•f).
Tis^QmiBBirtR THE CURSE OF THE BLACK PEARL
Screenplay by Ted Elliott & Terry Rossio Screen Story by Ted Elliott &? Terry Rossio and Stuart Beattie and Jay Wolpert Based on Walt Disney's Pirates of the Caribbean
©Disney Enterprises, Inc. Final Broadcast Draft - 08/25/2003 48.
GILLETTE <*•* (a croak) ; Abandon . .. (louder) Abandon ship! A SHADOW falls across the boat: the men look around, drop their oars and dive for the water — a loud CRUNCH — 61 EXT. H.M.S. DAUNTLESS - DAY 61 The Interceptor dwindles with distance. The ship's Officer watches it go, with some degree of admiration. OFFICER That's got to be the best pirate I've ever seen. NORRINGTON So it would seem. 69 EXT. CARIBBEAN SEA - DAY 69 The Interceptor cuts across the w a v e s . WILL (O.S.) When I was a lad living in England, my mother raised me by herself. /*8^ 70 EXT. INTERCEPTOR - MAIN DECK - DAY 70 Will sharpens his sword with a whetstone: shhhk — shhhk ... Jack tightens a l i n e . WILL (an attempt at guile) After she died, I came out here ... looking for my father. JACK Is that so? Jack moves down the ship. Will f o l l o w s . WILL My father. Bill Turner? (Will drops his attempt at guile) At the jail — it was only after you learned my name that you agreed to help. Since that's what I w a n t e d , I didn't press the matter. I'm not a simpleton, Jack. (an accusation) You knew my father. <**\ Final Broadcast Draft - 08/25/2003 49.
Jack considers his reply — settles on 'truth.' JACK I knew him. Probably one of the few who knew him as William Turner. Everyone else just called him 'Bootstrap,' or 'Bootstrap' Bill. WILL 'Bootstrap?' Jack is now at the w h e e l . JACK Good man. Good pirate. I swear, you look just like him. WILL It's not true, he was a merchant sailor. A good respectable man who obeyed the law — JACK (laughs) He was a bloody pirate, a scalywag. Will's sword is out, levelled at Jack. WILL My father — was not — a p i r a t e ! Jack doesn't even turn around. JACK Put it away, son. It's not worth getting beat again. WILL You didn't beat me. You ignored the rules of engagement. In a fair fight, I'd kill you. JACK Then that's not much incentive for m e to fight fair, is it? He turns the wheel hard. The sail boom whips around and slams Will in the chest; Will is swept off the ship. Jack picks up Will's sword. Will hand-over-hands to the end of the boom, out over the w a t e r . JACK (CONT'D) Now, as long as you're just hanging there, pay attention. The only rules that really matter are these: What a man can do. And what a m a n can't do. (MORE) Final Broadcast Draft - 08/25/2003 50. JACK (CONT'D) For instance: you can accept that your father was a pirate and a good **\ man ... or you can't. But pirate is in your blood, boy, so you'll have to square with that some day. Now, m e , for example, I can let you drown ... (Will looks alarmed) But I can't bring this ship into Tortuga all by me lonesome, savvy? Jack swings the boom so Will falls on the deck. Jack flips the sword, offering it to Will. JACK (CONT'D) So — can you sail under the command of a pirate — or can you not? Still on his back, Will takes the sword from him. A beat as he considers — WILL Tortuga? JACK Torguga. 71 EXT. TORTUGA - NIGHT 71 A dank, dirty port, where the tides have swept together the ^ scum of the Caribbean. Pirates drag a merchant for sport. Pirates fire guns, chase ladies, drink to e x c e s s . Jack and Will walk through the streets. Will studies the environment with a dubious expression. JACK It is indeed a sad life that has * never breathed deep the sweet proliferous bouquet that is Tortuga! Savvy? (breathes deep) What do you think? Will looks around, sees a two fisted pirate drinking his fill of rum. Painted ladies display their wares. A Donkey bellows WILL It'll linger. JACK I'll tell you, m a t e , if every town in the world were like this one, no man would ever feel unwanted. A REDHEAD in a scarlet dress chatting up two sailors spots Jack. She strides up to him — •*>*& SHORT TERM 12
by Destin Daniel Cretton
August 31, 2012 46
MASON (calmly) Sorry man. Jayden catches her breath and begins to cry. GRACE It's going to be okay Jayden. It’s going to be okay. JAYDEN I fucking hate you. GRACE That's fine, you don’t have to like me right now. Just let it pass. MASON How you doing Nate? NATE Not so good. Jayden continues to cry. GRACE You’re doing good. Doing really good. Grace takes a deep breath and exchanges a look with Mason. MASON Grace. How's my cupcake? Grace shakes her head. INT. GROUP HOME LOUNGE -- DAY Something else is playing on TV. Nate walks up to Jessica at the door. JESSICA How is she? NATE She’s in the cool-down room now. I need that. Jessica grabs a bottle of quick-dry, antibacterial hand cleaner and squirts some in his hand. He immediately rubs it all over the side of his face that Jayden spit on. Marcus walks over to the coffee table where the kids are playing a board game. He tosses a stack of colored paper and pens onto the coffee table. The kids look up at him.
47
MARCUS Everybody grab one. Come on. INT. COOL DOWN ROOM -- DAY Grace and Jayden sit against the wall in silence. An inflatable punching bag, shaped like a smiling beagle, bobs a few feet in front of them. Jayden makes more creases in her hand with her fingernail. Grace notices her. GRACE You wanna see mine? Grace pulls down her sock to reveal an ankle riddled with scars. She has Jayden's attention. JAYDEN Shit. She points to a really big scar. GRACE That one's from a sneeze. I slipped and cut too deep. Almost cut my achilles. Grace laughs at the irony. Jayden looks off at nothing. JAYDEN Why? Grace shrugs, looking at the scars, remembering each one. GRACE When my mom died, I had to live with my dad...and... (beat) It's impossible to worry about anything else when there's blood coming out of you. They sit in silence for a moment. Jayden looks at her wrist, playing with the button of the bracelet Grace gave her. Grace notices her. Jayden looks up to the smiling beagle punching bag. She throws a soccer ball, hitting it square in the head. It slams to the floor and gently floats back up with a smile. JAYDEN God, I hate that thing. GRACE Me too.
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Through the small window in the door, we see Grace and Jayden kicking and punching and throwing the punching bag against the walls. INT. GIRL'S HALLWAY -- DAY Grace exits the CDR and holds the door open for Jayden. As they walk back to girls' side, she sees Marcus exiting with Jessica. Jessica nods to Grace as they head back to the lounge. They reach Jayden's room and Grace stops at her door as she walks in. GRACE Take as much time as you need. INT. JAYDEN'S ROOM -- DAY Jayden walks in and sees 14 hand-drawn birthday cards neatly laid out on her bed. Grace watches her from the door with a smile. (Cue MUSIC) INT. GROUP HOME LOUNGE -- AFTERNOON Sixteen candles burn brightly, one in each of the 16 cupcakes that all the kids are holding together in front of Jayden. All the kids gather around Jayden, singing the last verse of Happy Birthday (or chanting Jayden, Jayden). They are all incredibly out of tune. EVERYONE Happy Birthday to JAYDEEEEEEENNanana! Jayden blows out her candles and everyone claps loud enough to make her smile. When the room settles, Mason looks to Grace. CUT TO: INT. GROUP HOME LOUNGE -- AFTERNOON The entire unit stands in a circle chanting together with their hands waving in the air. Mason leads them. As he chants they all clap and slap their thighs to the same rhythm. Nate joins in the group, very excited. This is his kind of game. MASON Big booty big booty big booty. Big booty number three.
INSIDE OUT
original story by Pete Docter Ronnie Del Carmen
Screenplay by Pete Docter Meg LeFauve Josh Cooley
Address Phone Number BLACK. JOY (V.O.) Do you ever look at someone and wonder, “What is going on inside their head?” Well, I know. I know Riley’s head. WHITE. FADE IN...
INT. HOSPITAL - DAY A newborn baby swaddled in a blanket, held by her parents. Push in... and ZOOM IN TO HER HEAD.
INT. HEADQUARTERS Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN. JOY Hmm? In front of Joy is a single large BUTTON. She pushes it.
INT. HOSPITAL - CONTINUOUS The baby gurgles and wiggles happily. JOY (V.O.) And there she was...
INT. HEADQUARTERS - CONTINUOUS ON THE CONSCIOUSNESS SCREEN: MOM Hello, Riley. DAD Oh look at you. Aren’t you a little bundle of joy? A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a MEMORY of what we just saw: Mom and Dad cooing at Riley. JOY Whoa. INSIDE OUT 2.
Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.
