Prey
By Michael Crichton
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    #376
    When Lex says, "It's a UNIX system, I know this!", she's right! The 3-D graphical interface shown in JP is a real program (the "Virtual File System") that users of SGI's high-end graphics workstations (that run on UNIX) can actually use to navigate their computers.
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    Desertion - Act One
    By Raptor Vinny

    FADE IN:

    EXT. ESTABLISHING SHOTS OF A SMALL ISLAND IN THE PACIFIC - DAY

    EXT. ESTABLISHING SHOT OF A TALL OFFICE BUILDING - DAY

    INT. HALLWAY, THIRTIETH FLOOR - DAY
    Typical spotless office building. Light filters in softly from the windows onto the white walls and blue carpeted floor. Following MALCOLM DEACON, a tall, dark, lean built, well kempt man in his thirties dressed in security garb.

    He walks down the hallway and turns to an elevator. He presses the button, waits patiently, then enters it, and turns around, pressing a button. The door closes slowly.

    SFX. DING NOISE

    He waits in the elevator as it descends, the numbers of the floors ticking down. A small fire extinguisher is fixed to the wall. A sign above it says ďEXTINGUISHING SYSTEM OUT OF SERVICE. USE IN CASE OF FIRE.Ē
    The elevator comes to a stop, and the doors open again. A crowd of five people enter the elevator as well, three men and two women, all wearing office attire (dress shirt and pants, sans jacket). Malcolm nods as they come in. JACK is a tall, older man in his fifties, white hair. His wrinkles speak of both age and wisdom. Heís gained a bit of weight but is still in good shape. IAN is a skinny man of average height in his late forties, with a receding hairline. SARAH is an attractive, petite brunette in her mid twenties. REBECCA is a tall, older woman of medium build in her mid forties, with short chopped blonde hair. GARY is a short, stocky and muscular young man in his early twenties. Heís shaved his head completely bald.

    They are still descending. The digital readout clicks to sixteen, when suddenly the lights go out and the elevator comes to a SCREECHING halt. Everyone YELPS in surprise. The emergency lights come on, flooding the interior with a dark shade of red.

    GARY
    What the hell?

    SARAH
    Whatís going on?

    Malcolm reaches for the phone.

    MALCOLM
    Calm down, letís just try this.

    Malcolm grabs the phone and lifts it to his ear. The phone RINGS but no one answers. He slowly lowers it.

    REBECCA
    Well?

    MALCOLM
    Nothing.

    Malcolm puts the phone back in the cradle. He presses the ďopenĒ button on the panel. Nothing. He pushes a button for another floor. Nothing. He then tries swiping his keycard on the elevator control panel to open the door, but again, nothing happens.

    IAN
    What about cell phones?

    MALCOLM
    Good idea.

    Everyone takes out their phones, pressing keys.

    IAN
    I canít get jack shit.

    SARAH
    Me neither.

    MALCOLM
    Maybe somethingís blocking the signal in here.

    REBECCA
    Well now what?

    Gary bangs on the door.

    GARY
    Hey! Weíre trapped in here! Help!

    He continues banging on the door.

    The last man, Jack, settles his hand on the young manís shoulder.

    JACK
    Hey, uhh?

    GARY
    Itís Gary.

    JACK
    Gary. Iím Jack. Letís uhh... just stay calm, okay?

    GARY
    Well what are we supposed to do? Just stand here?

    MALCOLM
    We donít even know if anyone can hear us. And theyíll know that the elevators have stopped... Somebody will come soon.

    Gary makes a noise of disapproval, but heís stopped banging on the door.

    SARAH
    Well, how come nobody answered the phone?

    MALCOLM
    I donít know. But itís not like everyone just disappeared.

    JACK
    If weíre stuck between floors then itís gonna take a while for them to reach us.

    MALCOLM
    Right, so letís just stay calm and wait a bit.

    FADE OUT:

    BEGIN FLASHBACK:

    INT. MALCOLMíS HOUSE - DAY
    Malcolm is seated at the kitchen table, eating breakfast consisting of eggs, potatoes, toast and bacon, and reading the newspaper. Itís your typical middle-class suburban home.

