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    JP3 Director Joe Johnston directed Disney's classic 'Honey, I Shrunk the Kids'
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    Dawn of Extinction: Jurassic Park 4 {Part 1}
    By Aragorn


    DAWN OF EXTINCTION: JURASSIC PARK IV

    WRITTEN BY

    Chase Kurtz

    &

    Jeff Long
    THIRD DRAFT.



    OPEN ON:

    DARKNESS.

    FADE TO:

    A puddle of water lays still in a muddy jungle. We can here the crickets chirp, and other nocternal animals make their various nightly noises. Then, they start to fade away until only the crickets are left chirping. Immediately the crickets stop and the puddle becomes active after a loud thump causes it to ripple.

    EXT. AFRICA - NIGHT

    The sky is dark but clear.

    PAN DOWN

    To see the top of trees belonging to an extensive jungle. This is the edge of the jungle though and beside it is a grassy field and a semi-circle of small simple one-story houses.

    SUBTITLE:
    OUTSKIRTS OF THE CONGO JUNGLE, AFRICA

    All is quiet as a slight breeze picks up. Suddenly the ferns lightly rustle and a soft snarl can be heard. But is this only tricks of the wind?

    INT. HOUSE - NIGHT

    Inside one of houses, all is dark, the occupants long asleep. In one room, an African man and woman sleep soundlessly on a bed made of straw.

    INT. HOUSE - ENTRYWAY - NIGHT

    We are still inside the house, but looking at the main door. There’s a small push and the door opens slightly, but closes again. A stronger push and the door opens more, but again closes.

    INT. HOUSE - MASTER BEDROOM - NIGHT

    The Man and Woman are still sleeping. The sound of the door banging open is heard, but they still sleep. Something can be heard walking across the floor in the main room. Suddenly the footsteps stop and a clicking is heard.

    We then hear a sniffing sound and the footsteps start up again as a shadow quickly passes by the doorway, illuminated by the moonlight. It is a quick shadow, But from what we see, it looks like it belongs to a VELOCIRAPTOR. We then hear a baby crying and both parents snap their eyes wide open, hearing the baby.

    They jump out of bed and rush out into the hall and to the baby room, lighting a couple candles on the wall once they enter. They rush over to the crib, only finding it empty, the sheets made of leaves are messed up and ripped. The father, KAFEGA, notices the window is broken.

    KAFEGA
    (Translated from African with subtitles)
    Moobu, stay here!

    Kafega turns and rushes out of the room, hearing his wife crying back at the crib. He runs to the door, finding it wide open and runs outside, barefooted and no shirt on. He looks around, seeing nothing, but the baby can be heard crying someplace nearby. He follows the sound to the back of the house, just in time to see the ferocious beast turn and snarl at him, something in the shape
    of a baby, in its mouth. We can't exactly see what it truly is because it's dark, but we see the outline, which gives us the same impression as the shadow did.

    The dark creature lowers its head, placing the baby on the ground and then rears back and jumps with a high-pitch shreik, knocking Kafega to the ground. Amid the snarls and growls, we hear human screams.

    FADE OUT

    FADE IN:

    INT. NEWSROOM - DAY

    A News Reporter is sitting at her desk, a pile of papers in front of her.

    SUBTITLE:
    Montana, 2005

    REPORTER
    This is the eighth reported 'child napping' in locations close to and surrounding the Congo jungle of Africa in the last month. The reports all involve large reptiles of a never-before documented species. Authorities are looking into this as well as many scientists and zoologists. Kafega Bagano, a resident of a local Indian Tribe and father of a recent two- month-old kidnapped infant is unable for interview because of his injuries obtained while trying to protect his child.

    ZOOM OUT:

    INT. APARTMENT - DAY

    The reporter is only a part of a news program on someone's TV. We

    PAN AROUND

    the apartment and discover that it is a small one-bedroom apartment with a couple of extra small rooms for whatever. It also includes a kitchen and a bathroom. Clothes are all over the place, posters are only half-hanging on the wall with the other half drooping over. There is a map of the World on the wall with a blown up map of Africa next to it, pins marking certain locations on them.

    In the kitchen, pots, pans, and dirty dishes fill the sinks and counters. In the bedroom, the bed is unmade and books and papers are all over the place, though a desk by the wall is perfectly clean except for three neatly stacked books by the side and a lamp at the top.