INT. HOSPITAL - CONTINUOUS Baby Riley gurgles happily. JOY (V.O.) It was amazing. Just Riley and me, forever...
INT. HEADQUARTERS - CONTINUOUS Baby Riley CRIES. JOY (V.O.) ...for 33 seconds. Joy looks to her side. There’s a new, droopy, blue character touching the button. SADNESS I’m Sadness. JOY Oh, hello. I’m Joy. Joy tries to muscle past Sadness to press the button. JOY (CONT’D) Can I just... if you could... I just want to fix that. Thanks. The two struggle. JOY (V.O.) And that was just the beginning. Headquarters only got more crowded from there.
INT. MINNESOTA HOUSE - DAY Riley, now age 3, barrels through the house pulling a wagon.
INT. HEADQUARTERS ON THE SCREEN: Riley’s POV as she runs through the house. Fear “supervises” Joy, who drives. INSIDE OUT 3.
FEAR Very nice. Okay, looks like you got this. Very good, sharp turn... Riley approaches a POWER CORD on the ground. FEAR (CONT’D) Ahh! Look out!!! No! Fear leaps to the console. JOY (V.O.) That’s Fear. He’s really good at keeping Riley safe.
INT. MINNESOTA HOUSE - CONTINUOUS Riley stops. She cautiously steps over the power cord. FEAR (O.S.) Easy... we’re good! We’re good.
INT. HEADQUARTERS A fear memory (purple) rolls in. JOY/SADNESS Whew!/Nice job. FEAR Thank you! Thank you very much. Joy jumps back into driving position. JOY And we’re back!
INT. MINNESOTA HOUSE - CONTINUOUS Riley continues her sprint through the house. Suddenly she’s picked up.
INT. KITCHEN - CONTINUOUS PLOP into highchair. Bib. Tray. Bowl. DAD Here we go. Alright, open. INSIDE OUT 4.
Dad lifts a spoonful of food to Riley’s mouth.
INT. HEADQUARTERS JOY Hmm. This looks new. FEAR/SADNESS Do you think it’s safe?/What is it? ON THE SCREEN: a spoonful of broccoli. DISGUST enters. DISGUST Okay, caution! There is a dangerous smell, people. Hold on, what is that? JOY (V.O.) This is Disgust. She basically keeps Riley from being poisoned, physically and socially. DISGUST That is not brightly colored or shaped like a dinosaur... Hold on guys... It’s broccoli! Disgust GAGS and pulls a lever.
INT. KITCHEN YOUNG RILEY Yucky! Riley swats the broccoli. It flies into Dad’s face.
INT. HEADQUARTERS A disgust memory (green) rolls in. DISGUST Well, I just saved our lives. Yeah. You're welcome. INSIDE OUT 5.
INT. KITCHEN DAD Riley, if you don’t eat your dinner, you’re not going to get any dessert.
INT. HEADQUARTERS ANGER looks up from reading his newspaper. ANGER Wait. Did he just say we couldn’t have dessert? JOY (V.O.) That’s Anger. He cares very deeply about things being fair. ANGER So that’s how you want to play it, old man? No dessert? Oh, sure, we’ll eat our dinner, right after YOU eat this! GrrrraaaAAHH!!!! Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.
INT. KITCHEN Riley throws a fit. Dad distracts her. DAD (’flying’ the spoon) Hey, Riley, Riley, here comes an airplane!
INT. HEADQUARTERS Anger stops screaming. ANGER Oh, airplane. We got an airplane, everybody. DISGUST/FEAR/SADNESS/JOY Ohh!/Ahh!
INT. KITCHEN Dad “lands” the food into Riley’s smiling mouth. INSIDE OUT 6.
INT. HEADQUARTERS A happy memory (golden) rolls in. The others leave Joy alone at the console with Sadness. JOY (V.O.) And you’ve met Sadness. She... well, she... FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat. JOY (V.O.) I’m not actually sure what she does. And I’ve checked, there’s no place for her to go, so she’s good, we’re good. It’s all great! Sadness exits. Joy turns to the wall of golden memories. JOY (V.O.) Anyway! These are Riley’s memories-- and they’re mostly happy, you’ll notice, not to brag. She inspects one of the golden memories: Riley and her friend MEG (both age 3) going down a slide. She REWINDS it, relishing the happy moment. JOY (V.O.) But the REALLY important ones are over here. I don’t want to get too technical, but these are called CORE MEMORIES. Joy pops up the CORE MEMORY HOLDER. Inside are five intensely bright golden memories. JOY (V.O.) Each one came from a super- important time in Riley’s life. Like when she first scored a goal? That was so amazing!
EXT. MINNESOTA LAKE, WINTER - DAY Two-and-a-half-year-old Riley shoots a hockey puck across the ice. She trips and accidentally scores a goal. INSIDE OUT 7.
MOM/DAD (cheering) Heeey! Would you look at that?! We got a future center here!
INT. HEADQUARTERS A super-bright CORE MEMORY rolls in. It rolls to the Core Memory Holder. Clicking into position, a LIGHTLINE shoots out. The Emotions follow it to the back window and watch a new ISLAND OF PERSONALITY form. JOY (V.O.) And each core memory powers a different aspect of Riley’s personality. Like Hockey Island! Five ISLANDS OF PERSONALITY float in space, miles from Headquarters, connected by LIGHTLINES -- their power sources. JOY (V.O.) Goofball Island is my personal favorite.
INT. MINNESOTA LIVING ROOM - NIGHT Toddler Riley runs naked from the bathroom, underpants on her head, laughing wildly. Dad chases her with a towel. DAD Come back here, you little monkey!
INT. HEADQUARTERS Goofball Island activates: lights, movement, etc.
INT. MINNESOTA LIVING ROOM Naked Riley does the goofy dance on the sofa.
INT. HEADQUARTERS JOY (V.O.) Yup, Goofball is the best! Friendship Island is pretty good too. Joy looks at FRIENDSHIP ISLAND. INSIDE OUT 8.
EXT. SIDEWALK - DAY Riley and Meg walk leg over leg, arms linked, laughing.
INT. HEADQUARTERS Joy inspects Honesty Island. JOY (V.O.) Oh, I love Honesty Island! And that's the truth!
INT. MINNESOTA HOUSE - DAY A guilty Riley stands by a broken plate. She reveals a HAMMER from behind her back.
INT. HEADQUARTERS Joy examines Family Island. JOY (V.O.) And, of course, Family Island is amazing.
EXT. MINNESOTA KITCHEN TABLE - DAY The family decorate cookies together. Riley stuffs one into Dad's mouth.
INT. HEADQUARTERS The Emotions look out over the Islands of Personality. JOY (V.O.) The point is, the Islands of Personality are what make Riley... Riley!
INT. BATHROOM Riley splashes in the bathtub. YOUNG RILEY Look out, mermaid! INSIDE OUT 9.
INT. MINNESOTA LIVING ROOM Riley climbs the couch. She looks at the floor.
INT. HEADQUARTERS Joy projects an IMAGINATION of LAVA onto the screen.
INT. MINNESOTA LIVING ROOM YOUNG RILEY Lava! Riley jumps from couch to chair to avoid the lava.
INT. MINNESOTA HOUSE Riley draws. Pull back to reveal she’s drawing on the wall. YOUNG RILEY (singing) Who’s your friend who likes to play? Bing Bong, Bing Bong...
EXT. MINNESOTA LAKE - DAY Six-year-old Riley skates across the ice backwards. MOM/DAD Hey! Very nice! Where did you learn that?
INT. HEADQUARTERS Joy skates around the room, in sync with Riley.
EXT. MINNESOTA FRONT STEPS - DAY Riley and Meg slurp frozen drinks. Riley grimaces: ice headache!
INT. HEADQUARTERS FEAR Brain freeze! The Emotions scream as Headquarters freezes over. INSIDE OUT 10.
EXT. MINNESOTA LAKE - DAY A kids’ hockey game. Riley takes a shot and scores!
INT. HEADQUARTERS JOY Yaaay!
INT. RILEY’S MINNESOTA BEDROOM - NIGHT Parents tuck Riley into bed and turn off the light. DAD Good night, kiddo! RILEY G’night, Dad. She looks up at the stars on her ceiling and falls asleep.
INT. HEADQUARTERS Joy watches the screen go DARK. She inspects the shelves mostly populated with GOLDEN MEMORIES. JOY And... we’re out. That’s what I’m talking about: another perfect day! Nice job everybody! Let’s get those memories down to Long Term. Joy pulls a lever. Memories cascade down the shelves. FEAR All right, we did not die today! I call that an unqualified success. The memories pachinko down the shelves and up a tube. Joy runs to the back window to watch them glide through the distant tubes towards Long-Term Memory like falling stars. JOY (V.O.) And that’s it! We love our girl. She’s got great friends and a great house. Things couldn’t be better. After all, Riley’s 11 now. What could happen? CUT TO: INSIDE OUT 11.
