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Jurassic Park: The Lost World Movie Script

Writer(s) : David Koepp

Genres : Action, Adventure, Horror, Sci-Fi, Thriller

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			THE LOST WORLD
			 JURASSIC PARK

			Screenplay by
			  David Koepp
	
		     based on the novel by
			Michael Crichton

	EXT. TROPICAL LAGOON - DAY

	A 135-foot-luxury yacht is anchored just offshore in a 
	tropical lagoon.  The beach is a stunning crescent of white
	sand at the jungle fringe, utterly deserted.

				ISLA SORNA
		87 miles southeast of Nublar

	Two SHIP HANDS, dressed in white uniforms, have set up a
	picnic table with three chairs on the sand and are carefully
	laying out luncheon service -- fine china, silver, crystal
	decanters with red and white wine.

	PAUL BOWMAN, fortyish, sits in a chair off to the side,
	reading.  MRS. BOWMAN, painfully thin, with the perpetually
	surprised look of a woman who's had her eyes done more than
	once, supervises the settings of the table.

	She looks up and sees a little girl, CATHY, seven or eight
	years old, wandering off down the beach.

				MRS. BOWMAN
		Cathy!  Don't wander off!

	Cathy keeps wandering.

				MRS. BOWMAN (cont'd)
		Cathy, come back!  You can look for
		shells right here!

	Cathy gestures, pretending she can't hear.

				BOWMAN
			(eyes still in his book)
		Leave her alone.

				MRS. BOWMAN
		What about snakes?

				BOWMAN
		There's no snakes on a beach.  Let
		her have fun, for once.

	FURTHER DOWN THE BEACH,

	Cathy keeps wandering away, MUTTERING to herself as her
	parents' quarreling voices fade in the distance.

				CATHY
		Please be quiet, please be quiet
		please be quiet...

	Rounding a curve in the beach, her parents disappear from view
	behind her.  A RUSTLING sound draws her attention, and she
	turns, toward where the thick jungle foliage gives way to the
	sand.

	A large bush, maybe twelve feet tall, is moving, its branches
	swaying and shaking.  Curious, Cathy walks up to the bush,
	which abruptly stops moving.

	A small, lizard-like animal, dark green with brown stripes
	along its back, steps out from the bush.  Only about a foot
	tall, it stands on its hind legs, balancing on its thick tail.
	It walks upright, bobbing its head like a chicken.

				CATHY
		Well, hello there!

	The animal (a COMPSOGNATHUS) just stares at her.  Cathy squats
	down on her haunches.

				CATHY (cont'd)
		What are you?  A little bird or
		something?

	She opens her hand.  She's got a handful of goldfish crackers.

				CATHY (cont'd)
		Are you hungry?  You want a goldfish?

	The compy bobs forward a few steps, cautiously.

				CATHY (cont'd)
		Come on.  I won't hurt you.

	The compy draws closer.  Cathy holds the cracker in the palm
	of her hand.  The compy gets closer still --

	-- and hops numbly up onto Cathy's palm.  Her arm dips a bit
	under the weight, but it's not that heavy, and she holds it up
	easily.  It bobs its head, scarfs up the goldfish, and eats
	it.

	Enchanted, Cathy breaks into an enormous grin and returns her
	hand, calling back over her shoulder.

				CATHY (cont'd)
		Mom!  Dad!  You gotta come see this!
		I found something!

	She turns back.

	Thirty more compys have come out onto the sand.  They're
	standing there, bobbing anxiously, staring at her from a few
	feet away.  Cathy's smile fades.

	She turns her head slowly to the right.  TWENTY MORE COMPYS
	have come in from that side, forming a semi-circle, bobbing
	and CHIPPING as they surround her.

				CATHY (cont'd)
			(terrified)
		What do you guys want?

	BACK ON THE BEACH,

	the table is set.  Mrs. Bowman calls out.

				MRS. BOWMAN
		Cathy, sweetheart!  Lunch is ready!

	From around the curve of the beach, a flock of birds bolts
	from the jungle trees as Cathy's shrill SCREAMS suddenly
	pierce the air.

				MRS. BOWMAN
		PAUL!

	She takes off, running down the beach, Mr. Bowman leaps out of
	his chair and follows, and all available deck hands race off
	to help, kicking up geysers of sand behind them.

	DOWN THE BEACH,

	Mrs. Bowman stops dead in her tracks when she rounds the bend
	in the beach.  We don't see what she sees, but we hear the
	frenzied SQUEAKING of the strange compys.  Mr. Bowman and the
	Hands race past her to help Cathy as Mrs. Bowman lets loose a
	horrified, slack-jawed SCREAM, her mouth a perfect oval.

							DISSOLVE TO:

	INT. BOARD ROOM - DAY

	Mrs. Bowman's screaming face dissolves slowly over the
	YAWNING face of a bored CORPORATE EXECUTIVE, TWENTY OTHER
	EXECUTIVES sit around a conference table in the boardroom of a
	monied corporation.  All are in expensive suits, most are over
	sixty.  There are rows of BACKBENCHERS too, whispering in their
	lawyers who sit behind their clients, whispering in their
	ears.  Empty coffee cups and fast food containers on the table
	hint that everyone's been here a long time.

	A familiar VOICE resounds through the boardroom as we move
	down the long table, pat the grim faces of the board members.

				VOICE (O.S.)
		The hurricane seemed like a disaster
		at the time, but now I think it was a
		blessing, nature's way of freeing
		those animals from their human
		confines.  Of giving them another
		chance to survive, but this time as
		they were meant to, without man's
		interference.

	The source of the voice is JOHN HAMMOND, the founder of InGen
	and creator of Jurassic Park.  But he's not in the room.  His
	image is on a closed circuit TV screen, which has been wheeled
	up to the end of the table.

	And he doesn't look good.  He's terribly infirmed, propped up
	in bed, his face pale and drawn, medical equipment BEEPING
	around him.

				HAMMOND (cont'd)
		There are some corporate issues that
		are not about the bottom line.  We
		have so much still to learn about
		those creatures.  A whole world of
		intricate, interlocking behaviors,
		vanished everywhere -- except for
		Site B. Please.  Let's not do what
		is good for more men at the expense
		at what is best for all mankind.

	The CHAIRMAN, seventyish, nods awkwardly to the television.

				CHAIRMAN
		Thank you, John.  Mr. Ludlow?

	He turns to PETER LUDLOW, late thirties, a man with the
	anxious look of someone who insists the buck stop on his desk.
	Ludlow flips open a file, pulls out a stack of black and white
	eight by tens, and tosses them on the table.

				LUDLOW
			(an accent similar to
			 Hammond's)
		These pictures were taken in a
		hospital in Costa Rica forty-eight
		hours ago, after an American family
		on a yacht cruise stumbled onto Site
		B.  The little girl will be fine, but
		her parents are wealthy, angry, and
		very fond of lawsuits.  But that's
		hardly new to us, is it?
			(takes a paper from the
			 file)
		Wrongful death settlements, partial
		list:  family of Donald Gennaro, 36.5
		million dollars; family of Robert
		Muldoon, 12.6 million.  Damaged or
		destroyed equipment, 17.3 million.
		Demolition, de-construction, and
		disposal of Isla Nublar facilities,
		organic and inorganic, one hundred
		and twenty-six million dollars.  The
		list goes on, gentlemen -- research
		funding, media payoffs.  Silence is
		expensive.

	He's warming up.  Not a bad performer.

				LUDLOW (cont'd)
		This corporation has been bleeding
		from the throat for four years.  You,
		our board of directors, have set
		patiently and listened to ecology
		lectures while Mr. Hammond signed
		your checks and spent your money.
		You have watched your stock drop from
		seventy-eight and a quarter to
		nineteen flat with no good and in
		sight.  And all along, we have held a
		significant product asset that we
		could have safely harvested and
		displayed for profit.  Enormous
		profit.

	He reaches out to a model on the table and gives it a shove,
	sending it sliding down the length of the table in front of
	them.  It's a mini-mall version of a zoo.  Cages hold tiny
	replicas of various kinds of dinosaurs while Boy Scout troops
	and Tourists look on in wonder.

				LUDLOW (cont'd)
		Enough money to wipe out four years
		of lawsuits and damage control and
		unpleasant infighting, enough to not
		only send our stock back to where it
		was but to double it.  And the one
		thing, the only thing standing
		between us and this asset is a
		born-again naturalist who happens to
		be our own CEO.  Well, I don't work
		for Mother Nature.  I work for you.

	Two of his Backbenchers distribute documents from a stack.
	Ludlow takes one and reads from it.

				LUDLOW (cont'd)
		"Whereas the Chief Executive
		Officer has engaged in wasteful and
		negligent business practices to
		further his own personal
		environmental beliefs --
		Whereas these practices have 
		affected the financial performance
		of the company by incurring
		significant losses --
		Whereas the shareholders have been
		materially harmed by these losses --
		Thereby, be it resolved that John
		Parker Hammond should be resolved from
		the office of Chief Executive
		Officer, affective immediately."  Mr.
		Chairman, I move the resolution be
		put to an immediate vote.  Do I have
		a second?

				BOARD MEMBER
		I second the motion,  Mr. Chairman,
		Please poll the members by a show of
		hands.

	The CHAIRMAN signs heavily, feeling like a traitor.  He can't
	bear to look at Hammond on the TV monitor.

				CHAIRMAN
		All those in favor of InGen Corporate
		Resolution 213C, please signify your
		approval by raising your right hand.

	It starts slowly, guiltily, but every hand in the room goes
	up.  Ludlow sits back, victorious.  Hammond, furious, raises
	his right hand, which holds a remote control, and points it at
	the TV screen.  It goes blank.

							CUT TO:

	EXT. WELDER'S YARD - NIGHT

	Sparks fly out the windows and doors of a shed in the middle
	of a welder's yard.  Scrap iron and steel lies everywhere.
	Somewhere inside the shed, a phone RINGS.

	The WHOOSH of the arc welder shuts off.  DIETER STARK, a big
	barrel-chested man of forty or so, his face streaked with soot
	and grime, steps outside with a cordless phone, a cigarette
	dangling from his lips.

				DIETER
		Yeah.

	He takes a deep drag while someone talks on the other end.  He
	smiles and blows out a cloud of smoke.

							CUT TO:
	INT. NEW YORK SUBWAY - NIGHT

	Smoke turns into steam as a subway THUNDER into a station
	underneath Manhattan.  The door WHOOSH open, spit out some
	COMMUTERS and suck up a few more.

	A tall man hurries down the platform, limping heavily, moving
	as fast as he can.  The subway doors begin to close, but just
	before they meet --

	-- the man jams a cane in between, stopping them.  The man
	is IAN MALCOLM, fortyish, dressed in black from head to toe.
	There's a hard wisdom in Malcolm's eyes that may not have been
	there's a few years ago -- he know what you think, and he
	doesn't care.

	INT. SUBWAY CAR - NIGHT

	MALCOLM finds a seat on the crowded subway car and sits down.
	He looks awful.  Tired.  Weathered.  He notices a CURIOUS MAN
	across from his is staring at his.  Malcolm looks away.  The
	Curious Man still stares.  Nervy, the Curious Man gets up and
	approaches.

				MALCOLM
			(under his breath)
		Shit.

	The Curious Man sits down next to Malcolm, grinning.

				MAN
		You're him, aren't you?

				MALCOLM
		Excuse me?

				MAN
		The guy.  The scientist.  I saw you
		on TV.
			(conspiratorially)
		I believed you.

	No response from Malcolm.  The guy leans in even closer.

				MAN (cont'd)
		Roooooarr.

				MALCOLM
			(a withering look)
		I was misquoted.  I was merely
		speculating on the evolutionary
		scenario of a Lost World.  I never
		said I was in any such place.

	He gets up and moves to another seat on the car, away from the
	Curious Man.  As he sits down, he notices two other COMMUTERS
	across from him are staring at him.

	He looks at them.  They looks away.

	He pulls the collar of his coat up tight around him.  Nowhere
	to hide.

	INT. JOHN HAMMOND'S APARTMENT - NIGHT

	A UNIFORMED BUTLER has a question:

				BUTLER
		Whom shall I tell Mr. Hammond is
		calling?

	MALCOLM stands in the foyer of an expensively decorated Park
	Avenue apartment.

				MALCOLM
		Ian Malcolm

	A door opens and a little dog comes YAPPING out of the back.
	It bounds straight at Malcolm, GROWLING, jaws SNAPPING.  It
	lunges --

	-- and Malcolm BATS it away with one swift swing of his cane.
	The dog rolls across the floor and slinks away, WHINING.  The
	Butler looks at Malcolm disapprovingly.
	
				BUTLER
		Not an animal lover?

				MALCOLM
		Not really.

	INT. HAMMOND'S BEDROOM - NIGHT

	MALCOLM enters a darkened bedroom.  JOHN HAMMOND lies in the
	bed we saw earlier, on the other side of the room;

	Medical equipment has been disguised as well as possible among
	the furniture and flowers, but the sheer abundance of it tells
	us that whatever has stricken him is going to win this battle.

				HAMMOND
		Ian!  Don't linger in the doorway
		like an ingenue, come in, come in!

	Malcolm steps further into the room.

				HAMMOND (cont'd)
		It's good to see you.  It really is.
		How's the leg?

				MALCOLM
		Resentful.

				HAMMOND
		When you have a lot of time to think,
		it's funny who you remember.  It's
		the people who challenged you.  It is
		the quality of our opponents that
		gives our accomplishments meaning.  I
		never told you how sorry I was about
		what happened after we returned.
	
	Noticing Hammond's deteriorated condition, Malcolm finds it
	hard to sustain anger.
	
				MALCOLM
		I didn't know you -- weren't well.
		
				HAMMOND
		It's the lawyers.  The lawyers are
		finally killing me.
		
				MALCOLM
		They do have motives.  Why did you
		want to see me?  Your message said it
		was urgent.
		
				HAMMOND
		You were right -- and I was wrong.
		There!  Did you ever think you'd hear
		me say that?  Spectacularly wrong.
		Instead of observing those animals, I
		tried to control them.  I squandered
		an opportunity and we still know next
		to nothing about their lives.  Not
		their lives as man would have them,
		behind electric fences, but in the
		wild.  Behavior in their natural
		habitat, the impossible dream of any
		paleontologist.  I could have had it,
		but I let it slip away.
			(pause)
		Thank God for Site B.
		
	Malcolm just looks at him for a long moment.
	
				MALCOLM
		What?
		
				HAMMOND
			(a spark in his eye)
		Well?  Didn't it all seem a trifle
		compact to you?
		
				MALCOLM
		What are you talking about?
	
				HAMMOND
		The hatchery, in particular?  You
		know my initial yields had to be low,
		far less than one percent, that's a
		thousand embryos for every single
		live birth.  Genetic engineering on
		that scale implies a giant operation,
		not the spotless little laboratory I
		showed you.

				MALCOLM
		I don't believe you.

				HAMMOND
		Isla Nublar was just a showroom, Ian,
		something for the tourists, Site B
		was the factory floor.  We built it
		first, on Isla Sorna, eight-some
		miles from Nublar.

				MALCOLM
		No, no, no, no, no, no . . .

				HAMMOND
		After the accident at the park, a
		hurricane wiped out our facility on
		Site B.  We had to evacuate and leave
		the animals to fend for themselves.
		And they did.  For four years I've
		fought to keep them safe from human
		meddling, now I want you to go there
		and document them.

				MALCOLM
		Are you out of your mind?  I still
		have nightmares, my reputation's a
		joke, my leg is shot -- you think I
		need more of that?

				HAMMOND
		It would be the most extraordinary
		living fossil record the world has
		ever seen.

				MALCOLM
		So what?

	Hammonnd picks up a thick file folder from the night table near
	to him and open it on his lap.  Inside, there are memos,
	charts, maps and photographs.

				HAMMOND
		I've been putting this together for
		over a year.
			(MORE)
		I have personal suggestions for your
		entire team, phone numbers, contact
		people.  They won't believe you about
		what they're going to see, so don't
		bother trying to convince them.  Just
		use my checkbook to get them there.
		I'll fund your expedition through my
		personal accounts, as such money and
		equipment as you need, but only if
		you leave immediately.  If we
		hesitate, all will be lost.

				MALCOLM
		John . . .

				HAMMOND
		You'll need an animal behaviorist,
		someone with unimpeachable
		credentials.  I believe you already
		know Sarah Harding.  She's got
		theories about parenting and
		nurturing among hunter/scavengers I
		bet she'd be dying to prove on a
		scale like this.  If you convince her
		to go, it'll be a major coup.  When
		she publishes, the scientific
		community must take it seriously.

	Malcolm just shakes his head, flipping through the file sadly.

				HAMMOND
		Your documentation, you should use
		forensic photographic methods,
		Hasselbladt still cameras, high
		definition video.  When the trick
		photography analysts take your
		evidence apart, make it impossible
		for them to say there was enhancement
		or computer graphic imaging.  Oh,
		this is very important -- avoid the
		island interior at all costs.  Stick
		to the outer rim.  Everything you
		need to know can be found there.
		Vindication lies on the outer rim.

	Malcolm gently closes the file and pushes it back to Hammond.

				MALCOLM
		I'm not going, John.

				HAMMOND
			(fatigue returning)
		Ian, you are my last chance to give
		something of real value to the world.
		I can't walk so far and leave no
		footprints; die and leave nothing
		with my name on it.  I will not  be
		known only for my failures.  And you
		will not allow yourself to go down in
		history as a lunatic.  You're too
		smart.  You'e too proud.  Dr.
		Malcolm.  Please.  This is a chance
		at redemption.  For both of us.
		There's no time to equivocate, we
		must seize it now, before --

	He stops, staring over Malcom's shoulder.  Malcom turns.
	PETER LUDLOW, still in his overcoat, is standing in the
	doorway to the bedroom.  He looks back and forth from Hammond
	to Malcolm suspiciously.

				LUDLOW
		Hello, Uncle John.  Dr. Malcolm.

	Malcolm doesn't answer.  He seems to know Ludlow, and dislikes
	him.

				LUDLOW (cont'd)
		Did I interrupt something?

	Malcolm turns back to Hammond.

				MALCOLM
		Find someone else.

							CUT TO:

	INT. HAMMOND'S APARTMENT/FOYER - NIGHT

	In the foyer, LUDLOW hands MALCOLM his coat, just a trifle
	rudely, and shepherds him to the door.

				LUDLOW
		So, you two were just, uh, telling
		old campfire stories, were you?

				MALCOLM
		Do me a favor.  Don't pretend for a
		second that you and I don't know the
		truth.  You can convince Time
		magazine and the Skeptical Inquirer
		of whatever you want, but I was 
		there.

				LUDLOW
		You signed a non-disclosure agreement
		before you went to the island that
		expressly forbade you from discussing
		anything you saw.  You violated that
		agreement.

				MALCOLM
		You cost me my livelihood.  That on
		which I relied to support my
		children.

				LUDLOW
		If your university felt you were
		causing it embarrassment by selling
		wild stories to Hard Copy, I hardly
		see how I am to--

				MALCOLM
		I didn't tell anything, I told the
		truth.

				LUDLOW
		You version of it.

				MALCOLM
		There are no versions of the truth!
		This isn't a corporate maneuver, it's
		my life.

				LUDLOW
		We made a generous compensatory offer
		for your injuries.

				MALCOLM
		It was a payoff and an insult.  InGen
		never--

				LUDLOW
		InGen is my livelihood, Dr.
		Malcolm, and I will jealously defend
		its interests.  People will know what
		I want them to know when I want them
		to know it.

	Ludlow tosses something to Malcolm, hard.  It sails across the
	foyer, upright, and Malcolm reaches out and catches it with
	one hand.  It's his cane.

				LUDLOW (cont'd)
		Don't forget that.

	Malcolm stares at him for a long moment.  Finally, he turns
	and walks away.

	But he does not out of the apartment.  Instead, he
	walks directly past Ludlow, crosses the living room, and steps
	back into Hammond's bedroom, closing the door behind him with
	a determined CLICK.

	INT. HAMMOND'S BEDROOM - NIGHT

	HAMMOND looks up, hopeful, as MALCOLM comes back into the room
	and walks over to his bed.  He reaches down --

	-- and picks up the file folder.

				MALCOLM
		Do you have a satellite phone?

							CUT TO:

	INT. MOMBASSA BAR - DAY

	ROLAND TEMBO, late sixties, skin like leather and the diamond
	hard look of a cobra, sits at a table in the middle of an
	African cafe/bar in Mombassa.

	It's daytime and the place is half full, mostly with locals,
	but there are a few obnoxious TOURISTS too, Americans on
	safari who somehow found the local handout.

	They're a noisy bunch, but Roland tunes them out, calmly
	eating his lunch and drinking a beer while he reads a book,
	eyeglasses hanging low on his nose.

	Roland suddenly stops reading and furrows his brow.  He looks
	up.  He SNIFFS the air once, then smiles and calls out a
	person's name.

				ROLAND
		Ajay?

	He turns around.  AJAY (AH-jay) SIDHU, a wiry East Indian in
	his late forties, is standing behind him, caught trying to
	sneak up.

				AJAY
			(delighted)
		How did you know?

				ROLAND
			(taps his nose)
		That cheap aftershave I send you
		every Christmas, you actually wear
		it.  I'm touched.  Sit down, sit
		down, what brings you to Mombassa?

				AJAY
		You.  Tell me, Roland, when was the
		last time you answered your phone?

				ROLAND
		Last time I plugged it in, I suppose.
		Why?

	Behind them, the group of TOURISTS, all men, laughs loudly.
	One of them, the MOST OBNOXIOUS TOURISTS, berates the WAITRESS.

				AJAY
		I got a call from a gentleman who's
		going to Costa Rica, or thereabouts.
		If he's to be believed, it's a most,
		uh, unique expedition.  And very
		well-funded.

				ROLAND
		Well, I'm a very well-funded old son
		of a bitch.  You go.

	The Most Obnoxious Tourist bellows for the Waitress.  His
	buddies LAUGHS.  Roland throws a glance, annoyed.

				AJAY
		But alone?  We always had great
		success together, you and I.

				ROLAND
		Just a little bit too much, I
		think.

				AJAY
		How do you mean?

				ROLAND
		A true hunter doesn't mind if the
		animal wins.  If it escapes.  But
		there weren't enough escapes from you
		and me, Ajay.  I've decided to spend
		a bit less time in the company of
		death.  Maybe I just feel too close
		to it my--

	The Waitress comes to the Tourists' table and the Most
	Obnoxious Tourist actually paws her ass.  Roland is out of his
	chair in a second.

				ROLAND (cont'd)
			(to Ajay)
		Excuse me.

	Romand walks over to the Tourists' table, says something to
	the Waitress in the local dialect, and she walks away, behind
	him.  He stares down at the Most Obnoxious Tourist.

				ROLAND (cont'd)
		You, sir -- are no gentleman.

				TOURIST
		Is that supposed to be an insult?

				ROLAND
		I can think of none greater.

	The Tourist looks at his Buddies and laughs.

				TOURIST
		Buzz off, you silly old bastard.

				ROLAND
		What do I have to do to pick a fight
		with you, bring your mother into it?

				TOURIST
		Are you kidding?  I could take you
		with one arm tied down.

				ROLAND
		Really?

	IN THE MIDDLE OF THE FLOOR,

	the Waiter finishes tying a man's wrist to his belt in the
	back of his pants with a napkin.  He pulls the knot tight and
	the man turns around.

	It's Roland, with his arm tied down.  The Tourist stands
	across from him.

				TOURIST
		I mean my arm.

	POW!  Roland punches him square in the jaw.  The Tourist
	reels, stunned.  Enraged, he lunges at Roland, swinging with
	both arms.

	Roland bobs, neatly ducking the punches, waits for the Tourist
	to turn around, and POPS him thrice in the face.  The Tourist
	spins and goes down to the floor, face first.  A cloud of
	sawdust and a loud CHEER from the locals rise up in the bar.

	BACK AT HIS TABLE,

	Roland drops the napkin on the table and sits back down with
	Ajay.  In the background, the Tourist's Buddies hurriedly
	carry their fallen cohort out of the bar.

				ROLAND
		Sorry.  We were saying?