    Back in the living room, a person in his late 30's, DR. RICHARD LEVINE, lays on his couch watching the News report. He has long black hair and is kind of tall and gangly. Right now he's focusing on his eye lids and the report at the same time.

    FLASHBACK:

    INT. SUBWAY TRAIN

    Levine is sitting on a subway train, looking around, when suddenly a man dressed in black walks on and sits in a seat close to him. Levine begins to snap his fingers. We can see that he has recognized this man. It's no other than DR. IAN MALCOLM. Levine walks close by him and then sits in a seat nearby. Malcolm just unfolds a paper and begins to read it.

    LEVINE
    You're him, right?

    Malcolm looks up, confused.

    MALCOLM
    Excuse me?

    LEVINE
    The scientist....The guy... (shurgging) I saw you on TV.

    Ian Malcolm simply turns his head away, ignoring him.

    LEVINE
    I believed you...

    Malcolm just shakes his head.

    LEVINE
    (Clasping his hands together) Rawwwwr!

    END FLASHBACK.

    INT. APARTMENT - DAY

    Levine quickly sits up, obviously interested as the Reporter continues.

    REPORTER
    For more information, you can visit our website at www.cnn-news.com. If you think you have any information or theories on these creatures, please feel free to write us an e-mail about these creatures. I'm Judie Watson of CNN news. Over to you, Bob.

    The web address appears on the bottom of the screen. Levine smiles and heads on over to his computer, typing in the address almost immediately. The excitement is overwhelming him, this we can see. The main page comes up and he clicks on the news heading he’s looking
    For. These words appear at the top of the screen:

    WARNING: SOME IMAGES MAY NOT BE SUITABLE FOR YOUNGER VIEWERS

    Levine scrolls down and finds many pictures of strange giant three-toed footprints. He moves the page down slowly, looking at the pictures one by one, until suddenly the next picture he sees is of a mutilated body. On second glance, its only a cow, but it still looks very disturbing. Other images below are of other mutilated animal bodies.

    LEVINE
    (whispering) I knew it!

    INT. COLLEGE HALLWAY - DAY

    A full-sized green-shaded Velociraptor’s jaws hang open just a tad, it's eyes piercing the two humans in front of it as a low electronic roar comes from the inside of its mouth. Somehow though, DR. ALAN GRANT isn't impressed. The student beside him moves over to him.

    STUDENT
    So...Dr. Grant...What do you think of it?

    Grant, whose hat is not around, shakes his head back and forth. We see that he's apparently disgusted by it.

    GRANT
    I think you should modify some things.

    STUDENT
    Modify some things? Like what?

    GRANT
    They never stand like this, flatfooted on two feet. Give him a book…(grabs a book from the student and places it in the hands of the Raptor) …and he might be singing a Christmas carol.

    STUDENT
    Gee, I didn't think it was that bad.

    GRANT
    Bad? This is an insult to a feroicous predator. Look at the jaw, it's supposed to be wide open. Open its jaws more. Take that foot down there and rear it up in attack mode. And take out that silly roar, this thing needs to be ferocious, not a child’s toy. Show it to me again in a week.

    Grant walks off, heading to the entrance of his office, still shaking his head. The Student seems hurt.

    INT. LEVINE'S OFFICE - DAY

    Holding his cordless phone in his hands, Levine dials a number. He nods his head, waiting for an answer.

    GRANT
    (V.O.)
    Alan Grant’s office.

    LEVINE
    Alan, it's me, Richard.

    GRANT
    (V.O.)
    Richard?

    LEVINE
    Levine. Richard Levine.

    GRANT
    (V.O.)
    Oh, Richard! I haven't talked to you in quite some time. (mockery in his voice) Are you still looking for your 'lost world'?

    LEVINE
    Alan, I've found it. Meet me at Olive Garden at 2:00.

    GRANT
    (V.O.)
    I'm kind of busy with a new book and the University has me doing ...

    LEVINE
    Catching up won’t take long to do. I have strong evidence to support my theories this time. Have you been watching to CNN lately?

    GRANT
    (V.O.)
    Politicians. That’s all they ever talk about. Got to hate them.

    LEVINE
    Please meet with me, Alan.

    Silence over the phone. We see Levine waiting impatiently for Grant’s answer.

    GRANT
    (V.O.)
    Ok, Richard, you've got yourself a date.

    INT. RESTAURANT - DAY

    PAN UP:

    From the briefcase next to Levine's seat, to Grant, who now has his famous hat on, and then to Levine; they have just now ordered their meal and are putting their menus down.