EXT. MINNESOTA HOUSE FRONT YARD - DAY Moving sign: Sold!
INT. HEADQUARTERS JOY Wha...? SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH!!!
EXT. DRIVEWAY - DAY SLAM! A packed car hatchback closes.
INT. HEADQUARTERS JOY Huh? SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH!!!
EXT. MINNESOTA STREET - DAY VROOM! A moving van drives away.
INT. HEADQUARTERS JOY OK, not what I had in mind. SADNESS/FEAR/ANGER/DISGUST AIIIIIGHH!!!
EXT. AMERICAN HIGHWAYS A SERIES OF SHOTS: the family car drives across America. The car passes corn fields and rolling hills. TITLE CARD: A PIXAR ANIMATION STUDIOS FILM Riley sleeps in the back seat. The car zips around a mountain curve, down a desert highway. Riley looks out the back window. by Simon Pegg & Edgar Wright GARY (V.O.) Ever had one of those nights that starts like any other night but ends up being the best night of your life? I did.
INT./EXT. 1990 - DAY/NIGHT Over corridors, school children and falling A4 paper. The images match the narration, warm with nostalgia. GARY (V.O.) It was June 22nd 1990, our final day of school. There were five of us. Oliver Chamberlain, Peter Page, Steven Prince, Andy Knightley and me. They called me The King. Because my name's Gary King. We see a teenage GARY, the school cool cat with trendy hair, black trench coat and irrepressible grin. GARY (V.O.) Me and the boys, we were inseparable: Ollie was funny, he fancied himself as a bit of a player but really, he was all mouth. We called him O-Man because he had a birthmark that looked like a six. He loved it. We see a teenage OLIVER, a yuppie in training, with city boy accessories and a brick of a mobile phone. The boys try to distract him. He gives them the finger, mouths "Fuck off". GARY (V.O.) Pete was the baby of the group. We sort of took him under our wing. Pete wasn't the kind of kid we'd usually hang out with but he was good for a laugh and his dad was minted. Diminutive PETER gets nudged in the corridor by a BURLY KID. In Peter's garden, Gary cannonballs into a swimming pool, soaking an older man who is apparently Peter's dad. GARY (V.O.) Steve was a cool guy, almost as cool as me. We jammed together, formed a band, we chased the girls. (MORE)
(CONTINUED) 2. CONTINUED: GARY (V.O.) (CONT'D) I think he kinda saw us as rivals. Sweet really. Young STEVEN is handsome. We see him smoking with Gary and jamming on guitars in the music room. Gary and Steven watch the same PRETTY GIRL walk past them. GARY (V.O.) And Andy? Well what can I say? Andy was my wing man. The one guy I could rely on to back me up. I loved him and I'm not being funny, he loved me too. GARY (V.O.) There were a few people we'd miss. Mr. Shepherd was cool. I remember one time, he asked what I wanted to do with my life. MR. SHEPHERD sits across from Gary in a careers office. GARY (V.O.) I told him I just want to have a good time. He thought that was funny. It wasn't meant to be. We see their home town from above: A nondescript garden city set out in symmetrical circles of grey and green. GARY (V.O.) Newton Haven was our hometown. Our cradle, our playground, our universe and that night it was the site of an heroic quest. The aim? To conquer The Golden Mile. Twelve pubs along a legendary path of alcoholic indulgence, terminating at the alehouse that would herald our success: The World's End. The aerial view merges into a TOURIST MAP of Newton Haven. The boys crowd around it, charting the route with blue markers. GARY (V.O.) There was The First Post, The Old Familiar, The Famous Cock, The Cross Hands, The Good Companions, The Trusty Servant, The Two Headed Dog, The Mermaid, The Beehive, The King's Head, The Hole in the Wall...
(CONTINUED) 3. CONTINUED: (2)
The old-fashioned pub signs flash past like tarot cards. GARY (V.O.) ...all before reaching our destiny. The World's End appears, the most important pub of all. GARY (V.O.) We took my car into town, I called it The Beast because she was pretty hairy. Gary drives a MATT BLACK GRANADA MK2 dangerously fast. GARY (V.O.) And so, our attempt at The Golden Mile began. We were off. We didn’t waste any time. We hit pub one and we hit it hard. They enter The First Post. The boys sit at a table and all down their pints together. GARY (V.O.) Things got crazy fast. There was drinking, there was fun... The boys down pint after pint in successive pubs. Steven chats with a GRIZZLED OLD DRINKER. The others laugh. GARY (V.O.) ...there was controversy... A publican holds a red card up to Gary, who protests. GARY (V.O.) ...there were ladies...
They flirt with THREE ALLURING SCHOOLGIRLS, two with blonde hair, one with red. GARY (V.O.) ...there was drama, and of course... Gary in a pub toilet punching the wall in frustration. GARY (V.O.) ...there was drinking. The boys raise a toast together in The Good Companions.
(CONTINUED) 4. CONTINUED: (3)
GARY (V.O.) After pub five we were feeling invincible and decided to procure some herbal refreshment from a man we knew as The Reverend Green. The boys buy hash from a SHIFTY LOOKING DEALER. Oliver, too drunk to carry on, throws up and waves them away. GARY (V.O.) Pint six put O-Man out of action, so we carried on without him. Good thing, I bumped into his little sister in the next pub, we went into the disabled toilets and I bumped into her again. We see Gary with the same pretty girl he and Steven checked out earlier. Gary winks at a jealous Steven. GARY (V.O.) Sam tagged along for a while but in the end I had to let her go. I told her I had another date that night and her name was Amber. The boys clash pints. The boys have reached The Beehive. GARY (V.O.) Nine pints in and it was us against the world; least it felt like it. Drinks are spilt, a brawl starts. Andy is in the center. GARY (V.O.) After the Beehive, we had to lay low and so we repaired to the bowls club or as we liked to call it: The Smokehouse. And that’s when it all went fuck up. The boys approach a BOWLING GREEN CLUBHOUSE to smoke pot. GARY (V.O.) Everyone got para and Pete chucked a whitey so we had to bench him. We see them leave a comatose Peter on a park bench. GARY (V.O.) In the end, we blew off the last three pubs and headed for the hills.
(CONTINUED) 5. CONTINUED: (4)
Gary, Andy and Steven stagger along a dark street. GARY (V.O.) We thought about taking The Beast but eventually decided against it. The Beast crashes into a low wall, steam rising. GARY (V.O.) Don’t know how we got up there in the end. Maybe Lady Luck was with us after all. Gary, Andy and Steven sit on a hilltop and look out across Newton Haven. A SHOOTING STAR streaks across the sky. Andy puts an arm round Gary. It is the beautiful idyll of youth. GARY (V.O.) I remember sitting up on top of that hill, blood on my knuckles, beer down my shirt, sick on my shoes, seeing the orange glow of a new dawn break and knowing in my heart, life would never feel this good again. And you know what?
INT. MEETING ROOM - NIGHT/DAY We see Gary King, age 40. Lines of experience etched across his face, but with the same broad smile. GARY It never did. A strangely self-satisfied Gary leans back in his chair. He's still thin, drawn even, with dyed black hair.
Gary is among a group of people, sitting in a circle. A bemused silence settles as the people regard Gary and each other. We hear the WELL SPOKEN VOICE of a male GROUP LEADER. GROUP LEADER Thank you Gary. That was very enlightening. Would anyone like to add anything or maybe challenge Gary? PALE YOUNG MAN Are you disappointed? GARY About what?
(CONTINUED) 6. CONTINUED:
PALE YOUNG MAN That you didn't make it to The World's End? Close on Gary. Yes. Yes. Yes. GARY No. Gary zones out. We hear the following movie dialogue. PASTOR (V.O.) Just what is it that you want to do? PETER FONDA (V.O.) We want to be free! We want to be free to do what we want to do! And we want to get loaded. And we want to have a good time. And that's what we're going to do. We're going to have a good time. We're going to have a party. TITLE CARD - ‘THE WORLD’S END’
MONTAGE. VARIOUS SUBURBAN DOMESTIC & WORKPLACE LOCATIONS. Primal Scream’s ‘Loaded’ plays over a montage of domesticity. We see present day versions of the adult PETER, OLIVER, STEVEN and ANDY getting ready for work. PETER, older, still slight, sitting at the breakfast table. He checks his watch, drinks his coffee and reads the paper amid the pandemonium of a family breakfast. STEVEN, older, well preserved. He is in sweats, working out with an attractive young female fitness instructor. OLIVER, in a slick business suit, in line at a coffee shop, talks loudly on his bluetooth headset and annoys others. ANDY, still robust, but with an air of executive power, steps into a fancy elevator, briefcase in hand.