    ALICE, Malcolmís wife, a tall brunette in her thirties, wearing pajamas, quickly walks in through the kitchen doorway. She throws a home pregnancy test across the table at him before plopping herself down in the chair opposite him, a despondent look on her face.

    ALICE
    Negative.

    Malcolm bends his newspaper, looking at the test, then up at her. She looks like sheís about to cry, out of frustration or sadness or a combination of both.

    He sets the newspaper down, reaching across with his hands and grasping hers.

    MALCOLM
    Itíll happen, someday.

    She sighs and crosses her arms, leaning back.

    ALICE
    Weíve been trying for years! Iím starting to think itíll never happen.

    Beat.

    MALCOLM
    Well, maybe we should consider adoption again.

    Alice gets out of her chair and starts pacing.

    ALICE
    Itís not the same.

    MALCOLM
    Well... What do you want to do?

    ALICE
    You should go back to the doctor. See if thereís anything else we can do. Run some more tests.

    Malcolm looks down at his food, stabbing at his eggs.

    MALCOLM
    I donít want to be poked and prodded anymore. Iíve seen enough tests to last me a lifetime.

    Alice crosses her arms. Beat.

    ALICE
    Well we need to do something!

    Malcolm puts the fork down before pushing away from the table and getting up.

    MALCOLM
    I donít want to talk about it anymore. Iím gonna be late for work.

    He walks to the key rack and grabs his set of keys. Alice makes a half-hearted motion towards him, extending a hand, but heís already turned his back and walked out, SLAMMING the door.

    She slowly walks to the window. The camera looks through the window, showing Malcolm getting in his car with her face reflected in the glass. Tears stream down her face as she watches him drive off.

    END FLASHBACK.

    FADE IN:

    INT. ELEVATOR - NIGHT

    Time lapses for a little while, showing characters moving around inside.

    Everyone is either standing or sitting along the walls, trying to find space in the cramped interior.

    Gary stands up.

    GARY
    This is bullshit. No oneís coming.

    MALCOLM
    Well... Letís just give it a few more minutes before we start doing something rash.

    IAN
    We need to do something now.

    REBECCA
    What are we gonna do? We donít have any tools to break out of here.

    IAN
    Letís just try to pry these doors open. Or get out through the ceiling.

    He tries sticking his fingers in the crack of the doors to shove it open.

    MALCOLM
    Good luck. Maybe on an old elevator. But these ones youíd need a crowbar. And that hatch?

    Malcolm points up.

    MALCOLM (CONTíD)
    Itís locked. From the outside.

    Ian keeps prying at the door. He manages to get it open a bit, but all you can see is solid concrete behind it. He lets it slide closed.

    IAN
    Well, thatís a waste of time anyway.

    SFX. TUMMY RUMBLING

    Sarah groans.

    SARAH
    All I know is I havenít had lunch today and Iím starving.

    JACK
    Iíve got some leftover chicken from lunch-

    SARAH
    Ugh, no thanks, Iím a vegetarian.

    JACK
    Sorry...

    GARY
    Weíll get you some nice carrots when we bust outta here. Come on Ian, letís boost you up to the ceiling.

    MALCOLM
    I told you itís locked.

    GARY
    Whatever.

    Gary kneels down and makes a step with his hands interlocked. Ian steps over and onto his hands, and Gary lifts him up, struggling. Ian reaches the ceiling and BANGS on the hatch, but itís not really budging.

    GARY (CONTíD)
    Jesus, someone wanna help?

    MALCOLM
    Itís a waste of time.

    Gary kneels back down, the weight too much. He pants a bit.

    GARY
    Fuck you, man. Some security guard.

    He points at Malcolmís badge.

    GARY (CONTíD)
    How about you come up with a way out of here instead of jabbering about how all of our ideas suck?

    SARAH
    Yeah, isnít it your job to do something?

    MALCOLM
    Weíre supposed to just wait. I canít really do anything.

    Gary inches closer to Malcolm.

    GARY
    Why the fuck not?

    Jack steps in to separate them.

    JACK
    Give him a break.

    Gary shoves Jack.

    GARY
    Back off, old man!

    Malcolm steps in.

    MALCOLM
    Thereís no need for that.

