressive cage we saw earlier, overgrown inside with thick jungle 
	foliage.  The jeeps pull up in front of the visitor's center.


A18 	EXT	VISITOR'S CENTER	DAY

	HAMMOND leads GRANT, ELLIE, GENNARO, and MALCOLM up the stairs, 
	talking as he goes,  Two ladies open the doors to the Visitor Center.


18 	INT	VISITOR'S CENTER	DAY

	The lobby of the still-unfinished visitor's center is a high-
	ceilinged place, and has to be house its central feature, a large 
	skeleton of a tyrannosaur that is attacking  bellowing sauropod.  
	WORKMEN in the basket of a Condor crane are still assembling skeletons.  
	A staircase climbs the far wall, to another wing.

				HAMMOND
			(continuing)
		- - the most advanced amusement park in the world, 
		combining all the latest technologies.  I'm not talking 
		rides, you know.  Everybody has rides.  We made a living 
		biological attractions so astonishing they'll capture 
		the imagination of the entire planet!

	Grant stares up at the dinosaur skeletons and just shakes his head.  
	Ellie catches his reaction.

				ELLIE
		So what are you thinking?

				GRANT
		We're out of a job.

	Ian Malcolm pops in between them

				MALCOLM
		Don't you mean "extinct"?

	Ellie and Malcolm move on ahead.

	CUT TO:

19 	INT	SHOW ROOM	DAY

				HAMMOND
		Why don't you all sit down.

	GRANT, ELLIE, and MALCOLM take their seats in the front row of 
	the fifty seat auditorium.  GENNARO sits behind them.  HAMMOND walks 
	over to the giant screen in front of them.

	Behind him, a huge image of himself beams down at him from the 
	giant television screen.

				HAMMOND (screen)
		Hello, John!

				HAMMOND (stage)
			(to the group)
		Say hello!
			(then, fumbling with his three by five cards)
		Oh, I've got lines.

	He scans them, looking for his place.  The screen Hammond 
	continues without him,

				HAMMOND (screen)
		Fine, I guess!  But how did I get here?!

				HAMMOND (stage)
		Uh - -
			(finding his place)
		"Here, let me show you.  First I'll need a drop of 
		blood.  Your blood!"

	The screen-Hammond extends his finger and the stage-Hammond 
	reaches out and mimes pocking it with a needle.

				HAMMOND (screen)
		Ouch, John!  That hurt!

				HAMMOND (stage)
		"Relax, John.  It's all part of the miracle of cloning!"

	While the two Hammonds rattle on, the screen image splits into 
	two Hammonds, then four then eight, and so on, like a shampoo 
	commercial.

	Grant, Ellie, and Malcolm huddle together excitedly in the 
	audience.

				GRANT
		Cloning from What?!  Loy extraction has never recreated 
		an intact DNA strand!

				MALCOLM
		Not without massive sequence gaps!

				ELLIE
		Paleo-DNA?  From what source?  Where do you get 100
		million year old dinosaur blood?!

				GENNARO
		Shhhhh!


20	IN THE FILM,

	the screen-Hammond is joined by another figure, this one 
	animated.  MR. DNA is a cartoon character, a happy-go-lucky double-
	helix strand of recombinant DNA.  Mr. DNA jumps down onto the screen-
	Hammond's head and slides down his nose.

				HAMMOND
		Well!  Mr. DNA!  Where'd you come from?

				MR. DNA
		From your blood!  Just one drop of your blood contains 
		billions of strands of DNA, the building blocks of life!


21 	OMITTED


22	IN THE FILM,

	Mr. DNA has taken over the show, and is speaking to the audience 
	from the screen.

				MR. DNA
		A DNA strand like me is a blueprint for building a 
		living thing!  And sometimes animals that went extinct 
		millions of years ago, like dinosaurs, left their 
		blueprints behind for us to find!  We just had to know 
		where to look!

	The screen image changes from animated to a nature- photography 
	look.  It's an extreme close-up of a mosquito, its fangs suck the deep 
	into some animals flesh, its body pulsing and engorging with blood it's 
	drinking.

				MR. DNA (cont'd)
		A hundred million years ago, there were mosquitoes, just
		like today.  And, just like today, they fed on the blood 
		of animals.  Even dinosaurs!

	The camera races back to show the mosquito is perched on top of 
	a giant animated brachiosaur.

	The image changes, to another close-up, this one of a tree 
	branch, its bark glistening with golden sap.  Mr. DNA leaps on the sap.

				MR. DNA (cont'd)
		Sometimes, after biting a dinosaur, the mosquito would 
		land on a branch of a tree, and get stuck in the sap!

	The engorged mosquito lands in the tree sap, and gets stuck.  So 
	is Mr. DNA.  He tugs his legs, but they stay stuck.

				MR. DNA
		WHOA!

	Now the tree sap flows over them, covering up Mr. DNA and the 
	mosquito completely.  Mr. DNA SHOUTS from inside the tree sap.

				MR. DNA (cont'd)
		After a long time, the tree sap would get hard and 
		become fossilized, just like a dinosaur bone, preserving 
		the mosquito inside!


23	A SCIENCE LABORATORY
	
	The place buzzes with activity.  Everywhere, there are piles of 
	amber, tagged and labeled with SCIENTISTS in white coats examining it 
	under microscopes.

	One SCIENTIST moves a complicated drill apparatus next to the 
	chuck of amber with a fossilized mosquito inside and BORES into the 
	side of it.  MR. DNA escapes through the drill hole as the Scientist 
	moves the amber onto a microscope and peers through the eyepiece.

				MR. DNA (O.S.)
		This fossilized tree sap -- which we call amber ­ 
		waited millions of years, with the mosquito inside ­ 
		until Jurassic Park's scientists came along!


24	THROUGH THE MICROSCOPE

	We see the greatly enlarged image of a mosquito through the 
	lens.

				MR. DNA (O.S.)
		Using sophisticated techniques, they extract the 
		preserved blood from the mosquito, 
		and - -

	A long needle is inserted through the amber, into the thorax of 
	the mosquito, and makes an extraction.

				MR. DNA (cont'd)
		- -Bingo!  Dino DNA!

	Mr. DNA jumps down in front of DNA data as it races by at 
	headache speed.  He holds his head, dizzied by it.

				MR. DNA (cont'd)
		A full DNA strand contains three billion genetic codes! 
		If we looked at screens like these once a second for 
		eight hours a day, it'd take two years to look at the 
		entire strand!  It's that long!  And since it's so old, 
		it's full of holes!  That's where our geneticists take 
		over!


25A	INT	GENETICS LAB	DAY

	SCIENTISTS toil in a lab with two huge white towers at either 
	side.

				MR. DNA
		Thinking Machine supercomputers and gene sequencers 
		break down the strand in minutes - -

	One SCIENTIST, in the back has his arms encased in two long 
	rubber tubes.  He's strapped into a bizarre apparatus, staring into a 
	complex headpiece and moving his arms gently, like Tai Chi movements.

				MR. DNA (cont'd)
		- - and Virtual Reality displays show our geneticists
		the gaps in the DNA sequence!  Since most animal DNA is 
		ninety percent identical, we use the complete DNA of a 
		frog - -


25B	ON THE V.R. DISPLAY

	we see an actual DNA strand, except it has a big hole in the 
	center, where the vital information is missing.  Mr. DNA bounds into 
	the frame, carrying a butch of letters in one hand.

	He puts it in the gap and turns back against it, GRUNTING as he 
	shoves into place.

				MR. DNA
			(straining)
		- - to fill in the - - holes and - -complete - - the - -
			(finally getting it)
		- - code!  Whew!

	He brushes his hands off, satisfied.

				MR. DNA (cont'd)
		Now we can make a baby dinosaur!


26	IN THE AUDIENCE

	The scientist look at each other, not sure.

				HAMMOND
		All this has some dramatic music - - da dum da dum da 
		dum dum - - march or something, it's not written yet, 
		and the tour moves on - - 

	He throws a switch and safety bars appear out of nowhere and 
	drop over their seats, CLICKING into place.

				HAMMOND
		For your own safety!

	The row of seats moves out of the auditorium.


27	INT	HALLWAY	DAY

	The row of seats moves slowly past a row of double-panned glass 
	window beneath a large sign that reads 
	"GENETICS/FERTILIZATION/HATCHERY."  Inside, TECHNICIANS work at 
	microscopes.

	In the back is a section entirely lit by blue ultraviolet light.

	Mr. DNA VOICE continues over a speaker in each seat.

				MR. DNA (O.S.)
		Our fertilization department is where the dinosaur DNA 
		takes the place of the DNA in unfertilized emu or 
		ostrich eggs - - and then it's on to the nursery, where 
		we welcome the dinosaurs back into the world!

	GENNARO has a wondrous grin plastered on his face, just loving 
	everything now.

				GENNARO
		This is overwhelming, John.  Are these characters 
		(people) animatronics?

				HAMMOND
		No, we don't have any animatronics here.  These are the 
		real miracle workers of Jurassic Park.

	GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, 
	straining against the safety bars for a better look.  But the cars keep 
	going.

				GRANT
		Wait a minute!  How do you interrupt the cellular 
		mitosis?!?

				ELLIE
		Can't we see the unfertilized host eggs?!

	But the cars are already moving on to another set of windows, 
	which give a glimpse into what looks like a control room.

				HAMMOND
		Shortly, shortly....

				MR. DNA (O.S.)
		Our control room contains some of the most sophisticated
		automation ever attempted 
		in - -

	Grant strains to look back into the labs, but the cars move past 
	again, no intention of slowing down.

				GRANT
		Can't you stop these things?!

				HAMMOND
		Sorry!  It's kind of a ride!

				GRANT
			(to Malcolm)
		Let's get outta here!

	The two of them team up on the safety bars.  Grant shoves his 
	all the way back with one foot and Malcolm does the same.  They stand 
	up and head for the door of the hatchery.

				GENNARO
		Hey!  You can't do that!

	Too late.  Ellie slips out from under her safety bar too 
	and stomps right across Gennaro's seat.

				GENNARO
		Can they do that?

	They reach the door to the hatchery.  Grant tries to shove it 
	open, but just THUDS into it.  He rattles the handle, but the door 
	won't budge as it's on a security key-card system.

	HAMMOND steps up and takes his glasses off.

				HAMMOND
		Relax, Donald, relax.  They're scientists,  They ought
		to be curious.
			(he steps up to the code box)
		It's a retinal scanner.

	He pushes various code numbers.  The door opens.  He steps 
	aside, and the group eagerly goes up the stairs.


28	INT.	HALLWAY/STAIRS	-	DAY

	GRANT runs up the stairs.  MALCOLM and ELLIE eagerly try to get 
	a look at the lab.  HAMMOND and GENNARO come up and join Grant at the 
	door.

				GENNARO
		John, we - - what I'm just saying....

				HAMMOND
		Relax Donald, relax.  They're scientists.  They ought to
		be curious.

	Hammond reaches the door,  Grant tries to pry it open.

				HAMMOND (cont'd)
		Dr. Grant, just a minute, just a minute,
			(or)
		Dr. Grant, just a moment, dear boy.
		(he pushes the code; the door opens)
		Remember what Samuel Johnson said.
			(they step into the cubicle)
		"Curiosity is one of the permanent and certain
		characteristics of a vigorous intellect!"
			(the second door opens)
		Right!  Come along.


INT	HATCHERY/NURSERY	DAY

	The hatchery is a vast, open room, bathed in infrared light.  
	Long tables run the length of the place, all covered with eggs, their 
	pale outlines obscured by hissing low mist that's all through the room.

				HAMMOND
		Come on in.

	HAMMOND takes off his hat and hands it one of the technicians.

	HENRY WU, late twenties, Asian-American, wearing a white lab 
	coat works at a nearby table, making notes.

				HAMMOND (cont'd)
		Good day, Henry.

				WU
		Oh, good day, Sir.

	GRANT goes to a round, open with various eggs under a strong 
	light.

	One of the eggs makes strong movements - a robotic arm steadies 
	the shell.

				GRANT
		My God!  Look!

	Hammond, Ellie, and Malcolm join him, as does Henry Wu.

				WU
		Ah, perfect timing!  I'd hoped they'd hatch before I had 
		to go to the boat.

				HAMMOND
		Henry, why didn't you tell me?  you know I insist on
		being here when they're born.

	Hammond puts on a pair of plastic gloves.

	The egg begins to crack.  The robotic arm moves away....a BABY 
	DINOSAUR tries to get out, just its head sticking out of the shell.

	Hammond reaches down and carefully breaks away egg fragments, 
	helping the baby dinosaur out of its shell.

				HAMMOND
		Come on, then, out you come.

				HAMMOND (cont'd)
		They imprint on the first living creature they come in
		contact with.  That helps them to trust me.  I've been 
		present for the birth of every animal on this Island.  
		Just look at that.

				MALCOLM
		Surely not the ones that have bred in the wild?

				WU
		Actually, they can't breed in the wild.  Population 
		control is one of our security precautions here.  There 
		is no unauthorized breeding in Jurassic Park.

	Grant and Ellie exchange a look.  She manages not to smile.

				MALCOLM
		How do you know they can't breed?

				WU
		Because all the animals in Jurassic Park are females.  
		(I've) We engineered them that way.

	Hammond keeps his attention trained on the new dinosaur.

				HAMMOND
		There you are.  Out you come.

				ELLIE
		Oh my God.

				HAMMOND
		Could I have a tissue please?

				WU
		Right away (certainly).  Coming right up.

	The animal is now free, Hammond sets in don carefully next to 
	its shell.  Grant picks it up and holds it in the palm of his hand, 
	under the incubator's heat light.

				GRANT
		Blood temperature feels like high eighties.

				HAMMOND
		Wu?

				WU
		Ninety-one.

	Grant picks up the large, broken half-shell, but the robotic arm 
	snatches it back out of his hand, and puts it down.

				GRANT
		Homoeothermic?  It holds that temperature?
			(to Wu)
		Incredible.

	Malcolm is looking at Hammond, skeptical.

				MALCOLM
		But again, how do you know they're all female?  Does
		someone go into the park and, uh  - - lift up the 
		dinosaurs' skirts?

				WU
		We control their chromosomes.  It's not that difficult.  
		All vertebrate embryos are inherently female anyway.  It takes an extra 
		hormone at the right developmental stage to create a male, and we 
		simply deny them that.

				HAMMOND
		Your silence intrigues me.

				MALCOLM
		John, the kind of control you're attempting is not 
		possible.  If there's one thing the history of evolution 
		has taught us, it's that life will not be contained.  
		Life breaks free.  It expands to new territories.  It 
		crashes through barriers.  Painfully, maybe even.. 
		dangerously, but and...well, there it is.

	Ellie listens to him, impressed.

				HAMMOND
		Watch her head - support her head.

	Grant, ignoring the others, picks up the baby dinosaur, and 
	holds it on the palm of his hand, under the incubator's heat light.  He 
	spreads the tiny animal out on the back of his hand and delicately runs 
	his finger over its tail, counting the vertebrae.  A look of puzzled 
	recognition crosses his face.

				WU
		You're implying that a group of composed entirely of 
		females will breed?

				MALCOLM
		I'm simply saying that life - - finds a way.

				ELLIE
		"You can't control anything."  I agree with that.  I 
		like that.

	She walks over to Malcolm, he smiles at her, too warmly.

				ELLIE (cont'd)
		You can talk.  I don't k now how to say it.  You're just 
		articulate.  You say everything that I think, that I 
		feel.  It's exciting.
			(or)
		I find it so exciting.  It's exciting that you can't 
		control life, that you know - -
			(or)
		You know that, I find it terrifying.  Life will always 
		find a way.

				MALCOLM
		That's right.  Will break through.

				ELLIE
		I get ah - -

				MALCOLM
		I know, it's very exciting.

				ELLIE
		And scary.

				MALCOLM
		And scary.

				ELLIE
		When people try to control things that it's out of their
		power - -

				MALCOLM
		It's anti-nature.

				ELLIE
		Anti-nature.

	Grant doesn't notice, as he's still obsessed with the infant 
	dinosaur, measuring and weighing it on a nearby lab bench.  He stops, a 
	strange look on his face.  He knows what this animal is - - but it 
	can't be.

				GRANT
			(dreading the answer)
		What species is this?

				WU
		Uh - - it's a Velociraptor.

	Grant and Ellie turn slowly and look at each other, then look at 
	Hammond, astonished.

				GRANT
		You bred raptors?


29	EXT.	RAPTOR PEN	-	DAY

	Grant charges across the compound, a fire in his eyes, ahead of 
	ELLIE, MALCOLM, and GENNARO.  HAMMOND struggles to keep up.

				HAMMOND
		Dr. Grant, Dr. Grant?  Uh - -we planned to show you the
		raptors later, after lunch.

	But Grant has stopped abruptly next to the Velociraptor pen, 
	which we recognize as the heavily fortified cage we some earlier, which 
	the San Quentin towers at one end.

	Grant stands right up against the fence, eyes wide, dying for a 
	glimpse.

	HAMMOND catches up, slightly out of breath.

				HAMMOND (cont'd)
		Dr. Grant - - as I was saying, we've laid out lunch for
		you before you head out into the park.  Alejandro, our 
		gourmet chef - -

				GRANT
		What are they doing?

	As they watch, a giant crane lowers something large down into 
	the middle of the jungle foliage inside the pen.  Something very large.

	It's a steer.  They poor thing looks disconcerted as hell, 
	helpless its in a harness, flailing its legs in the air.

				HAMMOND
		Feeding them.
			(moving along)
		Alejandro is preparing a delightful meal for us.  A 
		Chilean sea bass, I believe.  Shall we?

	Grant goes up to the viewing deck.  The others follow, staring 
	as the steer disappears into the shroud of foliage.  The line from the 
	crane hangs for a moment.

	The jungle seems to grow very quiet.  They all stare at the 
	motionless crane line.  It jerks suddenly, like a fishing pole finally 
	getting a nibble.  There's a pause - -

	- - and then a frenzy.  The line jerks every which way, the 
	jungle plants sway and SNAP from some frantic activity within, there is 
	a cacophony of GROWLING, of SNAPPING, of wet CRUNCHES that mean the 
	steer is literally being torn to pieces and is almost makes it worse 
	that we can't see anything of what's going on - -

	- - and then it's quiet again.  The line jerks a few times, then 
	stops.  Slowly the SOUND of the jungle starts up again.

				HAMMOND
		Fascinating animals, fascinating.

				ELLIE
		Oh my God.

				HAMMOND
		Give time, they'll out draw the T-rex.  Guarantee it.

				GRANT
		I want to see them.  Can we get closer?

	Ellie puts a hand on his arm, like calming an overexcited child.

				ELLIE
		Alan, these aren't bones anymore.

				HAMMOND
		We're - - still perfecting a viewing system.  The
		raptors seem to be a bit resistant to integration into a
		park setting.

	A VOICE comes from behind them.

				VOICE (O.S.)
		They should all be destroyed.

	They turn and look at the man who spoke.  ROBERT MULDOON, the 
	grim-faced man who was present at the accident in the beginning, is 
	fortyish, British.

	He joins them and takes his hat off.  When Muldoon talks, you 
	listen.

				HAMMOND
		Robert.  Robert Muldoon, my game warden from Kenya.  Bit
		of an alarmist, I'm afraid, But he's dealt with the 
		raptors more than anyone.

				GRANT
			(introducing himself)
		Alan Grant.  Tell me, what kind of metabolism do they
		have?  What's their growth rate?
			(or)
		rate of growth.

				MULDOON
		They're lethal at eight months.  And I do lethal.  I've
		hunted most things that can hunt you, but the way these 
		things move - -

				GRANT
		Fast for biped?

				MULDOON
		Cheetah speed.  Fifty, sixty miles per hour if they ever
		got out in the open.  And they're astonishing jumpers.

				HAMMOND
		Yes, yes, yes, which is why we take extreme precautions.
		They viewing area below us will have eight-inch tempered 
		glass set in reinforced steel frames to - -

				GRANT
		Do they show intelligence?  With the brain cavity like 
		theirs we assumed - -

				MULDOON
		They show extreme intelligence, even problem solving. 
		Especially the big one.  We bred eight originally, but 
		when she came in, she took over the pride and killed all 
		but two of the others.  That one - -when she looks at 
		you, you can see she's thinking (or) working things 
		out.  She's the reason we have to feed 'em like this.  
		She had them all attacking the fences when the feeders 
		came.

				ELLIE
		The fences are electrified, right?

				MULDOON
		That's right.  But they never attack the same place 
		twice.  They were testing the fences for weaknesses.  
		Systematically.  They remembered.

	Behind them, the crane WHIRRS back to life, raising the cable 
	back up out of the raptor pen.  The guest turn and stare as the end 
	portion of the cable becomes visible.  The steer has been dragged 
	completely away, leaving only the tattered, bloody harness.

	Hammond claps his hands together excitedly.
	
				HAMMOND
		Who's hungry?  After you, my dear.


30	INT.	VISITOR CENTER PRESENTATION ROOM - DAY

	HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long 
	table in the visitor's center restaurant.

	There is a large buffet table and two WAITERS to serve them.

	The room is darkened and Hammond is showing slides of various 
	scenes all around them.  Hammond's own recorded voice describes current 
	and future features of the park while the slides flash artists' 
	renderings of all them.