				AJAY
		You broke that idiot's jaw for no
		reason other than your boredom.  Tell
		the truth, Roland.  Aren't you even
		interested in knowing this
		expedition's quarry?

				ROLAND
		Ajay.  Go on up to my ranch, take a
		look around the trophy room, and tell
		me what kind of quarry you think
		could possibly be of any interest
		to me.

	Ajay just smiles.

							CUT TO:

	EXT. AFRICAN SAVANNAH - NIGHT

	The African savannah appears in shades of fluorescent green,
	seen through night-vision goggles.  An ANIMAL YELP comes from
	the left and the green vista sweeps abruptly toward it.  The
	world blurs momentarily, then comes into focus on a field of
	long grass.

	The grass ripples in a complex pattern as animals move
	stealthily through it.  One animal head pops up above the
	grass for a split-second, teeth bared, a white stripe between
	its eyes.  SARAH HARDING pulls the goggles away from her face.

				SARAH
		Hyenas.  Ace Face is the striped
		snout.

	Sarah is thirty, with a compact, athletic body built for the
	outdoors.  She loos through the goggles again, sweeping ahead
	of the hyenas to their prey.

	It's a herd of African buffalo, standing belly-deep in the
	grass, agitated, bellowing and stamping their feet.

	Sarah turns to MAKENA, her African assistant.

				SARAH (cont'd)
		They'll try to take down a calf.
		Come on.

				MAKENA
		Closer?

	Sarah scurries up and over a rock face.  Makena follows.
	Closer now, they watch as the hyenas rush the herd, running
	through it, trying to break it up.

				MAKENA (cont'd)
		You know, we could see everything
		from up on the edge of that cliff.

				SARAH
		No way.

				MAKENA
		But the view would --

				SARAH
		No cliffs.
			(into a pocket recorder)
		F1 headed sough, F2 and F5 flanking,
		twenty yards.  F3 center.  F6
		circling wide east.  Can't see F7.

	While she talks, breathless, fascinated by the drama before
	her, Sarah continues to creep closer and closer to the action.
	Makena follows, with growing unease.

				MAKENA
		Sarah.

				SARAH
		F8 circling north.  F1 straight
		through, disrupting.  Herd moving,
		stamping.  There's F7.  Straight
		through.  F8 angling through from the
		north.

	She's practically on top of the animals now.

				MAKENA
		Dr. Harding.

	Makena has a hold of Sarah's sweatshirt and is tugging her
	back, at least trying to slow down her progress as Sarah,
	wide-eyed with fascination, creeps even closer.

	Suddenly there is a tremendous BELLOWING and the grass right
	in front of them rips apart, trampled under the feet of the
	hyenas as they cluster around a fallen buffalo calf.  They
	yelp and jump, their muzzles bloody.

	The adults move aside, making room as the hyena pups come
	forward, squealing to get at the kill.  Sarah's eyes shine
	with excitement and she moves even closer, whispering into the
	tape recorder.

				SARAH
		Brooding behavior in evidence at the
		kill site, pups are ushered forward
		and adults help them eat, pulling
		flesh away from the carcass and--

	A telephone rings.

	Sarah stops in mid-sentence, unsure if she heard what she
	thought she heard.  It rings again, the unmistakable CHIRPING
	of a cellular phone.  Sarah and Makena both move at once,
	pawing at a backpack.

				SARAH (cont'd)
			(a frantic whisper)
		I thought you turned it off!

	Two hyenas look inquisitively in the direction of the phone.
	Sarah comes up with it and jabs at a button in irritation.

				SARAH (cont'd)
		Yes?!

	Someone speaks on the other end.  Sarah rolls her eyes.

				SARAH (cont'd)
		Ian.  This better be important.

	Sarah doesn't say anything for a long moment, just listens as
	the voice on the other end talks.  And talks.

				SARAH (cont'd)
		When?

							CUT TO:

	INT. MOBILE FIELD SYSTEMS - DAY

	Ian Malcolm's leg, badly scarred, is bared and draped over the
	end of a bench.  Two sandbags are fastened to his ankle and
	MALCOLM is lifting them, painfully rehabbing his injury while
	talking on a satellite phone.

				MALCOLM
		We leave in twenty-four hours.  Five
		member team.

	Behind them, the SPARKS of a acetylene torch fly as WORKMEN
	make modifications on several vehicles, including a dark-green
	Mercedes Benz AAV (all-activity vehicle).  The hood of the AAV
	is up and the V-6 engine has been pulled out; a new, smaller
	engine is lowered in its place.  To one side are two long
	trailers, connected by an accordion-like passageway, like on a
	subway car, allowing one to be towed behind the other.

				MALCOLM
		Eddie Carr's handling all our
		equipment and he'll be there to
		maintain it.  He's designing special
		field trailers now, top of the line
		mobile research units.

	EDDIE CARR, fortyish, is barking out orders to the Workmen.

				EDDIE
		No, no, look at the plans, Henry,
		you can't place that strut laterally,
		it has to be crosswise, LOOK AT THE
		PLANS!

	From the ceiling, a large metal age CRASHES down, landing
	next to them on the floor with a deafening CLANG.  They leap
	back and look up.  A WORKMAN waves from a scaffolding.

				WORKMAN
		Sorry, Eddie!  Specs say it can't
		deform at 12,000 PSI, we had to test
		it

	Eddie bends down to inspect the cage, which is rectangular,
	constructed of inch-thick titanium-alloy bars.  Malcolm hangs
	up the phone and walks up, joining him.

				MALCOLM
		Any damage?

				EDDIE
		Minimal.

				MALCOLM
		"Minimal" is too much.   It has to be
		light, it has to be strong --

				EDDIE
		Light and strong, light and strong,
		sure, why not, it's only impossible.
		God save me from academics.

				MALCOLM
		You are an academic.

				EDDIE
		Former academic.  Now I actually make
		things.  I don't just talk.

				MALCOLM
		You think I'm all talk, Eddie?

				EDDIE
			(doesn't look at him)
		It doesn't matter what I think.

				MALCOLM
		Is there anything we've forgotten?
		Anything at all?

	Behind them, someone CLEARS THEIR THROAT.  Eddie and Malcolm
	turn around.  KELLY MALCOLM, an African-American girl around
	twelve years old, stands in the doorway to the garage, a
	duffel bag slung over one shoulder.  She looks at Malcolm and
	breaks into a wide grin.

				KELLY
		Hi, Dad.

				MALCOLM
		Kelly!  What are you doing here?

	She drops the bag on the floor, and wraps her arms around him
	in a warm embrace.  He responds stiffly.

				KELLY
		Vacation.  I'm all yours.  You didn't
		forget, did you?

	She pulls back and looks at him.

				KELLY (cont'd)
		Did you?

							CUT TO:

	INT. EDDIE'S OFFICE - DAY

	KELLY is slumped in a chair in Eddie's office next to the
	construction floor.  Outside the glass windows work on the
	vehicles continues unabated.  MALCOLM hangs up the phone.

				MALCOLM
		Okay, Karen is expecting you in half
		an hour.  You only have to stay with
		her one night, she'll put you on a
		bus in the morning and your mother
		will be at the station when you get
		there.

				KELLY
		I don't even know this woman.

				MALCOLM
		Well, I do, and she's fantastic.
		She'll take you to the museum, maybe
		to a movie if you play your cards
		right.  You're going to have a
		fantastic time.

				KELLY
		Stop saying fantastic.  Where are you
		going?

				MALCOLM
		I can't tell you.  But I'll be back
		within a week.

				KELLY
		My vacation is over in a week.

				MALCOLM
		I'll make it up to you this summer.
		I promise.

				KELLY
		I'm your daughter all the time, you
		know.  Not just when it's convenient.

				MALCOLM
		Very hurtful.  Your mother tell you
		to say that?

				KELLY
		No, Dad.  I have thoughts of my own
		once in a while.

	From the construction floor, EDDIE calls out.

				EDDIE (o.s.)
		Dr. Malcolm!

	Malcolm looks at her, trying to make peace.  Quickly.

				MALCOLM
		Is that kid still bothering you?

				KELLY
		Which one?

				MALCOLM
		You know, at the bus stop.  With the
		hair?

				KELLY
		That was about a year ago.

				MALCOLM
		Well, is he?

				KELLY
		No.  Richard talked to his parents.

				MALCOLM
		That Richard.

				EDDIE (o.s.)
		Ian, come here a minute!

				KELLY
			(to Malcolm)
		I could come with you.

				MALCOLM
		Out of the question.  You'd miss the
		gymnastics trials.  You've been
		training for that for a year.

				KELLY
		I don't care about the trials, I
		want to be with you.  I could be your
		research assistant, like I was in
		Austin.

				MALCOLM
		This is nothing like Austin.  Forget
		about it.

				KELLY
		You like to have kids, you just
		don't want to be with them, do you?

	He looks at her, hurt.  Eddie calls out a third time,
	impatient now.  Grateful for the escape, Malcolm gets up and
	heads for the door.  He pauses guiltily.

				MALCOLM
		I'm not like you wan me to be.  I've
		what I can be.

	He leaves.

	INT. MAIN FLOOR - DAY

	While MALCOLM and EDDIE argue over something in the
	background, KELLY circles around the trailers and looks up at
	the windows.  They're all made of tempered glass, fine wire
	mesh inside it.  She looks around, to see if anybody's
	watching.  They're not, so she quickly slips inside the front
	trailer.

	INT. TRAILER - DAY

	Inside, the trailer is a miracle of planning and design.  It's
	divided into sections, for different laboratory functions.
	The main area is a biological lab, with specimen trays,
	dissecting pans, and microscopes that connect to video
	monitors.

	Next to it there's an extensive computer section, a bank of
	processors, and a communications section.  All the lab
	equipment is miniaturized and built into small tables that
	slides into the walls.  Everything is bolted down.

	She notices a large map on the wall.  Off the coat of Costa
	Rica, there is an area that has been circled in heavy black
	ink.

	Kelly puts a finger on the map, crossing westward, through the
	Pacific Ocean.  Thegre are dozen s of islands out here, but in
	the highlighted region, there is a semi-circle of five.
	Matanceros.  Muerte.  Tacano.  Pena.  And Sorna.  Underneath
	the whole island chain, there is a bold legend.

	"The Five Deaths," it says.

	Slowly, an ocean barge starts to chug its way across the
	face of the map, leaving a wake that rolls the printed letters
	of those three ominous words.

							DISSOLVE TO:

	EXT. OPEN SEA - DAY

	The map dissolves slowly away as the barge SPALASEHS through
	five foot ocean swells in the open sea.  The barge is crammed
	with equipment, the AAV, trailers, a jeep, and the members of
	Malcolm's team.

	ON THE BOAT,

	MALCOLM stands in the bow, riding the choppy seas.  Next to
	him, DR. JUTTSON, fortyish, holds onto the railing,
	seasick.  He SHOUTS over the DRONE of the boat's engines.

				JUTTISON
			(as the waves pound the
			 boat)
		Couldn't -- we just -- airlift --
		into the -- island?

				MALCOLM
		Dr. Harding insisted we go by sea!
		Helicopters are too disruptive.
		These aren't piles of bones you'll be
		studying this time, Dr. Juttson, they
		live, they breathe, and they react!

	Juttson looks at him skeptically --

	-- and throws up.

	AT THE BACK OF THE BOAT,

	NICK VAN OWEN, a good-looking American in his late
	twenties, is sitting amid a pile of video cameras and other
	photographic equipment, playing with a Game Bow.  SARAH
	HARDING, dressed in field gear, sits down next to him.

				SARAH
		So what's your story, Nick?

				NICK
		I was a cameraman for Nightline for
		six years, been freelance since '91.
		Do a lot of work for Greenpeace.

				SARAH
		That must be interesting.  What drew
		you there?

				NICK
		Women.  'Bout eighty percent female
		in Greenpeace.

				SARAH
		Very noble of you.
			(of the noisy Game Boy)
		You don't think you're bringing that
		thing onto the island, do you?

	Nick grins and shuts it off.

				NICK
		Hey, I wouldn't want to spook the
		woolly mammoths.

				SARAH
		You think this is all a joke?

				NICK
		Oh, please.  How am I supposed to
		keep a straight face when --
			(gestures to the
			 black-clad Malcolm)
		-- Johnny Cash here tells me I'm
		going to Skull Island?

				SARAH
			(not amused)
		Ian's a very good friend of mine.

				NICK
		He doesn't need a friend, he needs a
		shrink.

				SARAH
		I believe in him.

	But her face says even she has her doubts.

				NICK
		Come on, there's only one reason any
		of us are here.  His check cleared.

	She looks at him.

				SARAH
		Drop the cynical pose.  You can't
		pull it off while playing Donkey
		Kong.

	The boat's CAPTAIN, a Costa Rican, points ahead and SHOUTS to
	them.

				CAPTAIN
		There it is!

	They all turn and look out over the bow.  Up ahead, shear,
	reddish-gray cliffs of volcanic rock rise dramatically out of
	the fog-heavy ocean.

				CAPTAIN (cont'd)
		Isla Sorna!

	The boat ROARS ahead, plowing into a heavy wreath of fog.  The
	mist swirls and encircles it.

	EXT. ISLAND FIORD - DAY

	A narrow inlet cuts through the steep cliffs, leading to the
	island interior.  The barge bursts through the fog at the
	mouth of the fiord and heads deeper into the island.

	EXT. LAGOON - DAY

	Lush green plants drip everywhere in this verdant lagoon.
	Sulfurous yellow steam issues from the ground, bleaching the
	nearby foliage white.  In the distance one can hear the cries
	of JUNGLE BIRDS.

	The boat is now beached and the CREW flips the tarps off the
	AAV, the jeep, and the trailers.  The trucks back down a
	narrow ramp and onto the soft clay shore at the edge of the
	lagoon.  There is a large three-toad animal imprint in the
	clay at the water's edge, and the AAV backs right over it,
	swapping its track for the animal's.

	MALCOLM is at the edge of the water with the CAPTAIN.

				MALCOLM
		Be back in three days, but keep the
		satellite phone on and your radio
		tuned to the frequency I specified in
		case we need you sooner.

				CAPTAIN
		Don't worry.  I've lived around here
		all my life, these islands are
		completely --

	In the distance, they hear the faint, strange ROAR of a very
	large animal.  The Captain looks at Malcolm, eyes wide.

				CAPTAIN (cont'd)
		-- safe.

							CUT TO:

	EXT. GRASSY PLAIN - DAY

	The jeep tows the double trailer to the edge of a grassy plain
	just beyond the lagoon, overlooking the interior of the
	island.  The noon sun is high overhead; below, the valley
	shimmers in midday heat.

	EDDIE connects a flexible cable to the jeep's power winch and
	flicks it on.  The cable turns slowly in the sunlight.  Moving
	along the length of it, we see the cable leads to a pile of
	aluminum, some kind of strut assembly painted a camouflage
	color.

	As the winch pulls the cable tight, the jumble of thin struts
	begins to move, slowly rising into the air.  The emerging
	structure climbs, spidery, struts unfolding, fifteen feet into
	the air.  The light house at the top (the cage that was
	tested back at Eddie's workshop) is now just beneath the
	lowest branches of the nearby trees, which almost conceal it
	from view.

	NICK lights a cigarette and carelessly tosses the match on the
	ground.  Malcolm notices.

				MALCOLM
		Listen.  I know you all have probably
		concluded that I'm out of my mind.

	Is it our imagination, or did the trees behind Malcolm just
	sway slightly?

				MALCOLM (cont'd)
		That's all right, for now.  But just
		humor me and be careful.

	No, it's not our imagination, there they go again.  Whole
	trees shivering and swaying from left to right and back
	again.

				MALCOLM (cont'd)
		Even if you think I'm harmless and
		deluded, I promise --

	Now the trees CREAKS and GROAN as they sway.  Everyone has seen
	it, and now Malcolm turns around too.

				MALCOLM (cont'd)
		-- this place is for real.

							CUT TO:

	INT. DOUBLE TRAILERS - DAY

	It's quiet inside the trailers that serve as their command
	post/living quarters.  The books are lined up neatly on the
	shelves.  The computers sit, booted up and awaiting data
	input.

	All the way in the back, past the spare tires and life
	preservers and canned food and bottled water, up in one
	storage bin all the way on top, there's a RUSTLING SOUND.

	A plastic student ID card pops out in the cracks under the
	bin's door.  A photograph in the lower right hand corner of
	the card is visible -- it's Kelly, Malcolm's twelve-year-old
	daughter.

	The card wriggles against the lock and, with a soft CLICK, the
	door pops open.  KELLY herself tumbles out, wrapped in several
	blankets and carrying a mason jar half full of a yellowish
	liquid.  We can guess.

	She leaps to her feet, blinks the light out of her eyes, and
	bolts to the back of the trailer as fast as she possibly can.
	She races through a narrow door and SLAMS it shut.

	A sign on the door says "RESTROOM."  Inside, a SIGH of relief
	is heard.

							CUT TO:

	EXT. JUNGLE TRAIL - DAY

	Along a stream bed, the jungle trees still shiver.  NICK loads
	a three quarter inch tape into his heavy video camera and
	chews anxiously on a piece of gum.  SARAH and DR. JUTTSON are
	beside him as the group nervously follows the GROANING forest
	trees to their right.

	At the rear, EDDIE and MALCOLM walk side by side.  Eddie is
	carrying a heavy silver rifle, an aluminum canister hanging
	beneath the barrel.  He shows it to Malcolm, his voice low and
	urgent.

				EDDIE
		Lindstradt air rifle.  Fires a
		subsonic Fluger impact-delivery dart.

	He cracks open the cartridge bank, revealing a row of plastic
	containers filled with straw-colored liquid.  Each is tipped
	with a three inch needle and carries a bright yellow warning
	tag -- "EXTREME DANGER!  LETHAL TOXICITY!"

				EDDIE (cont'd)
		I loaded the enhanced venom of Conus
		purpurascens, the South Sea cone
		shell.  Most powerful neurotoxin in
		the world.  Acts within a
		two-thousandth of a second.  Faster
		than the nerve-conduction velocity.
		The animal's down before it feels the
		prick of the dart.

	From their right, the shaking trees seen closer now.  By
	walking down the stream bed, the humans are tracking right
	along with the animals as they move in the foliage.

				MALCOLM
			(to Eddie)
		Is there an antidote?

				EDDIE
		Like if you shoot yourself in the
		foot?  Wouldn't matter.  You'd be
		dead  before you realized you'd
		accidentally pulled the trigger.

	Ahead of them, thick foliage blocks the path of the dried up
	stream bed to the height of about fifteen feet.  But around
	them, the CRASHING sounds get louder and closer, the swaying
	trees shiver right beside them.  Eddie raises the rifle in
	defense as the trees right at the edge of the stream bed sway
	and part.  Above the foliage, they see the sudden
	movement --

	-- of a row of STEGOSAUR fins.  The spade-shaped fins run
	along a ridge down the middle of the animal's back, about
	three feet tall each.  The group freezes, amazed, and as the
	stegosaur continues on, they get a good look at it through a
	break in the foliage.

	It's a large dinosaur with a small head, a thick neck, and a
	huge lumbering body.

	A double row of plates runs along the crest of its back, and
	it has a dragging trail with long spikes in it.

	The gum drops out of Nick's mouth, FLOPS onto his shirt, and
	sticks there.

				NICK
		Oh --

				JUTTSON
		-- my --

				EDDIE
		-- God!

				SARAH
		It's beautiful!

	A second stegosaur, a baby about a quarter the size of the
	first animal, breaks through the foliage, following the adult.

	While the group is reaching to that, the earth vibrates and
	a third stego, by far the biggest of the three, walks out of
	the foliage right behind them, crossing within ten feet.

	Apparently unconcerned about these little creatures in their
	environment, the stegos continue on across the stream bed.

	Sarah raises a still camera and shoots pictures.  Her shutter
	is muted, so that a muffled CLICK is all that's audible.

	Juttson raises a pocket recorder to his lips and whispers into
	it breathlessly.

				JUTTSON
		Stegosaurus, family Stegosauridae,
		infraorder Stegosauria, suborder
		Thyreophora.  Length, adult male,
		estimate twenty-five to thirty feet.

	His breathy words turn into almost helpless laughter, of all
	things, as he can't contain his astonishment.  Eddie covers
	his mouth, trying to keep him quiet.

				SARAH
			(to Juttsn)
		That was a pair bond!  A family
		group, even, long after that infant
		was nestbound!

				JUTTSON
		I want to see the nesting ground!

	Nick turns to Malcolm, eyes like saucers, and makes a futile,
	wordless, boy-was-I-wrong-on-this-one gesture.  Malcolm
	smiles, leans over, and TAPS softly on Nick's video camera.
	Nick raises it to his shoulder and flicks it on as the group
	continues on into the bush after the animals.

	IN THE BUSH,

	the baby wanders away from the group and ambles over near
	where Sarah crouches in the bushes.  Sarah raises her camera
	again and silently SNAPS a picture.  She WHISPERS to Juttson,
	who is beside her.

				SARAH
		Lone nest -- not colonial.  I don't
		see an egg clutch...

	She gestures and Juttson peers through a pair of field
	glasses.

				JUTTSON
			(whispering back)
		The empty shells are crushed and
		trampled.  The young stay in the
		birth environment, that's conclusive!

				SARAH
		Not without a shot of the nest.

	She sees an opportunity.  As the baby heads back to its
	parents, Sarah scoots right along with it, moving behind it,
	using its body as a shield to block her from the view of the
	other two.

	Nick and Eddie's faces whiten in alarm.  Nick reaches out to
	stop her, but he barely gets hold of the sole of her boot
	before she pulls away from him and duckwalks out into the
	clearing.

	IN THE CLEARING,

	Sarah slinks along behind the baby stego as it walks back,
	toward the nest, chewing the branches it carries in its south.
	She raises up sightly, squeezing off pictures of the herd,
	ever better as she gets closer.

	BACK AT THE HILL,

	the others can only watch her, aghast.

				NICK
		She's gutty.

				MALCOLM
		She's nuts.

	IN THE CLEARING,

	Sarah keeps moving closer.  The baby passes a small grouping
	of rocks and Sarah ducks behind them.  She's now in a perfect
	position to photograph the nest, and she squeezes off picture
	after picture from this ideal vantage point.

	She shoots the last picture on the roll --

	-- and the camera's autowinder WHIRS to life.  Sarah looks
	down in horror as the camera's motor WHINES loudly in her
	hands.

	Th noise startles the animals.  The male turns toward her
	the plates on its back bristling.  Sarah gets to her feet and
	starts to move away, slowly.

	The male turns away from her and swings its tail, spikes
	extended.  It WHIZZES through the air, right at her, but Sarah
	leaps back at the last second --

	-- and the tail's spikes THUD into the dirt where she was.

	Sarah CRUNCHES to the ground and the three stegosaurs dart
	away, disappearing into the bush, moving surprisingly quickly
	for animals their size.

	The others run to Sarah, help her to her feet, and pull her
	back, against a massive tree trunk.  But the tree trunk lifts
	right up off the ground.

	It's no tree, it's a DINOSAUR'S LEG, a massive one, six feet
	across, God knows how many feet high.  The Group gasps and
	looks up as a MAKENCHIASAURUS, an enormous saurupod over a
	hundred feet from nose to tail,  lumbers away from them.

	The Group stares in wonder as the mamenchiasaur stops and
	HONKS furtively, its long neck stretched out above them.

	Now a second mamenchiasaur neck cranes out of the
	surrounding forest trees and wraps around the first.  The
	first mamenchiasaur THUNDERS around in a semi-circle, getting
	into position behind the second.

	Nick swings his video camera straight up and the group
	suddenly finds itself in the middle of a mamenchiasaur mating.

	The mighty tails swing and SNAP around them as the two animals
	come together, and trees start snapping and falling, CRASHING
	to the jungle floor.

	The group panics and bolts for cover toward the only place
	where the trees are not falling -- which is directly underneath
	the animals!

	Amid HONKS and BLEATS, the swinging tails continue to deforest
	the jungle around them.

	The noise and chaos is deafening, drowning out the LAUGHTER
	and SCREAMS of the fascinated and terrified group.

	There is a momentary lull and the group dashes out from
	underneath the animals, disappearing into the thick forest.

