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UNTITLED: JURASSIC PARK
By Chaos Edge X
This was once the working first draft of the ongoing "Fan Film A" project that most of you probably already know about. We had to scrap this script (firstly) because of creative differences. Our styles differ. Jurassiclaw's is dark and gritty while mine is sappy, emotional, and sucky. Then the team split into two, thus creating two different films. We couldn't just split the script apart.
So there's the history behind this mediocre attempt at something that was overly ambitious from the start. BEWARE: The last few lines are almsot painful to read.
So without further adue (or however you spell that word):
UNTITLED: JURASSIC PARK
Written by
Thomas ‘Jurassiclaw’ Miller
Robert ‘Chaos Edge’ Villarreal
JANUARY 31st, 2003
BLACKNESS.
BEGIN CREDITS:
The CREDITS APPEAR in a sequence eerily similar to the original ‘JURASSIC PARK’ opening. We hear CRICKETS, NOCTURNAL BIRDS... Something straight out of a primitive jungle.
SILENCE.
Everything goes silent. No birds. No crickets. Nothing. Just the sickening, disturbing feeling of an evil presence with us...
FADE TO BLACK
Deep into the jungle. At night. Oppressive and dead.
Legend: OCTOBER 1995
FADE TO BLACK
A beautiful valley... in the middle of the night. Not a single sign of activity. Mountains rise in the distance. Moon is full.
Legend: WALKER CLIFFS, COSTA RICAN JUNGLE
AMERICAN/COSTA RICAN RESEARCH CENTER
CREW OF FIVE
EIGHTEEN MONTH PROJECT CONCERNING
INDIGENOUS PLANT LIFE AND LOCAL FAUNA
FADE TO BLACK
FADE IN:
INT. RESEARCH CENTRE - LOUNGE - NIGHT
GOMEZ sits at his desk. He’s a burly man with a beard. His desk lamp dimly lights the room around him. Gomez is shifting through a paper, stopping only to write down notes on certain pages. Behind him lays another man. His face covered by bed sheets.
He closes the paper and takes off his glasses. He rubs his eyes tiresomely.
(BEEP)
The noise startles him. He waits for it to be heard again.
(BEEP)
GOMEZ
(softly)
The security system.
GOMEZ’S HAND
snatches a barley visible flashlight that is standing upright on a desk.
(BEEP)
CAMERA FOLLOWS HIM
out of the Lounge and stops as he slams the door shut in our faces.
(BEEP)
His shadow slowly walks in a dark, narrow corridor, flashlight in hand.
(BEEP)
The tiny Lounge is almost empty.
(BEEP)
EXT. COSTA RICA - FOREST - NIGHT
FROM FAR AWAY
we see Gomez opening the front slider. The entire center is visible. Lights are positioned around the building. His flashlight is off.
(BEEP) This one is echo-ish.
The lights suddenly turn off. Nothing is visible at all. Suddenly and swiftly, WE SEE a tiny beam of light coming from Gomez’s flashlight. The beeps are no more.
EXT. JUNGLE - JUST OUTSIDE THE CLEARING
Gomez EMERGES from the trees. His face is wrought with confusion.
GOMEZ
Hello?
He studies the vastness of the forest and stands completely still as if waiting for a response. Slowly, he closes and opens his eyes.
Gomez moves swiftly through the twiggy forest.
(BEEP)
Gomez stops cold in his tracks. He looks down at his watch.
(BEEP)
Gomez hesitates even more.
GOMEZ
HELLO?!
Again, he opens and closes his eyes. Bravely, he steps forward. Whatever he sees sends shivers down his spine.
INT. RESEARCH CENTER - LABROTORY - DAWN
DERMER
What the hell? What the hell? What-the-
hell?
FIVE RESEARCHERS,
four men -- GOMEZ, GUITIERREZ, DERMER and RILEY -- and a woman -- LANE --are looking down ‘at’ us, staring at something conveniently off-screen. Whatever it is, it caught their full attention all right.
DERMER is a tiny man. You can tell he’s only a kid by the way he moves. He eyes each of the others with quick jerks, as if expecting an opinion. And they come... all at once.
GUITIERREZ
(to Gomez)
Did you have to go alone?
LANE
Why didn’t you warn us?
RILEY
What the hell is this anyway?
GOMEZ
Looks like a young deer carcass to me.
DERMER
Excuse me, but when did you start
seeing fucking deers in Costa Rica? Eh?
Dermer chuckles. Riley laughs. Gomez keeps his strong composure.
