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Ðề tài: [US]King Kong (2005)

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    Talking [US]King Kong (2005)



    Đạo diễn: Peter Jackson

    Kịch bản: Fran Walsh, Philippa Boyens
    & Peter Jackson

    Diễn Viên: Naomi Watts, Jack Black, Adrien Brody...


    [CENTER]Kịch bản phim:

    KING KONG



    Written by

    Fran Walsh, Philippa Boyens and Peter Jackson



    Based on a Story by

    Merian C. Cooper and Edgar Wallace






    1.
    EXT. CENTRAL PARK - DAY

    CLOSE ON: A scrawny MONKEY scratches.

    ANGLES ON: Defeated, listless ANIMALS, in the bleak environs of a
    dilapidated ZOO.

    WIDER: It is CENTRAL PARK ZOO in depression era NEW YORK. The PARK
    itself is like a GARBAGE DUMP, dotted with squalid SHANTY TOWNS.

    Against these BLEAK IMAGES, the SOUND of a BRIGHT, BRASSY SONG
    fades up: Al Jolson, singing "I'm Sitting on Top of the World".

    The sky line of MANHATTAN rises in the background, a grim steaming
    jungle on this cold FALL day.
    I

    EXT. NY STREETS - DAY

    LONG continues over:

    IMAGES: The CROWDED STREETS of NEW YORK ... beneath the bustle is
    a sense of despair.

    LONG SOUP LINES snake along the STREETS.

    The HUNGRY search through RUBBISH BINS for FOOD. SKYSCRAPERS rise
    steadily upwards as more people are evicted from their homes.

    HOMELESS sleep amid steaming VENTS and GARBAGE STREWN GUTTERS.

    Intercut:


    INT. VAUDEVILLE THEATRE - NIGHT

    SONG continues over:
    I
    SANNY, an old-time VAUDEVILLIAN, hurriedly fixes a large DROOPY
    MOUSTACHE on to a YOUNG WOMAN'S TOP LIP ... this is ANN DARROW.

    IMAGES: Weird and wonderful snatches of VAUDEVILLE ACTS follow ...
    singers, jugglers, boxing ladies.
    E
    Intercut with:


    EXT. NY STREETS - DAY

    The COLOR and MUSIC contrast with the SOUP LINES and SLUMPED
    SHOULDERS of the REAL WORLD.

    INT. VAUDEVILLE THEATRE - NIGHT

    ANGLE ON: ANN on STAGE ... dressed as an ELEGANT GENT, she
    launches into `I'm Just Wild About Harry' with HARRY, a larger-
    than-life PERFORMER dressed in a FRILLY DRESS, BRASSY RED WIG and
    FALSIES.






    2.

    MANNY's CHARACTER joins in ... SNEEZING LOUDLY and causing ANN to
    take a SUDDEN PRAT FALL.

    nd so the ROUTINE BUILDS ... ANN and HARRY singing and dancing
    ... MANNY SNEEZING ... ANN falling.

    The AUDIENCE look on with bored expressions on their faces. All
    except ONE MAN at the BACK, who is LAUGHING HYSTERICALLY.

    CLOSE ON: ANN throwing everything into her ACT ... SWEAT rolls
    down her face ... she tries not to get distracted by the LAUGHING,
    WHEEZING MAN.

    WIDER: A SMATTERING of APPLAUSE from the TINY AUDIENCE. 40 PEOPLE
    in a THEATRE designed for 500.

    Crash cut:


    INT. DRESSING ROOM - NIGHT

    CLOSE ON: MANNY in the NOISY, CROWDED DRESSING ROOM, which is full
    of VAUDEVILLE PERFORMERS in various stages of undress.

    MANNY fires off a loud comical SNEEZE. He looks around at the
    others.

    ANNY
    That's a funny one! Isn't that
    funnier?

    HARRY
    It's hysterical, Manny. As long as
    we're laughing we won't be crying over
    the box office. Talk about depressing.

    ANGLE ON: ANN sitting down at a MIRROR, starting to take off her
    VEST ... a book entitled "ISOLATION" by Jack Driscoll lies half
    open on the counter top nearby...

    ANN
    Twenty girls in feather boas prancing
    around like circus ponies! That's
    depressing!

    ANGLE ON: MAUDE, a BLOWSY SINGER, lighting up a cigarette.

    MAUDE
    (fondly)
    I love a good chorus line!

    CLOSE ON: ANN brushing her HAIR. TAPS, a young tap dancer, leans
    across and picks up the book.

    TAPS
    What's this?

    ANN
    It's a play.



    3.

    MANNY
    Who wrote it, Annie?

    TAPS
    Some guy - Driscoll.
    reading the jacket of book)
    From the Federal Theatre.

    AUDE
    Don't knock it, honey - at least they
    get an audience.

    ANN
    It'll pick up .... Ain't that right,
    Manny?

    The DRESSING ROOM goes suddenly quiet ... MANNY looks away,
    refusing to meet ANN's eye.

    ANN (cont'd)
    (trailing off)
    It always does.


    EXT. DRESSING ROOM ALLEYWAY - NIGHT

    MANNY and ANN emerge from the STAGE DOOR, into an ALLEYWAY. Night
    and winter are setting in ...

    MANNY splutters out another LOUD SNEEZE.

    MANNY
    The trick is to start the build right
    at the back of your throat...
    (sneezing comically)
    Works well out through the nose too.

    ANN
    Have you eaten today?

    MANNY
    (sheepish)
    Oh, I'm not hungry. Don't worry about
    me.
    ANN
    Hey - you're all I've got.

    ANN slips her arm through MANNY'S ...

    ANN (cont'd)
    Come on - take me to dinner.

    MANNY
    You think the kitchen'll still be open
    on Third?




    4.

    ANN
    Soup and biscuits - perfect.

    Cut to:


    EXT. VAUDEVILLE THEATRE - DAY

    WIDE ON: The VAUDEVILLE THEATRE. The DOOR is chained closed.
    WORKMEN are up ladders, taking the HOARDINGS down SIGN and putting
    a large sign up: THEATRE CLOSED TILL FURTHER NOTICE ...

    ANN
    (calling out to Harry)
    Hey! Harry, what's going on?

    ANGLE ON: ANN ... rattling the HEAVY STEEL CHAINS that are LOCKED
    around the DOORS to the VAUDEVILLE THEATRE ...

    ANN(cont'd)
    Hey, open up! We work here.

    A WORKMAN up a LADDER smirks down at her.

    LADDER MAN
    Not anymore.

    A MOTLEY collection of VAUDEVILLE PERFORMERS cluster on the
    SIDEWALK ... near them an incongruous assortment of PROPS and
    COSTUMES litter the STREET ...

    MAUDE
    (calling at some WORKMEN)
    It's all right for you! We haven't had
    a pay check in two weeks - how we
    going to eat?

    ANN
    They're not going to get away with
    this.

    LOSE ON: MAUDE looks bleakly at ANN ...

    AUDE
    They just did.

    ANN tries to gather up PROPS - MANNY's BROOM, her TOP-HAT, HARRY'S
    parasol ...

    MANNY (O.S.)
    Ann ... Annie! It's no use.

    ANN turns ... Manny is standing quietly to one side.

    ANNY (cont'd)
    The show it's over - it's done.
    'm done. I'm leaving, Annie ... I'm
    going back to Chicago. I'm sorry ...

    ANGLE ON: ANN stares at MANNY in shock ..




    5.

    MANNY (cont'd)
    I'm sorry, Ann. Ever since you were
    small people have been letting you
    down. But you gotta think of yourself
    now. You should try out for that part.

    ANN looks at him warily ...

    MANNY (cont'd)
    It's what you've always wanted. Oh, I
    know what you're thinking - every time
    you reach out for something you care
    about ... fate comes along and
    snatches it away.

    MANNY, grabs ANN'S hand ...

    MANNY (cont'd)
    But not this time, Annie ... not this
    time.

    LOSE ON: ANN as she digests MANNY'S words ... the LOUD rumble
    of an EL TRAIN thunders overhead ...


    EXT. NY STREETS - DAY

    ANGLE ON: WESTON, a NEW YORK THEATRE PRODUCER, strides out of
    his office, a copy of VARIETY tucked under his arm ...

    ANN
    (faux nonchalance)
    Oh, hello Mr. Weston?!

    WESTON turns and sees ANN ... he quickens his step.

    WESTON
    Oh, Jeez ...

    ANGLE ON: ANN falls into step beside WESTON as he hurries
    along the BUSY SIDEWALK.

    WESTON (cont'd)
    Look, Miss ... I told you already;
    call my office - leave your resume
    with my secretary.

    ANN doggedly follows WESTON ...

    ANN
    Why would I want to do that when we
    can talk about it in person?

    WESTON
    Because that's what a smart girl would
    do.

    ANN
    But I already sent you my resume - you
    returned it unopened.






    6.

    WESTON
    What can I say? Jack Driscoll's very
    particular about who he works with.

    ANN
    Please, just an audition - that's all
    I'm asking.

    WESTON
    esus - you don't give up, do you?

    ANN
    Mr. Weston, I know this role
    backwards.

    ESTON
    ell, that's too bad - because we just
    gave the part to someone else. Sorry,
    kid - the play is cast.

    They are standing outside an ITALIAN RESTAURANT ... WESTON goes to
    enter ...

    ANN catches a glimpse of PLATES of FOOD and GLASSES of WINE. She
    quickly looks away. WESTON catches the glance and stops.

    WESTON (cont'd)
    Look - I know times are tough. You
    want my advice? Use what you got.
    You're not bad looking - a girl like
    you doesn't have to starve.

    HOPE flickers in ANN'S EYES as WESTON fishes into his POCKET
    for a PEN and BUSINESS CARD. He scribbles down an address.

    WESTON (cont'd)
    There's a new place, just opened.
    (handing to her)
    Listen, princess - this gig ain't the
    Palace, you understand? Ask for Kenny
    K. Tell him I sent you.

    WESTON hands her the BUSINESS CARD ... ANN looks down at the
    address, not recognizing it. She looks at him questioningly.

    ESTON (cont'd)
    (evasive)
    Just play the date, take the money and
    forget you was ever there.

    CLOSE ON: ANN staring down at the piece of paper in her hand.


    INT. NY SCREENING ROOM - DAY

    LICKERING B&W IMAGES: TIGERS ROARING ... BRUCE BAXTER, in a
    PITH HELMET, stalking through undergrowth ... He raises his
    rifle and fires! CLICK! The gun is JAMMED. BRUCE turning to
    CAMERA, speaking soundlessly.





    7.

    CLOSE ON: A SLEEPY looking LION. A PIECE of MEAT is lowered
    into frame ... DENHAM appears briefly holding the MEAT. He is
    attempting to STIR the yawning ANIMAL into life. CAMERA TILTS
    UP briefly revealing the bars of a CAGE. PRESTON'S FACE appears
    C
    above a CLAPPER BOARD ... "TAKE 5"

    LOSE ON: CARL DENHAM sitting in the smoky SCREENING ROOM. He
    is nervous ... his eyes flick from one INVESTOR to the other ...
    trying to read the room.

    ZELMAN
    How much more is there?

    ASSISTANT
    Another five reels.

    ZELMAN
    Lights up.

    Light floods the room as the washed out image on screen is
    extinguished.

    DENHAM notices a sleazy looking INVESTOR wake up with a start.

    THUGGISH INVESTOR
    This is it? This is what we get for
    our forty grand, Denham? Another one
    of your Safari pictures?

    LEAZY INVESTOR
    You promised us romantic scenes with
    Bruce Baxter and Maureen McKenzie.

    DENHAM
    Come on, fellas - you know the deal -
    we agreed to push Maureen's start date
    so she could get her teeth fixed.

    THUGGISH INVESTOR
    It's not the principle of the thing -
    it's the money.

    ELMAN
    Carl - you've been in production for
    over two months -

    DENHAM
    Trust me, Bruce and Maureen are gonna
    steam up the screen - once we get them
    on the ship.
    Z
    ELMAN
    What ship?

    DENHAM
    The one we've hired to get to the
    location.

    DENHAM hurriedly pulls himself up - as ZELMAN turns on him.




    8.

    ZELMAN
    What location? Carl - you're supposed
    to be shooting on the back-lot.

    DENHAM
    Yes, I understand that - but fellas,
    we're not making that film anymore -
    and I'll tell you why.

    DENHAM gets out of his SEAT and moves to the FRONT of the ROOM.

    DENHAM (cont'd)
    The story has changed, the script has
    been rewritten.

    DENHAM turns to face the room, whipping a TATTERED MAP out of his
    pocket.

    DENHAM (cont'd)
    Life intervened! I've come into
    possession of a map.
    growing excitement)
    The soul surviving record of an
    unchartered island, a place that was
    thought to exist only in myth ...
    until now!

    ZELMAN
    Whoa! Carl - slow down!

    SLEAZY INVESTOR
    Is he askin' for more money?

    THUGISH INVESTOR
    He's asking us to fund a wild goose-
    chase.

    DENHAM
    I'm talking about a primitive world
    ... never before seen by man! The
    ruins of an entire civilisation - the
    most spectacular thing you've ever
    seen!
    (dramatiC pause)
    That's where I'll shoot my picture!

    SILENCE for a beat ... And then -

    SLEAZY INVESTOR
    Will there be boobies?

    DENHAM is momentarily SPEECHLESS.

    DENHAM
    Excuse me, boobies?

    9.

    SLEAZY INVESTOR
    Jigglies, jablongers, bazoomers! ...
    In my experience people only go to
    these films to observe the ...
    undraped form of the native girls.

    DENHAM
    What are you - an idiot? You think
    they asked De Mille to waste his time
    on nudie shots? No - they respected
    the film maker, they showed some
    class! Not that you'd know what that
    means - you cheap low-life!

    ZELMAN shifts uncomfortably in his seat as THUGGISH shoots him an
    ANGRY LOOK.

    ZELMAN
    Would you step outside for a moment,
    Carl?

    DENHAM looks at them ... the INVESTORS avoid EYE CONTACT.


    INT. SCREENING ROOM LOBBY - DAY


    AS DENHAM STEPS INTO THE LOBBY, PRESTON, HIS LONG SUFFERING
    ASSISTANT WAITS ON A SOFA.

    DENHAM points suddenly to the GLASS OF WATER on the TABLE next to
    PRESTON.

    DENHAM
    Gimme that - quick!

    PRESTON hands him the WATER.

    PRESTON
    You won't like it, it's non-alcoholic!

    DENHAM empties the GLASS into a POT PLANT.

    DENHAM
    Preston, you have a lot to learn about
    the motion picture business.

    ANGLE ON: DENHAM quietly places the GLASS against the SCREENING
    ROOM DOOR, and presses his ear against it.


    INT. NY SCREENING ROOM - DAY

    ZELMAN looks to the INVESTORS.

    ZELMAN
    Don't write him off fellas. He's hot-
    headed sure, but Carl Denham's made
    some interesting pictures, he's had a
    lot of ... near success.






    10.

    THUGGISH INVESTOR
    (interrupts)
    He's a preening self promoter ...


    INT. SCREENING ROOM LOBBY - DAY

    CLOSE ON: DENHAM listening ...

    THUGGISH INVESTOR (O.S.)
    (through the door)
    ... an ambitious no-talent! The guy
    has "loser" written all over him.

    ELMAN (O.S.)
    Look, I understand your
    disappointment.

    HUGISH INVESTOR (O.S.)
    He's washed up - It's all over town!

    SLEAZY INVESTOR (O.S.)
    He can't direct. He doesn't have the
    smarts.


    INT. SCREENING ROOM LOBBY - DAY

    THUGGISH INVESTOR
    This jumped up little turd's gonna
    bankrupt us.

    ZELMAN
    The animal footage has value?

    SLEAZY INVESTOR
    Sure ... Universal are desperate for
    stock footage.

    THUGGISH INVESTOR
    Then sell it! Scrap the picture! We
    gotta retrieve something from this
    debacle.
    Z
    ELMAN nods ... gestures to the YOUNG ASSISTANT.

    ZELMAN
    Get him back in.

    ANGLE ON: The YOUNG ASSISTANT opens the DOOR, steps into the LOBBY
    which is ...

    YOUNG ASSISTANT
    Mr. Denham?

    ... EMPTY.




    11.


    EXT. NEW YORK STREETS - DAY

    ANGLE ON: DENHAM and PRESTON hurrying down the CROWDED SIDEWALK -
    struggling under the weight of 8 FILM CANS! DENHAM is glancing
    back over his shoulder.

    DENHAM
    I want the cast and crew on the ship
    within the hour.

    RESTON
    o Carl, you can't do this!

    DENHAM
    Tell `em the studio's pressured us
    into an early departure.

    PRESTON
    It's not ethical!

    DENHAM
    hat are they gonna do - sue me? They
    can get in line! I'm not going to let
    them kill my film.

    ANGLE ON: PRESTON follows DENHAM, who steps off the curb ... and
    flags a CAB down. He cuts across the BUSY ROAD, PRESTON hurrying
    behind.

    RESTON
    ou realize none of the camera
    equipment is on board. We have no
    permits ... no visas ...

    DENHAM
    hat's why I have you, Preston.

    RESTON
    We have no insurance, no foreign
    currency - in fact, we have no
    currency of any kind -

    ANGLE ON: DENHAM looks back across the STREET and notices an angry
    INVESTOR heading towards him.

    DENHAM
    Get in there!

    PRESTON suddenly finds himself BUNDLED into the back of a CAB.

    PRESTON
    ho's gonna pay for the ship?

    QUICK MOMENT: The SLEAZY INVESTOR grabs at the PARTIALLY OPEN BACK
    WINDOW of the CAB.

    SLEAZY INVESTOR
    Get out of there!




    12.

    DENHAM hurriedly WINDS the WINDOW SHUT ... the SLEAZY INVESTOR
    yelps with PAIN, as he yanks his JAMMED FINGERS away from the CAB!

    DENHAM
    tep on it!

    SLEAZY INVESTOR
    (furious)
    You're finished, Denham!

    ANGLE ON: PRESTON sprawled on the SEAT, amid a PILE of FILM CANS,
    as the CAB speeds away!

    DENHAM
    on't worry Preston - I've had a lot
    of practice at this: I'm real good at
    crapping the crappers.

    CUT TO:


    LATER ...

    AERIAL WIDE: DENHAM'S CAB cruises along the CROWDED STREETS of NEW
    YORK.

    DENHAM
    And two dozen of Mr. Walker's finest
    ...

    PRESTON (O.S.)
    Red label, 80% proof - packed in a
    crate marked "lemonade".


    INT. NY CAB - DAY

    ANGLE ON: PRESTON and DENHAM sit on the BACK SEAT. PRESTON is
    feverishly scribbling on his NOTEPAD.

    DENHAM
    You got it ... and tell Maureen - she
    doesn't have six hours to put on her
    face. If she wants to be in this
    picture, she's gotta be on that boat!

    PRESTON
    She doesn't want to be in this
    picture.

    DENHAM looks at him blankly.
    P
    RESTON (cont'd)
    Maureen pulled out.

    DENHAM
    She pulled out?!

    RESTON
    Yesterday. I told you.





    13.

    DENHAM
    (suspicious thought)
    You said we were shooting in
    Singapore, right? That's what you told
    her?

    PRESTON
    But we're not shooting in Singapore.

    DENHAM
    exasperation)
    Goddammit, Preston! All you had to do
    is look her in the eye and lie.

    DENHAM turns away, his brain whirring ... thinking hard ...

    DENHAM (cont'd)
    I gotta get to a phone ... talk to
    Harlow's people.

    PRESTON
    he`s unavailable.

    HIGH WIDE: DENHAM'S CAB wends it's way through BUSY NEW YORK
    streets ...

    DENHAM (O.S.)
    Myrna Loy? Clara Bow? Mae West?

    PRESTON
    Mae West?! No! She has to be a size
    four!


    INT. NY CAB - DAY

    ANGLE ON: PRESTON and DENHAM sit on the BACK SEAT.

    PRESTON
    ou gotta get a girl who'll fit
    Maureen's costumes.

    DENHAM
    (sudden inspiration)
    Fay's a size four!

    PRESTON
    es she is, but she is doing a picture
    with RKO.

    DENHAM looks away, muttering to himself ...

    DENHAM
    ooper huh?
    (darkly)
    I might have known.




    14.


    EXT. NY STREETS - DAY

    ANGLE ON: The CAB screeches to a SUDDEN HALT in MID-TRAFFIC ...
    DENHAM jumps out, leaving PRESTON in protest ...

    PRESTON
    We gotta delay the shoot - shut
    production down ... We can't sail
    tonight!

    DENHAM
    Not an option.

    RESTON
    Carl!

    DENHAM
    I said I'd find a girl.

    DENHAM turns and looks at PRESTON briefly.

    DENHAM (cont'd)
    For Godsake, Preston - think like a
    winner. Call Jack ... I need that
    Goddamn screenplay!

    ANGLE ON: DENHAM leans in the window, PRESTON looks on PERPLEXED.

    DENHAM (cont'd)
    Defeat is always momentary.

    DENHAM bangs the CAB ROOF with his hand, and then strides off
    confidently along the street.


    EXT. BURLESQUE THEATRE - EVENING

    CLOSE ON: A series of PHOTOS of SEMI NAKED WOMEN, with feather
    boas and peacock fans ... gaudy banners proclaiming Miss Lily Rose
    ... Delaware Du Boise ... Velvet Cushions ...
    W
    IDER: DENHAM is standing outside a tacky BURLESQUE THEATRE. He
    straightens his tie and heads towards the DOOR.

    ANGLE ON: A couple of LARGE GIRLS, followed by a SMALLER GIRL,
    arrive for work and enter the BURLESQUE THEATRE ... DENHAM eyes
    the BIGGER GIRLS, then chooses to follow the SMALLER ONE.

    ANGLE ON: DENHAM is reaching for the DOOR HANDLE to go inside,
    when he suddenly pauses, his eye caught by the REFLECTION in the
    GLASS DOOR ...

    LOSE ON: ANN ... standing in the MIDDLE of the SIDEWALK. She is
    unaware of DENHAM watching her. ANN stares grimly at the BURLESQUE
    HOARDINGS, the FLYER clutched in her hands, a small knot of anger
    forming in her stomach.

    LOSE ON: DENHAM's HAND lets go of the DOOR. His eyes lock on ANN
    through the sea of PEDESTRIANS.




    15.

    ANN angrily CRUMPLES the FLYER, drops it in the GUTTER and walks
    C
    away from the THEATRE.