	The real Hammond turns and speaks over the narration.

				HAMMOND
	None of these attractions have been finished yet.  The 
	park will open with the basic tour you're about to take, 
	and then other rides will come on line after six or 
	twelve months.  Absolutely spectacular designs.  Spared 
	no expense.

	More slides CLICK past, a series of graphs dealing with profits, 
	attendance and other fiscal projections.  Donald Gennaro, who has 
	become increasingly friendly with Hammond, even giddy, grins from ear 
	to ear.

				GENNARO
		And we can charge anything we want!  Two thousand a day, 
		ten thousand a day - - people will pay it!  And then
		there's the merchandising - -

				HAMMOND
		Donald, this park was not built to carter only to the 
		super rich.  Everyone in the world's got a right to 
		enjoy these animals.

				GENNARO
		Sure, they will, they will.
			(laughing)
		We'll have a - - coupon day or something.

	Grant looks down, at the plate he's eating from.  It's in the 
	shape of the island itself.  He looks at his drinking cup. It's got a 
	T-rex on it, and a splashy Jurassic Park logo.

	There are a stack of folded amusement park-style maps on the 
	table in front of Grant.  He picks one up.  Boldly, across the top it 
	says, "Fly United to Jurassic Park!"

				HAMMOND
			(on tape)
		- - from combined revenue streams for all three parks	
		should reach eight to nine billion dollars a year - - 

				HAMMOND
			(to Gennaro)
		That's conservative, of course.  There's no reason to 
		speculate wildly.

				GENNARO
		I've never been a rich man.  I hear it's nice.  Is it
		nice?

	Ian Malcolm, who was been watching the screens with outright 
	contempt, SNORTS, as if he's finally had enough.

				MALCOLM
		The lack of humility before nature that's been displayed
		here staggers me.

	They all turn and look at him.

				GENNARO
		Thank you, Dr. Malcolm, but I think things are a little
		different than you and I feared.

				MALCOLM
		Yes, I know.  They're a lot worse.

				GENNARO
		Now, wait a second, we haven't even see the park yet.  
		Let's just hold out concerns until - -
			(or alt. version)
		Wait - we were invited to this island to evaluate the
		safety conditions of the park, physical containment.  
		The theories that all simple systems have complex 
		behavior, that animals in a zoo environment will 
		eventually begin to behave in an unpredictable fashion 
		have nothing to do with that evaluation.  This is not 
		some existential furlough, this is an on-site 
		inspection.  You are a doctor.  Do your job.  You are 
		invalidating your own assessment.  I'm sorry, John - -

				HAMMOND
		Alright Donald, alright, but just let him talk.  I want 
		to hear all viewpoints.  I truly do.
			(or)
		I truly am.

				MALCOLM
		Don't you see the danger, John, inherent in what you're 
		doing here?  Genetic power is the most awesome force 
		ever seen on this planet.  But you wield it like a kid 
		who's found his dad's gun.

				MALCOLM	GENNARO
		If I may....	It is hardly appropriate 
		to start hurling
		Excuse me, excuse me - -	generalizations before - -
		I'll tell you.

				MALCOLM (cont'd)
		The problem with scientific power you've used is it 
		didn't require any discipline to attain it.  You read 
		what others had done and you took the next step.  You 
		didn't earn the knowledge yourselves, so you don't take 
		the responsibility for it.  You stood on the shoulders 
		of geniuses to accomplish something as fast as you 
		could, and before you knew what you had, you patented 
		it, packages it, slapped in on a plastic lunch box, and 
		now you want to sell it.

				HAMMOND
		You don't give us our due credit.  Our scientists have 
		done things no one could ever do before.

				MALCOLM
		Your scientists were so preoccupied with whether or not 
		they could that they didn't stop to think if they 
		should.  Science can create pesticides, but it can't 
		tell us not to use them.  Science can make a nuclear 
		reactor, but it can't tell us not to build it!

				HAMMOND
		But this is nature!  Why not give an extinct species a 
		second chance?!  I mean, Condors. Condors are on the 
		verge of extinction - - if I'd created a flock of them 
		on the island, you wouldn't be saying any of this!
			(or)
		have anything to say at all!

				MALCOLM
		Hold on - - this is no species that was obliterated by 
		deforestation or the building of a dam.  Dinosaurs had 
		their shot.  Nature selected them for extinction.

				HAMMOND
		I don't understand this Luddite attitude, especially 
		from a scientist.  How could we stand in the light of 
		discovery and not act?

				MALCOLM
		There's nothing that great about discovery.
			(or)
		What's so great about discovery?  It's a violent, 
		penetrative act that scars what it explores.  What you 
		call discovery I call the rape of the natural world!

				GENNARO
		Please - - let's hear something from the others.  Dr.
		Grant?  I am sorry - - Dr. Sattler?

				ELLIE
		The question is - - how much can you know about an 
		extinct ecosystem, and therefore, how could you assume 
		you can control it?  You have plants right here in this 
		building, for example, that are poisonous.  You picked 
		them because they look pretty, but these are aggressive 
		living things that have no idea what century they're 
		living in and will defend themselves.  Violently, if 
		necessary.

	Exasperated, Hammond turns to Grant, who looks shell-shocked.

				HAMMOND
		Dr. Grant, if there's one person who can appreciate all 
		of this - -
			(or)
		What am I trying to do?

	But Grant speaks quietly, really thrown by all of this.

				GRANT
		I feel - - elated and - - frightened and - -
			(starts over)
		The world has just changed so radically.  We're all 
		running to catch up.  I don't want to jump to any 
		conclusions, but look - -

	He leans forward, a look of true concern on his face.

				GRANT (cont'd)
		Dinosaurs and man - - two species separated by 65 
		million years of evolution - - have just been suddenly 
		thrown back into the mix together.  How can we have the 
		faintest idea of what to expect?

				HAMMOND
		I don't believe it.  I expected you to come down here 
		and defend me from these characters and the only one 
		I've got on my side it the bloodsucking lawyer!?

				GENNARO
		Thank you.

	One of the WAITERS whispers to Hammond.

				HAMMOND
		Ah - - they're here.

				GRANT
		Who?

A31	INT	VISITOR'S CENTER LOBBY - DAY

	HAMMOND, GRANT, ELLIE, MALCOLM, and GENNARO walks out of the 
	restaurant and into the lobby of the visitor's center.  They head down 
	the stairs, and pass the skeletons of the dinosaurs again.

				HAMMOND
		You four are going to have a little company out in the 
		park.  Spend a little time with our target audience.  
		Maybe they'll help you get the spirit of this place.

				GRANT
		What does he mean by "target audience"?

	Hammond turns toward the door of the center and throws his arms 
	out expansively.

				HAMMOND
			(bellowing)
		KIDS!!

	Two kids standing in the doorway to the center break into a broad 
	smiles.  TIM, the boy, is about nine years old; ALEXIX, his sister, 
	looks around twelve.

				TIM & LEX
		Grandpa!

	They race across the lobby and into Hammond's arms, knocking him 
	over on the steps.

				LEX
		We miss you.

				TIM
		Thanks for the presents.

				LEX
		We love the presents.

				HAMMOND
		You must be careful with me.  Did you like the 
		helicopter?

				TIM
		It was great!  It drops, we were dropping!

	Grant looks on.


31	EXT	VISITOR'S CENTER	DAY

	Two modified Ford Explorers leap up out of an underground garage 
	beneath the visitor's center.  They move quietly, with a faint 
	electronic HUM, and straddle a partially buried metal rail is the 
	middle of the road.  They pull to a stop where the group is gathered.

	Ellie is off to the side with ALEXIS, introducing herself 
	warmly.

	HAMMOND is with MALCOLM, GRANT, and GENNARO.

				HAMMOND
		Have a heart gentlemen.  Their parents are getting a 
		divorce and they need the diversion.

				GENNARO
		Hey!  Where are the brakes?

				HAMMOND
		Brakes?  No.  No brakes.  They're electric cars, guided 
		by this track in the roadway, and totally non-polluting, 
		top of the line!

				LEX
		It's interactive CD-ROM.  Look, see - - you just touch 
		the right part of the screen and it talks about whatever 
		you want.

				HAMMOND
		Spared no expense.  Have fun.  I'll be watching you from 
		the control (or) back in control.
			(to Ellie)
		Come along, my dear.  You'll ride in the second car, I 
		can promise you you'll have a real wonderful time.

				ELLIE
		Oh thank you so much.  So you'll see you later then.

	Hammond turns and head back towards the Visitor's Center.

				MALCOLM
			(too eagerly; to Grant)
		I'll ride with Dr. Sattler.
			(or)
		I'm going to ride with Dr. Sattler.

	He turns and walks over to Ellie.  Grant frowns, not liking this 
	one bit.  He moves to follow, but TIM cuts him off, and stares up at 
	him, wide-eyed

				TIM
		I read your book.

				GRANT
		Oh, yeah - - great.

	Grant heads for the rear car.  Tim follows.

				TIM
		You really think dinosaurs turned into birds?  And 
		that's where all the dinosaurs went?

	Grant opens the door of the rear car and climbs in.  Tim 
	follows.

				GRANT
		Well, uh, a few species - - may have evolved, uh - - 
		along those lines - - yeah.

	A mechanical voice intones from inside:

				VOICE
		"Two to four passengers to a car, please.  Children 
		under ten must be accompanied by an adult."

	Tim is right behind Grant, so Grant keeps moving, across the 
	back seat of the car and out the other door.  But Tim follows.

				TIM
		Because they sure don't look like birds to me.  I heard 
		a meteor hit the earth and made like this one hundred 
		mile crater someplace down in Mexico - -

				GRANT
		Listen, ahh - -

				TIM
		Tim.

				GRANT
		Tim.  Which car were you planning on - -

				TIM
		Whichever one you are.

	Grant goes to the front car again, opens the rear door, and 
	holds it for Tim, who climbs in the back seat, rattling on and on.

				TIM
		Then I head about this thing in OMNI?  About the meteor 
		making all this heat that made a bunch of diamond dust?  
		And that changed the weather and they died because of 
		the weather?  Then my teacher told me about this other 
		book by a guy named Bakker?  And he said the dinosaurs 
		died of a bunch of diseases.

	SLAM!  Grant closes the car door on Tim.  He turns and head for 
	the rear vehicle - -

	- - and bumps right into Lex.

				LEX
			(points at Ellie)
		She said I should ride with you because it would be good 
		for you.

	Grant looks over at Ellie, annoyed.

				GRANT
		She's a deeply neurotic woman.


	CUT TO:


32	INT	CONTROL ROOM	DAY

	The Jurassic Park control room looks like a mission control for 
	a space launch, with several computer terminals and dozens of video 
	screens that display images of various dinosaurs, taken from all over 
	the park.

	There's a large glass map of the island at the front of the room 
	that is lit up like a Christmas tree with various colored lights, each 
	one with a number and identification code next to it.

	But the place is unfinished, with unattached cables, 
	construction materials, and ladders scattered about.

	The mood among the half dozen TECHNICIANS present is chaotic as 
	they rush around with last-minute adjustments.

	MULDOON whisks in through the double doors.  HAMMOND is right 
	behind him.  They go straight to the main console, where RAY ARNOLD 
	fortyish, a chronic worrier and chain-smoker, is seated.

				MULDOON
		National Weather Service is tracking a tropical storm 
		about seventy-five miles west of us.

	Hammond sighs and looks over Arnold's shoulder.

				HAMMOND
		Why didn't I build in Orlando?

				MULDOON
		I'll keep an eye on it.  Maybe it'll swing south like 
		the last one.

				HAMMOND
			(a deep breath)
		Ray, start the tour program.

	He punches a button on the console.

				ARNOLD (cont'd)
			(not exactly comforting)
		Hold onto your butts.


	CUT TO:


33	EXT	VISITOR'S CENTER	DAY

	With a loud CHUNK, the Explorers start forward along the 
	electrical pathway.

	GENNARO, TIM, and LEX are in the front vehicle; GRANT, ELLIE, 
	and MALCOLM in the rear.


33A	EXT	MAIN GATES	DAY

	They pass through two enormous, primitive gates, torches blazing 
	on either side.


34	EXT	JURASSIC PARK DAY

	IN THE REAR CAR, the Explorer's speakers BLARE with fanfare of 
	trumpets, and the interior video screen flashes "Welcome to Jurassic 
	Park."  A familiar VOICE comes over the speaker:

				VOICE (O.S.)
		Welcome to Jurassic Park.  You are now entering the lost 
		world of the prehistoric past, a world - -

				VOICE (cont'd)
		creatures long gone from the face of the earth, which 
		you are privileged to see for the first time.

INT	CONTROL ROOM

	HAMMOND watches the monitor.  His grandchildren are enjoying 
	themselves.

				HAMMOND
		By the way, that's James Earl Jones (or) Richard Kiley.
		We spared no expense!

	IN THE PARK, 

	the fences are retaining walls are covered with greenery and 
	growth, to heighten the illusion of moving through a jungle.

	IN THE FRONT CAR

				GENNARO
		The accident took place in a restricted area.  It would 
		not have been available to the public access.  So how 
		can the safety of the public be called into question?

	The cars come to the top of a low rise, where a break in the foliage 
	gives them a view down a sloping field that is broken by a river.  The 
	tour voice continues.

				VOICE (O.S.)
	To the right, you will see a herd of the first dinosaurs 
	on our tour, called Dilophosaurus.

	IN THE FRONT CAR,

	Tim and Lex practically SLAM up against the windows, to get a look.

				GENNARO
			(keeps talking)
		The safety.  That's the problem I had to answer.

				LEX
		Shhh.

				TIM
		I can't see.

				GENNARO
		What are we looking for?

				TIM
		Dilophosaurus.

	IN THE REAR CAR

	Grant looks at his map.  Ellie, hearing the voice, reacts.
	
				ELLIE
		Oh, shit.

				GRANT
		Dilophosaurus.

	Grant, Malcolm, and Ellie press against the windows.

	DOWN NEAR THE RIVER BANK

	there are a lot of beautiful plants, but no sign of a herd of anything.  
	The tour voice continues anyway.

				VOICE (O.S.)
	One of the earliest carnivores, we now know 
	Dilophosaurus is actually poisonous, spitting its venom 
	at its prey, causing blindness and eventually paralysis, 
	allowing the carnivore to eat at its leisure.  This 
	makes Dilophosaurus a beautiful, but deadly addition to 
	Jurassic Park.

	Corny SCARY MUSIC plays over the speaker.

	IN THE FRONT CAR,

				TIM
		There's nothing there!

	IN THE REAR CAR,

				ELLIE
		Alan, where?

	Grant and the others sit back, disappointed.

				GRANT
		Damn.

	ON THE ROAD,

	the cars move on.  As they roll past, we notice the headlights are on, 
	even in the daytime.


	CUT TO:


35	INT	CONTROL ROOM DAY

	RAY ARNOLD watches his computer screen and the video monitors at 
	the same time, keeping an eye on the cars as they move through the 
	park.  HAMMOND hovers over his shoulder.

				ARNOLD
		Vehicle headlights are on and don't respond.  Those 
		shouldn't be running off the car batteries.

		He signs and reaches for a clipboard hanging next to his chair 
		and jots this down.

				ARNOLD (cont'd)
		Item one fifty-one on today's glitch list.  We've got 
		all the problems of a major theme park and a major zoo, 
		and the computer's not even on its feet yet.

	Hammond shakes his head and turns to the TECHNICIAN to his 
	right, who still has his back to them, watching a Costa Rican game show 
	on one of his monitors and drinking a Jolt cola.

				HAMMOND
		Dennis, our lives are in your hands and you have 
		butterfingers.

	The Technician turns around his chair and extends his arms in a 
	Christ-like pose.  As we get a good look at him, we get the sinking 
	feeling that we've seen him somewhere before.  And we have.  DENNIS 
	NEDRY is the man who accepted a suitcase full of cash in San Jose.

				NEDRY
		I am totally unappreciated in my time.  We can run the 
		whole park from this room, with minimal staff, for up to 
		three days.  You think that kind of automation is easy? 
		Or cheap? You know anybody who can network eight 
		Connection Machines and de-bug two million lines of code 
		for what I bid this job?  Because I'd sure as hell like 
		to see them try.

				HAMMOND
		I'm sorry about your financial problems.  I really am. 
		But they are your problems.

				NEDRY
		You're right, John.  You're absolutely right.  
		Everything's my problem.

				HAMMOND
		I will not get drawn into another financial conversation 
		with you, Dennis.  I really will not.

				NEDRY
		I don't think there's been any debate.  There's no 
		debate...my mistakes....

				HAMMOND
		I don't blame people for their mistakes, but I do ask 
		that they pay for them.

				NEDRY
		Thanks, Dad.

				ARNOLD
		Dennis - -the headlights.

				NEDRY
		I'll de-bug the tour program when they get back.  Okay?  
		It'll eat a lot of computer cycles; parts of the system 
		may go down for a while - - Don't blame me.  If I am 
		playing...losing memory....

	MULDOON, who has been hovering near the video monitors as 
	always, turns towards them, annoyed.

				MULDOON
	Quiet, all if you.  They're coming to the tyrannosaur 
	paddock.


	CUT TO:


36	EXT	TYRANNOSAUR PADDOCK	DAY

	The two Explorers drive along a high ridge and stop at the edge 
	of the large, open plain that is separated from the road by a fifteen-
	foot fence, clearly marked with "DANGER!" signs and ominous-looking 
	electrical post.

	TIM, LEX, and GENNARO are pressed forward against the windows, 
	eyes wide, waiting for you-know-who.

	IN THE REAR CAR,

	The voice of the radio drones on, but GRANT, ELLIE, and MALCOLM 
	aren't even listening anymore, dying of anticipation.

				VOICE (O.S.)
		The mighty tyrannosaurus arose late in the dinosaur
		history.  Dinosaurs ruled the earth for hundred and 
		fifty million years, but it wasn't until the last- -

				GRANT
		Will you turn that thing off?

	Ellie flips a switch and they wait in silence - - except for 
	Malcolm, who looks at the ceiling, thinking aloud.

				MALCOLM
		God creates dinosaurs.  God destroys dinosaurs.  God 
		creates man.  Man destroys God.  Man creates dinosaurs.

				ELLIE
			(finishing it for him)
		Dinosaur eats man.  Woman inherits the Earth.

				ARNOLD (O.S.)
		Hold on, we'll try to tempt the rex.

	IN THE PADDOCK,

	there is a low HUMMING sound.  Out in the middle of the field, a 
	small cage rises up into view, lifted on hydraulics from underground.
	
	The cage bars slide down, leaving the cage's occupant standing 
	alone in the middle of the field.

	It's a goat, one leg chained to a stake.  It looks around, 
	confused, and BLEATS plaintively.

	IN THE FRONT CAR,

	LEX and TIM look at the goat with widely different reactions.

				LEX
		What's going to happen to the goat?  He's going to eat 
		the goat?!

				TIM
			(in heaven)
		Excellent.

				GENNARO
			(to Lex)
		What's the matter, kid, you never had lamb chops?

				LEX
		I happen to be a vegetarian.

	IN THE REAR CAR,

				GRANT
		(shakes his head)
	T-rex doesn't want to be fed; he wants to hunt.  You
	can't just suppress sixty-five million years of gut 
	instinct.

	IN THE PADDOCK

	The goat waits.  And waits.  From the Explorers, six faces watch 
	it expectantly.  The goat tugs on its chain.  It walks back and forth, 
	nervous.  It BLEATS.

	IN THE REAR CAR,

	Grant watches, his eyes glued, his breathing becoming a little 
	more rapid.

	IN THE FRONT CAR,

	Tim and Lex can't tear their eyes away,

	IN THE PADDOCK,

	finally, the goat - -

	- - lays down.

	IN THE REAR CAR,

	everyone sits back, disappointed again, as the cars pull forward 
	to continue the tour.  Malcolm picks up the microphone.

				MALCOLM
		Now, eventually you do plan to have dinosaurs on your 
		dinosaur tour, right?


37	INT	CONTROL ROOM	DAY

	HAMMOND just shakes his head as Malcolm's voice comes through,

				HAMMOND
		I really hate that man.


38	EXT	PARK	DAY

	GRANT gets into the seat, leaving MALCOLM behind ELLIE.  He 
	longingly looks out of the opposite window, while Malcolm rattles on to 
	Ellie.

				MALCOLM
		You see?  The tyrannosaur doesn't obey set patterns or 
		park schedules.  It's the essence of Chaos.

				ELLIE
		I'm still not clear on Chaos.

				MALCOLM
		It simply deals with unpredictability in complex 
		systems.  It's only principle is the Butterfly Effect.  
		A butterfly can flap its wings in Peking and in Central 
		Park you get rain instead of sunshine.

	Ellie gestures with her hand to show this information has gone 
	right over her head.

				MALCOLM
		I made a fly by, I go too fast.

	Looking out of the opposite window, Grant sees movement at the 
	far end of a field.  He sits bolt upright, trying to get a better look.

	Malcolm, looking for another example - -

				MALCOLM (cont'd)
			(points to the glass of water)
		Here.  Give me your glass of water.

	He dips his hand into the glass of water.  He takes Ellie's hand 
	in his own.

				MALCOLM (cont'd)
		Make like hieroglyphics.  Now watch the way the drop of 
		water falls on your hand.