INT. LAB - LATER
A POWERFUL LIGHT FLASHES, BLINDING US
as Gomez adjusts the retractable lamp ‘above’ us. He stares down ‘at’ us. A beat. He turns to Guitierrez, who is next to him.
GOMEZ
That’s not a deer.
DERMER (O.S)
No shit, genius.
GOMEZ
What do you think?
GUITIERREZ
Its skin does suggest reptilian origin.
DERMER (O.S)
(mocking him)
It does?
GUITIERREZ
(irritated; turns)
Will you please shut the fuck up? Thank
you.
He turns back and looks down at us again. Stares. Thinking.
GUITIERREZ
It’s a lizard.
FADE TO BLACK
FADE IN:
COMPUTER SCREEN
The screen is completely black, save for a few lines:
SECURITY MOVEMENT DETECTOR SYSTEM
ACTIVATED AT 3:57 / DISACTIVATED AT 3:59
ORGANIC LIFE FORM DETECTED
39 METERS FROM RESEARCH CENTER
GOMEZ (O.S) (CONT’D)
...so the alarm continues to beep for
a few minutes.
INT. LAB
Gomez is having a conversation with Guitierrez and Riley.
GOMEZ (CONT’D)
I take it that means our ’trespasser’
came within 50 meters of the base.
RILEY
Uh-huh.
GOMEZ
How big does this... object... have to
be to be detected?
RILEY
Um... pretty big. Human size, I believe.
GUITIERREZ
It couldn’t have been a local. They’ve
tried before.
GOMEZ
Then what?! I mean, if it wasn’t a
townsmen... what are you suggesting?
GUITIERREZ
I’m not suggesting anything.
RILEY
Maybe it was a false alarm. It is
fairly new technology.
GOMEZ
We’ve been here for, what, seven
months? Why would it happen now? Never
did before. It’s more likely in a
thunderstorm. The sensors go apeshit
with all the humidity, but we’re right
back on track the next day. It could’ve
happened in foggy whether, too. But
again, we’re right back on track the
next day. But why last night? It was
completely clear. Medium temperature.
Not an ounce of fog. Nothing.
The three men look at each other, uncertain.
FADE TO BLACK
FADE IN:
INT. LAB - LATER
Lane is performing an autopsy on the corpse. Once again held off-screen. She picks up a scalpel, and is about to use it, but retracts, thinking. A look of concern on her face.
Suddenly...
GUITIERREZ
Anything new?
LANE
Jesus! Don’t sneak up on someone like that!
GUITIERREZ
A little tense, are we?
LANE
Completely freaked out, actually. Nothing
makes any sense.
GUITIERREZ
Really?
LANE
Really.
(points)
What does this thing look like to you?
GUITIERREZ
Bones and flesh, that’s what it looks like.
It does bear some resemblance to Basiliscus
armoratus, if I may take an educated guess.
LANE
It’s not a Basilic. It’s not even a lizard.
GUITIERREZ
I know it is pretty messed up... but it’s
quite clear to me that this thing here is --
LANE
Three fingers on the hind limb.
GUITIERREZ
Genetic anomaly.
LANE
That’s the easy way out. Look at its
posterior limb; large, powerful. Look at
the front one; relatively small but
developed. It might even have been
capable of walking on its hind limbs.
Lizards cannot for more than several
seconds, and I know for a fact that no
three-towed lizard has roamed the earth
for over two hundred million years.
Guitierrez looks down at it, thinking. Concerned.
A QUICK, SHARP CUT -- We see the corpse, FROM ABOVE. The little animal -- two or three feet long -- is bathed in pure white light, lying on the metallic table.
It is bloody, with its head, neck and upper torso completely missing. There’s a large tail, a powerful hindlimb and a small forearm. Looks like little more than a pile of flesh.
FADE TO BLACK
FADE IN:
INT. LAB - LATER
First WIDE SHOT of the lab. The room is smaller than the lounge. Several computers can be seen, but this isn’t as high-tech as one might expect. Lane is performing the autopsy while Riley is piling up supply boxes in the background. Roosters are crowing outside.
Dermer walks towards Guitierrez and Gomez.
GOMEZ
Is the news any good?
DERMER
Nope. The supply plane won’t go in for
another month. Until then, we’re stuck
in the middle of the jungle.
GUITIERREZ
That might leave you some time to start
working on the generator...
DERMER
Hey, I’m doing what I can, all right?
I’ve been here longer than anybody else
so you might as well consider...
GOMEZ
You’ve been saying that for weeks.
DERMER
Fuck off, bonehead.
GUITIERREZ
Children, quit the bickering.