	A SHORT DISTANCE AWAY,

	the Group collapses to the ground, breathless, chests heaving
	with wild, frightened laughter.  Sarah goes to Malcolm and
	throws her arms around him, exhilarated.

				SARAH
		Ian, you're not insane!  I'm so
		glad!

				JUTTSON
			(out of breath)
		Dr. Malcolm -- the world -- owes you
		an apology.

							CUT TO:

	EXT. JUNGLE TRAIL - DAY

	Suddenly, the Gathereres are taking their expedition a lot more
	seriously.  They march quickly back to base camp, their energy
	and excitement palpable.  NICK strikes a match and raises it
	to a cigarette with a shaking hand, but SARAH leans in and
	blows it out.

				SARAH
		No more smoking.  We leave no scent
		of any kind.  No hair tonics, no
		cologne, seal all our food in plastic
		bags.  We will observe and document,
		but we will not interact.

				MALCOLM
		That's a scientific impossibility,
		you know.  Heisenberg uncertainty
		principle.  Whatever you study, you
		also change.

	Nick ejects the used videotape from his camera and pulls out a
	sharpie, to label it.

				NICK
		What should I call this?  "Jurassic
		Pork?"

	Eddie, next to him, laughs.

				SARAH
			(still to Malcolm)
		And let's forget about the high hide.
		We can't do this kind of work up in a
		tower, we need to be out in the
		field, as close to the animals as
		possible.

				JUTTSON
		I'm not surprised stegosaur lived in
		a family group, but there's never
		been anything in the fossil record to
		prove the carnivores did.

				SARAH
		Why wouldn't they?  Look at hyenas,
		jackals, nearly all species of
		predator birds --

				JUTTSON
		That doesn't say a thing about T-rex,
		they could have been rogues.  Robert
		Burke certainly thinks they were.

				SARAH
		We've got to see one to find out.
		Is there any --

				MALCOLM
		No way.

				NICK
		Oh, my God.

				SARAH
		-- way we could safely --

				NICK
		Oh, no!

	He takes off, running as fast as he can, down the trail,
	toward base camp.  They look ahead, in the direction Nick is
	running.  A plume of black smoke is rising up over the trees.

				EDDIE
		Fire!

							CUT TO:

	EXT. BASE CAMP - DAY

	NICK bursts out of the trees and races toward the thick plume
	of smoke.  In the middle of the base camp, someone has neatly
	built a campfire surrounded by stones.  Flames burn in the
	middle.

	Nick races over to it and stomps it out as the OTHERS emerge
	from the trees behind him.

				MALCOLM
		A campfire?!

	Nick grabs a jug of water, but Sarah steps in.

				SARAH
		No!  Water mixes the smoke billow,
		use dirt!

	They start to kick and rake dirt onto the fire with their
	hands and feet.  Eddie and Dr. Juttson jump in and help out.

				MALCOLM
		Who the hell started a campfire?!

				VOICE (o.s.)
		It was just to make lunch.

	Malcolm turns toward the source of the voice.  KELLY stands in
	the doorway of the trailer, sheepish.

				KELLY (cont'd)
			I wanted it ready when you got back.

	The whole group stares, stunned, none more so than Malcolm
	himself.

				MALCOLM
		Oh ... man.

							CUT TO:

	EXT. BASE CAMP - LATER

	Later, and base camp is a blur of activity.  SARAH, JUTTSON,
	NICK, and EDDIE are hard at work, burying the remains of the
	fire, sealing their food in plastic bags, loading camera
	equipment, packing up specimen containers and other
	information-gathering equipment.

	MALCOLM, meanwhile, is lecturing Kelly.

				MALCOLM
		You know you were putting yourself in
		a potentially dangerous situation,
		but you didn't bother to find out
		how dangerous before you leapt in.
		You don't have the faintest idea
		what's going on on this island!

				SARAH
			(loading a backpack)
		What do you want to do, Ian, lock her
		up for curiosity?  Where do you think
		she gets it?

				JUTTSON
			(to Nick)
		Do you have chromium tapes?  The
		others fog in high-

				NICK
		-humidity, I know.
			(waving a tape)
		Highest lead density on the market.

				EDDIE
			(to Malcolm)
		We've got a lot of heavy marching
		ahead of us.  I'm not carrying 
		anybody.

				KELLY
		I can keep up.

				MALCOLM
		You're going home.  I'm sending a
		radio call for the boats.  We'll all
		go down to the lagoon and wait for
		them.

				SARAH
		Lighten up, Ian, you sound like a
		high school vice-principal.

				MALCOLM
		I'm her father.

				KELLY
		Sure, now.

	Nick leans over and whispers to Eddie, gesturing to Malcolm
	and Kelly.

				NICK
		Do you see any family resemblance
		here?

				MALCOLM
		You can't stay, Kelly, that's it.
		It's too dangerous.

				SARAH
		If it's so dangerous, why'd you bring
		any of us?

				KELLY
		You're wrong, Dad.  I do know
		what's going on on this island.

				MALCOLM
		How could you possibly?

				KELLY
		Because you said so.  Maybe nobody
		else believed you, but I always
		did.

	He looks at her, touched.  Nick mutters to Eddie again.

				NICK
		The kid scores with cheap sentiment.

				SARAH
		Ian, if we recall the boat now, we've
		made two invasive landings in one
		day.  That'll have to go in any paper
		I write, and it will leave room for
		people to say our findings were
		contaminated.  You know the academic
		world as well as I do, once they
		smell blood in the water, you're
		dead.  Our presence has got to be one
		hundred percent antiseptic.  That
		means if we bend a blade of grass, we
		bend it right back the way it-

	A low sound has been rising while she speaks, and now it comes
	BOOMING over the jungle around them, a THUNDEROUS racket that
	shakes the very ground beneath them.  Suddenly, three C-130
	military cargo planes THUNDER overhead and ROAR toward the
	island interior, flying very low.  The planes are enormous,
	fat-assed creatures, their rear cargo doors hanging open.

	AT A RIDGE,

	the members of the gatherer expedition hit the dirt and peer
	over a ledge, watching as the airplanes bank and circle over a
	specific spot.

	Eddie raises a pair of field glasses.

	DOWN BELOW,

	huge metal equipment containers are shoved out the back of the
	cargo bays.  They SNAP off trees like matchsticks, CRUSH flat
	anything foolish enough to exist where they want to land.

	Now MEN pour out the rear of the planes, their low-altitude
	parachutes billowing open behind them.

	UP ON THE RIDGE,

	Nick looks at Sarah.

				NICK
		You were saying something about
		antiseptic?

							CUT TO:

	EXT. HUNTERS' CAMP - DAY

	Metal container doors CLANG to the ground, jeep engines ROAR
	to life in a cloud of thick black diesel smoke, blue laser
	barriers SIZZLE and BURN through foliage as this group of
	HUNTERS establishes a perimeter around their new camp.

	PETER LUDLOW, dressed in brand new Banana Republic safari
	wear, steps into the center of the camp and surveys the
	surroundings.  He turns to DR. ROBERT BURKE, a ragged,
	pony-tailed man in wire-rimmed glasses.

				LUDLOW
		Welcome to your dream come true, Dr.
		Burke.

	Burke has a detailed set of satellite recon photographs that
	he spreads out on the hood of a jeep.

				BURKE
		I believe the large herbivores forage
		in open plains, like bison, which
		would explain the great variety of
		heat dots we're reading in the
		flatlands around this waterhole.
		Right -- here.

				LUDLOW
		Then that's where we're going.

	Burke flips open a manifest that he will carry with him at all
	times.  Inside, there are dozens of sketches of various kinds
	underneath.  As each vehicle ROARS out of the equipment
	container, Burke slips a waterproof eight by ten card with an
	icon of the various dinosaurs on the island into a slot in the
	dashboard.

				BURKE
			(calling them off)
		Hadrosaurus!  Carinthosaurus!
		Maiasaurus!

	As the procession goes on, Ludlow turns to DIETER STARK, the
	man we saw welding earlier.

				LUDLOW
		This is as good a place as any for
		base camp.  First priority is the
		laser barriers, I want them all up
		and running in thirty minutes.  Half
		an hour, understand?

	Dieter nods and turns to some of the HUNTERS, who number about
	twenty in all, that are working nearby.  But someone steps in
	front of Dieter, cutting him off.  It's ROLAND TEMBO, the
	hunter from the bar in Mombassa.

				ROLAND
		Cancel that, Dieter.

				LUDLOW
		What?  Why?

	Roland points to a stream running nearby.

				ROLAND
		Carnivores hunt near stream beds.  Do
		you want to set up base camp or an
		all-you-can-eat people bar?

				LUDLOW
			(thinks)
		You heard his, Dieter.  Find a new
		spot.  And remember, we're after
		herbivores only -- no unnecessary
		risks.

	Dieter SIGHS and goes to work.  Roland puts an arm around
	Ludlow and pulls him aside.

				ROLAND
		Peter, if you want me to run your
		little camping trip, there are two
		conditions.  First -- I'm in
		charge, and when I'm not around,
		Dieter is.  Your job is to sign the
		checks, tell us we're doing a good
		job, and open your case of scotch
		when we have a good day.  Second
		condition -- my fee.  You can keep
		it.  All I want in exchange for my
		services is the right to hunt one of
		the tyrannosaurs.  A male.  Buck
		only.  Why and how are my business.
		If you don't  like either of those
		conditions, you're on your own.  Go
		ahead and set up your camp right
		here, or in a swamp, or in the middle
		of a rex nest, for all I care.  But
		I've been on too many safaris with
		rich dentists to listen to any more
		suicidal ideas.  Okay?

				LUDLOW
			(what else can he say?)
		Okay.

				ROLAND
		Good lad.

							CUT TO:

	EXT. JUNGLE

	The jungle foliage shivers, quakes, and finally falls as the
	Hunters' convoy ROARS into the hart of the jungle.  DIETER
	STARK stands in the front of the lead vehicle, the
	"speedbird," waving the convoy forward, his Driver (CARTER) at
	the wheel beside him.

	LUDLOW is in the back seat of the speedbird next to DR. BURKE.
	ROLAND and AJAY, his tracker, are in the second jeep.  They
	look up as the brakelights on the speedbird flash and the car
	stops, forcing the rest of the convoy to halt as well.

	In the front, the speedbird flashes its lights at something in
	front of it.  Dieter climbs out, plainly irritated.  He walks
	around the front of the car and sees --

	-- four PACHYCEPHALOSAURS eating grass in the middle of the
	jungle trail.  They're about five feet tall, thick, heavy-set
	animals whose distinctive feature is an enormous skull casing,
	a tall, impressive crown that rises on the tops of their
	heads.  Dieter doesn't seem impressed.  He looks back at
	Ludlow, who look at Dr. Burke.

	Burke stands up in his seat, a look of wonder on his face.

				BURKE
		Pachycephalosaurus!

				LUDLOW
		Carnivore?

				BURKE
			(enchanted)
		Huh?  No!  No, herbivore, late
		Cretaceous.  Very unusual plant
		eater, see that distinctive domed
		skull?  That's nine inches of solid
		bone.

				LUDLOW
			(who cares?)
		Just get them out of the way, Dieter.

				DIETER
		COME ON, MOVE IT!!

	The pachys look up at him sluggishly, still eating, like cows
	chewing their cuds.  As unimpressive with him as he is with
	them, they go back to their grass.

				DIETER (cont'd)
		Oh, for God's --

	He slings his rifle off his  shoulder and aims it at the
	closest animal.  Behind him, Roland has climbed out of the
	second jeep.

				ROLAND
		Dieter.  This is a round-up, not a
		war.  Use your powers of persuasion.

	Dieter gestures to the speedbird to pull ahead, which it does,
	slowly, toward the animals.  The pachys look up, alert, but do
	not move.  Dieter walks toward them.

				DIETER
		Come on, come on, don't have all
		day!

				BURKE
			(going on to no one in
			 particular)
		See, the pachy's neck attaches at the
		bottom of its skull instead of the
		back of its head, as with reptiles.

	The speedbird draws closer.  The first pachy stares at it
	intently.  The lead vehicle gets closer, closer --

	-- and BANGS into the pachy, knocking it back a few feet, out
	of the way.

				BURKE (cont'd)
		So when it lowers its head, its neck
		lines up directly with its
		backbone --

	BEHIND DIETER,

	Ajay is staring at something on the ground at his feet.  He
	takes a few steps further into the foliage, then turns back
	toward Roland.

				AJAY
		Roland.

	UP AT THE FRONT,

	the pachys turn and hop away.  Dieter turns and heads back to
	the speedbird.  As he reaches for the door, a VOICE calls
	"look out!" from behind him.  Dieter spins around, just in
	time to see --

	-- the first pachy in full charge.  It SLAMS headfirst into
	the speedbird, SMASHING the headlights and denting the grill.

				BURKE
			(concluding his lecture)
		Which is perfect for absorbing
		impact.

	Dieter turns and runs around to the front of the car.  The
	pachy has backed up  for another run and is now CHARGING RIGHT
	AT HIM.

	Dieter retreats, quickly, and rips open the passenger door to
	protect himself.

	SLAM!  The pachy clobbers the door, sending Dieter flying
	against the car, knocking the wind out of him.

	In the other jeeps, the rest of the HUNTERS stand up or lean
	out the window for a better look, laughing.

	POW!!  The pachy head-butts the tire next to Dieter.  It
	bounces off, tumbles to the ground, and rolls to its feet as
	Dieter gets to his knees and crawls toward the back of the
	speedbird.

	But the pachy is quicker and lunges at Dieter again.  He's
	forced to hit the dirt and crawls quickly underneath the
	speedbird, just as the animal SLAMS into the rear of the
	vehicle.

	Now the other three animals join the jun.  Ludlow and the
	Driver have to cover their heads as the animals lunge at the
	car again and again, SMASHING the steel-meshed windows and
	MANGLING the quarter panels.  The rest of the group watches,
	vastly amused.

	A FEW STEPS INTO THE JUNGLE,

	Ajay and Roland are staring at something on the ground -- an
	animal footprint, three-toed, enormous.

				AJAY
		It matches the pictures.

				ROLAND
		It certainly does.

	Roland gets up and goes back to his vehicle, ignoring the
	pachy demolition derby that continues up at the speedbird.
	Roland opens a case in the back of the jeep, revealing --

	-- his gun.  It's an antique elephant gun, a double barreled
	.600 Nitro Express.  Nearly a hundred years old, it's still in
	immaculate condition, its rosewood stock buttery smooth,
	bisons delicately engraved along its silver breach.

	The barrels are twenty-four inches long, topped with an ivory
	bead foresight at the business end.  Roland scoops up the gun,
	breaks the breach, and pulls two rounds of ammunition from his
	shirt pocket.

	Four inches long and three-quarters of an inch in diameter,
	these are the largest full metal jacket cartridges ever made.
	He slips one into each barrel and heads back into the bush.

	Roland pauses before he goes, as if noticing the animals
	trashing the speedbird for the first time.

				ROLAND
		HEY!

	The pachys all freeze, staring at him.  Roland waves one hand,
	HISSES sharply between his teeth --

	-- and the pachys scatter, back into the jungle.  Takes care
	of that problem.  Roland turns and heads back into the jungle,
	calling out over his shoulder to Ludlow.

				ROLAND (cont'd)
		Don't worry about us.  We'll catch
		up.

				LUDLOW
		Where do you think you're going?!

				ROLAND
		To collect my fee.

	And with that he disappears into the foliage.

	The Driver of the Speedbird drops it into gear and the
	battered car GROANS forward.  As it moves ahead, it reveals
	DIETER, lying underneath it, ego bruised worse than body.

	IN THE JUNGLE,

	Ajay takes a step into the bush, but at a ninety degree
	angle away from the direction in which the animals tracks
	lead.

				ROLAND
		Ajay.

	Ajay turns.  Roland points in the direction in which the
	footprints lead.

				ROLAND (cont'd)
		I'm no tracker, but even I can read
		this spoor.

				AJAY
		Do you wish to go where the animal
		has been, or where the animal is?

	Roland smiles.  Ajay sets off in his direction and Roland
	follows.

							CUT TO:

	EXT. ISLAND RIDGE - DAY

	Seen from a ridge above them, the hunters' convoy continues to
	plow through the jungle.  But how the hunters themselves are
	being tracked, followed by the GATHERERS.  They scurry along
	as fast as they can, trying to keep pace with the moving
	vehicle below.

				EDDIE
		Why didn't you tell us about these
		guys, Ian?!

				MALCOLM
		Because I didn't know!  I don't have
		the faintest idea what they're doing
		here.

				NICK
			(angry)
		Ruining everything, that's what
		they're doing.  You could choke on
		the diesel smoke already!

				SARAH
		Ian, nothing we observe will be valid
		if we're trailing along in the wake
		of an army.

	Kelly has a pair of binoculars and is studying the vehicles as
	they move below.

				KELLY
		"InGen."  What's InGen?

				MALCOLM
		Where does it say that?

				KELLY
		On the side of that one truck.

	Malcolm takes the binoculars and stares down there himself.

				JUTTSON
		InGen is a genetics corporation,
		isn't it?

				NICK
			(to Malcolm)
		Is that who we're really working
		for?!  Gene splicers?!

				MALCOLM
		No!  We're an independently funded
		expedition.

				SARAH
		Funded by whom?

				MALCOLM
		John Hammond.

				JUTTSON
		But he's the head of InGen!

				NICK
		You gotta be kidding.
			(to Malcolm)
		You dragged me out of Greenpeace to
		be a corporate stooge?  You couldn't
		get anybody else?

				KELLY
		Yeah, what have you done, Dad?

				SARAH
		We'd better keep moving, or we'll
		lose them.

	The group moves on ahead, but Malcolm lingers, angry, staring
	through the binoculars.

				MALCOLM
		What are you doing to me, John?

							CUT TO:

	EXT. THE CAVES - DAY

	AJAY and ROLAND make their way through the foliage and come
	into a small clearing, where a cluster of caves is carved into
	the rock.  Ajay freezes, gesturing ahead, to the cave on the
	far left.

	Roland pulls up a handful of grass and releases it on the
	breeze.  It floats back between his legs.  That's good.

	He proceeds toward the cave, carefully, Ajay behind him.  They
	can see nothing beyond the yawning mouth of the cave, only a
	black interior.

	Roland pauses, looking down.  On the ground to his right he
	sees the partially eastern leg of a creature.  It's old,
	crawling with white maggots and flies.

	Roland continues on.  Closer to the cave, he now passes the
	skull of a large animal, some of the flesh and green skin
	still adhering to the bone.  It, too, is covered with flies.

	Still he continues on.  A short rise leads into the cave, and
	they edge up it.  From inside the cave, they can hear an odd
	SQUEAKING sound, very high-pitched.

	Crawling now, Roland and Ajay scale a four-foot circular
	rampart of dried mud, and peer into --

	-- the tyrannosaur nest.  It's flattered inside, about ten
	feet in diameter, completely encircled by earthen walls.

	A BABY TYRANNOSAUR, about four and a half feet long, is in the
	center of the nest.  It has a large head, very large eyes, and
	its body is covered with a fluffy red down, which gives it a
	scraggly appearance.

	It SQUEAKS repeatedly, tearing awkwardly at the remains of a
	chunk of animal flesh, biting decisively with tiny, sharp
	teeth.

	The cave itself is a foul boneyard.  ANIMAL CARCASSES litter
	the edges, flies BUZZ in the captive air.  Roland raises a
	bandana to his nose to cover the stench.  He  turns to Ajay and
	WHISPERS.

				ROLAND
		It's the rex nest.

	Ajay nods.  The baby tyrannosaur hears the whisper and looks
	up, cocking its head in curiosity.

				AJAY
		Make a blind here?  Wait for the buck
		to return?

				ROLAND
			(shakes his head no)
		If the nest is upwind, so are we.
		When he comes back, he'll know we're
		here before we have a chance.  The
		truck --

	In the nest below, the baby SQUEAKS angrily at the intruders.

				ROLAND (cont'd)
		-- is to get him to come where we
		want him.

	The baby SQUEAKS again, indignant.  Roland turns and looks
	down at it.  Thinking.

							CUT TO:

	EXT. RIDGE - DUSK

	As the sun glows bright orange on the horizon, NICK raises a
	pair of binoculars to his eyes and peers down at the vista
	below the ridge.

	In the lenses of the binoculars, we can clearly see a mixed
	herd of midsized herbivores -- HARDOSAURS, PACHYCEPHALOSAURS,
	and CALLIMIMUSES -- racing across the plain below.
	
	MALCOLM, also staring through binoculars, lies on the ridge
	beside him.  SARAH is several feet behind them, her back
	pressed against a tree, unwilling to go to the lip of the
	ridge.

	THROUGH NICK'S BINOCULARS

	We see a shaky point of view of the herd running.  The
	binoculars whip to the right --

	-- revealing a jeep chasing the herd  Not just one jeep, in
	fact, but a whole FLEET OF HUNTER PURSUIT VEHICLES!

	There are two herding jeeps, one motorcycle, as speedier
	mini-jeep, and, further behind, a container truck and a
	wrangler's pickup truck.

	Although there's a great deal of commotion below, up here it's
	almost eerily silent.

	ON THE RIDGE,

	Nick lowers the binoculars, angry.  When he raises them again,
	the sun FLARES off the lens --

	EXT. THE PLAIN - DUSK

	-- and when the brilliant flare clears, we're right down in
	the middle of the roundup.  Engines ROAR, wheels spin and dig
	in the dirt, men SHOUT and radios SQUAWK as the hunter
	vehicles pursue the fleeting herd they're flushed.

	The HUNTER SHOUT and SHRIEK with glee, incredulous and
	thrilled by the spectacular animals they're pursuing.

				HUNTER
		LOOK AT THESE THINGS!

				HUNTER 2
		THEY'RE BEAUTIFUL, MAN, THEY'RE
		BEAUTIFUL!!!

	One of the pursuit vehicles (a "snagger"), pulls ahead of the
	others.  DIETER STARK stands in the passenger seat, holding a
	long pole with a noose dangling from the end of it.

	He swings the pole out over the side of the jeep and SHOUTS to
	the driver.

				DIETER
		FASTER!

	The Driver hits the gas and the snagger leaps forward, gaining
	on the herd.  Aware of the danger behind them, the herd veers
	to the right, toward the cover of thick jungle --

	-- but the motorcycle ROARS in from the right side, cutting
	them off, herding them back out into the open.

	BACK IN THE CONTAINER TRUCK,

	PETER LUDLOW stands in a "conning tower," a command post in
	the heaviest pursuit vehicle.  He BARKS into a walkie-talkie.

				LUDLOW
		Alive, Dieter, and uninjured!

	BACK ON THE SNAGGER,

	the Driver can barely keep up with the twists and feints
	thrown by the herd ahead of him.  Dieter CURSES and throws the
	lasso pole into the back of the jeep.  Ludlow's voice
	continues over the radio in Dieter's jeep.

				LUDLOW (o.s.)
		Those are very expensive animals!
		Can you hear me?!

				DIETER
			(to the Driver)
		Turn that off!

	The Driver SNAPS off the radio as Dieter grabs a long-barreled
	rifle from the back of the vehicle.

	THE MOTORCYCLE

	guns it again, forcing the herd back into the middle of the 
	plain.  From the trees to the left, two heads on enormous
	necks rise up in alarm.  Two APATOSAURS are startled from the
	bush and lumber out across the middle of the plain.

	The herd doesn't even break stride, but keeps running,
	scampering after the giants and stampeding right between their
	massive legs.

	One smaller pachycephalosaur bolts loose, but the motorcycle
	cuts it off and herds it back into the middle, which now takes
	the motorcycle right through the rising and falling legs of
	the apotosaurs.

	The bike chases the pachy out the other side, and as the
	apatosaurs disappear into the distance, the cycle isolates the
	juvenile.

	Another truck, a "scissor rig," spots the isolated animal.
	High in the back of the truck, a HUNTER mans a tranquilizer
	cannon, drawing a bead on the pachy as the cycle runs it down.

	He FIRES and the tranquilizer dart hits the animal in the
	neck.  Its pace slows and another HUNTER from the truck tosses
	a lasso around its neck.

	They crank a winch, reeling in the animal.

	As the truck gain on it, two six-foot padded arms with what
	look like heavy airbags on the insides open up on the front of
	the truck.