EXT. PETER’S HOUSE - MORNING A garage door opens. We see Peter at the wheel of a midpriced family car. As he pulls out of the garage he sees- Gary, back in his 1990 trench coat. Standing in the street.
(CONTINUED) Screenplay By Charles Randolph and Adam McKay Based Upon the Book by Michael Lewis The most difficult subjects can be explained to the most slow- witted man if he has not formed any idea of them already; but the simplest thing cannot be made clear to the most intelligent man if he is firmly persuaded that he knows already, without a shadow of doubt, what is laid before him.
Leo Tolstoy, 1897 BUFF REVISED, MAY 11, 2015 12.
MICHAEL BURRY No stocks. I want to short the housing market.
15 INT. METRO CAPITAL - LAWRENCE FIELDS’S OFFICE - SAME TIME 15 LAWRENCE FIELDS’S office is the opposite of Michael’s. It’s lavish with Manhattan views as is he. LAWRENCE FIELDS Haha! Really? But the housing market is rock solid. Greenspan just said bubbles are regional, defaults are rare. FIELDS motions to his assistant through the open door. LAWRENCE FIELDS (CONT’D) Tell them I’ll be there in a minute... MICHAEL BURRY Greenspan’s wrong. LAWRENCE FIELDS I don’t think you mean to do it but sometimes you sound very dismissive and superior Michael. Alan Greenspan is the greatest Fed Chairman in history. MICHAEL BURRY It’s a fact. Greenspan’s wrong. He’s too focused on being right to realize he’s wrong. I don’t know how else you want me to say it. Burry spits out his coffee gargle into the garbage. LAWRENCE FIELDS Look, Metro Capital backed you four years ago when you were a doctor with a dinky web page and some inheritance money. And we’ve all done very well. Why don’t you just stick with stocks? MICHAEL BURRY I look for value whereever it can be found. And the fact is: mortgage backed securities are filled with extremely risky subprime adjustable rate loans. (MORE) BUFF REVISED, MAY 11, 2015 13. MICHAEL BURRY (CONT'D) Once the majority of adjustable rates kick in 07’ they will begin to fail and when they fail above 15% the whole bond is worthless. The scene freezes. MODERN TRADER (V.O.) Mortgage backed securities, subprime loans, tranches... Pretty confusing right? Does it make you feel bored? Or stupid? Well, it’s supposed to. Wall Street loves to use confusing terms to make you think only they can do what they do. Or even better, for you to leave them the fuck alone. So here’s Scarlett Johansson under a water falls to explain...
16 EXT. SMALL WATERFALL - DAY 16 SCARLETT JOHANSSON in a white T shirt and cut off jeans let’s the waterfall run over her while explaining mortgage backed securities. SCARLETT JOHANSSON Basically Lewis Ranieri’s Mortgage bonds were amazingly profitable for the big banks. They made billions and billions off of their 2% fee on each of these bonds they sold. But then they started running out of mortgages to put in them. After all, there’s only so many homes and so many people with good enough jobs to buy them. So the banks starting doing something different. Instead of creating mortgage bonds that were guaranteed by the US government, they started creating their own private mortgage bonds. No government, no pesky standards like good credit or minimum income. And then the big banks were able to fill the bonds with riskier and riskier mortgages and keep the profit machine churning. By the way, the risky mortgages are called “subprime.” Anytime you hear subprime, think shit. (MORE) BUFF REVISED, MAY 11, 2015 13A. SCARLETT JOHANSSON (CONT'D) Michael Burry found out these mortgage bonds that we supposedly 65% AAA were actually mostly full of shit, so now he’s going to “short” the bonds, which means to “bet against.” Got it? Good. BUFF REVISED, MAY 11, 2015 53.
REAL ESTATE AGENT House on the left might be motivated...That is another quasi- motivated seller...They're probably teensy-weensy bit motivated...In her case I'd say possibly almost motivated. Danny and Porter exchange a look. The market's in trouble. MARK A lot of homeowners seem pretty motivated. REAL ESTATE AGENT It's the gully. That's all. Just nerves. (faces Mark) So... where are we? MARK Let me talk to my wife. YOUNGER AGENT This market won't last. MARK Actually, can I talk with a mortgage broker? Anyone you like? 69 OMIT 69
70 INT. HOTEL BAR - SOUTH BEACH - DAY 70 BLACK Bitch better like me, I sent her to Cabo. The bar's empty save Mark, Danny and Porter sitting with two overly-groomed MORTGAGE BROKERS -- their ties match their shirts: the hip one's in BLACK; his friend, MAROON. The guy in Maroon has Porter's business card. MAROON Is Morgan Stanley recruiting us? PORTER The bank owns our hedge fund but we're not really part of it. We invest in financial service companies. (MORE) BUFF REVISED, MAY 11, 2015 53A. PORTER (CONT'D) We're here trying to understand the residential mortgage business. BUFF REVISED, MAY 11, 2015 54.
The brokers just nod, glad to be part of the conversation. MARK How many loans do you write each month? BLACK It's about 60. Maroon nods. Me, too. Almost. MARK What was it four years ago? BLACK Ten. Maybe 15. MAROON I was a bartender. DANNY How many are adjustable rate mortgages? BLACK Most. Ninety percent. The bonuses on those sky rocketed a few years ago. Adjustable is our bread and honey. MARK These are people buying a primary residence? BLACK No, they're all cash-out refi's, or property to flip. A shitload of condos. A few primaries. DANNY Do mortgage applicants ever get turned down? They laugh. BLACK Dude, if they get rejected I suck at my job. DANNY Even if they have no money? BUFF REVISED, MAY 11, 2015 55.
MAROON Well, my firm offers NINJA loans. No Income. No Job. I just leave the income section blank if I want, corporate doesn't care. And the people just want a house. So they go with the flow. BLACK We call those loans “Dorothys” cause they’re magic. No credit, no income, no problem: just tap your shoes together three times and say “There’s nothing like owning a home.” MARK Your companies don't verify? BLACK If I write a loan on Friday afternoon, the big banks buy it by Monday lunch. MAROON Same here. MARK Can you two hold on a second?
71 INT. HOTEL LOBBY - SECONDS LATER 71 Eyeing the brokers, Mark whispers with Porter and Danny. MARK I don't get it. Why are they confessing? DANNY That's not confessing. PORTER They're bragging.
72 INT. HOTEL BAR - DAY 72 Mark takes an ottoman right in front of the brokers. MARK Do customers ever know what they're buying? BUFF REVISED, MAY 11, 2015 56.
MAROON I focus my business on immigrants. Once you tell them they’re getting a home they sign where you tell them to sign, don't ask questions, don't really understand the rates. Mark starts to say something, then turns to Black. MARK You target immigrants, too? MAROON Ha! Their credit isn't bad enough for him! BLACK I'm a yield guy. I make 2,000 on fixed-rate prime loans. I can make 10,000 on a subprime adjustable. Trust me, I would not be driving a Hummer without Strippers. Nobody on the pole has good credit. And they're all cash rich. Porter and Danny watch Mark consider punching this punk. The last thing they expect is... MARK Can you introduce us?
73 INT. ALCOVE - VIP ROOM - STRIP CLUB - NIGHT 73 MUSIC: A sexy pop song like SEXYBACK by JUSTIN TIMBERLAKE DANCER I always get option-pay adjustables. I'm a private contractor. I need flexibility. A DANCER does rote gyrations. Mark’s indifferent to the lap dance, unashamed, occupied by his agenda. MARK You tell the mortgage company what you do? DANCER I write therapist. (and then) You can touch me. BUFF REVISED, MAY 11, 2015 57.
MARK Always? DANCER Only in the VIP. MARK No, you said you always do adjustables. You have more than one loan on a property? DANCER Everybody does. At least down here. That way you only put down like 5 percent. MARK But prices have leveled off. DANCER Yeah, there's a gully. MARK Can you stop moving? I'll still pay you. She peeks out of the alcove, sees a BURLY MAN WITH A HARD FACE and keeps dancing. DANCER Sorry, (mouthing it) we're not alone. MARK Okay, look, if home prices don't rise you won't be able to refinance. You'll be stuck with whatever your monthly payment jumps to after the teaser rate expires. Plus any payments you missed. Plus interest on those payments! Your monthly could go up 200 or 300 percent! DANCER Jamie says I can always refinance. MARK He's lying. Actually, in this particular case, Jamie's probably just wrong. BUFF REVISED, MAY 11, 2015 57A.
DANCER Two hundred percent? On all my loans? BUFF REVISED, MAY 11, 2015 58.