    LOSE ON: DENHAM ... watching her leave.


    EXT. FRUIT STALL - EVENING

    A BUSY FRUIT STALL on the SIDEWALK. The VENDOR is hurriedly
    handing out APPLES and pocketing NICKELS.

    ANGLE ON: ANN walks slowly by ... her eyes on the FRUIT. She
    glances at the VENDOR, SWIPES an APPLE from the TRAY, and quickly
    moves on, slipping the APPLE into her POCKET.

    ANN'S arm is suddenly GRABBED! The ANGRY VENDOR pulls her hand
    out of her pocket, which is still clutching the stolen apple.

    VENDOR
    (angry)
    You gonna pay for this?

    ANN tries to pull away. The VENDOR's grip on her arm tightens.

    DENHAM (O.S.)
    Excuse me ...

    ANGLE ON: DENHAM steps up behind them up HOLDING a NICKEL ...

    DENHAM (cont'd)
    Ma'am, I think you dropped this.

    ANGLE ON: THE VENDOR snatches the NICKEL from DENHAM'S fingers.


    INT. NY DINER - EVENING

    ANGLE ON: ANN is eating from a FULL PLATE, trying to disguise her
    HUNGER. DENHAM walks over carrying a CUP of COFFEE.

    DENHAM
    Vaudeville huh? I worked Vaudeville
    once... that is a tough audience. If
    you don't kill them fast, they kill
    you.

    ANN
    Mr. Denham - I want you to know that
    I'm not in the habit of accepting
    charity from strangers, or for that
    matter ... taking things that don't
    belong to me.
    D
    DENHAM
    t was obviously a terrible
    misunderstanding.

    ANN
    It's just that, I haven't been paid in
    a while ...




    16.

    DENHAM
    mock sincerity)
    That's awful. Anyway, Ann - may I call
    you Ann?

    DENHAM leans forward ... lowering his voice.

    DENHAM (cont'd)
    ... You wouldn't happen to be a size
    four by any chance?

    ANN pauses mid way through a mouthful of food, her appetite
    suddenly draining away. She abruptly stands.

    DENHAM (cont'd)
    No! Oh God, no! You've got me all
    wrong. Miss Darrow, please! I'm not
    that type of person at all!

    ANN
    What type of person are you?

    DENHAM
    I'm someone you can trust, Ann. I'm a
    movie producer.
    (sincere)
    Believe me, I am on the level, no
    funny business. Please, sit down -
    Please ... Please.

    ANN hesitates a moment before sitting down once again.

    DENHAM (cont'd)
    (pitching the film)
    Ann, I want you to imagine a handsome
    explorer bound for the Far East.

    ANN
    You're filming in the Far East?

    ANGLE ON: DENHAM looking her in the eye and lying.

    DENHAM
    Singapore. On board ship he meets a
    mysterious girl. She's beautiful ...
    she's fragile ... haunted ...

    ANN looks up ... caught by the tale DENHAM is weaving.

    DENHAM (cont'd)
    She can't escape the feeling that
    forces beyond her control are
    compelling her down a road from which
    she cannot draw back. It's as if her
    whole life has been a prelude to this
    moment - this fateful meeting that
    changes everything. And sure enough,
    against her better judgement -

    17.

    ANN
    She falls in love.

    DENHAM
    Yes!

    ANN
    But she doesn't trust it. She's not
    even sure if she believes in love.

    DENHAM
    Oh really?

    ANN
    If she loves someone - it's doomed.

    DENHAM
    Why is that?

    ANN
    Good things never last, Mr. Denham.

    An awkward pause ... ANN looks away, having revealed too much.
    DENHAM considers her a beat, realising something ...

    DENHAM
    So you're interested?

    ANGLE ON: DENHAM hurriedly gathering up his hat and coat.

    DENHAM (cont'd)
    That's settled then. I don't want to
    rush you - but we are under some time
    pressure here.

    ANN
    Well I really -

    DENHAM
    Ann? I'm telling you, You're perfect -
    look at you! You're the saddest girl I
    ever met ... you're gonna make `em
    weep, Ann - you're gonna break their
    hearts!

    ANN
    See, that's where you're wrong, Mr.
    Denham, I make people laugh, that's
    what I do.

    ANN suddenly STANDS.

    ANN (cont'd)
    Good luck with your picture.

    DENHAM follows ANN to the DOOR ...

    DENHAM
    (growing desperation)
    Ann! Miss Darrow! Please!




    18.
    I'm offering NHAM(cont'd)
    DE you money, adventure,
    fame ... the thrill of a lifetime and
    a long sea voyage. You wanna read a
    script? Jack Driscoll's turning in a
    draft as we speak.

    ANN stops and turns. A

    ANN
    Jack Driscoll?

    DENHAM
    ure. Why - wait! You know him?

    ANN
    Well, no - not personally. I've seen
    his plays.

    DENHAM, sensing her interest, starts to get excited.

    DENHAM
    What a writer, huh? And let me tell
    you Ann, Jack Driscoll doesn't want
    just anyone starring in this picture.
    He said to me, "Carl, somewhere out
    there is a woman born to play this
    role ..."
    (quiet realization)
    And as soon as I saw you, I knew -

    ANN
    (uneasy)
    Knew what?

    DENHAM
    It was always going to be you.

    SLOW PUSH IN on ANN as she realises she is standing on the brink
    of a life changing moment.


    EXT. NY DOCKS - NIGHT

    ANGLE ON: The CROWDED DOCKS ... a clutter of SHIPS and SHANTY
    TOWNS. A CAB drives onto the DOCKS. DENHAM hops out and holds the
    door open for ANN, who emerges carrying a BATTERED SUITCASE.

    ANN stares at a LARGE OCEAN GOING LINER that rises above her.

    ANN
    (awestruck)
    Is this the moving picture ship?

    DENHAM
    Not exactly ... it's actually this one
    over here.

    ANGLE ON: DENHAM is striding towards a RUSTY BATTERED TRAMP
    STEAMER on the OTHER SIDE of the WHARF! This is "The Venture".





    19.

    DENHAM (cont'd)
    Don't let appearances deceive you.
    It's much more spacious on board.

    HAYES
    Haul away ...

    ROUGH looking SAILORS are working hard to get the boat under way.
    Hurried activity everywhere, crates being loaded; smoke begins
    pouring from the stacks ...

    DENHAM crosses and talks to MIKE and HERB who stand next to some
    film gear.

    DENHAM
    Is this all of the equipment? This is
    all of it? We're taking the Bell and
    Howell? Good. You got all the lenses -
    you got the two and the six?

    PRESTON (O.S.)
    Carl!

    DENHAM
    Yes -
    to MIKE and HERB)
    Get it on board, fellas. Come on.
    A
    NGLE ON: PRESTON hurrying down the GANGWAY. He rushes up to
    DENHAM ... his eyes flick to ANN, but he pulls DENHAM to one side.

    PRESTON
    (urgent whisper)
    They're on their way. I've just had
    word.

    DENHAM
    Who?

    PRESTON
    (whisper)
    Men in uniform. The studio called the
    cops!

    A FLASH of FEAR crosses DENHAM'S FACE ... DENHAM calls across to
    a TALL FIGURE who is supervising the loading of the ship.

    DENHAM
    Englehorn! Cast off! Hoist up the
    mainsail - raise the anchor, whatever
    the hell it is you do - we gotta
    leave.

    ENGLEHORN
    I cannot do that ... we're waiting on
    the manifest.

    DENHAM
    What? Who? English - please!





    20.

    ENGLEHORN
    (dryly)
    Paperwork, Mr. Denham.

    DENHAM leans in conspiratorially ...

    DENHAM
    (low voice)
    I'll give you another thousand to
    leave right now.

    ENGLEHORN
    You haven't given me the first
    thousand yet.

    DENHAM glances at ANN, flustered and embarrassed.

    DENHAM
    Can we talk about this later. Can't
    you see we're in the company of a VIP
    guest?

    ENGLEHORN's gaze falls upon ANN ...

    ENGLEHORN
    Ma'am...

    ANN
    Ann Darrow.

    ENGLEHORN
    So you are ready for this voyage, Miss
    Darrow?

    ANN
    Sure...

    ENGLEHORN
    Nervous?

    ANN
    Nervous - no. Why? Should I be?

    ANN looks taken aback ...

    ENGLEHORN
    It isn't every woman who would take
    such a risk.

    DENHAM throws PRESTON a look!

    PRESTON
    (hurriedly)
    Why don't I show Miss Darrow to her
    cabin?

    DENHAM
    Wonderful idea, thank you, Preston.




    21.

    PRESTON
    Miss Darrow, if you'd just - Hi, my
    name is Preston, Carl's assistant.

    DENHAM pulls his CHEQUE BOOK from his JACKET POCKET.

    DENHAM
    Two thousand - it's a deal ... Will
    you take a cheque?

    ENGLEHORN
    Do I have a choice?
    E

    EXT. VENTURE/NY DOCKS - NIGHT

    ANGLE ON: PRESTON goes to lead ANN up the GANG WAY past some rough-
    looking sailors, onto the SHIP - "THE VENTURE".

    PRESTON
    Please, follow me. If there's anything
    that you need ... `excuse me fellas,
    if there's anything that you need
    please don't hesitate to ... ask ...

    PRESTON turns back to see ANN hesitating at the bottom of the GANG
    WAY ... an unnerved expression on her face ...

    ANN steps forward ... Deep breath, she follows PRESTON.


    INT. ENGINE ROOM - NIGHT

    BEEFY SAILORS shovel COAL into the SHIP'S FURNACE ... another
    cranks a valve on the pistons.


    INT. DENHAM'S CABIN - NIGHT

    ANGLE ON: DENHAM enters his CABIN looking FLUSTERED. He is
    STARTLED to find JACK DRISCOLL waiting for him. DRISCOLL is a
    WRITER, well dressed in a SHABBY sort of way.

    DENHAM
    Jesus, Jack - you scared me!

    DENHAM crosses to a cabinet and breaks into a CRATE OF JOHNNY
    WALKER.

    DENHAM (cont'd)
    Listen, if anyone comes to the door,
    don't open it. You haven't seen me ...
    say I got depressed and committed
    suicide. Say I stuck my head down a
    toilet!
    holding up a bottle)
    You want one?




    22.

    JACK
    No! I can't stay, Carl. I have a
    rehearsal for which I am now ...
    checks WATCH)
    ... three hours late.

    JACK throws a FEW SCRIPT PAGES across the TABLE.

    DENHAM
    What's this?

    JACK
    It's the script.

    DENHAM
    This is a script? Jack ... this is
    fifteen pages.

    ACK
    I know - but they're good! You've got
    fifteen good pages there, Carl!

    DENHAM
    I'm supposed to be making a feature
    length picture.

    JACK
    You told me I had more time. I'm
    sorry. Look I gotta go.

    DENHAM
    Jack - No - you can't do this to me! I
    have a beginning but I need a middle
    and an end! I gotta have something to
    shoot.

    The SHIP'S ENGINES roar into life ... JACK stands to leave.

    JACK
    You got my notes - I gotta go. See
    you.

    CLOSE ON: DENHAM looking DISMAYED. He stares blankly at the RUSH
    of ACTIVITY through the PORTHOLE WINDOW behind JACK.

    OV: The VENTURE'S CREW hurriedly RELEASE ROPES in preparation for
    the ship's imminent departure.

    DENHAM'S expression slowly CHANGES ...

    DENHAM
    Alright, fine. We might as well settle
    up.

    JACK looks ASTONISHED as DENHAM pulls out his CHEQUE BOOK.

    JACK
    You're going to pay me?




    23.

    DENHAM
    I'm not going to stiff a friend.

    ACK
    I've never known you to volunteer cash
    before ...

    DENHAM
    How does two grand sound?

    JACK
    Sounds great!

    DENHAM
    Thought it might.

    DENHAM'S eyes flick to the WINDOW ... sees SAILORS are hauling up
    the GANGPLANK.

    NGLE ON: A SAILOR CRANKS a series of VALVES as the SHIP'S PISTONS
    crank in to life.

    DENHAM signs the CHEQUE, and hands it over with a FLOURISH ...
    D
    DENHAM (cont'd)
    (signing with a flourish)
    Voila!

    JACK snatches the CHEQUE and turns to leave.

    JACK
    Thanks...

    JACK glances at it.

    JACK (cont'd)
    Carl ... you've written "Two Grand".

    DENHAM takes the CHEQUE back ...

    DENHAM
    So I did ... Sorry about that
    (screwing it up)
    Let's start from the beginning.

    DENHAM (cont'd)
    (writing)
    "Two Thousand Dollars" ...

    ANGLE ON: The ship's PISTONS PUMP faster.

    DENHAM looks up at JACK, a confused look on his face.

    DENHAM (cont'd)
    It is the 29th, isn't it?

    JACK
    (anxious)
    Come on - it's the 25th, Carl, the
    25th!




    24.

    ANGLE ON: JACK suddenly realises the SHIP is about to leave.

    DENHAM
    I'm sorry. Let me just ... It'll just
    take a second.

    DENHAM screws up the CHEQUE again! The VIBRATION of the ENGINES
    picks up. JACK heads for the DOOR!

    JACK
    Never mind, pay me when you get back!

    DENHAM
    (knowing)
    Alright ... okay ...


    INT. ENGINE ROOM - NIGHT

    CLOSE ON: THE SHIPS GAUGES SPRING INTO ACTION.


    EXT. VENTURE STERN

    CRANE DOWN the stern of the ship as the PROPELLER kicks into
    action.


    INT. SHIP'S CORRIDOR - NIGHT

    NGLE ON: BRUCE BAXTER walking along the CORRIDOR, with PRESTON
    following behind laden with LUGGAGE. BRUCE is in his early
    thirties ... He is QUICK WITTED, SOPHISTICATED and CHARMING...
    but his career as a SCREEN ACTOR has badly stalled.

    PRESTON
    Your cabin's just down here,
    Mr. Baxter. May I say how excited we
    are to have you back with us, Sir.

    ANGLE ON: JACK is hurrying down the corridor towards the DOOR. He
    feels the SHIP MOVING! He suddenly collides with BRUCE, who
    thrusts a SUITCASE at him.

    BRUCE
    Be a sport and lend us a hand.

    JACK
    Oh, Christ!

    JACK looks desperately out of the PORTHOLE, doubles back and BOLTS
    AWAY.

    BRUCE
    (dryly)
    Appreciate the help, fella.

    PRESTON
    Let me get the door for you - welcome
    to your state room sir.




    25.


    INT. BRUCE'S CABIN - NIGHT

    ANGLE ON: BRUCE is clearly unimpressed with the TINY CABIN. He
    reacts to the SMELL.

    RESTON
    know, that's not a nice smell is it?
    I'm sure it'll disperse in a day or
    two. Did I ever mention how much I
    love your work, Mr. Baxter? I've seen
    every one of your pictures ... even
    the silent ones.

    RUCE
    I haven't made any silent ones.

    BRUCE gently closes the DOOR in PRESTON'S FACE - leaving him
    silently CURSING to himself in the CORRIDOR.


    EXT. VENTURE WHEELHOUSE - NIGHT

    ANGLE ON: The PROPELLER CHURNS through the WATER ...

    ENGLEHORN watches the VENTURE pull away from the dock ...
    Satisfied, he enters the WHEELHOUSE ...

    ENGLEHORN
    Dead slow ahead both, Mr Hayes.

    HAYES
    Dead slow ahead both, Captain.


    EXT. VENTURE/NY DOCKS - NIGHT

    ANGLE ON: JACK emerges from the labyrinthine SHIP INTERIOR and
    rushes to the RAIL of the SHIP ... he freezes in HORROR!

    JACK
    Oh Christ!

    ANGLE ON: The SHIP is PULLING AWAY from the DOCK ... 6 feet ...
    7 feet ... JACK contemplates JUMPING for a MOMENT:

    JACK (cont'd)
    Goddammit!


    EXT. NY DOCKS

    POLICE CARS race along the docks towards the VENTURE, SIRENS
    wailing.


    EXT. VENTURE DECK - NIGHT

    JACK SLUMPS on the DECK in DESPAIR. He's missed his chance to
    get off the ship.




    26.

    DENHAM steps up behind JACK, just as a POLICE CAR, followed by
    ZELMAN and the INVESTORS, pull up on the DOCKS in the DISTANCE.

    DENHAM
    I keep telling you, Jack, there's no
    money in theatre.

    CUT TO:


    EXT. NY DOCKS - NIGHT

    The INVESTORS leap out of the car.

    SLEAZY INVESTOR
    No, no, no!


    EXT. VENTURE DECK - NIGHT

    The VENTURE steams past the LIGHTS of MANHATTAN.

    DENHAM
    You're much better off sticking with
    film.

    JACK
    I don't do it for the money, Carl. I
    happen to love the theatre.

    DENHAM
    o, you don't.

    JACK looks at him exasperated as DENHAM casually taps his PIPE
    on the RAIL of the BOAT.

    DENHAM (cont'd)
    If you really loved it, you would have
    jumped.


    EXT. NY DOCKS - NIGHT

    WIDE ON: ZELMAN throws his hat to the ground in anger as THE
    VENTURE pulls away from the docks.


    EXT. NEW YORK HARBOUR - NIGHT

    WIDE ON: The VENTURE steams away from the DOCKS, passing under the
    MANHATTAN BRIDGE.


    INT. ANN'S CABIN - NIGHT

    CLOSE ON: ANN tests her mattress with her hands. ANN straightens &
    turns, perching on the edge of the BUNK.





    27.

    PRESTON
    (apologetic)
    I hope you find it to your liking...
    it's quite comfortable. Your towels
    and linens are underneath the bed.
    That is the wash basin. I know, that's
    not a pleasant smell - is it? I'm sure
    it'll disperse in a day or two.

    RESTON dances over to the WARDROBE.

    PRESTON (cont'd)
    The closet ... your costumes - I hope
    you'll find everything is in order. If
    there is anything that you need,
    please do not hesitate to ask...fresh
    water, perhaps? I can bring it to you
    personally.

    PRESTON is interrupted by a knock on the CABIN DOOR...

    ANGLE ON: The DOOR opens and DENHAM enters. He thrusts a bottle of
    JOHNNY WALKER SCOTCH into ANN'S HANDS ...

    DENHAM
    Knock knock! We can't have our leading
    lady deprived of the necessities of
    life.
    to PRESTON)
    Do me a favour - run a bottle down to
    Jack. It'll fend off his migraine.

    PRESTON
    They're still trying to find a place
    for him to sleep.

    DENHAM
    (to PRESTON)
    You told him my typewriter is
    available for hire?

    RESTON
    Yes - he didn't take it well.

    PRESTON departs down the corridor.

    ANN
    (confused)
    Mr. Driscoll ...?

    DENHAM turns and looks at ANN.

    ANN (cont'd)
    He's on board?

    DENHAM
    Jack has his heart set on coming. Call
    me a softie - I couldn't say no.

    28.


    INT. SHIPS HOLD - NIGHT

    ANGLE ON: CHOY is showing JACK to his sleeping QUARTERS, carrying
    BLANKETS.

    JACK stares in DISBELIEF at the DINGY HOLD strewn with STRAW
    BALES and EMPTY ANIMAL CAGES. He reacts to the SMELL.

    CHOY
    This room very comfortable, plenty dim
    light ... fresh straw.

    JACK
    What'd you keep down here?

    CHOY
    Lion, tiger, hippo - you name it.

    Jack
    What, do you sell them to Zoos?

    CHOY
    Zoos ... circus ...
    (lowers voice)
    Skipper get big money for rare animal.
    (alarmed)
    Careful! Camel have bad accident on
    floor. Stain unremovable ...

    JACK looks down. He's standing in a dark, viscous PUDDLE OF GUNGE.

    CHOY (cont'd)
    (lowers voice)
    Skipper catch any animal you want. He
    do you real good price on rhite wino.
    E
    ENGLEHORN
    (sternly)
    Choy!

    ANGLE ON: CHOY clams up as ENGLEHORN strolls into the hold.

    ENGLEHORN (cont'd)
    My apologies for not being able to
    offer you a cabin. Have you found an
    enclosure to your taste?

    JACK
    (dryly)
    Spoilt for choice.

    ENGLEHORN surveys a COUPLE OF LARGE CAGES.

    ENGLEHORN
    What are you, Mr. Driscoll, a lion or
    a chimpanzee?

    JACK opens a CAGE large enough to sleep in.




    29.

    JACK
    Maybe, I'll take this one.

    He steps back with SURPRISE as a WOODEN CRATE TOPPLES, spilling
    out a LARGE MEDICAL BOTTLE. CHOY looks up in SHOCK as the BOTTLE
    ROLLS towards ENGLEHORN who coolly TRAPS it with his FOOT.
    E
    ENGLEHORN
    I told you to lock it up.

    CHOY
    (scared)
    Sorry, Skipper! Lumpy said -

    ENGLEHORN
    (interrupts)
    Lumpy doesn't give the orders. What
    are you trying to do? Put the whole
    ship to sleep? Get them out of here!

    ENGLEHORN hands the BOTTLE to a nervous CHOY. JACK stares at the
    CRATES stacked in the CAGE.

    CLOSE ON: Piles of BOTTLES, all marked "Chloroform".


    EXT. VENTURE - DAY

    WIDE ON: The VENTURE ploughs through a HEAVY SWELL.


    INT. BRUCE'S CABIN - DAY

    NGLE ON: BRUCE pins movie posters from some of his previous films
    on his cabin wall ... He steps back, admiring them.


    INT. SHIPS HOLD - DAY

    ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER
    propped up on BOXES. He is clearly very QUEASY, as he tries to
    stay focussed on the TYPEWRITER KEYS.

    He sees JIMMY carrying a TRAY come into view, he COUGHS and CLAMS
    UP.

    JIMMY
    Compliments of the chef -

    ANGLE ON: JIMMY unloading the BOWLS of GREY looking STEW from the
    TRAY.

    LOSE ON: JIMMY puts the BOWL next to JACK ... who takes one look
    at it, and SQUEEZES his eyes closed.

    JACK (O.S.)
    Oh Christ - oh God!

    JIMMY
    Lambs brains in walnut sauce.





    30.

    The CAGES and ROPES SWAY with each roll of the WAVES ... JIMMY
    walks away.

    ANGLE ON: JACK looking very nauseated ...

    HAYES (O.S.)
    Jimmy!

    JIMMY spins round, a guilty look on his face.