    Gary shoves Malcolm too. Jack forearms Gary in the chest, and bedlam ensues. Everyone begins shoving and shouting.
    Eventually Malcolm grabs Garyís shirt and wrestles him to the ground, putting his knee on Garyís back.

    MALCOLM (CONTíD)
    Are you done?

    Gary continues to struggle.

    GARY
    Get off me! This is assault! Someone help!

    Malcolm presses harder.

    MALCOLM
    I said, are you finished? I can stay here all night.

    Gary keeps struggling for a few seconds, but eventually stops, panting.

    GARY
    Yeah... Iím done.

    MALCOLM
    Good.

    Malcolm gets off him. He offers a hand to help Gary up, but Gary bats his hand aside, getting up slowly by himself.

    GARY
    Fuck you.

    JACK
    Diverse vocabulary on that one.

    Gary gives him a glare.

    MALCOLM
    Enough.

    JACK
    Sorry.

    FADE OUT:

    BEGIN FLASHBACK:

    INT. OFFICE IN THE BUILDING - EARLIER THAT DAY

    Gary is seated across from an INTERVIEWER with the company. The interviewer is a hard man in his fifties. Theyíre already near the end of a job interview when we join them.
    The interviewer leans across the desk, looking at Gary intently. We see Ian walk by in the background behind the glass window looking into the main area of the floor.

    INTERVIEWER
    So why did you leave your last job? Did you quit? Were you fired?

    Gary is taken aback at the manís bluntness.

    GARY
    Well I uh... It just wasnít working out. I didnít fit with their corporate culture.

    INTERVIEWER
    So was that your decision, or theirs?

    Gary glances to the left.

    GARY
    (lying)
    Mine.

    INTERVIEWER
    I see. So what didnít mesh, exactly?

    GARY
    Well, they were just too easy going. They didnít take things seriously enough. Iím a little more competitive than that. They barely offered any incentives for performance and there werenít any consequences for poor sales, either.

    INTERVIEWER
    Good, I like to hear that. Yíknow, the only reason weíre even having this interview is because jobs keep opening up... not new jobs, if you take my meaning, Gary.

    Gary chuckles nervously.

    INTERVIEWER (CONTíD)
    Do you work well in a team environment?

    GARY
    Well, I can if Iím asked, but uh... I prefer to work alone.

    INTERVIEWER
    And why is that, Gary?

    GARY
    I just uh, I just get things done faster on my own.

    INTERVIEWER
    But you can still play nice with others if we ask you to?

    GARY
    Definitely.

    The interviewer writes down some notes on his notebook.

    INTERVIEWER
    Mmmk. Well thanks, Gary.

    They stand up, extending their arms and shaking hands.

    INTERVIEWER (CONTíD)
    Weíll give you a call and let you know.

    GARY
    Thanks for the opportunity, sir.

    END FLASHBACK.

    FADE IN:

    INT. ELEVATOR

    Return to the scene with a close up on Gary, who is seated with his back to one of the walls to the elevator. Ian is seated beside him. He taps Garyís arm with his hand.

    IAN
    So what do you do here?

    GARY
    Heh, nothing. Yet. Just had an interview today.

    IAN
    Oh yeah? Where?

    GARY
    Accounting.

    IAN
    No shit. Same here. Did Barry interview you?

    GARY
    Yeah.

    IAN
    Right prick, that guy.

    GARY
    Heh, yeah. He asked me if I got fired at my last job. Caught me a little off guard.

    IAN
    Oh yeah, well, he knows all about firing people. HR canít stand the guy. They keep telling him, ďYou know, weíd probably save more money keeping the same idiots weíve got instead of firing them and replacing them with new idiots.Ē

    Gary chuckles.

    REBECCA
    Hey, itís not funny, itís true! We canít get anything through that guyís skull.

    Ian laughs.

    IAN
    Itís funny because itís true.

    REBECCA
    Whatever, I canít stand him.

    IAN
    Something we can all agree on, I think.

    Gary nods.

    IAN (CONTíD)
    What about you guys?

    MALCOLM
    Security, obviously.

    JACK
    Marketing. For how much longer, I donít know. Weíve got our own ďBarryĒ in there... keeps calling marketing a young manís game.