DERMER
Being twenty-one years old doesn’t
exactly subscribe to being a ‘child’ in
this country, last I checked.
GUITIERREZ
Just get out of my sight, okay?
Dermer mutters something and moves off.
GOMEZ
Listen, I just checked the mainframe
computer... communications were knocked
out last night.
GUITIERREZ
With civilisation?
GOMEZ
Yes. Looks like the line to the tower
was literally severed. We still have
that twenty-five mile short-track radio
so we get contact with the few nearest
villages. But for how long, I don’t know.
GUITIERREZ
I want you guys to check-it-out as soon
as Riley finishes packing stuff, got it?
Gomez nods. Moves off. Guitierrez stares around the room, and takes a slurp of his coffee. He swallows it with repulsion.
GUITIERREZ
And who made this fucking thing? What
are trying to do, kill me?
RILEY
Hey, at least we’re trying.
CUT TO:
EXT. FOREST – LATE AFTERNOON
Dermer moves clumsily through a huddle of twigs, cursing under his breath. Gomez walks beside him, going through the twigs a bit more swiftly. He’s carrying a toolbox.
DERMER
This never occurred to me before the
summer, but the Communications building
is really far away from the base.
GOMEZ
I need to ask you a question.
DERMER
Be my guest.
GOMEZ
Why the hell do you talk so much?
Dermer chuckles lightly. Gomez is serious.
DERMER
I dunno. It keeps me sane, I guess.
GOMEZ
What?
DERMER
Ha! You have to do something to keep
you busy. Remember, I’ve been here
longest.
GOMEZ
Why don’t you just ask to be reassigned?
DERMER
I can’t leave until the job’s done. If
shit happens, I’m your last hope. Just
think what would happen if this
situation –- no communication, no
supplies –- were to happen while I, the
mechanical engineer, were away. It
actually gave me a sense of
empowerment --
(Dermer stares, thinking)
-- for the first few months. It felt...
it felt like I was getting smaller as
each day passed. Have you ever felt
nervous when there was absolutely
nothing to worry about?
Gomez stays silent as he strains on the toolbox.
DERMER
It felt wrong...
INTERCUTTING SEQUENCE - BEGIN:
INT. LAB - LATE AFTERNOON
Lane is working on her computer. She hears RILEY entering the lab.
LANE
I hate my life.
RILEY
Get over it. Do you have anything new?
We hear one final clank.
LANE
That’s a hard question to answer.
RILEY
M’kay. Diane, that means... what?
She doesn’t answer.
RILEY
You’re a psychological mess; you know
that?
Finally:
LANE
We don’t have the facilities to study
something like this.
RILEY
We don’t even know what this is.
We see Lane cover her mouth and we hear her sigh.
LANE
Get Guittierez.
EXT. FOREST - LATE AFTERNOON
PULLING BACK WITH
Dermer and Gomez.
DERMER
Um, can I run something by you?
Gomez continues his silence.
DERMER
Good. Listen... a lot of weird stuff
has been happening around this place.
Not just your deer carcass. I’ve been
hearing noises.
GOMEZ
Noises?
DERMER
Sent shivers down my spine. Some sort
of reptilian snarl. When I work outside,
late at night... That’s why I’ve been
avoiding the Generator, lately.
GOMEZ
Rick Dermer, terrified? I can take the
awful weather, the bad organisation,
the crappy working conditions, the few
and far between supply planes... but
you, showing even the smallest palpable
sign of fear? Unbelievable.
DERMER
Hear me out. Four months ago we got
word that an unauthorized ship ported
here, supposedly from a tiny island
south of here called Nublar. They
wanted to know if it had something to
do with our research. Turn out the
crew and the liner was coming in and
out as it damn well pleased. Three
months ago, Bob gives me info on --
Dermer trips. He gets back up quickly.
DERMER
Dammit! So anyways, Bob --
GOMEZ
Bob from Florida? Robert?
DERMER
I think you’re talking about... in fact, I
think they’re both named Bob. Anyway, he
tells me about this guy the locals are
calling, because of his red hair... “The
Red Ass” --
GOMEZ
How creative.
DERMER
Anywho, this guy works for InGen.
GOMEZ
They tried to buy the research rights in
this area from the Costa Rican government
before us.
DERMER
I know.
INT. LAB - LATE AFTERNOON
The lights are out. A large picture is projected on the wall. It is, in fact, a sample cut out of the dead animal -- it resembles a cube. On one side, the green skin, on the others, three levels of skin, and flesh. Lane stands next to the picture while Guitierrez looks on.