    GRANT
    You expect me to believe you?

    Levine sits there; he doesn't know what to say.

    GRANT
    From the moment Ian Malcolm first met you, you told him that he was a goofball. And then you came after me, ruining my reputation.

    LEVINE
    I understand how you feel. But, unlike Ian did, I have substantial evidence.

    Grant nods.

    LEVINE
    Look at these pictures. (hands Grant some papers from the breifcase) What you see is what you get... Those are footprints, Alan. Footprints of the very things that used to walk the earth 65 million years ago. Sizes of them vary from two inches in length to five feet in length.

    Grant stares blankly at the photos.

    GRANT
    I'm sure you have more stuff. Remember back in 2002, after I returned from Sorna, when you and Ian looked forever to find another location? You got to the point of the Costa Rican jungles. Went down there... didn't find anything. It ruined Ian. He lost all his money and what was left of his reputation. Where else is there to go?

    LEVINE
    Africa, Alan, Africa!

    GRANT
    You can't be serious.

    LEVINE
    Sure I am. I keep getting calls from a friend down there, about these animals appearing. The last call I had was nine months ago. Unfortunately, I was on a dig in Siberia looking at a frozen mammoth, and I couldn't get back in time. But I'm told it was some kind of very large undocumented lizard, found dead in the Congo jungle.

    GRANT
    And? What happened to it?

    LEVINE
    (sighs) The remains were burned by some villagers. They looked at it as a bad omen.

    GRANT
    So nothing was left?

    LEVINE
    That's right. No photographs, no proof.

    GRANT
    So it could have been made up. Passed on by word of mouth.

    LEVINE
    Perhaps, but then there’s Mokele-Mbembe, the famous reported dinosaur in the Congo. Sightings of him go back centuries. I think it's worth mounting an expedition, to find out about these reported survivals.

    Grant chuckles and eases in his seat.

    GRANT
    I know you were my best student for many years until you left, and I mean no offense, Richard, but a story means nothing. The evidence your holding could easily be misleading.

    LEVINE
    And what if it's not? It's the chance of a life time, Alan. A chance to see real breathing creatures that were always a mystery to us.

    GRANT
    I've had more then my share of them.

    Grant takes a sip of coke.

    LEVINE
    Come on, Alan.

    GRANT
    The InGen islands were both destroyed; there's no way the animals could have made it off them.

    LEVINE
    Who the hell said anything about InGen's dinosaurs? We both know InGen dinosaurs wern’t the real deal. They were manufacutred to be a certin way. But these...these could be real live preserved dinosaurs. The real deal.

    GRANT
    Listen Richard, if you’re looking for funding, you’ve come to the wrong place. I ran out of funding for my own digs last year. I have nothing to spare.

    LEVINE
    That’s not why I called you, Alan. I'm rich you know. I can pay myself. Would you go if I set up a team? I’ve already got Jack Thorne building me vehicles.

    GRANT
    No. Definitely not. Ask Billy Brennen. I’m sure if you could pull him away from his dig, he’d be thrilled to go.

    LEVINE
    I already tried. He turned me down cold.

    GRANT
    That boy is always surprising me with his common sense these days.

    Grant takes a glance at Levine. He notices that his eyes look too blank. He sees that he's got dark circles around them as well.

    GRANT
    Richard, get some sleep. You look terrible.

    INT. THORNE’S WORKSHOP – DAY

    JACK THORNE walks around his huge workshop, looking at the development of his two new jeeps and a motorcycle. We can hear a lot of drilling in the background. Thorne is a bulky man in his late 20’s, he has on a blue T-shirt with dirty and ripped blue jeans.

    THORNE
    Freddy, you still working on the paint for that cycle?

    FREDDY, a worker of his, looks up from behind the motorcycle.

    FREDDY
    Yeah, why?

    THORNE
    Just finish the second coat and meet me in my office.

    Suddenly DAVID THORNE, Jack Thorne’s 15-year-old brother, runs up to him, throwing his sleeping bag at him. Thorne catches it in mid-air and smiles.

    THORNE
    How’s my little bro doing?

    DAVID
    (looking around the Workshop) Better than you, I hope.

    THORNE
    Just because you don’t have to work yet, doesn’t mean you should take advantage of me, Dave.

    DAVID
    Well…(smiling) I did.

    Levine enters from the large garage door that is open.

    LEVINE
    (yelling above the noise) Jack! How long we got left on these things?