	He flicks his fingers and a drop falls on the back of Ellie's 
	hand.

				MALCOLM (cont'd)
		Ready?  Freeze your hand.  Now I'm going to do the same
		thing from the exact same place.  Which way is the drop 
		going to roll off?
			(or)
		Which way will the drop roll?  Over which finger?  Or 
		down your thumb?  Or to the other side?

				ELLIE
		Uh - - thumb!
			(or)
		The same way.

				MALCOLM
		It changed.  Why?
			(or)
		Okay, back over your wrist.
			(then)
		Because and here is the principle of tiny variations - -
		the orientations of the hairs - -

				ELLIE
		Alan, listen to this.

				MALCOLM
		- - on your hand, the amount of blood distending in your
		vessels, imperfections in the skin - -

				ELLIE
		Oh, imperfections?

				MALCOLM
		Microscopic - - never repeat, and vastly affect the 
		outcome.  That's what?

				ELLIE
		Unpredictability....

				MALCOLM
		And even if we haven't seen it yet, I'm quite sure it's 
		going on in this park right now.

	There's definitely something out in that field, and Grant has to 
	see it.

	He jerks on the door handle and opens his door a few inches.  He 
	looks outside towards freedom, then looks around to is anybody's 
	watching him.

	Malcolm lowers his voice, becoming more seductive now.

				MALCOLM (cont'd)
		Life's a lot like that, isn't it?  You meet someone by 
		chance you'll never meet again, and the course of your 
		whole future changes.  It's dynamic - - its exciting - - 
		I think.

	Grant throws the door open and bolts out of the moving car.

				MALCOLM (cont'd)
		There, there see?!  I'm right again!

				ELLIE
		Alan?

				MALCOLM
		No one could have predicted Dr. Grant would suddenly 
		jump out of a moving vehicle!

				ELLIE
		Alan?

	She jumps out too and follows him into the field.

				MALCOLM
		There's another example!

	IN THE FRONT CAR,

				TIM
		Hey!  I want to go with them!

	IN THE REAR CAR,

				MALCOLM
		See?  Here I am now, by myself, talking to myself - -  
		that's Chaos Theory!  What the hell am I doing here?  
		I'm the only one who knows what's going on, etc, etc....

39	INT	CONTROL ROOM	DAY

	HAMMOND, MULDOON, and ARNOLD stare at the video monitor 
	incredulously as everyone now pouts out of the cars and follows Grant 
	down the hill.

	The cars roll on slowly, empty, their doors hanging open.

				ARNOLD
		Uh - - Mr. Hammond - -

				HAMMOND
		Stop the program!  Stop the program!

				MULDOON
		There you are!  How many times did I tell you we needed 
		locking mechanisms on the vehicle doors!

	ACROSS THE ROOM

	DENNIS NEDRY sneaks a peek at the video monitor.  It shows an 
	image of the steel door, plainly marked - - "EMBRYONIC COLD STORAGE.  
	RESTRICTED!"

	He looks to another monitor, which is labeled "EAST DOCK."  The 
	monitor shows a supply ship, moored at the dock.  Its cargo is being 
	uploaded and a large group of WORKERS is filing aboard.

	Nedry has something in the counter, where no one can see it.  
	It's a can of shaving cream.

40	EXT	PARK	DAY

	GRANT, ELLIE, GENNARO, and the KIDS are out in the open field, 
	heading towards a small stand of trees.  For the first time, we notice 
	the sky is darken rather early in the day.  Tim dogs Grant's footsteps, 
	so excited he can hardly keep his feet on the ground.

				TIM
		So like I was saying, there's this other book by a guy 
		named Bakker?  And he said dinosaurs died of a bunch of 
		diseases?  He definitely didn't say they turned into 
		birds.

	Gennaro is scared as hell, following the others, but his head 
	darting left and right.

				ELLIE
		Alan?  Where are we going?  You see something?

				GENNARO
		Uh - - anybody else think we shouldn't be out here?

				TIM
		And his book was a lot fatter than yours.

				GRANT
		Really?

				ELLIE
		Yours was fully illustrated, honey.

				GENNARO
		Anybody at all.  Feel free to speak up.

	Lex stumbles and Grant takes her hand, to stop her from falling.  
	She looks up at him and smiles.

	Grant smiles back and tries to recover his hand, but Lex holds 
	tight.  He's massively uncomfortable.  Ellie notices.

	Suddenly they all stop in their tracks.  A huge smile spreads 
	across the faces of both Tim and Grant.  Grant walks forward.  Tim 
	follows.

				ELLIE
		Timmy, Timmy.

				LEX
		Come back here, blanket head.

	Fearless, Tim walks forward behind Grant.

				HARDING (O.S.)
		Hi everybody,  Don't be scared.

	Tim reaches the clearing and sees:

	A Triceratops, a big one, lying on its side, blocking the light 
	at the end of the path.  It has an enormous curved shell that flanks 
	its head, two big horns over its eyes, and a third on the end of its 
	nose.  It doesn't move, just breathes, loud and raspy, blowing up a 
	little clouds of dust with every exhalation.

	Grant stands next to Harding, almost in a daze.

				GRANT
		Beautiful.  Is it okay?  Can I touch it?

				HARDING
		Sure.

	Grant walks next to the animal and strokes its head.  Ellie 
	moves forward to the animal.

				GRANT
		Oh Ellie.  It's so beautiful.  It's the most beautiful
		thing I ever saw.

				ELLIE
		It's my favorite.

	They both kneel, checking the animal.

	He furrows his bow, noticing something, all professional 
	curiosity now.  The animal's tongue, dark purple, droops limply from 
	its mouth.

				GRANT (cont'd)
		Ellie, take a look at this.

				ELLIE
		Yeah, baby girl, it's okay.

	She scratches the tongue with her fingernail.  A clear liquid 
	leaks from the broken blisters.

				ELLIE
		Micro vesicles.  That's interesting.

	Grant, fascinated, wanders all the way around to the back of the 
	animal.  Harding joins Ellie and hands her his penlight.

				ELLIE (cont'd)
		What are her symptoms?

				HARDING
		Imbalance, disorientation, labored breathing.  Seems to 
		happen about every six weeks or so.

				ELLIE
		Six weeks?

	She takes the penlight from the veterinarian and shines it in 
	the animal's eyes.

				ELLIE (cont'd)
		Are there pupillary effects from the tranquilizer?

				HARDING
		Yes, mitotic, pupils should be constricted.

				ELLIE
		These are dilated.  Take a look.

				HARDING
		They are?
			(checks it out)
		I'll be damned.

				ELLIE
		That's pharmacological.  From local plant life.

	She turns and studies the surrounding landscape.  Her mind's 
	really at work, puzzling over each piece of foliage.

				ELLIE (cont'd)
			(pointing)
		Is that (or) this West Indian lilac?

				HARDING
		Yes.  We know they're toxic, but the animals don't eat
		them.

				ELLIE
		Are you sure?

				HARDING
		Pretty sure.

				ELLIE
		There's only one way to be positive.  I need to see some
		droppings.
			(or)
		I have to see the dinosaur's droppings.

				HARDING
		You won't be able to miss them.
			(or)
		Can't miss them.

	Malcolm walks up to Ellie.

				MALCOLM
		Dino droppings?

				ELLIE
		Yeah.

	She walks way, Malcolm looks on.


41A	INT	CONTROL ROOM	DAY

	HAMMOND and ARNOLD are watching the video monitors, displeased 
	about something.  Arnold is looking at one that gives them a view from 
	the beach, looking out at the ocean.  The clouds beyond are almost 
	black with a tropical storm.

				ARNOLD
		That storm center hasn't dissipated or changed course.
		We're going to have to cut the tour short, I'm afraid.  
		Pick it up again tomorrow where we left off.

				HAMMOND
		You're sure we have to?

				ARNOLD
		It's not worth taking the chance, John.

				MULDOON
			(into phone)
		Sustain winds 45 knots.

				HAMMOND
			(nods)
		Tell them when they get back to the cars.

				MULDOON
			(into phone)
		Thanks, Steve.

				ARNOLD
			(making an announcement to the others)
		Ladies and gentlemen, last shuttle to the dock leaves in 
		approximately five minutes.  Drop what you are doing and 
		leave now.

				HAMMOND
		Damn!


41	ACROSS THE ROOM

	NEDRY stares at his video monitor, watching the boat.  He's on 
	the phone with the MATE, whose images he can see on the monitor.  The 
	seas around the dock are much rougher now.

				MATE
		We're not well-berthed here without a storm barrier!  We 
		may have to leave as soon as the last of the works are 
		aboard.

				NEDRY
			(low voice)
		No, no.  You stick to the plan.  You wait till they're 
		back from the tour.



42	EXT	FIELD	DAY

	As the weather grows darker, ELLIE, GRANT, HARDING, and MALCOLM 
	are grouped around an enormous spoor of triceratops excreta that stands 
	at least waist high and is covered with BUZZING flies.

				MALCOLM
		That is one big pile of shit.

	Ellie has plastic gloves on the reach up to her elbows, and is 
	just withdrawing her hand from the middle of the dung.

				ELLIE
			(to Harding)
		You're right.  There's no trace of lilac berries.  
		That's so weird, though.  She shows all the classic 
		signs of Meliatoxicity,
			(thinking aloud)
		Every six weeks - -

	She turns and walks out into the open field a few paces, 
	thinking.  Malcolm watches her, and looks back at the dung.

				MALCOLM
			to Grant)
		She's, uh - - tenacious.

				GRANT
		You have no idea.

				MALCOLM
			to Ellie)
		You will remember to wash your hands before you eat 
		anything?


43	INT	CONTROL ROOM	DAY
	
	DENNIS NEDRY is busily and surreptitiously typing a series of 
	commands into his console.  On his screen, a cartoon hand winds up a 
	cartoon clock, moving its second hand up to the twelve.  The clock 
	rotates around to face us.

	It has a large green dollar sign in the middle.  A big word 
	appears on screen, an option surrounded by forbidding red box.  
	"EXECUTE," it says.


44	EXT	PARK	DAY
	
	The skies are really foreboding now, and there's a sense of 
	growing urgency.  ELLIE is by the animal, a short distance away from 
	the group.  GRANT is near her, thinking.

				GRANT
	Ellie, I've been thinking there's something about the 
	periodicity doesn't had up.

				ELLIE
		I know.

	Tim holds one of the smooth rocks up and calls out, a little 
	timidly.

				TIM
		These look kind of familiar.

				GRANT
		Triceratops was a constant browser, and constant 
		browsers would be constantly sick.

				ELLIE
		Constantly sick.

				GRANT
		Not just every six weeks.

				ELLIE
		Yeah, I know.

				TIM
		I've seen pictures of these!

	Grant turns and looks at him, a little annoyed.

				TIM
		In your fully illustrated book.

	Grant just rolls his eyes, but Ellie comes over and checks out 
	the stones.

				ELLIE
		What's that?

	A light goes on in her eyes.

				ELLIE 
		Alan - - gizzard stones!

	She throws Grant one of the stones.  They look at each other in 
	amazement.

	As before, when they get excited, they talk right over each 
	other.

				GRANT
		Elm that's it, it explains the periodicity, the - -

				ELLIE
		- - the undigested state of the berries because it's - -

				GRANT
		- - totally incidental
			(or)
		unrelated to the feeding pattern - -

				TIM
		What are you guys saying?

				ELLIE
			(turning to Tim)
		It's simple, see.  Some animals like her, don't have 
		teeth - -

				GRANT
		- - like birds - -

				ELLIE
		- - like birds.  What happen is, they swallow the stones 
		and hold them in a muscular sack in their stomachs - -

				GRANT
		- - a gizzard - -

				ELLIE
		- - which is called a gizzard, and it helps them mash
		their food, but what happens after a while - -

				GRANT
		- - what happens is that after a while, the stones get  
		smooth, every six weeks, so the animal regurgitates them 
		- -

				ELLIE
			(for Tim)
		- - barfs them up - -

				GRANT
		- - and swallows fresh ones.

				ELLIE
		And when she swallows the stones, she swallows the 
		poison berries too.  That's what makes her sick.
			(impressed)
		Good work Tim.

	She looks at Grant pointedly.  Tim looks up at Grant too, 
	smiling from ear to ear.  Grant GRUNTS, not so easily convinced.

	THUNDER rumbles as the storm overhead is about to bust loose.  
	GENNARO, scared of more than one thing now, puts his foot down.

				GENNARO
		Doctors, if you please - - I have to insist we get 
		moving.

				ELLIE
	Oh, you know, if it's alright, I'd like to stay with Dr. 
	Harding and finish with the trike.  Is that okay?

				HARDING
		Sure.  I've got a gas powered jeep.  I can drop her at 
		the visitor's center before I make the boat with the 
		others.

				ELLIE
			(to Grant)
		I'll catch up with you.  You can go with the others.

				GRANT
		Are you sure?

				ELLIE
		I'll just finish.  Yeah, I want to finish.

	There is a lightning flash now, with a tooth-rattling 
	THUNDERCLAP right on its heels.

				GENNARO
		Now.

	Grant turns and follows the others, Lex right in his tracks.  
	Ellie and Harding go back to the triceratops, which is starting to come 
	back to life.

	As Grant reaches the Explorer, he turns back for one last look 
	at Ellie.  He raises his hand to wave, but she is turned the other way.  
	Feeling silly, he drops his hand and goes into the woods.  Just as he 
	does, Ellie turns and waves to him, but with his back turned, he misses 
	it too.

	In this way, they say goodbye.

	BACK AT THE CARS,

	as the reflections of the GROUP approach, the first raindrops 
	fall on the windshields of the tour vehicles.  They're big, fat drops, 
	and they kick up little clouds of dust as they SMACK into the glass.
	
	It's going to be a hell of a storm.


45	OMITTED


46	EXT	PARK	DUSK

	It's near dark now.  The wind has whipped up, and the trees are 
	swaying.


47	INT	CONTROL ROOM	DUSK

	HAMMOND is with RAY ARNOLD, staring at the video screens.

				ARNOLD
		I found a way to re-route through the program.  I'm 
		turning the cars around in the rest area loop.

				HAMMOND
		Rotten luck, this storm.  Get my grandchildren on the 
		radio will you?  I don't want them to worry about a wee 
		bit of rain.

	Arnold reaches for the hand microphone.

	ACROSS THE ROOM,

	DENNIS NEDRY, sweat forming on his upper lip now, is staring at 
	his video monitor.  The supply boat is still docked on the island 
	shore, but is now being buffeted by heavy waves.  Nedry whispers 
	sharply into the phone, arguing with the MATE of the ship again, who he 
	can see on the video monitor.

				MATE
		There's nothing I can do!  If the Captain says we gotta 
		go, we gotta go!

				NEDRY
		No, no, listen to me.  You've got to give me this time.  
		I did a test run on this thing and it took me twenty 
		minutes.  I thought I could do it in fifteen - - you've 
		got to give me fifteen minutes.

				MATE
		No promises!  No promises!

				NEDRY
		I'll be there in ten!

	Arnold SNAPS a button on his console.

				ARNOLD
		Visitor vehicles are on their way back to the garage.

				HAMMOND
		So how much for our first tour.  Two no-shows and one 
		sick triceratops.

				ARNOLD
		It could have been worse, John.  It could have been a 
		lot worse.

	Dennis Nedry stands up.

	He's shaking in his shoes, but trying like hell to be casual.

				NEDRY
		Anybody want a Coke?  Anybody what some from the 
		machines?  Or a soda or something?  I had too many 
		sweets.
			(or)
		I thought I'd get something sweet.

	Hammond and Arnold shake their heads.  Nedry starts to leave, 
	then turns back with an afterthought that is so rehearsed its almost 
	obvious.

				NEDRY (cont'd)
		Oh, I finished de-bugging the phones, but the system's 
		compiling for eighteen minutes, or twenty.  So, some
		minor systems may go on and off for a while.  There's 
		nothing to worry about.  Simple thing....

				HAMMOND
		Okay, okay, okay, okay, that's enough!  Ahh!

	Nedry turns, stretches one finger out to his screen, and selects 
	an option.

	"EXECUTE."

	At the same time, he presses the start button on his digital 
	stopwatch he holds in his hand.  A digital clock on the computer screen 
	starts to tick down from sixty seconds , and a musical clock starts to 
	sound too - - something like the "Jeopardy" theme.

	He starts to leave - - but returns when he remembers the shaving 
	cream can.  He grabs it and leaves.


48	EXT	PARK ROAD	NIGHT

	Night was completely fallen now, and the rain has started.  It's 
	a tropical storm, the rain falling in drenching sheets on the roofs and 
	hoods of the Explorers, which are making their way slowly back to the 
	visitor's center.

	IN THE REAR CAR,

	GRANT and MALCOLM are alone.  Grant is staring out the window, 
	lost in his thoughts.

				GRANT
		You got any kids?

				MALCOLM
		Me?  Oh, hell yes.  Three.
			(glowing)
		I love 'em.  I love kids.  Anything at all can and does 
		happen.

	He takes a flask from jacket pocket and unscrews the top.  His 
	expression darkens.

				MALCOLM (cont'd)
		Same with wives, for that matter.

				GRANT
		You're married?

				MALCOLM
		Occasionally.  Always on the lookout for the future ex-
		Mrs. Malcolm.


49	INT	FERTILIZATION LAB	NIGHT

	DENNIS NEDRY, waits outside the silver door marked "EMBRYONIC 
	COLD STORAGE," staring at the digital stopwatch in his hand.

				NEDRY
		Two - - one - -

	On cue, the security lock panel goes dark and the door CLUNKS 
	ajar.

	IN THE COOLER,

	Nedry hurries in and flips open the hatch on the bottom of the 
	shaving cream can, revealing slotted compartments inside.  He goes to 
	the rack of dozens of thin glass slides.  A sign says "VIABLE EMBRYOS - 
	- HANDLE WITH EXTREME CARE!"
	
	He takes the slides out of the rack one by one.  They're labeled 
	- - "STEGOSAURUS", "APATOSAURUS", "TYRANNOSAURUS REX" - - and puts them 
	into the can.


50	INT	CONTROL ROOM	NIGHT

	ARNOLD is staring at his terminal, puzzled.  On the screen, 
	glowing red and blue lines are blinking off, in succession..

				ARNOLD
		What?

	HAMMOND comes up behind him, as does ROBERT MULDOON.

				HAMMOND
		What?

				ARNOLD
		The door security systems are shutting down.

				HAMMOND
		Well, Nedry said a few systems would go off-line, didn't 
		he?


51


THRU	OMITTED


52


53	INT	REAR CAR	NIGHT

	GRANT and MALCOLM still wait in their car.  They don't notice, 
	but the video screen in the middle of their front console suddenly goes 
	black.

	Malcolm continues their conversation.

				MALCOLM
		By the way, Dr. Sattler - she's not like, uh, available, 
		is she? - -

				GRANT
		Why?

				MALCOLM
		Why?  Oh, I'm sorry.  Are you two, uh - - are?  I wish 
		you the best luck.

	The cars jerk to a stop.  The lights in the vehicles and along 
	the road go out, plunging them into blackness.  Grant jerks his hands 
	away from the steering column, immediately assuming it's his fault.

				GRANT
		What'd I touch?!

				MALCOLM
		You haven't touched
			(or)
		didn't touch anything.  We're stopping.
			(or)
		We've stopped.

				GRANT
		I must've touched something.  This happens all the time.  
		It must be my fault.  Machines hate me.

				MALCOLM
		Machines hate you?

				GRANT
		Yeah, they hate me.

				MALCOLM
		You want to talk about this?

				GRANT
		No.


54	EXT	JURASSIC PARK	NIGHT

	Nedry's jeep SPLASHES up to the giant gates that lead into 
	Jurassic Park.  NEDRY jumps out and hurries to the control panel on the 
	side of the cement supports.

	He FLICKS a switch and gates CLICK unlocked.

	He jumps back in the car and noses into the gates, shoving them 
	open far enough to drive through.

	He ROARS into the park grounds


55	EXT	CONTROL ROOM	NIGHT

	RAY ARNOLD stares at his terminal, aghast, as row upon row of 
	colored lights crawls off on his screen.

				ARNOLD
		Woah, woah, woah, what the hell, what the hell?

				HAMMOND
		What now?

				ARNOLD
		Fences are failing, all over the park!  A few minor 
		systems, he said!

				HAMMOND
			(to Muldoon, pissed)
		Find Nedry!  Check the vending machines!

				ARNOLD
	The monitors are failing.

	Muldoon heads for the door just as all the video monitors in the 
	control room go out with a faint electronic ZIP.

	The three of them freeze for a moment, looking at each other.  
	The tension in the room goes up a notch.

				HAMMOND
			(to Arnold)
		Use Nedry's terminal.  Get it all back on.  He can de-
		bug later.

	ARNOLD pushes off on the floor and whizzes over to Nedry's 
	master terminal in his chair.  With one stroke of his arm, he brushes 
	all the loose junk off Nedry's station - junk food, soda cans, torn out 
	magazine pages - - and tries to work.

				ARNOLD
		God, look at this workstation.

	The "Jeopardy"-type music is playing a little faster now.

	Muldoon steps forward, growing alarmed.

				MULDOON
		The raptor fences aren't out, are they?

				ARNOLD
			(checks)
		No, they're still on.