    HAYES (cont'd)
    You run those ropes up on deck like I
    told you?

    JIMMY
    Doing it now, Mr. Hayes.

    ANGLE ON: JIMMY tries to slip past, but HAYES grabs his WRIST.

    HAYES
    How about you return Mr. Driscoll's
    pen first?

    CLOSE ON: An expensive FOUNTAIN PEN drops from JIMMY'S HAND and
    clatters to the floor. QUICK as an eel, JIMMY scampers AWAY.

    HAYES shakes his head, and picks up the PEN ... hands it back.

    HAYES (cont'd)
    He doesn't mean any harm. I'll keep
    him out of Jyour way.

    ACK
    No, it's okay.

    HAYES
    It's just he likes it down here, it's
    where I found him ... four years ago
    ... stowed away in one of them cages.
    His arm was broken in two places, he
    was wilder than half the animals in
    here. Still won't tell me where he
    came from - all I know, it wasn't any
    place good.


    EXT. VENTURE DECK - DAY

    ANGLE ON: JIMMY is sorting NETS up on DECK. Nearby HAYES rests
    against the railing.

    HAYES
    You gotta straighten up. You don't
    want to be on this ship for the rest
    of your life.

    JIMMY
    I do.

    31.

    HAYES
    No, you don't, Jimmy. You wanna get
    yourself educated. Give yourself some
    options. Take this serious.

    JIMMY
    I do, Mr. Hayes, I do! Look, I've been
    readin'.

    JIMMY pulls a battered book out of his coat pocket. HAYES takes
    the book. It has a painting of a TRAMP STEAMER on the cover and
    the title: HEART OF DARKNESS by Joseph Conrad.

    HAYES
    Where did you get this?

    JIMMY
    (prevaricating)
    I borrowed it ...

    HAYES flicks the book open and sees "Property of New York
    Public Library" stamped on the interior of the dust jacket.

    JIMMY (cont'd)
    ... on long term loan. Look at this.

    JIMMY points to the printed byline on the back of the book.

    JIMMY (cont'd)
    "Adventures on a Tramp Steamer". See -
    just like us.


    EXT. VENTURE/OCEAN

    WIDE ON: The VENTURE as it cuts through open OCEAN.


    INT. ANN'S CABIN - DAY

    ANN is holding a copy of JACK'S PLAY "ISOLATION" ... she is
    standing in front of a mirror rehearsing her introduction.

    ANN
    It's nice to meet you Mr. Driscoll -
    I'm actually quite familiar with your
    work.
    (trying again)
    Oh yes! ... Hello, Mr Driscoll - it's
    so nice to meet you! Actually, I'm
    quite familiar with your work. I'm a
    huge fan!
    (one more time)
    I've read everything you've ever
    written.

    ANN'S face falls in DESPAIR - she can't get rid of her nerves
    about meeting the famous JACK DRISCOLL.

    32.


    INT. MESS ROOM - DAY

    A few sailors are finishing BREAKFAST.

    PRESTON, HERB and MIKE are seated at a TABLE.

    ANGLE ON: MIKE packing away his HEADPHONES and SOUND RECORDING
    EQUIPMENT. M
    IKE
    I'm gonna have the ships' engines all
    over the dialogue - sea gulls, camera
    noise, wind and Christ knows what
    else!

    DENHAM
    I don't care, Mike! You're the sound
    recordist - make it work.

    ANGLE ON: ANN in the CHIFFON DRESS, hesitating in the doorway of
    the MESS.

    DENHAM looks up and signals her over.

    DENHAM (cont'd)
    Ann! Come on in! Let me introduce you
    to the crew! This is Herb - our
    cameraman ...

    ANN reaches out to shake HERB'S hand.

    HERB
    Delighted to meet you, ma'am. And may
    I say what a lovely dress.

    ANN
    Oh! This old thing! I just - threw it
    on!

    PRESTON
    (confused to DENHAM)
    Isn't that one of Maureen's costumes?

    ANN
    (hurriedly)
    What does a girl have to do round here
    to get some breakfast!

    DENHAM
    Lumpy! You heard the lady!

    ANGLE ON: LUMPY looking up. He is simultaneously shaving a
    SAILOR and stirring PORRIDGE.

    LUMPY
    Fancy some of me ... ah ... Porridge
    aux walnuts?





    33.

    DENHAM turns back to ANN, who is staring at MIKE, who has his
    head down, scribbling in a NOTEBOOK.

    DENHAM
    ANN, I don't believe you've met -

    ANN
    That's alright Mr. Denham, I know who
    this is ...

    ANGLE ON: ANN, who is staring at MIKE in quiet awe. He glances up
    at her, nervously.

    ANN (cont'd)
    Thrilled to meet you. It's an honour -
    to be part of this.

    MIKE
    (bewildered)
    Gee, thanks!

    ANN
    Actually - I am quite familiar with
    your work.

    ANGLE ON: DENHAM raises a quizzical EYEBROW.

    MIKE
    Really?

    ANN
    Yes, and what I most admire - is the
    way you have captured the voice of the
    common people.

    MIKE
    Well - that's my job.

    ANN
    I'm sure you've heard this before, Mr
    Driscoll, if you don't mind me saying -
    you don't look at all like your
    photograph ...
    A
    NGLE ON: JACK at the bar, holding a cup of COFFEE. He turns
    and glances at ANN.

    MIKE
    Excuse me?

    DENHAM
    Wait a minute! Ann -

    ANN
    (to DENHAM)
    Well, he's so much younger - in
    person.
    (turning back to MIKE)
    And much better looking.




    34.

    JACK starts to walk over to the table.

    DENHAM
    ANN! Stop! Stop - right there -

    ANGLE ON: MIKE staring past ANN'S shoulder.

    ANN
    I was afraid you might be one of those
    self obsessed literary types. You know
    - the tweedy twerp with his nose in a
    book and his head up his -

    JACK snaps his BOOK closed. ANN turns around ... her face drops.
    JACK looks at ANN, who stares at him MORTIFIED.

    JACK
    It's nice to meet you too, Miss
    Darrow..


    INT. SHIP'S CORRIDOR/BRUCE'S CABIN - DAY

    RUCE bumps into JIMMY who hurries away looking shifty.

    BRUCE enters his CABIN ... A moustache has been drawn on all his
    POSTERS. BRUCE looks annoyed ... then takes another look.

    CLOSE ON: BRUCE glancing in the mirror - imaging himself with a
    moustache. Not bad.


    EXT. VENTURE - DAY

    WIDE ON: The VENTURE ploughs through a HEAVY SWELL.

    DENHAM (V.O.)
    She's standing at the railing ... she
    doesn't know it yet, but they're
    sailing towards disaster. You got
    that?

    JACK (V.O.)
    She turns ... The First Mate is
    staggering towards her - there's a
    knife sticking out of his back!


    INT. SHIPS HOLD

    ANGLE ON: JACK, sitting in the hold, TAPPING on an OLD TYPEWRITER
    propped up on BOXES. He is clearly very QUEASY, as he tries to
    stay focussed on the TYPEWRITER KEYS.

    DENHAM is pacing the HOLD, sucking on a PIPE.

    DENHAM
    ait a second, we're killing off the
    First Mate?



    35.

    JACK
    That's assuming she knows who the
    First Mate is.

    DENHAM
    Come on, Jack! It was an honest
    mistake. Ann is near-sighted - it
    could happen to anyone.

    JACK
    I was joking, Carl.

    DENHAM
    The point is: she's horrified. She has
    to look away. And that's when she sees
    it.

    JACK
    See's what? What?

    ANGLE ON: Unseen by either DENHAM or JACK, JIMMY has snuck down in
    to the HOLD ...

    DENHAM
    (dramatic)
    The island.

    JACK
    (taken aback)
    We're filming on an island now? When
    did this happen?

    DENHAM
    Jack, keep your voice down! I don't
    want the crew getting spooked.

    JACK
    Why would they get spooked? What's it
    called?

    DENHAM looks SHIFTY.

    DENHAM
    All right ... It has a local name, but
    I'm warning you, Jack, it doesn't
    sound good.

    ANGLE ON: JIMMY, his attention caught as he eavesdrops on the
    conversation.

    JACK looks at DENHAM in GROWING FRUSTRATION.

    DENHAM (cont'd)
    (quietly)
    They call it ...
    (muffled)

    JIMMY POV: DENHAM leaning in and murmuring to JACK.



    36.

    JACK
    What's wrong with this place?

    DENHAM
    There's nothing officially wrong with
    it. Because technically it hasn't been
    discovered yet.

    JACK gives up, feeling too seasick to argue ...

    JACK
    (resuming typing)
    Okay ... alright ... so we arrive at
    (
    this place ...
    typing)
    S ... k ... u ...

    CLOSE ON: DENHAM looks up in time to see JIMMY listening ... Their
    eyes meet ... DENHAM tries to hush JACK - too late.

    JACK (cont'd)
    l ... l ... Island.


    EXT. VENTURE/OCEAN - DAY

    NGLE ON: The SHIP moves through GREY SEAS ... Dolphins swim
    alongside.


    EXT. VENTURE DECK - DAY

    IDE ON: DENHAM is FILMING ANN and BRUCE. Clustered around are his
    crew, HERB and MIKE and PRESTON.

    DENHAM
    All right everyone, from the top. And
    ... action!

    ANGLE ON: BRUCE saunters up to ANN, who is leaning on the rail,
    staring out to sea, in full hair and make-up.

    ANN
    I think this is awfully exciting! I've
    never been on a ship before.

    BRUCE
    I've never been on one with a woman
    before.

    ANN
    I guess you don't think much of women
    on ships, do you?

    BRUCE
    No, they're a nuisance.

    ANGLE ON: DENHAM looking intently at JIMMY and HAYES who are
    further down the DECK ... talking quietly.




    37.

    ANGLE ON: HAYES shoots DENHAM an ALARMED LOOK.

    ANN (O.S.)
    Well, I'll try not to be.

    BRUCE (O.S.)
    Just being around is trouble.

    ANN (O.S.)
    Well! Is that a nice thing to say!

    BRUCE (O.S.)
    It's a dangerous thing, having girls
    on ships. They're messy and they're
    unreliable!

    DENHAM
    (distracted)
    Cut! Great!

    NGLE ON: DENHAM'S gaze returns to JIMMY and HAYES who are huddled
    in a group with three more SAILORS ... word is travelling fast.

    DENHAM (cont'd)
    Bruce, wonderful performance. You can
    relax for ten minutes.

    ANGLE ON: BRUCE looking pretty pleased with himself.

    DENHAM (cont'd)
    That was very natural... I felt moved.

    JACK looks on in disbelief.

    B
    ANGLE ON: BRUCE walking past JACK ...

    RUCE
    hat do you think, Driscoll? The
    dialogue's got some flow now - huh?

    JACK
    It was pure effluence.

    BRUCE
    beefed up the banter ...

    JACK
    Try to resist that impulse.

    BRUCE
    It's just a little humor, Bud - what
    are you, a Bolshevik or something?

    JACK watches as BRUCE saunters off ... he turns back to DENHAM.

    JACK
    Actors. They travel the world but all
    they ever see is a mirror!





    38.

    JACK looks up to see ANN looking dismayed, a MIRROR COMPACT, in
    her hand ...

    She quickly snaps the COMPACT shut and turns away.

    CLOSE ON: JACK - taken aback.


    INT. SHIP'S CORRIDOR - DAY

    ANN is making her way to the BATHROOM. She looks up as JACK
    rounds a corner coming the other way. They walk toward each
    other.

    SUDDENLY the ship sways, JACK is thrown forward, but ANN
    manages to hold her BALANCE.

    JACK
    Good legs.

    ANN looks at him SHARPLY.

    JACK (cont'd)
    Sea legs - I meant - you know ... sea
    legs. Not that you don't have good
    legs, I was just ...

    JACK trails off as ANN edges past him, averting her eyes.

    JACK (cont'd)
    ... making conversation. Jesus!
    (calling)
    Miss Darrow!

    ANN stops and turns ...

    JACK (cont'd)
    About the scene - today, with you and
    Bruce -

    ANN
    I know, it wasn't what you wrote. But
    Mr Baxter felt very strongly that when
    a man likes a woman - then he must
    ignore her. And if things turn really
    hostile ... no?

    JACK
    Interesting theory.

    ANN
    I know ... I should have -

    JACK
    It wasn't what I had intended ... but
    it -

    ANN
    I'm sorry - I was ...





    39.

    JACK
    You made it your own ...

    ANN
    I was nervous.

    JACK
    It was funny, actually ... you were
    funny.

    ANN
    Please - don't say another word. Good
    night.

    ANN goes to close her CABIN DOOR.

    ACK
    Miss Darrow ...

    ANN looks at him.

    JACK (cont'd)
    You don't have to be nervous.


    EXT. VENTURE DECK - SUNSET

    CLOSE ON: DENHAM standing behind the CAMERA with HERB and MIKE.
    DENHAM is caught up in the scene and is EMOTING FURIOUSLY.

    NGLE ON: ANN RUNNING out on to the DECK of the VENTURE in a
    GLITTERING GOWN. She is SIGHING and CRYING in a MELODRAMATIC kind
    of way ...
    A
    NGLE ON: JACK approaching, he is reading pages in his HAND, he
    looks up just as ...

    ANN turns, TEARS on her cheeks.. lit by the GOLDEN RAYS of the
    SETTING SUN.

    ANN stares at JACK, momentarily forgetting where she is. He stares
    back at her.

    CLOSE ON: DENHAM catching the EXCHANGE of LOOKS. He takes the
    script pages off JACK and shoos him away ...


    EXT. WHEELHOUSE - DUSK

    ANGLE ON: DENHAM & ENGLEHORN talk out the front of the WHEELHOUSE.


    INT. WHEELHOUSE - NIGHT

    CLOSE ON: ENGLEHORN'S POV of SHIPPING CHARTS.

    DENHAM
    We're close. Head south-west.




    40.

    ANGLE ON: ENGLEHORN leaning over SHIPPING CHARTS. DENHAM hovers
    nearby in the doorway.

    ENGLEHORN
    There's no land south-west for
    thousands of miles. It takes us way
    outside the shipping lanes.

    ENGLEHORN turns and confronts DENHAM.

    ENGLEHORN (cont'd)
    I won't sail blind in these waters.

    DENHAM
    'll make it worth your while.

    NGLE ON: ENGLEHORN ... tempted by the offer of more money, but
    his instincts are telling him to not to agree.

    ENGLEHORN
    There's nothing out there.

    DENHAM
    hen you've nothing to lose.

    ANGLE ON: ENGLEHORN: conflicted.


    EXT. VENTURE/OCEAN - DUSK

    IDE ON: THE VENTURE steams on as the SUN falls slowly behind the
    horizon ...


    INT. MESS ROOM - NIGHT

    ANGLE ON: DENHAM & PRESTON are seated at a table, talking quietly.

    ANGLE ON: HAYES enters the MESS ... HAYES saunters over to PRESTON
    & DENHAM.

    HAYES
    If someone were to tell you this ship
    is headed for Singapore, what would
    you say?




    41.

    ANGLE ON: LUMPY is standing quietly honing a knife with a whet-
    stone ... it makes a L
    sharp sound ...

    LUMPY
    I would say they was full of it, Mr.
    Hayes. We turned south-west last
    night.

    LOSE ON: DENHAM looks up sharply ... HAYES is standing over him.

    DENHAM
    Gentlemen please, we're not looking
    for trouble -

    ANGLE ON: JIMMY enters the MESS from behind him...

    JIMMY
    No. You're looking for something else
    ...

    PRESTON glances warily at DENHAM. DENHAM takes in the situation
    and decides to front up.

    DENHAM
    (quietly)
    Yes .... we are. We're gonna find
    Skull Island! We're gonna find it,
    film it and show it to the world. For
    twenty five cents you get to see the
    last blank space on the map!

    LUMPY
    I wouldn't be so sure of that.

    PRESTON
    What do you mean?

    LUMPY
    Seven years ago, me and Mr Hayes - we
    were working our passage on a
    Norwegian barque.

    HAYES
    We picked up a castaway - found him in
    the water - he'd been drifting for
    days.

    LUMPY
    His ship had run aground on an island,
    way West of Sumatra. An island hidden
    in fog. He spoke of a huge wall, built
    so long ago - no one knew who had made
    it ... A wall a hundred foot high ...
    as strong today as it was, ages ago.

    PRESTON
    Why did they build the wall?

    SILENCE ...




    42.

    LUMPY
    The castaway - he spoke of a creature,
    neither beast nor man, but something
    monstrous, living behind that wall...

    DENHAM
    A lion or a tiger. A man-eater. That's
    how all these stories start.

    PRESTON
    (to LUMPY)
    What else did he say?

    LUMPY
    Nothing. We found him the next morning
    ... he'd stuck a knife through his
    heart.

    NGLE ON: PRESTON looking ASHEN ... DENHAM breaks the GRIM MOOD.

    DENHAM
    orry fellas, you'll have to do better
    than that. Monsters belong in B
    movies!

    NGLE ON: PRESTON & DENHAM making a rapid exit.

    HAYES
    If you find this place -

    DENHAM and PRESTON stop and turn back ...

    HAYES (cont'd)
    If you go ashore with your friends and
    your cameras ... you won't come back
    ... Just so long as you understand
    that.


    INT. ENGINE ROOM - NIGHT

    The ENGINEERS shovel more COAL into the FURNACE ... The relentless
    rhythm of the SHIPS PISTON'S PUMPING UP and DOWN continues ...


    INT. PRESTON'S CABIN - NIGHT

    PRESTON LYING AWAKE FREAKING OUT intercut with close ups of THE
    MAP WITH THE WORDS `FOG'.

    WIDE ON: THE STERN of the VENTURE cuts through the swell then
    AERIAL up over the top of the boat.


    INT. VENTURE HOLD - NIGHT

    t is late at night. JACK sits on his make shift bed, his
    typewriter balanced on his lap ... intent on what he is writing.





    43.


    EXT. VENTURE DECK - DUSK

    ANGLE ON: ANN DANCING with JIMMY, much to the AMUSEMENT of
    GATHERED CREW ... CHOY is singing Marie's Wedding accompanied by
    some SAILORS playing various MUSICAL INSTRUMENTS.

    CLOSE ON: JACK watching her ...


    INT. VENTURE HOLD - NIGHT

    NGLE ON: JACK continues typing.


    EXT. WHEELHOUSE - NIGHT

    ANGLE ON: DENHAM scanning the HORIZON with BINOCULARS, ENGLEHORN
    comes out of the WHEELHOUSE ... some charts in his HAND ...


    INT. WHEELHOUSE - NIGHT

    HAYES is manning the WHEEL. ENGLEHORN is staring at the CHARTS, a
    CIGARETTE in his hand. There is a PALPABLE sense of tension in
    the AIR.

    HAYES
    (tense)
    How long do you expect us to stay out
    here?

    ANGLE ON: ENGLEHORN puts his cigarette out, ignoring HAYES.


    INT. ANN'S CABIN - NIGHT

    ANN is pacing the cabin. She is wearing a SHAWL over pyjamas. She
    smiles as she turns pages of a loose leaf manuscript. ANN looks up
    at JACK.

    ANN
    (surprised)
    You're writing a stage comedy?

    JACK
    I'm writing it for you.

    ANN looks at him, taken aback.

    ANN
    Why would you do that?

    JACK
    Why would I write a play for you?

    ANN
    Yes.




    44.

    JACK
    Isn't it obvious?

    ANN
    Not to me.

    JACK
    Well, it's in the sub-text.

    ANN
    I guess I must've missed it.

    JACK
    It's not about words ...

    ANN looks at him uncertainly ... as JACK moves towards her ...

    He takes her in his arms and kisses her.

    CUT TO:


    INT. WHEELHOUSE - NIGHT

    CLOSE ON: THE RADIO OPERATOR receiving MESSAGE.

    CUT TO:


    INT. ANN'S CABIN - NIGHT

    CLOSE ON: JACK and ANN still KISSING.

    CUT TO:


    INT. WHEELHOUSE - NIGHT

    ANGLE ON: The RADIO OPERATOR hands a piece of paper to ENGLEHORN.

    RADIO OPERATOR
    Message for you, Captain.


    EXT. VENTURE/OCEAN - NIGHT

    AERIAL: The VENTURE cuts a wide arc through the sea as the SHIP
    slowly turns ...


    EXT. WHEELHOUSE - NIGHT

    NGLE ON: DENHAM, RUNNING up the STAIRS to the WHEELHOUSE.

    DENHAM
    (calling)
    What's going on?




    45.


    INT. WHEELHOUSE - NIGHT

    HAYES manning the WHEEL, looks at DENHAM briefly ...

    DENHAM
    Hayes! Why are we turning around?

    LOSE ON: ENGLEHORN enters the CABIN ...

    DENHAM (cont'd)
    (blustering)
    Englehorn, you can't just ...

    ENGLEHORN
    (curt)
    Outside!


    EXT. WHEELHOUSE, VENTURE DECK - NIGHT

    ENGLEHORN
    There's a warrant out for your arrest.
    Did you know that? I've been ordered
    to divert to Rangoon.

    DENHAM
    nother week - I haven't got a film
    yet. Please - I have risked everything
    I have on this!

    ENGLEHORN
    No, Denham - you risked everything I
    have. D
    DENHAM
    What do you want? Tell me what you
    want? I'll give you anything.

    ENGLEHORN regards DENHAM with cool detachment ...

    ENGLEHORN
    I want you off my ship.

    ENGLEHORN heads back to the DOOR of the WHEELHOUSE.

    ENGLEHORN (cont'd)
    Set a course for Rangoon, Mr Hayes.


    EXT. OCEAN - NIGHT

    IDE ON: The VENTURE as it ploughs through the SWELL.


    EXT. VENTURE DECK - NIGHT

    DENHAM is leaning over the railing.

    46.

    DENHAM
    I'm finished. It's over for me, Jack.

    JACK
    How did you think this would end,
    Carl?


    INT. WHEELHOUSE, VENTURE - NIGHT

    CLOSE ON: HAYES at the WHEEL, looking down at the SHIP'S
    COMPASS ... it is swinging wildly to and fro.

    HAYES
    (calling)
    Captain ...

    CLOSE ON: ENGLEHORN looks at the compass with CONCERN. He takes
    the wheel from HAYES.

    ENGLEHORN
    Check our position. Use the stars.

    ANGLE ON: HAYES steps outside the WHEELHOUSE, carrying a
    SEXTANT. ... he looks up at the SKY and his face hardens with
    concern.