MARK What do you mean all my loans? We're talking about two loans on one house, right? She stops and gives him a look. DANCER I have five houses. And a condo.
74 INT. TICKETING AREA - MIAMI AIRPORT - DAY 74 Full of purpose, Mark strides ahead of Porter and Danny. MARK Get the mortgage exposure and leverage ratio of every bulge bracket i-bank-- (into his phone) --Hey, there's a bubble. VINNY (O.S.) How do you know? MARK Trust me. Call Vennett. Buy 50 million in swaps on the MBS... Danny holds out the offering doc. MARK (CONT'D) ...Garabaldi IV. Triple B. VINNY (O.S.) You sure, Mark? MARK Yeah. It's time to call bullshit. VINNY (O.S.) Bullshit on what? MARK Everything.
75 INT. GYM - DAY 75 Jared Vennett is running on a treadmill when the phone rings. BUFF REVISED, MAY 11, 2015 59.
JARED (on his cell) Is this America's angriest hedge fund? VINNY (O.S.) How are you, JARED? Jared steps off the treadmill to take the call. JARED Starting to believe my own hype. VINNY (O.S.) I've got one last question.
76 INT. TRADING DESK - FRONTPOINT OFFICE - DAY 76 Vinny on the phone. VINNY How are you fucking us? Jared cackles. VINNY (CONT'D) I'm serious. We'll buy your swaps. But only if you say how you're fucking us. JARED (O.S.) Hold on.
77 INT. GYM - DAY 77 Jared steps away from a few guys working out. JARED Swaps are a dark market. That means I set the price. Whatever price I want. When you come back for your pay day I’ll rip your eyes out and make a fortune. The good news for you is you’ll make so much you won’t care. Plus your boss has a big mouth and I need people to know about this trade so my superiors don’t think it’s an esoteric waste of time and I can keep selling it. Static. BUFF REVISED, MAY 11, 2015 59A.
VINNY (O.S.) Thank you. BUFF REVISED, MAY 11, 2015 60.
JARED Anytime. (then) What's it gonna be? You want me to make you a market? VINNY (O.S.) Yeah. We'll take 50 million-- He disconnects, punches air. His casual pose evaporates.
78 OMIT 78
A79 EXT. WIDE SHOT OF BOULDER COLORADO - DAY A79 Can be stock footage showing mountains and the town of Boulder. We hear a phone ringing.
B79 INT. BEN RICKERT’S HOME OFFICE - BOULDER COLORADO - DAY B79 APRIL 2006 2 years 4 months until the collapse CU on a cell phone ringing on a desk. A hand fumbles for it and answers. BEN Hello? It’s Ben Rickert. His office has three computer screens showing the Japanese markets, the Dow, Nasdaq, weather satellite images and tidal charts. JAMIE (V.O.) Hey Ben. It’s Jamie- BEN I told you not to call this number. He hangs up. After a beat a satellite phone rings. Ben answers. BEN (CONT’D) Hey. JAMIE (V.O.) I hate when you do that. No one’s listening to your calls Ben. You’re a retired trader. It Follows by David Robert Mitchell
Version 15 9.29.13
Registration #1497688 20.
19 EXT. DARK LOT - NIGHT 19 The old Ford sits at the back of a dark, dirt lot. Woods and an old factory surround the car. We watch from a distance as faint silhouettes move within the vehicle. One of the back doors opens and Hugh climbs out, pulling up his boxers. He walks around the car and opens the trunk. Partially obscured, we wait as he attends to something at the back of the car. The clinking of bottles and junk. The sound of a beer can opening. JAY It's funny, I used to daydream about being old enough to go on dates and drive around with friends in their cars. Some viewers might notice the absence of a license plate. 20 INT. '67 FORD GALAXY - NIGHT 20 Jay lays across the length of the back seat, resting on her stomach. She kicks her heels up playfully as she pokes her head out the open door. We hear the trunk close. The sound of footsteps. JAY I had this image of myself holding hands with a really cute guy, listening to music on the radio and driving along a pretty road... maybe somewhere up north... after the trees started to change color. Opening the opposite rear door, Hugh crawls inside the car, laying across Jay. He kisses the back of her neck. Caresses the side of her bare waist. Jay grins as Hugh kisses her. She rests her cheek on the leather seat. Deep and slow breaths. JAY It was never about going anywhere... just having some kind of freedom I guess. Now we're old enough, but where the hell do we go right? Then with force and quickness -
(CONTINUED) 21. 20 CONTINUED: 20 Hugh pushes a small cloth over Jay's mouth. She tries to move away, but he holds her head down until her eyes close. She stops struggling. Jay rests quietly again - a cheek on the leather seat. A half open mouth. A drop of drool. A long and deep breath. Darkness. The sound of wood being dragged across a concrete floor. A metal door closes. Footsteps. Breathing. Jay slowly opens her eyes. 21 INT. ABANDONED FACTORY - NIGHT 21 Jay looks around the old factory floor. A giant open space lit dimly by moonlight and distant street-lamps. Several stories up, treetops line the windows. Hugh walks along the far edge of the space, waving a flashlight out windows and down long running hallways. Jay half-focuses her eyes. She takes a few deep breaths. The girl is drowsy - still under the chemical spell of an inhaled narcotic. Looking down, Jay sees her arms and legs tied tightly to a wheelchair. She squirms and pulls but she can't move. Her body isn't fully responsive. Hugh looks back from across the warehouse floor. HUGH Jay? Are you awake? Jay stares across the darkness at Hugh as he slowly walks over. She tugs lightly against the rope and cloth bonds. Her eyes sag within their sockets. Hugh stops in front of her. He leans down and looks at her face. He looks frightened. His eyes are watery. His face is red - like he's been crying. HUGH I'm sorry. Jay tries to talk. Drool edges out the crease of her mouth. JAY Whuuuttt aarrhhh youuhhh doingggggg? (CONTINUED) 22. 21 CONTINUED: 21 HUGH I'm not gonna hurt you. Don't worry. Jay stares at him with deep fear. Hugh turns and shines his flashlight into the darkness. He scans the room. Jay watches. She opens her mouth as if to yell, but it's nothing but a hollow gasp - a mimic of a dry heave. Hugh shushes her with a gesture and continues waving the beam of light around the warehouse. HUGH You won't believe me, but I need you to remember what I'm saying. Jay stares in fright. HUGH OK? Jay nods her head - ok. HUGH This thing... Hugh looks around the room slowly. HUGH ...It's gonna follow you. Jay eyes Hugh with growing concern. This is getting worse. Hugh points his light towards a distant doorway. It's empty. Jay pulls against her ties - trying to get free. JAY (with a gasp) Hellllppppppp. Hugh turns and looks at Jay's pretty face. HUGH Somebody gave it to me. I passed it to you... back in the car. Jay's eyes widen - terrified. HUGH It can look like people you know... or it can be a stranger in a crowd... whatever helps it get close to you. (MORE) (CONTINUED) 23. 21 CONTINUED: (2) 21 HUGH (cont'd) Sometimes I think it looks like people you love just to hurt you... scare you... make fun of you. Hugh stands up and rushes to a nearby window. He aims his light outside towards the ground. HUGH I see it. Jay cranes her neck up trying to look out the far-off window. She sees nothing. Hugh runs over and wheels Jay's chair towards the window. Jay looks out and down towards the adjacent field. It's dark, but she catches a glimpse of a middle-aged, naked woman slowly walking around the corner of the building. Jay's eyes show fear and shock. JAY Whhhoooo isss?? Hugh wheels Jay back to the center of the room. HUGH You can get rid of it. Sleep with someone else as soon as you can. Just pass it on. If it gets you, it'll come after me... you understand? JAY No. Jay starts to cry. Hugh shushes her. The room is quiet. Hugh looks around - listening. They wait - longer still. We see Jay's eyes in close-up as she watches. We see her point-of-view: empty halls and dark doorways. Nothing still. Then... There's a shuffling sound from a distant hallway. Hugh points his light into the darkness.
(CONTINUED) 24. 21 CONTINUED: (3) 21 Jay cries in silence, looking towards the beam of light at the far end of the warehouse. Finally... A naked middle-aged woman emerges from the very distant shadows - slowly walking. Jay watches - puzzled and scared. JAY Whooo isszzz atttehh? The naked woman, still far away, creeps along staring at Jay. JAY Whudddda fucckk d'youu wannnttt??? The woman contorts the muscles in her mouth - oddly - revealing teeth and tongue. She continues walking forward. Jay cringes and looks to Hugh. HUGH Jay, I'm doing this to help you... so you know it's real. Hugh points his flashlight at the woman as he circles closer to her. Hugh stands along the edge of the woman's path, waving slightly in her direction. She doesn't look at him - only at Jay. Jay shakes in her chair, pulling at her restraints. She stares up at the naked woman - still over 50 feet away. JAY Ehhhhh. Noooo... The middle-aged woman opens her mouth again, straining the muscles in her throat. JAY Huuughhhhh! Another step closer. And another. Hugh runs across the room and spins the wheelchair around. He pushes Jay down the darkened hall as the nude woman follows behind. Jay stares ahead in shock - passing rotting walls and rusted industrial equipment.