    Thorne turns around.

    THORNE
    I’d say about three weeks, tops. I have to get the rest of the vehicles finished, paint jobs done, the air pumped in the tires, and definitely a field test.

    Levin shows a disappointed face. He shrugs it off immediately.

    LEVINE
    Alright, that’ll do.

    And with that, Levine is back out the door. Thorne turns to David.

    THORNE
    Well, kido, let’s set you up in my apartment.

    INT. THORNE’S APARTMENT – DAY

    Thorne’s apartment is clean, papers neatly stacked on desks, clothes precisely packed in his suit case, not like it fits the description of himself.

    DAVID
    I find it hard to believe your place is so clean.

    David throws his sleeping bag onto the sofa.

    THORNE
    Since when did you go by appearances?

    David says nothing, just quickly goes to the refrigerator.

    DAVID
    It’s pretty cool that you get your own apartment right above your business.

    David looks out the window after taking out some milk and drinking from the carton. He sees lots of men at work.

    THORNE
    It was Unlce Eddie’s. This was his second building; he gave the other away to Ed James, his friend from college.

    DAVID
    I never knew Uncle Eddie. Was he cool?

    THORNE
    He was a motor-mouth, but otherwise he was pretty cool.

    David drinks again from the carton of milk.

    DAVID
    What’s up with that guy from earlier?

    THORNE
    Oh, hell, he’s an old friend of mine. I built him some stuff for a previous expedition years ago. He’s setting up some kind of new expedition now. That’s why we’re working so hard on these vehicles. Rich kid though, does whatever he wants. He gives spoiled a bad name.

    DAVID
    What kind of expedition?

    THORNE
    Don’t know, don’t care. Money’s big though. For months we’ve been modifying his field vehicles and finally we’re on the right track. He wants them light, I build them light. He wants them strong, I build them strong – light and strong both, why not, it’s just impossible what he’s asking for. But with enough titanium and honey-carbon composite, we’re doing it anyway.

    DAVID
    I might be a kid, Jack, but I know that doing something without knowing why, is very unwise. I wonder if it’s dangerous. Mom would have a fit.

    THORNE
    If it is, Dave, then it doesn’t matter. I’m a grown man.

    From the apartment door comes the sound of three knocks. Thorne takes a step towards it but before he can get any closer, David has already flung the door wide open to see who it is. Standing before him is a beautiful, slim female with blonde hair hanging down to her eyes, looking to be in her 20’s. This is ALEXIS MURPHY, Jurassic Park survivor and Thorne’s girlfriend.

    DAVID
    Wow, you get all the hot ones!

    Lex looks at David and laughs.

    LEX
    This must be your little brother. Hi David. My name’s Lex.

    DAVID
    Howdy hot stuff!

    Thorne pulls David back and rubs his hair.

    THORNE
    See, I told you he was a wise ass.

    He looks back at Lex as he steps back to let her in.

    LEX
    Hi babe.

    Lex and Thorne kiss on the lips and then part.

    THORNE
    So what are you doing here?

    Throne motions to the couch, allowing Lex to sit. She does.

    LEX
    Just on my way downtown and thought I’d stop by to see if you guys wanted to come. We can show David here the city.

    THRONE
    I can’t, I’ve got lots of work to do here. All these vehicles require lots of work. I have to manage everything around this damned place.

    David grits his teeth.

    DAVID
    Come on Jack, let me go with her! I have nothing better to do here. You have your job and now…(gets a better look at Lex) I have mine!

    David winks.

    THORNE
    No, you’d be all over my woman!

    David rolls his eyes.

    LEX
    Just let him come Jack. I can handle a 15 year-old.

    She winks at David and David laughs out loud. Thorne just gives out a little smile, then stands in front of David.

    THORNE
    Don’t you be pulling any moves on her.

    LEX
    Oh, come on now, you know me. I’ll be the one pulling moves on him.

    DAVID
    Yes!

    THORNE
    I know, that’s what I’m afraid of.

    Lex kisses Thorne again and her and David leave the apartment, closing the door behind them. Thorne sighs with relief.

    THORNE
    Well now he’s out of my hair.

    INT. THORNE’S WORKSHOP – DAY

    Back in Thorne’s garage, the cars are being worked on continuously. A man by the name of TROY ORBISON comes in looking intensely at the work that’s happening. He takes his bag that’s over his shoulder and lays it down on the hard concrete floor.