	As the animal is pulled in, the scissors close with a
	hydraulic WHIR, trapping the animal between its airbags.

	Now a pick-up rig ROARS up and drops its back gate.  The
	scissor rig rolls forward, depositing the squirming pachy in
	this dino-contaiment vehicle.

	Two HUNTERS throw levers on the side of the scissor bars and
	the scissor rig backs away, leaving the animal, still pinched
	between the bars, imprisoned in the back of the pick-up rig.

	The Hunters quickly fit new scissor bars onto the scissor rig
	and it takes off, back into the hunt.

	BACK ON THE SNAGGER,

	Dieter, rifle in hand, drops down into the passenger seat,
	whips a harness over himself and CLICKS it into place.  He
	jabs his thumb into a flashing red button in the dashboard.

	Immediately, a motor underneath the seat HUMS to life and the
	seat itself telescopes, extending a good four feet out to

	Dieter raises the gun, picks a CARINTHOSAUR, a red-crested
	herbivore, from the rear of the fleeting herd, and takes aim.

	BANG!!

	The carinthosaur staggers as a tranquilizer dart sticks in
	its left hindquarter.

	UP ON THE RIDGE,

	there is utter quiet.  Nick and the others stare wordlessly at
	the spectacle below.

	DOWN ON THE PLAIN,

	the snagger SHUDDERS to a halt in the dirt, kicking up a huge
	cloud of dust and dirt.

	The motorcycle spins to a stop beside it, its DRIVER pushing
	his mask up to reveal his sweat and dirt-streaked face.

	The wrangler truck backs up and drops its rear door, which
	CLANGS heavily to the ground.

	FOUR WRANGLERS carrying wire noose poles and chains race down
	the ramp and out of the truck.

	Dieter jumps off the snagger.  He puts down his tranquilizer
	gun, picks up a long steel rod, and walks forward slowly.
	Ahead of him, the carinthosaur is still on its feet.

	The sedated animal staggers, fighting to retain its balance
	while it is surrounded by the wary Wranglers.

				DIETER
		Easy -- easy -- not too close!
		Full extension!

	The Wranglers adjust their poles, extending them another three
	feet, which allows them to stay further from the reeling, ten
	foot tall animal.

				DIETER (cont'd)
		Now!

	Almost as one, the Wranglers flip their noose over the
	stunned animal's neck.  It thrashes, but the Wranglers hold
	their poles tightly, surrounding and immobilizing it.

	UP ON THE RIDGE,

	Nick turns away.  He can't watch.

	DOWN ON THE PLAIN,

	a bolero-type device, a rope with a round weight at either
	end, whips around the carinthosaur's legs.  The animal THUDS
	to the dirt with a SNORT of a defeat.

	Ludlow steps up next to Dieter and both of them stare down at
	the helpless animal.  Ludlow's breathing heavily, eyes
	glowing.

	The animal is still thrashing, pumping its legs crazily.
	Dieter turns a knob on the side of the steel rod he's holding
	and thrusts it into the defenseless animal's neck.

	A blue arc of electricity CRACKS and dances over the
	carinthosaur's body.  The animal convulses in pain, a
	horrible, high-pitched SQUEALING rips the air.

	DR. BURKE, their paleontologist, hurries forward with a
	syringe.

	He draws a certain amount of tranquilizer from a bottle and
	injects it into the animal's thigh.

	CARTER, Dieter's Driver, steps up with a can of spray paint
	and quickly tags the animal with an ID number in day-glo
	orange.

	Dieter pulls the card with an icon of a carinthosaur from the
	dashboard of the jeep and marks a black X over the drawing of
	the animal.

				DIETER
		Next case.

							CUT TO:

	EXT. RIDGE - NIGHT

	Night has fallen over the island.  The hunters have
	established base camp in an area they have trampled and
	cleared just below the ridge.  Blue laser fences encircle the
	perimeter.  Inside, half a dozen tents are set up around a
	central campfire.

	The vehicles are all parked at one end, away from the tents.
	At the other end, there is a row of at least a dozen "capture
	containers," cages that hold the imprisoned dinosaurs they
	have already rounded up.

	SARAH, MALCOLM, and NICK stand at the edge of the ridge above,
	looking down at the scene.  Sarah stands a bit further back
	from the others, not wanting to get too close to the edge.
	VOICES waft up to them, raucous, LAUGHING, some even SINGING.

	DR. JUTTSON has a pair of night-vision binoculars trained on
	the cages.

				JUTTSON
		Carinthosaurus -- compsognathus --
		triceratops -- pachycephalosaurus --
		or small scavengers only.

	Malcolm, also with binoculars, furrows his brow, seeing
	something below.

	THROUGH MALCOLM'S BINOCULARS,

	he sees PETER LUDLOW, standing in the middle of the camp,
	pointing, giving orders.

	ON THE RIDGE,

	Malcolm drops the binoculars.

				MALCOLM
		Ludlow.  That's why Hammond was in
		such a hurry for me to get here.  He
		knew they were coming.

	He gives the binoculars to Sarah, who moves forward gingerly.

				MALCOLM (cont'd)
		You okay?

				SARAH
			(irritated)
		Heights, I can't help it.  Put your
		arm here, will you?

	She puts his arm around her waits, to steady her while she is
	close to the cliff edge.

				JUTTSON
		What do they want?

				MALCOLM
		They want their money back.  To
		InGen, this island is nothing more
		than a bed investment.

				JUTTSON
		We should get back to base camp.
		Eddie's waiting for us.

				MALCOLM
		I can't believe Peter Ludlow's
		running all this.

				SARAH
		He isn't.  Check out the guy walking
		past the fire.

	She hands the binoculars to Malcolm.

	THROUGH THE BINOCULARS,

	Malcolm sees ROLAND, who's walking with AJAY, weapons and
	equipment slung over their shoulders.

				SARAH (o.s.)
		I've seen him before.  In Brazil.  He
		and that guy with him were
		spearhunting jaguars.  Said it was
		immoral to go after them any other
		way.  He's not just a hunter, he's a
		philosopher.  Kind of guy who beats
		you up with your own argument.

	BACK ON THE RIDGE,

				SARAH (cont'd)
		He's the one in charge.

				MALCOLM
		Well, if that's true -- the man in
		charge just left camp.

	Nick, who has been quietly fuming next to them, now steps
	forward.

				NICK
		Then this is our chance.

				MALCOLM
		Our chance to do what?

				NICK
		I don't know these guys, but I know
		'em.  I've seen 'em on Japanese
		whalers, French barges trying to dump
		barrels of nuclear waste in the North
		Atlantic.  They're all the same.
		They spray us with water cannon when
		we try to stop 'em, sink our boats,
		and then call us crazy.

	He rummages through his pack, coming up with various tools.  A
	hunting knife.  A bolt cutter.

				NICK (cont'd)
		Nobody has to come with me.  I've
		done this before.

				SARAH
		Why, Nick.  You are a tree-hugger.

	He looks at her, hurt.

				NICK
		There' no reason for name calling.

				MALCOLM
		Dr. Juttson, please take Kelly back
		to camp right away.  Leave the other
		car for us and we'll meet you there
		in an hour or so.

				KELLY
		What are you guys gonna do?

				MALCOLM
			(signs)
		Exactly what John Hammond wanted us
		to do.

							CUT TO:

	INT. TENT - HUNTER'S CAMP - NIGHT

	In the hunters' supply tent, a case of twelve-year-old scotch
	sits open amid crate after crate of weapons and ammunition.
	PETER LUDLOW reaches in and pulls a bottle out.

	EXT. JUNGLE - NIGHT

	In the jungle, LUDLOW approaches a small clearing.  ROLAND is
	bent over a small stake in the ground, chaining something to
	it.  As Ludlow approaches and walks around him, he sees what
	protest.  Roland looks up.

				ROLAND
		Offering a little incentive.

	Ludlow laughs and shakes his head.  He takes a drink and
	offers Roland one.  Roland accepts.  Ludlow notices Roland's
	gun leaning against a tree.

				LUDLOW
		What kind of gun is that?

				ROLAND
		My father's .600 Nitro Express.  Made
		in 1904.  Karimojo Bell gave it to
		him after he took down his last
		elephant.  8700 foot pound striking
		force.

				LUDLOW
		How close do you have to be?

				ROLAND
		Forty yards.  Less, maybe.  I assume
		it'll take a slug in the brain case
		to bring him down.

				LUDLOW
		Why not just use a scope and a poison
		dart and snipe him from a hill?

	Roland just looks at him.

				ROLAND
		Or a laser beam from a satellite?

	Ludlow leans down, close to the baby rex, and examines it
	while it thrashes on its chain.  Its mouth has been bound shut
	with a leather strap.

				LUDLOW
		You rally think this'll draw the
		parent?

				ROLAND
		I once saw a bull elephant die
		charging a jeep.  All the jeep had
		done was startle the bull's calves.
		I saw a lioness carry wounded prey
		four and a half miles, all the way
		back to its den, just to teach its
		cubs how to finish off a kill.

				LUDLOW
		Killing lessons?  Heartwarming.

				ROLAND
		Rex won't be any different.  It'll
		come.

				LUDLOW
		You're kidding yourself.  An adult
		T-rex cares about one thing --
		filling its own belly.  It acts the
		way people wish they could, that's
		why everyone's fascinated by it.  If
		people had the chance to see one
		dinosaur and one only, ninety-nine
		percent would --

	He stops, an idea on his face.

				LUDLOW (cont'd)
		Wait.  Why not?  Sedatives...
		growth inhibitors...

				ROLAND
		What?

				LUDLOW
		I hadn't planned on bringing
		carnivores back because of the
		liability risk, but I only thought of
		adults, it never occurred to me --
			(close to the animal)
		You are a billion dollar idea, my
		little f-

	CRACK!  The tyrannosaur, even with its jaws clamped shut,
	lunges at Ludlow's face, head-butting him right across the
	bridge of the nose.  Ludlow staggers back, WAITING in pain,
	clutching his bleeding face.

	Roland laughs.  Ludlow, like an enraged child, snatches up
	Roland's gun and brings the butt down viciously on the rex's
	leg.  The bone breaks with a dry SNAP and the animal HOWLS in
	pain.

	Roland lunges and throws Ludlow to the ground, but the damage
	is done.

				ROLAND
		What the hell you do that for?!

	As his pain eases, Ludlow feels a bit foolish, but he attempts
	to cover.

				LUDLOW
		Had to.  To keep him still for the
		trip.

				ROLAND
		You've broken its leg!

				LUDLOW
		We've got to transport it seven
		thousand miles.  Would you prefer it
		bit off the leg of a crew member?

	He gets up, brushes himself off, and heads back to the camp,
	trying to salvage his dignity.  Roland watches him go.

							CUT TO:

	EXT. EDGE OF HUNTERS' CAMP - NIGHT

	At the edge of the hunters' camp, NICK, SARAH, and MALCOLM
	scramble down a hillside and stop at the edge of the laser
	barriers.  There are three beams, each about two feet apart,
	the tallest almost six feet off the ground.

	Nick reaches the edge and crouches.  Sarah, helped by Malcolm,
	steps up onto his back and jumps over the top, landing with a
	CRUNCH.  Nick is next, given a boost by Malcolm, who is then
	left alone on the other side.

	He backs up a few steps, jogs right at the lasers, then
	springs off his good leg --

	-- and does the Fosburry Flop right over the top.  He lands
	with a THUD, to the silent admiration of the other two.

	FURTHER IN THE CAMP,

	the three of them creep along, hiding behind a stack of fuel
	barrels.  They lean around the edge for a look.  They're
	directly behind the row of vehicle.

	They move, into the open, covering the ground between them and
	the jeeps.  Reaching them, Nick hits the dirt and wriggles
	under the first one.  Malcolm and Sarah stand lookout.

	UNDER THE JEEP,

	Nick pulls the bolt cutter from his back pocket.  He squirms
	along until he finds the jeep's fuel line --

	-- and he snips it.  He ducks out of the way just as the
	stream of fuel begins to pour into the dirt.

	MALCOLM AND SARAH

	move slowly down the line, standing watch as Nick crawls out
	from under the first jeep and proceeds to the second.  They
	hear another SNIP, then keep moving, to cover him as he moves
	to the third.

	From in the distance, Malcolm hears a sound, a faint,
	high-pitched SCREECHING.  He turns and looks to that
	direction.

	EXT. JUNGLE CLEARING - NIGHT

	It's the baby T-rex, still SCREENING.  Up in a nearby tree,
	ROLAND and AJAY have spread some broken branches crosswise to
	form a high hide of their own about ten feet off the ground.

	They wait.

	Roland raises his binoculars.  The light of the camp spills
	all the way out here, illuminating some of the jungle.  He
	scans it, searching for any sign of movement.

	EXT. HUNTERS' CAMP - NIGHT

	Back in the camp, Sarah, Malcolm, and Nick have finished with
	all of the vehicles except the badly battered one, which is
	parked some distance away, undergoing repairs.  The motor pool
	area is now a soggy lake of spilled gasoline.

	The saboteurs walk casually across the camp, unnoticed in the
	drunken revelry.  They pass several tents, the shadows of the
	partiers visible as they move inside.

	They continue across the camp and arrive at the other side --

	-- to face the caged animals.  The carinthosaur that was
	tranquilized earlier stands there dully, eyes heavy and
	glassy, still under the effects.  They pass a stegosaur, its
	row of fine bristling.

	And finally they reach the largest cage, which houses a
	triceratops the size of a pickup truck, Nick pulls out his
	trusty bolt cutters.  He looks at them, a glint in his eye.

				NICK
		Hang on.  We may encounter some
		turbulence.

	INT. HUNTERS' CAMP - NIGHT

	In one of the hunter tents, PETER LUDLOW leans over the
	satellite recon pictures of the island, planning the next
	day's assault with DIETER and DR. BURKE, their paleontologist.
	There are small wooden dinosaur models scattered around the
	photos, indicating where certain species can be found.

				BURKE
		If you're really interested in
		infants, we'll have better luck at
		the seaside, because the sands offer
		a cushioning surface where the egg
		clutches can -- can --

	He trails off.  A low RUMBLING sound can be heard outside, and
	the little wooden dinosaurs start shaking on the board.

	They look at each other.  The RUMBLING gets louder.  Outside,
	someone SHOUTS; on the board, the little dinosaurs start
	hopping and bouncing from the vibrations, the SHOUTS outside
	turn to SCREAMS, they turn and look at the back of the tent --

	-- and the triceratops bursts right through the canvas!

	EXT. CAMP - NIGHT

	HUNTERS go flying as the tent-covered triceratops, its horns
	tearing through the canvas, RUMBLES across the camp.  Men
	SHOUT in alarm, the triceratops BELLOWS in anger and
	confusion, chaos reigns.

	In the crush of PEOPLE running every which way, MALCOLM and
	SARAH are swept off in one direction while NICK is buffeted
	in another.  They SHOUT, but cannot be heard over the frey.

	The triceratops, blinded by the canvas shroud, stomps right
	through the fire in the middle of the camp AND THE TENT BURSTS
	INTO FLAME.

	Now really upset, the animal panics and lashes out in all
	directions, blasting through tents, demolishing and/or setting
	ablaze anything that gets in its way.  Its considerable
	hindquarters SLAM into a parked jeep, sending it rolling
	across the camp.

	The jeep flattens the largest tent and SLAMS down on its side.
	Its broken gas line SPRAYS gas over the ground, the gas hits
	one of the dozens of small blazes the triceratops has left in
	its wake, and the flame shoots up the ribbon of gas.

	The jeep explodes.

	OUT IN THE JUNGLE CLEARING,

	Roland and Ajay, up in the tree, leap to their feet as a
	fireball rises up from the camp in the distance.

				ROLAND
		What in God's -- !

	BACK IN THE CAMP,

	the rest of the newly-freed animals now storm through the
	camp.  The blue laser barriers bounce crazily and go out as
	the sending units are trampled underfoot by the fleeing
	animals.

	AT THE RIDGE OF CAMP,

	Nick takes advantage of the downed lasers to slip part the
	bordere of the camp and disappear into the jungle in one
	direction, while Malcolm and Sarah vanish in the other.

	The burning tent, which was the equipment tent, now detonates
	in a series of smaller EXPLOSIONS.

	Dieter and several others are knocked to the ground by the
	series of concessive blasts.  He drags himself up onto all
	fours, charred and bruised.  A burning tire rolls slowly past
	him, spinning to a stop --

	-- at ROLAND's feet.  Dieter looks up at him.

				ROLAND
		Last time I leave you in charge.

	OUT IN THE JUNGLE,

	Nick breaks out into the jungle clearing, the same one where
	Ajay and Roland had their blind.  He sees the baby tyrannosaur
	chained to the stake.

				NICK
		Sick bastards.

	He goes to the animal, which now BLEATS in pain, its broken
	leg hanging at an odd angle.  With one strong tug, Nick pulls
	the stake out of the ground.

	BACK IN THE CAMP,

	Roland surveys the destruction.  The fire has spread and
	several tents are now tongues of flame flapping in the air,
	the animals are gone or going, and their personnel are
	scattered and terrified.  PETER LUDLOW, breathless, face
	smeared with dirt, and smoke, staggers up to Roland.

				LUDLOW
		What in Christ's name is going on?!

				ROLAND
		Isn't it obvious?

	He holds up the sniped padlock from one of the animal cages.

				NICK (cont'd)
		We're not alone on this island.

							CUT TO:

	EXT. JUNGLE - NIGHT

	MALCOLM and SARAH race back up onto the ridge trail, where the
	green AAV is parked.  NICK bursts around from the other side
	of the car.

				SARAH
		Nick, thank God, we didn't know
		if --

	Malcolm opens the rear door.

				NICK
		Wait, don't ---

	With a piercing SHRIEK, the BABY TYRANNOSAUR, now in the back
	of the AAV, flings itself at the open doorway, jaws SNAPPING
	just short of Malcolm's nose.

				MALCOLM
		HOLY SHIT!!

	He SLAMS the door.

	DOWN IN THE HUNTERS' CAMP,

	Roland hears the commotion up on the ridge and looks up.

				ROLAND
		Do we have anyone up there?

	BACK UP ON THE RIDGE,

	Malcolm is confronting Nick.

				MALCOLM
		?!

				NICK
		It has a broken leg!

				MALCOLM
		So do it a favor and put it out of
		its misery!

				NICK
		No!  Get in the car before they hear 
		us!

	He runs around and leaps in the driver's seat.  Sarah slips
	into the passenger seat, quickly, leaving Malcolm no choice
	but the rear.

							CUT TO:

	EXT. JUNGLE - NIGHT

	The AAV SLAPS through the jungle foliage.  From inside the
	car, we can hear the baby tyrannosaur SCREAMING in anger.

	INT. AAV - NIGHT

	The baby writhes on the base seat next to Malcolm, who has
	flattened himself against the door, as far away from the
	animal as possible.

				SARAH
		Ian, close the window, it's going to
		wake every predator in the jungle!

	Malcolm leans over the enraged animal and cranks up its
	window.  The tyrannosaur SLASHES with one of its powerful hind
	legs, ripping the flesh of his forearm.  He SHOUTS in pain.

	Outside, the listening jungle whizzes by.

	EXT. HIGH HIDE - NIGHT

	Up in the high hide, EDDIE, DR. JUTTSON, and KELLY are
	standing watch, scanning the jungle for any sign of their
	returning comrades.

	Juttson yanks the night-vision binoculars away from his face
	as he spots the AAV, pulling up to the base camp a couple
	hundred yards away.

				JUTTSON
		There they are!

	They all turn and look, but Eddie furrows his brow, watching
	them pull the wounded animal from the back seat.

				EDDIE
		What is that they have with them?

	EXT. CAMP - NIGHT

	SARAH and NICK carry the SCREECHING baby tyrannosaur in their
	arms, headed for the trailer.  MALCOLM, holding his bleeding
	arm, isn't far behind.

	INT. TRAILER - NIGHT

	SARAH and NICK bring the SCREAMING infant to the metal dining
	table and hold it down.  MALCOLM is right behind them.

				MALCOLM
		This is exceedingly unwise.

	Sarah turns away from a drawer of medical supplies, holding a
	small syringe.  Her shirt is streaked with blood from the
	baby's injured leg.

				SARAH
		Too late to worry about that!  Hold
		him together, Nick!

	Nick tightens his grip on the animal and Sarah makes an
	injection into its thigh, over its loudly voiced objections.

				MALCOLM
		Just do whatever you have to do and
		get it out of here as quickly as
		possible.

	Sarah picks up a small ultrasound transducer and runs it over
	the animal's leg.  A green and white skeletal image appears on
	a monitor next to the table.

				SARAH
		Okay, there's the metatarsals --
		tibia, fibula -- there it is!  See
		it?  That's a fracture, just above
		the epiphysis.

	They peer closely at the monitor.

				NICK
		That little black line?

				SARAH
		That little black line means death
		for this infant.  The fibula won't
		heal straight, so the ankle joint
		can't pivot when he stands on his
		hind feet.  The baby won't be able to
		run, and probably can't even walk.
		It'll be crippled, and a predator
		will pick it off before it gets more
		than a few weeks old.

				MALCOLM
		Can you set up?

				SARAH
			(thinking)
		It has to be temporary, something
		that'll break apart and fall off as
		the animal grows...

				MALCOLM
		Think fast, Sarah.

	The tyrannosaur, still in pain, SHRIEKS again.

	EXT. HIGH HIDE - NIGHT

	Through their binoculars, the rest of the group watches the
	trailer carefully.  Even inside, the animal's SCREECHES are
	clearly audible.  Kelly is getting scared.

				KELLY
		What are they doing?  Why don't
		they hurry?!

				EDDIE
		Give me the radio.

	From the trailer, the baby lets out a long, plaintive
	SHRIEK --

	One by one, Eddie, Kelly, and Juttson turn around and stare
	into the night jungle.

	INT. TRAILER - NIGHT

	NICK holds the animal while SARAH fits an aluminum foil cuff
	around its injured leg and paints it with a coating of resin.
	MALCOLM, at the window, stares out anxiously.  The animal
	thrashes again.

				NICK
		Give it more morphine!

				SARAH
		We'll kill it with too much, we'll
		put it into respiratory arrest!  I'm
		almost done.  Damn it, I need
		another adhesive, something pliable I
		can --

	Her eyes fall on Nick.  She holds out her hand, urgently.

				SARAH (cont'd)
		Spit!

	He spits his bubblegum into the palm of her hand.  The baby
	rex CRIES OUT again.

	EXT. HIGH HIDE - NIGHT

	From the swaying jungle, there is another answering ROAR.

	And this one's closer.

	In the high hide, the rest of the group stares, trembling.  In
	the distance, a flock of birds SHRIEKS and takes flight as the
	tops of some trees move, a whole section of forest suddenly
	coming alive, as if brushed by wind.

	But it's not the wind.

	They hear noises, THUDS in the jungle.  And then another
	section of forest trembles.  Closer.  Another flock of birds
	bursts out of the treetops and swarms past the high hide.

				KELLY
		What is it?

	Dr. Juttson puts an arm around Kelly, instinctively pulling
	her closer to him.  Eddie WHISPERS urgently into the
	walkie-talkie.

				EDDIE
		Sarah, come in!

				JUTTSON
		It's moving.  Fast.

	INT. TRAILER - NIGHT

	There is a radio box mounted on the far wall of the trailer.
	The speaker BUZZES urgently with Eddie's VOICE.

				EDDIE (o.s.)
		Sarah, Malcolm, can you hear me?!

	On the table, Sarah is frantically molding Nick's bubblegum
	into place on the makeshift splint.  But the baby rex,
	regaining its strength, is thrashing again.

				SARAH
		Hold it down, Nick!

				NICK
		I'm trying!

				EDDIE (o.s.)
			(from the radio)
		Is anybody there?!

	Malcolm moves to answer the radio, but Sarah SHOUTS to him.

				SARAH
		Ian, get the bottle of amoxicillin
		and fill a syringe!  Quick injection
		of antibiotics and I can get it out
		of here!

	Forsaking the radio, Malcolm moves to the medicine drawer and
	comes up with what she wants.  Working fast, he draws twenty
	cc's of the pink liquid.