(CONTINUED) 25. 21 CONTINUED: (4) 21 HUGH Never go anywhere that doesn't have more than one way out. It's very slow, but it's not dumb. Jay looks down at her bare legs and the passing floor. Her eyes are heavy. 22 EXT. DARK LOT - NIGHT 22 Tires kick up dirt. From a distance, we watch as the old Ford swerves around the corner and drives off down the road - racing away from the abandoned building. 23 EXT. JAY'S HOUSE - NIGHT 23 Kelly sits on the stoop of her front porch with her neighborhood friends. They're playing 'Old Maid'. Paul pours liquor from his flask into a Coke can. Yara reads from her pink-shell-compact cell phone while sorting her hand of cards. KELLY Can I have some? PAUL Yeah. Paul hands Kelly the can of pop. She takes a sip and cringes from the taste. Gross. Kelly shakes off the sting of cheap booze and examines her cards. She holds the old maid card - unfortunately. She tries to maintain her poker face while looking back at Paul. YARA (reading from her cell phone) Listen to this... “I think that if one is faced by inevitable destruction -- if a house is falling upon you, for instance -- one must feel a great longing to sit down, close one's eyes and wait, come what may . . .” KELLY That's why we're drinking on the porch. Paul grins and looks over at Kelly. Yara mutters a fake laugh.
(CONTINUED) 26. 23 CONTINUED: 23 PAUL Your mom asleep already? KELLY Almost for sure. Yeah. She wakes up at 5:15. I think that would kill me. We push in slowly towards Kelly's hand of cards - centered on the Old Maid - an ugly caricature of a spinster. PAUL Yeah that's rough. YARA I never wanna have a job. Yara's eyes dart excitedly over her cell phone screen. She smiles and nods to herself - enjoying some undisclosed prose. KELLY I wish I didn't. PAUL You love serving hot dogs and ice cream to weird old people and crying children. KELLY Ok. That's true. It brings me joy. Yara rolls her eyes at Kelly's goofiness. YARA Where's Jay at? KELLY Oh. On a date This bit of information seems to sting Paul. He covers it as much as possible. Kelly looks to him, holding up her hand of cards. KELLY Your turn. YARA Who is he? KELLY Somebody new. PAUL Of course.
(CONTINUED) 27. 23 CONTINUED: (2) 23 Kelly gives Paul a dirty look as he grabs a card - the old maid remains in her hand. YARA Your sister is so pretty. It's annoying. KELLY It is annoying. PAUL At least she's nice. Yara gives Paul a dirty look. He smirks back and she kicks him in the leg. The old Ford Galaxy races up the street and stops in front of the house. Kelly and her friends turn and watch as Hugh runs out and opens the back door on the far side of the car. The engine is still running. Kelly and her friends watch as Hugh pulls something from the backseat. Kelly begins to stand. KELLY Is everything ok?! Hugh closes the rear door, stepping over something as he runs back toward the driver's seat. HUGH (pointing back at the ground) Don't let it touch you! Slamming his door shut, Hugh drives off, revealing Jay in the middle of the road. Still tied and bound in her underwear, she crawls toward the curb - trying to walk. KELLY Jay! Kelly drops her cards and jumps from the porch - confused. Jay tries to stand up and move closer to the outer sidewalk - she fails - falling in the grass. Kelly rushes across the front lawn toward her sister. Paul and Yara follow behind. 24 INT. HANNIGAN'S KITCHEN - NIGHT 24 GREG, Jay's handsome neighbor, pulls a beer from the fridge and rounds the hallway.
(CONTINUED) 28. 24 CONTINUED: 24 Wearing sweat pants and a ragged t-shirt, he takes a sip as he approaches the front door. His hair is a mess - styled by pillow. His mother, MRS. HANNIGAN, peeks through the screen door - flashing police lights shine through the front curtains of her home. Greg joins her, looking out at the street scene: a series of police cars, an ambulance and an assortment of people. Jay sits on her porch, covered in a blanket, surrounded by emergency workers. Her mother, in a robe, talks with a police officer near the garage. The other kids mill about the property as neighbors peek and pass by. There's a mist in the night air, covering the suburban lawn. Greg and his mother watch. The young man sips his beer. Through the screen, Greg sees Jay talking with the cops. GREG What happened? MRS. HANNIGAN I don't know. Greg watches the scene - the glare of ambulance lights. His face shows concern. MRS. HANNIGAN Those people are such a mess. Greg stares ahead - ignoring his mother. 25 EXT. JAY'S HOUSE - CONTINUOUS 25 Jay is mid-conversation with a police officer. She sits, covered in her blanket, looking across at the man. POLICE OFFICER It was consentual? Jay nods her head. JAY Yeah. Jay looks back at the policeman - her eyes are tired and sad. POLICE OFFICER And you'd never seen the woman before?
(CONTINUED) 29. 25 CONTINUED: 25 JAY No. Jay shakes her head and touches her legs - focusing on her fingers stretched across her bare knees - losing herself in thought. POLICE OFFICER Ok. Have you ever been to his home? JAY Not inside, but I know where it is. I waited in the car for him once. He didn't want me to come in. He said he was embarrassed about where he lived. The cop nods as he writes in his notebook. 26 INT. HOSPITAL - NIGHT 26 Jay is in an emergency room partition. A doctor examines her - performing a test for STDs. Jay lays there - sad and still. Her breathing is loud and deep - each inhalation shown in labored slow-motion. Pronounced anxiety through Jay's eyes. The camera begins to shake as it pushes towards the bed. A hollow rumble fills the soundscape... 27 INT. JAY'S DINING ROOM - MORNING 27 Mrs. Hannigan drinks coffee at the table across from Jay's mom. Mrs. Height takes her time pouring some sugar into her own coffee. She mixes in some Irish liquor and takes a sip. There's a long sigh after the drink. MRS. HANNIGAN She didn't catch anything did she? MRS HEIGHT They don't think so. MRS. HANNIGAN Poor Jaime. MRS. HEIGHT Apparently he used a fake name to rent a house in the city. The police searched the place, but they can't find him. MRS. HANNIGAN My god. (CONTINUED)
JURASSIC PARK
screenplay by David Koepp
based upon the novel by Michael Crichton
and on adaptation by Michael Crichton and Malia Scotch Marmo
December 11, 1992
18 INT VISITOR'S CENTER DAY
The lobby of the still-unfinished visitor's center is a high- ceilinged place, and has to be house its central feature, a large skeleton of a tyrannosaur that is attacking bellowing sauropod. WORKMEN in the basket of a Condor crane are still assembling skeletons. A staircase climbs the far wall, to another wing.
HAMMOND (continuing) - - the most advanced amusement park in the world, combining all the latest technologies. I'm not talking rides, you know. Everybody has rides. We made a living biological attractions so astonishing they'll capture the imagination of the entire planet!
Grant stares up at the dinosaur skeletons and just shakes his head. Ellie catches his reaction.
ELLIE So what are you thinking?
GRANT We're out of a job.
Ian Malcolm pops in between them
MALCOLM Don't you mean "extinct"?
Ellie and Malcolm move on ahead.
CUT TO:
19 INT SHOW ROOM DAY
HAMMOND Why don't you all sit down.
GRANT, ELLIE, and MALCOLM take their seats in the front row of the fifty seat auditorium. GENNARO sits behind them. HAMMOND walks over to the giant screen in front of them.
Behind him, a huge image of himself beams down at him from the giant television screen.
HAMMOND (screen) Hello, John!
HAMMOND (stage) (to the group) Say hello! (then, fumbling with his three by five cards) Oh, I've got lines.
He scans them, looking for his place. The screen Hammond continues without him,
HAMMOND (screen) Fine, I guess! But how did I get here?!
HAMMOND (stage) Uh - - (finding his place) "Here, let me show you. First I'll need a drop of blood. Your blood!"
The screen-Hammond extends his finger and the stage-Hammond reaches out and mimes pocking it with a needle.
HAMMOND (screen) Ouch, John! That hurt!
HAMMOND (stage) "Relax, John. It's all part of the miracle of cloning!"
While the two Hammonds rattle on, the screen image splits into two Hammonds, then four then eight, and so on, like a shampoo commercial.