    Beat.

    SARAH
    Yeah well... Iím Barryís secretary.

    Ian bursts out in laughter.

    IAN
    Oh my God, I canít believe I didnít recognize you.

    SARAH
    I just started last week.

    Ian laughs again.

    IAN
    Of course you did. Poor Sandra. She was probably getting too old for him.

    SARAH
    Ugh.

    Beat. Rebecca yawns.

    REBECCA
    Well, Iím getting pretty tired. I think Iím gonna try to get some shut eye. Better than staring at a metal wall anyway.

    JACK
    Yeah, good idea.

    They all sit down, trying to find as much room as they can, trying to fall asleep.

    Sarah leans her head back, but it eventually slides onto Garyís shoulder. He glances over, then closes his eyes.
    Jack claps Malcolm on the back, nodding to him. Malcolm nods back, before they both lean back, going to sleep.

    FADE OUT:

    BEGIN FLASHBACK:

    INT. CAR - NIGHT

    Sound is muted with a slight RINGING. POV shot from Jack as he wakes up. We see the steering wheel and dash of a car in his field of view as it slowly clears.

    CUT TO:

    EXT. STREET - NIGHT

    Looking in, close up of Jack as he gets his bearings. He looks slightly younger, early fifties. He looks to his right, his face taking an expression of slowly dawning bewilderment. We zoom out, and see the right side of the car has been punched in, the door wrenched open.

    Sound slowly starts to fade in. We hear sirens going off. Jackís door is opened. He looks to his left, startled. A PARAMEDIC is standing there starting to reach in.

    PARAMEDIC
    Sir, are you okay?

    Jack shakes his head.

    JACK
    What happened?

    PARAMEDIC
    You were in an accident.

    The paramedic continues checking Jackís vitals.

    JACK
    Where is my son?

    Beat. The paramedic looks confused for a moment, then a grave look comes over his face.

    PARAMEDIC
    Heís uhh...

    JACK
    Is he okay?

    PARAMEDIC
    Heís in pretty bad shape.

    Jack starts getting out of the car. The paramedic settles a hand on him, and Jack brushes it away.

    He looks around for the ambulance, spotting it behind his car. He starts to run, but immediately stumbles, trying to gain his balance.

    The paramedic joins him, wrapping his arm around him to steady him.

    JACK
    Anybody else hurt?

    PARAMEDIC
    Only one other car... just the driver. Heís in rough shape too. Looks like he just ran a red and smoked you.

    JACK
    And my son?

    PARAMEDIC
    Heís having trouble breathing. Maybe apunctured lung. Likely whiplash and head trauma.

    JACK
    Oh, Jesus.

    They get to the ambulance. His son is inside on a stretcher with another paramedic treating him. He looks torn up, blood all over his clothes, breathing harshly.

    JACK (CONTíD)
    Jesus, no.

    He jumps in the ambulance, looking over his son.

    JACK (CONTíD)
    Donít bullshit me, is he going to make it?

    The paramedics glance at each other.

    PARAMEDIC
    Like I said, itís looking pretty bad.
    Jack moans.

    PARAMEDIC (CONTíD)
    Come on, letís get going.

    He slams the doors, running around to the driver side. The ambulance speeds off.

    END FLASHBACK.

    FADE IN:

    INT. ELEVATOR

    Close up of Jack, who has woken up. Rebecca starts to stir too, yawning loudly. The others are starting to come to as well.

    REBECCA
    How long has it been?

    Jack looks at his watch.

    JACK
    About ten hours.

    Sarah SIGHS with impatience.

    GARY
    Guys... I really gotta go to the bathroom.

    Jack chuckles.

    JACK
    I probably have the weakest bladder here and Iím doing all right.

    SARAH
    I have to go too.

    REBECCA
    Just try to hold it.

    MALCOLM
    Yeah, Iím sure weíll get out soon.

    IAN
    What do we do if we canít?

    JACK
    Letís try not to think about that.

    GARY
    Hey, what about opening the door and going through there?

    Ian shrugs.

    IAN
    Sure.

    Ian goes to the door and pulls it open a bit. Gary walks over and unzips.

    SARAH
    Well what are we supposed to do?