				EDDIE (o.s.)
			(still from the radio, now
			 desperate)
		SARAH OR IAN, ANSWER ME!

	They ignore him as Sarah grabs the syringe and makes the
	injection.

				EDDIE (o.s.)
		WHATEVER YOU BROUGHT INTO THE
		TRAILER, GET IT OUT NOW!

	EXT. HIGH HIDE - NIGHT

	Eddie has given up on whispering as he clutches the radio
	desperately.

				EDDIE
		WE ESTIMATE TWO LARGE ADULTS HEADED
		IN YOUR DIRECTION!  I REPEAT --

	INT. TRAILER - NIGHT

	Nick, Sarah, and Malcolm spin around at hearing that terrible
	piece of information.

				MALCOLM
		Oh, Christ.

	He bolts over to the wall speaker and hits the button.

				MALCOLM (cont'd)
		Let me talk to Kelly, is she--

	A deafening ROAR sound from just outside the trailer,
	followed immediately by a CRASHING sound.  They whirl and look
	to the window, just in time to see --

	--  the AAV tumbling by, rolling on its side!

	There is another ROAR, and the baby, on the table, ROARS in
	response.  Outside the window, the head of a full-grown
	TYRANNOSAURUS REX lowers and peers inside.

	Malcolm, Sarah, and Nick all freeze in absolute terror.

	The rex outside GURGLES, making material cooing noises.  The
	baby rex, calm for the first time, GURGLES back.

	But across the trailer, in the opposite window, ANOTHER T-REX
	HEAD SUDDENLY APPEARS.

	This one ROARS, deeply, a roar so low and loud it rattles
	anything in the trailer that isn't tied down.

				NICK
		What do they want?!

				MALCOLM
		What do you think they want?!

				SARAH
		That's impossible, they can't have
		the sensory equipment to track it all
		the way here!

				MALCOLM
		Current evidence seems to be to the
		contrary, wouldn't you say?!  GIVE IT
		TO THEM!

	Nick, hands shaking, grabs the shoulder video camera he used
	earlier.  He whips out the cassette that's in there, hurls it
	into an open duffel bag with half a dozen others, SLAMS a
	fresh cassette in, and flicks the "ON" switch.

	Sarah and Malcolm, meanwhile, hurry to the other end of the
	trailer, carrying the baby rex.  Outside, the two adult rexes
	stay with them, walking in the same direction, watching them
	through the window.

	EXT. TRAILER - NIGHT

	Seen from outside, the light inside the trailers clearly
	illuminates Sarah and Malcolm as they carry the bay rex.  The
	adult rexes tower over the trailer, twice as tall and nearly
	as long.  They walk slowly alongside it, hunched over,
	watching their infant.

	INT. TRAILER - NIGHT

	At the door to the trailer, Sarah un-muzzles the frantic baby.

				SARAH
		Ready?

	Malcolm reaches for the door handle.

				NICK
		Wait!

	He dives down on the floor under them, pointing the video
	camera up at the door, getting the best shot.  Malcolm takes a
	breath, turns the knob, and throws open the door.

	Outside, the enormous rex heads pause for a moment, staring,
	surprised.

	Although terrified, Sarah actually starts to sing.

				SARAH
			(softly)
		Born free, as free as the wind blows.
		As free as the grass grows --

				MALCOLM
		Are you insane?!

				SARAH
		I swear to God, it works with lions
		sometimes!  There we are -- your baby
		is free --

	The baby, excited, wriggles free of them and lands on the
	ground outside.  Not wasting a second, Malcolm SLAMS the door
	shut.

	The three of them freeze, not daring to breath.  Outside, they
	can hear the SNUFFLING and COOING of the animals as they
	inspect their young --

	-- and then the soft THUD of their footsteps, growing fainter
	as they move away.

	From the wall, EDDIE'S VOICE comes over the radio, relieved.

				EDDIE
		They're going back into the jungle.

							CUT TO:

	EXT. HIGH HIDE - NIGHT

	EDDIE, JUTTSON, and KELLY sag back against the railings of the
	high hide.

				EDDIE
		Thank God.  Thank God.

	MALCOLM'S VOICE comes over the radio.

				MALCOLM (o.s.)
		Kelly?  Are you all right?

	She takes the radio, her voice shaky.

				KELLY
		Uh huh.

							CUT TO:

	INT. TRAILER - NIGHT

	MALCOLM is at the radio.

				MALCOLM
		Wait there.  I'll come up in a
		minute.  Don't move, understand?

				KELLY (o.s.)
		I understand.

	Malcolm slump against the wall of the trailer.  SARAH and
	NICK sit on the floor leaning against the opposite wall,
	completely drained.  Sarah pulls out her pocket recorder and
	speaks shakily into it.

				SARAH
		Note to Dr. Juttson -- Tyrannosaurus
		rex does nurture its young.

	They laugh weakly.

				NICK
		There's, uh -- there's an unwritten
		rule when a news crew is in a war
		zone.  You stop the van every two
		miles and decide whether or not to go
		on.  Whether or not you feel lucky.
		One "no" from anybody in the group
		and you turn around right there, no
		question asked, nobody embarrassed.
			(pause)
		Well?  Do we go on?
	Immediately:

				SARAH
		No.

				MALCOLM
		No.

				NICK
		No way.

	They all laugh.

				MALCOLM
		All right.  I'm satisfied with the
		evidence we have right now.
		I feel vindicated.  John Hammond will
		too.
			(to Sarah)
		Do you have enough to publish?

				SARAH
		They will come after me.  But I can
		collect some stool samples, for DNA
		with that, Nick's tapes, and the rest
		of you to back me up, it should stand
		when we get back.

				MALCOLM
			(getting up)
		Then the only thing left to do is
		make sure we do get back.  I'll
		call the mainland on the satellite
		phone and have them send the boat
		right now.  This expedition is over.

	He goes to the desk and picks up the heavy gray satellite
	phone that's resting in a battery pack.  The front panel
	lights up, a brilliant green.

	But from the wall speaker, the radio CRACKLES and EDDIE'S
	VOICE breaks through, soft and empty.

				EDDIE (o.s.)
		Oh, God.  I am so sorry.

	Malcolm and Sarah look at the speaker box.

				MALCOLM
		What the hell is he sorry f-

	A low RATTLE sneaks into the trailer.  Malcolm, Sarah, and
	Nick takes a step forward from the walls, looking around.  The
	RATTLE gets louder, the trailer shakes and vibrates,
	everything in it starts to BANG against the walls --

	-- and something huge SMASHES into the side of the trailer.

	They're all thrown against the far wall, there is an
	earsplitting CRACK of electricity, the entire trailer rocks
	and sparks a brilliant blue, and then everything goes black.

	The satellite phone flies out of Malcolm's hands and SMACKS
	against the wall.  It lands on the floor, its number pad still
	glowing green.

	Nick crawls over and looks out one of the windows.  Outside,
	the flank of one of the tyrannosaurs wipes past the window,
	revealing the second tyrannosaur, charging straight at the
	trailer!

				NICK
		HANG ON TO SOMETHING!

	They hurl themselves at the nearest solid object and hang on
	for dear life.  The charging rex SLAM into the side of the
	trailer, which rocks up on one side, BANGS back  down, and is
	quickly RAMMED again by the furious animal.  This time the
	entire trailer rolls over, completely upside down.

	Sarah, Nick, and Malcolm let go of their precarious handholds
	and drop onto the ceiling.  The tables, chairs, lab equipment,
	everything that's bolted down clings to the floor above them;
	everything that isn't RAINS DOWN ON THEM.

	But the rexes aren't done.  The trailer JOLTS INTO MOTION,
	sliding forwards.

	SEEN FROM OUTSIDE,

	the upside down trailer, which is the rear of the two
	trailers, slides along the muddy ground, pushing up earth in
	front of it.

	IN THE TRAILER,

				SARAH
		They're pushing us!

	Malcolm, frantic, crawls up to a window to get a look outside.
	He looks down and sees a T-rex footprint in the earth outside
	as they move past it.

	He cranks his head to get a look at the direction in which
	they are being pushed.  His eyes widen at something he sees
	outside the window.

				MALCOLM
		Oh, God.

				SARAH
		What?!

				MALCOLM
		They're pushing us over the cliff.

	Sure enough, out the back window, we see a few more feet of
	muddy earth, and then nothing but inky black.  The three of
	them look at each other for a moment --

	-- and then crawl like hell toward the other end of the
	trailer.  The opposite end reaches the edge of the cliff and
	starts up to tip ever-so-slightly downward.  They reach the
	accordion-like connector and Malcolm crawls into it.

	THROUGH THE WINDSHIELD OF THE FRONT TRAILER,

	which is right-side-up, Malcolm can see the two rexes hard at
	it, pushing the front end of the trailer.

	IN THE REAR TRAILER,

	Nick has a pretty good grip at the top of the trailer, but
	Sarah can only cling to an air vent in the ceiling as stuff
	starts to roll and tumble past her, headed downhill.

	The angle increases, the trailer dips, and now stuff starts to
	freefall, right past her, some SMASHING her in the head.

	Malcolm, still in the connecting tube, grabs hold.  Sarah,
	starting to be pulled downward, paws at the refrigerator,
	getting a g rip on the handle.  The door, held by a safety
	latch, doesn't open.

	Below Sarah, debris falls to the rear window of the trailer.
	Through the CRACKING glass, we can see the surf, CRASHING five
	hundred feet below.

	The refrigerator bolts suddenly CRUNCH free of the wall.  The
	box strains on its power cord.

	Still clinging to the handle, Sarah swings wildly as it starts
	to come loose, swaying above her.

	The safety latch on the door gives, it swings open, and a
	shower of food BANGS off of her as gravity empties the
	contents.

	Sarah loses her grip and plummets through the now-vertical
	trailer.  She SCREAMS, covers her head, and SMASHES into the
	rear window.  The glass spiderwebs, but does not break.

	FIVE HUNDRED FEET BELOW,

	an enormous wave POUNDS the rocky shore.  Above, Sarah is a
	tiny figure, sprawled out on the glass, held invisibly by the
	breaking window.

	IN THE TRAILER,

	Nick SHOUTS to her.

				NICK
		SARAH!  DON'T MOVE!

	Sarah, stunned by the fall, blinks a few times, regaining her
	senses.  She looks down, at the crashing surf so far below.
	For a person with a fear of heights, this is a real drag.  As
	she stares, the rocks seem to move even farther away from her.
	She blanches; the world spins around her.

				SARAH
		OH... GOD ... please...

	Her breath fogs the cracked glass.  Slowly, she tries to get
	up, caaaaaarefully pulling herself up to her hands and knees.

	But as she puts pressures on her hands, the glass CRACKS even
	more, tiny spiderwebs shooting out around her fingers.  The
	whole glass panel sags, bowing out around the bottom of the
	trailer.

	UP ABOVE HER,

	Malcolm looks down and sees the satellite phone precariously
	balanced on one leg of the kitchen table, its number pad still
	glowing green.  Nick is closest to it.

				MALCOLM
		Nick!  Grab the phone!

	SARAH

	looks to her right, at a metal grating that runs along the
	wall of the trailer.  She shifts her weight, leaning on one
	hand to reach for the grating with the other.

	NICK

	reaches for the satellite phone, its antenna just six inches
	from his outstretched fingers.

	SARAH

	leans toward the metal grating, all hairline cracks shoot out
	around her pivot hand, shaking through the glass.  The
	splintered glass spread like a disease, it reaches the edge
	of the frame --

	-- and her hand CRACKS right through the glass.  She GASPS and
	pulls her hand out, but now she knees SMASH through the
	glass.

	NICK

	has two fingers on the phone, but suddenly the whole trailer
	shudders and the heavy phone tips off the table leg and falls.

				NICK
		SARAH LOOK OUT!

	SARAH

	lunges for the metal grating and clings to it just as the
	heavy phone whizzes past her head and SMASHES into the glass,
	opening up a huge hole in the center of the back window.

	UNDERNEATH THE TRAILER,

	glass, food, lab equipment, and the precious satellite phone
	fall out the broken window and SMASH on the rocks far below.

	IN THE CLEANING,

	the trailers are split, like an L, the rear trailer hanging
	straight down, the forward one resting on the edge of the
	cliff.  Satisfied with their work, the T-rexes turn and lumber
	back into the jungle.

	IN THE TRAILER,

	Sarah climbs carefully up the metal grating.  Above her, Nick
	lowers himself as far as he can, reaching for her.

	ON THE CLIFFSIDE,

	we realize the hanging trailer halted its descent because one
	corner of it is wedged in the branches of a tree that grows
	out from the muddy cliff.

	But now those branches SPLINTER.

	IN THE TRAILER,

	Malcolm sees the bellows, the connector between the trailers,
	stretch as the lower trailer JERKS and dips lower.

	BELOW HIM,

	Sarah mountain-climbs through the trailer's kitchen,
	inadvertently kicking the faucet on as she struggles for
	purchase.

	OUTSIDE,

	the tree branch SNAPS and the trailer jerks, stretching down
	again.  The bellows expands to its full length, stretching
	like a Slinky.

	INSIDE,

	Nick knows he has to hurry.  He climbs down, bouncing off the
	built-in furniture, moving ever closer to Sarah.

	But Sarah slips and loses her grip, dropping a few feet.  She
	gabs hold of the sink, the flowing water spraying her face.

	EXT. JUNGLE - NIGHT

	EDDIE CARR is in the driver's seat of the jeep, racing through
	the jungle as fast as he can.

				EDDIE
		Hang on -- hang on --

	The foliage SMACKS the windshield, then clears suddenly,
	revealing the endangered trailers on the cliffside ahead of
	him.  The jeep bounces through the deep footprints left by the
	rex and SKIDS to a halt.

	INT. TRAILER - NIGHT

	Sarah loses her grip on the sink and falls, SMASHING into the
	frame of the half-broken rear window again.

	OUTSIDE,

	Eddie bolts out of the car and runs to the front trailer.  He
	SHOUTS in through the broken front window.

				EDDIE
		HEY!  HELLO?!

	IN THE REAR TRAILER,

	The three look up from their precarious positions.

				MALCOLM
		WE'RE IN HERE!  GET SOME ROPE!

	OUTSIDE,

	Eddie turns and run back to the jeep.  He grabs a coil of
	rope, secures one end around a tree, and hurries back to the
	trailer.

	IN THE REAR TRAILER,

	Eddie dashes over the mess in the front trailer and crawls out
	into the extended connector.  He peers over the edge, down
	into the second trailer, and tosses the rope.

				EDDIE
		Catch!

	The rope falls through the center of the trailer, its end
	dangling all the way out the smashed rear window.  But the
	trailer SHUDDERS, starting to move again.

				SARAH
		We're sliding!

				EDDIE
		Climbs up if you can!

	OUTSIDE,

	Eddie runs out of the trailer in time to see the wheels
	dragging forward through the mud as the weight of the dangling
	trailer pulls the whole thing toward the edge of the cliff.

	He runs for the jeep and grabs hold of the power winch on the
	front grill.

	Behind him, the trailer rolls closer to the edge of the cliff.

	Eddie races back to the trailer, pulling out a length of cable
	behind him.  He runs up to the still-moving trailer, dives for
	its towing hook, the cable goes taut --

	-- and he falls short.  Just by six inches, but he's out of
	cable.

				EDDIE
		Damn it!

	INSIDE THE TRAILER,

	Nick and Sarah are now together, clinging to the rope near the
	bottom of the trailer as it shifts around them.  Malcolm is
	further up, also clinging to the rope.

	OUTSIDE,

	dirt and rocks pile up around the wheels and spill over the
	edge of the cliff.

	Eddie, back at the jeep, reels out more winch cable.  He turns
	and races back to the trailer just as gravity starts to LIFT
	THE FRONT END OFF THE GROUND!

	Eddie dives again, and this time the cable hook CLICKS
	securely into the trailer's towing hook.  The trailer lurches
	toward the edge of the cliff and stops.

	But the jeep is jerked forward by the sudden pressure.

	IN THE TRAILER,

	Malcolm clings to the rope in the middle of the trailer while
	Nick and Sarah try to struggle up it, but a sudden dig knocks
	them back, and their hands slide down the line.  SCREAMING,
	they slide through the trailer and their feet SMASH through
	the remains of the rear window.

	Regaining hold of the rope at the very end, the two of them
	now find themselves hanging out of the rear end of the trailer,
	dangling over the rocky shore below.

	IN THE JEEP,

	Eddie hits the gas and the tires slosh in the mud, trying to
	get a grip.  The jeep pulls just enough to lower the front
	trailer back to earth.  But the tires spin, fighting to hold
	it there.

	ON THE CLIFFSIDE

	Sarah and Nick dangle, desperate.

	IN THE JEEP

	Eddie CHUNKS the shifter into four wheel drive and GUNS the
	engine.  As the motor ROARS, the sound is topped by another
	ROAR, in the distance.

	And this one's not a machine.  But Eddie doesn't hear it.  He
	GUNS the engine again.  There is another ROAR from the jungle.

	Eddie hears this one.  He darts a look at the side view
	mirror.  In it, he sees one of the TYRANNOSAURS bolt out of
	the jungle behind him.

	He GASPS and looks at the other side view.  In it, he sees the
	OTHER REX racing toward him.

	The tyrannosaurs STOMP forward to confront the ROARING jeep.
	The first rex bends over, CHOMPS down on the rear tire, and
	lifts the car to its teeth.

	But the spinning tire LINGS in the rex's mouth, burning it.
	Surprised by the fight in this foe, the rex loses its grip and
	the jeep BANGS back down onto the ground.

	Eddie, horrified, dives down under the steering wheel, to get
	away.  The gas pedal pops up --

	-- which makes the trailer pitch over the side of the cliff.

	But the rex STOMPS down on the jeep to prevent its escape.
	The trailers stop.

	Now the rexes lean down, over the jeep, and focus on Eddie,
	who still covers under the steering wheel.  The first rex
	SNAPS at him, hitting the steering column with it, leaving Eddie fully
	exposed.

	He SCREAMS and the second rex lashes in, seizing him in its
	teeth and tossing him out of the car.

	Eddie pops up into the air between the two rexes, both their
	heads flash at him at the same time, and in a split-second, he
	disappears between their teeth.

	Now completely ignored, the jeep rolls freely forward and the
	trailers drop over the edge of the cliff.

	INSIDE THE TRAILER,

	Nick, Sarah and Malcolm cling to each other and the rope as
	the trailers fall around them.  The windows flash by as the
	trailers plummet, equipment BANGS and SCRAPES them, but they
	hold on to the rope, still tied to the tree, for dear life.

	ON THE CLIFFSIDE,

	the trailers slide the rest of the way, exposing the three,
	who pop out the space where the front windshield was.
	Dangling from the rope, they look up and see the jeep, which
	is now rolling to the edge of the cliff.

	It falls, past them, and the whole mess EXPLODES on the rocks
	below.  Finally, it is silent, except for the sound of the
	surf.

	EXT. CLEARING - NIGHT

	It's quiet up here too, the rexes nowhere to be seen.  At the
	cliff, a hand appears from over the edge.  Then another.
	SARAH pulls herself up, back onto solid ground, then comes
	NICK, then both of them reach over and help MALCOLM up over
	the edge.

	They collapse there, in the mud, completely exhausted.

				MALCOLM
			(softly)
		Eddie?

	He looks at the other two.  They glance around, then drop
	their heads.  Sarah hears a SOUND in the distance.

				SARAH
		Oh, God.  Now what?

	From the edge of the jungle, a cris-cross of flashlight beams
	moves toward them.  But rather than the three or four that
	would signify their own group, there are nearly twenty of
	them.

	The HUNTERS, PETER LUDLOW is in the lead, ROLAND and AJAY
	with him.  DIETER is there too, shepherding KELLY and DR.
	JUTTSON along in front of him.

	Malcolm sees Kelly, they call out to each other, and race
	together.  Malcolm falls to his knees and hugs her as tightly
	as he possibly can.

				MALCOLM
		Are you all right?!  Anything broken?

				KELLY
		I'm fine, I'm fine, I was scared, I
		thought you, are you okay?!

				MALCOLM
		I'm fine... I'm fine...

	Roland looks around, at the mess that was their base camp.

				ROLAND
			(mostly to himself)
		That's what you think.

							CUT TO:

	EXT. RUINED BASE CAMP - NIGHT

	In the ruins of the first team's base camp, the survivors of
	the night's two separate catastrophes stand face to face, in a
	heated argument.

	MALCOLM sits off to the side, still holding Kelly in his arms,
	just looking down at the ground and shaking his head.  There's
	something about his posture of defeat that is far more ominous
	than any of the hot tempers that are flaring.  LUDLOW rants to
	SARAH while DIETER looms menacingly over NICK.

				LUDLOW
		Trespassing, sabotage -- you could go
		to jail just for being here, did
		you know that?

				SARAH
		Don't start a legal argument with me,
		this island isn't your property, and
		neither are these animals!

	DR. JUTTSON has encountered DR. BURKE.

				JUTTSON
		What are you doing here, Burke?
		There's no TV cameras, what's the
		point?

				BURKE
		Dr. Juttson, you exist outside the
		classroom.  I am amazed.

	Dieter continues to get in Nick's face.

				NICK
		Are you looking for a problem?

				JUTTSON
			(an urgent whisper)
		Everyone, keep your voices down!

				ROLAND
		Back off, Dieter.

				JUTTSON
		Listen to me, by moving the baby
		rex into our camp, we changed the
		adults' perceived territory!

				LUDLOW
		Their what?

				SARAH
			(she understands)
		Oh, God.

				JUTTSON
		That's why they persisted in
		destroying the trailers, they now
		feel they have to defend this entire
		area!  We're not safe here.

				LUDLOW
			(of Sarah and Nick)
		Thanks to you people.

				SARAH
		Hey, we came here to observe, you
		came here to strip-mine the place!
		It's a looter mentality, all you care
		about is what you can take.

				ROLAND
		None of that matters.  Our
		communications equipment's been
		destroyed.  If your radio and
		satellite phone were in those
		trailers that went off the cliff, and
		I'm guessing by the look on his
		face --

	He points at Malcolm, who is still off to the side, sitting in
	stunned silence.  Malcolm looks up and nods, slowly.  The
	grimness of their situation sinks in.

				ROLAND (cont'd)
		We are stuck here, ladies and
		gentlemen.  And we're stuck together.

							CUT TO:

	EXT. HUNTERS' CAMP - NIGHT

	Back in the hunters' now-demolished camp, members of the two
	groups combine their diminished supplies.  They have half a
	dozen large plastic containers of water, thirty-seven
	containers of food, ranging from Ziploc bags to aluminum tins,
	a variety of weapons, mot of them borne on the hips or
	shoulders of the HUNTER team, the charred and scraggly
	remnants of several pieces of now-useless electrical
	equipment, a flare gun and several flares, somebody's tattered
	paperback ("Crime and Punishment"), a box of Hershey bars, and
	a cartoon of Marlboros.

	ROLAND supervises the assembling of the resources, which are
	displayed in front of him.  LUDLOW, NICK, SARAH, JUTTSON, and
	MALCOLM, who is still holding KELLY close to him, are with
	him.  They hold their discussion in quiet tones.

				ROLAND
		If we can't stay in the rex's
		territory, we have to move tonight.

				SARAH
		Move where?  Our boat's not coming
		for two days, your airlift is waiting
		for an order you have no way to
		send --

	Ludlow refers to the charred and trampled satellite
	photographs of the island, which are still mostly legible.

				LUDLOW
		There's a communication center, here,
		in the old worker village.  Hammond
		put in some kind of renewable power
		source replenishing.  It may still
		work.  If we could get there, we
		could send a radio call for the
		airlift.

				NICK
		How far is the village?

				LUDLOW
		I said if we could get there.

				NICK
		Well, how far is it?

				LUDLOW
		A day's walk, maybe more.  That's not
		the problem.

				ROLAND
		What is?

				LUDLOW
		The velociraptors.

	Malcolm looks up sharply.

				LUDLOW (cont'd)
		Our infrareds show their nesting
		sites are concentrated in the island
		interior.  That's why we planned on
		keeping to the outer rim.

	Malcolm shepherds Kelly away from the conversation and mutters
	something to her quietly in the background.

				DIETER
		What are velociraptors?