Grant, Ellie, and Malcolm huddle together excitedly in the audience.
GRANT Cloning from What?! Loy extraction has never recreated an intact DNA strand!
MALCOLM Not without massive sequence gaps!
ELLIE Paleo-DNA? From what source? Where do you get 100 million year old dinosaur blood?!
GENNARO Shhhhh!
20 IN THE FILM,
the screen-Hammond is joined by another figure, this one animated. MR. DNA is a cartoon character, a happy-go-lucky double- helix strand of recombinant DNA. Mr. DNA jumps down onto the screen- Hammond's head and slides down his nose.
HAMMOND Well! Mr. DNA! Where'd you come from?
MR. DNA From your blood! Just one drop of your blood contains billions of strands of DNA, the building blocks of life!
21 OMITTED
22 IN THE FILM,
Mr. DNA has taken over the show, and is speaking to the audience from the screen.
MR. DNA A DNA strand like me is a blueprint for building a living thing! And sometimes animals that went extinct millions of years ago, like dinosaurs, left their blueprints behind for us to find! We just had to know where to look!
The screen image changes from animated to a nature- photography look. It's an extreme close-up of a mosquito, its fangs suck the deep into some animals flesh, its body pulsing and engorging with blood it's drinking.
MR. DNA (cont'd) A hundred million years ago, there were mosquitoes, just like today. And, just like today, they fed on the blood of animals. Even dinosaurs!
The camera races back to show the mosquito is perched on top of a giant animated brachiosaur.
The image changes, to another close-up, this one of a tree branch, its bark glistening with golden sap. Mr. DNA leaps on the sap.
MR. DNA (cont'd) Sometimes, after biting a dinosaur, the mosquito would land on a branch of a tree, and get stuck in the sap!
The engorged mosquito lands in the tree sap, and gets stuck. So is Mr. DNA. He tugs his legs, but they stay stuck.
MR. DNA WHOA!
Now the tree sap flows over them, covering up Mr. DNA and the mosquito completely. Mr. DNA SHOUTS from inside the tree sap.
MR. DNA (cont'd) After a long time, the tree sap would get hard and become fossilized, just like a dinosaur bone, preserving the mosquito inside!
23 A SCIENCE LABORATORY
The place buzzes with activity. Everywhere, there are piles of amber, tagged and labeled with SCIENTISTS in white coats examining it under microscopes.
One SCIENTIST moves a complicated drill apparatus next to the chuck of amber with a fossilized mosquito inside and BORES into the side of it. MR. DNA escapes through the drill hole as the Scientist moves the amber onto a microscope and peers through the eyepiece.
MR. DNA (O.S.) This fossilized tree sap -- which we call amber - waited millions of years, with the mosquito inside - until Jurassic Park's scientists came along!
24 THROUGH THE MICROSCOPE
We see the greatly enlarged image of a mosquito through the lens.
MR. DNA (O.S.) Using sophisticated techniques, they extract the preserved blood from the mosquito, and - -
A long needle is inserted through the amber, into the thorax of the mosquito, and makes an extraction.
MR. DNA (cont'd) - -Bingo! Dino DNA!
Mr. DNA jumps down in front of DNA data as it races by at headache speed. He holds his head, dizzied by it.
MR. DNA (cont'd) A full DNA strand contains three billion genetic codes! If we looked at screens like these once a second for eight hours a day, it'd take two years to look at the entire strand! It's that long! And since it's so old, it's full of holes! That's where our geneticists take over!
25A INT GENETICS LAB DAY
SCIENTISTS toil in a lab with two huge white towers at either side.
MR. DNA Thinking Machine supercomputers and gene sequencers break down the strand in minutes - -
One SCIENTIST, in the back has his arms encased in two long rubber tubes. He's strapped into a bizarre apparatus, staring into a complex headpiece and moving his arms gently, like Tai Chi movements.
MR. DNA (cont'd) - - and Virtual Reality displays show our geneticists the gaps in the DNA sequence! Since most animal DNA is ninety percent identical, we use the complete DNA of a frog - -
25B ON THE V.R. DISPLAY
we see an actual DNA strand, except it has a big hole in the center, where the vital information is missing. Mr. DNA bounds into the frame, carrying a butch of letters in one hand.
He puts it in the gap and turns back against it, GRUNTING as he shoves into place.
MR. DNA (straining) - - to fill in the - - holes and - -complete - - the - - (finally getting it) - - code! Whew!
He brushes his hands off, satisfied.
MR. DNA (cont'd) Now we can make a baby dinosaur!
26 IN THE AUDIENCE
The scientist look at each other, not sure.
HAMMOND All this has some dramatic music - - da dum da dum da dum dum - - march or something, it's not written yet, and the tour moves on - -
He throws a switch and safety bars appear out of nowhere and drop over their seats, CLICKING into place.
HAMMOND For your own safety!
The row of seats moves out of the auditorium.
27 INT HALLWAY DAY
The row of seats moves slowly past a row of double-panned glass window beneath a large sign that reads "GENETICS/FERTILIZATION/HATCHERY." Inside, TECHNICIANS work at microscopes.
In the back is a section entirely lit by blue ultraviolet light.
Mr. DNA VOICE continues over a speaker in each seat.
MR. DNA (O.S.) Our fertilization department is where the dinosaur DNA takes the place of the DNA in unfertilized emu or ostrich eggs - - and then it's on to the nursery, where we welcome the dinosaurs back into the world!
GENNARO has a wondrous grin plastered on his face, just loving everything now.
GENNARO This is overwhelming, John. Are these characters (people) animatronics?
HAMMOND No, we don't have any animatronics here. These are the real miracle workers of Jurassic Park.
GRANT, ELLIE, and MALCOLM are frustrated, leaning forward, straining against the safety bars for a better look. But the cars keep going.
GRANT Wait a minute! How do you interrupt the cellular mitosis?!?
ELLIE Can't we see the unfertilized host eggs?!
But the cars are already moving on to another set of windows, which give a glimpse into what looks like a control room.
HAMMOND Shortly, shortly....
MR. DNA (O.S.) Our control room contains some of the most sophisticated automation ever attempted in - -
Grant strains to look back into the labs, but the cars move past again, no intention of slowing down.
GRANT Can't you stop these things?!
HAMMOND Sorry! It's kind of a ride!
GRANT (to Malcolm) Let's get outta here!
The two of them team up on the safety bars. Grant shoves his all the way back with one foot and Malcolm does the same. They stand up and head for the door of the hatchery.
GENNARO Hey! You can't do that!
Too late. Ellie slips out from under her safety bar too and stomps right across Gennaro's seat.
GENNARO Can they do that?
They reach the door to the hatchery. Grant tries to shove it open, but just THUDS into it. He rattles the handle, but the door won't budge as it's on a security key-card system.
HAMMOND steps up and takes his glasses off.
HAMMOND Relax, Donald, relax. They're scientists, They ought to be curious. (he steps up to the code box) It's a retinal scanner.
He pushes various code numbers. The door opens. He steps aside, and the group eagerly goes up the stairs.
28 INT. HALLWAY/STAIRS - DAY
GRANT runs up the stairs. MALCOLM and ELLIE eagerly try to get a look at the lab. HAMMOND and GENNARO come up and join Grant at the door.
GENNARO John, we - - what I'm just saying....
HAMMOND Relax Donald, relax. They're scientists. They ought to be curious.
Hammond reaches the door, Grant tries to pry it open.
HAMMOND (cont'd) Dr. Grant, just a minute, just a minute, (or) Dr. Grant, just a moment, dear boy. (he pushes the code; the door opens) Remember what Samuel Johnson said. (they step into the cubicle) "Curiosity is one of the permanent and certain characteristics of a vigorous intellect!" (the second door opens) Right! Come along.
INT HATCHERY/NURSERY DAY
The hatchery is a vast, open room, bathed in infrared light. Long tables run the length of the place, all covered with eggs, their pale outlines obscured by hissing low mist that's all through the room.
HAMMOND Come on in.
HAMMOND takes off his hat and hands it one of the technicians.
HENRY WU, late twenties, Asian-American, wearing a white lab coat works at a nearby table, making notes.
HAMMOND (cont'd) Good day, Henry.
WU Oh, good day, Sir.
GRANT goes to a round, open with various eggs under a strong light.
One of the eggs makes strong movements - a robotic arm steadies the shell.
GRANT My God! Look!
Hammond, Ellie, and Malcolm join him, as does Henry Wu.
WU Ah, perfect timing! I'd hoped they'd hatch before I had to go to the boat.
HAMMOND Henry, why didn't you tell me? you know I insist on being here when they're born.
Hammond puts on a pair of plastic gloves.