    INT. THORNE’S OFFICE – DAY

    We are now back to Thorne’s office, located on the right side as you walk into his apartment. He’s looking at papers and the clock simultaneously.

    Troy Orbison walks into his apartment and Thorne looks up and sees him through the glass door.

    TROY
    Mr. Thorne?

    THORNE
    In here.

    Troy notices and walks straight into his office.

    TROY
    Ah, Mr. Thorne, great to see you. (shakes Thorne’s hand) It must be great to have a pro on this expedition.

    THORNE
    I do what I can to make the best vehicles money has to offer, Mr…

    TROY
    Orbison. Troy Orbison.

    Troy smoothly sits into a chair across from Thorne and sinks in.

    THORNE
    Comfortable, Mr. Orbison?

    TROY
    Very.

    THORNE
    That’s the way you’ll feel when you go with me on this little adventure. Richard put me in charge of hiring the perfect people for this expedition. He of course, highly recommended most of you though. So what do you do?

    TROY
    I film documentaries and in my spare time, I help dig up ancient animals.

    Thorne raises an eyebrow.

    THRONE
    You mean prehistoric animals? Like dinosaurs?

    TROY
    Sure do. I’m somewhat of an expert on them. But Dr. Levine told me I’m here mostly cause of my filming career. I’m a cameraman on many famous documentaries.

    THORNE
    I’m wondering what it is that Levine’s got up his sleeve.

    TROY
    I’ve been wondering that very same thing from the first day I met him.

    Thorne chuckles.

    THORNE
    Ah, hell, you don’t know either. I thought I could have begged it out of you.

    TROY
    No sir, no questions asked. That’s my motto these days. I need the money.

    INT. GRANT’S OFFICE - DAY

    Grant’s hand is over the receiver of his phone. In the chair in front of him is an old man in his late 60’s.

    GRANT
    Herold, it’s for you. Go pick it up in the office next to mine. Line 3. We can continue this later.

    HEROLD nods, then exits out the door. Grant punches in a number. After a few seconds, an answering machine turns on and we recognize the voice as that of Richard Levine.

    LEVINE
    (V.O.)
    Leave a message if you want me.

    BEEP!

    GRANT
    Richard, it’s Alan. Where are you? I called this morning and you weren’t in. Well, it’s 5:33 P.M. and you still aren’t in. Call me back when you get this.

    Grant hangs up the phone, furious. His patience for Levine has been ever ending and he’s finally lost his nerve. Now he feels like doing something risky. He quickly takes back the phone and
    punches in another number.

    Grant waits for an answer. A voice picks up after the third ring.

    THORNE
    (V.O.)
    Jack Thorne.

    GRANT
    Thorne, it’s Alan. You receive any messages about Levine leaving for anywhere?

    THORNE
    (V.O.)
    No, haven’t heard a thing. Something wrong?

    GRANT
    Yeah, he’s been gone for a couple days and hasn’t returned any of my calls.

    THORNE
    (V.O.)
    Missing, huh? It’s not uncommon for him to take trips to places without telling anybody. He does it all the time.

    GRANT
    I think he might have already left for the trip.

    THORNE
    (V.O.)
    To where? Africa? Why the hell would he do that?

    Grant rolls his eyes.

    GRANT
    You know as well as I do that he’s an inpatient fool. You could get a doctor to tell him to wait five minutes and he’s running out of the hospital after the first two.

    THORNE
    (V.O.)
    Who the hell does he have that we don’t know about? He wouldn’t go to Africa alone. Not even he’s that foolish.

    GRANT
    I don’t know, but I want you to go to his apartment and look for some evidence. It’s near your workshop.

    THORNE
    (V.O.)
    Evidence of what?

    GRANT
    Anything that remotely relates to going to Africa and where his location might be.

    INT. LEVINE’S APARTMENT – NIGHT

    David takes glances at the dirtied apartment.

    DAVID
    How can a rich guy live like this?

    THORNE
    Beats the hell out of me. You have dozens of apartments in dozens of cities and I guess you don’t feel the need to clean every one.

    Thorne looks around at cardboard boxes. One was marked with a triangular symbol. He snatches papers out of it.

    DAVID
    I thought your credit card was done for when you used it to break in here.

    THORNE
    Well, if it broke I could always get another.

    David looks over and sees a sheet of paper. On it are hastily scribbled notes. But there are three words on it that are circled.

    DAVID
    Take a look at this.

    He hands Thorne the paper.