				JUTTSON
		Carnivores.  Pack hunters.  About six
		feet long, three or four hundred
		pounds, and very, very fast.

	Dieter brandishes his weapon.

				DIETER
		I think we can handle ourselves
		against them.

	Malcolm rejoins the conversation, alone.  He keeps his voice
	low.

				MALCOLM
		No.  I'm quite certain you can't.

				ROLAND
		Look, we have two choices.  We can
		hike back down to the lagoon, where
		we can sit for two days, in the open,
		next to a heavily used water source
		while we're waiting for your boat to
		arrive, or we can head for the
		village, where we might find some
		shelter and we can call for help.

				MALCOLM
		We'd never make it past the raptors.
		Trust me, I have some experience in
		this matter.

	Roland looks at him.

				ROLAND
		That may be.  But you weren't with
		me at the time.

	Malcolm just shakes his head, then turns and walks back to
	Kelly.  Roland turns to the others.

				ROLAND (cont'd)
		Load up.  Let's get this moveable
		feast underway.

							CUT TO:

	EXT. ISLAND - NIGHT

	The SURVIVORS set forth, marching through the jungle in a
	column.  Two HUNTERS strap on small shoulder-mounted
	servo-flashlights.  Wires run from the lights end in
	sensor pads which they stick to the skin of their necks.  Thus
	attached, when the hunters turn their heads, the servo-lights
	turn with them, illuminating whatever direction they look in.

	MALCOLM screws the barrel into the Lindstradt rifle and slings
	it over his shoulder as he marches, limping heavily.  He looks
	down at KELLY, who is marching alongside him.  His face shows
	the deepest of regret.  He shakes his head, cursing himself.

				MALCOLM
		Damn it.

	He looks away as Kelly looks up at him, questioning.  ROLAND
	falls into step with Malcolm and notices his limp.

				ROLAND
		You all right?

	Malcolm looks at him, then looks away without answering.

				ROLAND (cont'd)
		Wrong question?

				MALCOLM
		You ever heard of Gambler's Ruin?

				ROLAND
		What's that?

				MALCOLM
		A statistical phenomenon.  Says
		everything in the world goes in
		streaks.  It's real, you see it
		everywhere -- in weather, in river
		flooding, in baseball, in blackjack,
		in stock markets.  Once things go
		bad, they tend to stay bad.  Bad
		things cluster.  They go to hell
		together.

				ROLAND
		Feeling a bit blue, are we?

	Malcolm glances at Kelly, who has taken a slightly faster pace
	and is a few steps ahead of them now.

				MALCOLM
		Just -- flawed.  Very deeply flawed.

				ROLAND
		Why did you come here?

				MALCOLM
		So that others would know about this
		place?

				ROLAND
		Why should they?

				MALCOLM
		Because it exists.

				ROLAND
		It'll still exit if they go on not
		knowing, won't it?

				MALCOLM
		Yes.  And people will live in the
		absence of truth.

				ROLAND
		So the truth is more important to you
		than your life?

				MALCOLM
			(lowers is voice)
		I don't care about my life.  But if
		I'd ever thought for a second that
		she would be in danger --

	Roland follows his gaze forward, to Kelly, who's about ten
	yards ahead now.

				ROLAND
		She yours?

	AHEAD OF THEM,

	Kelly can hear their voices, faint, but clear.  They are not
	as far away as they think they are.

				MALCOLM (o.s.)
		I'm afraid so.  I don't know what the
		hell I'm doing with kids.  I never
		should have had her.

	Kelly's face shows she heard that part.

	BEHIND HER,

	Malcolm, unaware, continues with Roland.

				MALCOLM (cont'd)
		Why are you here?

				ROLAND
		Somewhere on this island, there
		exits the greatest predator that
		ever lived.  And the second greatest
		predator must take him down.

				MALCOLM
		But why?

				ROLAND
		You remember that guy, about twenty
		years ago, I forget his name, but he
		climbed Everest without any oxygen,
		came down almost dead.  And they
		asked him, "why did you go up there
		to die?"  And he said "I didn't.  I
		went up there to live."

				MALCOLM
			(nods)
		It's called self-testing.  But in
		your case, it sounds more like
		self-destruction.  A uniquely human
		characteristic.  In fact, human
		beings destroy things so well that I
		sometimes think that's our function.
		Maybe every few sons, some animal
		comes along that kills off the rest
		of the world, clears the decks, and
		lets evolution proceed to his next
		phase.  Maybe death and destruction
		are our job, maybe we're supposed
		to destroy ourselves and every other
		living thing that-

	Every person on the trail within earshot has stopped and is
	staring at Malcolm, shaken by his words.  Roland grabs Malcolm
	by the shirt collar and pulls him close, GROWLING in his ear.

				ROLAND
		Tell you what.  You can see whatever
		you want to, to me, but you will not
		spew any more nihilist rants at
		anyone else in the group.  I'm
		fighting panic, and you push the
		wrong buttons.  Understand?

	Malcolm just blinks.  This guy's in charge.

							CUT TO:

	EXT. JUNGLE - DAWN

	As a purple dawn dissolves the night sky, the SURVIVORS
	stagger on, exhausted.  Some are starting to tire, and there
	are spaces in the column.  MALCOLM's limp seems to be getting
	worse.  NICK reaches out, to take Malcolm's pack, but Malcolm
	swats his hand away.

	KELLY, still ahead of him, falls into step with SARAH.

				KELLY
		I don't think -- my dad doesn't
		think we're going to make it.

	Sarah looks at her.

				SARAH
		Your dad is wrong.  About a lot more
		than he knows.

	She puts an arm around her.  Kelly looks up at her, grateful.
	The long march continues.

	UP AT THE FRONT,

	NICK catches up to ROLAND.

				NICK
		I think you should call a break.

				ROLAND
		Another half hour.

				NICK
		Some of them won't make another half
		hour.  We didn't come this far to
		start dropping in the middle of the
		jungle.  If you don't call it, I
		will.

	Roland looks at him, steely, then SHOUTS to the group.

				ROLAND
		FIVE MINUTES BREAK!

	Immediately, the marchers drop where they stood, absolutely
	drained.

	AT THE REAR OF THE GROUP,

	DRS. BURKE and JUTTSON are bickering.

				JUTTSON
		I can't believe you're still angry
		about that.

				BURKE
		You know, it's very easy to criticize
		the first person who studies
		something.

				JUTTSON
		No, it's easy to criticize sloppy
		research and hasty conclusions.

	NEARBY,

	MALCOLM checks Nick's bag of videotapes, making sure they're
	still dry and undamaged.  Sarah comes up, watching him.

				SARAH
		You know, even if we do get those
		tapes back, people are going to say
		it's just another hoax.  Ian
		Malcolm's alien autopsy.

				MALCOLM
		Maybe.  Maybe not.

				SARAH
		Ian, they will misplace our evidence,
		shoot holes in our testimony, and say
		some special effects genius created
		the animals.  The only way people
		will ever believe that dinosaurs
		exist is if you dump a T-rex in the
		middle of times Square.

	He doesn't look at her.  She sits down beside her.

				SARAH (cont'd)
		There's something more important that
		you should be thinking about instead.

	BEHIND THEM,

	Dr. Burke, furious, has stalked away from Juttson and sits
	down on a rock.  H does a double take, noticing something
	behind the rock.  He leans over and picks it up.

	It's an oval shape about eight inches long, with a pebbled
	exterior.  A dinosaur egg.

	Burke's face lights up, fascinated, and he carefully pieces
	the egg in a satchel he wears over one shoulder.

	AT THE REAR OF THE GROUP,

	DIETER STARK pulls a wad of toilet paper from his pack, drops
	the pack on the ground, and turns to the Hunter nearest him --
	CARTER, his driver, who has his back turned.

				DIETER
		Wait here for me, would ya Carter?

	He steps off the path, into the jungle.  But as we come around
	the front of Carter, we see he's wearing a Walkman, the
	headphone BLARING tinnily in his ears.

	And he didn't hear a word.

	EXT. THICK OF THE JUNGLE - DAY

	Only a few feet off the path, it's primary forest, the growth
	so thick that almost all sunlight is obscured.  DIETER claws
	forward until he finds a suitable spot to relieve himself.

	He clears away a bunch of leaves and debris and raises his
	hand to his belt buckle.  He freezes, hearing something we
	didn't.  He glances around, head darting, alert to any danger.

	Nothing there.  Just a few distant ANIMAL CALLS--

	-- and s SCURRYING around to his left.

	Dieter snaps his head in that direction.  At first, he sees
	nothing, but as he moves closer, gun extended in front of him,
	he sees a small dinosaur, a COMPSOGRATHUS, the same
	chicken-sized animal Cathy saw on the beach so long ago.

				DIETER
		It's not polite to --

	He pulls the steel rod out of a loop in his belt and touches
	it to the compy's back.  The blue bolt of electricity CRACKS
	and dances over the compy's body and it convulses in pain.

				DIETER (cont'd)
		-- sneak up on people.

	The wounded compsognathus scurries back into the jungle,
	whimpering.  Dieter clambers through the foliage ten or twelve
	paces, pushes aside two large palm fronds, and steps out
	into --

	-- more jungle.  He stops, puzzled, not sure if he went back
	or forward.

	He looks behind him.  He pauses, recalculating the path he
	took coming into the jungle, MUTTERING to himself, gesturing
	with his hands, retracing his steps.

	He adjusts his angle slightly to the right and heads off in
	that direction.  But after five or six hard-fought steps, he
	stops again.  Still nothing but jungle.

				DIETER
		HEY!  CARTER!  YELL OR SOMETHING, I
		GOT TURNED AROUND IN HERE!

	ON THE TRAIL,

	Dieter's cries are faint, but audible.  The only Marchers hear
	enough to hear him is CARTER, but the Walkman is blaring in
	his ears.

				DIETER (o.s.)
		...Carter... me?...

	IN THE JUNGLE,

	Dieter hears that SCURRYING sound again, this time from his
	right.  He adjusts his angle again and SCRAPES through the
	foliage, moving faster and faster.

	Panicking, he ties to run, but the roots rise high out of the
	ground in the jungle, and he trips on one and falls flat on
	his face.

	He looks up.  The SCURRYING sound comes again, this time ten
	times louder than before, like a hundred feet coming at him.

	Dieter GASPS as something rushes in at him.

	He whirls to his right.  Whatever it is rushes in from that
	side as well.  And the left.  And behind him.  Dieter
	scrambles up into a sitting position --

	-- and laughs.  He is surrounded by at least forty compys now,
	the same as the one he wounded.

	For a long moment, they just stare at him.  Slowly, he brings
	his gun around, to point it at them.

				DIETER
		Easy -- wait -- one more sec-

	As one, the compys SHRIEK and hurl themselves forward,
	covering Dieter's body.  Their teeth and claws FLASH as they
	each try to grab a scrap of his flesh, tearing savagely.

	Dieter SCREAMS and flails, waving his arms and legs wildly.
	Some of the tiny animals lose their grip and sail off,
	SMASHING into trees or the ground.  But dozens of others hang
	on, and Dieter falls over backwards, now lying on his back on
	the ground.

	Hysterical, he fights like hell to get to his feet, SCREAMING,
	shaking, swatting the compys loose.  He spins, and that tactic
	seems to work, as the compys themselves begin to panic and
	drop off of him.  But he also loses his grip on his weapon,
	which goes flying, landing in the thick foliage five or six
	feet from him.

	Losing the attack, the compys turn and dart away en masse,
	stopping ten yards away from him.

	But they turn and regroup, facing him in a line, hopping up
	and down, CHIRPING and SHRIEKING.

	Dieter bounds into the foliage, looking for his gun.  But the
	compys follow him in and he's forced to flee, abandoning his
	lost weapon.

	Ten feet on, he stops, knowing he's screwed without the gun.
	He turns to face the pursuing compys.

	They stop.

	Dieter charges them, SHOUTING, waving his arms.

	The compys turn and run.  Dieter stops.

	The compys stop.  They stare back at him.  There is a moment
	of quiet, then they start to hop again, CHIRPING and
	SQUEALING.

	Dieter, tired of this game, turns and runs away.

	The compys follow.

	EXT. JUNGLE - DAY

	From the front of the convoy, ROLAND SHOUTS out.

				ROLAND
		Break's over, move on!

	The exhausted marchers drag themselves back to their feet and
	start to march again.  At the rear of the group, someone taps
	Carter, who is still listening to his music.  Carter gets up,
	hoists his backpack, and marches away.

	Behind him, Dieter's pack is left, forgotten, on the jungle
	trail.

	EXT. DEEP IN THE JUNGLE - DAY

	DIETER stumbles along, exhausted.  He reaches the edge of a
	stream that runs under the foliage, and his feet slip on the
	stones.  He falls, into the rocky stream.

	Behind him, the army of compys pours over the little hill he
	just crested.  They disappear for a moment, down an incline --

	-- And then swarm over his body.  In a frenzy of splashing,
	Dieter shrugs them off and crawls away, through the stream.
	He gets to his feet but falls again, this time over a log.  A
	geyser of water splashes up in the air behind the log as
	Dieter drops out of sight.

	The compys leap over the log and disappear from view too,
	throwing up their own splashes of water.  SCREECHING,
	CHIRPING, and the sound of TEARING flesh mixes with Dieter's
	SCREAMS.

	Now, as more compys leap over the log and splash into the
	water below, the geysers that shoot up into our field of view
	are pink.

	And then they're a deep, deep red.

							CUT TO:

	EXT. JUNGLE - DAY

	The group has stopped again.  Near the rear, SARAH, NICK,
	MALCOLM, LUDLOW, and ROLAND are in a tense conversation with
	CARTER.

				ROLAND
		How long ago was this?

				CARTER
		Seven, eight minutes.

	Roland looks at them, thinking.  Finally:

				ROLAND
		Then he's dead.  Nobody tells the
		little girl.  Last thing we need is
		screaming hysterics.

	He turns and heads back to the front of the column.

				SARAH
		We have to send someone to look for
		him!

				ROLAND
		You go if you like, but we're not
		waiting for you.  MOVE IT OUT!!

	They look at each other, appalled, but the column starts to
	move.  Numbed, shocked, but left with no choice, they move on,
	one by one.

							CUT TO:

	EXT. ISLAND RIDGE - DUSK

	The column of MARCHERS has finally reached the island ridge,
	where they are silhouetted against the setting sun.  They're
	taking a break, sprawled out on rocks or over the ground.

	MALCOLM sits next to KELLY, who's sitting on a log.

				MALCOLM
		You okay?

	She doesn't look at him, just gets up and walks away, going to
	sit over next to SARAH.

	Malcolm watches, pained, but Sarah puts an arm around her and
	makes a "she's okay" gesture to Malcolm.

	AT THE RIDGE,

	ROLAND steps up to the very edge and peers into the island
	interior.  From his vantage point, he's able to see all the
	way to the far side of the island, a rim of herd black cliff,
	miles away.  Between here and the cliffs there is nothing but
	gently undulating jungle.

	He refers to one of the satellite recon photos.

				ROLAND
		Looks like the worker village is down
		in there, about a mile and a half
		northeast from the base of these
		cliffs.

	MALCOLM is next to him.

				MALCOLM
		There must be a game trail, some kind
		of path that goes down there.

	Roland looks around at the exhausted MARCHERS.

				ROLAND
		They'll have to rest before we look
		for it.  Eat.  Sleep.  Two hours.
		Then we hit it.

							CUT TO:

	EXT. CAMPSITE - NIGHT

	The group has made camp in the jungle.  The mood is somber,
	most of the MARCHERS asleep already.  Three or four tents have
	been put up.

	IN ONE TENT,

	KELLY sits quietly in a corner, her eyes wide, knees hugged up
	to his chest.  SARAH comes in.

				SARAH
		There you are.  Your dad's looking
		for you.

				KELLY
		I doubt that.

	Sarah takes off her outer shirt and hangs it over a bar to dry
	the broad red smear across its front.

				SARAH
		Oh, come on.  Go talk to him.

				KELLY
		Why?  He likes to be alone.  I can
		stay with you.

	IN THE CAMPSITE,

	all is still.  The nocturnal jungle HOOTS and BUZZES around
	the sleeping marchers.

	In his tent, ROLAND abruptly sits up.  As if he heard
	something.  He looks out the open flap.  In the middle of the
	campsite, he sees AJAY stop in his tracks, head cocked.

	Roland gets up and goes outside, joining Ajay in the middle of
	the camp.

				ROLAND
		You hear something?

				AJAY
		No.  I feel something.

	Roland looks at him.  This isn't so good.  He looks out at the
	shifting jungle.  He notices a thin plume of smoke rising up
	over the trees just barely outside the edge of camp.

				ROLAND
		Oh, no.

	IN SARAH'S TENT,

	Kelly and Sarah have laid down on top of sleeping bags, trying
	to get a few minutes' rest.  Sarah's shirt hangs over them,
	swaying in the gentle breeze coming through the open flap.

	As the shirt dangles there, swinging softly from side to side,
	we notice the broad red smear across the front.  Oh, that's
	right -- it's blood.

	The baby T-rex's blood.

	AT THE RIDGE OF CAMP,

	the thin plume of smoke leads down to a tiny cooking fire
	that's been lit by DR. BURKE.

	He's set a small frying pan on top of it, and now he CRACKS
	the dinosaur egg he picked up earlier into the pan.

	Roland and Ajay run up behind him.

				ROLAND
			(hisses)
		ARE YOU OUT OF YOUR MIND?!

	Burke leaps out of the way as Roland kicks dirt on the fire.

	BMBB!

	Roland, Ajay, and Burke all freeze.  What was that?

	IN SARAH'S TENT,

	Sarah and Kelly sit up.  They felt it too.

	BMBB!

	AT THE COCKING FIRE,

				ROLAND
		Get my weapon.

	Ajay turns and trots away a few steps, then stops cold,
	staring down at the ground.

	BMBB!

	A recent rain has all left puddles scattered around the camp, and
	impact tremors now create ripples in the puddles -- concentric
	circles spreading to the outer edges.

	BMBB!

	IN SARAH'S TENT,

	Sarah and Kelly are frantically sealing up any opened food
	into Ziploc bags.

	BMBB!

	Now they leap into Sarah's sleeping bag, to seal themselves,
	and draw the zipper up, all the way around.

	Outside, the silhouette of the rex's head passes by the tent.
	Sarah works faster, her fingers struggling to close the last
	few inches, but --

	-- the rex head pokes through the flap of the tent.  It
	sniffs, SNORTING the air in and out.  It looks around the
	tent.

	It sniffs Sarah's hanging shirt, the one that is stained with
	the blood of the baby tyrannosaur.  The adult tyrannosaur
	GURGLES again, COOING and cocking its head curiously.

	In the sleeping bag, Sarah and Kelly's eyes are barely
	visible, wide in panic.  The rex sniffs and nudges the bag,
	trying to figure out what this thing is.

	It rolls the bag over once, decides it's uninteresting, and
	then rises, straights up --

	-- taking the whole tent with it!  The stakes pop out of the
	ground as the tent rises high up into the air and flutters
	away, leaving the sleeping bag fully exposed on the ground
	beneath it.

	IN THE CAMPSITE,

	the SECOND TYRANNOSAUR now steps out of the jungle, joining
	the first.  Panic hits the camp as the sleeping HUNTERS wake
	up.  Many of them start to run.

	Roland scrambles toward his tent, where he can see his weapon
	lying near the open flap.  As he draws close, an enormous
	T-rex foot stomps down on the tent, driving the rifle deep
	into the mud.

	Roland, weaponless, stands frozen, watching as the panicked
	Hunters flee in all directions.

				ROLAND
		FOR CHRIST'S SAKE, DON'T RUN!

	But they ignore him, sweeping him up in the wave of flushed
	prey that pours across the campsite.  Some toss random and
	ill-aimed GUNSHOTS back at the rexes.

	ACROSS THE CAMPSITE,

	NICK bursts out of the crowd, sees Kelly and Sarah struggling
	to get out of the sleeping bag, and grabs each by an arm.  He
	rips them to their feet and sweeps them off ahead of him, into
	the jungle.

	IN THE MIDDLE OF THE CROWD,

	MALCOLM, blinking back sleep, stands a good head above the
	rest of the panicking crowd.  Frantically, he scans the group.

				MALCOLM
		KELLY?  KEEEEELLLY?!

	But he can't see her.

	AT THE EDGE OF CAMP,

	the two rexes join forces, herding the fleeing Hunters into a
	narrow ravine.

	UP ON A ROCK RACE,

	Roland scrambles up a steep rock face.  No way in hell he's
	going down  that ravine.  He sees Malcolm, still in the middle
	of the camp, start to head for the ravine.

				ROLAND
		MALCOLM!  OVER HERE!

	Malcolm runs over and hurls himself at the rock face,
	scrambling to climb up the smooth, steep boulders.

	Behind him, one of the rexes spots him and lunges across the
	camp toward him.

				ROLAND (cont'd)
		FASTER!!

	Malcolm gives it everything he's got, clawing his way up the
	rock face --

	-- and rex draws closer and pounces at his legs --

	-- and Roland reaches down, grabs Malcolm by the hair and
	pulls him up, out of the rex's grasp.

	The rex falls short, but he's close enough that we can hear
	his teeth SNAP together, closing around nothing but air.  It
	turns, sees easier prey in the fleeing Hunters, and takes off
	after them.

	Malcolm lands on top of the rock ledge with a CRUNCH.  Roland
	unceremoniously dumps a fistful of hair in his lap.

	IN THE RAVINE,

	Kelly, in the middle of the fleeing crowd with Sarah and Nick,
	hears her father screaming her name and looks up.  Malcolm and
	Roland are on the rock ridge above them, keeping pace.

				MALCOLM
			(shouting)
		KELLY, UP HERE!

	But Kelly continues to flee, as the rexes are in the ravine
	now, and drawing closer to the group.

	Some Hunters try to leap up and scale the rocks, but the
	ravine is deepening, there's no way out.  One rex grabs hold
	of a Hunter in its teeth and hurls him against the rock face.

	The second rex picks up another Hunter and snaps its massive
	head left and right quickly, to break its victim's neck.  The
	Hunter goes flying forward and crashes into --

	-- CARTER, Dieter's driver, who stumbles and falls.  The rest
	of the fleeing humans run around or over him, but when the
	rex lifts its foot, we see Carter is actually stuck to the
	bottom of it --

	-- and when the animal takes its next step it CRUSHES him into
	the earth.

	UP ON TH ROCK FACE,

	Malcolm is frantic.

				MALCOLM
		I gotta get down there!

	DOWN IN THE RAVINE,

	it's obvious no one is going to outrun the rexes, and Nick
	knows it.  He bursts ahead of Sarah and Kelly and spots
	something off to his left.

	It's a waterfall, apparently right in front of a sheer rock
	face.  But there's something about the way the water is
	falling that tells him something.

				NICK
		SARAH KELLY COME HERE!

	He grabs each of them and hauls them forward, running straight
	at the waterfall.  Apparently, he intends to jump right into
	the rock, and he's dragging them along with him.

				SARAH
		WHAT ARE YOU-

				NICK
		JUMP!

	The three of them spring right at the waterfall and disappear
	THROUGH the water.

	DR. BURKE, fleeing along with everyone else, is watching as
	they vanish.

	BEHIND THE WATERFALL,

	there is a small recess, which is what Nick had hoped for.
	It's small, only four or five feet deep, but it's just enough
	for him, Sarah, and Kelly to cover behind the flowing water.
	Breathless, terrified, they can hear the mayhem outside.

				NICK
		Shhhh... shhhh...

	With an enormous SPLASH, something bursts through the
	cascading water and crashes into them.

	Dr. Burke.

				BURKE
		Get out of the way!

	He pulls his way up against the far wall, as far away from the
	water as he can.

	FOOOOM!  Now another shape bursts through the watery curtain.

	A Tyrannosaur head.  Burke gave away the hiding spot.

	The four SCREAM as the rex's jaws SNAP left and right,
	searching for them, falling just inches short.  They squeeze
	as far back against the wall as they can get.

	The rex can't quite get its head all the way through the
	opening --

	-- so it uses its tongue.  A long, dark blue shape slithers
	out of its mouth and touches the humans, trying to wrap around
	them, to pull them out of the cave.