    ANGLE ON: ENGLEHORN looks across as HAYES appears at the
    WHEELHOUSE DOOR.

    HAYES
    (ominous)
    There are no stars, Captain.

    CUT TO:


    EXT. VENTURE DECK - NIGHT

    CLOSE ON: The MAP as it SLOWLY rotates in JACK'S HANDS.

    CLOSE ON: DENHAM leaning on the RAILING staring absently out to
    SEA. Behind him JACK is looking at the MAP in his HANDS.

    JACK
    What is that?

    DENHAM
    (distracted)
    What?

    CLOSE ON: JACK'S EYE is caught by something on the PAPER. He
    shifts the MAP around, turning it upside down.

    JACK
    That.

    JACK walks over to the railing and hands the MAP to DENHAM.




    47.

    DENHAM
    I don't know ... what is it, a coffee
    stain?

    DENHAM looks hard at the map, suddenly a look of intrigue dawning
    on his face.

    SLOW PUSH IN on a STRANGE SMUDGE-LIKE MARKING ...

    LOSE ON: DENHAM is CAPTIVATED ...

    CLOSE ON: DENHAM slowly looks up from the MAP, a look of HOPE
    kindles in his EYES.

    CLOSE ON: the STRANGE SMUDGE-LIKE MARKING. An IMAGE begins to
    become clear - a GORILLA-LIKE FACE.

    ON THE SOUNDTRACK: the sudden blast of the SHIP'S FOG HORN.

    DENHAM's eyes shift upwards ...

    AT THAT MOMENT a GUST of WIND plucks the MAP from DENHAM'S HAND
    and blows it overboard ... whirling it out to SEA ...


    EXT. OCEAN - NIGHT

    ANGLE ON: The MAP FLOATING on the INKY WATER as the VENTURE
    steams away ...
    .
    .. into a HUGE BANK of FOG that seems to melt out of the
    DARKNESS!

    Another BLAST from the FOG HORN echoes across the silent ocean.


    EXT. VENTURE DECK - NIGHT

    RESTON moves along the DECK ... Staring uneasily at the FOG.

    VARIOUS ANGLES: Even the seasoned crew look unnerved.

    ANGLE ON: JIMMY up in the CROW'S NEST ... he is reading HEART OF
    DARKNESS by torchlight.


    EXT. OCEAN - FOGGY NIGHT

    IDE ON: The VENTURE sails into THICKENING FOG.


    INT. WHEELHOUSE - FOGGY NIGHT

    ANGLE ON: ENGLEHORN at the WHEEL ... he barks at the HELMSMAN.

    ENGLEHORN
    Station the for'head lookout, and get
    me the depth by lead-line!



    48.

    HELMSMAN
    Aye, Captain.

    The HELMSMAN hurries away.


    EXT. VENTURE DECK - FOGGY NIGHT

    WIDE ON: The VENTURE steams through the FOG BANK ...

    ANGLE ON: A CREWMAN throws a LEAD-LINE over the side. CONCERNED
    CREWMEN hurry to their stations.

    CREWMAN
    (calling)
    Thirty fathoms ... no bottom!


    INT. WHEELHOUSE - FOGGY NIGHT

    HAYES is tense. ENGLEHORN remains focussed, his eyes fixed ahead.

    ENGLEHORN
    Reduce speed, steerage way only.

    HAYES swings the TELEGRAPH LEVERS.

    HAYES
    Dead slow ahead, both.
    (beat)
    You should stop the ship.

    ANGLE ON: ENGLEHORN spins the WHEEL.

    ENGLEHORN
    15 degrees Port.
    (beat)
    We're getting out of here, Mr. Hayes
    ... we'll find clear conditions.

    CREWMAN (O.S.)
    (calling)
    We have seabed!

    CLOSE ON: HAYES rushes out of the WHEELHOUSE.


    EXT. VENTURE DECK - FOGGY NIGHT

    ANGLE ON: the CREWMAN with the LEAD LINE shouts up at HAYES.

    CREWMAN
    (alarmed)
    Twenty-five fathoms!


    INT. WHEELHOUSE - FOGGY NIGHT

    ANGLE ON: HAYES rushes to the WHEELHOUSE DOOR.




    49.

    HAYES
    We're shallowing!

    ENGLEHORN looks with despair at the THICKENING FOG ahead. He
    starts spinning the WHEEL.

    ENGLEHORN
    20 degrees starboard!

    HAYES
    (urgent)
    Captain, you don't know where the hell
    you're going!

    ENGLEHORN glares at HAYES.

    ENGLEHORN
    Get me another reading!

    HAYES leaves ...

    HAYES
    (yelling)
    Another reading!


    EXT. VENTURE DECK - FOGGY NIGHT

    ANGLE ON: JACK looks alarmed as CREWMEN hurry past.

    DENHAM walks away from him, towards the front of the SHIP.

    CREWMAN
    Twenty-two fathoms!


    INT. WHEELHOUSE - FOGGY NIGHT

    ENGLEHORN peers uneasily out at the FOG ...

    ENGLEHORN
    Douse the lights!

    HELMSMAN
    Aye, aye Captain ...


    EXT. CROWSNEST - FOGGY NIGHT

    ERIAL: THE VENTURE sails through FOG.

    CREWMAN
    (calling)
    Ten fathoms!

    ANGLE ON: JIMMY looking around ... confused.

    CLOSE ON: JIMMY'S eyes SUDDENLY WIDEN in DISBELIEF ... he leaps to
    his feet, unable to summon the power of speech!




    50.

    ANGLE ON: A HUGE ROCK FACE looms out of the FOG straight AHEAD!

    JIMMY
    (yelling)
    Wall! There's a wall ahead!!!


    EXT. VENTURE - FOGGY NIGHT

    ENGLEHORN ... a look of DISBELIEF on his FACE.


    W
    EXT. VENTURE - FOGGY NIGHT

    IDE ON: The VENTURE sails directly towards a HUGE WALL which
    rises up 200 feet into the sky! The SHIP is DWARFED by the
    monstrous structure.


    INT. WHEELHOUSE - FOGGY NIGHT

    ENGLEHORN stares at the LOOMING WALL, unable to believe his
    eyes ... he starts SPINNING the WHEEL hard to STARBOARD!

    ENGLEHORN
    Stop engines!

    ANGLE ON: HAYES slams the TELEGRAPH to "STOP"


    EXT. VENTURE DECK - FOGGY NIGHT

    ANGLE ON: DENHAM is drawn to the FORWARD RAILING of the SHIP,
    looking up at the VAST WALL of ROCK towering over them in AWE.


    EXT. VENTURE - FOGGY NIGHT

    WIDE ON: The VENTURE SLOWS, but its weight is carrying it forward
    ...


    EXT. CROWSNEST - FOGGY NIGHT

    NGLE ON: A TERRIFIED JIMMY braces himself for impact.


    INT. WHEELHOUSE - FOGGY NIGHT

    ENGLEHORN searches desperately through the thick FOG.


    EXT. CROWSNEST - FOGGY NIGHT

    NGLE ON: JIMMY, a look of TERROR on his FACE.


    EXT. VENTURE- FOGGY NIGHT

    RUNCH! The BOW of the SHIP crumples in to the WALL!



    51.


    EXT. VENTURE DECKS - FOGGY NIGHT

    NGEL ON: ANN rushes out of a door, on to the DECK, alarmed at
    the PANIC on the SHIP.

    ANGLE ON: DENHAM looks in utter AWE at the WALL.


    INT. VENTURE WHEELHOUSE - FOGGY NIGHT

    CLOSE ON: ENGLEHORN yells at HAYES.

    ENGLEHORN
    Give me some power! Half astern, both!

    HAYES
    Half astern, both, Captain!


    EXT. VENTURE DECKS - FOGGY NIGHT

    NGLE ON: JACK looks with horror as a JAGGED ROCK looms out of
    the FOG off the starboard bow.

    JACK
    Rocks!


    EXT. CROWSNEST - FOGGY NIGHT

    ANGLE ON: JIMMY spinning around as he sees ROCKS surrounding
    the SHIP.

    JIMMY
    (yelling)
    Rocks to starboard ... to port ...
    rocks everywhere!


    INT. VENTURE WHEELHOUSE - FOGGY NIGHT

    ANGLE ON: ENGLEHORN lets go of the WHEEL rushing towards the
    WHEELHOUSE DOOR.

    ENGLEHORN
    Take the wheel, Hayes!

    ANGLE ON: ENGLEHORN rushes on to the DECK and looks with HORROR as
    he realises his SHIP is trapped amid a LABYRINTH of ROCKS.


    EXT. OCEAN - FOGGY NIGHT

    he VENTURE lolls WITHOUT POWER in the heavy swell.

    The HEAVY THROB of the ENGINES regain strength ... the reverse
    propellers pull the ship away, but still without adequate control.




    52.


    EXT. VENTURE DECK - FOGGY NIGHT

    ANGLE ON: ANN hurries up the STAIRS ... she clutches the
    RAILING for support and reels off balance, literally FALLING
    into JACK'S ARMS as the side of the VENTURE CRUNCHES against rock.


    EXT. VENTURE - FOGGY NIGHT

    The IMPACT sends the VENTURE into a SLOW SPIN. As the SHIP sinks
    in the trough of a WAVE, MORE ROCKS emerge from the WATER around
    it.


    EXT. VENTURE DECK - FOGGY NIGHT

    JACK looks down at ANN - he still has hold of her.


    INT. WHEELHOUSE - FOGGY NIGHT

    ANGLE ON: ENGLEHORN staggers into the WHEELHOUSE, slamming the
    TELEGRAPH LEVER forward.

    ENGLEHORN
    Full ahead!

    ENGLEHORN takes the WHEEL from HAYES.


    EXT. VENTURE DECK - FOGGY NIGHT

    HAYES runs OUTSIDE

    HAYES
    Rocks to port, Captain!


    EXT. OCEAN - FOGGY NIGHT

    ANGLE ON: The VENTURE rides the SWELL towards CAMERA.

    SUDDENLY!

    A SICKENING GROAN OF METAL ... as the VENTURE RUNS AGROUND on
    HIDDEN ROCKS! HAYES looks in HORROR as he comes within inches of
    the rock outcrop.


    EXT. VENTURE DECK - FOGGY NIGHT

    ANGLE ON: DENHAM watches as a HUGE STONE FACE - part of the ROCK
    OUTCROP they have grounded on - slides to a halt just off the
    VENTURE'S BOW. Weathered ... eroded away ... carved by the hand of
    some ANCIENT PEOPLE.

    NGLE ON: A breathless JIMMY scuttles backwards as the CROWSNEST
    settles against the ROCK.




    53.

    ANGLE ON: ENGLEHORN shuts the engines down as his ship GRINDS
    sickeningly against the rock ...

    ... STUCK FAST.

    PANDEMONIUM ON DECK!

    NGLE ON: HAYES, unable to believe his eyes as he STARES up at the
    LOOMING ROCK.

    DENHAM stares at the EERIE SILHOUETTE of an ISLAND, visible
    through the thinning FOG. JAGGED PEAKS rise from a ROCKY
    SHORELINE. CRUMBLING RUINS cling to BARREN CLIFFS.

    ANN steps closer, a LOOK of total DISBELIEF on her FACE.


    INT. VENTURE ENGINE ROOM - FOGGY DAWN

    CLOSE ON: JETS of WATER are squirting into the ENGINE ROOM,
    through cracks between RIVETED PLATES.

    HAYES supervises STOKERS frantically opening valves on the
    PUMPS. OLD MATTRESSES are being shoved up against the LEAKS.

    ENGLEHORN arrives, looking GRIM.

    ENGLEHORN
    Hayes!

    HAYES
    he's taken a pounding ...

    ENGLEHORN
    What about the prop?

    HAYES
    Shaft's not bent, far as we can tell,
    but she's stuck hard against the rock -

    A LOUD GROAN as the SHIP shifts against the ROCKS.

    At that moment JIMMY comes bursting into the ENGINE ROOM.

    JIMMY
    Captain! You'd better come up quick!


    EXT. VENTURE DECK / OFFSHORE SKULL ISLAND - FOGGY DAWN

    ANGLE ON: ENGLEHORN, HAYES and JIMMY emerge onto the DECK as the
    MILKY LIGHT of DAWN washes over the SHIP.

    CLOSE ON: HERB holds the CAMERA as DENHAM cranks the HANDLE.

    POV: A WHALER - a small lifeboat - is being ROWED away from the
    VENTURE towards the SHORE of the ISLAND. DENHAM, JACK and ANN,
    HERB, MIKE, BRUCE and FOUR SAILORS are packed into the tiny
    boat.




    54.

    HAYES
    You want me to bring them back?

    ENGLEHORN
    I don't give a damn about Carl Denham
    ... I want this ship fixed and ready
    to float on the next high tide. We're
    leaving Mr. Hayes.


    EXT. SKULL ISLAND COAST - DAY

    IDE ON: The WHALER rows towards the ISLAND passing great STONE
    RUINS jutting out of the WATER. The HUGE WALL rises out of the
    WAVES and disappears INLAND.

    NGLE ON: DENHAM is balanced at the front of the BOAT, filming as
    the SAILORS row ashore ...

    DENHAM
    (quietly)
    Can you believe this, Jack? ... Skull
    Island! We got our picture!

    ANGLE ON: JACK as he STARES up at the RUINS ...

    CLOSE ON: ANN, as if COMPELLED, turns and looks over the side of
    the BOAT, into the SEA ... her breathe catches!

    ANN'S POV: Beneath the WATER the HIDEOUSLY, DISTORTED FACE of a
    FALLEN STATUE gapes up at her ...

    ANGLE ON: ANN sitting huddled to one side of the BOAT ... drawing
    her RAIN-SLICKER closer around her ... ANN'S FINGERS edge across
    the seat and curl over JACK'S HAND ...

    WIND WHISTLES through the GAPING HOLES in the EDIFICE ... a CREEPY
    MOANING SOUND that mixes with the DEEP BOOM of the CRASHING WAVES


    EXT. SKULL ISLAND SHORE - DAY

    NGLE ON: The WHALER runs onto a tiny, stony BEACH. SHEER CLIFFS
    rise straight up from the SHORE.

    DENHAM, JACK, ANN, BRUCE, HERB, MIKE, PRESTON and TWO SAILORS
    clamber out.


    INT. ANCIENT STAIRCASE - DAY

    IDE ON: DENHAM leads HERB, PRESTON, JACK, ANN, BRUCE, MIKE and
    the TWO SAILORS up a DARK, VAULTED TUNNEL. They look in silence at
    the primitive signs of civilisation.

    ANGLE ON: ANN looks up the STAIRCASE nervously ... taking in the
    sight of the HUMAN SKULLS lining the walls.




    55.


    EXT. VENTURE - DAY

    JIMMY looks up, hollow-eyed ... in his hand is the copy of
    "HEART OF DARKNESS". HAYES stands nearby.

    ANGLE ON: JIMMY closing the BOOK, an ashen expression on his
    FACE.

    JIMMY
    Why does Marlow keep going up the
    river, why doesn't he turn back?

    HAYES
    shrugs)
    There's a part of him that wants to,
    Jimmy. A part, deep inside himself
    that sounds a warning, but there's
    another part, that needs to know ...
    that needs to defeat the thing which
    makes him afraid.

    CLOSE ON: HAYES pauses, filled with a sudden sense of DREAD. He
    reluctantly turns, his eyes drawn to the creepy CARVED HEAD
    towering above the SHIP.

    HAYES v/o
    "We could not understand, because we
    were too far ... and could not
    remember, because we were travelling
    in the night of First Ages ...

    LOSE ON: DENHAM obsessed ... cranking the handle of his CAMERA.

    HAYES V/O (cont'd)
    ... of those Ages that are gone,
    leaving hardly a sign and no memories
    ...


    INT. BURIAL CHAMBER - DAY

    DENHAM leads the GROUP across a RICKETY BAMBOO BRIDGE, spanning a
    section of BROKEN PATH. They pass BROKEN TOMBS, burial niches
    containing glimpses of MUMMIES.

    AHEAD ... DAYLIGHT streams in as they near the end of the
    STAIRCASE. They make their way over large stone blocks, caved
    in from above ... QUIET, TENSE.


    EXT. NATIVE VILLAGE/WALL - DAY

    THUNDER RUMBLES overhead as DENHAM, JACK, ANN, HERB, BRUCE,
    PRESTON, MIKE and 2 SAILORS clamber out of the RUINED TUNNEL
    MOUTH.

    DENHAM stays low, and hurries to a VANTAGE POINT. The OTHERS
    FOLLOW ...




    56.

    HAYES V/O
    We are accustomed to look upon the
    shackled form of a conquered monster,
    but there, there you could look at a
    thing monstrous and free."

    CRANE UP: to reveal a PLATEAU below them, covered with the RUINS
    of an ANCIENT BURIAL GROUND ... stone MAUSOLEUMS and TOMBS,
    smashed open and destroyed.


    EXT. VENTURE - DAY

    ANGLE ON: JIMMY closes the BOOK.

    JIMMY
    (quiet)
    It's not an adventure story - is it,
    Mr. Hayes.

    HAYES
    (quiet)
    No, Jimmy, it's not.

    HAYES' EYES drift back to the STATUE. JIMMY follows his GAZE.


    EXT. NATIVE VILLAGE/WALL - DAY

    ANGLE ON: DENHAM as he leads the group into the village.

    SPREAD among the RUINS is a VILLAGE - a crude shanty town, created
    by a more recent and far less sophisticated culture ... ramshackle
    GRASS and BAMBOO HUTS.

    ANGLE ON: PRESTON looking around, UNNERVED ...

    PRESTON
    It's deserted ...

    ANGLE ON: DENHAM cranking the CAMERA as he rolls film on the
    VILLAGE.
    DENHAM
    Of course it's deserted. Use your
    eyes, Preston. The place is a ruin!
    Nobody's lived here for hundreds of
    years.

    At the moment they hear the sound of the SOBBING of a HUMAN CHILD
    ...

    ANGLES ON: ANN, PRESTON, JACK, DENHAM, HERB ... not knowing if
    they heard what they just heard ...

    ROW UPON ROW of sharpened BAMBOO SPIKES line the top of the WALL.

    CLOSE ON: DENHAM ... His eyes suddenly widen in disbelief.



    57.

    ANGLE ON: A SMALL CHILD standing on the DUSTY PATH ahead of them.
    She stares up at them, with weird FERAL EYES.

    THE CHILD slowly raises an arm towards the watching GROUP ... in a
    pointing gesture. A suspended moment ... DENHAM steps forward.

    ANN
    (whispering)
    Mr Denham ... I think we should go
    back.

    DENHAM
    will handle this.

    DENHAM pulls a NESTLE BAR from his pocket and walks up to the
    CHILD. DENHAM waves the chocolate around.

    DENHAM (cont'd)
    Look chocolate ... you like chocolate?

    The CHILD'S EYES drill into DENHAM. RAIN STARTS FALLING.

    DENHAM (cont'd)
    Good to eat! Take it ... take it!

    The CHILD steps back. DENHAM grabs the CHILD by the wrist and
    attempts to press the chocolate bar into her HAND. The CHILD
    struggles and CRIES OUT!

    BRUCE.
    For Godsake, Denham, leave the native
    alone.

    JACK
    She doesn't want the chocolate!

    ANGLE ON: VILLAGERS begin to melt out of the shadows, OLD PEOPLE,
    YOUNG PEOPLE, WOMEN stare HOLLOW-EYED at DENHAM as he wrestles
    with the CHILD.

    he CHILD sinks her TEETH into DENHAM'S WRIST. He yells, releasing
    his grip. The CHILD runs off ... in to the arms of an OLD WOMAN
    ...



    58.

    The GROUP starts to nervously walk forward, DENHAM gestures
    impatiently.

    DENHAM
    t's alright - it's just a bunch of
    women and old folks ... they're
    harmless.

    ANGLE ON: ANN looks STARTLED as MIKE suddenly LURCHES past her.

    ANN
    Mike?

    MIKE turns, gasping, staring at her helplessly! And then FALLS
    face forward, a JAGGED SPEAR stuck in his BACK!

    ANN steps back in HORROR and SCREAMS!

    A RUMBLING, BESTIAL ROAR fills the VILLAGE as if in answer to
    ANN'S CRY ... LOUD and CLOSE ... for a brief moment everyone
    freezes ...
    F
    AST ACTION: NATIVE MEN emerge as if from NOWHERE ... before
    anyone can react, they are roughly SHOVED and PULLED into the
    MIDST of the FURIOUS NATIVE MOB.

    In the SHADOWS the agitated WOMEN of the VILLAGE start rocking and
    wailing in unison.

    IMAGES: STRANGE FACES, smeared with MUD ... SCREECHING MOUTHS.
    BRUCE is HELD BACK by SEVERAL NATIVES as he struggles. JACK
    pulls ANN close to him, trying to protect her. ANN is wrenched
    from him ...

    She struggles against her captors ...

    ANGLE ON: A OLD-WOMAN moves through the midst of the VILLAGERS ...
    her gaze fixed on ANN, muttering curses, eyes burning with a dark
    fury ...

    DENHAM is YELLING at the NATIVES ... he is SHOVED to the GROUND.

    The NATIVES SHRIEK. One of the SAILORS is DRAGGED forward, his
    HEAD pushed against a FLAT STONE SLAB, and CLUBBED TO DEATH.

    ANGLE ON: In the midst of the CONFUSION, JACK sees the OLD
    SHA-WOMAN screaming at ANN. She starts chanting with rising
    HYSTERICS ...

    SHA-WOMAN
    (chanting)
    Larri yu sano korê ... Kweh yonê
    kah`weh ad-larr ... torê Kông.

    CLOSE ON: JACK struggles, fists flying - he is clubbed and DROPS
    like a stone.

    ANN SCREAMS ... the BEAST ROARS in the DISTANCE!




    59.

    DENHAM punches a NATIVE ... they haul him forward and thrust
    his HEAD onto the BLOOD SPLATTERED STONE ... NATIVE CLUBS rise
    into the air ...

    .. a GUNSHOT!

    The NATIVES hesitate, as if STUNNED ... then SCATTER.

    ENGLEHORN, HAYES and an ARMED GROUP of SAILORS race into the
    VILLAGE!

    ENGLEHORN roughly hauls DENHAM to his feet.

    ENGLEHORN
    Seen enough?