    THORNE
    Hmmm… (reading) ’Lagartija Agresivo’. It’s not English.

    DAVID
    What does it mean?

    THORNE
    I don’t know…maybe a place of some kind. Possibly in Africa.

    Thorne looks over and sees that the closet is wide opened. He walks over to it. That’s when he notices the computer. It’s marked with a symbol and the name BIOSYN CORP on the side.

    THORNE
    Biosyn…now where have I heard that before?

    DAVID
    (slightly nervous) I think we have enough evidence. I say we get out of here before someone gets suspicious and calls the cops.

    THORNE
    Wait...

    Thorne picks up a slip of paper. It reads:

    ‘Lagartija Agresivo…Where is it???

    Possibility: Near the Cord Central, someplace between Owando and Oyo.’

    THORNE
    I think I’ve found something that might just help us.

    EXT. FRENCH RESTAURANT – DAY

    Richard Levine walks through a crowd of people. He finally finds a seat to sit down in. As we hear the background conversations and music, we discover that he is in FRANCE.

    From up ahead we see another man. This is an African named DIEGO. He has a bag hanging over his shoulder and he finds Levine and sits down. The French is subtitled in english.

    DIEGO
    Ca Va!
    (How’s it going?)

    LEVINE
    Ca Va, Merci, l’ami.
    (Fine, thank you, friend.)

    DIEGO
    Ha ha, you still know French!

    LEVINE
    You were a great teacher, Diego. I respected that.

    Diego and Levine are smiling with joy. They seem to have not seen each other in a long time.

    DIEGO
    So, you still have that woman?

    LEVINE
    Things didn’t work out as I planned. She had her needs…I had mine. Yours?

    DIEGO
    Ah…she left me for another man. Pitiful, eh?

    LEVINE
    Aga.

    DIEGO
    That’s probably the only thing you know of African.

    LEVINE
    Aga. I have a lot to learn.

    Diego laughs.

    DIEGO
    Well…are we going or not?

    EXT. AFRICA – DAY

    A TURBO-PROP PLANE hovers above the landscape of trees. It slices through the air like a knife through butter.

    INT. PLANE - DAY

    Diego switches buttons. We can see the headsets on Diego and Levine. Levine is the only one smiling right now. He’s really anxious to be walking on that ground below him.

    DIEGO
    When we reach the landing strip, I’ll take you to some villagers that live near the strip. See what they have to say.

    LEVINE
    Sounds like a good plan.

    INT. GRANT’S OFFICE - NIGHT

    Grant paces around. Thorne stands in front of him.

    GRANT
    I knew he would do this. I knew it…I knew it…I knew it…

    THORNE
    I know.

    GRANT
    He’s always like this. This “I’m a rich kid and can do whatever I want” attitude has got to stop.

    THORNE
    He’s got to get that shit out of his system!

    GRANT
    Right.

    THORNE
    Right.

    Grant looks curiously at Thorne.

    GRANT
    You’re mocking me.

    Thorne chuckles. The door opens and in comes ED REGIS, he is a light built man in his mid-30’s with bright red hair.

    REGIS
    Thorne called and I came as soon as I could.

    GRANT
    It’s not good. Levine’s already gone to Africa.

    THORNE
    What do we do?

    GRANT
    We go out there to that place, find him, and bring him back. That’s what we’ll do.

    THORNE
    Ah hell, no. I haven’t tested anything. For all I know there might be dozens of bugs in those vehicles that haven’t been sorted out yet.

    GRANT
    Then I suggest you work hard at doing your job.

    Thorne shakes his head.

    THORNE
    What the hell is he looking for anyway?

    GRANT
    Survivals of exctinction.

    THORNE
    Come again?

    GRANT
    Dinosaurs, Mr. Thorn…he’s looking for non-InGen dinosaurs. The real deal.

    Thorne’s jaw opens.

    THORNE
    That’s absurd.

    GRANT
    I agree. If the African government finds him, it won’t be pretty. And without Regis here to be his translator, I fear he will be in over his head.

    THRONE
    It’s just like Richard. Always wanting some trouble.

    GRANT
    Trouble seems to be his motto.

    REGIS
    I can call up some people I know to help us transport the vehicles. They can have them in Africa before we even get there.

    GRANT
    You do that. Meanwhile, Mr. Thorne and I will catch a chopper and meet you there.

    INT. PLANE – DAY

    Diego squints his eyes, trying to see passed the bright sun’s beams and clouds. Then he sees what he’s looking for.

