Jurassic Park (remake)/Transcript

The transcript for Jurassic Park (remake).

Intro

 * (Universal logo appears, with the Earth's continents shown in their Jurassic positions)
 * (Amblin Entertainment logo appears, then fades away as the screen begins to ripple.)
 * (As the ripples continue, the screen fades into a view of a fountain. Water cascades down rocks and into the fountain's basin, creating ripples that gently expand across the water's surface.)
 * (The camera slowly tilts upward, revealing a life-size statue of a T-rex skeleton standing on the rocks in the center of the fountain. The camera rises up and above the statue, giving a view of a snow-white building in the middle of Palo Alto, California. The building appears to be a corporate headquarters, and sports a clean, modern design. But most prominent is a metallic blue logo displayed on the side of the building. It reads, in great bold letters, "InGen". Slowly, a quote fades onto the screen:)
 * You can stop splitting the atom; you can stop visiting the moon; you can stop using aerosols; you may even decide not to kill entire populations by the use of a few bombs. But you cannot recall a new form of life. — Erwin Chargaff, 1976
 * (The camera soars up into the clouds, where several vultures wheel freely through the air. One of the birds glides toward the camera, obscuring its view with great black wings. The screen becomes as black as the vulture's feathers.)

Prologue: "¡Aves de Presa!"