    W
    EXT. VENTURE - NIGHT

    IDE ON: As EACH WAVE hits the VENTURE, it GROANS and SCRAPES
    against the ROCKS - SHIFTING SLIGHTLY.


    EXT. VENTURE DECK - NIGHT

    NGLE ON: ENGLEHORN, desperate ... yelling at his CREW, above the
    HOWLING WIND.

    ENGLEHORN
    (yelling)
    Lighten the ship! Anything that's not
    bolted down goes overboard!

    ANGLES ON: As WAVES crash against the STRANDED SHIP, LUMPY,
    JIMMY, CHOY and the other SAILORS throw TABLES, CHESTS ...
    KITCHEN EQUIPMENT into the SEA.


    INT. DENHAM'S CABIN - NIGHT

    DENHAM is swigging from a HIP FLASK. HERB and PRESTON are gathered
    gloomily around a TABLE, while DENHAM strides around the ROOM,
    swigging and talking in a animated fashion. The STORM BATTERS and
    CRASHES outside.

    DENHAM
    We got away. We gotta be grateful for
    that gentlemen.

    PRESTON
    What about Mike? He didn't get away -
    he's still there!

    DENHAM
    (sharply)
    Mike died doing what he believed in!
    He didn't die for nothing. And I'll
    tell you something else - I'm going to
    finish this film - for Mike.



    60.
    I'm going to NHAM(cont'd) donate the
    DE finish it and
    proceeds to his wife and kids -
    because that man is a hero and he
    deserves nothing less!

    HERB
    Hear! Hear!


    INT. ANN'S CABIN - NIGHT

    ANN alone in her CABIN, is overwhelmed by a terrible SENSE of
    FOREBODING ...

    SUDDENLY! A WAVE crashes against her WINDOW! SHE SPINS AROUND
    IN FRIGHT.

    As she turns slowly she catches sight of her terrified reflection
    in the MIRROR.


    EXT. ROCKS - NIGHT

    ANGLE ON: NATIVES are moving towards the VENTURE ...

    UT TO:


    INT. ANN'S CABIN - NIGHT

    A growing sense of UNEASE fills ANN with DREAD.

    CUT TO:


    EXT. ROCKS - NIGHT

    ANGLE ON: using LONG BAMBOO POLES, A NATIVE silently VAULTS from
    ROCK to ROCK over the STORMY SEAS ... towards the GROUNDED SHIP
    E

    EXT. VENTURE DECK - NIGHT

    NGLE ON: A SKULL ISLANDER LANDS on the BACK DECK of the
    VENTURE UNSEEN! He CROUCHES in the shadows ...


    INT. MESS ROOM - NIGHT

    CLOSE ON: JACK sprawled on a BENCH SEAT in the MESS ... a LOUD
    METALLIC CREAK wakes him up. He rolls over, tries to focus ...
    he touches his hand to the back of his HEAD ... when he
    withdraws his hand ... his fingers are covered in BLOOD.

    SUDDENLY LUMPY and a SAILOR pick the TABLE up from under him and
    carry it outside.

    CUT TO:




    61.


    INT. ANN'S CABIN - NIGHT

    CLOSE ON: ANN, a sense of foreboding...


    EXT. VENTURE DECK - NIGHT

    ANGLE ON: JACK staggers on to the BACK DECK, clutching a
    railing to steady himself. He suddenly discovers a NATIVE
    NECKLACE on the DECK ...

    ... JACK stares at the NECKLACE, decorated with a MONKEY SKULL,
    a look of HORRIFIED REALIZATION growing. JIMMY is racing past,
    JACK grabs him:

    JACK
    Where's Ann?

    JIMMY
    She went to her cabin.


    INT. ANN'S CABIN - NIGHT

    ANN alone in her CABIN. She looks down and notices her HANDS are
    TREMBLING.

    UDDENLY! Her CABIN door starts to rattle. She swings around in
    FRIGHT, to see cabin's DOOR HANDLE - which is turning ...

    ANGLE ON: ANN'S FACE as her CABIN DOOR opens ...


    INT. VENTURE CORRIDOR - NIGHT

    ANGLE ON: JACK desperately pushes past CREW in the CROWDED,
    panicked CORRIDOR, trying to get to ANN'S CABIN ...


    EXT. VENTURE - NIGHT

    WIDE ON: The VENTURE at the MERCY of the RAGING SEAS as it
    moves even closer to the REEF.


    INT. VENTURE CORRIDORS - NIGHT

    ANGLE ON: JACK loses his footing as the SHIP lurches VIOLENTLY.
    He lands on the floor ...

    CLOSE ON: JACK looks down the length of the CORRIDOR ... the
    DOOR of ANN'S CABIN is swinging open.


    INT. ANN'S CABIN - NIGHT

    LOSE ON: The SHIP ROLLS as JACK staggers into ANN'S CABIN ...
    SHOCKED to find it EMPTY with clear signs of a STRUGGLE.



    62.


    INT. WHEELHOUSE - NIGHT

    ANGLE ON: HAYES desperately trying to control the WHEEL.


    EXT. VENTURE - NIGHT

    WIDE ON: The VENTURE floats free!

    A LOUD CHEER goes up from the CREW!


    INT. WHEELHOUSE - NIGHT

    ANGLE ON: ENGLEHORN shouts the command ...

    ENGLEHORN
    Wheel amidship ... Full ahead, both
    engines.


    EXT. VENTURE - NIGHT

    IDE ON: The VENTURE plows between the JAGGED ROCKS off toward
    OPEN SEA ...


    INT. ANN'S CABIN

    JACK bursts into the CABIN. CLOTHES are SCATTERED EVERYWHERE.
    clearly a sign of a struggle.

    JACK
    Ann!


    INT. VENTURE CORRIDOR - NIGHT

    NGLE ON: JACK races down the CORRIDOR finding a DEAD CREW
    MEMBER lying below the STAIRS!


    EXT. SKULL ISLAND SHORE - NIGHT

    ANGLE ON: ANN in the NATIVE'S GRIP ... they are being PULLED
    through the STORMY SEAS onto the SHORE, by the other NATIVES
    HAULING on a ROPE. ANN is HALF DROWNED.

    The VENTURE is barely visible moving through the SEA SPRAY.


    EXT. VENTURE DECKS - NIGHT

    ANGLE ON: ENGLEHORN comes out of the WHEELHOUSE - JACK is on the
    LOWER DECK.

    JACK (O.S.)
    top! Stop! Turn back, we have to turn
    back!




    63.

    ANGLE ON: ENGLEHORN turns - he can hear the alarm in JACK's VOICE.

    JACK (cont'd)
    They've taken Ann!

    CLOSE ON: ENGLEHORN, he glances back at the ISLAND as the VENTURE
    ploughs towards the open sea.

    ANGLE ON: An ORANGE GLOW of FIRELIGHT is VISIBLE, emanating
    from the NATIVE VILLAGE.


    EXT. NATIVE VILLAGE/WALL - NIGHT

    NGLE ON: ANN being DRAGGED through a FRENZY OF FEARFUL Skull
    Island NATIVES. GLIMPSES of WAILING ... COWERING ... CHANTING.

    FLAMES BLAZE along the TOP OF THE WALL.

    CLOSE ON: A withered old WOMAN, EYES RED in some DRUG induced
    TRANCE, speaks in TONGUES. ANN is forced to her knees.

    The OLD WOMAN splashes some foul LIQUID into her face ... younger
    WOMEN tie BRACELETS on her wrists.

    EXT. VENTURE DECKS - NIGHT

    ANGLE ON: COVERS are pulled off lifeboats as the SHIP'S CREW
    gather EQUIPMENT.

    CLOSE ON: HAYES yelling commands:

    HAYES
    All hands going ashore ...

    CRASH CUT TO:


    INT. ENGLEHORN'S CABIN - NIGHT

    HAYES V/O
    ... report to stations! Jump to it!

    ENGLEHORN LIFTS UP THE WINDOW SEAT ... revealing a ROW of TOMMY
    GUNS hidden there.

    ANGLES ON: GUNS are handed out.


    EXT. VENTURE DECKS - NIGHT

    ANGLE ON: EQUIPMENT and RIFLES are THROWN IN. The ENTIRE SHIP'S
    CREW is MOBILIZING.

    HAYES (V.O.)
    What the hell are you doing? You want
    that boat to sink? Stow those rifles
    midships - come on, hurry it up!




    64.

    ANGLE ON: DENHAM surreptitiously supervises HERB and PRESTON as
    they load CAMERA EQUIPMENT on board one of the BOATS ...

    ANGLE ON: JACK loading a BOX of AMMUNITION on to the other BOAT
    ... he looks tensely at the FIRES burning on the ISLAND.

    ANGLE ON: The TWO BOATS are swung out and LOWERED.

    HAYES (cont'd)
    Lower away!


    EXT. VENTURE - NIGHT

    he TWO BOATS ROW AWAY from the SHIP, packed with SHIP'S CREW
    ... in one BOAT are DENHAM, PRESTON and HERB - clutching CAMERA
    EQUIPMENT.

    ANGLE ON: JACK in the OTHER BOAT, looking GRIM and DETERMINED.


    EXT. SKULL ISLAND COAST - NIGHT

    ANGLE ON: the TINY BOATS are tossed in the RAGING SEAS. SAILORS
    try to STEER them towards the SHORE, as they bounce off ROCKS and
    STATUES.


    EXT. TOP OF WALL - NIGHT

    LOSE ON: FLAMING TORCHES ignite POOLS of OIL along the length of
    the TOP of the WALL.

    ANGLES ON: ANN'S WRIST'S are TIED outstretched to BAMBOO POSTS.
    She is on the SUMMIT of the WALL, lit by the flickering FLAMES ...
    looking out onto DARK TREE TOPS.
    F
    LAMES DANCE ... DRUMS BEAT in a RITUALISTIC FRENZY.

    ANGLE ON: SKULL ISLANDERS knock away WOODEN PLUGS, releasing the
    FLAMING OIL to pour down rough CHANNELS hewn into the STONE of the
    WALL ... it runs and falls down CHUTES into POOLS carved into the
    GROTTO WALLS.

    WIDE ON: The CLIFF WALLS light up as FLAMES within LARGE CARVED
    CHAMBERS create huge backlit PAGAN FACES.

    FIRELIGHT dances across the nightmarish JUNGLE ... DISTANT TREES
    start to TREMBLE, their canopies swaying as if PUSHED by an UNSEEN
    FORCE.

    CLOSE ON: ANN ... looking on with HORROR at the MOVEMENT in the
    JUNGLE below her. She struggles against the ROPES, to no avail.

    CLOSE ON: The OLD WOMAN, eyes rolled up in her head.

    LOSE ON: A NECKLACE is placed over ANN'S head.



    65.

    ANGLE ON: A SHAMAN starts BEATING out a RHYTHM on a LOG DRUM ...
    SKULL ISLANDERS fall to their KNEES ... a MOANING WAIL rises ...
    the DRUMMING builds to a FRENZIED CLIMAX.

    WIDE ON: On the OTHER SIDE, the WALL falls away vertically into a
    ROCKY GROTTO, leading into the DENSE TANGLED JUNGLE of SKULL
    ISLAND.

    SUDDENLY ANN feels herself DRAGGED FORWARD ... the POSTS she is
    tied to are MOVING, pulling her TOWARDS the EDGE of the WALL! ANN
    digs her heels and tries to PULL AGAINST it, but is unable to stop
    herself being HAULED OFF THE WALL ...
    .
    .. into thin air!

    ANGLE ON: SKULL ISLANDERS lowering the BAMBOO ALTAR STRUCTURE
    DOWN, slowly releasing the flaxen ROPE.

    ANN is dangling from the POSTS by her WRISTS, as the HINGED
    FRAMEWORK swings her out over the CHASM, LOWERING her towards a
    ROCK PROMONTORY on the EDGE of the FOREST.

    NGLE ON: ANN is LOWERED onto the ROCK PROMONTORY, which resembles
    an ALTAR ... ANN struggles to free herself, but she is tied fast
    to the posts, a TINY FIGURE illuminated by enormous GLOWING
    CARVINGS ... the WALL towering up behind her.

    ANGLES ON: ANN squirms ... as the FOREST BELOW HER BROILS and
    SEETHES! TREES are violently SWAYING ... above the crescendo of
    the NATIVE FRENZY, ANGRY BESTIAL ROARS can be heard.

    SKULL ISLANDERS line the TOP of the WALL, their WAILING and
    CHANTING interrupted by a LOUD SPLINTERING SOUND.


    EXT. SKULL ISLAND SHORE - NIGHT

    The SHIP'S BOATS pull up at the foot of the great STAIRCASE. JACK
    leaps out of the BOAT and races up the stairs.


    EXT. WALL GROTTO - NIGHT

    CLOSE ON: ANN lifts her head ... something VERY BIG is moving
    towards HER.

    ANN catches a BRIEF GLIMPSE of a HUGE DARK SHAPE propelling itself
    THROUGH the JUNGLE ... the OILY SMOKE from the FIRES hangs in the
    air, OBSCURING HER VISION ... she can now only hear the CREATURE'S
    MOVEMENTS and BREATH as it draws ever closer.

    ANN cowers back, pulling at her bonds.

    A MASSIVE SHAPE moves through the air ... The ground SHAKES with a
    sudden force of IMPACT!

    ANGLE ON: ANN stands trembling, as the swirling smokey cloud
    slowly DISSIPATES ... a GIANT LEATHERY FOOT is visible.

    CLOSE ON: ANN balanced on a knife-edge of TERROR.



    66.

    A SUDDEN PUFF OF WIND INSTANTLY CLEARS THE VEILING SMOKE.

    ANN slowly LOOKS UP, her face filled with DREAD.

    The SKULL ISLANDERS reply in UNISON ... a piercing WAIL, from the
    TOP of the WALL.

    ANN'S strength suddenly DRAINS from her legs, and SLUMPS between
    the POSTS.

    Before her is ... KONG!

    A 25 FOOT TALL MALE GORILLA! KONG stares at ANN for a beat,
    leaning forward on his KNUCKLES ... then prods her with his
    finger.

    SUDDENLY ... GUNSHOTS!


    EXT. NATIVE VILLAGE/WALL - NIGHT

    FRENZIED MOVEMENT: SAILORS, lead by ENGLEHORN, race into the
    VILLAGE firing WARNING SHOTS in the air ... SKULL ISLANDERS
    SCATTER in TERROR ...


    EXT. WALL GROTTO - NIGHT

    IDE ON: KONG in front of ANN ... HE RISES to his full height and
    BEATS HIS CHEST!

    KONG'S HUGE HAND snatches ANN and roughly PULLS her free of her
    bonds.

    DEAFENING ROAR!

    ANN SCREAMS!

    CLUTCHING her tightly, KONG carries ANN away from the ALTAR.


    EXT. NATIVE VILLAGE/WALL - NIGHT

    FRENZIED MOVEMENT: SAILORS, lead by ENGLEHORN, race into the
    VILLAGE firing WARNING SHOTS in the air ... SKULL ISLANDERS
    SCATTER in TERROR ...

    ANGLES ON: The SKULL ISLANDERS melt away into the darkness ...
    vanishing as fast as they appeared.

    ... from behind the WALL, the DISTANT CRY of ANN screaming for
    help, following by an EARTH SHUDDERING ROAR.

    ENGLEHORN
    (staring upwards)
    What in God's name was that?

    JACK
    (sudden realisation)
    Behind the wall!




    67.

    ANGLE ON: JACK rushes to the BASE of the WALL and begins to climb
    ...

    DENHAM hurries to the massive, heavily fortified gate.
    C
    LOSE ON: DENHAM staring through the LATTICE WORK of sharpened
    bamboo ...

    DENHAM'S POV: A fleeting glimpse of KONG disappearing into the
    depths of the jungle. In his HUGE FIST KONG clutches ANN!


    EXT. TOP OF WALL - NIGHT

    NGLE ON: JACK has reached the top of the WALL ... he races to the
    EDGE peering over it. Nothing ... only the primitive ALTAR, and
    beyond, DARK JUNGLE dissolving into BLACKNESS.

    JACK'S POV: The EMPTY ROPES binding ANN'S WRISTS swing from the
    ALTAR POSTS.

    JACK
    (disbelief)
    She's gone!


    EXT. NATIVE VILLAGE/WALL - NIGHT

    ACK is hurrying down from the WALL.

    JACK
    She's gone!

    CLOSE ON: DENHAM in SHOCK ... his mind racing, fuelled by FEAR.
    Gradually his breathing slows and another part of his brain kicks
    into gear.

    JACK makes brief eye contact with DENHAM, who quickly looks away.

    JACK (cont'd)
    Carl? What is it?
    (realizing)
    You saw something ...

    LATER ...

    ANGLE ON: BOXES of AMMUNITION and GUNS have been brought up from
    the beach. Lids are prised open ... AMMO distributed.

    DENHAM is surrounded by JACK, ENGLEHORN and the SAILORS.

    ENGLEHORN
    You can take Hayes and fifteen others.
    I'll put a guard on the gate until you
    return ... The rest of you, stay with
    the ship.

    JACK grabs his PACK and WALKS away TOWARDS THE GATE, with LUMPY &
    JIMMY following.



    68.

    HAYES
    Not you, Jimmy.

    JIMMY
    Com'on Mr. Hayes, look at `em. None of
    them knows a which way to point a gun.

    HAYES takes the RIFLE out of JIMMY'S HANDS.

    HAYES
    Stay here.

    JIMMY
    Miss Darrow needs me!

    HAYES
    No!

    CLOSE ON: JIMMY, crestfallen.

    ANGLE ON: DENHAM by the CAMERA BOXES with HERB and PRESTON.

    DENHAM
    (quietly)
    Bring the tripod - and all of the film
    stock.

    HERB
    You wanna go with the six inch lens?

    DENHAM
    The wide angle will do just fine.

    CLOSE ON: PRESTON slings the FILM STOCK BAG over his SHOULDER.

    ANGLE ON: JACK, PRESTON, HAYES, LUMPY, CHOY, BRUCE and 8 SAILORS
    as ENGLEHORN surveys the GROUP. DENHAM and HERB are HAULING CAMERA
    EQUIPMENT.

    ENGLEHORN
    You got guns, you got food, you got
    ammo. You got twenty-four hours.

    BRUCE
    Twenty-four hours?

    ENGLEHORN
    This time tomorrow we haul anchor.

    CLOSE ON: JACK ... as he slings his GUN on his shoulder, turns
    and HEADS through the GATE.


    EXT. SKULL ISLAND JUNGLE - NIGHT

    WIDE ON: The VOLCANIC ROCKS form a JAGGED, TORTURED LANDSCAPE of
    DEEP CREVASSES and TOWERING CLIFFS. The vegetation is THICK, the
    JUNGLE DARK. ANCIENT GNARLED TREES twist out of the ground, thick
    LICHEN and long MOSSES hang from branches and TANGLED VINES. STEAM
    RISES from festering SWAMPS ...





    69.

    HAYES is LEADING DENHAM, JACK, PRESTON, LUMPY, CHOY, BRUCE and
    EIGHT SAILORS. HERB is limping along with the heavy CAMERA on his
    shoulder.

    The atmosphere is TENSE ... unseen creatures scurry in the
    darkness, fleeing from the approaching humans.

    HAYES puts his hands up ... the GROUP stops ... a STRANGE, LOW
    MOAN echoes from the SURROUNDING JUNGLE ... The MEN stare into the
    darkness ... watchful, on edge ...


    EXT. KILLING GROUND - NIGHT

    CLOSE ON: ANN in KONG'S HAND, being tossed around like a rag doll
    as KONG RUNS through the FOREST.

    NGLE ON: KONG propels himself through the JUNGLE with EASE,
    barely disturbing the forest, moving with GRACE along a well used
    route.

    LOSE ON: ANN held fast in his GRIP. She is FLUNG wildly around as
    KONG BOUNDS across CHASMS, LEAPING over rivers.

    ANN'S FEVERED POV: The JUNGLE SPINNING and BLURRING by. She tries
    to brace herself against KONG'S FINGERS, but the rigors of the
    journey knock her sideways like a RAG DOLL.

    WIDE ON: SHAFTS of MOONLIGHT play on the faces of grotesque
    STATUES set into a MOSSY CLIFF.

    ANGLE ON: ANN clutched tightly in KONG'S HAND. She is rigid with
    FEAR. KONG squats down ... he LOOKS CLOSELY at ANN.

    CLOSE ON: KONG ... we see him clearly for the first time. A very
    old, brutish BULL GORILLA. Years of survival have left SCARS on
    his face. One EYE LID is mangled and his JAW is CROOKED ...
    leaving a huge yellowed INCISOR TOOTH jutting up.

    KONG stares at ANN ... she dare not move; only her RAPID BREATHING
    belies her INNER TERROR.

    ANGLE ON: ANN is suddenly swung UPSIDE DOWN and SHAKEN ... the
    ceremonial NECKLACE falls from ANN'S NECK.

    CLOSE ON: ANN'S HORRIFIED FACE ... she sees HUMAN REMAINS amongst
    the NECKLACES! Bones ... skulls! A WHIMPERING SOUND escapes from
    the back of her throat.

    SWIRLING UPSIDE DOWN POV: The NECKLACE lands on the ground - amid
    DOZENS of OTHER NECKLACES littering the clearing.

    ANGLE ON: ANN is lifted UPWARDS ... KONG'S LIPS curl in a low,
    slow SNARL.

    ANN looks at KONG, aghast, and in this moment her heightened sense
    of FEAR gives way to something more fundamental: SELF
    PRESERVATION!



    70.

    KONG'S FINGERS start to OPEN - ANN seizes her chance! She suddenly
    PROPELS herself off his HAND! ANN DROPS 12 feet and lands heavily
    at KONG'S FEET. She rolls amongst grinning HUMAN SKULLS and LEG
    BONES ... staggers to her feet and RUNS!

    KONG rises up with a ROAR, but ANN is already disappearing into
    the JUNGLE!


    EXT. DENSE JUNGLE - NIGHT

    NGLES ON: ANN desperately powering through the DENSE UNDERGROWTH.
    She throws herself over huge FALLEN LOGS, through TANGLED VINES.
    .
    She GLANCES BACK ...

    .. TREES are FALLING, KONG is smashing through the undergrowth
    after her!

    ANGLE ON: With surprising AGILITY and GRACE, KONG sweeps down from
    above and SCOOPS ANN off the ROCK. She barely has time to CRY OUT
    before being CARRIED AWAY, as KONG disappears into the DEPTHS of
    the ISLAND.