    DIEGO
    There it is.

    Now we get a better look at what it is. It’s a small airstrip, and on the side is a small house. A few African’s are there, waving them in.

    EXT. AFRICA – DAY

    In the air, the plane curves to the right towards the airstrip, and then it descends. Finally it touches the muddy ground and makes a complete stop after driving for a few seconds.

    EXT. AFRICAN AIRSTRIP – DAY

    The back of the plane is opened and a jeep drives down the ramp and onto the ground. It comes to a stop. The three African men are nodding at Diego and Levine.

    LEVINE
    Ask them what hospital that Kafega guy is in.

    Diego climbs out of the passenger side of the jeep and walks up to the Africans and speaks in unsubtitled African to the three men.

    INT. AFRICAN HOSPITAL – DAY

    Kafega seems to be doing good. His chest is bandaged up. Moobu is pouring water into his mouth with a small plastic cup. He sips it down slowly, showing us that he is weak.

    Diego and Levine walk in to meet the couple. Moobu is in tears.

    LEVINE
    I’m really sorry to bother you two, our presence is probably not needed.

    KAFEGA
    Neither is the pain I’m in. What is it you two gentlemen want?

    LEVINE
    I’m Dr. Richard Levine and this is my assistant and friend, Diego.

    MOOBU
    Hi.

    LEVINE
    We’re here for the story about what happened to your child and yourself.

    KAFEGA
    The third today…

    LEVINE
    I assure you it will help us a lot more than the others.

    KAFEGA
    It came out of nowhere. Like a cat going for a mouse. It silently came into the house and stole my baby. I ran for it, trying to get her back, but it was too late. The creature had her and attacked me. Now, all we have to do around here is pray that our baby wasn’t killed. That she might still be found.

    LEVINE
    Did you get a look at this animal?

    KAFEGA
    It had scales and a head like a lizard. Greyish. Fire in the eyes.

    LEVINE
    Very interesting description. How tall was it?

    KAFEGA
    About my height. My wife and I, we call them Raptors.

    Levine’s mouth drops.

    LEVINE
    Velociraptors?

    KAFEGA
    No, just Raptor. My wife and I have been learning Spanish for a future trip to Spain and in Spanish, Raptor means one who kidnaps. If you find this Raptor, kill it. Do it for me, if that’s the reason why you are here.

    Levine and Diego nod.

    LEVINE
    Thank-you for your help.

    INT. GRANT’S OFFICE – NIGHT

    Alan Grant looks up to see Ed Regis walk in, shaking his head.

    GRANT
    Something happen?

    REGIS
    The planes to Africa are booked this whole week. They say that they can get us next Thursday. Richard will see us next week; only way.

    GRANT
    No…No…he’ll see jail bars by next week. Or worse. He’s over there illegally.

    REGIS
    What the hell do we do?

    GRANT
    (sighing) I guess we’ll have to wait.

    INT. AFRICA - EDGE OF THE CONGO - PRIMITIVE HOUSE – NIGHT - FOGGY

    Levine and Diego relax in the comfortable home of Abasi, a relative of Deigo’s. This is part of the same village that Kafega lives in, Abasi is sitting in a leather chair and takes a sip of lemonade.

    DIEGO
    So you haven’t heard anything, Abasi?

    ABASI
    Anything gets in here for my baby, I’ll have a shotgun waiting for it.

    DIEGO
    How is Maria?

    ABASI
    She’s doing fine. She really wants to go back to the States though. We thought for sure that our baby would have died from that terrible flu.

    LEVINE
    She’s really lucky. It’s hard on a baby when it gets an illness that young.

    INT. HOUSE - BACK ROOM – DARK

    The door of the back room starts to rattle, followed by a turning knob. It slowly opens and we here the snorting of an animal.

    INT. HOUSE - DEN – NIGHT

    Levine looks up. He hears the snorting.

    LEVINE
    What’s that?

    Abasi just shakes it off.

    ABASI
    It’s probably the cattle. They do it all night.

    INT. HOUSE - HALLWAY – DARK

    Through the halls we still hear the snorting. We watch as two feet, both with a middle sickle claw, stop and the claw taps on the floor, creating a tapping noise. One foot moves in front of the other. Then we can hear the creature sniff the air.

    INT. HOUSE - DEN – NIGHT

    Diego looks around, then out the window.

    DIEGO
    Your cows aren’t out there.