LANE
As you see, this is a close-up of a
sample taken out of the dead animal,
in 100 times larger view. It looks like
the carcass was in advanced state of
decomposition. A week, perhaps.
Guittierez nods.
LANE (CONT’D)
Look at the skin, look at the texture,
at the coloration, the pigments; the
general structure is that of a
lacertilian or an amblyrhynchus.
GUITTIEREZ
You mean a lizard?
LANE
Exactly. But the rest doesn’t fit.
GUITTIEREZ
How so?
She clicks on the device and the next slide appears on the wall. It looks like a sponge.
LANE
Deeper, we can see that infection has
blown the vessels out of proportion,
they are encircled by thin, muscular
ligaments. Nothing on this picture is
anything like a lizard, Marty.
GUITTIEREZ
So the animal is warm-blooded?
LANE
Exactly. In fact, this slide has more
in common with birds than anything
else... but birds don’t have this type
of skin.
EXT. FOREST - DUSK
WIDE SHOT
of the forest/jungle. A tall
COMMUNICATION TOWER
can be seen in the distance, rising above the trees.
EXT. FOREST - DUSK
BLACKNESS.
Then a PANEL opens, revealing DERMER. He looks down at us.
DERMER
(muttering)
Heavy machinery... twisted devices.
Severed cables... this is going to take
a while. Damn technology, why are you
so damn appealing. She’s my bitch and I
don’t control her.
GOMEZ
Subtext. Real life representative, ain’t
it?
DERMER
Shut the hell up.
FROM FAR AWAY,
we see Gomez and Dermer through the heavy foliage. The toolbox is open, tools spread around it. Dermer is working on a machine near a wall that apparently is the foot of the communications tower. The two men are smallish in the distance. Their voice low and weak. Gomez says something (we don’t hear it) and Dermer laughs.
INT. LAB
Lane clicks. The next picture appears on the wall. It’s basically just a pool of blood in close-up.
LANE (CONT’D)
Riley and I found enough remaining
blood in the vessels to conduct an in-
depth analysis.
GUITTIEREZ
I am a biologist, but molecular biology
is a bit beyond me. My PhD is behaviour...
LANE
I know. But to cut it short and sweet,
the material is extremely disturbing.
Usually, a very high percentage of the
DNA -- over 95 per cent -- is identical
from species to species. So, usually,
we only have to de-code the remaining
5, but here’s the scoop; Around 14 per
cent of this buddy’s DNA is undeniably
Frog DNA. But the rest is from an
unknown origin. Unlike anything I’ve
ever seen. It’s a completely new
species, in its own separate group.
This is big.
GUITTIEREZ
(nodding)
Genetic anomaly. Exactly what I
suspected from the very beginning.
LANE
Let me finish.
GUITTIEREZ
Go ahead.
EXT. FOREST - DUSK
Dermer is looking down at us, a pair of wire cutters in his hand. He’s trying to decide which to cut; the red, the green or the blue? He sighs.
DERMER
This is going to take a while.
INT. LAB
COMPUTER SCREEN:
CAUSE OF DEATH
is written in glowing green. The cursor punches: ANIMAL ATTACK.
LANE (V.O)
We found molecules under the superficial
skin tissues. We figured it got killed
by a similar animal.
INT. LAB
Guittierez and lane (SAME).
LANE
We also found a mark under its skin --
a nine millimeter long metallic mark.
It’s numbered: #00078. It’s probably a
few years old. You know what that
means...
GUITTIEREZ
Someone is keeping -- or used to --
genetically altered animals under
survailance. They raised them, and
marked them at birth. But why? Why here?
Why now?
EXT. FOREST - DUSK
While Dermer works in the background, Gomez bends close to the ground. There’s a weird footprint on the ground. Fairly deep. Wide-eyed, he opens his hand right above it -- the footprint is larger than his hand.
INT. LAB
LANE
Locals have been reporting strange, bird
like animals inhabitating the area for
the past four or five years. No one has
really seen anything, but it seems to be
scaring the hell of them -- this has
something to do with an old legend... La
hupia or such...
Guittierez’s interest level rises.
EXT. FOREST - DUSK
It’s getting dark. The sun is almost set -- it’s just a slim, orange line at the horizon. Nighttime raises some primitive fears as Gomez, a bit concerned, paces.
GOMEZ
Hey, I think we should get going...
It’s getting dark, and I’d rather not be
around after sundown.
Dermer considers...
DERMER
A few more minutes.
INT. LAB
LANE
Last but not least, you must understand
that this animal -- whatever it was --
was constantly under pressure, stress.