 * (Slow fade-in to a nighttime view of a coastal village in Nicaragua. It is raining very heavily, and the downpour is interspersed with strong gusts of wind. The sky is blanketed in thick clouds, and the sea is cloaked in fog. Occasional flashes of lightning appear in the sky, accompanied by the low rumbling of thunder. Close to the shore, we can see a lit building—a clinic.)
 * (Cut to inside of the clinic. The rain can be heard rattling loudly on the metal roof. Dr. Roberta "Bobbie" Carter is staring blankly out a window at the deluge. She is clad in a tank top and cut-off jeans, with only a stethoscope around her neck giving away her profession. Behind her, her assistant, Manuel Aragón, is organizing medical supplies, but stops when he hears something. He cocks his head to listen.)
 * Manuel: Listen.
 * Bobbie: (annoyed) Believe me, I hear it.
 * Manuel: No. Listen.
 * (Now Bobbie picks up another sound above the rain. She presses her face to the window in anticipation of something approaching. The rhythmic thumping of a helicopter becomes audible. Bobbie squints, not expecting a helicopter to be flying in such bad weather. But, sure enough, a helicopter materializes from the ocean fog and roars overhead as it passes by the clinic. However, instead of fading away, the drone of the chopper grows louder again. The helicopter hovers over the water's edge, then flies to the beach in front of the clinic. The chopper starts descending onto the wet sand. Bobbie suddenly remembers her job and leaves the window to prepare for a patient's arrival.)
 * (The camera pans through the window and toward the helicopter. The chopper is silver with a blue stripe on its side. A logo on the chopper reads "InGen Construction". As the helicopter touches down on the beach, the pilot, his face clearly showing the stress endured during a harrowing flight, exhales in relief. Two uniformed men jump out of the helicopter and open its large side door. Out jump two crewmen carrying a limp man on a stretcher. As the crewmen carry the stretcher toward the clinic, they call for help in Spanish, shouting to make their voices heard above the roar of the helicopter. A red-haired man in a yellow slicker and Mets baseball cap climbs out of the helicopter. He is Ed Regis, public relations manager for InGen. Ed, a harried expression on his face, strides ahead of the stretcher when he sees Bobbie running up.)
 * Ed: (shouting) Is there a doctor here?
 * Bobbie: (running up) I'm Dr. Carter.
 * (Ed glances at Bobbie's casual attire and frowns slightly)
 * Ed: Ed Regis. We've got a very sick man here, doctor.
 * Bobbie: Then you better take him to Managua.
 * Ed: (scowling) We would, but this damned weather won't cooperate. You have to treat him here.
 * (The crewmen carry the stretcher into the clinic and, at Bobbie's direction, set it down on an operating table. As Manuel sets up an IV, Bobbie carefully lifts away the injured man's blood-soaked shirt, revealing a heavily lacerated shoulder. Bobbie's eyes follow the wounds down to the patient's torso, which is covered in savage-looking tears. The patient suddenly lets out a convulsive gasp, and blood spurts out of the open wounds. Bobbie chokes out a sound halfway between a gag and a sob.)
 * Bobbie: What happened to him?
 * Ed: Construction accident. He fell and one of the backhoes ran over him.
 * (The patient wheezes, and Bobbie reflexively turns her head to look him in the face. The man is clearly very young, no older than eighteen. His face is deathly pale, and his eyes stare blankly out into space. He starts shivering—slowly at first, but gradually more violently. The whole time, his face retains its ghastly, emotionless mask. As Manuel prepares an IV, Bobbie slowly swings an overhead lamp over the patient, then bends to examine his wounds.)
 * Bobbie: (to Ed) Tell me again about this injury.
 * Ed: I didn't see it. They say the backhoe dragged him.
 * (Bobbie carefully probes the patient's wounds. She pauses to sigh and collect herself. Then, she seems to come to a realization.)
 * Bobbie: It looks as if he were mauled. I've seen two animal maulings.
 * Ed: (suddenly on edge) Mauled? No, no. It was a backhoe, believe me.
 * Manuel: (to Bobbie) Do you want lavage?
 * Bobbie: Yes, after you block him.
 * (Bobbie goes back to probing the wound with her gloved fingertips. She crinkles her nose at a stench.)
 * Bobbie: (to Ed) How long ago did this happen?
 * Ed: (tensely) An hour.
 * (Ed glances about awkwardly, then takes a step back as Bobbie continues examining the worker's injuries. Bobbie backs up slightly and scans her eyes over the patient's bloodied body. Her gaze suddenly stops on the young man's limp hands. There are short slashing cuts on the palms, and bruises on the wrists and forearms. A chill seems to come over Bobbie as she takes in the sight.)
 * Bobbie: All right. (to Ed) Wait outside.
 * Ed: (alarmed) Why?
 * Bobbie: Do you want me to help him, or not?
 * (Bobbie steps toward Ed, who hastily leaves the room. Bobbie shuts the door behind him a little too hard, then turns back toward the operating table. Manuel is giving the patient lavage. He hesitates at Bobbie's tense look.)
 * Manuel: I continue to wash?
 * Bobbie: Yes.
 * (Bobbie picks up a camera and takes several pictures of the patient's injuries, shifting the overhead light for a better view. The wounded man groans, and Bobbie sets her camera aside and bends toward him. The worker's lips move laboriously as he strains to speak.)
 * Wounded Worker: Aves de presa.
 * (Bobbie freezes, then glances at Manuel. Manuel's expression is one of confusion juxtaposed with an undertone of restrained horror.)
 * Bobbie: (to Manuel) What does it mean?
 * Manuel: (reluctantly) Birds of prey.
 * (Suddenly, the patient jolts into a sitting position, causing Bobbie and Manuel to jerk their arms out to restrain him. The worker's movement causes fresh blood to flow from his wounds. Bobbie and Manuel push the injured man back into a lying position.)
 * Wounded Worker: (hissing from pain) ¡Las aves! ¡Los terribles pájaros! ¡Aves de presa! (The birds! The terrible birds! Birds of prey!)
 * Manuel: (to the patient) Cálmese. Háblame de las aves. (Calm down. Tell me about the birds.)
 * Bobbie: Manuel! Stop—
 * (The worker's head snaps toward Manuel, and a feral, desperate look enters the injured man's eyes.)
 * Wounded Worker: ¡Son violaciones de la naturaleza! ¡Tales pájaros no pueden existir, no deberían existir! (They're violations of nature! Such birds cannot exist, should not exist!)
 * (With a herculean effort, the worker pushes himself up with his arms. Suddenly, his face contorts into a horrible grimace, and he projectile vomits blood, causing Manuel to shriek. The worker collapses back onto the stretcher and goes into violent convulsions. A wide-eyed Bobbie clumsily tries to hold her patient still. The worker vomits blood again. There is blood all over him and the stretcher.)
 * Ed: (opening the door) What the hell's happening?!
 * (Ed sees the blood and turns away, his hand to his mouth. The spastic patient gives a final jerk, then lies still. Bobbie bends down and gives the patient mouth-to-mouth. Manuel looks on for a while, then puts a hand on Bobbie's shoulder. Bobbie slowly stands back up and looks forlornly at the lifeless body on the stretcher. Manuel tightens his grip on Bobbie's shoulder as he stares at the gory scene.)
 * (A few minutes later, the InGen crewmen carry the body outside as Bobbie and Manuel look on dejectedly. Ed walks up to the pair, wiping his mouth with the back of his hand.)
 * Ed: (muttering awkwardly) I'm sure you did all you could.
 * (At the calls of the crewmen, Ed hastily walks out to the helicopter. Bobbie watches as the chopper starts up and lifts thunderously into the stormy sky. She softly shuts the clinic door. Shaking her head solemnly, Bobbie steps toward the operating table, where Manuel is cleaning up the worker's blood.)
 * Bobbie: Where is that island they came from?
 * Manuel: (motioning out the window, toward the ocean) Far out. Perhaps a hundred, hundred and twenty miles.
 * Bobbie: Pretty far for a resort.
 * (Bobbie stands still, appearing lost in thought. She finally turns toward where she put her camera, but the camera is gone.)
 * Bobbie: Have you seen my camera?
 * Manuel: (looking up from the table) You left it there, right?
 * (Bobbie thinks for a moment, then scowls and curses under her breath.)
 * Manuel: Bobbie.
 * (Bobbie turns to Manuel. Manuel is holding something up to the light—a blood-caked feather.)
 * (The entire scene, except for the feather, fades to black. A haunting theme begins to play as a single quivering drop of blood forms at the tip of the feather quill. The drop suddenly falls, the blood pooling on the black background. The blood shapes itself into a strange pattern of red lines. Then, the scarlet pattern morphs further, eventually becoming the film's logo. Below the silhouette of a T-rex skeleton, blue letters spell "JURASSIC PARK".)