    From the baby room, they suddenly hear the infant’s cries, the loud high-pitched screech of the carnivore, and the shatter of glass. The three men jump up and run to the baby room.

    INT. HOUSE - BABY ROOM – DARK

    Levine is the first to enter, and he watches in horror at the creature standing in front of him. Again, we never get a chance to look at it clearly, due to the darkness. Its tail flickers behind it, in the space where the window used to be. We can see the baby, being held in its jaws, but not by the flesh, just the shirt. She’s still crying.

    Abasi comes in with the shotgun and shoots, but misses the creature and it drops the baby and screeches. Levine dives and catches the baby. The creature turns and leaps out the window.

    EXT. HOUSE - FOGGY NIGHT

    The three men run outside looking at the broken window. They watch as the creature’s silhouette fades out into the fog. Levine is breathing heavily.

    INT. GRANT’S OFFICE – DARK

    The office is empty. On the Answering Machine, Levine is heard talking really fast.

    LEVINE
    (V.O.)
    Alan, you will not believe this, But I was right. There are dinosaurs in
    Africa. I’m sorry I went early without telling anyone, but…well…just come on down. I need you here.

    A two-second beep sounds from the machine just as Grant walks in the door. He goes over to his desk and gets a piece of paper. He walks over to the Answering Machine, which is located on a nightstand near the door. He presses a button and waits for his messages.

    LEVINE
    (V.O.)
    Alan, you will not…

    The door opens quickly and knocks the nightstand over, Causing the machine to fall. It breaks apart in pieces on the floor.

    GRANT
    What the hell?

    Thorne is at the door looking down at the broken machine.

    THORNE
    Oops.

    GRANT
    That was Richard.

    THORNE
    I’m sorry.

    GRANT
    Oh it doesn’t matter. He probably had nothing to say other than he disobeyed my orders.

    FADE TO:

    SUBTITLE:
    ONE WEEK LATER

    EXT. THORNE’S WORKSHOP – DAY

    Thorne’s workshop is seen beside the sidewalk. On the sidewalk is Grant and Thorne, his arm around Lex. They start to head inside the workshop

    GRANT
    Lex, are you sure you want to come with us?

    LEX
    Yeah. I’m sure. As you said before, it’s probably nothing and Jack and I could use the vacation.

    GRANT
    It’ll be far from a vacation.

    INT. THORNE’S WORKSHOP – DAY

    David looks through the windows of the newly finished Aztek jeeps and motorcycle. They are ready and promising. Workers are putting equipment into the back, yelling at one another, and then driving off with them to load them up for Africa. Lex takes a look at the inside of one of the vehicles.

    LEX
    Sure looks cozy…but hopefully not for sleeping in.

    THORNE
    Don’t worry honey, we’ll have tents.

    He sets a folded-up tent in the back of one of the Azteks.

    DAVID
    I don’t see why I can’t go. Lex gets to go.

    THORNE
    She’s a full-grown adult and can make her own decisions. I tried to talk her out of it though. She was in a similar situation when she was younger then you, and it messed her up. I still have no idea why she wants to go so bad.

    LEX
    Honey, I already told you. My shrink told me that the only way for me to finally get over my nightmares is to revisit the past. Besides, do you really expect there to be you-know-what? As Dr. Grant said, there’s not a chance.

    DAVID
    Nothing bad’s gonna happen. Families go to Africa all the time.

    THORNE
    We’re going there illegally. There’s a chance we might be put in prison if we’re caught.

    DAVID
    But at least we’ll be there together!

    THORNE
    Absolutely out of the question. It’s too dangerous. There are other dangers in Africa other then their jails.

    DAVID
    I’m a man.

    THORNE
    Yeah, in about 3 or 4 years.

    DAVID
    Please, Jack…

    THORNE
    No!

    David swings at Thorne’s chest and punches him a dozen times, but it doesn’t seem to affect Thorne at all.

    DAVID
    We never spend time with each other! You always have something to do so you don’t have to be around me. I heard what you said when I left with Lex last week. I know you hate to be around me…why don’t you appreciate that I just want to be around you sometimes? We’re family.

    David runs off down to the shop and into a hallway. Thorne shakes his head and is about to go after him when Grant walks over.

    GRANT
    What time does the Chopper leave?

    Thorne looks at his watch.

    THORNE
    Shit! Thirty minutes!

    11/17/2005 2:49:12 AM
    (Updated: 11/17/2005 3:02:12 AM)

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