				HAMMOND
		Why the hell would he turn the others off?!


56	EXT	PARK ROAD	NIGHT

	A wire mesh fence in front of us has a very clear sign:

	DANGER!  ELECTRIFIED FENCE!
	This Door Cannot Be Opened
	When Fence is Armed!

	A hand reaches out, grabs the fence by the bare wire, flips a 
	latch, and shoves the door open.  No sparks fly.

	DENNIS NEDRY runs from the fence back to his jeep, drops it in 
	gear, and tears off down the park road.  The rain is absolutely flowing 
	down now, the road is rapidly turning to mud.

	IN THE JEEP,
	
	Nedry can barely see through the windshield.  He's driving as 
	fast as possible, checking his watch every few seconds.
	
	He leans forward, squinting to see through  the windshield, 
	wiping off the condensation with his free hand.  A fork in the road 
	rushes into view.  He jumps on the brakes - - to late.  The jeep 
	careens into a signpost.

				NEDRY
		Shit!

	He throws the door open and hurries to the fallen sign:  "To The 
	Docks".  He props it up - the directional arrow swings hopelessly on a 
	nail.  He clenches his jaws and growls.

	Soaked, Nedry stomps back to his car.

	Although he doesn't look too convinced, he drops the car in gear 
	and speeds off to the left.


57	EXT	CONTROL ROOM	NIGHT

	HAMMOND still hovers over ARNOLD's shoulder while he works at 
	Nedry's terminal.  Arnold MUTTERS to himself as he tries another 
	command.

				ARNOLD
		- - access main program grid - -

	He punches a button, but a BUZZER sounds and a little cartoon 
	image of Nedry appears on the screen and waves its little finger 
	disapprovingly.

				CARTOON NEDRY
		"You didn't say the magic word!"

				ARNOLD
			(livid)
		Please, God damn it!  I hate this hacker crap!

	He SMACKS the top of the monitor, furious.  The game show music 
	plays still faster.

				HAMMOND
		Call Nedry's people in Cambridge!

	Arnold whisks across the floor in his chair and snatches up the 
	nearest phone.  He punches for an outside line.

				ARNOLD
		Phones are out too.

				HAMMOND
		Where did the vehicles stop?


58	EXT	TYRANNOSAUR PADDOCK	NIGHT

	BAAA!  The goat that was brought up from the underground earlier 
	is still tethered in the same place, BLEATING in the pouring rain

	The two explorers sit still in the middle of the road.  A man's 
	form races back from the front car to the rear car.

	IN THE REAR CAR,

	GRANT, soaking wet, gets back into the care and closes the door 
	behind him.  MALCOLM turns to him.

				GRANT
		Their radio's out too.  Gennaro said to stay put.

				MALCOLM
		The kids okay?

				GRANT
		Well, I didn't ask.  Why wouldn't they be?

				MALCOLM
		Kids get scared.

				GRANT
		What's to be scared about?  It's just a little hiccup in 
		the power.

				MALCOLM
		I didn't say I was scared.

				GRANT
		I didn't say you were scared.

				MALCOLM
		I know.

				GRANT
		Fine.

	Malcolm turns and looks out at the driving rain, and the fence 
	that stands between them and the tyrannosaur paddock.  He is scared.


59	IN THE FRONT CAR,

	GENNARO, LEX, and TIM wait, bored.  The rain drums on the roof 
	monotonously.  Tim is upside down in the front seat.  Lex pushes his 
	legs up, and he swings them down.

				TIM
		Up and down, up and down!

				GENNARO
			(sotto)
		I can't believe we invited Ian Malcolm.

				TIM
		People were gettin' bloody noses - - things on your head 
		- - aneurisms - -

				LEX
			(a little dreamy)
		I think Dr. Grant is really - - smart.

				GENNARO
		How he'll write a butch of (letters) papers, go on Larry 
		King Live, say we're irresponsible - -

	Tim climbs into the back seat.  Lex hits him with her hat as he 
	moves by her.

				LEX
		Don't scare me.

	- - - - - - - - - - - - - - -????- - - - - - - - - - - - - - -

	Tim finds something under the seat and sits up abruptly, holding 
	what looks like a heavy-duty pair of safety goggles.

				GENNARO
		Hey!  Where did you find those things?

				TIM
		In a box under my seat.

				GENNARO
		Are they heavy?

				TIM
		Yeah.

				GENNARO
		Then they're expensive.  Put them back.
	
	He leans back and closes his eyes.  Tim ignores him and puts on 
	the goggles.

	- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

	Tim stares out the back window of the Explorer with Grant and 
	Malcolm in it, behind them.  The image is bright fluorescent green.

				TIM
		Oh, cool!  Night vision!

	As Tim watches, the door of the rear Explorer opens, and a hand 
	reaches out, holding an empty canteen out to catch some rain water.


60	IN THE REAR CAR

	Grant pulls the canteen back in, closes the door, and takes a 
	drink.  He and Malcolm wait.

61	IN THE FRONT CAR

	Tim continues to stare out of the back window with the goggles.  
	He swings his legs - - but suddenly stops.  He feels something.  He 
	pulls off the goggles and turns back.  He moves into the back seat with 
	Lex who is tapping her hat, and reaches forward to still her hand.

	BOOM.  BOOM.  BOOM.

				TIM
		Did you feel that?
			(or)
		Can you feel that?

	She don't answer.

	Tim leans over to the front passenger seat and looks at the two 
	plastic cups of water that sit in the recessed holes on the dashboard.  
	As he watches, the water in the glasses vibrates, making concentric 
	circles - -

	- - then it stops - -
	
	- - and then it vibrates again.  Rhythmically.

	Like from footsteps.

	BOOM.  BOOM.  BOOM.

				GENNARO
			(not entirely convinced)
		What is that?  M-Maybe it's the power trying to come 
		back on.

	Tim jumps into the back seat and puts the goggles on again.

				LEX
		What is that?

				GENNARO
		What is what?

	Tim turns and looks out the side window.  He can see the area 
	where the goat is tethered.  Or was tethered.  The chain is still 
	there, but the goat is gone.

	BANG!
	
	They all jump, and Lex SCREAMS as something hits the Plexiglas 
	sunroof of the Explorer, hard.  They look up.

	It's a bloody, disembodied goat leg.

				GENNARO
		Oh, Jesus.  Jesus.
	
	Tim whips around to look out the side window again.  His mouth 
	pops open, but no sound comes out.  Through the goggles, he sees an 
	animal claw, a huge one, gripping the cables of the "electrified" 
	fence.

	Tim whips the goggles off and presses forward, against the 
	window.  He looks up, up, than cranes his head back further, to look 
	out the sunroof.  Past the goat's leg, he can see - -

	- - Tyrannosaurus rex.  It stands maybe twenty-five feet high, 
	forty feet long from nose to tail, with an enormous, boxlike head that 
	must be five feet long by itself.  The remains of the goat hang out of 
	the rex's mouth.  It tilts its head back and swallows the animal in one 
	big gulp.

	Gennaro can't even speak.  His hand claws for the door handle, 
	he shoulders it open, and takes off, out of the car.

				LEX
			(freaking out)
		He left us!  He left us alone!  Dr. Grant!  Dr. Grant!  
		He left us!  He left us!


62	ON THE ROAD,

	Gennaro runs away, as fast as he can, right past the second car, 
	towards a cement block outhouse twenty or thirty yards away.

	He reaches it, ducks inside, and pulls the door after him - -

	- - but there's no latch, just a round hole in the unfinished 
	door.  Gennaro backs into a stall, frantic.

	The whole bathroom begins to shake.

63	IN THE REAR CAR,

	Grant and Malcolm turn in the direction Gennaro went.
	
				GRANT
		Where does he think he's going?
	
				MALCOLM
		When you gotta go, you gotta go.

	Malcolm looks the other way, out the passenger window.  As he 
	watches, the fence begins to buckle, its post collapsing into 
	themselves, the wires SNAPPING free.

				MALCOLM
		What was that all about?  - -

	Grant now turns and watches as, ahead of them, the "DANGER!" 
	sign SMACKS down on the hood of the first Explorer.  The entire fence 
	is coming down, the posts collapsing, the cables SNAPPING as - -

	- - the T-rex chews its way through the barrier.

	They watch in horror as the T-rex steps over the ruined barrier 
	and into the middle of the park road.  It just stands there for a 
	moment, swinging its head from one vehicle to the other.

64	IN THE FRONT CAR,

	The rex strides around to the side of the car and peers down, 
	from high above.  Tim leaps into the front seat and pulls the driver's 
	door shut.  Both kids are terrified, breathing hard, unable to speak.

				TIM
		Please!  Please!

65	IN THE REAR CAR,

				MALCOLM
		Boy, do I hate being right all the time.

				GRANT
		Look at that!

	The T-rex turns and strides quickly back towards them.  It 
	circles, slowly, bending over to look in at them through the window.

	Grant and Malcolm sit trembling in the front seat, watching as 
	the giant legs stride past their windows.

				GRANT
		(a quivery whisper)
		Keep absolutely still - - it's vision's based on 
		movement!

				MALCOLM
		You're sure?!

				GRANT
			(pause)
		Relatively.

	Malcolm freezes as the rex bends down and peers right in through 
	his window.  The dinosaur's giant, yellowing eye is only slightly 
	smaller than the entire pane of glass

	The T-rex pulls away slightly, then reaches down and BUMPS the 
	car with its snout, rocking it.

66	IN THE FRONT CAR,

	Lex is rummaging around in the back cargo area, looking for 
	something, anything.  She finds a flashlight.

67	ON THE ROAD,

	The front car lights up from within as Lex switches on the 
	flashlight.

	The dinosaur raises its head.  It turns slowly from the second 
	car to the first car, drawn by the light.  Making a decision, it 
	strides over to the first vehicle.  FAST.

68	IN THE FRONT CAR,

	Tim and Lex can only stare out of the windows as the T-rex 
	reaches their car and starts to circle it.

	The rex bends down and looks in through the front windshield, 
	then the side window.  Tim is eye to eye with the thing for a second, 
	then the dinosaur raises its head up, above the car.

				LEX
		I'm sorry - - I'm sorry - -

				TIM
		Turn it off, Lex!  Turn it off!

	Tim climbs over the seat and joins Lex.

				TIM (cont'd)
		Where is the button then?

				LEX
		I don't know, I don't know.  I'm sorry - -

				TIM
		Why did you do this?

				LEX
		I don't know!  I'm sorry!

	The Kids look up, through the sunroof, as the head goes higher, 
	and higher, and higher, and then the rex turns, looks straight down at 
	them through the sunroof, opens its mouth wide and - -

	- - ROARS.

	The windows RATTLE, Lex SCREAMS, the flashlight goes on again, 
	and the tyrannosaur strikes.

	SMASH!  The thing's head its the plastic sunroof, knocking the 
	whole frame right out of the roof of the car and down into the vehicle.  
	The bubble falls down onto Tim and Lex, trapping them, and the animal 
	lunges down, through the hole, SNAPPING at them.

	The Plexiglas holds, though and protects Tim and Lex even as it 
	pins them to the seats.  The T-rex continues to push down, and the 
	glass GROANS, crack lines racing across it.

	Tim, whose feet were caught above him, pushes back, only an inch 
	of glass between him and the dinosaur's teeth.

69	IN THE REAR CAR,

	Grant and Malcolm watch in horror as the dinosaur claws at the 
	side of the vehicle with one of its powerful thigh legs.

	It pushes, starting to tip the car over.

				MALCOLM
		Oh my God!

				GRANT
		We gotta do something.

				MALCOLM
		What?  What can we do?

				GRANT
		There's gotta be something - -

	Grant looks around, climbs over the seat.  He tears apart the 
	back area, searching - and finally finds a metal case.  He opens it, 
	finding flares.  He grabs one and moves quickly back to the driver's 
	seat and opens the door.

	Malcolm grabs a flare, too.

70	IN THE FRONT CAR,

	the glass windows SHATTER, the Kids are thrown to the side, and 
	the Explorer tilts.

	The rex bends down and nudges the car with its head, rolling it 
	up on its side.  Tim and Lex tumble around.

71	ON THE ROAD

	the T-rex starts to nudge the Explorer toward the barrier.  Over 
	the barrier, there is a gentle terraced area at one side where the rex 
	emerged from, but the car isn't next to that, it's next to a sharp 
	precipice, representing a fifty or sixty foot drop.

	The car, upside down now, is pushed near the edge.

	The rex towers over the car.  Like a dog, its puts one foot on 
	the chassis and tears a the undercarriage with its jaws.

	Biting at anything it can get a hold of, it rips the rear axle 
	free, tosses it aside, and bites into a tire.

	The tire EXPLODES, startling the animal.

72	INSIDE THE CAR,

	Tim and Lex are trapped inside the rapidly flattening car.  As 
	the frame continues to buckle, they crawl toward the open rear window, 
	the car collapsing behind them.  Mud and rain water pout into what 
	little space there is left.

	Tim is ahead, nearing the back window, when there is a CRUNCH 
	and a seat comes down, pinning him.

73	ON THE ROAD,

	the dinosaur backs up, dragging the Explorer, swinging it left 
	and right.  It seems ready to fling it over the edge.

	Grant gets out of his car.  He's holding the flare in one hand, 
	which he pulls the top off of.  Bright flames shoot out the end of it.

				GRANT
		Hey!  Hey!  Over here!

	The T-rex turns and looks at him
	
	Grant waves the flare slowly in front of him from side to side.  
	The T-rex follows his moving arm, eyes locked on the flare.  Grant 
	looks over to the wall, and tosses the flare over the edge of the 
	barrier.  The rex lunges after it - -

	Unclear with Grant's plan, Malcolm leaps out of the car and 
	tries to scare up the T-rex's attention with his own newly lit flare.  
	He begins to wave it at the animal.  Grant sees him - -

				GRANT
		Ian!  Freeze!  Freeze!  Get rid of the flare!

				MALCCOLM
		Get the kids!

	Malcolm inches back slowly, then takes off, running for his life 
	down the road.  He runs to the cement block outhouse Gennaro went into 
	earlier.

	The T-rex sees the movement.  It whirls and takes off after 
	Malcolm, fast.

	Malcolm runs as fast as he can, approaching the outside just 
	steps ahead of the T-rex

	But not far enough ahead.  Without even slowing down, the rex 
	leans forward and flicks Malcolm into the air with its snout.

	It's just a nudge a for the rex, but it sends Malcolm sailing 
	right through a wooden portion of the wall, and into the building.


74	IN THE RESTROOM

	Gennaro, who cowers in a corner, SCREAMS as teh head of the T-
	rex EXPLODES through the front of the building, sending chunks of 
	cement flying in all directions inside.  The roof collapses; Gennaro 
	tries to protect himself from the falling junk.


75	ON THE ROAD

	Grant gets on his feet and watches as the T-rex noses around in 
	the rubble.

	It seems to find something.  It lunges, and Grant can hear 
	Gennaro SCREAMING, the sound piercing - -

	- - until it abruptly stops.

	Grant scrambles over to the car.

				GRANT
		Tim!  Lex!

				LEX
		Dr. Grant!  Dr. Grant!

	He lays on the ground, looking inside, and sees Lex staring up 
	at him, conscious, her face covered in mud.

				GRANT
		Are you okay?  Can you move?
			(calling into the car)
		Tim!  Are you okay?

	- - - - - - - - - - - - - - -VERSION 1- - - - - - - - - - - - - - -

				GRANT
		Tim, are you okay?

				TIM
		I'm stuck.  The seat's got my feet!

				GRANT
		Tim, I'll come back for you.  I'll get Lex out first.

	- - - - - - - - - - - - - - -VERSION 2- - - - - - - - - - - - - - -

				LEX
		He's knocked out!  He's knocked out!  Dr. Grant!  Dr. 
		Grant!  Daddy, daddy!

				GRANT
		Let's get you out.

	- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

	Grant reaches in and drags her out.
	
				GRANT
		Are you okay?  Good girl.

	Grant tries to find Tim
	
				GRANT (cont'd)
		Tim?  Tim?

	Lex, staring over his shoulder, SCREAMS.  Grant whirls, covering 
	her mouth at the same time.

				GRANT (cont'd)
		Shhh!  Don't move!  It can't see us if we don't move.

	Lex looks at him like he's crazy, but freezes.  They wait.

	BOOM!  A big T-rex foot print smacks down in front of them as 
	the dinosaurs approaches the car again.  It leans down, right past 
	them, and SNIFFS the car, ragged bits of flesh and clothing hanging 
	from its teeth.

	Not finding anything, the dinosaur swings its head away, 
	SNORTING loudly through its nose.  Grant's hat flies off his head. 
	Still, he doesn't move.

	The rex walks to the back of the car.  It bends down.

	WHAP!  The car spins as it is pushed from behind by the rex.  
	Grant and Lex are pushed in front of it, helpless.  They scramble 
	around on their knees, trying to keep ahead of the car, which the rex 
	is now pushing even closer to the edge of the barrier.

	Grant and Lex crawl quickly, but the car is moving faster, 
	catching up on them.


76	INSIDE THE CAR

	Tim awakens and SCREAMS.  He tries to untangle himself.


77	ON THE ROAD,

	the T-rex looms over Lex and Grant, who are trapped between the 
	car and the sixty foot drop.


78	INSIDE THE CAR,

	the rex bends down and sees Tim.  Tim backs away, furiously, but 
	there's almost no room to move in there.  The rex opens its mouth wide
	and stretches its tongue into the car.

	Tim screams and kicks as the tongue tries to wrap around him.  
	But it fails, and withdraws from the car.


79	ON THE ROAD,

	the T-rex still tries to get to Grant and Lex, pushing the car, 
	spinning on its roof.  Grant and Lex scramble, trying to avoid being 
	caught by the T-rex and crushed by the car.

				GRANT
		This way!

	The back of the car almost crushes them against the barrier - -

				GRANT (cont'd)
		Get back!

	They move, as the rex continues to move the car towards the 
	edge.  Grant finally gets on the wall, Lex follows.

	The T-rex ROARS in frustration.  It bends down for one final 
	lunge at the car.

	Grant sees it coming.  He grabs one of the dangling fence cables 
	on the other side of the barrier.

				GRANT
		Grab a hold of me!

	She wraps her arm around his neck.  He scrambles to the edge of 
	the barrier, and starts to climb down.

				LEX
			(screaming)
		Timmy!  Timmy!

	The cable is slick with rain, and it's all Grant can do to hang 
	on as he and Lex slide rapidly down.  Above them, the vehicle is now 
	teetering over the edge, threatening to drop right on top of them if 
	they didn't hurry.

	Grant GASPS, as Lex has unwittingly started to choke him as she 
	holds on for dear life.

				GRANT
		You're choking me!

	The car GROANS, nearly over the edge now.  Grant looks to the 
	side.  There are other cables, out of the line of the car's impending 
	drop.  His feet scrambling along the concrete wall, Grant tries to 
	swing over towards one.

				GRANT
		Grab a wire!

	But he falls short.  His momentum carries them back the other 
	way, but on the second swing Lex manages to grab hold of the second 
	cable.

				LEX
		I got it!
	
	The car falls.  Lex and Grant are clear by inches, clinging to 
	the second cable.

				LEX
		Timmy!

	The car CRUNCHES into the leafy top of a tree, resting on its 
	roof some fifteen feet below them.

	The T-rex stares down at them, but they are safely out of its 
	reach.

	It ROARS once more, in a final fit of frustration, turns - -


A80	INT	CONTROL ROOM	NIGHT

	JOHN HAMMOND is lived

				HAMMOND
		I will kill Nedry.  I will kill him.

	Muldoon bursts through the door.

				HAMMOND
			(to Muldoon)
		Well?

				MULDOON
		There's no sign of him anywhere.

	The game show music is louder and faster now, very annoying.

				HAMMOND
		Ray will you please switch off 
			(or)
		stop that music?!

	RAY ARNOLD's cigarette is practically burning his lips, down to 
	almost nothing in his mouth.  He hovers over NEDRY's computer terminal, 
	which is a mass of incomprehensible commands that scroll by quickly as 
	he futilely examines each one of them.

	MULDOON paces.  ELLIE stares at Arnold in amazement.

				ELLIE
	Are we getting anywhere with these procedures of yours?  
	I mean, what's hanging us up?

				ARNOLD
	I ran a key check on every stroke Nedry entered today.  
	It's all pretty standard stuff, until this one - -

				ELLIE
			(stands, joins the group at the computer)
		What one?

	He points to his computer screen, to a specific series of 
	commands.  The others crowed over his shoulder and stare at the screen.

				ARNOLD (cont'd)
		"Keycheck /space -o keycheck off safety -o."  He's 
		turning the safety systems off.  He doesn't want 
		anybody to see what he's about to do.  Now look at this 
		next entry, it's the kicker.  "Wht.rbt.obj."  Whatever 
		it did, it did it all.  But with Keycheck off, the 
		computer didn't file the keystrokes.  Only way to find 
		them now is to search the computer's lines of code one 
		by one.

				ELLIE
		How many lines of code are there?

				ARNOLD
		Uh - - about two million.

				ELLIE
		Two million - - great.  That would help.
			(or)
		Oh good, that'll take no time.

				HAMMOND
		Robert - - I wonder if perhaps you would be kind
			(or)
		good enough to take a gas jeep and bring back my 
		grandchildren.