The egg begins to crack. The robotic arm moves away....a BABY DINOSAUR tries to get out, just its head sticking out of the shell.
Hammond reaches down and carefully breaks away egg fragments, helping the baby dinosaur out of its shell.
HAMMOND Come on, then, out you come.
HAMMOND (cont'd) They imprint on the first living creature they come in contact with. That helps them to trust me. I've been present for the birth of every animal on this Island. Just look at that.
MALCOLM Surely not the ones that have bred in the wild?
WU Actually, they can't breed in the wild. Population control is one of our security precautions here. There is no unauthorized breeding in Jurassic Park.
Grant and Ellie exchange a look. She manages not to smile.
MALCOLM How do you know they can't breed?
WU Because all the animals in Jurassic Park are females. (I've) We engineered them that way.
Hammond keeps his attention trained on the new dinosaur.
HAMMOND There you are. Out you come.
ELLIE Oh my God.
HAMMOND Could I have a tissue please?
WU Right away (certainly). Coming right up.
The animal is now free, Hammond sets in don carefully next to its shell. Grant picks it up and holds it in the palm of his hand, under the incubator's heat light.
GRANT Blood temperature feels like high eighties.
HAMMOND Wu?
WU Ninety-one.
Grant picks up the large, broken half-shell, but the robotic arm snatches it back out of his hand, and puts it down.
GRANT Homoeothermic? It holds that temperature? (to Wu) Incredible.
Malcolm is looking at Hammond, skeptical.
MALCOLM But again, how do you know they're all female? Does someone go into the park and, uh - - lift up the dinosaurs' skirts?
WU We control their chromosomes. It's not that difficult. All vertebrate embryos are inherently female anyway. It takes an extra hormone at the right developmental stage to create a male, and we simply deny them that.
HAMMOND Your silence intrigues me.
MALCOLM John, the kind of control you're attempting is not possible. If there's one thing the history of evolution has taught us, it's that life will not be contained. Life breaks free. It expands to new territories. It crashes through barriers. Painfully, maybe even.. dangerously, but and...well, there it is.
Ellie listens to him, impressed.
HAMMOND Watch her head - support her head.
Grant, ignoring the others, picks up the baby dinosaur, and holds it on the palm of his hand, under the incubator's heat light. He spreads the tiny animal out on the back of his hand and delicately runs his finger over its tail, counting the vertebrae. A look of puzzled recognition crosses his face.
WU You're implying that a group of composed entirely of females will breed?
MALCOLM I'm simply saying that life - - finds a way.
ELLIE "You can't control anything." I agree with that. I like that.
She walks over to Malcolm, he smiles at her, too warmly.
ELLIE (cont'd) You can talk. I don't k now how to say it. You're just articulate. You say everything that I think, that I feel. It's exciting. (or) I find it so exciting. It's exciting that you can't control life, that you know - - (or) You know that, I find it terrifying. Life will always find a way.
MALCOLM That's right. Will break through.
ELLIE I get ah - -
MALCOLM I know, it's very exciting.
ELLIE And scary.
MALCOLM And scary.
ELLIE When people try to control things that it's out of their power - -
MALCOLM It's anti-nature.
ELLIE Anti-nature.
Grant doesn't notice, as he's still obsessed with the infant dinosaur, measuring and weighing it on a nearby lab bench. He stops, a strange look on his face. He knows what this animal is - - but it can't be.
GRANT (dreading the answer) What species is this?
WU Uh - - it's a Velociraptor.
Grant and Ellie turn slowly and look at each other, then look at Hammond, astonished.
GRANT You bred raptors?
29 EXT. RAPTOR PEN - DAY
Grant charges across the compound, a fire in his eyes, ahead of ELLIE, MALCOLM, and GENNARO. HAMMOND struggles to keep up.
HAMMOND Dr. Grant, Dr. Grant? Uh - -we planned to show you the raptors later, after lunch.
But Grant has stopped abruptly next to the Velociraptor pen, which we recognize as the heavily fortified cage we some earlier, which the San Quentin towers at one end.
Grant stands right up against the fence, eyes wide, dying for a glimpse.
HAMMOND catches up, slightly out of breath.
HAMMOND (cont'd) Dr. Grant - - as I was saying, we've laid out lunch for you before you head out into the park. Alejandro, our gourmet chef - -
GRANT What are they doing?
As they watch, a giant crane lowers something large down into the middle of the jungle foliage inside the pen. Something very large.
It's a steer. They poor thing looks disconcerted as hell, helpless its in a harness, flailing its legs in the air.
HAMMOND Feeding them. (moving along) Alejandro is preparing a delightful meal for us. A Chilean sea bass, I believe. Shall we?
Grant goes up to the viewing deck. The others follow, staring as the steer disappears into the shroud of foliage. The line from the crane hangs for a moment.
The jungle seems to grow very quiet. They all stare at the motionless crane line. It jerks suddenly, like a fishing pole finally getting a nibble. There's a pause - -
- - and then a frenzy. The line jerks every which way, the jungle plants sway and SNAP from some frantic activity within, there is a cacophony of GROWLING, of SNAPPING, of wet CRUNCHES that mean the steer is literally being torn to pieces and is almost makes it worse that we can't see anything of what's going on - -
- - and then it's quiet again. The line jerks a few times, then stops. Slowly the SOUND of the jungle starts up again.
HAMMOND Fascinating animals, fascinating.
ELLIE Oh my God.
HAMMOND Give time, they'll out draw the T-rex. Guarantee it.
GRANT I want to see them. Can we get closer?
Ellie puts a hand on his arm, like calming an overexcited child.
ELLIE Alan, these aren't bones anymore.
HAMMOND We're - - still perfecting a viewing system. The raptors seem to be a bit resistant to integration into a park setting.
A VOICE comes from behind them.
VOICE (O.S.) They should all be destroyed.
They turn and look at the man who spoke. ROBERT MULDOON, the grim-faced man who was present at the accident in the beginning, is fortyish, British.
He joins them and takes his hat off. When Muldoon talks, you listen.
HAMMOND Robert. Robert Muldoon, my game warden from Kenya. Bit of an alarmist, I'm afraid, But he's dealt with the raptors more than anyone.
GRANT (introducing himself) Alan Grant. Tell me, what kind of metabolism do they have? What's their growth rate? (or) rate of growth.
MULDOON They're lethal at eight months. And I do lethal. I've hunted most things that can hunt you, but the way these things move - -
GRANT Fast for biped?
MULDOON Cheetah speed. Fifty, sixty miles per hour if they ever got out in the open. And they're astonishing jumpers.
HAMMOND Yes, yes, yes, which is why we take extreme precautions. They viewing area below us will have eight-inch tempered glass set in reinforced steel frames to - -
GRANT Do they show intelligence? With the brain cavity like theirs we assumed - -
MULDOON They show extreme intelligence, even problem solving. Especially the big one. We bred eight originally, but when she came in, she took over the pride and killed all but two of the others. That one - -when she looks at you, you can see she's thinking (or) working things out. She's the reason we have to feed 'em like this. She had them all attacking the fences when the feeders came.
ELLIE The fences are electrified, right?
MULDOON That's right. But they never attack the same place twice. They were testing the fences for weaknesses. Systematically. They remembered.
Behind them, the crane WHIRRS back to life, raising the cable back up out of the raptor pen. The guest turn and stare as the end portion of the cable becomes visible. The steer has been dragged completely away, leaving only the tattered, bloody harness.
Hammond claps his hands together excitedly.
HAMMOND Who's hungry? After you, my dear.
30 INT. VISITOR CENTER PRESENTATION ROOM - DAY
HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long table in the visitor's center restaurant.
There is a large buffet table and two WAITERS to serve them.
The room is darkened and Hammond is showing slides of various scenes all around them. Hammond's own recorded voice describes current and future features of the park while the slides flash artists' renderings of all them.
The real Hammond turns and speaks over the narration.
HAMMOND None of these attractions have been finished yet. The park will open with the basic tour you're about to take, and then other rides will come on line after six or twelve months. Absolutely spectacular designs. Spared no expense.
More slides CLICK past, a series of graphs dealing with profits, attendance and other fiscal projections. Donald Gennaro, who has become increasingly friendly with Hammond, even giddy, grins from ear to ear.
GENNARO And we can charge anything we want! Two thousand a day, ten thousand a day - - people will pay it! And then there's the merchandising - -
HAMMOND Donald, this park was not built to carter only to the super rich. Everyone in the world's got a right to enjoy these animals.
GENNARO Sure, they will, they will. (laughing) We'll have a - - coupon day or something.
Grant looks down, at the plate he's eating from. It's in the shape of the island itself. He looks at his drinking cup. It's got a T-rex on it, and a splashy Jurassic Park logo.