    EXT. TANGLED VINES - NIGHT

    CLOSE ON: JACK ... hearing ANN'S DISTANT SCREAMS!

    JACK
    Ann!

    ANGLE ON: JACK starts RUNNING towards the SOUND. DENHAM and the
    OTHERS follow ... JACK is barging through THICK TANGLED
    VEGETATION, which is growing between huge moss covered FALLEN
    COLUMNS.

    KONG'S ENRAGED ROAR echos through the JUNGLE.

    JACK (cont'd)
    (yelling)
    Ann!


    EXT. TANGLED VINES - NIGHT

    ANGLE ON: The GROUP pause at the sound of ANN'S TERRIFIED SCREAM.

    CLOSE ON: JACK'S ashen face.


    EXT. DENSE JUNGLE - NIGHT

    ONG LEAPS ACROSS CHASMS as he CARRIES ANN through the JUNGLE.


    EXT. KILLING GROUND - DAWN

    ANGLE ON: JACK picks up ANN'S NECKLACE ... a LOCK of BLONDE HAIR
    still tangled within it's STRANDS ...



    71.

    WIDE ON: DAWN LIGHT brightens the SKY as the GROUP survey the
    KILLING GROUND.

    LUMPY
    Christ! It's a bleeding bone yard!
    (horrified realization)
    They've been ripped limb from limb.

    JACK
    (calling)
    ANN! Ann!

    ANGLE ON: DENHAM casts an eye over the DEBRIS STREWN GROUND ...
    his gaze rising to a HUGE GASH in the FOREST ...

    DENHAM POV: TREES have been RIPPED from the earth where KONG has
    SMASHED a path through the JUNGLE ...

    ANGLE ON: HAYES notices a SAILOR with a WOOLLEN HAT pulled down
    over his head ... the SAILOR has turned away from the GRISLY
    REMAINS. HAYES bats the hat off the SAILOR'S HEAD ... it's JIMMY.

    JIMMY
    Just keep walking, Mr. Hayes. Pretend
    you didn't see me.

    HAYES
    esus, Jimmy!

    HAYES snatches the GUN off him ...

    JIMMY
    defiant)
    Hey! I need that!

    HAYES
    (angry)
    I'm not giving you a gun!

    JIMMY
    You were younger than me when they
    gave you one!

    HAYES
    I was in the army. I was trained - I
    had a drill sergeant!

    CLOSE ON: JIMMY looks at HAYES.

    IMMY
    quietly)
    I just wanna help bring her back.

    HAYES's expression softens. He hands the gun back to JIMMY.

    HAYES
    Don't make me regret it.



    72.


    EXT. ROUGH TERRAIN - DAY

    ANGLE ON: The GROUP'S NERVES are FRAYED ... as they continue
    slogging through the difficult TERRAIN. HUGE INSECTS fly around
    them, AND THE GROUP try in vain to SWAT them away.

    ANGLE ON: LUMPY shooting WILDLY at a HUGE BUG ...

    HAYES
    growling)
    Conserve your ammunition!

    LUMPY GLARES at HAYES ... and SHOOTS one last time at a HUGE BUG
    ON A NEARBY TREE ...


    EXT. RUINED VALLEY - DAY

    ANGLE ON: SLIDING FEET ... down a VINE strewn slope.

    ULL BACK to reveal ... the GROUP have emerged from the JUNGLE
    into a NARROW VALLEY, deep in the heart of SKULL ISLAND ... The
    VALLEY is less than 75 feet wide, flanked by sheer CLIFFS.

    JACK looks up and down the VALLEY ... he wipes his brow .. the
    SUN is high, it is hot out of the SHADE.

    ANGLE ON: LUMPY stumbling forward with a hacking SMOKER'S COUGH.

    LUMPY
    I'm knackered! I've gotta have a
    breather.

    LUMPY flops down on the ground, and grabs a cigarette from behind
    his ear and lights up.

    JACK watches as OTHER SAILORS follow suit.

    JACK
    Hey fellas - we don't have time for
    this. We've lost too much ground
    already! Come on, - get up!

    HAYES
    (quiet)
    They're not about to quit on you. Cut
    them some slack.

    JACK stares at HAYES and then sighs, resigned.

    HAYES calls to the MEN ...

    HAYES (cont'd)
    Alright, you got five minutes!
    Everybody stay in sight!

    ANGLE ON: DENHAM grabs the CAMERA from HERB. Nearby PRESTON sets
    up the TRIPOD.


    73.

    DENHAM
    (hushed)
    Over here. I wanna get a wide shot of
    the valley.

    NGLE ON: DENHAM as he arrives at the top of the SLOPE, he turns
    at the sound of a STRANGE NOISE ...

    PUSH IN: ON DENHAM ... a look of AMAZEMENT dawning on his FACE.

    CLOSE ON: JACK kneels down and stares at an unmistakable indent
    in the sand: a GIANT FOOTPRINT!

    LUMPY
    Bloody Nora!

    JACK looks up to see SAILORS gathering around.

    JIMMY
    Is that what took Miss Darrow?

    LUMPY
    (sagely)
    There's only one creature capable of
    leaving a footprint that size ...

    ALL look up at LUMPY ...

    LUMPY (cont'd)
    The abominable snowman!

    A ripple of FEAR spreads throughout the CROWD.

    The RATTLED SAILORS mutter agreement. There is random chatter of
    turning back.

    HAYES kneels down beside JACK ...

    HAYES
    (quiet)
    It's gotta be - what? Twenty - twenty-
    five feet?

    JACK
    (grimly)
    Carl saw it. Let's ask him.

    HAYES looks over his SHOULDER ...

    HAYES
    Denham!
    no answer)
    Where'd he go?

    ANGLE ON: JACK walking up the VALLEY.

    JACK
    Carl!!!




    74.

    WIDE ON: DENHAM, BRUCE and HERB arrive at the TOP of the VALLEY
    A
    ... they stare transfixed at a HERD of grazing BRONTOSAURS.

    NGLE ON: DENHAM is cranking the CAMERA ...

    DENHAM
    low)
    Walk forward, Bruce.

    BRUCE
    What?!

    ANGLE ON: a HERD of TWELVE BRONTOSAURS are slowly moving through a
    WIDE CLEARING ahead.

    DENHAM
    You're the star of this picture! Get
    into character and head towards the
    animals.

    ANGLE ON: BRUCE nervously SHUFFLES forward ...

    BRUCE
    What the hell kind of place is this?
    (beat)
    Are you sure about this, Denham???
    Don't we have a stand-in for this type
    of thing?

    DENHAM
    need you in the shot, or people will
    say they're fake.

    BRUCE
    Nobody's gonna think these are fake!

    SUDDEN flash of MOVEMENT! CARNOTAURS are circling the HERD.

    ANGLE ON: the BRONTOSAUR HERD looking EDGY and RESTLESS!

    DENHAM
    ou're making them nervous! No sudden
    movement.

    BRUCE
    I'm not moving.

    A LOW RUMBLING SOUND can now be heard ... the GROUND starts to
    SHAKE ...

    PUSH IN: on BRUCE as he realizes what is about to HAPPEN!

    BRUCE (cont'd)
    (under his breath)
    Mother of God ...

    ANGLE ON: BRUCE suddenly turns and runs!

    ANGLE ON: HERB is starting to get NERVOUS as DENHAM determinedly
    continues filming ...

    75.

    WIDE ON: A sudden FALL of ROCKS ... Jack looks up!

    ANGLE ON: The MEN look NERVOUS as the GROUND starts to TREMBLE
    beneath their feet!

    JACK turns and sees: BRUCE running down the hill ...

    JACK
    What is it?! Where's Carl?

    BRUCE slows down, attempting to appear CALM.

    BRUCE
    He's - he's ... um ... well, he's up
    there ... filming.

    A LOUD ROAR!

    BRUCE bolts like a STARTLED RABBIT!

    SEVERAL nervous SAILORS jump up and start running.

    ANGLE ON: JACK cautiously moves uphill towards the source of the
    LOUD RUMBLING SOUND.
    A
    NGLE ON: DENHAM and HERB appear on the brow of the HILL. They are
    running flat out towards JACK!

    Seconds later a HERD of BRONTOSAURUS stampede down the hill after
    DENHAM and HERB!

    DENHAM
    Run Jack!

    JACK
    Holy Christ!

    HAYES
    (yelling)
    Go Jimmy - Run!

    EVERYONE TURNS and FLEES!

    ANGLE ON: JACK running ... he looks back and sees DENHAM trip and
    fall!

    The STAMPEDING DINOSAURS storm towards DENHAM down the NARROW
    VALLEY!

    CLOSE ON: DENHAM is frozen to the spot, staring at the CAMERA,
    which is lying directly in the rampaging DINOSAUR'S PATH.

    JACK turns back ... he attempts to drag DENHAM to his FEET, as
    DENHAM struggles to grab hold of the CAMERA and TRIPOD.

    JACK
    Leave it!!!

    DENHAM
    No!!!



    76.

    DENHAM and JACK scramble to their feet and start to RUN! DENHAM
    cradles the CAMERA and TRIPOD in his ARMS, as the BRONTO PACK
    bears down on them from behind!

    Spectacular TRACKING SHOT: ... The PACK of 15 CARNOTAURS are
    CLOSING IN on the BRONTOSAURUS HERD! A CARNOTAUR leaps onto the
    back of a FLEEING BRONTOSAUR, causing it to falter and slide
    against the cliff. TWO MORE CARNOTAURS leap onto the ailing
    BRONTOSAUR as the rest of the pack stream past.

    DENHAM, JACK and the OTHERS are running as fast as they can ...
    JACK glances over his shoulder - the WALL of THUNDERING BRONTOSAUR
    LEGS are about to ENGULF THEM!
    A
    NGLE ON: JACK and DENHAM suddenly find themselves in a SEA of
    HUGE LEGS - like wildly pounding Redwood tree trunks! The
    CARNOTAURS are snapping and snarling at the LEGS ... they see the
    MEN! Their only hope of survival is to stay WITHIN THE STAMPEDE,
    out of reach of the MEATEATERS!

    QUICK IMAGES: THE GROUP in the SEA of LEGS ... a SAILOR trips and
    is CRUSHED UNDERFOOT. A COUPLE OF SAILORS jump clear of the
    BRONTOSAURS - only to be set on by the CARNOTAURS. JACK ... DENHAM
    ... SAILORS ... everyone is running madly, dodging BRONTOSAURS,
    CARNOTAURS and trying not to fall!

    A CARNOTAUR focuses on JACK ... it skillfully weaves IN BETWEEN
    and UNDER the BRONTOSAURS and emerges right behind JACK, it's
    SNAPPING JAWS inches away from his head!

    ACK suddenly SIDE-STEPS, and SHOULDER-BARGES the CARNOTAUR
    SIDEWAYS - under a BRONTOSAUR'S LEGS. The CARNOTAUR is instantly
    trampled!

    BRUCE is managing to stay ahead of the stampede - possibly RUNNING
    FASTER than any human before him! A CARNOTAUR races out in front
    of the stampede and bears down on BRUCE with incredible speed!
    BRUCE desperately waves a TOMMY GUN at the CARNOTAUR ... TOWARDS
    THE STAMPEDE!

    JACK sees it coming ...

    JACK
    (yelling)
    No!!!!

    BRUCE FIRES, missing the CARNOTAUR ...

    ... but he hits the LEAD BRONTOSAUR, following behind, in the
    chest. The BRONTOSAUR COLLAPSES AT TOP SPEED! It CARTWHEELS OVER,
    it's huge NECK and TAIL thrashing out. The OTHER BRONTOSAURS
    PLOUGH INTO IT, tripping and rolling!

    JACK and the SAILORS suddenly find themselves in the middle of an
    amazing FLESHY FREIGHT TRAIN PILE-UP! SAILORS are crushed as
    BRONTOSAURS come down on top of them! A CARNOTAUR is squashed when
    TWO BRONTOSAURS slam together.

    JACK rolls against a rock as MOUNTAINS of BRONTOSAUR TUMBLE all
    around him.




    77.

    DENHAM throws himself onto the ground, shielding the CAMERA.

    n the space of seconds, the MIGHTY HERD OF BEHEMOTHS is reduced
    to a VAST PILE of DEAD or WOUNDED ANIMALS ... The CARNOTAURS
    immediately go to work, leaping onto BRONTOSAURS, ripping into
    fleshy stomachs.
    J
    ACK crawls past huge HEAVING BELLIES and TWITCHING LEGS ... he
    staggers out of the DINOSAUR PILE-UP ... he turns back at the
    SOUND OF LOUD HISSING - a CARNOTAURUS is climbing over a DEAD
    BRONTOSAUR, it's gleaming eyes intent on JACK. The CARNOTAURUS
    leaps ...

    BAM! BAM! BAM! The CARNOTAURUS is riddled with BULLETS and falls
    DEAD at JACK'S FEET!

    HAYES hurries towards JACK, clutching his TOMMY GUN!

    HAYES
    (yelling)
    Go! Go!

    HAYES sends the rest of the MEN up a steep ROCKY SLOPE ... they
    SLIP and SLIDE on the SLIMY MOSS-COVERED ROCKS.

    JACK doesn't move. He looks around in mounting panic.

    JACK
    (frantic)
    Carl!? Carl?! Get up!

    DENHAM limps out of the PILE-UP, bloodied and covered in DUST -
    the CAMERA in his arms.

    HAYES blasts at another CARNOTAURUS - it TOPPLES BACKWARDS.

    HAYES
    Run!


    EXT. SLIMY SLOPE - DAY

    The GROUP are desperately scrambling up the STEEP ROCKY SLOPE -
    slipping and sliding on the WET MOSS ... FOUR SURVIVING CARNOTAURS
    follow in pursuit ... the MEN start sliding backwards in their
    panic. The CARNOTAURS are sliding too, but their powerful legs are
    working furiously, propelling them closer and closer to the
    flailing SAILORS!

    A SAILOR loses his footing completely ... he rolls past TWO
    CARNOTAURS before being grabbed by the JAWS of the THIRD.

    The MEN grab hold of WEEDS, ROCKS ... ANYTHING, to get away from
    the DINOSAURS. They are crawling towards a network of NARROW
    FISSURES between HUGE ROCKS ... which the CARNOTAURS cannot
    squeeze through.

    ANGLE ON: HERB is scrabbling up as best as he can with his bad leg
    ... DENHAM moves towards him, reaching desperately ...


    78.

    DENHAM
    Herb! Come on!

    HERB
    (gasping)
    Mr Denham ... ! Take the tripod.

    DENHAM
    Come on Herb - I'm pulling you up.
    Come on, hold on to your end.

    HERB
    (gasping)
    You gotta go!!

    DENHAM
    I'm not going anywhere without you!

    HERB
    You gotta leave me!

    HERB is straining to hold the TRIPOD when his GAMMY LEG gives way
    ... he SLIPS and ROLLS into the path of an oncoming CARNOTAUR!

    CLOSE ON: DENHAM reacting in SHOCK as HERB is KILLED by the
    frenzying CARNOTAURS.


    EXT. JUNGLE RUINS - DAY

    ANGLE ON: KONG drops ANN onto the ground. She LANDS in a LIFELESS
    heap.

    KONG has dropped ANN in a small RUINED COURTYARD, it's WALLS are
    cracked and split by encroaching JUNGLE CREEPERS.

    IDE ON: KONG circles around ANN who lies MOTIONLESS on the
    GROUND. He PRODS her ROUGHLY with a FINGER ... no response. KONG
    GROWLS ... PRODS AGAIN ... ANN lies STILL.

    LOSE ON: ANN ... she slowly OPENS HER EYES! ANN looks warily
    towards KONG.


    EXT. EDGE OF SWAMP - DAY

    ACK, DENHAM, HAYES, BRUCE, JIMMY, LUMPY, CHOY and PRESTON clamber
    down a JAGGED ROCK face into lush sub-tropical VEGETATION. They
    are followed by a few surviving SAILORS - a bedraggled GROUP ...
    CUT, BRUISED, COVERED in DUST, SOAKED in SWEAT. Most of the GUNS
    are lost.

    AILORS slump to the ground, EXHAUSTED.

    They are on a NARROW CLEARING at the edge of a MISTY SWAMP. SHEER
    CLIFFS rise out of the SWAMP on both sides of the SHORE.

    HAYES
    Jimmy, do a head count. I wanna know
    how many injured and how bad -

    79.

    LUMPY
    (interrupting)
    Injured? Four of us are dead!

    CLOSE ON: DENHAM reaches with a trembling hand for his HIP FLASK.
    He takes a big SWIG ... and stands staring out over the SWAMP.
    PRESTON sits on A TREE STUMP nearby.

    PRESTON
    It's not your fault. What happened to
    Herb - it's no ones fault.

    DENHAM
    (soft realization)
    You're absolutely right, Preston ...
    And I'll tell you something else.
    Herbert didn't die for nothing. He
    died for what he believed in and I'm
    gonna honour that.

    CLOSE ON: DENHAM reaching for that moment of self justification.

    DENHAM (cont'd)
    He died believing there is still some
    mystery left in this world - and we
    can all have a piece of it - for the
    price of an admission ticket!
    (excited)
    Goddammit Preston we're gonna finish
    this film for Herb. We'll finish it,
    and donate the proceeds to his wife
    and kids.

    CLOSE ON: PRESTON, he has heard this all before.

    WIDE ON: BRUCE stands amongst the SEATED SAILORS.

    BRUCE
    (desperate)
    We gotta get back to the ship.
    Englehorn sails in nine hours.

    JIMMY
    So? We gotta find Miss Darrow.

    BRUCE
    Hey, did you hear me? We're gonna be
    stranded here!

    BRUCE becomes aware of JACK staring at him COLDLY. BRUCE self
    consciously clears his THROAT.

    BRUCE (cont'd)
    Miss Darrow was a great gal - no
    question. She was a wonderful person.
    It's a terrible loss. We're all gonna
    miss her.



    80.

    JACK
    I always knew you were nothing like
    the tough guy you play on screen - I
    just never figured you for a coward.

    BRUCE
    Hey, pal, wake up. Heroes don't look
    like me - not in the real world. In
    the real world they've got bad teeth,
    a bald spot and a beer gut ... be
    seeing ya.

    BRUCE walks off. HAYES turns to the rest of the GROUP.

    HAYES
    Anyone else?

    A couple of SAILORS shuffle forward towards BRUCE.


    EXT. JUNGLE RUINS - DAY

    WIDE ON: KONG SITS on the EDGE of a RUIN, surveying the JUNGLE.

    He SITS with his BACK to ANN, in the crumbling remains of an
    enclosed ENTRY AREA ... which also provides the only way out.

    ith a splintering rip, KONG pulls off one of the DINOSAUR'S LEGS
    and starts EATING it.

    ANGLE ON: ANN, having feigned unconsciousness, she now cautiously
    searches for a way to escape.
    C
    LOSE ON: ANN LIFTING HER HEAD, risking a quick look around. The
    WALLS are TOO STEEP to attempt an escape ...

    ... but there is a NARROW STAIRWAY across the COURTYARD, leading
    down into the JUNGLE.

    INCH by INCH ANN starts to EDGE FORWARD, CRAWLING on her STOMACH
    towards the STAIRS. KONG is CHEWING NOISILY ... he SHIFTS HIS
    WEIGHT, half turning ... ANN FREEZES.

    ONG GLANCES at ANN, who has resumed her LIFELESS POSE. KONG
    doesn't appear to notice she's moved several feet. He continues
    EATING ...

    ANN again starts to EDGE FORWARD ... she is STARTLED when some
    CREEPY INSECTS swarm out of a CRACK in the FLAGSTONES, inches from
    her FACE!

    With only a few feet left to go, ANN quietly rises and scurries
    towards the STAIRWAY. She clambers into the NARROW PASSAGE -
    finally out of KONG'S SIGHT! Glancing back over her shoulder, ANN
    hurries down the STAIRWAY towards FREEDOM!


    81.


    EXT. BOTTOM OF STAIRWAY/JUNGLE - DAY

    ANN pauses at the BOTTOM of the STAIRS, listening for sounds of
    KONG. All is QUIET ... she glances back up the stairs ... no sign
    of him there ...

    ... gathering all her strength ANN emerges from the PASSAGE and
    makes a bold run across the CLEARING towards the cover of the
    JUNGLE!

    THUD! KONG'S FIST SLAMS DOWN in FRONT of ANN!

    She GASPS and tries to change direction ... THUD! Another FIST
    blocks her way. KONG GROWLS ANGRILY!

    ANN swings around and FACES KONG ... he SNARLS at HER, FURIOUS and
    DEADLY.

    NGLE ON: ANN suddenly ducks under KONG'S ARM and makes a last
    ditch attempt to escape! She is half way across the clearing when
    she TRIPS and FALLS!

    NGLE ON: KONG bounds over to ANN, SLAPPING his HANDS on the
    GROUND in a frenzy of excitement - he utters a GUTTERAL SQUEAL.

    CLOSE ON: ANN, flat on the ground, eyes shut, lying still.

    ANGLE ON: KONG .. circling around ANN, SUSPICIOUS. He PRODS her a
    couple of times ...no response. KONG moves on ... ANN'S EYES flick
    OPEN! At that moment KONG doubles back - CATCHING her out!

    ... ANN SPRINGS UP, looks at KONG for a desperate moment, wonders
    if she should run, decides she'll never make it ... and takes
    another PRATFALL!!

    KONG cocks his HEAD! He GRIMACES, baring his teeth and CIRCLES
    her.

    ANN repeats the COMIC FALL! KONG SLAPS his HANDS on the GROUND,
    SHAKES his HEAD and GROWLS.

    ANN starts to draw upon her VAUDEVILLE ROUTINE, swaying drunkenly
    and falling, then bouncing back up ... working her timing around
    KONG'S reactions - he grows increasingly ENGAGED.

    NGLE ON: ANN BOUNCES UP ... PANTING ... BEADS of SWEAT trickle
    down her face. Her EYES dart between the JUNGLE and KONG, she's
    looking for her chance ...

    ... but KONG is a DEMANDING audience. He wants more ... he wants
    ANN to fall down again.

    KONG PRODS ANN ROUGHLY, knocking her OFF HER FEET. She FALLS to
    the GROUND ... WINDED.

    KONG slaps his hands on the GROUND, and lets out another EXCITED
    GROWL. He thumps the GROUND with his FISTS, and SHAKES his HEAD,
    delighted with the GAME.



    82.