				MULDOON
		Sure.

				ELLIE
		I'm going with him.

	They head for the door.  Hammond turns, staring out the windows 
	at the front of the control room.  He's gone pale, and he's sweating, 
	wrapped up in million thoughts.  Behind him, Ray Arnold's voice calls 
	to him, but he doesn't hear it.

				ARNOLD
		John - - John - -

	Hammond leans on his cane, and for the first time he looks like 
	he's actually using it.

				ARNOLD (cont'd)
		John.

	Hammond turns, finally hearing him.

				ARNOLD (cont'd)
		I can't get Jurassic Park back on line without Dennis 
		Nedry.


80	EXT	PARK ROAD	NIGHT

	As the rain continues to pour down, a gas-powered jeep ROARS 
	down another park road.


81	INT	JEEP	NIGHT

	DENNIS NEDRY drives the jeep as fast as he can in the 
	treacherous conditions.  He MUTTERS to himself, shaking his head.
	
				NEDRY
		Shoulda been there by now - - shoulda been there - -

	He hauls it around a corner and looks down, checking his watch.  
	When he looks back up, his eyes go wide.

	There's a white wood guard rail fence, right in front of him.  
	He stands on the brakes as hard as he can.  The jeep fishtails, 
	skidding out of control in the mud towards the fence.
	
	Nedry hauls the wheel hard to the side to try to control the 
	skid, but the jeep skids off the road, going halfway over the muddied 
	embankment.

				NEDRY (cont'd)
		God damn it!

	He drops the car in reverse and hits the gas.  The wheels spin, 
	sending mud flying everywhere, but the jeep goes nowhere, just digs in 
	further.

	Nedry can't believe it.  Frustrated, he gets out of the jeep.  
	He stops suddenly - he can see another park road, down the sloping 
	embankment, about twenty feet below.

	There is a large sign alongside the road.  Nedry leans forward 
	excitedly to get a better look.  It reads "TO EAST DOCK."  He scrambles 
	to the front of the jeep.
	
	ON THE HILLSIDE
	
	Nedry CRANKS a winch its coil on the front end of the jeep.

				NEDRY
			(mumbling to himself)
		No problem.  Winch this sucker off the thing - - tie it 
		do a thing - - pull it down the thing - - and pull it 
		back up.

	He loses his balance and slips - falling back on his rear.  He 
	slides down the muddy embankment, across the road below.  Pissed, he 
	gets to his knees and searches for his glasses.

				NEDRY (cont'd)
		Where are my glasses?  I can afford new ones.

	He stands and grabs the winch, and goes to a sturdy-looking tree 
	on the other side.

				NEDRY (cont'd)
		You can make it!

	From the distance, there is a soft HOOTING sound.  There's some 
	movement in the bushes - Nedry looks around for the source of the sound 
	and movement.  He doesn't find it.  He nervously checks his watch and 
	goes back to the winch, but faster.

				NEDRY (cont'd)
		No problem - - pop this thing right down - -

	The HOOTING comes again and Nedry turns - again, nothing.

	A figure ducks around the tree and pops out on the other side, 
	HOOTING playfully.

	Nedry looks around one side of the tree - nothing.  It pops up 
	on the other side, HOOTING again.  And Nedry looks again.  Nothing.  It 
	seems like a friendly game of hide-and-seek.  But Nedry begins to get 
	rattled.

				NEDRY
	That's nice.  Gotta go. I'm getting out of here.  C'mon 
	you can make it!

	He secures the winch and starts across the road, back up the 
	embankment.  He freezes, as he feels something behind him.  He turns 
	around slowly and sees:

	A dilophosaur.  It stands only about four feet high, its spotted 
	like an owl, and has a brilliant colored crest that flanks its head.  
	It doesn't look very dangerous.  In fact, it's kind of cute.

				NEDRY (cont'd)
		Oh.  Uh - - nice boy.  Nice boy.  Okay. Run along.  I 
		don't have anything for you!  Go on!  	Go home!  Dinner 
		time!  Are you hungry?  They'll feed you!  Go, boy.  
		Girl.  Whatever.

	The dilophosaur just stares at Nedry, tilting its head 
	curiously.  Nedry looks around on the ground and finds a stick.  He 
	picks it up and chucks it at the thing.  He throws it as far as he can.

				NEDRY (cont'd)
		Nice juicy stick!  Fetch!

	The dilophosaur gets into the spirit of the game, but not the 
	object.

				NEDRY (cont'd)
		Lame brain!  What's the matter with you?
			(or)
		What's the matter with you?

	He shakes his head and starts back towards the jeep, muttering 
	to himself.

				NEDRY (cont'd)
	Walnut brain...extinct kangaroo...hope I run over you on 
	the way down - -	

	- - - - - - - - - - - - - - -??-OR-??- - - - - - - - - - - - - - -

				NEDRY (cont'd)
		Walnut brain...extinct kangaroo...hope I run over you on 
		the way down - -

	He's near the top when the dilophosaur suddenly hops out right 
	in front him, startling him.  Nedry loses his balance and falls back, 
	right on his rear.  He gets to his feet, angry.

				NEDRY (cont'd)
		I said - -

	He picks up a stick and chucks it at the thing.

				NEDRY (cont'd)
		- - beat it!

	- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

				NEDRY (cont'd)
		What are you do - -

	The animals HISSES.  The brightly colored fan around its neck 
	flares wildly, two bulbous sacs on either side of its neck inflate.  It 
	rears its head back again - -

	- - and it SPITS.

	SPLAT!  A big glob of something wet SMACKS into the middle of 
	Nedry's chest.  He reaches down and touches the goo that's dribbling 
	down his slicker.

				NEDRY (cont'd)
		That's disgusting!
	
	SPLAT!  Another glob of goo SMACKS into the highlight, right 
	next to Nedry's head.

	He stands up.  A look of confusion crosses his face.  He lifts 
	his right hand, the one that he touched the spit with, and looks at it 
	strangely, flexing it.

	POW!  This time the lugie hits Nedry right smack in the face.  
	He SCREAMS and rubs it away, frantically.

	Because it hurts.  Like hell.  Nedry falls back, clawing at this 
	eyes, in excruciating pain.  He pulls his hands away, starting to 
	hyperventilate.  He flails his arms in front of him, blinking a mile a 
	minute, but blinded.

	He staggers forward, to try to get into the jeep.  He gets the 
	door open, but SMACKS his head on the door frame and collapses.

	The can of shaving cream flies out of Nedry's jacket pocket - - 
	and tumbles into runoff water, down the muddy hillside.  Nedry gets to 
	his feet again and staggers in the general direction of the jeep.  He 
	reaches the open door and feels his way in.  He SLAMS the door.

	There is another HOOT.  From inside the jeep.

	Nedry turns and SCREAMS.  The dilophosaur is right there, in the 
	passengers seat.  It HISSES louder than before, its crest fans angrily, 
	vibrating, reaching a crescendo - -
	
	- - and the thing pounces, SLAMMING Nedry back against the 
	driver's window, SHATTERING it.  As Nedry shrieks - -

	Rain and mud wash over the shaving cream can, burying it.


82	OMITTED


83	EXT	PARK GROUNDS	NIGHT

	The rain has all stopped now.  GRANT and LEX are at the bottom 
	of the large barrier leading up to the park road.  Like it or not, 
	they're in the park now, and are surrounded by think jungle foliage on 
	all sides.  They're both beaten up, and Grant's face is covered in 
	blood.
	
	He's bent over a big puddle, splashing water on his face, 
	rinsing the blood off and trying to bring himself to.
	
	Poor Lex is scared as hell.  She stands behind Grant, ramrod 
	straight, her breath coming short, desperate GASPS.  Her eyes are wide, 
	and she doesn't look like she can move.

	As Grant gets rid of the blood, his injury doesn't look so bad, 
	just a gash on his forehead.

	He turns and looks up to the tree the Explorer fell in.  It's 
	stuck there, nose down in the thickest top branches.

	Lex's GASPS are getting louder.  She's terrified.

				GRANT
		Hey, come on, don't - - don't -- don't - - just - -just 
		- - stop, stop.

	He touches her, but it's awfully awkward, more of a pat on the 
	head than anything strong or reassured.

	But she responds to the contact, hurling herself forward and 
	throwing her arms tightly around his waist.  She clamps here, holding 
	on for dear life, SOBBING.

				GRANT (cont'd)
		Lex, you gotta be quiet, please.  Stop it.  Shhhhh.

	This seems to quiet her.

				GRANT (cont'd)
		Because if we make too much noise, he's going to hear us 
		and come back.

	Lex bursts out crying again, a WAILING scream, nearly hysterical 
	now.  Grant holds her, no idea what to do.  He turns and looks around.

				GRANT (cont'd)
			(a whispered shout)
		Timmy?!  Timmy!

	He hears a CRACKING sound.  He looks up to the tree again.  The 
	Explorer has fallen a few feet lower into the branches.

	Grant looks down at Lex, who is sitting on a rock.

				LEX
		Dad - - Dad - -

				GRANT
	Shhh - - I'm right here, Lex.  I'm going to look after 
	you.  I'm going to help your brother.  I want you to 
	stay here and wait for me, okay?

				LEX
		He left us!  He left us!

				GRANT
		That's not what I'm going to do.  Good!

	Grant walks to the tree.  Lex scampers into the culvert.


84	EXT	TREE	-	NIGHT

	GRANT takes a deep breath. grabs hold of the first branch, and 
	starts his long climb.  Fortunately, it's a good climbing tree, its 
	branches thick and regularly spaced.

	Grant moves at a good pace.  He reaches the car's level, on the 
	driver's side five or six feet to one side of it.

	The car's in rough shape.  It's much thinner that it use to be, 
	its nose completely smashed in, the front wheels driven solidly into a 
	thick branch.  They are what hold it in place.

				GRANT
		Tim?  Tim?

	Grant comes up to the car and looks in.  TIM is huddled on the 
	floor on the passenger side, frightened, hugging his knees to his 
	chest.

	He looks up at Grant with a tear and blood-streaked faced.  His 
	voice is barely audible. 

				TIM
		I threw up.

				GRANT
		That's okay.  Listen, give me your hand.

	Tim doesn't move.

				GRANT (cont'd)
		I won't tell anybody you threw up.  Just give me your 
		hand, okay?

	He reaches out.  Tim reaches too, but they're still about a foot 
	apart.  Grant grabs hold of the steering wheel, to pull himself further 
	in.  The wheel turns.

	On the branch, the front wheel turns, losing a bit of their grip 
	on the thick branch they're resting on.

	Tim and Grant grab hands.  Grant holds on to him, getting an arm 
	securely around his waist.  They climb down.  They stop on a branch.

				GRANT
		Okay, that's not so bad, ah Tim?

				TIM
		Yes it is.

				GRANT
	It's just like coming out of a tree house.  Did your dad 
	ever build you a tree house, Tim, eh?

				TIM
		No.

				GRANT
		Me too.
			(he starts to move down)
		Okay.  Well, the main thing about climbing is never, 
		never look down, never.

				TIM
		This is impossible.  How am I going...I can't make it.  
		This is...it's about fifty feet.

				GRANT
		So am I going to help you with your foot?

				TIM
		What if the car falls?
			(or)
		What if the wheels fall?

	The car GROWNS forward on the branch, which sags in their 
	direction.  They look up.  The car begins to shift dramatically towards 
	them.

				GRANT
		Oh, no!  GO, Tim, go!  Go!

	They climb down, as fast as they can, as the big branch that is 
	supporting the car CREAKS, ready to give way any second.

				GRANT (cont'd)
		Faster!  Faster!

	The branch breaks.  Disintegrates, really, and the car falls 
	straight at them.

	Grant and Tim let go of the branch they're on and fall, THUDDING 
	into another branch a few feet down.  The car SMACKS into the bug 
	branch they just vacated, and stops there.

	Grant and Tim are half climbing, half falling down the tree now, 
	slipping on the resin-covered branches, just trying like hell to get 
	out of the way.

	CREEEE-POW!  The second branch breaks, and now the car SMASHES 
	and CRASHES through a network of thinner branches, headed right for 
	them.  It hits open space and goes into free fall.

	Grant turns, and puts up his arms in defense --

	-- and the car stops, SLAMMING into a thick branch just above 
	him.

	Grant looks up, eyeball to eyeball with the front grill.

	The new branch starts to CREAK.

	Grant and Tim basically fall down the rest of the tree, the car 
	BASHING its way through right behind them.  They jump the last six or 
	seven feet and hit the ground, hard.

	Grant grabs Tim and rolls with him, to the side, just as the car 
	SMASHES into the earth, nose first, standing upright that way.
	
	They look up in relief, but the damn thing's still heading for 
	them, now tipping over, falling straight at them, and there's no way 
	they have time to get out of the way this time, so Grant just balls 
	himself up on top of Tim to try to protect him and --

	-- CRASH!  The jeep falls on top of them.  Grant, amazingly 
	unhurt, looks up confused.

	They're inside the jeep again, saved by the hole sunroof.


	CUT TO:


85	EXT	CULVERT	-	NIGHT

	LEX is still in the culvert, terrified, slowly BANGING her head 
	against the wall.

	GRANT is at the mouth of the culvert, carefully studying the 
	rinky-dink map of the park he picked up during the slide show.

				GRANT
		Okay -- okay --

	He's trying to get his bearings from the crude, cartoon-like 
	drawing on the map, but it's tough.

	He looks up, picking a direction, and shoves the map in his 
	pocket decisively.

	He looks back in at Lex.

				GRANT (cont'd)
		Lex, you're going to have to get out of there.
			(he walks towards her)
		Hiding isn't a rational solution; we have to improve our 
		situation.

	She doesn't move.  Grant looks at Tim.
	
				GRANT (cont'd)
		Tim's out here.
			(Grant picks Tim up)
		He's okay.

	Still nothing.  Grant tries a new tact.

				GRANT
			(walking away)
		'Course you could just wait in there while we go back 
		and get help.

				TIM
			(following Grant)
		That's a good idea.

				GRANT
		You'll probably be safe enough (alone) on your own --

				TIM
		I doubt it.

				GRANT
		Maybe -- it's hard to say.

				LEX
		Liar!  You said you wouldn't leave!

				GRANT
		I'm trying to use psychology to get you out of the 
		drain, you know!

	She just stares at him like he's nuts.  Tim shakes his head at 
	Grant, as if to say "nice try."  Grant calms his tone.

	- - - - - VERSION 1 - - - - -

				GRANT (cont'd)
		We can't go back the way we came.  What we have is a 
		free-range T-rex on the road.  There's (there are) 
		fences on either side.  If we meet him between here and 
		the lodge, we'd have problems.  But what this means, 
		what this means, is that this whole paddock is empty.  
		It's safe.

				LEX
		It's safe?

				GRANT
		It's safe.

				LEX
		It's safe.

				GRANT
		Go (and) that's the way we're going to go.  What do you 
		say?

				LEX
		Alright.

	- - - - - END - - - - -

	- - - - - VERSION 2 - - - - -

				GRANT (cont'd)
		Alright.  We're just going to walk back home.  Together.

	We walks over to Lex at the culvert and sits across from her.

				GRANT (cont'd)
		But we can't walk back on the road.  There are fences on 
		either side.  And if we meet the Rex between here and 
		the lodge we'd -- have problems.

	Lex covers her ears.  Grant tries to calm her.

				GRANT
		He's probably staked out the road as a feeding ground, 
		which means this whole paddock is empty.  It's safe.  
		It's safe, and that's the way we're going to go.  What 
		do you say?

	- - - - - END - - - - -

	He's spoken calmly and confidently, so Lex crawls out of the 
	culvert and stands next to him.

				GRANT
		Good girl.

	He kisses her hand and helps her crawl out of the culvert.

	Tim and Lex nod, and he starts off in the direction he 
	indicated.  They trail behind him.

				GRANT (cont'd)
		Might be kind of slow, but it can't be more than three 
		or four miles.  I'd hoped the rex finished feeding by 
		now, but let's not kid ourselves.  Did you know a 
		carnivore can eat up to 25% of its body weight in 
		(about) one sitting, so he's probably just ready to move 
		on to the main course by now --

	He stops in the middle of the sentence, noticing he's alone.  He 
	turns around.  Now both kids have scampered all the way back into the 
	culvert, terrified.


86	EXT	PARK ROAD	NIGHT

	MULDOON and ELLIE race down the park road in an open-topped jeep 
	like the one Nedry took earlier.  Neither of them speak, they just 
	stare ahead grimly, wondering what they're about to find.

				MULDOON
		There they are!

	They round a corner and come to the top of the hill, where the 
	attack took place.  The jeep skids to a stop and they jump out.

	The road is rutted, muddy mess.  The cement block house is a 
	pile of rubble.  One of the Explorers is gone, the other stands 
	untouched, both doors hanging open.

				ELLIE
		Oh, God.  Where's the other car?

	She runs to the Explorer.  Muldoon follows, looking around.

	AT THE EXPLORER,

	Ellie leans in and looks around.  Nobody's there.  She and 
	Muldoon walk towards the wreckage of the outhouse, calling out:

				ELLIE (cont'd)
		I think it's ahead of us.

				MULDOON
		It could be anywhere.  With the fences out, it can go in 
		and out of any paddock it likes.
	
	They hear a MOANING sound from somewhere in the wreckage of the 
	restroom building.  They rush over to it.

	IAN MALCOLM lies on his back, semiconscious among the twisted 
	wood and cement.

				MULDOON
		It's Malcolm!

	He shines his light along the length of Malcolm's body.  His 
	shirt is soaked with blood, but his right leg is even worse off.  The 
	right ankle it bent outward at a strange angle from his leg, the 
	trousers flattened, soaked with blood.

	Malcolm's belt has been twisted around his thigh.
	
				ELLIE
		He's put a tourniquet on.  Ian!  Ian!

	Malcolm GROANS as she touches him, groggy.

				MALCOLM
		Remind me to talk John for a lovely weekend.

	The T-rex ROARS again.  But closer now.  Ellie and Muldoon look 
	at each other.

				ELLIE
		Can we chance moving him?
	
				MALCOLM
		Please - - chance it.

	Muldoon lays Malcolm as carefully as possible in the back of the 
	jeep.

				MALCOLM
		Where are the kids?

	Ellie looks around.

				ELLIE
		Lex!  Tim!

	She turns and looks back at the empty road.  She's on the verge 
	of tears, but is fighting them back.

				MULDOON
		Dr. Sattler, I've seen a lot of animal attacks.  People 
		just disappear.  No blood, no trace.  	That's the way it 
		happens.

				ELLIE
		No, no, no!

	She walks to the edge of the road, her eyes following the deep 
	ruts the Explorer made when it went over the edge.  Muldoon gets ready 
	to leave.

				MULDOON
		Ellie, com one!!

				ELLIE
		The other car!


87	EXT	CLEARING	NIGHT

	ELLIE's and MULDOON's flashlight beams spray light by the base 
	of the tree.

				MULDOON
		Dr. Grant!

				ELLIE
		Alan!

	They find the wrecked Explorer.  Muldoon peers inside, looking 
	for anything.

				ELLIE
		Do you see anything?

				MULDOON
		I don't know.

	The T-rex ROARS again, closer still

	Ellie nervously goes to the other side of the car and looks in.

				ELLIE
		Alan?!

				MULDOON
		They're not here.

	Ellie desperately searches the ground for any signs of Grant.  
	She finds their footprints.

				ELLIE (O.S.)
		Thank God.


88	EXT	PARK ROAD	NIGHT
		
	MALCOLM, laid out in the back of the jeep, feels something 
	strange.  He looks down, at the one of the T-rex footprints in the 
	road.  It's filled with water.

	The water in the puddle vibrates rhythmically.

	Malcolm's eyes widen.  He looks around, frantically.

				MALCOLM
		Uh - - anybody?  Anybody hear that?


89	EXT	CLEARING	NIGHT

	ELLIE is still looking around, to MULDOON's chagrin.  Her 
	flashlight falls on three sets of footprints in the mud.

				ELLIE
		Look!

	Wit her flashlight, she follows the trail the footprints made.  
	They lead into the jungle and disappear.


90	EXT	PARK ROAD	NIGHT

	MALCOLM's staring , wide-eyed, at the rings in the water, which 
	are getting bigger now.

				MALCOLM
		It's a - - an impact tremor is what it is, it, uh - -

	BOOM.  BOOM.

				MALCOLM (cont'd)
		I'm fairly alarmed here!

	ELLIE and MALCOLM come up over the embankment, excited.

				MALCOLM
		Gotta move, gotta get out of here.  Let's go - we gotta 
		go, we gotta get out of here, right now!  Go, go!  Let's hurry, let's 
		get out of here!

	They stop talking.  The BOOMING is louder now, and faster.  Much 
	faster.  They look back, over their shoulders.

				ELLIE
		Oh.

	Ellie and Muldoon get into the jeep, Muldoon in the driver's 
	seat.

				MALCOLM
		Move now!  Let's go, let's go, right now, right now!

	The tyrannosaur SMASHES out of the jungle foliage, bursts onto 
	the road, and runs straight at them, moving at least thirty miles an 
	hour.

				MALCOLM
		GOGOGOGOGOGOGOGOGOGO!