	Burke, blind with panic, forces himself even further into the
	cave, which pushes Kelly further out.

				SARAH
		STOP IT YOU'RE PUSHED HER OUT STOP
		IT!

	But Burke doesn't listen, throwing elbows to make room for
	himself.  His movements dislodge a portion of muddy earth, and
	a flurry of enormous cockroaches, eight or nine inches long
	each, pour out of the wall and swarm over his face and neck.

	Burke SCREAMS and instinctively leaps away, toward the flowing
	water.

	And that's all the leverage the rex needs.  It curls its
	tongue, wrapping Burke up in it and pulling him between its
	teeth.  SCREAMING hideously, he is dragged out, through the
	waterfall, and disappears.

	Sarah, Nick, and Kelly stare in horror as the white screen of
	water turn pink.

	UP ON THE ROCK FACE,

	Malcolm and Roland see the rex walk away from the waterfall
	with Burke, leaving the hiding place unmolested.  Malcolm is
	nearly hysterical.

				ROLAND
		She's okay!  They'll stay in there,
		she's okay!

	IN A JUNGLE CLEARING,

	routed Hunters emerge from the gully at the edge of he
	jungle.  Ahead of them, there is a large open plain covered by
	long "elephant" grass.

	AJAY, running along with them, stops abruptly at the edge of
	the grass, SHOUTING to the others.

				AWAY
		NO!  DON'T GO INTO THE LONG GRASS!

	Not in the frenzy, they ignore him.  Behind Ajay, the enormous
	shadows of the two pursuing tyrannosaurs stop as well, holding
	up at the edge of the jungle.

	Ajay, torn between a sense of responsibility and his better
	judgement, opts for the former and races into the grass after
	the other Hunters, waving his arms.

	UP ABOVE THEM,

	Roland and Malcolm come out onto a rocky ledge that has a view
	of the plain below.  Roland can see the Hunters leaving trails
	as they plow through the grass.

				ROLAND
		Elephant grass!

	ON THE PLAIN,

	the groups of Hunters wades into the middle of the long grass.
	One of them stops and turns, looking back at the jungle trees.

				HUNTER
		They gave up!  They're not chasing
		us!

	There are CHEERS, SIGHS OF relief.  In the distance, AJAY'S
	VOICE can be heard, faintly calling to them to come back.  Up
	on the rock in the distance, they can see Roland, waving his
	arms madly.

	But in the giddiness of their escape, they pay it no mind.
	They continue plowing into the high grass, anything to get
	further away from the tyrannosaurs.

	ABOUT FIFTY YARDS AWAY,

	the tops of three animal heads rise up slowly, backlit by
	the full moon.  In the distance, the heads can seethe Hunter
	party.  The heads descend, back into the grass.

	BACK WITH THE HUNTERS,

	they continue forward, oblivious.  Now behind them, four
	more heads rise up in the grass.  As then descend.

	On all sides of the Hunters, the grass ripples as animals move
	forward toward them, undetected, inexorable as torpedoes.

	And these torpedoes are on target.  One Hunter is suddenly
	dragged down, yanked silently below the surface of the tall
	grass.

	In his place, a long, lizard-like tail rises up as the animal
	drops its head to make the kill.

	Behind him, two more Hunters are taken down, and two more
	animal tails rise up in their place.  A Hunter ahead hears the
	RUSTLING and turns.  His face turns white as, behind him --

	-- a VELOCIRAPTOR springs out of the grass.

	Velociraptor runs upright on its powerfully muscled hind legs,
	the second tow of each foot bearing an extra-large curved
	claw, carried in a retracted position, with which it slashes
	on attack.

	Like now.  This raptor SNARLS and SLAMS into the body of the
	Hunter, taking him down.  A feeding frenzy ensues.  The
	Hunters run in all directions, but are pulled down and vanish
	into the twitching long grass.

	Another raptor enters from the right, leaps high into the air,
	past the full moon, SLAMS into the chest of more human prey,
	and takes him down, into the grass.

	Behind them, Ajay's face falls, defeated.  He looks around,
	realizing he too is now stranded in the middle of the long
	grass.

	Around him, four torpedo trails head straight for him.

	Ajay simply closes his eyes.

	UP ON THE ROCK,

	Roland turns away from the carnage, pained.

							CUT TO:

	EXT. RUINED CAMPSITE - NIGHT

	SARAH, MALCOLM, KELLY, NICK, ROLAND, DR. JUTTSON, and PETER
	LUDLOW stand in the ruins of their campsite, their ranks
	decimated, spirits shattered.

	Roland is at the hole in the ground where his tent once was.
	He has pulled his .800 Nitro Express from the mud and more or
	less cleaned it, now he's checking the loads.

	Kelly, nearly catatonic with fear, clings to Sarah, and it
	doesn't look as if she'll ever let go.  Malcolm, who is on his
	knees picking through the wreckage of a tent, looks over at
	them, but Sarah waves him off -- "she's okay."

	Roland appears, standing over the group.  He looks at Malcolm,
	who has found the Lindstradt rifle, intact.

				ROLAND
		How many rounds did you find for that
		weapon?

				MALCOLM
		Four, counting the one in the
		chamber.

				ROLAND
		Don't let it out of your hands again.
			(to Sara, but looking at
			 Kelly)
		Can the kid walk?

				SARAH
		Ask her.

				ROLAND
		Can the kid walk?

				KELLY
		I can.  I can walk.

	While he addresses the group, Roland straps on one of the
	servo-lights, the shoulder-mounted flashlights that follow
	your gaze.

				ROLAND
		We're going to find a path down into
		the interior of the island.  Load up
		whatever you think you need, and I
		mean need.  If you can't carry it
		indefinitely, don't bring it.  We'll
		hit the worker village in a couple
		hours and be out of here before dawn.

	AT THE EDGE OF CAMP,

	Roland bends over one of the three-toed footprints left by the
	rex.  Behind him, the rest of the group is packing up,
	slinging the remnants of their equipment over their shoulders.

	Roland bends over and SNIFFS the footprint.  It's filled with
	a liquid of some kind.

	He takes his canteen, dumps the remaining water into the
	ground, and plunges the canteen into the footprint, filling
	it.  Ludlow hovers over his shoulder.

				LUDLOW
		What is that?

				ROLAND
		Piss.

	Ludlow doesn't ask.

	NOW AT THE FIRE,

	Roland stares down at the ashes of the cooking fire that led
	to such disaster.  He grabs a handful of the ash and shoves it
	in his pants pocket.

							CUT TO:

	EXT. VALLEY OF DEATH - NIGHT

	ROLAND and LUDLOW (who, along with Sarah and Malcolm, is also
	wearing a servo-light now) maneuver down a rugged hillside and
	come out in a flattened area.  Ludlow GASPS, looking ahead in
	wonderment.  MALCOLM breaks through the hillside's foliage a
	moment later.  He too stares in amazement.

	SARAH and KELLY come next, then NICK, then JUTTSON.  One by
	one, they all stop and stare.

				SARAH
		God help us.

	They're standing in a flat, sandy area lined with boulders at
	the sides.  The flat area stretches fifty yards from side to
	side and as far as they can see ahead.  But that's not what
	amazes them so.

	Everywhere, the sand is dotted with dinosaur skeletons.  Some
	are huge, apatosaurs, sixty feet from head to tail tip.
	Others are smaller, herbivores of many different kinds.  The
	more intact skeletons lie on their sides, their ribcages arcs
	of pale bone.  but just as many have been ripped apart, bits
	of carcass tossed in every direction.

				NICK
		I do not feel lucky.

				ROLAND
		Keep moving.

	They march on, tiny figures moving among the mountainous
	skeletons by the light of the full moon.  Roland notices one
	carcass in particular, a recent kill.  It's an enormous
	HADROSAUR with fresh bites taken out of it.

	He bends down, studying the soft earth around it for
	footprints.

	FURTHER ON,

	Malcolm looks up, noticing the bony shapes around them, which
	fall in heavy shadows like cell bars, seem to be changing.

	He turns, and his servo-light shines on the bones.  But
	they're not bones any more at all, they're pipes, the animal
	graveyard now given over to the lifeless skeletons of manmade
	objects -- twisted, rotting machinery.

				LUDLOW
		We made it!

	They hurry over a small rise --

	EXT. WORKER VILLAGE - NIGHT

	-- and find themselves at the edge of what was once Isla
	Sorna's worker village.  The size of a football field, the
	town is divided by a main street that's dotted on both sides
	by stores, residences, cafes, a gas station.  All the way at
	the far end is a large, blocky, four-story building.

	But the town is a mess.  The hurricane that hit here must have
	been ferocious, for everywhere things are smashed, broken,
	upended.  And the jungle has stepped into the breath, growing
	up, around, and over everything.  Huge root systems snake
	through the street, making it almost impassable.

				MALCOLM
		The jungle.  It's always ready to
		return.

	Roland catches up and looks at Ludlow.

				ROLAND
		Where's the power and radio setup?

				LUDLOW
		Operations building.  Far end of the
		street.

	A light rain falls as they start down the street, carefully,
	silently, Roland and Malcolm with their weapons at the ready.

	They pass the skeleton of a fallen water tower.  An empty gas
	station, its vine-snarled pumps now useless.  The only sound
	is the low mechanical HUM of the servo-lights as they follow
	the group's gazes obediently.

	Every few feet, the group encounters strange, grayish lumps
	that lies in random places in the middle of the street.
	Malcolm, curious, stops and taps one of them.  It's a rock-hard.
	Nick looks over his shoulder.

				NICK
		Lava?

				MALCOLM
		No.

				NICK
		What are they?

				MALCOLM
		I don't know.

	Finally, they reach the operation building, at the far end of
	the town.

				LUDLOW
		The radio rig is inside.  It runs
		directly from the geothermal
		generator, so power shouldn't be a
		problem.

				ROLAND
		Good.

	He pulls out his canteen.  Ludlow watches as he screws the top
	off, moves toward the building, and starts splashing the
	contents on the outside of it.

	The rest of the group just stares at him.

				MALCOLM
		What's he got in there?

				LUDLOW
		Piss.

				SARAH
		What?

				LUDLOW
		Don't ask me.  The guy's completely
		out to lunch.

				NICK
		What in God's name would he want
		with-

	Roland rejoins them.

				ROLAND
		Tyrannosaur urine.  I don't want
		anything to do with it, and neither
		does any other animal on this island.
		This building is now demarcated as
		the rex's territory.  As long as you 
		stay in that building, you'll all be
		safe until the helicopter comes.

	He drops his pack, swings his gun off his shoulder, and checks
	the load.  Dr. Juttson looks fearful.

				JUTTSON
		Where are you going?

				ROLAND
		After the rex.  I saw a fresh kill
		back in the valley with tyrannosaur
		tracks all around it.  If I'm not
		back in time, don't wait for me.

				SARAH
		You've got to be kidding.

				ROLAND
		Runs against my nature to hole up in
		a cave and wait.

				LUDLOW
		Do you think the rex might have the
		infant with it?

				ROLAND
		Possible.

	Ludlow takes off his hat and turns to Nick.

				LUDLOW
		You know how to work a radio, don't
		you?

				SARAH
		You're going too?

				LUDLOW
		I lost everything I came after on
		this trip, but one T-rex in one theme
		park could single-handedly bail
		InGen out of Chapter 11.

	He takes a slip of paper from the brim of his hat and hands it
	to Nick.

				LUDLOW (cont'd)
		This is the broadcast frequency.  ID
		yourself as "Harvest Leader."  You
		know what to tell 'em.

				MALCOLM
		You gentlemen feel you have to do
		this now?

				ROLAND
		Now's the perfect time.  The animal
		just fed, so it won't stalk us for
		food.  Predators don't hurt when
		they're not hungry.

	Ludlow double checks the clip on his semi-automatic rifle --

				NICK
		No.

	-- and SMACKS it back into the belly of the gun.

				NICK (cont'd)
		Only humans do.

							CUT TO:

	INT. COMMUNICATIONS ROOM - NIGHT

	The console of a sophisticated radio set-up glows brightly,
	all green, red, and yellow.  NICK tunes the dial to a specific
	frequency.  The radio WHINES and HISSES tuning in.

				NICK
			(into microphone)
		CQ, CQ.  This is InGen Operation
		Harvest Leader to Harvest Base.  Come
		in, please.

	The remaining SURVIVORS, minus Ludlow and Roland, shine their
	flashlights around the dusty, vine-hung interior of the
	communications room.  On the wall a row of chrome letters says
	"We Make The Future,"  but the words are obscured by a tangle
	of vines.  Mushrooms and fungi sprout from the carpet.

	On one wall, there is a mural of what the completed Jurassic
	Park would have looked like.  Big hotels, Ford Explorers with
	tourists leaning out the windows taking pictures, big crowds
	at the fences around the animal exhibits.  But none of it came
	true, and now even the mural is runny and dust-covered.

	There is a pause, filed only with radio static.  Sarah looks
	at Nick tensely, waiting.  Finally, a VOICE comes over the
	radio, clean as can be.

				VOICE (o.s.)
		Go ahead, Harvest Leader.

	They all breath a sign of relief.

							CUT TO:

	EXT. MAIN STREET - NIGHT

	With Roland and Ludlow gone on the hunt and the rest of the
	group inside the operations building, main street stands
	deserted and silent.

	Nearly deserted, anyway.  Moonlight shadows lengthen at one
	end of the street --

	-- and FIVE VELOCIRAPTORS STROLL INTO TOWN.

							CUT TO:

	EXT. VALLEY OF DEATH - NIGHT

	ROLAND AND LUDLOW are back in the valley of death, standing
	amid the giant skeletons of long-dead animals.  Roland bends
	down, checking the carcass of the freshly-chewed HADROSAUR he
	saw earlier.

	A set of giant three-toed rex tracks leads away from the
	carcass, down the stream bed.  Roland follows them.  Ludlow
	follows Roland.

	As they near a bend in the stream, Roland looks down, at the
	surface of the water.  A pattern of ripples moves toward them,
	washing over their ankles.  Roland follows the ripples with
	his eyes.  From up head, around the bend, he can hear the
	sound of an animal eating and drinking.  A very large animal.

	He reaches into his pocket and pulls out a  pinch of the ashes
	from the cooking fire that he scooped up earlier and releases
	that on the wind.  They float there for a second, suspended,
	then blow back at him.

				LUDLOW
		We're downwind.  Good.

	Roland darts a contemptuous look at him.  He puts a finger to
	his lips, gesturing for silence, then steps up, onto the
	shore.  Ludlow follows.

	They creep forward, toward the sounds.  They round the bend
	and Roland hits his belly, edging up over a small rise.

	Over the rise, he sees the TYRANNOSAUR, about a hundred yards
	ahead.  It's stooped over the stream bed, drinking.  Like a
	bird, it dips its head in the water and then straightens up,
	to let the water fall down its throat.  A dozen COMPYS are at
	the water as well, drinking.

	Roland gently FLICKS the safety on his gun to "off."

	Ludlow edges toward the cover of a low-hanging branch.  As he
	puts his weight on one knee, it presses down hard on the
	middle of a small stick, which CRACKS in half.  Roland turns,
	eyes blazing.

	Out in the open, the tyrannosaur snaps its head sharply as
	well, staring in the direction of the sound.  But since
	Roland's own head is turned, he doesn't see the dinosaur's
	reaction.  Roland holds a warning finger out to Ludlow.

	Roland turns his head back.  The tyrannosaur is gone.

	FURTHER ON,

	the trail of three-toed tyrannosaur footprints stops abruptly.
	Roland stops too, gesturing for Ludlow to freeze behind him.
	Roland glances both ways, looking for any sign of the track.

	To the right, the ground gives way to hard black volcanic rock.
	A short distance behind them, the rock is solid, a massive,
	green, pebbled boulder ten feet high.  Roland frowns and
	WHISPERS in Ludlow's ear again.

				ROLAND
		We took to the rock.

				LUDLOW
		Why?

	In front of Roland, a palm frond sways gently in the night
	breeze.  Roland's eyes widen.  He pulls out another pinch of
	campfire ash and releases it on the wind.

	This time, the ash blows off, straight away from him.

				ROLAND
		Wind shift.

	They freeze, terrified.  Behind them, the enormous green
	pebbled boulder --

	-- opens an eye.

	That's no boulder, that's the MALE TYRANNOSAUR, standing
	rock-solid still, its natural camouflage blending into the
	surrounding foliage perfectly.  Very slowly and almost
	silently, the rex brings its head all the way around until it
	is staring directly down at them from about ten feet away.

	Roland and Ludlow stand frozen, their back to the rex,
	unaware of its presence.

	Until it exhales.  The soft SNORT of its breath isn't quite
	audible, but it brushes the hair on the backs of their necks
	ever so slightly.

	Their hearts drop into their stomachs.  Ludlow speaks, his
	voice a queasy HISS.

				LUDLOW
		It's... behind... us.

				ROLAND
			(the very softest whisper)
		It's just fed.  It won't attack unless
		it's threatened.  Don't move.

	As the rex silently cocks its head, sizing up the danger from
	these intruders, it breathes again.  A few strands of Ludlow's
	hair flap in the exhalation.  He closes his eyes, near tears.

	He can't take it.  His eyes dart, glancing down at the weapon
	he holds in his hands.  Unfortunately, it's extended in front
	of him, away from the rex.

	He risks another HISS.

				LUDLOW
		If I don't move, I can't shoot it.

				ROLAND
		Let it go, Peter.  The animal won.

	Behind them, the rex appears satisfied.  It starts to swing
	its massive head around, back toward the jungle.  It lifts one
	great leg and takes a step into the trees.

	Roland signs and closes his eyes, relieved.

	But Ludlow seizes the opportunity.  He whips his weapon around
	and drops to one knee.

				ROLAND (cont'd)
		NO!

	The rex is infinitely quicker.  Ludlow just has time to
	squeeze off a short burst of semi-automatic gunfire when the
	animal whirls, takes one elegant step forward, and POUNCES.

	Ludlow's bullets rip harmlessly through the foliage between
	the rex's legs as its big head snaps forward and comes down,
	jaws wide.  They close around Ludlow's body, lift his straight
	up into the air, and toss him once, readjusting their grip so
	it is firmly around his midsection.

	The whole combination of movements takes but half a second.
	By the time Roland turns around, the animal has pivoted and
	darted back into the jungle, carrying Ludlow, still SCREAMING
	and writhing in its mouth.

	Roland raises his gun, to draw a bead on the animal, but
	through the shivering trees, he can only see that the
	tyrannosaur is gone.

							CUT TO:

	INT. COMMUNICATIONS ROOM - NIGHT

	MALCOLM SARAH, NICK, KELLY, and DR. JUTTSON wait nervously in
	the communications room.  An empty can of Dr. Pepper sitting
	on one of the countertops begins to RATTLE.  They look over at
	it, confused, as the lightweight aluminum can CHATTERS on the
	formica counter.

	Other objects in the lab begin to rattle too.  Glass jars
	CLANK against one another, books start to drop off the
	shelves, a stool shudders across the floor.

				KELLY
		What's going on?!

	Above them, the rotting wooden roof of the building starts to
	actually tear away, chunks of moldy timber flying up into
	the night.  They look up, a deafening ROAR fills the room --

	-- and a helicopter's searchlight floods in!

	As the chopper dips lower, looking for a place to land, the
	violent prop wash rips away huge chunks of the roof over their
	heads.

	INT. HELICOPTER - NIGHT

	Up above the operations building, the helicopter circles.  The
	roof of the building is all arches and rotten timber,
	impossible to land open.

	Below, the PILOTS see the SURVIVORS through the torn roof of
	the building.  They wave frantically, their flashlight beams
	piercing the night sky.

				PILOT
		There they are!

	The Co-Pilot scans the street below, but it's choked with
	overturned cars and fallen trees.

				CO-PILOT
		No LZ in the street, too much debris!

				PILOT
		Check the other buildings!

	The Co-Pilot nods and they peel off, swooping over the rest of
	the village.

	At the far end of the street, the Co-Pilot brings the
	searchlight to bear on the large, flat roof of a three story
	building.

	The Pilot gives him a thumbs-up.

	EXT. MAIN STREET - NIGHT

	MALCOLM, SARAH, KELLY, NICK and finally DR. JUTTSON run out
	the front of the operations building.  At the end of the
	street, they can see the helicopter as it descends slowly over
	the building, to land on its roof.

				MALCOLM
		There it is!

	Happily, the group double-times it down the street, headed for
	the chopper.  Again, those strange rock formations are
	everywhere.  Some seem to be on the sides of buildings, as if
	they once dripped there and then turned to stone.

	This time Sarah pauses at one that is dripping over to the side
	of a car like solidified lava.  Her face falls as a thought
	occurs to her.

				SARAH
		Ian.  It's guano.

				MALCOLM
		What?

				SARAH
		These formations.  They're dried --

				MALCOLM
		Birdshit?

	A VELOCIRAPTORS jumps onto a fallen tree trunk behind them.

	They don't see it.

				NICK
		Who cares?  Let's go!

	Unaware of the raptor's presence, they resume their trot
	toward the helicopter.  Behind them, the raptor crouches and
	SNARLS, but the sound is lost under the WHINE of the
	helicopter's engines.  It springs, covering the distance
	between them quickly.

	The animal SLAMS into JUTTSON, the last person in the group,
	and takes him down.  Juttson is thrown forward, into the
	others, who fall like dominoes.

	Juttson SCREAMS, his voice an unnatural, high-pitched SQUEAL,
	as the raptor flips him over and lowers its jaws into him.

	Sarah looks up, panicked.  Her eyes widen at the sight of a
	SECOND RAPTOR, this one running straight at hr at top speed.
	She buries her face in the dirt, covering her head with her
	hands --

	-- and the raptor's foot SLAMS into the ground between her
	legs as it bounds over her and dives onto Juttson, joining the
	first raptor in the kill.

	Panicked, the group scatters in all directions.  Kelly jumps
	up and scrambles into the middle of the street, where she hits
	the dirt and crawls under a fallen shed in the middle of the
	road.

	Malcolm rolls over to the space where Kelly was, but she's
	gone now.  He looks around frantically.

				MALCOLM
		Kelly?!  KELLY?!

	Sarah rolls onto her feet and sprints toward the building
	nearest her.

	Behind her, a THIRD RAPTOR gives chase, bounding after her
	with horrifying speed.  Sarah runs flat-out, but her speed is
	nothing compared to the raptor's, and it gains on her rapidly.

	The walls of a structure of some kind close in around Sarah,
	and as she leaps across a leather seat and SLAMS a door behind
	her, we realize she's crawled into the back seat of an
	abandoned car.

	But the car door is thin protection against the charging
	raptor, which SLAMS into the window, head first.  The window
	spinderwebs, but does not yield.  The raptor crumples to the
	ground.

	Sarah looks up, through a three inch hole in the middle of the
	web.  The raptor leaps back to its feet and plunges its nose
	into the tiny hole, thrashing, widening it.

	Sarah SCREAMS and the animal forces its entire head through
	the hole, SNAPPING its jaws just short of her face.

	She hurls herself over the seat and into the front as the
	animal penetrates even further into the car, but its torso
	will not fit through the window opening.  It pulls away.

	In the front seat, Sarah gets some very bad news.

	There's no windshield.

	The raptor springs up onto the hood, its claws CLATTERING on
	the sheet metal, and tosses its body through the opening --

	-- just as Sarah hurls herself out the door.  While the raptor
	struggles to right itself in the front seat, Sarah runs to the
	nearest building, ducks inside, and SLAMS the heavy wooden
	door.

							CUT TO:

	EXT. GAS STATION - NIGHT

	MALCOLM races between the idled gas pumps and into the gas
	station building, closing the door behind him.  A moment
	later, a raptor bounds after him, SLAMMING into the door.

	Meeting resistance, it bounces off, notices the plate glass
	window next to the door, and pounces at that.  The window
	SHATTERS and the raptor clings to the ledge, staring inside,
	its tail hanging out.

	Just as it gets inside, Malcolm opens the door and comes back
	out, keeping the place of wall between them.  He pulls the
	Lindstradt rifle off his back and tries to take aim --

	-- but the raptor whirls and springs, forcing him back inside,
	through the door again.

	Willing to play along, the raptor turns and jumps through the
	window again.