    ANN tries to get up - KONG pushes her over again! This time she
    stays on the GROUND, breathing HEAVILY.

    HUMP! THUMP! THUMP! KONG wants more! He tries to PROD ANN into
    getting up and is STARTLED when she HITS his FINGER AWAY!

    ANN
    (gasping)
    No! I said no!

    KONG cocks his HEAD ... he THUMPS his FISTS on the GROUND.

    HUMP! THUMP! THUMP!

    ANN (cont'd)
    (gasping)
    That's all there is ... there isn't
    any more.

    KONG RISES TO HIS FEET, and BEATS his CHEST, towering over ANN.

    His HUGE FIST rises into the air and comes SLAMMING DOWN straight
    TOWARDS ANN!

    CLOSE ON: ANN shuts her eyes ... KONG'S FIST THUDS into the ground
    inches away from her.

    THUD! Another FIST SLAMS into the GROUND!

    ANGLE ON: KONG ROARS and beats his chest in a dramatic display of
    ANGER and FRUSTRATION. He rips a TREE from the ground as his ANGER
    spirals into violent MADNESS.

    LOSE ON: ANN as the GROUND SHAKES with the fury of his RAGE. For
    a brief moment KONG and ANN lock in EYE CONTACT!
    C
    LOSE ON: KONG stares at the small figure in his hand who is
    waiting for DEATH to come.

    In this moment an UNFAMILIAR feeling wells inside him ... a half
    formed emotion he hasn't experienced much in his long life: he
    feels a connection to this tiny creature.

    The SPARK of RAGE goes out in KONG'S EYES ...

    KONG stares at ANN as a confusion of feelings wash over him.

    ONG pulls back from ANN ... overcome by sudden UNCERTAINTY. He
    knows only that she has somehow disarmed him ... and this has in
    turn, DIMINISHED his power.

    KONG starts to BACK AWAY from ANN - slowly at first, until DOUBT
    and FEAR compel him to move faster. Suddenly he turns away.

    ANN watches as KONG lopes off. He pulls himself up and over a
    RUINED WALL and DISAPPEARS from SIGHT.

    ANGLE ON: ANN, rising to her feet, finally free of her captor.



    83.


    EXT. THICK JUNGLE - DAY

    NGLE ON: ANN hurrying through the JUNGLE ... pushing THROUGH
    thorns, TANGLED in VINES ... she is EXHAUSTED, THIRSTY.


    EXT. LOG CHASM - DAY

    IDE ANGLE: DENHAM, JACK, HAYES, LUMPY, JIMMY, PRESTON and the
    remaining CREW have arrived at a DARK, VINE ENTANGLED CHASM ...
    spanning the narrow, but deadly RAVINE is a SINGLE FALLEN TREE.

    WEAK SUNLIGHT filters through the DARK CANOPY above casting a
    SICKLY GREEN HUE over the place.

    IDE ON: HAYES, followed by JIMMY, leads the GROUP across the
    SLIMY, MOSS covered LOG ... the going is treacherous.

    ANGLE ON: DENHAM struggling with the CAMERA ... JACK follows HAYES
    ... LUMPY helps CHOY. They put one foot in front of the other,
    trying not to let the DROP unnerve them.

    ANGLE ON: HAYES suddenly stops ... tensely scanning the DARK RUINS
    on the other side of the CHASM ...

    CREEPY POV: ... something is watching the MEN on the LOG.
    J
    IMMY
    (low voice)
    What is it?

    HAYES motions for JIMMY to be quiet. He stares intently into the
    DARKNESS of the FOREBODING RUINS.

    JIMMY (cont'd)
    (whispering)
    Mr. Hayes ...?

    HAYES turns and looks at JIMMY.

    HAYES
    If anything happens, I want you to
    run! Understand?

    JIMMY
    I'm not a coward - I ain't gonna run.

    HAYES
    (gently)
    It's not about being brave, Jimmy.

    CLOSE ON: JIMMY looking at HAYES uneasily, as he continues across
    the LOG.


    EXT. FAR EDGE OF CHASM - DAY

    NGLE ON: HAYES is the first to step off the LOG, to the safety of
    the FAR BANK.



    84.

    Ahead, some RUINS have collapsed, creating a LONG DARK TUNNEL.

    CLOSE ON: HAYES ... peers into the DARKNESS of the TUNNEL.

    ANGLE ON: A PAIR of GLEAMING EYES, reflecting LIGHT ... rushing
    towards HAYES.

    HAYES
    o back! Back across the log!

    The GROUP on the LOG FREEZE, start to BACK AWAY, slipping and
    sliding on the WET MOSS.

    JIMMY
    I ain't gonna run.

    HAYES
    Get Jimmy out of here.

    ANGLE ON: HAYES... SHOOTS into the DARKNESS of the TUNNEL.

    KONG rampages out of the TUNNEL MOUTH! He SNATCHES HAYES with one
    SWEEP of his HAND.

    CLOSE ON: HAYES in KONG's HAND ...

    IMMY yells! KONG's GAZE turns toward the MEN on the LOG!

    JIMMY
    No! Let him go!
    (to HAYES)
    Kill him! Kill him!

    HAYES
    (to KONG)
    Look at me! Look at me!

    JIMMY
    (desperate)
    Bring him down! Mr Hayes!

    SLOWLY HAYES begins to lift his PISTOL up ... KONG's GAZE locks
    back on HAYES ...

    HAYES
    deadly calm)
    You've gotta run, Jimmy.

    IMMY
    No! I ain't gonna run.

    HAYES
    Do as I say.
    (to JIMMY)
    G
    o with Jack ... All of you.

    KONG stares at HAYES a BEAT ... HAYES suddenly raises his PISTOL
    at KONG to shoot!


    85.

    HAYES (cont'd)
    Run!

    ANGLE ON: KONG HURLS HAYES at the SAILORS ... he flies over their
    heads like RAG-DOLL and smashes against the FAR WALL of the RAVINE
    with a sickening CRUNCH.

    JIMMY
    No!

    JIMMY runs at KONG, blinded by tears of GRIEF and RAGE ... JACK
    KNOCKS him down and SHOOTS at KONG.

    JACK
    (desperate)
    Shoot him!

    WILD SHOOTING from the SAILORS, as they try to maintain BALANCE on
    the LOG.

    KONG ROARS ... DESPERATE SAILORS try to back across the RAVINE.

    KONG runs towards the LOG ... KONG'S FIST smashes at the LOG,
    knocking the men off balance. A SAILOR plummets off into the CHASM
    below.


    EXT. THICK JUNGLE - DAY

    NGLE ON: ANN hurrying through the JUNGLE ... hearing the sound of
    gun fire.

    ANN
    Hey! Here! Over here!

    She runs up the bank towards the noise.


    EXT. FAR EDGE OF CHASM - DAY

    IDE ON: KONG has LIFTED the END of the LOG!

    JACK, DENHAM, LUMPY, CHOY, JIMMY, PRESTON and THREE SAILORS hold
    on for dear life ... as KONG vigorously TWISTS and SHAKES the LOG,
    bucking the MEN into the air.

    ANGLE ON: DENHAM skates on the MOSS and his CAMERA slides away,
    becoming WEDGED in the fork of a STUMP.

    LL AROUND panicked SAILORS are SHOOTING WILDLY, but fear and lack
    of balance throws their AIM OFF.

    WO SAILORS FALL ... CHOY scrambles for something to grab.

    CHOY
    Lumpy! Help me!

    LUMPY desperately tries to reach CHOY'S hand ... but CHOY slips
    away into the ABYSS.



    86.

    KONG ROARS with FRUSTRATION, and TOSSES the ENTIRE LOG into the
    CHASM!

    QUICK IMAGE: DENHAM, PRESTON, JACK, JIMMY and LUMPY gripping the
    LOG as it FALLS!

    QUICK IMAGE: PRESTON thrown off the LOG halfway down ... he
    manages to GRAB onto a ROCKY SHELF.

    ANGLE ON: PRESTON is nearest to the FAR BANK ... he LEAPS, and
    MANAGES to catch hold of some hanging VINES, hauling himself up to
    safety.

    ANGLE ON: The LOG plummets into a web of VINES, which arrest its
    FALL and sends it FLIPPING end on end, throwing the MEN CLEAR into
    mid-air... DENHAM, JACK and LUMPY land in SOFT MUD which cushions
    the impact of the LANDING.


    EXT. VALLEY EDGE - DAY

    ANN suddenly spins around ... the DISTANT SOUND of approaching
    FOOTSTEPS through the dense JUNGLE. A flicker of hope in ANN'S
    eyes! She starts hurrying towards the FOOTSTEPS!

    CLOSE ON: ANN sees a distant PLUME of SMOKE - over FOUR MILES AWAY
    ... she hesitates.

    She SLOWLY turns towards the SOUND of the FOOTSTEPS, which are now
    VERY CLOSE. Suddenly a LARGE 8 foot tall CARNIVOROUS DINOSAUR is
    in the GLADE before her!

    NGLE ON: ANN as she quietly backtracks. The CARNIVORE pauses, as
    if SENSING something. It's NOSTRILS twitch. She ducks behind a
    WIDE TREE.

    NGLE ON: ANN PEERING around from behind the TREE ...

    ... there is another CARNIVORE BEHIND HER! It snares at her ...
    and pounces!

    ANN leaps away ... she barely has time to start running before the
    CARNIVORE GIVES CHASE!

    ANGLE ON: ANN races past the first CARNIVORE ... the creature
    turns it's head ... and soon BOTH DINOSAURS are pursuing ANN.


    EXT. HOLLOW TREE GLADE - DAY

    NGLE ON: ANN desperately heads towards the TANGLED ROOT SYSTEM of
    a HUGE TREE. She throws herself forward, as the CARNIVORE'S JAWS
    snap above her head.

    NGLE ON: ANN ROLLS and SCRAMBLES into a HOLLOW under the ROTTEN
    TREE.

    ANGLE ON: The CARNIVORE CLAW at the TREE, trying to get at ANN.



    87.

    ANN is lying beneath the ROOTS ... all she can see are LEGS and
    SLAVERING SNOUTS! The DINOSAUR RAM'S it's nose into the NARROW
    GAP.

    SUDDENLY ... ANN sees the LEGS of one of her pursuers LIFT off the
    GROUND - it's taloned feet thrashing in mid-air.

    he SECOND CARNIVORE turns and FLEES into the JUNGLE, as ANN is
    forced to watch the twitching legs SHUDDER and FLAIL.

    The SOUND of BONE CRUNCHING ... CRACK! The CARNIVORE'S LEGS SPASM
    and go limp.

    ANN is completely still, she dare not breathe ... whatever killed
    the CARNIVORE is now inches from her hiding PLACE.

    CLOSE ON: ANN'S FACE ... as she sees something CRAWLING above her.

    CLOSE ON: A DARK HOLE, beneath the tree ... Long FEELERS probe
    along the ROOF of the hole as a HUGE CENTIPEDE CRAWLS towards her.

    ANN doesn't move as it inches towards her face. Suddenly she feels
    another crawling up over her shoulder.

    ANN FREAKS! She desperately scrambles away from the CENTIPEDES ...
    rolls out on the OTHER SIDE of the TREE and stands to RUN...

    ... TOWERING above her, with the DEAD CARNIVORE hanging limply
    from it's HUGE JAWS, is a TYRANNOSAURUS REX!

    ANN starts RUNNING! The TYRANNOSAUR crashes after her with the
    DEAD CARNIVORE still in it's MOUTH... as SHE races through the
    JUNGLE, dodging TREES, leaping over FALLEN LOGS, smashing through
    BUSHES, the TYRANNOSAUR POUNDING ever closer in pursuit. ANN can
    feel its hot sour BREATH blowing on the back of her neck! The HUGE
    JAWS of the HUGE BEAST open INCHES from ANN'S HEAD!
    E

    EXT. VALLEY EDGE - DAY

    NGLE ON: ANN slips down a MUDDY BANK, rolls over a LOG, and
    CRASHES NOISILY through a THICKET of PALMS ...


    EXT. FALLEN TREE GLADE - DAY

    ANGLE ON: ANN'S LUNGS are bursting, but the TYRANNOSAUR is GAINING
    on her ... she manages to scramble onto a FALLEN TREE that juts
    out over a small CLIFF. ANN clings onto the MOSSY LOG, and crawls
    towards the END ... the TYRANNOSAUR cannot possibly follow her.

    She falls amongst the roots, lying as flat as possible, praying
    the TYRANNOSAUR doesn't see her. It seems to work and IT walks
    off. ANN HESITANTLY SITS up, thinking that she is at last free,
    only to turn and discover another is behind her!

    With an almost delicate movement, the TYRANNOSAUR nudges the LOG
    with it's head ... causing it to lurch dramatically! The
    TYRANNOSAUR pushes HARDER, sending ANN over the SIDE ...




    88.
    she just manages to grab hold of a BRANCH as she FALLS. ANN hangs
    on desperately ...

    SHE SCREAMS!

    ANN is HELPLESS ... The TYRANNOSAUR positions it's HEAD for the
    FINAL LUNGE - gaping JAWS OPEN impossibly WIDE ...

    AT THAT MOMENT: KONG CHARGES!

    KONG meets the TYRANNOSAUR HEAD-ON at FULL SPEED! He swings, with
    his FOOT smashing the TYRANNOSAUR against the FALLEN LOG ... ANN
    loses her GRASP and FALLS ... as the DINOSAUR SPRAWLS onto the
    ground beside her ... in a flash, KONG CATCHES HER mid-fall ...
    ROLLING AWAY as the TYRANNOSAUR LEAPS UP and tries to take another
    swipe.


    EXT. SKULL ISLAND JUNGLES - DAY

    AST FEVERED ACTION: A pair of CARNIVOROUS DINOSAURS leap towards
    HER! They cling onto KONG'S ARM, clawing furiously, snapping at
    ANN!

    LOSE ON: Saliva flies from wild, snapping jaws.

    WIDE ON: KONG rolls over, THUMPING his arm against a TREE,
    crushing a DINOSAUR.

    ANN is WINDED ... she clings to KONG'S FINGERS as he strangles the
    second BEAST with one hand, snapping it's NECK with a BONE
    CRUNCHING sound.

    UDDENLY! A SECOND TYRANNOSAUR ATTACKS!!! He comes charging into
    shot, grabbing KONG'S ARM in his JAWS! KONG ROARS, sending both
    TYRANNOSAURS SPRAWLING TO THE GROUND. The FIRST TYRANNOSAUR
    scrambles back to it's feet! KONG holds ANN protectively as he
    braces himself for the FIGHT OF HIS LIFE. The TWO TYRANNOSAURS
    CIRCLE him ... when SUDDENLY! A THIRD TYRANNOSAUR comes from
    behind.
    T
    hey ATTACK KONG and ANN ... a BREATHTAKING FIGHT to the DEATH.
    KONG fights like a madman on three separate fronts ... Not only
    does he have to do battle with the TYRANNOSAURS, he is also
    PROTECTING ANN - constantly transferring her from ONE HAND to THE
    OTHER as the TYRANNOSAURS SNAP AT HER HEELS.

    KONG punches and smashes with his fists, but he also uses
    wrestling-style headlocks and flips ... for a brief moment, ANN
    rolls free on the ground and has to dodge 25-foot DINOSAURS and
    the GORILLA, as the frenzied fight THUNDERS all around her.

    The FIRST TYRANNOSAUR is taken out when KONG LIFTS up a HUGE
    BOULDER and SMASHES it against the TYRANNOSAUR'S HEAD.

    KONG and the TWO TYRANNOSAURS slide down on to a ROCKY OUTCROP.

    KONG outs the SECOND TYRANNOSAUR in a HEADLOCK, FLIPPING it over
    his shoulder, and throwing it down into the CHASM. CLINGING ONTO
    THE LEDGE KONG PULLS THE FIRST TYRANNOSAUR OFF THE LEDGE ... BUT
    AS IT FALLS it SNAPS AT KONG'S FOOT.

    E




    89.
    KONG ROARS IN PAIN AND TOGETHER THEY FALL DOWN INTO THE CHASM ...
    DOWN INTO THE VINES. KONG CONTINUES TO FIGHT THE TYRANNOSAUR, AS
    ANN IS LEFT SWINGING, CAUGHT UP IN THE VINES ... TOWARDS THE
    SECOND TYRANNOSAUR. HE SNAPS AT HER AS SHE COMES WITHIN INCHES OF
    HIS JAW.

    WIDE ON: KONG SEES AND CLIMBS UP TOWARDS IT, PULLING IT DOWN.
    THEY ALL TUMBLE DEEPER INTO THE CHASM, AND SUDDENLY ANN FINDS
    HERSELF DANGLING FROM THE JAWS OF THE TYRANNOSAUR ABOVE THE JAWS
    OF ANOTHER! KONG SWINGS AND KICKS THE TYRANNOSAUR IN THE HEAD ...
    ANN LOSES HER GRIP AND PLUMMETS DOWN ... VINES BREAKING AS SHE
    FALLS. AND more SMASHING AGAINST THE CHASM WALLS ... SHE FALLS AND
    LANDS ON THE HEAD OF ANOTHER. FALLS AGAIN. SHE LANDS IN THE SWAMP.
    RUNS. IT CHASES.

    EXT. CLEARING - DAY

    WIDE ON: ANN faces the TYRANNOSAUR! SUDDENLY KONG THUDS DOWN
    BEHIND HER ... GLARING AT THE DINOSAUR ... ANN FINDS HERSELF
    CAUGHT BETWEEN THE TWO BEASTS. ANN WEIGHS UP HER OPTIONS BETWEEN
    BOTH ... and for a moment ANN & KONG LOCK EYES. SHE THEN BACKS
    BENEATH THE LOOMING FIGURE OF KONG.
    T
    HE TYRANNOSAUR SNARLS at KONG and he ROARS BACK ... KONG THROWS
    ANN GENTLY to the side as HE and the TYRANNOSAUR LUNGE at each
    other.

    KONG GRABS HIS JAWS in BOTH HANDS forcing it OPEN and BITING the
    TYRANNOSAUR'S TONGUE. HE ROLLS the TYRANNOSAUR over and over,
    using all his strength to force the TYRANNOSAUR'S JAWS OPEN
    before RIPPING them clean APART at the HINGE! The TYRANNOSAUR
    sprawls back, DEAD.

    KONG is PANTING HEAVILY ... he has been BITTEN, RAKED and CUT. He
    puts his foot on the LAST TYRANNOSAUR and BEATS HIS CHEST,
    TRIUMPHANTLY with a DEAFENING ROAR.

    WIDE ON: KONG KICKS THE DINOSAUR OUT THE WAY. KONG ROARS ANGRILY -
    his blood is up, he is ready to take on the world. HE STANDS NEXT
    TO ANN, BUT HE WON'T LOOK AT HER DIRECTLY. SHE TRIES TO HIS
    ATTENTION BUT HE LOOKS AWAY. HE LUMBERS AWAY. KONG has DEADLY
    INTENT in his EYES. ANN watches as he DISAPPEARS into the JUNGLE.

    ANGLE ON: ANN, CONFUSED for a minute ... THEN RUNS AFTER HIM.

    ANN
    Wait!

    ANGLE ON: ANN is roughly SWUNG into the air, as KONG bounds off
    into the DEEP JUNGLE INTERIOR.

    ANN as she is suddenly SNATCHED UP by KONG and SWUNG ROUGHLY on to
    his SHOULDER.

    CLOSE ON: ANN HANGS ON for dear life as KONG GALLOPS into the
    JUNGLE.

    KONG moves SWIFTLY and POWERFULLY through the JUNGLE with ANN on
    his SHOULDER ...



    90.

    ANGLE ON: ANN as she looks up at the GIANT GORILLA ... the
    tension seems to go out of her body, she relaxes into his HAND
    ... for the first time since coming to SKULL ISLAND she feels
    SAFE.


    EXT. BOTTOM OF CHASM - DAY

    CLOSE ON: JACK STIRRING, immediately hearing the SCUTTLE OF
    INSECTS. HE ROLLS OVER and see's HUGE SPIDERS CRAWLING INTO THE
    PIT. HE staggers to his FEET ... REACHING INTO HIS PACK and PULLS
    from it A FLARE. THROWING it at the SPIDERS they CRAWL OFF.

    DENHAM is lying nearby.

    JACK
    Carl!!!

    DENHAM STIRS, MUMBLING IN PAIN BUT ALIVE.

    JACK SEES JIMMY.

    CLOSE ON: JIMMY is looking VACANTLY into space, JACK kneels down.

    JACK (cont'd)
    Jimmy?

    CLOSE ON: JIMMY looks up at JACK, there are tears filling his
    eyes. He falls into JACK'S arms softly sobbing.

    ANGLE ON: DENHAM sitting up... dawning realization in his eyes.

    LUMPY, his back to CHOY ... he HOLDS CHOY'S HAND ... but CHOY'S
    FINGERS SLIDE LIMPLY out of LUMPY'S HAND ... LUMPY TURNS TO CHOY
    .. ONLY TO SEE THAT HE has DIED.

    NGLE ON: HAYES' eyes closed, his FACE peaceful, lying DEAD on the
    floor of the RAVINE.

    ANGLE ON: DENHAM PEERING over a ROCK. The wreckage of the CAMERA
    lies smashed and broken on the CHASM floor ... a thin, shiny,
    thread of black FILM trailing from the smashed CAMERA body like
    spilt innards.

    DENHAM reaches out and touches the EXPOSED FILM ... his dreams
    DESTROYED.

    WIDE ON: THE FLARE SLOWLY DIES.

    CLOSE ON: JACK cradling JIMMY in his ARMS. HE LOOKS UP as he SEES
    the INSECTS CRAWL BACK.

    ANGLE ON: a HUGE six-foot CARNIVOROUS MAGGOT-THING squirms out!
    It crawls blindly towards LUMPY and CHOY!

    ANGLE ON: LUMPY pulling CHOY'S BODY to safety, but both are
    ATTACKED by LARGE INSECTS, the size of dogs!

    JACK tries to PULL THE GIANT CRAB-SPIDER OFF LUMPY, but instead it
    TURNS on him! More GIANT CRAB-SPIDERS JUMP at JACK.

    91.

    LUMPY and CHOY are CONSUMED by the nightmarish BUGS.

    ANGLE ON: DENHAM is WIELDING a short stick like a CLUB ... he
    smashes the HUGE BUGS in a psychotic explosion of RAGE,
    pulverizing their bodies into the DIRT!