	Muldoon fumbles for the keys, turns the jeep over, and SLAMS it 
	into gear.  He drops the clutch, hits the gas, and tears ass out of 
	there.

	But the jeep is slow to work through the first few gears.  
	Terrified, Ellie dares to look down, to the side view mirror, which 
	tells her "Objects Are Closer Than They Appear."

	And they sure are.  The T-rex is still gaining on the slowly 
	accelerating jeep.  All three of them stare back at the rex in terror - 
	-

				ELLIE
		Faster, faster!

				MALCOLM
		Must go faster, it's getting closer - must go faster!

				ELLIE
		Faster!  Shit, shit, shit, faster!

				MALCOLM
		Must go faster, go, go.  Open it up, 5th gear, 5th gear!  
		Here it comes!  Stand on it!  Fifth - stand on it, 5th 
		gear, go!

	- - which means they don't see the half-fallen tree branch right 
	in front of them, blocking the path of the road.  Muldoon looks back 
	first, SHOUTS - -

				MULDOON
		DOWN!

	- - they all duck.

	The windshield hits the branch and SHATTERS as the jeep flies 
	ahead, really picking up speed now.

	The T-rex just runs right through the branch, SMASHING it 
	entirely.

	They're bounced around pretty badly.  Malcolm is knocked into 
	the front, and in so doing knocks the gear shift into neutral.  The 
	engine RACES, the T-rex closes in again - -
		
	Losing ground now, the dinosaur makes a final lunge for the jeep 
	and CRUNCHES into the left rear quarter panel - -

				ELLIE
		Faster, faster!

	- - but Muldoon SLAMS it back into gear and guns it.  The T-rex 
	gives up, fading into the distance.

	They drive in silence for a few moments, all scared out of their 
	wits.

				MALCOLM
		Think they'll have that on the tour?


91	EXT PARK GROUND	NIGHT

	GRANT, LEX, and TIM make their way through Jurassic Park.  Far 
	in the distance, there's another ROAR.  Grant hears it, but tries not 
	to show it.

				LEX
		Hear that?
			(or)
		Are you hearing this?

				GRANT
		No, I didn't hear anything.
			(or)
		No, we're okay.

	They keep walking, but now Grant is looking around for a safe 
	place to hide.  He looks up, to the towering trees around them.

				GRANT (cont'd)
		You (guys) both look pretty tired.  I think
			(or)
		why don't we find
			(or)
		we ought to find someplace to rest.

	He hears another ROAR

				GRANT (cont'd)
		Like about now.  C'mon!  Hurry up!  Like this tree.

				LEX
		Why are we hurrying if there's nothing wrong?

				TIM
		What if we fall?  I hate trees.


92	EXT	TREE	NIGHT

	LEX, TIM, and GRANT climb.  Grant is behind, watching the other 
	two, giving them a push up when they need it.

				TIM
		I hate trees!

				LEX
		They don't bother me.

				TIM
		Yeah, you weren't in that last one.

	Now, near the top of the tree, the three of them sit there, 
	dangling their legs, looking out over the park.

	It's an incredible view.  They can see in all directions.  And 
	with the full moon, there's a lot of detail.
	
	Most striking of all are dozens of sauropod heads, at the end of 
	long necks, that tower over the park.

				TIM (cont'd)
		Hey!  Those are brontosauruses - - I mean, those are 
		brachiosauruses.

				GRANT
		It's okay to call them brontosaurs, Tim.  It's a great 
		name.  It's a romantic name.  It means "thunder lizard".

				TIM
			(digging that)
		"Thunder lizard!"

	Grant finds a solid web of branch and settles himself in it, 
	leaning back against the trunk of the tree, with a little room on 
	either side of him. Lex nestles up next to him on the branch.  Grant is 
	surprised, but accepts it.

	Tim climbs off to the side, to a nook in the branch of his own.  
	Silent of a moment, the three can hear the HOOTS of the animals as they 
	call.  Some are almost musical.

				GRANT
		Listen to that!  They're singing!
			(he moves over to a higher branch)
		Of course no one's ever heard one from a dinosaur 
		before, but - - I could swear that sounds  suspiciously 
		to me like a mating call (to me).  In an all-female 
		environment - -
			(or)
		On an all-girl island?

	He smiles, enchanted.  He HOOTS himself, trying to imitate one 
	of the calls.  Immediately, five or six of the heads turn in their 
	direction and HOOT back.

				LEX
		No, no, sh, sh, sh - - stop!  Stop! Stop!  Don't let the 
		monsters come over here!

				LEX
		They're not monsters, Lex. They're just animals.  And 
		these are herbivores.

				TIM
		That means they only eat vegetables.  But for you, I 
		think they'd make an exception.

				GRANT
		Tim, Tim, Tim....

				LEX
		Oh, I hate the other kind.

				GRANT
		They're just doing what they do.
			(or)
		Well the other kind - -
			(he gets off the branch and goes back to sit with 
			the kids)
		- - just do what they do.

				LEX
		Dorkatops!

				TIM
		Straight-A brainiac!

				GRANT
		Could you guys possibly cool that for a - -

	Satisfied, Tim settles in for the night.  Grant shifts too, 
	getting comfortable, but something in his pocket pinches him.  He 
	winces and digs it out.  It's the velociraptor claw he unearthed so 
	long ago in Montana

	Yesterday, actually.  He looks at it, thinking a million 
	thoughts, staring at this thing that used to be so priceless.

				LEX
		What are you gonna do now if you don't have to dig of 
		dinosaur bones any more?

				GRANT
		I guess we'll just have to evolve too.

				TIM
		What do you call a blind dinosaur?

				GRANT
		I don't know.  What do you call a blind dinosaur?

				TIM
		A Do-you-think-he-saurus. What do you call a blind 
		dinosaur's dog?

				GRANT
		You got me.

				TIM
		A Do-you-think-he-saurus Rex.

	Grant laughs.  Both kids finally close their eyes, but after a 
	moment, Lex pops hers open again.

				LEX
		What if the dinosaur comes back while we're all asleep?

				GRANT
		I'll stay awake.

				LEX
			(skeptical)
		All night?

				GRANT
		All night.

	Grant lets the claw fall to the ground.


93	OMITTED


94	INT	RESTAURANT	NIGHT

	ELLIE comes into the darkened restaurant, following the source 
	of the flickering light.  A candle burns at a table in the corner.

	JOHN HAMMOND sits at the table, alone.  There is a bucket of ice 
	cream in the middle, and he's eating a dish of it, staring down 
	morosely.

	Ellie draws up to the table and Hammond looks up at her.  His 
	eyes are puffy, his hair is messed up - - for the first time we've seen 
	him, the fire is gone from his eyes.

				HAMMOND
		They were all melting.
			(or)
		It was all melting.

	Ellie just nods.
	
				ELLIE
		Malcolm's okay for now.  I gave him a shot of morphine.

				HAMMOND
		They'll all be fine.  Who better to get the children 
		through Jurassic Park than a dinosaur expert?

	Ellie nods.  Another pause.  Hammond breaks it again.

				HAMMOND (cont'd)
		You know the first attraction I ever built when I came
		down south from Scotland?  Was a Flea Circus, Petticoat 
		Lane.  Really quite wonderful. We had a wee trapeze, a 
		roundabout - - a merry-go - - what you call it?

				ELLIE
		Carousel.

				HAMMOND
		A carousel - - and a seesaw.  They all moved, motorized
		of course, but people would swear they could see the 
		fleas.  "I see the fleas, mummy!  Can't you see the 
		fleas?" Clown fleas, high wire fleas, fleas on parade...
			(he trails off)

		Ellie just looks at him, not sure what his state is.  He goes 
		on.

				HAMMOND
		But with this place, I - - I wanted to give (show) them
		something real, something that wasn't an illusion, 
		something they could see and (feel) touch.  An aim 
		devoid of (without) merit.

				ELLIE
		But you can't think through this one.  You have to feel
		it.

				HAMMOND
		You're absolutely right.  Yes, you're right.  Hiring 
		Nedry was a mistake, that's obvious.  	We're over-
		dependent on automation, I can see that now.  But that's 
		all correctable for the next time around.

				ELLIE
		John, John.  John, you're still building onto that Flea 
		Circus, that illusion.  And now you're adding onto it by 
		what you're doing here.  That's the illusion.


				HAMMOND
		(When) Once we have control again we - -

				ELLIE
		Control?!  You never had control!  I was overwhelmed by 
		the power of this place.  So I made a mistake too.  I 
		didn't have enough respect for that power, and it's out 
		now.  You're sitting here trying to pick up the pieces.  
		John, there's nothing worth picking up.  The only thing 
		that matters now are the people we love.  Alan, Lex, and 
		Tim.  And John, they're out there where people are dying 
		- - people are dying, you know?

	There is a long pause.  Hammond avoids her gaze.  Ellie reaches 
	out and takes a spoon out of one of the buckets of ice cream, and licks 
	it.  Finally:

				ELLIE (cont'd)
		It's good.

	He looks up at her, and his face is different, as the unhappy 
	irony of what he's about to say finally hits home.

				HAMMOND
		Spared no expense.


95	OMITTED


96	EXT	PARK	DAWN

	The sun comes up over Jurassic Park.  The danger of the night 
	before is overcome by the sheer beauty of the place - - it really is 
	like the Serengeti Plain.

	Over at the edge of a great open field, a huge tree marks the 
	border between the open area and the thick of the jungle.

	UP IN THE TREE,
	
	GRANT, TIM, and LEX are asleep in the branches of the tree, both 
	kids now curled up under Grant's arms.

	A heavy shadow falls over all three of them, blocking out the 
	sun entirely.  Grant awakens, only a little bit asleep, as - -

	- - a brachiosaur's head pushes into the tree branches, right up 
	beside them.  It hesitates there for a second, seemingly staring at 
	them.  Grant just watches as it opens its mouth very wide and CHOMPS 
	down on a branch over their heads.

	The kids awaken with a start.  Tim points, Lex opens her mouth 
	to scream, but nothing comes out.  Then - -

				LEX
		Go away!

				GRANT
			(quietly)
		It's okay!  It's okay!  It's a brachiosaur!

				TIM
		Veggiesaurus, Lex, Veggiesaurus!

	But Lex isn't taking any chances and scrambles back, away from 
	its mouth.  Tim and Grant come together on the branch, just staring at 
	the dinosaur in wonder as it eats its breakfast.
	
	Grant gets another branch.

	Tim scampers up, trying to get the brachiosaur's attention.

				TIM (cont'd)
		Come here, boy - - I mean girl.
			(he tries  whistling)

	Grant moves forward and tries to feed the brachiosaur.  The 
	animal gets the end of the branch and starts a tug-of-war with Grant.

	Tim tries to help him - - they really begin to have a good time 
	with the brachiosaur.

	HONK!  The brachiosaur makes a loud honking noise, startling 
	Grant and the kids.

				GRANT
		Take a bite, take a bite.  I'm not letting go.

				TIM
		It's so strong!  Look at its nose.
			(he grabs onto the branch)
		Need help?

	Tim reaches out, petting the dinosaur's head while it chews.

				TIM (cont'd)
		That's a girl.  Hey Lex, you can touch it.  It's a girl, 
		just like you.  Come on, it's okay.  Lex, come on and 
		touch it.  It likes you.  It's gotta like you.  Come on 
		Lex.  Lex, come over and touch - - it's a girl, it has 
		to like you.  Lex, why don't you touch it.  It has to 
		like you.  It's a girl.

				GRANT
		Come on, try some.  Take a bite.

				TIM
		It's good protein.  Come on, Lex.  Why don't you touch 
		it?  Look at his nose.

				GRANT
		This is a seventy-seven ton animal.  Come on over, Lex!
		Just think of it as a big cow.  Look at it's teeth?
			(he moves in closer)
		Come here, girl.  This is a seventy-seven ton animal.  
		Just think of it as a big cow!

	Grant maneuvers in closer.  He reaches out and grabs hold of the 
	thing's lip with both hands and pulls it down, revealing the jaw at 
	work.

				LEX
		I like cows.

				GRANT
		You're a beautiful big animal.

				TIM
		His nose is running.  It looks like it has a cold.

	The dinosaur keeps chewing, not objecting to the inspection.
	
				TIM
		Did you smell that?

	Lex tentatively edges forward in the tree to the inspection.

				LEX
		Come on girl, up here.

	She barely touches the thing on the tip of its nose - -

	- - and it SNEEZES.  It's a vast explosion, and Lex falls back, 
	dripping wet from head to toe.

				TIM
		God bless you!


96A	OMITTED


97	ON THE GROUND,

	Lex, her shirt is soaked, and face all wet, walks away from the 
	tree.  Tim and Grant follow.

				TIM
		Oh, great.  Now she'll never try anything new!

	Lex is embarrassed and ticked off.

				TIM (cont'd)
		She'll just sit in her room and never come out and play 
		with her computer - -

				LEX
			(as she wipes off some of the wet and throws it 
			at Tim)
		I'm a hacker!

				TIM
		That's what I said!  You're a nerd!  They don't call you 
		people hackers anymore - - they call you people nerds!

	Tim and Lex continue talking, oblivious to Grant, who has 
	stopped by  a tree root trunk.

				TIM
		Hey Lex, ahhhchooo!
			(or)
		Hey Lex, com here.

				LEX
		What?

				TIM
		Hey Lex, you forgot to say gazundheit.

	Grant is still crouching on the ground below the tree where he 
	landed, staring at something in the palm of his hand.  They both come 
	and look over his shoulder, curious.  They stare in amazement - -

	- - at a whole clutch of dinosaur eggs!  All hatched, now empty.  
	Grant picks up one of the fragments, a large one - nearly half an egg.

				GRANT
		You know what this is?  It's a dinosaur egg.  The 
		dinosaurs are breeding.

				TIM
			(taking the shell from him)
		But - - my grandpa said all the dinosaurs were girls.

				GRANT
		Amphibian DNA.

				LEX
		What's that?

				GRANT
		Well, on the tour - - the film said they used frog DNA 
		to fill in the gene sequence gaps.  They mutated the 
		dinosaur's genetic code and blended it with that of 
		frogs.  Now, some West African frogs have been known to 
		spontaneously change sex from male to female, in a 
		single sex environment.  Malcolm was right!  Look, life 
		found a way!


98	INT	CONTROL ROOM	DAY

	The mood in the room is hopeless.  MALCOLM, his wounds bandaged, 
	but in real pain, hangs around with ELLIE and MULDOON, hoping for some 
	development while RAY ARNOLD is still at the computer terminal and 
	looking a mess, he doggedly sorts through the computer system's lines 
	of code.  One.  By one.  By one.  They BLIP by, reflected in his 
	glasses.  He turns and stares up at HAMMOND with a look of absolute 
	incredulity on his face.

				ARNOLD
		No, no, no, that's crazy, you're out of your mind, he's 
		absolutely out of his mind - - 

				ELLIE
		Wait a minute.  What exactly does this mean?

	Hammond turns to her, the twinkle back in his eye.

				HAMMOND
		We're talking, my dear, about a calculated risk, which 
		is the only option left to us.  We will never find the 
		command NEDRY used.  He covered his tracks far too well, 
		and I think it's obvious he's not coming back.  So 
		shutting down the system - -

				ARNOLD
		I will not do it.  You'll have to get somebody else, 
		because I will not.

				HAMMOND
		- - shutting down the system is the only way to 
		guarantee wiping out everything he did. If I understand 
		correctly, all the system will come back on their 
		original start-up modes correct?

				ARNOLD
		Theoretically, yeah (yes), but we've never shut down the 
		whole system.  It may not come back at all.

				ELLIE
		But would we get the phones back?

				ARNOLD
		Yeah, again, in  theory, but - -

				MULDOON
			(desperate)
		What about the lysine contingency?  We could put that 
		into effect!

				ELLIE
		What's that?

				HAMMOND
		It's absolutely out of the question.

	Hammond walks away from the group.

				ARNOLD
		The lysine contingency - it's intended to prevent the 
		spread of the animals is case they ever got off the 
		island, but we could use it now.  Dr. Wu inserted a gene 
		that makes a single faulty enzyme in protein metabolism.  
		Animals can't manufacture the amino acid lysine.  Unless 
		they're continually supplied with lysine by us, they'll 
		go into a coma and die.

				ELLIE
		How would we cut off the lysine?

				ARNOLD
		No trick to it.  Just stop running the program.  Leaving 
		them unattended.

	Malcolm speaks up.

				MALCOLM
		How soon before they become comatose?

				ARNOLD
		It would be totally painless - - they'd just slip into 
		unconsciousness and they die.
	
				MALCOLM
		How long before they slip into unconsciousness?

				ARNOLD
		About - - seven days, more or less.

				ELLIE
		Seven days?!  Seven days?!  Oh, great.  Oh good - - 
		clever.

				MALCOLM
		That'll - it'd be a first; man and dinosaur all die 
		together.  John's plan.
			(he raises a hand)

	Hammond finally loses his cool. He BELLOWS, summoning every 
	ounce of authority at his command.  And that's quite a bit.

				HAMMOND
		PEOPLE ARE DYING!

	There is a moment in which no one dares to speak.  Hammond 
	regains himself.

				HAMMOND (cont'd)
		Will you please shut down the system.
	
	Arnold swallows and gets to his feet.

				ARNOLD
		You asked for it - -

	He walks slowly across the room to a red metal box on the wall.  
	He takes a key from his belt, unlocks the door, and opens it.

	There is a row of four switches inside.  He flips them off, one 
	by one, leaving only a single lever left.

	His hand hovers over it. . . and he flips the lever.

				ARNOLD (cont'd)
		- - and you got it.

	Every monitor, every terminal, every fluorescent light shuts 
	out. plunging them into near-darkness.

	They just sit in eerie stillness for a moment.

				ELLIE
			(hushed voice)
		How long will this take?

				ARNOLD
		'Bout thirty seconds.

	They wait, in tense silence.  Hammond adjusts the wilting silk 
	handkerchief in his breast pocket.  He notices Malcolm staring at him, 
	his eyes full of disapproval.

				HAMMOND
		I think perhaps I'll just sit down.  I don't suppose you
		think all that much of me now, do you?

				MALCOLM
		You're all right, John You're okay.  It's just you don't 
		have intelligence.  You have "thinktelligence."  You 
		think narrowly and call it "being focused."  You don't 
		see the consequences.  You're very good at solving 
		problems, at getting answers - - but you just don't know 
		the right questions.

				ELLIE
		Ian - -

	Malcolm looks at her.

				MALCOLM
		Yes?

				ELLIE
		- - shut up.

				MALCOLM
		Yes.
			(to Hammond)
		It's not a criticism, by the way.

	Finally, Arnold turns back to the box.  He flips the row of 
	safety switches back again, then hesitates by the main switch.

				ARNOLD
		Hold on to your butts.

	He throws it.  And nothing happens. There is a very long pause.

				MALCOLM
		It's not working.

				ARNOLD
		Uh - -

				MULDOON
		Listen, which of you knows how to handle a gun?

	Arnold, who can't quite understand this, races over to the main 
	monitor

				ARNOLD
			(joyously)
		HAH!  It's okay!  It's okay!  Look!  See that?!  LOOK!

	They stare at the monitor, which glows with a faint amber light, 
	the only mechanical thing in the room that's on.  The left hand corner 
	of the screen displays two words - -

	/system ready.

	Arnold looks at them, his face triumphant.

				ARNOLD (cont'd)
		It's on!  It worked!

				HAMMOND
		That will teach you to trust Grandpa.

				MALCOLM
		Wait a minute?  What do you mean "worked"?  Everything 
		is still off!

				ARNOLD
		The shutdown must have tripped the circuit breakers. 
		All we have to do is turn them back on, reboot a few 
		systems in here - - the phones, security doors, half a 
		dozen others - - but it worked!  System ready!

				MULDOON
		Where are the breakers?

				ARNOLD
		Out in the maintenance shed.  Other side of the 
		compound.  I'll go out there.  Three minutes, and I can 
		have the power back on in the entire park.

				HAMMOND
		Just to be safe, I'd like to have everybody in the 
		emergency bunker until Mr. Arnold returns, and the whole 
		system is back on its feet again.


	CUT TO:


A99	EXT	COMPOUND	DAY

	MULDOON and ELLIE carry a Gerry rigged stretcher with MALCOLM on 
	it down a narrow path in the compound.  HAMMOND is with them.
	

	CUT TO:
	

96D	EXT	PARK GROUNDS	DAY

	GRANT, TIM, and LEX walk through the park grounds, heading 
	across a relatively open area. Grant consults the map.
	
				TIM & LEX
		I'm tired, and I'm hungry.  When I get back I'm gonna
		have peanuts and...etc.

				GRANT
		The visitor's center should be just about a mile beyond 
		that rise.  If we keep - -
	
	The ANIMAL CRY they heard earlier is closer now, louder, and 
	repeated by many more animals.  Grant looks up.

				GRANT (cont'd)
		What is that? Can you tell me what they are?

				TIM
		Gallimimus.

	He turns around, to face the direction the sound is coming from. 
	He squints.  The ANIMAL CRY are much louder now, accompanied by a low 
	rumble.

				TIM (cont'd)
		Here - - they're flocking this way.

	Grant takes a few steps forward.  As he watches, he can make out 
	shapes in the distance.

	Dinosaurs.  Dozens of them.  All at once, he figures it out.