	INT. GAS STATION - NIGHT

	Balancing on the window frame, the raptor HISSES and crouches,
	ready to spring at Malcolm.

	Malcolm takes cover behind the door, which is hanging open
	between them.  He raises the rifle.

	Th raptor springs into the door, BLASTING it off its hinges,
	knocking Malcolm right through a window behind him.

	But the door SMACKS up against the wall, covering the window,
	preventing the raptor from following Malcolm out that way.

	For the moment.

	EXT. GAS STATION - NIGHT

	Malcolm flies through the window and CRUNCHES to the ground.
	He GROANS  in agony and rolls off his bad leg, which is twisted
	unnaturally beneath him, and claws in the mud for the gun.

	ROUGH HANDS reach down, grab him by the shirt, and haul him to
	his feet.  It's NICK.  He drags Malcolm away, but in the
	commotion Nick's duffel slips off his shoulder and lands in
	the street, spilling some of the precious videotapes.

	Malcolm scoops them up.

				NICK
		Come on!

				MALCOLM
		Where's Kelly?

				NICK
		She's with Sarah!

	They race off, down the street.

							CUT TO:

	INT. KILN HOUSE - NIGHT

	High above SARAH, we see she is standing alone in a three
	story kiln house, a windowless shed used for firing pottery
	and other construction projects.  Catwalks lined with heavy
	chains hang above her, and onto the floor below, she turns in
	circles, wondering what to do now.

	From outside the kiln house, she hears SCRATCHING, digging
	sounds.  From the other side of the door comes an animal
	SNORT, and a small puff of dust and dirt billows up through
	the crack along the ground.

	ON THE OTHER SIDE OF THE DOOR,

	the claws of one of the raptors dig furiously, trying to
	tunnel underneath.

	INSIDE,

	Sarah runs to the opposite wall, falls to her knees, and
	starts digging a tunnel of her own, clawing frantically at the
	ganging tools always and CLANKS as it tears at the earth below
	it.

	Sarah digs faster.  So does the raptor.

	With about eight inches of space under the wall, Sarah grabs
	hold of the bottom of one of the plans and pries it up as
	hard as she can.  It snaps off with a loud CRACK.

	At the door, the raptor stops digging.  It's silent for a
	moment.

	Sarah has a good foot and a half of space under her wall now.
	She starts to lower her body into it --

	-- JUST AS THE RAPTOR'S CLAWS FLASH THROUGH FROM THE OTHER
	SIDE!

	Sarah falls back, SCREAMING, leaps to her feet, and jumps up,
	grabbing hold of one of the catwalks above.  She starts to
	climb, up, anywhere up, as the RAPTOR now squirms and thrashes
	its way inside, coming in through her hole.

	Sarah climbs, hauling herself up, leaping from one catwalk to
	another.

	The raptor leaps up onto a catwalk as well and follows her.

	EXT. KILM HOUSE - NIGHT

	A window in the slanted roof of the kiln house EXPLODES in a
	shower of glass as SARAH kicks through it and climbs outside.

							CUT TO:

	EXT. MAIN STREET - NIGHT

	Nick drags a badly limping MALCOLM down the main street.  They
	can see helicopter at the far end, engine ROARING and
	searchlight playing over them as they draw closer.  They
	approach a rusted, abandoned pickup in the middle of the
	street --

	-- and a RAPTOR leaps on top of it.  Its claws CLACK on the
	roof as it goes into its pre-attack crouch.

	They don't stick around to negotiate.  Nick hauls Malcolm off
	into the nearest building.

	INT. WORKER HOTEL - NIGHT

	NICK and MALCOLM hurry inside and SLAM the door behind them.
	They're standing in the lobby of a hotel of some kind,
	probably used for overnight guests and day workers who had to
	spend the night.  The room and staircase wind around a large,
	open-aired central area four stories tall.  They SHOUT at each
	other, frantic.

				MALCOLM
		We can't stay in here!

				NICK
		We're sure as hell not going back out
		there"

				MALCOLM
		This is single-wall construction!
		It's just a shack!

				NICK
		It'll hold!

				MALCOLM
		For sixty seconds, maybe!  Look at
		this!
			(RAPS on the door with his
			 knuckles)
		You could-

	With a CRASH, the wood SPRINTERS around the lock and the door
	swings open violently.  Malcolm is thrown aside, landing hard
	on the floor.

	A VELOCIRAPTOR stands HISSING in the doorway.  Nick throws his
	weight against the door.  SLAMMING it hard against the raptor.

	Malcolm rolls over and paws the gun off his back.

	SLAM!  The raptor charges the door again, this time BLASTING
	it off its hinges, knocking Nick to the floor beneath it.  The
	raptor turns and SNARLS at Malcolm.

	Malcolm swings the gun around --

	-- the raptor lunges at him --

	-- Malcolm's finger closes on the trigger --

	-- and the raptor lands on top of him.

	The weight of the animal CRUSHES him into the floor, but the
	gun barrel now stands between them.  The raptor CHOMPS down
	hard on the barrel, its teeth GRINDING on the metal, and SNAPS
	its head, to tear it from Malcolm's hands.

	Malcolm pulls the trigger.

	The raptor's eyes pop wide as the dart SLAMS into the back of
	its throat.  It makes a GURGLING sound, then convulses
	violently and rolls off of Malcolm, yanking the gun from his
	hands as it falls and dies.

	Nick scrambles out from under the door.  Malcolm tries to
	wrench the gun from the raptor's clenched jaws, but it won't
	budge.

				NICK
			(helping him out)
		Head for the roof!

				MALCOLM
		I have to find Kelly!

				NICK
		I think she's with Sarah!

				MALCOLM
		DAMN IT, BE SURE!!

							CUT TO:

	EXT. MAIN STREET - NIGHT

	KELLY remains huddled under the fallen shed, trembling with
	fear.  She holds her breath and freezes, as just outside, only
	two feet from where she's hiding --

	-- a RAPTOR'S FEET pick their way past her, down the middle of
	the street.

	Kelly closes her eyes and suppresses a scream.

							CUT TO:

	EXT. ROOFTOP - NIGHT

	NICK and MALCOLM burst onto the roof of the now-burning
	hotel and SLAM the door behind them.  The helicopter is now
	only three rooftops away.  They turn and head for it, Nick in
	the lead, but there's an eight foot gap between the buildings.

				MALCOLM
		It's too wide!

	Nick looks around, desperate.  A fallen power pole leans
	against the building they're standing on, its lines gone
	slack.

				NICK
		Help me push this!

	Malcolm understands.  He and Nick throw a shoulder into the
	pole and give it a mighty push, tipping it over in the other
	direction.  One good hard shove and it falls to the far
	building, THUDDING against it solidly.

	Its power lines are not taut, a lifeline from this rooftop to
	the next.  Nick grabs hold and starts to pull himself across
	the gap, hand over hand.

	Behind them, the door of the building SPLINTERS and CRASHES
	open as a raptor throws all its weight into it.  Malcolm leaps
	onto the power line without hesitation and starts pulling
	himself across.

	But even with the door wide open, the raptor on the other side
	hesitates.  It SNARLS and backs away, refusing to come out
	onto the roof.

	ON THE OTHER ROOFTOP,

	Malcolm lands next to Nick on the second rooftop.  They look
	back at the frightened animal, which takes tow steps out onto
	the roof, SNARLS, and backs into the doorway again.

				NICK
		It's afraid to come onto the roof!

	Malcolm looks around, at the rooftop.  Strange bits of scrap
	and debris seem to have been arranged there, in an odd,
	concentric pattern.

				MALCOLM
		Something's wrong.

				NICK
		Look!  Sarah!

	He points to the roof of the kilm house, in the distance.
	Malcolm turns, and sees SARAH crawling across the tile.  His
	face turns white.

				MALCOLM
		SHE'S ALONE!!

							CUT TO:

	EXT. KILM HOUSE ROOF - NIGHT

	SARAH has problems.  Still on top of the kilm house, she
	reaches the edge and pushes off the roof, leaping to the roof
	of the next building.

	She lands at the peak of the intersection of the two sides of
	sloping roof.  As she pulls herself up --

	-- a RAPTOR appears on the rooftop behind her.  In full
	stride, it leaps, sails over her, and lands on the roof
	ahead of her.

	Sarah swings to her left and starts to crawl down the slope,
	away from the raptor.  Suddenly the roof board under her
	SPRINTERS and CRACKS under her weight.  The whole section
	pulls up and starts to slide off the roof.  Sarah, clinging to
	it, rides the roof  planks down, away from the raptor.

	She looks over her shoulder, down --

	-- and sees ANOTHER RAPTOR, waiting for her on the roof of the
	building below.

	Sarah quickly rolls off the sliding section of roof, which
	keeps sliding, falling.  The raptor below jumps up, just in
	time to get WHACKED in the head by the falling roof section.

	Sarah tries to cling to the Spanish tile roof, fingers and
	nails slipping on the slick ceramic surface.  She slides all
	the way to the edge, grabs hold of the gutter, and dangles
	there, suspended above one raptor and trapped below another.

	The raptor above works its way down.  The one below leaps up,
	at her dangling legs.  She has left them in time with its
	jumps, to avoid losing her feet.  This can't go on for long.

	Desperate, she pulls one of the Spanish tiles up from the roof
	and hurls it at the raptor below.  It hits the animal in the
	head, for all the good that does.

	But Sarah keeps on, pulling and throwing more tiles.  She
	edges to the right, toward a fresh supply.

	The raptor above edges even closer, claws CLICKING on the
	slick roof.

	Something interesting is happening.  As Sarah pulls the loose
	tiles free, the ones above slide down, to take their place.
	Sarah sees this and pulls more free, knocking them out of the
	way as fast as she can.

	Suddenly an avalanche of loose tiles breaks loose and the
	footing underneath the raptor above disintegrates.  The
	animal's feet flail and grasp, it slides towards the edge amid
	the tumbling tiles.

	Sarah, seeing it coming, swings in close to the building,
	hugging it as closely as she can.  The raptor falls off the
	roof, right past her --

	-- and CRUNCHES into the raptor below.  Both animals SNARK and
	attack one another.

	Now Sarah, her grip exhausted, falls too, landing right next
	to the enraged animals.  They fight and roll, RIGHT OVER HER.
	She GROANS and hugs the wood below her, the raptors continue
	to thrash and bite, they roll back, toward her, she rolls out
	of their way --

	-- and plunges through a hole in the roof.

	INT. LAB - NIGHT

	Sarah falls through the roof of a deserted laboratory and
	lands in the tray of an old-fashioned hanging fluorescent
	light fixture.

	One end of the fixture's support SNAPS, it drops at a 45
	degree angle, Sarah slides out the other end and CRASHES
	through a window.

	EXT. STREET - NIGHT

	Sarah lands in the mud in the street below.

							CUT TO:

EXT. BETWEEN TWO BUILDING - NIGHT

	With a THUD, MALCOLM lands in the mud between two other
	building, one of which he has just climbed off of.  Panicked,
	he leaps to his feet and starts to SHOUT.

				MALCOLM
		Kelly!  KELLY!

							CUT TO:

	EXT. MAIN STREET - NIGHT

	SARAH sprints down the main street as fast as she can, toward
	the building on which sits the helicopter.  Above her, she can
	see NICK has now reached the helicopter and is waving to her.

	Sarah reaches the fallen water tower, which is next to the
	helicopter building, and starts to climb it.

	ELSEWHERE IN THE STREET,

	KELLY is still covering underneath the fallen shed.  In the
	distance, she can see the helicopter.  But she is trembling
	with fear, unable to move.

	The whole shed suddenly RATTLES as something heavy hits it
	outside.  Kelly's mouth drops open to scream, but her terror
	is so complex that no sound comes out.  She raises her hands
	in self-defense, whatever's outside ROARS with effort, the
	entire shed is suddenly RIPPED right up off of her, and she
	looks up --

	-- into her father's eyes.

				KELLY
		Dad!

				MALCOLM
		Come on!

	He grabs her by the hand and they take off down the street.

	ON THE ROOFTOP,

	Sarah emerges at the top of the water tower structure and
	leaps onto the roof, into Nick's arms.

				NICK
		Where's Kelly?

				SARAH
		Where's Ian?

	Eyes wide with panic, they both turn and look down at the
	street below, where they see KELLY and MALCOLM, racing at top
	speed down the middle of the street --

	-- WITH A VELOCIRAPTOR CHASING THEM.

	DOWN IN THE STREET,

	Malcolm and Kelly have a twenty yard advantage on the animal.
	They're pretty fast, but it's faster.

	Above them, Nick and Sarah are at the edge of the roof,
	SHOUTING and urging them on.  They push it, faster.

	They reach the base of the fallen water tower, the jumble of
	struts and metal poles that Sarah climbed.

				MALCOLM
		CLIMB!

	Kelly leaps ahead of him and grabs hold of one of the poles,
	pulling herself neatly up to her feet and reaching for the
	next one.

	Malcolm stretches and makes the same effort, but for him it's
	much harder.

	Below them, the raptor springs and SLAMS into the struts,
	shaking the whole structure.  It pulls itself up.

	Higher up, Kelly climbs fast, hands gliding over the poles.
	She breaks out into the open, where a long, narrow pole runs
	on a slight incline up to the roof.  She scampers across it,
	running the balance beam.

	She reaches the other side, on a ledge below the roofline, and
	looks back.  Malcolm is at the other end, hesitating, drained,
	breathing hard.

				KELLY
		DAD, COME ON!

	Below him, the raptor closes in.  Malcolm sets out across the
	beam, his legs shaking.  He places his feet carefully, he
	doesn't have nearly the balance Kelly did.

	The raptor draws closer.

				KELLY (cont'd)
		FASTER!

	Malcolm slips.

	One foot twists right off the bar and he spins, arms flailing,
	trying to regain his tenuous balance.

	But he overcompensates and his whole body, wrenches out from
	under him.  He falls, the bar SMACKS him hard in the chest,
	knocking the wind out of him, and he drops, flipping right off
	the bar and bouncing painfully through the maze of bars below.

	He drops right past the pursuing velociraptor, CRUNCHING to
	a halt in a nest of bars ten feet off the ground, probably
	cracking a rib.  Kelly SCREAMS from above him.

				KELLY (cont'd)
		DAD!

	She stares down in horror at her father.  Wrenched in among
	the bars, Malcolm is helpless as the animal crouches only six
	feet above him now, with an open attack route.

	The animal SNARKS and goes into its pre-attack crouch.

	Up above, Kelly wipes the palms of her hands on her jeans
	and leaps out into space, grabbing hold of one of the bars.

	The raptor springs.

	Kelly spins around, over the top of the bar, and, at the very
	peak of her trajectory, she lets go.

	The raptor sails through down from above, feet first, SLAMMING
	both of them squarely into the raptor's side, sending it
	hurtling into space.

	She lands hard and awkwardly, CLANGING into the spidery
	scaffolding next to Malcolm as the raptor SMASHES to the
	ground below.  But Kelly manages to hold on.

				KELLY
		GET UP!

	She grabs hold of Malcolm and pulls him to his feet.

	ON THE ROOF,

	Kelly and Malcolm appear over the roofline.  The PILOTS SHOUTS
	from inside.

				PILOT
		LET'S GO LET'S GO LET'S GO!!

	Malcolm and Kelly scramble toward the helicopter.  But at the
	opposite side of the roof, a RAPTOR claws its way over the
	edge as well.

	Malcolm sees it and they lunge for the helicopter, but the
	animal is far faster.  It's only ten feet away, then five,
	they're surely done for this time, when --

	-- KA-BOOM!

	There comes the loudest single gunshot anyone has ever heard,
	and the raptor flies off its feet and lands ten feet across
	the roof, dead.  They look up, to the source of the
	gunshot.

	It's ROLAND, standing at the edge of the roof, holding his
	smoking .600 Nitro Express.

	But there's no time for celebration, as suddenly the
	helicopter's left skid CRACKS right through the surface of the
	roof.

				PILOT
		HURRY!  THE ROOF'S GIVING WAY!

	The skid dips even further, ripping right through the
	thatch-and-wood construction.  Kelly, who had one foot in the
	helicopter, loses her balance --

	-- as the roof caves in beneath her.

				MALCOLM
		KELLY!

	She falls,  SCREAMING, through the hole and down, into the
	building below.

	ONE FLOOR DOWN,

	Kelly lands with a CRUNCH on the floor immediately below the
	roof, about nine feet down.  But her landing is cushioned by
	an inordinate amount of straw and leaves that have been
	arranged there.  She lifts one hand, and a yellowy, viscous
	substance drips off of it.

	It's yolk.  She looks around, noticing half a dozen large,
	oblong shapes.  Eggs.

	Above her, Malcolm is scrambling, climbing down to her through
	the wreckage of the CREAKING, crumbling roof.

				MALCOLM
		Kelly!  I'm coming!

	Kelly climbs to her knees, but behind her, a large, dark shape
	is moving.  Rising.  Unfolding, in a way.

	IT'S A PTERANODON.

	Yep, flying dinosaur.  The enormous animal raises its head, a
	brilliant blue crest extending two feet behind its long,
	saber-like beak.  It SQUAWKS at Kelly in fury.  She can only
	stare, spellbound.

	Malcolm reaches her and grabs hold as the angry animal unfurls
	its massive twenty-two foot wingspread.

	ON THE ROOF,

	the helicopter lurches as it sinks further into the crumbling
	roof, and now the skids are getting tangled in the debris.
	Roland races over to the hole, climbs in a few feet, and
	starts kicking at it, making it larger.

				ROLAND
		Give me a ladder!

	IN THE PTERANODON NEST,

	Malcolm tries to haul Kelly back up the way he came, but a
	SECOND PTERANODON now appears from the depths of the building,
	SCREECHING in fury at these invaders who have landed in the
	middle of their clutch of eggs.

	An emergency rescue ladder drops through the hole in the roof.
	Malcolm grabs Kelly with one arm and the ladder with the other
	and they start to climb out of the nest.

	ON THE ROOF,

	Malcolm and Kelly climb the ladder and are pulled into the
	belly of the chopper just as two enormous beaks break
	through the surface of the roof around them.

	The pteranodons are emerging.

				MALCOLM
		GO GO GO GO GOG GO!

	The helicopter lurches up a few feet, but it yanked to an
	abrupt stop.  The engines WHINE, the chopper just hovers
	there.

				PILOT
		We're snagged on something!

	They loos down. BOTH PTERANODONS have come out through the
	hole in the roof and are clinging to the skids of the
	helicopter.  They flap their gigantic wings in unison, and
	drag the helicopter off, into the air, away from the nest --

	-- and let go.  Freed, the helicopter gains altitude quickly.

	IN THE HELICOPTER,

	the PILOTS gape as the pteranodons coast along, right next to
	the helicopter.

				PILOT
		Hang on!  If I tip it hard, I can cut
		'em with the rotors!

				SARAH
		NO!  Don't!  They're not attacking!

	They look out the windows, where, indeed, the magnificent
	animals are merely accompanying them, flying escort as the
	chopper gains altitude.

				SARAH (cont'd)
		They're protecting their nest.
		That's all.  That's all they're
		doing.

	Kelly, completely drained, sits between Sarah and Malcolm,
	each of whom has a protective arm around her.  She sags
	against her father's chest, nothing left.

	He holds her tight and WHISPERS in her ear.

				MALCOLM
		Thank you.  Kelly, thank God.  Thank
		God for you...

	IN THE NIGHT SKY,

	over the island, the helicopter steadily gains altitude.  A
	hundred feet.  Three hundred.  A thousand.

	As the helicopter is clearly leaving the island, the
	pteranodons now peel off, their job done.  One of them banks
	sharply, right in front of the moon.  The moonlight
	silhouettes it, shining right through its membranous wings,
	lighting it up like a Halloween skeleton.

	Below, the tiny green island melts away into the vastness of
	the wine-dark sea.

							CUT TO:

	EXT. TYRANNOSAUR NEST - NIGHT

	Elsewhere in the forest, it's not such a happy story.  PETER
	LUDLOW, still alive, drops through the air and CRUNCHES to the
	muddy ground.  Dizzy, bleeding, the breath knocked out of him,
	he opens his eyes and sees a sloping bank of dried mud.

	From behind him, he hears a CHIRPING sound.  He turns.

	He's in the tyrannosaur nest.

	The BABY TYRANNOSAUR faces him, still with a strange
	aluminum-foil cast on its leg.  The baby SQUEAKS with
	excitement as it toddles toward him.

	Ludlow scrambles to his feet, unsure what to do.  Both ADULT
	TYRANNOSAURS stand outside the nest, staring down at him.

	The baby runs toward Ludlow, so he turns and runs away.

	But in an instant, the male brings its head down, knocking
	Ludlow to the ground.  Then it raises its head again.
	Watching.  Waiting.

	Ludlow gets up again and tries to run, but now the female rex
	strikes, knocking him over again.

	Ludlow tries to crawl away, on all fours.  The male bends down
	and closes its jaws around one of his legs, holding it
	tightly.  Ludlow SCREAMS --

	-- and the rex bits down decisively.  The bone breaks with a
	dry SNAP.  Ludlow HOWLS in pain, unable to move, and the baby
	toddles forward eagerly.  Ludlow can only stare as it leaps
	up, onto his chest, and opens its jaws wide.

	Peter Ludlow SCREAMS.

							CUT TO:

	EXT. CEMETERY - DAY

	Snow falls in a gray midwinter sky.  In a cemetery, a group of
	fifty MOURNERS is grouped around a gravesite next to a coffin
	that is festooned with cascades of flowers.  On a table, there
	is an array of framed photographs --

	-- of JOHN HAMMOND.  A MINISTER reads from the Bible while the
	Mourners wipe away tears.  IAN MALCOLM stands a respectful
	distance from the group, KELLY right beside him.  Malcolm's
	face is blank, tired, his sunburn out of place with the white
	winter setting around him.

	At gravesite, a Young Woman turns, looking back over her
	shoulder.  About sixteen, she's lovely, with long blonde hair
	and an honest, open face.  She notices Malcolm, recognizes
	him.

	She nudges a Young Man next to her, about thirteen years old.
	The Young Man turns and breaks into a smile just as welcoming.

	As the ceremony breaks up, they walk over to him.

				MALCOLM
		Hello, Lex.  Tim.

	LEX stands on her tiptoes and kisses Malcolm on the cheek.
	TIM extends a hand and Malcolm shakes it.

				MALCOLM (cont'd)
		This is Kelly.  My daughter.

	They nod their hellos.

				LEX
		I'm glad you came, Dr. Malcolm

				MALCOLM
		I'm sorry about your grandfather.

				TIM
		Thank you.

				LEX
		We were going to call you, in a few
		days.  Tim and I have been thinking,
		and we've decided we want people to
		know about the island.  About what we
		all saw.

				TIM
		We think it's something our
		grandfather would want us to do.

				MALCOLM
			(pause)
		Why?

				LEX
		Because it's true.

	Malcolm looks at her for a long moment.

				MALCOLM
		I know, Lex.  But even if we're the
		only ones who ever know, it'll still
		be true.  You see, I've decided
		that if the world found out about
		what your grandfather created, it
		wouldn't be around for very long.

				LEX
		But -- it was real.  You can't let
		people go on saying it's not.

				MALCOLM
		That's the thing about reality.

	He looks down at Kelly.

				MALCOLM (cont'd)
		Even when people stop believing in
		it, it doesn't go away.

	Kelly smiles and takes his hand, her slender fingers
	interlocking with his.

	EXT. JUNGLE - DAY

	Back on Isla Sorna, we float over the deserted worker village,
	moving lightly, as in a dream.

				MALCOLM (V.O.)
		Do you feel the cold wind blowing on
		your face?  That's real.

	We sweep low, landing on the roof the helicopter took off
	from, the nest below now careful rebuilt with straw and
	scrap, a dozen unblemished eggs in the middle of it.

				MALCOLM (V.O.)
		Do you see the four of us, standing
		here together, alive?  That's real.

	A PTERANODON land gently on the nest.  Ever so carefully, it
	positions itself over the eggs, lowers itself to roosting
	position, and folds its giant wings around its body.

				MALCOLM (V.O.)
		And maybe that's still that matters.

	The animal raises its head, opens its beak, and SQUAWKS
	approvingly up at the heavens.

				   FADE OUT