    GARY
    Tough luck!

    Gary starts to URINATE. Ian readjusts his position, trying to hold the door. He looks down inadvertently while doing so.

    GARY (CONTíD)
    Hey man, donít look!

    The others laugh.

    JACK
    Letís just hope none of us have to go number two... Or worse.

    They all chuckle again.

    IAN
    Anybody else need to go?

    SARAH
    Yeah but, Iíll pass for now.

    Gary laughs.

    IAN
    Man, seriously, no one is coming.

    MALCOLM
    Just trust me, we can wait a bit longer.

    IAN
    We got no food, we got no water... and I swear weíre running out of air. We could die in here.

    JACK
    Letís not get too melodramatic.

    Suddenly the elevator box starts to shake around a bit. A LOUD RUMBLE joins in. The CREAKING of metal is heard above and below.

    GARY
    What the he-

    The elevator takes a SICKENING LURCH for a few feet before stopping. Pandemonium ensues, as everyone is SCREAMING in fear.

    MALCOLM
    Quiet!

    Everyone shuts up for the moment. Gary and Malcolm exchange glances. Malcolm yanks the fire extinguisher off the wall, tossing it to Gary.

    MALCOLM (CONTíD)
    Jack, Ian, boost him up!

    They all get low, forming a step for Gary. He comes forward and they boost him up to the trap door.

    Gary starts smashing at the door with the bottom of the extinguisher, CLANGING it loudly. He stops for a moment.

    GARY
    You sure this wonít like... explode or something?

    MALCOLM
    Do you wanna find out what happens if we donít take that chance?

    Gary immediately gets back to SMASHING at the trap door.

    SFX. A PIERCING SCREECH NOISE

    The elevator slides down the shaft a few more inches.

    SARAH
    Come on, Gary! Hurry up!

    The elevator drops quickly again as a CABLE IS HEARD SNAPPING. Sarah screams as the men waver with Gary in their arms, but they manage to keep their balance and hold him up.

    Gary keeps smashing at the door, GRUNTING with each shot. The door bulges outward, bit by bit. The elevator keeps sliding, ever so slowly.
    Gary gives a final heave, striking the door with all of his energy. It finally gives way, swinging open and back down with a clang. He drops the extinguisher to the ground.

    GARY
    Come on, boost me!

    The men heave upwards. Gary extends his hands to push the door up and out as he pops through. He grabs the edges, pulling himself up and out.

    He gets himself all the way out, then turns back and lowers his hand. The men boost Malcolm up next, and Gary grabs his arm, pulling him up. Malcolm then lowers his arm down to help Gary pull people out.

    The women are up next, first Sarah, then Rebecca. They get through the door safely.

    Malcolm points to the side wall with a SERVICE CATWALK along the wall about eight feet below the top edge of the elevator. The gap between the elevator and the catwalk is a few feet.

    MALCOLM
    Jump across!

    Sarah and Rebecca exchange a hesitant look before the elevator slides a few more inches, the cables clanging.

    MALCOLM (CONTíD)
    Move!

    Rebecca finally gathers her nerve, jumping across to safety. Sarah follows after Rebecca.

    Malcolm and Gary pull Jack up next. He waits a moment while the women beckon him to jump across. He finally does, grabbing at the railing. They help him over.

    They start to pull Ian up last. He jumps up, grabbing Malcolmís arm. Gary reaches down and grabs the other arm. They slowly start to pull, grunting with exertion, when a cable suddenly SNAPS above them, whipping past.
    The elevator drops a couple feet again, and they lose their grasp of Ian, who falls to the floor.

    GARY
    Fuck this.

    He scrambles to his feet and prepares to jump across to safety while the others scream and wave at him to go back.

    MALCOLM
    Gary!

    Gary looks back for an instant before jumping.

    MALCOLM (CONTíD)
    Get back here, you son of a bitch!

    Malcolm looks and reaches back down. Ian leaps up, grabbing Malcolmís arm again. Malcolm struggles to pull him but theyíre both sweaty from exertion and panic. Malcolm turns his head, closing his eyes as he yells.

    MALCOLM (CONTíD)
    Damnit Gary!

    IAN
    Help!