				GRANT
		STAMPEDE!

	And that's exactly what it is, a stampede of at least forty 
	dinosaurs, Gallimimus by name.  Lex is ready to get out of there, but 
	Grant and Tim hesitate, staring.

	The dinosaurs kick up a flock of birds, which startles them, and 
	they call change direction at once, the same way.

				GRANT (cont'd)
		Look at the wheeling - - the uniform direction change!  
		Like a flock of birds evading a predator!

	Sure enough, they hear a ROAR, the very familiar roar - -
	- - of Tyrannosaurus rex.

				GRANT
		Oh, shit.

	Grant and the kids whirl at the sound, but can't place it, as it 
	seems to come from all around them.  They look back towards the 
	stampede.  The herd spontaneously changes direction again, and now 
	they're headed straight at them.

	The three of them take off, across the meadow, toward the 
	relative cover of the jungle.  It's a real footrace, but the herd is 
	far faster, and Grant knows they're not going to make it.

	They jump over a huge root network.  There's a space under it to 
	hide, and Grant stops the kids, shoves them underneath, then follows 
	them.  They cover their heads as the herd THUNDERS over the roots.

	Chunks of everything fly everywhere as the herd plows overhead, 
	their clawed feet striking the roots dangerously close to Grant and the 
	kids.

	Finally, they pass. Grant peers up, over the top root.  He looks 
	toward the trees, which the herd is now running alongside.

	A ROAR comes from somewhere within the trees.

	Grant scans the trees, looking for any sign of the T-rex - -

	- - and then it bursts out, ahead of the herd, cutting them off, 
	throwing them into disarray, scattering them everywhere.

	They all stare as the rex kicks it into overdrive, runs down one 
	of the Gallimimus, and sinks its teeth into its neck.

	The T-rex makes the kill in a cloud of dust and debris.

	Tim and Grant half rise to their feet, staring in wonder.

				LEX
		I wanna go - -now!

	But Grant and Tim are transfixed, watching the T-rex.

				GRANT
		Watch how it eats!

				LEX
		Please!

				GRANT
		Bet you'll never look at birds the same way again!

		Tim nods in fascination.  The T-rex pauses in the middle of its 
		meal and ROARS.

				LEX
		Let's go!

				GRANT
		Okay.  Keep low.  Follow me.

	She turns and takes off, running as fast as she can, across the 
	open plain.  Tim and Grant tear themselves away and follow her.

				TIM
		Look at all it's blood!


	CUT TO:


97


THRU	OMITTED


101


100	INT	BUNKER	DAY

	ELLIE paces impatiently.  She comes down the stairs.

				ELLIE
		Something's happened.  Something went wrong.

	MULDOON paces too.  HAMMOND and MALCOLM are also crammed in the 
	underground bunker.  Malcolm lays on a table, while Hammond tries to 
	tend to his wounds.

	Hammond speaks, still feeling the obligation of the host.

				HAMMOND
		This is just a delay, that's all this is.  All major 
		theme parks have had delays.  When they opened 
		Disneyland in 1956, nothing worked, nothing.

				ELLIE
		John....

				MALCOLM
		But, John.  But if the Pirates of the Caribbean breaks 
		down, the pirates don't eat the tourists.

	Another pause.  More pacing.

				ELLIE
		I can't wait anymore.  Something went wrong.  I'm going 
		to go get the power back on.

				MULDOON
		You can't just stroll down the road, you know.

				HAMMOND
		Bob, let's not be too hasty.  He's only been gone - -
			(he looks at his watch)

	Muldoon walks over to a steel cabinet.  Ellie joins him.

				MULDOON
		I'm going with you.

				ELLIE
		Okay.

	Muldoon CLANGS open a steel cabinet, revealing an impressive 
	array of weaponry inside.  He removes a shotgun and what looks like a 
	small rocket launcher.  He shoves a shell into the barrel of the rocket 
	launcher, which accepts it with a faint electronic SIZZLE.

	Hammond searches out the set of blueprints, gets them out of the 
	file cabinet and spreads them out on top of Malcolm almost crushing his 
	leg.

				HAMMOND
		Sorry.

	Ellie and Muldoon join Hammond.

				HAMMOND (cont'd)
		This isn't like switching on the kitchen light, but I 
		think I can follow this and talk you through it.

	Hammond signals with a look.

				ELLIE
		Talk.
			(or)
		Right.
			(or)
			(nothing)

	Ellie gets a couple of walkie-talkies from the shelf and shoves 
	them in her belt.

				ELLIE (cont'd)
		Okay.

				HAMMOND
		But you know, I should  really be the one going (to go).

				ELLIE
		Why?

				HAMMOND
		Well, because you're a - - I'm a - -

				ELLIE
		Look.

				MULDOON
		Come on, let's go.

				ELLIE
		We'll discuss sexism in survival situations when I get 
		back.
			(she backs towards the door)
		You just take me through this step by step.  I'm on 
		channel two.


	CUT TO:


101	EXT	JUNGLE	DAY

	GRANT, TIM, and LEX scrambles through the jungle, completely out 
	of breath, exhausted.  They arrive at the base of the big electrical 
	fence that surrounds the main compound.

	Grant looks up at the fence.  It must be over twenty feet high.

				GRANT
		It's a bit of a climb.  You guys think you can make it?

				TIM
		Nope.

				LEX
		Way too high.

	Grant grabs a stick and climbs up on the ledge.  He looks at the 
	warning light on the fence.  It's out.  He pokes the wire with a stick. 
	No sparks fly
	
				GRANT
		Well, I guess that means the power's off.

	Still not trusting the fence, he taps it with his foot.  He 
	moves in slowly and lays both hands on a cable and closes his fingers 
	around it.

	Grant's body shakes!  He SCREAMS.  The kids SCREAM!  He stops, 
	and turns around slowly...and smiles wickedly.

				LEX
		That's not funny.

				TIM
		That was great!
	
	Far in the distance, the T-rex ROARS.  Without a second's delay, 
	both kids leap to their feet.

	
	CUT TO:


102	EXT	BUNKER	DAY

	ELLIE and MULDOON step out of the bunker.

	The main compound feels different now - - it belongs more to the 
	jungle than to civilization.  Muldoon has the big gun in his hands.

				ELLIE
			(on the radio)
		Okay, I'm on channel two.

				MULDOON
		Stick to my heels.

	They start down the path, moving quickly.


102A	EXT	PATH	DAY

	MULDOON and ELLIE emerge from one path and come into a slightly 
	more open area.  The huge raptor pen stands silently, surrounded and 
	penetrated by jungle, the abandoned goon toward looming over it like a 
	haunted house.

	Muldoon slows down, Ellie right next to him.  They notice a hole 
	in the fence that surrounds the raptor pen.

	The metal is twisted, as if gnawed, the hole is large enough for 
	an animal to slip through.

				ELLIE
		Oh my God.  Aw, God.

				MULDOON
	The shutdown must have turned off all the fences. 
	Goddamn it! Even Nedry knew better than to mess with the 
	raptor fence.


103

	He squats near the hole, looking at the ground.  He sees three 
	sets of footprints. He follows them with his eyes.  They head off in 
	different directions, but all in the jungle foliage on either side of 
	them.

				MULDOON
		C'mon on, this way.

				ELLIE
		I can see the shed from here!  We can make it if we run!

	Muldoon walks slowly, as if he heard something.

				MULDOON
		No. We can't.

				ELLIE
		Why not?

				MULDOON
		Because we're being hunted.  From the bushes straight 
		ahead.

	Ellie turns, very slowly, to face the bushes.  At first, she 
	doesn't see anything, but then there's something very faint, like a 
	shifting of the light, and a shadow seems to move in the bush, RUSTLING 
	the leaves.

				MULDOON
		It's all right.

				ELLIE
		Like hell it is!

	Muldoon raises his weapon slowly to his shoulder.

				MULDOON
		Run, towards the shed.  I've got her.

	Ellie backs up, down the path, slowly. Muldoon follows behind 
	her, keeping his gun trained in the bushes. The shadow in the bushes 
	moves too, at an even pace with them.
	
				MULDOON
		Go!

	Ellie, startled, turns and falls over a log.  She quickly stands 
	and starts to run towards the shed.  Muldoon walks slowly into the 
	bushes.

	ON THE PATH,

	Ellie runs as fast as she possibly can - - a real broken field 
	sprint, hopping over branches, flying across the open area at top 
	speed.  Over a log - - SPLASH!, she hits a water puddle.  She comes to 
	another log obstacle - - she grabs a tree and swings over it.
	
	She nears the maintenance shed, and doesn't look back. She 
	reaches the door, blasts through it, and SLAMS it behind her.


	CUT TO:


104	EXT	JUNGLE	DAY

	A hand comes into the foreground and takes a firm grip on one of 
	the tight fence cables.  Another hand follows it, then a third.

	GRANT, TIM, and LEX climb over the fence, pulling themselves up 
	by the tension wires, crawling right past a "DANGER!" sign that tells 
	them this fence ought to be electrified.


105	INT	BUNKER	DAY

	MALCOLM and HAMMOND hover over a complex diagram of the 
	maintenance shed that's spread out in front of them.  Hammond clutches 
	the radio in his hand, almost praying to it.

	Finally, it CRACKLES.
	
				ELLIE (o.s.)
		I'm in.  Mr. Arnold?  Mr. Arnold?


106	INT	MAINTENANCE SHED	DAY
	
	ELLIE is at the doorway of the maintenance shed, breathing hard 
	from fear, listening to Hammond's VOICE on the radio

				HAMMOND (o.s.)
		Great.  Good.  Okay - - ahead of you should be a metal 
		stairway.  Go down it.

	Ellie does, heading into the room, shining the flashlight ahead 
	of her.  There is a maze of pipes. ducts, and electrical work on both 
	sides of her.

108	INT	SHED	DAY

	ELLIE walks straight ahead from the bottom of the metal stairs.

				HAMMOND (o.s.)
	Right.  After twenty or thirty feet, you'll come to a T 
	junction. Take a left.

				MALCOLM (o.s.)
		John. just have her follow the main cable - -

				HAMMOND (o.s.)
		I understand how to read a schematic.

	Ellie keeps walking, nervous as hell.  She looks around.  
	Awfully dark down here.

				ELLIE
		Going down the stairs...okay... damn it!  Dead end!
	
				HAMMOND (o.s.)
		Wait a minute, wait a minute, there was a right back 
		there somewhere - -

				MALCOLM (o.s.)
			(taking over)
		Ellie?!  Look above you - - there should be a large 
		bundle of cable and pipes all leading in the same 
		direction!  Follow that!

	Ellie looks up, finds the bunch of cables, and follows it into a 
	main corridor.

				ELLIE
			(into the radio)
		Piping...okay... following the piping.  It goes back up
		the stairs and across the stairs... following the 
		stairs.

				HAMMOND (o.s.)
		Look for a metal grate and that to it's longest 
		direction.
			(*ADDED DIALOGUE, NOT RECORDED)

				ELLIE
		Mr. Arnold?  He's not answering me.  Okay I'm on the
		grating.

				HAMMOND
		Good!  Keep going, now.  The cable will terminate in a 
		big, gray box.

				ELLIE
		Okay, I'm following the tubing.  I'm going down a 
		passage way.  How long does this stuff go for?  Could 
		you guys talk a little bit to me?

			(NOTE:  DIALOGUE TO BE ADDED, WASN'T RECORDED - - Steven 
			Spielberg wants Malcolm to say something funny to Ellie over the radio; 
			she smiles)

	Walking fast Ellie follows the tubing to the end of the 
	corridor, where she sees just a box.

				ELLIE
			(into the radio)
		Okay - - I see the gray box.

	Ellie goes through a mesh gate and walks towards the gray box.

				ELLIE (cont'd)
		It says "High Voltage".

	She pushes the door open even further, revealing a vast array of 
	breakers and switches inside.

				HAMMOND (o.s.)
		Now, Ellie, you can't just throw the main switch by
		hand, you have to pump up the primer handle to give you 
		a charge. It's a large, flat, gray - -

				ELLIE
		I see it!


109 EXT	JUNGLE	DAY

	GRANT and the KIDS swig over the top of the fence and start 
	their climb down.


110	INT	SHED	DAY

	ELLIE pumps the gray handle, which is sluggish.  Above it, a 
	small white indicator CHINGS over the "discharged" to "charged".  Ellie 
	SLAMS the gray lever back into positions.

				ELLIE
		It's charged, okay!
	
				HAMMOND (o.s.)
		Right (good)!  Now, under the words "contact position"
		there's a round green button that says "push to close!"  
		Push it!

	Ellie does.  The "contact position" light CHINGS over to 
	"closed" and lights start to go on all over the panel.

	Did I do it?  Is the power back on?


111	EXT	JUNGLE	DAY

	GRANT and LEX continue to climb down the fence.  Tim is having 
	difficulty - - just as he's about to take another step, he loses his 
	footing and almost falls... but then regains control and hangs on.


112	INT	SHED	DAY

	ELLIE watches as the column of twelve white indicator lights 
	flash on the control panel.  They are clearly labeled, each one for a 
	different area of the park.

				HAMMOND (o.s.)
	Now Ellie, the red buttons turn on the individual park 
	systems.  Switch them on.

	As Ellie punches the buttons, they light up... and our eyes go 
	to near the end of the row.

	It's marked "Perimeter Fence."


113	INT	JUNGLE	DAY

	GRANT lets go, dropping the last few feet to the ground.  LEX 
	does the same.

	A warning light begins to flash, coming back to life.  Grants 
	eyes go wide.  He looks up at TIM, who is still far up - - near the 
	top, in fact, he has to come to a complete stop.


114	INT	SHED	DAY

	ELLIE keeps pushing the buttons. She's getting closer to the 
	button for the fence.


115	EXT	JUNGLE	DAY

	TIM, terrified, has frozen where he is.

				GRANT
		Tim - - you have to let go!


116	SHED	DAY

	ELLIE's still punching the buttons, now only a half a dozen away 
	from the one for the fence, now five, now three - -


117	EXT	JUNGLE	DAY

	GRANT and LEX are botch screaming at TIM

				GRANT
		C'mon Tim, move down, damn it!

				LEX
		Timmy!  The power is coming down, quick!

				TIM
		I can't!  I'm scared!

				GRANT
		Tim, you're gonna have to let go.  I'm going to count to 
		three.

				LEX
		Jump, Timmy!  It's too late!

				TIM
		I'm afraid I am gonna fall!

				GRANT
		Go, go, go, jump!

				TIM
		You're crazy!  I'm not gonna jump!

				GRANT
		Tim, you're going to have to let go of the fence.  Tim!
		Get down right now.  Get off the fence!  Now!

				LEX
		Do as he says!  The power's coming back, Timmy!

				GRANT
		Timmy, let go!  You're gonna have to let go!  Count to 
		three.  I'll catch you.

				LEX
		Timmy!  Do as he says!  Timmy!  Do as Dr. Grant says, 
		quick!

				TIM
		Are you crazy?  What if you miss?  I hate it up here.

				GRANT
		Tim, I'm right here.  Easy catch.  Easy catch.  Count to 
		Three..

				LEX
		You're gonna get electrocuted
			(or)
		electrified!  The power's coming back!

				TIM
		Shut up!  You're scaring me.  Stop!  You're scaring me.

				GRANT
		Shhhh.  Tim, I'm right here below you.  Easy catch.
		One, two, three.  You count it yourself.  One, two, 
		three - -

				LEX
		You're gonna get electrocuted
			(or)
		electrified!

				GRANT
		It's am easy catch, you let - - go - - you do the 
		counting, you count it, Tim.  One, two, three -- you do 
		all the counting, okay?

				LEX
		Timmy, listen to Dr. Grant!

				GRANT
		I'm coming up there Tim! I'm coming to get you!  Lex, 
		I've got to get him!


118	INT	MAINTENANCE SHED	DAY

	ELLIE finally pushes the button for the fences. It stops 
	flashing and lights up, a brilliant white.


119	OMITTED


	CUT TO:


119	EXT	JUNGLE	DAY

	The fence HUMS as it awakens.  GRANT and LEX are SCREAMING at 
	TIM:

					TIM
		Okay, okay!  I'm going to count to three.  One, two, 
		three....

	With a low, loud frightening BUZZ - -

	- - the fence comes alive.

	POW!  Tim is cut off mid-sentence, and literally thrown from the 
	fence.  He SLAMS into Grant.  They fall to the ground.  Lex runs over 
	to them.

					GRANT
		Tim, you're okay?  You're okay?
	
	GRANT notices a larger problem.

					GRANT (cont'd)
		He's not breathing.  Tim?


120	INT	MAINTENANCE SHED
	
	ELLIE watches as the banks of fluorescent lights in the 
	maintenance shed come on, one by one.
	
	The lights are going on in rows, coming closer and closer to 
	her. Finally, her row comes on.  She follows the light and sees - -
	
	- - a raptor, right there, behind the control panel!  It 
	SLASHES, taking a lunging sweep at Ellie, but gets stuck, its feet and 
	legs tangled in the maze of pipes on the floor.
	
	This is our first good look at one of these things, and if it 
	weren't so terrifying, we could admit that it truly is a thing of 
	beauty.  It's the biggest of the raptors, intensely muscled, 
	coordinated as hell, a smoothly designed predator.
	
	Ellie SHOUTS and falls back into the pipes on the other side of 
	the aisle.
	
	The raptor untangles itself from the pipes and gives chase, just 
	as Ellie SLAMS the mesh door closed. The raptor BANGS against the mesh 
	door, Ellie falls to the ground.
	
	She holds on by kicking the door shut as the raptor continues to 
	push himself through the door.  Ellie is able to get the door closed.  
	She stands, but then falls back onto one of the walls.
	
	A dead arm falls onto her shoulder.  RAY ARNOLD is there, or 
	what's left of him, stuck in the tangle of pipes.  Ellie moves away, 
	and his arm falls to the ground.
	
	She doesn't realize that she has moved right back near the mesh 
	wall - - and the raptor comes at her again. Ellie takes off running as 
	fast as she can, back the way she came.  She drags the flashlight with 
	her, running over the dead arm and Arnold's legs.
	
	She continues to run, her headset dangling, the flashlight 
	dragging behind her on its cord.
	
	She reaches the stairs and hits them hard, flying up them.  The 
	raptor must be right behind her, she can hear the CLICKING and CLANGING 
	as it scrambles up the stairs, but she doesn't look back.
	
	She reaches the top, throws open the door, hurls herself outside 
	- -
	

121	EXT	SHED	DAY

	- - and SLAMS the door behind her, just as the raptor's head 
	SNARLS at her from near the top of the stairs.  She runs out the fence 
	and collapses.

A121	EXT	JUNGLE	DAY

	TIM is still unmoving.  GRANT is performing CPR, alternately 
	compressing Timmy's chest fifteen times, quickly, and breathing into 
	his mouth twice.

	LEX is freaking out.
	
	Fifteen compressions.  Two deep breaths.
	
				GRANT
		C'mon, Tim.

	Fifteen compressions.  Two deep breaths.

				GRANT
		TIMMY!

	Fifteen compress- -

	Tim GASPS and comes to.

				GRANT (cont'd)
		Good boy, Tim. Good boy.

				TIM
		Three.  (Two, three).


	CUT TO:


B121	EXT	JUNGLE	DAY

	ROBERT MULDOON creeps slowly through the jungle foliage, 
	tracking his prey.  He ducks and walks through a hollow log, underneath 
	a fallen tree, following the RUSTLING sound up ahead of him.

	He can see just a trace of the raptor's gray flesh as it movies 
	behind the bushes up ahead, staying camouflaged enough to deny him a 
	decent shot.  Thinking he's got a moment, Muldoon extends the back 
	handle of the gun and clicks it into place.  He prepares to take aim.

	A snake slithers across a tree branch, past what looks like the 
	large iris of a flower.

	The flower blinks.

	It's the eye of the raptor.  Muldoon sees it.  He raises his 
	gun.

	Instead of running away again, the raptor rises slowly out of 
	the brush, fully revealing itself to Muldoon, HISSING at him.

	The corners of Muldoon's mouth twitch up into a smile.  He draws 
	a bead on the animal.

	His finger tenses on the trigger. Suddenly, his smile vanishes, 
	both eyes pop open, and a terrible thought sweeps across his face.  His 
	eyes flick to the side - -

				MULDOON
		Clever girl.

	- - which is where the attack comes from.  With a ROAR, another 
	raptor comes  flashing out of nowhere and pounces on him.  The gun 
	BLASTS, but wildly, and the raptor's claw SLASHES through Muldoon's 
	midsection.

	Muldoon SCREAMS and falls back, the raptor locked on top of him, 
	all tooth and claw all of a sudden.

	As the second raptor makes the kill, the first raptor strides 
	slowly forward and watches approvingly.
	
	It throws its head back and SNARLS.


122	INT	VISITOR'S CENTER	DAY

	GRANT, TIM, and LEX come into the deserted visitor's center.  A 
	large sign that says "When Dinosaurs Ruled the Earth. . ."  droops 
	overhead.  Grant now carries Tim, who is weakened but conscious.

				GRANT
		HELLO?!

	But nobody answers.


123	INT	RESTAURANT	DAY

	GRANT, TIM, and LEX come into the restaurant. Grant carefully 
	sets Tim in a chair at one of the tables.  Lex across from him.