The chronic elevation of the pigments
indicate constant stress. Constant. Not
just because of the encounter with
another animal that probably got him
killed -- no, that would have worn off
directly after the battle -- this was
non-stop, ever-present stress. I don’t
know where this animal used to live,
but its environment was extremely
stressful and dangerous.
(beat)
To think it has been found metres from
this base is slightly disturbing and
unsettling.
EXT. FOREST - DUSK
FROM FAR AWAY,
we see Dermer and Gomez. It feels like something is watching them, and we’re seeing through its eyes.
EXT. FOREST - DUSK
GOMEZ
Can you speed up, please?
DERMER (said quickly)
Hey, have you ever tried to rewire a 453-T
computerized-communications system without
a computer? No? I thought so.
GOMEZ
Whatever.
DERMER
Well, yeah. That’s usually all you have to say.
Gomez presses his back to the a tree. He sighs.
GOMEZ
I really hate this.
Dermer speaks with a wrench in his mouth.
DERMER
Wow. That’s one hell of a surprise. But you
know the worst thing, Marc? The absolute
worst?
Gomez pauses. His voice gets weaker.
GOMEZ
No.
Dermer begins working the broken machine aggressively.
DERMER (aggressively)
How far we’ve come. Only to realize.
GOMEZ
Realize what?
DERMER
How pointless our stuff is. Jesus, we’re studying lysine deficiency in Puerto Rico.
He takes the wrench out of his mouth and frees his hand from the tangled mess.
INT. RESEARCH CENTRE - LOUNGE – NIGHTS BEFORE
This is obviously a shot of Gomez the night he found the dead animal. He is shifting through his papers again. But this time, we see him from behind. A closer look at his “papers” reveal that they are actually photocopies of a few famous paintings. Monet’s Waterlilies, Rembrandt’s self portrait, The Last Supper—he shifts through them all, studying each with his eyes and his fingers.
EXT. FOREST – DUSK
CLOSE-UP of Gomez leaning on the tree.
GOMEZ
You don’t know that.
We go back to Dermer.
DERMER
Yes I do. You know it too. I know you don’t
take you job seriously. I see the stuff you
do.
GOMEZ
No… it’s a distraction. It keeps me stable…
I guess…
DERMER
Then-
GOMEZ
Listen, I don’t really care for this little philosophy
lesson. I think I know why I pray and what I think.
DERMER
Heh. Whatever.
He puts his concentration back on the wires.
FROM FAR AWAY,
we see Dermer and Gomez. It feels like something is watching them, and we’re seeing through its eyes.
CLOSE,
Dermer hears a bird-like chirp. He stops. Turns. Nothing.
GOMEZ
Um… what was that?
DERMER
I… don’t… know.
They go from soft, weak voices to alarmed whispers.
GOMEZ
I’m… getting out of here.
DERMER1
I think I'll go with you.
Dermer begins picking up tools. The CHIRP is heard again.
DERMER (low)
What-the-hell…?
GOMEZ
Come on, hurry up.
CHIRP. This one is eerie. Dermer stares, thinking. Behind him, Gomez flicks his flashlight on: it’s dark now -- the sun is down.
NOT SO FAR SHOT
of Gomez and Dermer. Gomez flashes his flashlight across the screen, looking around. It’s eerily reminiscent of the first scene.
CLOSE-UPS:
GOMEZ
looking more than slightly concerned.
DERMER
listening. Everything is clam, silent, all of sudden.
CHIRP--
DERMER
JESU-
-- FOLLOWED BY THE EERIEST HIGH-PITCHED ROAR DERMER HAS EVER HEARD.
QUICK CUT TO:
GOMEZ
HOLY...
DERMER
CHIRST.
They take off, running for their lives. Gomez risks a look over his shoulder.
(BEAT)
CUT TO:
We see Dermer, lying on the ground. He puffs in and out-HARD.
He lifts his head slightly. He seems to be looking for something…
FADE OUT
Everything goes silent. No birds. No crickets. Nothing. Just the sickening, disturbing feeling…
CUT TO:
A man’s face. From the side, we can see his expressionless eyes and beyond to the trees and foliage of the forest. From his open mouth we hear a deep, labored breathing that seems to blend with the noises of the forest.
This is Gomez.
He hacks as he seems to move his hands. Or try to. His eyes open and close, as if he’s realized his fate.
He begins to mutter something incomprehensibly to himself. A “D” forms. More gargle. Finally…
GOMEZ
Distractions…
FADE OUT
4/19/2003 2:11:40 AM
(Updated: 4/20/2003 7:07:57 AM)
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