    Gary glances at the others before backing away from the railing.

    JACK
    You little shit.

    Jack starts to mount the railing when the elevator lurches slightly again, and Ian slips out of Malcolmís grasp, dropping to the floor and crying out in pain as he twists his ankle.

    Malcolm looks back down into the elevator, where Ian is clutching his ankle. Ian tries to get up but falls when the elevator lurches again, still holding his ankle. He looks up pleadingly at Malcolm. Malcolm looks right back at him while the elevator slowly grinds down the wall.

    Malcolm glances over at Jack, and they give a knowing look. The women are waving Malcolm over while Gary stands with his back to the wall.
    Malcolm glances one last time at Ian whoís still clutching his ankle in pain, while the elevator lurches again.
    He finally makes the decision to get up, right as another cable snaps. The others all start to snap at once under the sudden pressure put on them, and the elevator drops for good just as Malcolm leaps over, his feet literally leaving the edge as its sliding away.
    He lands on the other side, grasping at the railing. Ianís SCREAMS are lost in the SCREECHING of the elevator as it flies down the shaft. The others, except Gary, reach over, pulling Malcolm up slowly over the railing.
    The camera looks over the railing down the shaft as the elevator travels along, finally SLAMMING at the bottom. A huge plume of dust rises up. They get Malcolm over the railing.

    He doubles over, panting and catching his breath. Jack puts a hand on his back and leans close to him.

    JACK (CONTíD)
    You alright?

    Malcolm doesnít say anything. He just turns his head, staring right at Gary.

    GARY
    Hey man, that elevator was about to drop.

    Malcolm stands up straight as he gets close to Gary, grabbing him by the collar and shoving him against the wall, his eyes wild with fury. Jack grabs his shoulder from behind, trying to keep Malcolm calm.

    MALCOLM
    We could have got him out. You just ran, like a coward.

    He gives a final shove, letting go of Gary. He doubles over again, still catching his breath. His face and eyes tell it all. He blames himself just as much as Gary for Ianís death.

    He finally stands again, leading them to the service door and opening it.

    INT. OFFICE BUILDING. LATE NIGHT/EARLY MORNING.

    Itís still dark outside, but the first signs of light are showing. The camera cuts around the fifteenth floor, showing various areas and cubicles completely deserted. We then cut to a door.

    Malcolm opens it from the inside, swinging it out. He looks around, getting his bearings before walking out, the others following in tow. They start walking around the floor while talking.

    REBECCA
    Hello!

    Beat. Thereís no response.

    JACK
    Hey! Anyone here?!

    Still no response.

    SARAH
    Weird. Shouldnít there be other security guards at least?

    GARY
    Maybe they got sent home during the power outage.

    MALCOLM
    Thatís more of a reason for this place to be crawling with guards. Donít want looters just waltzing in with weakened electronic security.

    JACK
    Well, letís just try the main lobby? Maybe theyíre all congregated on the first few floors?

    Malcolm shrugs.

    MALCOLM
    Nowhere else to go.
    They walk past the elevator, pausing for a moment in front of it.

    JACK
    Letís take the stairs this time, shall we?

    Rebecca smiles and shakes her head while Malcolm silently leads them to the stairwell, with a quick shot of them descending.

    INT. OFFICE BUILDING. MAIN LOBBY.

    They exit on the main lobby. The light is a bit stronger now, filtering in from the windows. The group exits from the stairwell doorway.

    SARAH
    Hello?!

    Her voice is answered by its own echo. They look around, and itís just... DESERTED. Nobody there.

    Malcolm leads them across the lobby to the security office. He takes out his keys, about to unlock the door, when Jack reaches ahead of him and merely opens the door. They glance at each other.

    MALCOLM
    Huh.

    He pushes it open, walking inside. He goes to his personal office in the corner. It reads ďMALCOLM DEACON - HEAD OF SECURITYĒ across the glass. Jack points at it.

    JACK
    That you?

    Malcolm chuckles.

    MALCOLM
    Guess I never introduced myself. Hopefully this one is still locked.
    He tries the handle, and it is indeed locked. He inserts the key, unlocking and opening it. He tries picking up his phone and making an outside call before setting it back down.

    SARAH
    Well?