				GRANT
	I am gonna have to find the others and get you to a 
	doctor.  Will you look after Tim, Lex?

				LEX
			(scared as hell)
		Yes.

	Grant nods.  He looks at Tim for a second.

				GRANT
		Your hair's all standing up.

	He gently rearranges Tim's hair, which is wild, all over this 
	head.  Tim looks up at him weakly and manages a smile.  Grant smiles 
	back.

				GRANT (cont'd)
		Big Tim, the human piece of toast.

	Tim laughs.  Grant pauses for a second, as if debating something 
	- -

				GRANT (cont'd)
		Be back soon, guys.  I promise.

	He leaves.  As he goes across the lobby of the visitor's center 
	and outside, they can see his silhouette, moving through a translucent 
	mural that depicts dinosaurs in various natural settings.  It's quiet 
	for a second as Lex and Tim just look at each other.

	Tim goes across the room, to an all-you-can-eat table on the 
	other side, and quickly piles some food on a tray.  He brings its back 
	to the table.

	Lex digs in, munching on veggies, grabbing food with two hands.  
	Tim enjoys his food, too.

	Lex comes up with a spoonful of lime Jell-O from a plastic 
	dinosaur egg cup - - but her hand freezes halfway to her mouth.

	Tim looks up, and sees the expression on her face.  She's 
	staring over his shoulder, eyes wide, the Jell-O quivering in her 
	shaking hands.

				TIM
		What?

	Tim turns around.  Behind him, one of the silhouettes on the 
	mural is a raptor, in a hunting pose.

	While they stare, the silhouette of a real raptor moves out from 
	behind it and creeps forward, in the lobby of the visitor's center.


124	INT	KITCHEN	DAY

	LEX pulls the shiny metal door shut as quietly as she can.  It 
	latches with a distinctive CLICK, but there's no lock.

	She runs to a panel of lights switches and kills them all, 
	plunging the room into semidarkness.  She helps TIM down an aisle and 
	they hide at the end, behind a counter, breathing hard.

	A raptor's head pops into view, visible through the round window 
	in the middle of the restaurant door.

	It just looks for a moment, its breath steaming up the window.
	
	THROUGH THE WINDOW,
	
	as the steam evaporates, the raptor can see a part of Tim that 
	is not entirely hidden by the counter.

	IN THE KITCHEN,

	TIM and LEX remain frozen in fear as the raptor first SNIFFS at 
	the bottom of the door, then THUMPS its head against it.

	But the door doesn't budge.


	CUT TO:


125	EXT COMPOUND	DAY

	GRANT walks quickly down the narrow path towards Hammond's 
	compound, eyes darting from side to side, not exactly sure where he's 
	going.  From far off, he hears someone SHOUTING to him.

	He turns.  He sees ELLIE, standing outside the bunker.  She's 
	waving to him, SHOUTING something too faint for him to hear.

	He furrows his brow and walks towards her.  She SHOUTS louder.  
	He walks faster.  He's closer now, and he can finally make out where 
	she's shouting.

				ELLIE
		Run!

	Grant takes off running towards her, not even looking back. He 
	races up, and she runs into his arms.

				ELLIE (cont'd)
		Where are the kids?!


126	INT	BUNKER	DAY

	JOHN HAMMOND stands between GRANT and ELLIE in the bunker, 
	watching as Grant RACKS the bolts on a ten gauge shotgun.

				GRANT
			(to Ellie)
		It's just the two raptors, right?  You're sure the third 
		one's contained?

				ELLIE
		Yes, unless they figured out how to open doors.

	
	CUT TO:


127	INT	KITCHEN	DAY

	OUTSIDE THE DOOR TO THE KITCHEN,

	the raptor stares down at the door handle, cocking its head 
	curiously.  It SNARLS and bumps the door handle with its head, but that 
	doesn't do anything.
	
	It reaches out, toward the handle, with one clawed hand.
	
	IN THE KITCHEN,
	
	Tim and Lex stare in shock as the door handle starts to turn.
	
	The door opens.  The first raptor stands in the doorway, draws
	itself up to its full height, and looks around the kitchen.

	Now, a second raptor joins it in the doorway.  They move into 
	the room, brushing against each other.  The first raptor SNAPS as the 
	second, as if to say "keep your distance."

	Now the raptors split, taking two different aisles. Tim and Lex 
	crawl away, Tim awfully weak now, down a third aisle, around the other 
	side of the counter from the raptors, moving in the opposite direction.

	As Tim and Lex pass the raptors, one of the raptor's tails SMACK 
	into some pots and pans, knocking them off the counter.  They fall on 
	the kids, who manage to keep quiet.

	The kids keep moving as one of the raptors dips down, looking 
	through an open cabinet to inspect the racket.

	Tim and Lex reach the end of the aisle and round a corner - - 
	but Timmy's falling behind now, and he accidentally brushes against 
	some hanging kitchen utensils.

	Both raptors turn.  One jumps onto the counter, knocking more 
	kitchen stuff to the floor.  A ladle CLATTERS to a stop, and the 
	strange metallic sounds confuse the raptors for a moment.

	But then they move, in Tim's direction, SNIFFING, heading right 
	for him.

	The raptor on the floor is just about to turn the corner to 
	where Tim sits, exposed and exhausted, but both the raptors suddenly 
	stop, hearing a CLICKING sound from the other end of the aisle.

	It's Lex, TAPPING a spoon on the floor to distract them.  The 
	raptor on the counter jumps down and starts cautiously towards Lex's 
	noise, leaving Tim.

	Lex sees a steel cabinet behind her, its sliding door slid up 
	and open.  She crawls inside, silently.
	
	Tim sees the raptors make the turn towards Lex, SMASHING more 
	stuff around with their tails.  He turns and sees a walk-in freezer in 
	the far wall, with a pin-locking handle.

	As Lex tries to pull the overhead door to the cabinet shut, one 
	of the raptors rounds a corner and sees her reflection on a shiny 
	cabinet front.  Lex tries frantically to lower the cabinet door, but 
	it's stuck.

	Tim takes a few deep breathes, summons what little strength he 
	has left - -

	- - and makes a break for the walk-in freezer.  He's limping, 
	dragging himself, really moving like a wounded prey now, and - -

	- - the other raptor spots him.  Both raptors go into a pre-
	attack crouch - -

	- - and they pounce, one towards each of the kids.

	Lex tugs on the cover, to the avail - - Tim's raptor charges 
	after him, just open floor space between them - -

	- - and Lex's raptor THUDS into a shiny surface bearing hr 
	reflection.  It chased the wrong image.  It sags to the floor, 
	semiconscious.

	At the other end of the aisle, the real Lex SCREAMS as the other 
	raptor bears down on Tim. Tim reaches the freezer, rips the door open, 
	and falls inside.  The floor is cold and slick and his feet go right 
	out from under him.  He sprawls across the floor, rolls out of the way 
	- -

	- - and the raptor slips and falls into the freezer too, right 
	past him.

	Tim drags himself to his  feet and out of the freezer.

	The raptor makes one last lunge, right on Tim's heels, its mouth 
	wide open - -
		
	- - but Lex SLAMS the door shut just as Tim is clear.  The 
	raptor's head is caught for a second, but it SNARLS, retreats, and 
	Lex's gets the door shut all the way.

	The raptor ROARS and SCREAMS inside. Lex jams the pin through 
	the handle, locking it in.

	Now the other raptor staggers to is feet.  Groggy, it SMASHES 
	into stuff all over the kitchen. Lex throws her arms around Tim again 
	for support and they take off.


128	INT	RESTAURANT	DAY

	TIM and LEX hurry across the restaurant.  They stare back over 
	their shoulders as they run.  They CRASH into GRANT and ELLIE.

				LEX
		It's in there!

				ELLIE
		Control room.


129	INT	SECOND FLOOR CORRIDOR	DAY
	
	GRANT, ELLIE, and the KIDS race down the second floor corridor 
	towards the control room, Grant helping Tim.


130	INT	CONTROL ROOM	DAY

	The door to the control room SMACKS open.  GRANT, ELLIE, and the 
	KIDS burst in. Ellie heads straight for Nedry's computer terminal.  
	Grant moves Tim to the side, and races back to the door to lock it.

				LEX
		We can call for help?!

				ELLIE
		We've got to reboot the system first!

	She sits at the computer and studies the screen.  It's flashing 
	to her, dominated by a maze-like grid.  She studies it, confused.

				GRANT
			(at the door)
		Oh, no!  The door locks - - Ellie!  Boot up the door 
		locks!  Boot up the door locks!

	POW! Something hits the door, hard, from the outside, the kids 
	SCREAM, Grant hurls his back against it - - Grant loses his gun.  He 
	struggles.  The raptor scratches his head.

				ELLIE
		ALAN!

	- - and Ellie leaps out of the chair and races over to the door 
	to help him.  A raptor SNARLS and SNAPS, RAMMING itself against the 
	door, trying to force its way into the control room.  It's all Ellie 
	and Grant can do to hold the door against the onslaught, but it bucks 
	against them viciously.

				GRANT
			(to Ellie)
		Ellie - - get back and boot up the door locks!

				ELLIE
		You can't hold it by yourself!

				GRANT
		Ellie, get the gun!
			(or)
		Try to reach the gun!

				ELLIE
		I can't get it!
			(or)
		I can't get it unless I move!

	OVER AT THE COMPUTER,

	Lex slides quickly into the command chair at Nedry's terminal.  
	She stares at the screen for a moment - -

				LEX
		This is a Unix system.  I know this.  It's the files for 
		the whole park.  It's like a phone book - -it tells you 
		everything.

	- - and then her fingers start to fly over the keyboard.  Tim 
	watches, amazed, as the computer starts to respond to Lex's commands.

				LEX (cont'd)
		I've got to find the right file.  Oh no, this isn't 
		right. This might be right, no this isn't it.

				TIM
		C'mon, Lex!  C'mon, Lex!  Go, Lexie!

	Reaching another menu, Lex spots a box on the screen that reads 
	"DOOR INTEGRITY."  She reaches out and touches it.  The screen BEEPS - 
	-

				LEX
		There it is, I got it! This is it, I did it.  Yes, yes!

	- - and the door latch panel BUZZES.  Grant and Ellie put 
	everything they have into it and finally the door SNICKS shut, locking 
	the raptor outside.

				GRANT
		What works?

				LEX
		Phone security systems, everything works.  You ask for
		it, we got it!


	CUT TO:


131 INT	BUNKER	DAY

	A phone RINGS.  HAMMOND and MALCOLM look at each other, wide-
	eyed.  Hammond lunges for it.

				HAMMOND
		Grant?!  The children alright?


132	INT	CONTROL ROOM	DAY

	All the screens in the control room have come alive now, and 
	data is scrolling by at incredible speed as every remaining system is 
	the park comes back on line.  ELLIE is at the keyboard with LEX now, 
	figuring things out, and GRANT is on the phone.

				GRANT
		The children are fine.


133	INT	CONTROL ROOM DAY

	HAMMOND is on the phone, MALCOLM is trying to listen.

				HAMMOND
		Thank God.

				GRANT (o.s.)
		Listen, the phones are back up!  Call the mainland!  
		Tell them to send the damn helicopters - -

	Suddenly Grant stops in the middle of his sentence.  A SCREAM 
	cuts in, then three GUNSHOTS, fast, and a horrible CLUNKING as the 
	phone is dropped.

				HAMMOND
		Grant!  GRANT!

	But there's no answer.


134	INT	CONTROL ROOM	DAY

	Grant's rifle lies on the floor, smoking, several spent shells 
	alongside it.  The front window of the control room has three huge 
	impact shatter patterns in the glass, where the gunshots hit.

	TIM goes into an open panel through the ceiling, and into the 
	crawl space.  LEX climbs the ladder, followed by ELLIE and GRANT.

	Grant looks over to the front window, scared as hell, just as - 
	-

	- - it SHATTERS in a shower of glass and a raptor EXPLODES into 
	the control room.  It lands on its feet on a work station console, 
	images from wall projectors falling across its head.

	Grant vaults himself up into the ceiling, and knocks the ladder 
	with his feet.

	The raptor tilts its head curiously, looking up at the swaying 
	ceiling.


135	IN THE CRAWL SPACE,

	Grant, Ellie, and the kids dash across the ceiling panels, 
	moving fast, but carefully, so as not to break through.

	SMASH!  The raptor's head bursts through a panel behind them, 
	leaping up at them, SNARLING and SNAPPING.

	It drops down again, and they keep moving forward.  But now it 
	ERUPTS through a panel right in front of them.  They SCREAM, its teeth 
	CLICK just inches in from of Ellie - -

	- - but the raptor can't hold itself up there, and it falls back 
	to the floor of the control room.
	
	Grant looks around frantically and spots an air duct a few yards 
	away.

				GRANT
		Follow me!

	They move for it, but the raptor's head CRASHES through the 
	ceiling again, this time right underneath Lex.

	She SCREAMS and is lifted up, on top of its head, and pinned to 
	the ceiling above.

	Grant SMASHES hit boot into the side of the raptor's head.  The 
	raptor SLAMS at him, latching onto his boot for a second before the 
	raptor's own weight pulls it back down.

	Lex goes down with the raptor, spinning into the hole in the 
	ceiling, tumbling down.  Grant grabs her by the collar at the last 
	second, but Lex dangles there, above the raptor.

	The animal flips over onto its feet and crouches to pounce just 
	as Grant summons his strength and jerks Lex back into the ceiling.

	The raptor springs, but too late.  Grant and Lex scramble over 
	to the air duct and join Ellie and Tim inside it.


136	IN THE AIR DUCT,

	Grant, Ellie, and the kids crawl through the air duct as fast at 
	they can, the thin metal BOOMING and creasing around them.  They reach 
	a metal gate that shows daylight beneath.  Grant reaches out and pulls 
	it up.

	Through the gate, they can see the lobby of the visitor's center 
	below.  They're directly above the skeletons of the dinosaurs, the T-
	rex and the sauropod it's attacking.  The unfinished skeletons are 
	surrounded by scaffolding.


137	INT	ROTUNDA	DAY

	Grant and the others climb down out of the air duct and onto a 
	platform of the scaffolding that stands alongside the skeletons.  They 
	continue down to the second platform, then the third.  They suddenly 
	see - -
	
	A RAPTOR, standing to the side by the second floor railing.

	It's much too far to jump to the lobby floor, so Grant climbs 
	gingerly onto the nearest skeleton, the towering brachiosaur.
	
	They climb down as fast as they can.  Grant helps Tim down, Lex 
	and Ellie follow.  Ellie goes to the tail.  Lex moves to the front.  
	Grant lands on the main body in the middle with Tim.  And the raptor 
	watches them.
	
	Up in the ceiling, the skeleton's anchor bolts GROAN in the 
	plaster, starting to pull free.  But for now, they hold.

	The raptor flies out and lands on the back of the middle section 
	of the skeleton.  SNAP!  It CRACKS apart with the weight, sending the 
	sections spinning in all different directions.
	
	Grant and Tim twirl on the middle section. Tim begins to slide 
	down.  Grant tries to hold on to him - - but Tim loses his grip and 
	falls to the ground right underneath the swinging, large middle section 
	of the dinosaur skeleton.

	Meanwhile, Lex spins on the front section.  She slips - - and 
	tries to keep from falling as she hangs by her legs.

	The anchor bolts in the ceiling RIP free, ZINGING past them like 
	bullets.  The entire brachiosaur skeleton collapses like a house of 
	cards sending Ellie to the ground.  She covers herself with her arms, 
	trying to protect her head from the shower of falling bones.
	
	Lex falls, landing on the ground with bones falling on top of 
	her.  She SCREAMS.
	
	Grant, alone in the middle section, looks up and sees the cable 
	about to SNAP - - he falls!  The large section of the skeleton comes 
	careening down, heading straight for Tim, who lays where he fell on the 
	ground.  It comes SMASHING down. . . with just enough space for him to 
	be safe.
	
	The raptor tumbles to the floor in a cascade of splintering 
	bone.

	It lands on its back a few yards away and staggers for a moment, 
	the wind knocked out of it.
	
	Grant lands in front of Tim.  He stands, and goes to Tim.  Lex 
	sits up and sees the raptor regain its feet.  She SCREAMS.

	Ellie stands.  She notices the shadows of the second raptor, 
	standing behind the visqueen.  She stops dead in her tracks.  She backs 
	up towards Grant and Tim.

	The raptor comes out from under the plastic and looks around.  
	Grant gets Tim out from under the skeleton. Lex joins them.  They back 
	away from the raptor, approaching from the left side.  They back up 
	towards the large rock in the middle of the room holding the other 
	skeleton.

	The raptor crouch in their pre-attack stance - -
	
	The group is caught in the middle of the two approaching 
	raptors.
	
	Lex looks back and SCREAMS.  Grant and the others continue to 
	back up.  They look up and see - -

	- - TYRANNOSAURUS REX!  It's massive head descends down from 
	above.  A set of six-foot jaws clamp down on the raptor.  Eighteen-inch 
	teeth sink into its side, and the helpless animal HOWLS in agony as 
	it's lifted up, up, up off the floor of the lobby.

	Grant and the others look up in stunned amazement.  They step 
	back behind the rock for safety and look to the right.  They see 
	another raptor approaching.

	The other raptor goes up in the air now, twenty feet off of the 
	lobby floor, held fast in the mouth of the Rex.  It stands in the 
	entrance to the lobby in front of the massive hole it ripped through 
	the Visqueen wall.  It shakes its enormous head once, BREAKING the neck 
	of the velociraptor, then drops it, dead, to the floor at its feet.

	Grant, Ellie, and the kids skirt the battle royal on the lobby 
	floor and dash of the door of the Visitor's Center.

	The second raptor turns from the humans and lunges at the Rex's 
	side, leaping twelve feet into the air and rending the Rex's flesh as 
	it comes down, slashing it open with its six-inch claw.

	The rex BELLOWS in pain, and turns on the raptor, eyes raging, 
	and strikes, just once, quickly, as fast as the head of a serpent.  It 
	catches the raptor by thick back end, buts one of its enormous feet 
	down on it, and tears.
	
	It rips the last velociraptor in half.
	
	The rex whirls around - as it turns, its heavy tail 
	counterbalances, SNAPPING the other way, sweeping across the lobby and 
	SMASHING right through the T-rex skeleton.
	
	The skeleton collapses in an explosion of bones, falling to 
	pieces around the living rex.
	
	The rex stands majestically in the middle of the lobby, both 
	skeletons swept away, SNAPPING like matchsticks as they settle around 
	the animal.

	The rex draws itself up to its full height - -

	- - and ROARS.

	The sound is deafening, and the vibrations rattle the entire 
	Visitor's Center.  The sign which dangled over the lobby by its one 
	remaining wire finally falls, CLATTERING to the floor at the Rex's 
	feet, face up.

	"WHEN DINOSAURS RULED THE EARTH", it says.


137A	OUTSIDE THE VISITOR'S CENTER

	Hammond SQUEALS the Jeep to a halt in front of the steps.  
	Malcolm is lying in the back.

	Grant and the other practically fall into the Jeep.

				GRANT
		Mr. Hammond, I've decided not to endorse your Park.

				HAMMOND
		After careful consideration, Dr. Grant - - so have I.

	Hammond hits the gas and the Jeep takes off.


137B


THRU	OMITTED


137C


139	EXT	HELICOPTER LANDING PAD	DAY

	The helicopter rotors whirl to life as the chopper waits on the 
	landing cross.  Two Jeeps ROAR up next to it, one driven by GRANT, the 
	other by HAMMOND.


INT	HELICOPTER	DAY

	One by one, they climb aboard, their faces white from their 
	ordeal.

	ELLIE comes on first, holding LEX.  Then HAMMOND, carrying TIM. 
	And GRANT, helping MALCOLM.

	No one speaks.  Hammond takes another look at his dream, Grant 
	comes over and takes him back to the helicopter.

	The helicopter takes off immediately.  As they rise into the 
	air, they stare out the windows, looking down on the park as it spreads 
	out below.


140	DOWN IN THE PARK,

	the helicopter soars over a vast plain.  The Tyrannosaur, which 
	is still feeding on the remains of the dinosaurs it ran down and 
	killed, looks up.

	It throws its head back and ROARS, waving its little forelimbs 
	at the strange thing in frustration.  As the helicopter moves off, the 
	T-rex just stares, silently, with huge, yellowing eyes.  It's a moment 
	of utter bewilderment for the rex, and we almost feel - -

	- - sad for her.


141	BACK IN THE HELICOPTER,

	Hammond looks down at the park, his eyes full.  He looks over at 
	the kids.

	They're in the back of the helicopter, with Grant.  As they look 
	out the window, Grant almost absently has his arms around both kids.

	Now Ellie looks at him.  Both he and the kids seem so natural, 
	so obviously comfortable and trusting with each other.  She smiles.

	The four of them sit that way, in the back of the helicopter, 
	huddled together.  Survivors.

	Grant looks out the window.

	The helicopter sweeps low over a huge flock of sea birds that's 
	feeding on a school of fish. As the chopper ROARS near, it kicks up the 
	flock.  Hundreds of birds sail off in all directions, powerful and 
	graceful.

	Grant looks at the bids and breaks into a wide grin.

	The birds reform as flock again and fly straight into the sun.

	FADE OUT.