    MALCOLM
    Dead.

    He goes to a cabinet along the wall with a combination lock. He enters the combination and opens the cabinet doors. Bulletproof vests, walkie-talkie radios, flashlights, and a few Glock 17 pistols with magazines line the inside racks, along with other miscellaneous supplies.

    REBECCA
    Whoa, wait. You guys are carrying around here?

    MALCOLM
    It took some convincing but I got management to give me a personal locker... just in case of any emergencies.

    He grabs one, attaching the holster to his belt.

    REBECCA
    Is that really necessary?

    JACK
    Yeah Malcolm, I mean-

    MALCOLM
    We have no idea whatís happened out there. Could be some looters out there at the very least. If a gang of them get on us... thereís no telling what theyíre capable of.

    He glances at Sarah and back to Rebecca as he says this.

    MALCOLM (CONTíD)
    Anyway, I have extensive training. Donít worry. And Iím not going to draw it unless I have to.

    He pulls a few bags out, as well as flashlights, first aid kits, and other supplies.

    MALCOLM (CONTíD)
    Here, fill these up, we might need them.

    They put supplies in the bags, and they all look ready to go. Gary is still leaning up and over, taking a look at the guns. He notices Malcolm staring at him and stops. Malcolm SLAMS the cabinet shut.

    MALCOLM (CONTíD)
    Iím going to check the elevator shaft... Just to be sure.

    The rest of them glance at each other.

    REBECCA
    Do you actually think he survived that?

    Malcolm shrugs.

    MALCOLM
    No man left behind.

    INT. ELEVATOR SHAFT. DARK.

    Looking up at Malcolm. Malcolm is silhouetted against the lit open doorway about ten feet up.

    SFX. CLICK NOISE

    His flashlight comes on, piercing the darkness. He flashes it downwards.
    We then look at a side angle of his face. He rubs his chin, shaking his head.

    We then look down at the elevator. Itís a mess, with debris strewn everywhere. Malcolm flashes his light along the walls. The sides of the cement shaft are marked with huge scrapes.

    Malcolm reaches backwards, grabbing a small ladder and tossing it down. It hits the elevator with a CLANG. He turns around and lowers himself on the edge of the doorway before dropping down on top of the elevator. He goes to the trapdoor opening (the door has since blown off) and looks down, shining his flashlight.

    Ian is a bloody mess, lying on the floor of the elevator. Blood has pooled underneath his motionless body.

    Malcolm looks away for a moment. Heís seen this before, but it still hits him hard. He grabs the ladder and slowly lowers it into the elevator, careful not to hit Ian with it. He lowers himself down after this.

    He drops beside Ian, crouching as he lands. He gets on his knees, kneeling beside him, checking his pulse, then his breath. Thereís nothing. Malcolm lowers his head, pinching the bridge of his nose.

    Malcolm slowly collects himself, setting up the ladder and climbing out.

    CUT TO:

    INT. LOBBY

    The camera is looking at the door as Malcolm grasps the bottom edge of it, hauling himself up. We pull back, seeing the legs of the others waiting for him.

    SARAH
    Well?

    Malcolm looks around at the others, and shakes his head. They all look despondent, despite expecting this news. He glares at Gary again, who down casts his eyes.

    MALCOLM
    Never mind. We need to get moving.

    REBECCA
    What about his body?

    MALCOLM
    What about it?

    REBECCA
    Shouldnít we get it?

    MALCOLM
    It wonít matter. Letís just find some help and someone else can take care of it once we figure out whatís going on. Anyway, the cops donít like it when you fuck around with the scene.

    REBECCA
    I guess...

    MALCOLM
    Letís get going.

    They turn and walk out.

    EXT. CITY - DAWN.

    The camera is pointed at the main entrance of the office building. We see the elevator survivors behind the glass doors. They swing them open, stepping out into the light. They take a few steps forward, looking all around in shock.

    The camera pulls back ever so slowly, revealing more and more of the scenery. Cars are gridlocked in the streets. Debris is laying around everywhere. We hear the CRIES of birds. There are no lights. The camera pulls back even more, going up into the sky, revealing that there is absolutely no one on the island.

    4/14/2012 6:16:18 PM

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