    All around, MONSTROSITIES OF NATURE emerge from DANK BURROWS and
    crawl towards the JACK, DENHAM and JIMMY ... these are HUGE
    INSECTILE MUTANTS - combinations of SPIDERS, CRABS, MANTISES and
    CENTIPEDES!

    SUDDENLY JIMMY notices the TOMMY GUN sticking out of JACK'S PACK.
    GRABBING IT he aims at the INSECTS on JACK.

    BAM! BAM! BAM! The GIANT INSECTS are blown apart!

    JACK looks wildly around for DENHAM. THEY SEE that they're
    SURROUNDED BY SPIDERS. ANGLE ON: JACK desperately swings at the
    INSECTS with a STICK, whacking and stabbing them.

    BAM! BAM! BAM! GUNSHOTS RING OUT. SPIDERS SWARM out of HOLES in
    the CLIFF AND DIE. JACK spins around ... confused.

    ANGLE ON: ENGLEHORN and a COUPLE of SAILORS OPEN FIRE from the LIP
    of the CHASM, SHOOTING the SPIDERS into SMITHEREENS!

    ANGLE ON: BRUCE SWINGS down from above, clinging to a VINE ... GUN
    BLAZING!

    BRUCE proceeds to lay waste to the INSECTS ... those not blasted
    apart, scurrying away, back in to the darkness.


    EXT. JUNGLE - DAY

    Moving purposefully along a well-known route to his LAIR, KONG
    launches himself across a LOW CHASM ... one hand reaching out
    to clutch at THICK VINES on the other side ...

    SUDDENLY! The THICK VINES TEAR AWAY from the side of the CHASM
    WALL ... KONG falls backwards. ANN still clutched protectively
    to his CHEST he lands with a THUD!

    ANN looks up alarmed!

    KONG scrambles to his feet, GROWLING ... he places ANN on the
    GROUND pushing her protectively behind him.

    KONG POV: LOOMING out of the CHASM WALL is a HUGE FACE!

    CLOSE ON: ANN as her expression suddenly changes from FEAR to
    DAWNING COMPREHENSION.

    ANN walks past KONG ... who emits another LOW, WARNING GROWL.

    ANN
    It's alright ... it's okay ...

    ANN reaches the WALL and begins to pull away more of the VINES
    and CREEPERS to reveal ...

    92.

    A life-size and very life-like eroded STATUE of a SITTING
    GIANT GORILLA ... the IMAGE of KONG ...

    ANN turns back excitedly to KONG, trying to make him understand.

    ANN (cont'd)
    Look - it's you ... "Kong". See ...
    you. "Kong". This is you.

    KONG looks from ANN to the HUGE STATUE ...

    KONG POV: ANN is dwarfed by the STONE MONOLITH.

    PUSH IN on KONG ... a growing sense of REALISATION as he comes to
    understand the STATUE is in fact a reflection of himself.

    CLOSE ON: KONG looking down at his hands ... it's as if he is
    seeing his GNARLED, LEATHERY FINGERS for the first time.

    ANN moves towards KONG ... he looks at her ... there is a
    VULNERABLE EXPRESSION on his FACE ... FEAR and SADNESS well in his
    EYES.


    EXT. SKULL MOUNTAIN - DUSK

    In VERTIGO-INDUCING shots, KONG climbs HIGHER and HIGHER - up into
    the HIGHEST PEAK of SKULL ISLAND ... carefully cradling ANN in his
    hand.

    A sudden FLAP OF WINGS and FLICKERING SHADOW causes KONG to pull
    ANN close to his chest as a sinister BAT-TYPE CREATURE lunges at
    her ... these SCAVENGERS hover in the SKIES around SKULL MOUNTAIN
    ... they have eight-foot wing spans and TALONED FEET. Their faces
    are more reptile than bat.




    93.


    EXT. KONG'S LAIR - DUSK

    WIDE ON: KONG steps out of a LARGE ROUND CAVE onto a LEDGE that
    juts out high over SKULL ISLAND ...

    This is KONG'S LAIR ... Over the ledge is a DIZZYING DROP of at
    least 1000-feet down to the JUNGLE.

    The "VENTURE" can be seen - moored off the TIP of the ISLAND, some
    three miles away.

    NGLE ON: KONG gently places ANN on the GROUND ... ANN watches as
    he moves away and sits to one side of the LEDGE.

    The SKY is a FIERY ORANGE as the SUN goes down ... SILHOUETTING
    the FIGURE of KONG ...

    CLOSE ON: ANN looks around the CAVE taking in her STRANGE
    SURROUNDINGS ... her eyes fall upon a HUGE GORILLA SKULL and
    SKELETON which lie within the recesses of the CAVE ...

    ANN turns and looks back at KONG ... realizing these are the BONES
    of his FOREBEARS ... that KONG was not always alone.

    SUDDEN flutter in the DARK recesses of the LAIR, a SINISTER
    SOUND, sends ANN scurrying towards KONG ...

    ONG won't look at her.

    ANN breaks into a few tap steps ... NO RESPONSE. She leans down
    and picks up some STONES ... JUGGLING them, attempting to amuse
    him as she did before. KONG's gaze remains averted ...

    He looks out over the JUNGLE CANOPY. ANN follows his GAZE, taking
    in the RUGGED LANDSCAPE which is bathed in the last EVENING RAYS
    of the SUN. She stares out to sea, a RAIN CLOUD casts shadows over
    the OCEAN.

    ANN
    (softly)
    It's beautiful.

    KONG sits QUIETLY staring out over the JUNGLE ... she looks up at
    him.

    ANN (cont'd)
    Beautiful.

    ANN places her HAND against her heart.

    ANN (cont'd)
    Beau-ti-ful.

    KONG'S BIG PAW unfurls beside ANN ... she hesitates for a moment,
    then CLIMBS into it.

    ANGLE ON: KONG gently lifts ANN ...



    94.

    WIDE ON: KONG with ANN, high above the JUNGLE, as the last of the
    DUSK LIGHT FADES.


    EXT. LOG CHASM - DAY

    LOSE ON: HANDS reach down as ENGLEHORN and a SAILOR PULL PRESTON
    up the last stretch of the ROPE ...

    ENGLEHORN turns and sees JACK climbing towards the TOP of the
    D
    CHASM ... TWO SAILORS reaching down to help him.

    DENHAM
    Thank God.

    ENGLEHORN
    Don't thank God, thank Mr. Baxter ...

    CLOSE ON: BRUCE PULLING HIMSELF UP THE ROPE, gasping from
    exertion.

    ENGLEHORN (cont'd)
    He insisted on a rescue mission. Me? I
    knew you'd be okay ...

    CLOSE ON: DENHAM looks up to see ENGLEHORN standing at the top of
    the CHASM. ENGLEHORN is watching him IMPASSIVELY.

    ENGLEHORN (cont'd)
    That's the thing about cockroaches; no
    matter how many times you flush them
    down the toilet they always crawl back
    up the bowl!

    ANGLE ON: DENHAM as he rises to his feet.

    DENHAM
    ey buddy! I'm outta the bowl! I'm
    drying off my wings and trekking
    across the lid!

    ENGLEHORN LOOKS at DENHAM a BEAT and then LOOKS across the CHASM
    in SURPRISE. DENHAM FOLLOWS HIS GAZE.

    WIDE ON: JACK at the TOP of the opposite side of the CHASM ... a
    solitary figure, bloodied and torn.

    ENGLEHORN
    Driscoll ... don't be a fool! Give it
    up, it's useless ... She's dead.

    DENHAM
    (quietly)
    She's not dead. Jack's gonna bring her
    back.

    ENGLEHORN turns to DENHAM.

    95.

    DENHAM (cont'd)
    And the ape will be hard on his heels.
    We can still come out of this thing
    okay -
    (pause)
    More than okay. Think about it, you've
    got a boat full of chloroform we can
    put to good use.

    ENGLEHORN looks at DENHAM for a BEAT and then LAUGHS.

    ENGLEHORN
    You want to trap the Ape? I don't
    think so.

    DENHAM
    Isn't that what you do? Live animal
    capture? I heard you were the best.

    ENGLEHORN stares at DENHAM for a moment, it is impossible to know
    what he is thinking.

    DENHAM (cont'd)
    Jack!

    JACK looks at DENHAM D
    ... DENHAM raises a hand in salute.

    DENHAM (cont'd)
    (calling)
    Look after yourself!

    JACK
    Keep the Gate open.

    DENHAM
    Sure thing, buddy! Good luck!

    ANGLE ON: JACK turns to go ... and disappears up the DARK TUNNEL.

    DENHAM (cont'd)
    I'm sorry.


    EXT. THICK JUNGLE - DUSK

    ANGLE ON: JACK struggles through the JUNGLE ... he breaks into
    CLEARING and STOPS SHORT as he see's the VAST VISTA of the
    MOUNTAIN in front of him.


    INT. KONG'S LAIR - NIGHT

    ANGLE ON: MOONLIGHT steams into the CAVE ... KONG sits on his
    LEDGE, HE CRADLES ANN IN HIS ARM.

    CLOSE ON: ANN SLEEPS PEACEFULLY in his HAND.

    ANGLE ON: KONG gently lifts ANN ... he STARES at her ... his
    FINGER touches ANN'S HAIR.




    96.


    EXT. KONG'S LAIR - NIGHT

    ANGLE ON: JACK is climbing up through ROCKS towards KONG'S LAIR!

    BAT-THINGS flutter ... AGITATED ... SENSING an INTRUDER.

    CLOSE ON: JACK freezes.

    NGLE ON: A LARGE NUMBER of BAT-THINGS are GATHERING amid the
    STALACTITES that hang from the ROOF of the CAVERN.

    He scans the LAIR for any sign of ANN ... but can't see her. The
    OLD BONES of a LARGE GORILLA lie across the CAVE from JACK.

    ACK CLIMBS higher INTO THE CAVE until at last he's on THE LEDGE
    WITH KONG.

    ANGLE ON: JACK moves forward, towards KONG. He stays in the
    SHADOWS of the ROCKS.

    JACK CRAWLS FORWARD onto the LEDGE.


    EXT. KONG'S LAIR - NIGHT

    ANGLE ON: JACK creeps CLOSE to the SLEEPING KONG'S BACK ... his
    SHOULDERS gently heaving with each breath.

    LOSE ON: JACK crawls past KONG'S FEET ... he looks in AMAZEMENT.

    ... ANN is ASLEEP in KONG'S HAND!

    LOSE ON: KONG GROWLS ... JACK SPINS AROUND ... KONG is growling
    in his sleep!

    JACK is less than 8 FEET away from ANN.

    CLOSE ON: ANN'S eyes OPEN. For a MOMENT she stares blankly at JACK
    ... then REALISATION arrives quickly - he has come for her! She
    looks at JACK with disbelief.

    LOSE ON: JACK looks at ANN, drawing a finger to his lips ...
    neither DARES to move, or make a sound.

    ERY SLOWLY, JACK rises and steps towards ANN. He gestures for her
    to stay motionless in KONG'S PALM.

    NGLE ON: The salivating, carnivorous BAT-THINGS flutter out of
    the CAVE and SWARM around the LEDGE ... their FEAR of KONG is
    overwhelmed by the tempting SIGHT of JACK and ANN.

    KONG STIRS.

    CLOSE ON: JACK extends his HAND towards ANN ... she reaches out
    ... their FINGERS TOUCH ...

    ... and KONG'S EYES SNAP OPEN!




    97.

    TIME seems to SLOW: JACK attempts to GRAB ANN'S WRIST, but KONG'S
    FINGERS CLOSE around ANN with stunning SPEED! KONG ROLLS to his
    FEET, pulling ANN away from JACK!

    NGLE ON: KONG SNARLS at JACK, who now stands HELPLESSLY before
    him.

    The BAT-THINGS SWARM above KONG.

    ANN
    (yelling)
    Jack, run!

    ANGLE ON: KONG SWATS at JACK with his FREE HAND. ANN struggles and
    KICKS in his GRASP. A

    ANN (cont'd)
    (yelling)
    No!

    KONG places ANN high on a SMALL LEDGE and CHARGES at JACK!

    NGLE ON: JACK ROLLS to the SIDE, KONG'S FISTS smashing DOWN
    around him!

    ONG STAMPS on JACK, who DIVES CLEAR, just as the HUGE FOOT
    pummels into the GROUND.

    CLOSE ON: JACK is LYING on the GROUND with KONG rearing above him
    ... there is NO ESCAPE!

    CLOSE ON: KONG'S EYES, blazing with DEADLY INTENT. He LIFTS his
    FOOT, ready to SQUASH JACK like a bug!

    AT THAT MOMENT! ANN SHRIEKS in PAIN!

    KONG spins around ...

    ANGLE ON: ANN is under ATTACK from the BAT-THINGS ... they are
    FRENZYING around ANN, sharp CLAWS lashing her! She cowers against
    the ROCK FACE, trying to protect herself.

    CLOSE ON: KONG ... ROARING with ANGER ... he abandons JACK and
    CHARGES at the BAT-THINGS!

    The FRENZIED BAT-THINGS ATTACK KONG EN MASSE as he snatches ANN
    from the LEDGE.

    They strike at KONG and ANN like a swarm of giant bees. KONG ROARS
    and THRASHES OUT at them in a FRENZY!

    NGLE ON: KONG puts ANN down against the ROCKS, so he can use BOTH
    HANDS to strike at the DEADLY BAT-THINGS. With every sweep of his
    ARM, several BAT-THINGS are KNOCKED TO THE GROUND, but OTHERS claw
    at his HEAD and BODY.
    A
    NGLE ON: JACK seizes his CHANCE! He rushes along the EDGE of the
    CLIFF towards ANN ... under the cover of an OVERHANG.



    98.

    JACK and ANN are inches away from each other right behind KONG'S
    FEET!

    ACK grabs ANN'S HAND and leads her towards the only possible
    escape route - the EDGE of the LEDGE, 1000 FEET above the JUNGLE!

    JACK grabs a LARGE VINE, testing it's strength. He turns to Ann.

    JACK
    (urgent)
    This way! Come on!

    JACK pulls ANN to him and clambers over the EDGE of the DIZZYING
    DROP.


    EXT. LEDGE - NIGHT

    WIDE ON: JACK and ANN desperately CLIMB down the THICK VINES that
    hang over the LEDGE ... hand over hand ... the SOUND of KONG
    ROARING above, as he battles the BAT-THINGS.


    EXT. KONG'S LAIR - NIGHT

    ANGLE ON: SEVERAL BAT-THINGS are gripping and CLAWING KONG'S BACK
    in an effort to weaken the huge ape ... he suddenly POUNDS HIS
    BACK against the WALL of the CAVE, SQUASHING THEM ALL!

    The surviving BAT-THINGS wheel away from KONG, HISSING ANGRILY ...
    16 lie on the cave floor, STUNNED or DEAD. They FLUTTER towards
    the BACK OF THE CAVE, preparing their NEXT ATTACK.

    KONG LOOKS for ANN ... she has GONE!


    EXT. LEDGE - NIGHT

    ANGLE ON: JACK and ANN are 60 FEET down the VINE ... JACK is
    trying to SWING towards the ROCK FACE ...

    SUDDENLY! They start RISING!

    WIDE ON: KONG is PULLING on the VINE! He lifts JACK and ANN
    towards HIM, like a fisherman reeling in a catch.

    ANN tightens her grip on JACK'S SHOULDERS as BAT-THINGS flutter
    around THEM.
    A
    NGLE ON: JACK and ANN are HELPLESS ... KONG almost HAS THEM! BAT-
    THINGS dive towards JACK and ANN!

    A BAT-THING CLAWS at JACK'S HEAD. He releases ONE HAND and GRABS
    it's TALONED ANKLE.

    ACK
    (yelling)
    Hang on to me!



    99.

    ANN hangs onto JACK for dear life, as he GRABS the BAT-THINGS
    OTHER ANKLE.

    ANGLE ON: JACK and ANN DESCENDING RAPIDLY ... the BAT-THING
    furiously FLAPPING it's WINGS, but unable to stop the SPIRALLING
    plunge past the CLIFF FACE.

    SOUNDS of KONG ROARING WITH GRIEF FROM THE LEDGE.


    EXT. RIVER - NIGHT

    The BAT-THING wobbles crazily in the sky, rapidly LOSING ENERGY
    ... JACK looks down - a FAST FLOWING RIVER is 50 feet below. He
    RELEASES HIS GRIP!

    ANN SCREAMS as she and JACK fall into the RIVER ... they are
    immediately picked up by the current and SWEPT AWAY.

    JACK and ANN are carried into the RAPIDS, swept down a small
    WATERFALL, surfacing into a FAST-FLOWING, but less violent part of
    the river.


    INT. KONG'S LAIR - NIGHT

    KONG ROARS with ANGER and GRIEF.


    EXT. VILLAGE WALL

    WIDE ON: The VILLAGE WALL AND SURROUNDING, as KONG'S ROAR echoes
    out over the ISLAND.

    CLOSE ON: DENHAM & ENGLEHORN as they hear KONG'S ANGER.


    EXT. RIVER BANK - PRE-DAWN

    ANGLE ON: Half drowned JACK and ANN swim to the side of the RIVER,
    hauling themselves up on the MUDDY BANK.

    KONG'S POV as he CRASHES THROUGH THE JUNGLE in HOT PURSUIT.

    AN ENRAGED KONG is visible ... quickly descending from his
    mountain lair!


    EXT. DENSE JUNGLE - PRE-DAWN

    ANGLE ON: JACK and ANN racing through the JUNGLE.


    EXT. WALL GROTTO - DAWN

    NGLE ON: LOW ANGLE of the WALL and ALTAR.

    A LOW THUNDERING SOUND reverberates ... BIRDS LIFT off from TREES.



    100.

    SUDDENLY! JACK and ANN appear from the undergrowth, RUNNING
    towards the CHASM and WALL ... the ALTAR BRIDGE has been raised,
    and hangs just out of reach.

    ACK
    (yelling)
    Carl!

    OW ANGLE: The TOP of the WALL is deserted ...

    ANN
    Please! Somebody help us!

    SOUNDTRACK: A ROAR ... growing louder ...

    ANN casts a nervous glance over her shoulder.

    TREES CRASH to the GROUND as KONG SMASHES his way through the
    JUNGLE towards the CLEARING ...

    ANN looks at the deserted wall.

    ANN (cont'd)
    (ashen)
    They've gone.

    JACK
    (yelling)
    Carl? Oh Christ! Carl?


    EXT. NATIVE VILLAGE/WALL - DAWN

    CLOSE ON: DENHAM silently listens to his FRIENDS calling.

    IDER ON: PRESTON, ENGLEHORN, BRUCE and JIMMY are waiting nearby.

    PRESTON
    Drop the bridge! Do it now, for
    chrissakes!

    DENHAM
    (quiet)
    Not yet ... wait.

    The GROUP react to KONG'S ROAR - now VERY CLOSE. A SAILOR with a
    MACHETE hovers near the ROPE, ready to cut it on DENHAM'S COMMAND.

    DENHAM (cont'd)
    Wait ...

    PRESTON
    (incensed)
    No Carl ...

    PRESTON suddenly leaps to his feet and SNATCHES the MACHETE. He
    slices through the ROPE ...


    101.


    EXT. WALL GROTTO - DAWN

    NGLE ON: The BRIDGE DROPS, just as KONG explodes from the JUNGLE!
    J
    KONG sees ANN and charges forward!

    ACK and ANN race across the BRIDGE, getting to the other side
    just as KONG LEAPS the CHASM.

    JACK leads ANN through the HOLE in the DOOR ... KONG SMASHES
    through the BAMBOO defences.


    EXT. NATIVE VILLAGE/WALL - DAWN

    ANGLE ON: JACK and ANN run into the VILLAGE ... it looks deserted.
    DENHAM suddenly rises and walks past them towards the GATE,
    fixated on the ROARING BEAST, smashing at the TIMBERS.

    CLOSE ON: ANN ... seeing GROUPS of SAILORS crouched behind rocks,
    with GRAPPLING HOOKS at the ready. PRESTON lies to one side, a RAG
    held against his BLEEDING FACE. ENGLEHORN gripping a CRATE OF
    CHLOROFORM BOTTLES.

    ENGLEHORN
    (shouting)
    Now!!!

    ANGLE ON: KONG SMASHES through the GATE! For a BRIEF MOMENT KONG
    makes EYE CONTACT with ANN ... she looks at him DESPAIRINGLY. He
    reaches towards her ...

    DENHAM
    to ENGLEHORN)
    Bring him down! Do it!

    ANGLES ON: SAILORS THROW GRAPPLING HOOKS at KONG, HAULING on the
    ROPES. A
    ANN
    No!

    JACK
    Are you out of your mind? Carl!

    BRUCE rushes forward, pulling PRESTON to his feet, hustling him
    towards the TUNNEL EXIT.

    ENGLEHORN yells at SAILORS poised on the TOP of the WALL.

    DENHAM
    Drop the net!

    ANGLE ON: The SAILORS drop BOULDERS attached to a LARGE SHIP NET
    ... KONG is PUSHED to the GROUND by the WEIGHT.

    CLOSE ON: DENHAM turns to ENGLEHORN.

    DENHAM (cont'd)
    Gas him!

    102.

    ANN
    (sobbing)
    No! Please - don't do this!

    CLOSE ON: JACK holding ANN back.

    JACK
    Ann ... He'll kill you!

    ANN
    No, he won't.

    ANGLE ON: KONG trying to get up ...

    ENGLEHORN hurls the CHLOROFORM BOTTLE at KONG, smashing it on the
    ground right under his face.

    ANN (cont'd)
    No!

    KONG breathes in the cloud of CHLOROFORM, he tries to push himself
    up.

    ENGLEHORN
    Keep him down!

    SAILORS throw BOULDERS down from the TOP of the WALL, pummelling
    KONG'S HEAD.

    ANN breaks away from JACK, rushes at ENGLEHORN, grabbing his arm
    just as he prepares to throw another CHLOROFORM BOTTLE.

    ANN
    Stop it! You're killing him!

    ENGLEHORN
    Get her out of here! Get her out of
    his sight!

    JACK takes ANN'S ARM ... DENHAM yells at him, as KONG'S RAGE
    intensifies.

    DENHAM
    Do it!

    CLOSE ON: ANN STARES up at JACK.

    ANN
    Let go of me ...

    CLOSE ON: JACK, he STARES at ANN, torn about what to do. His eyes
    flicker towards KONG. He makes his decision.
    A
    NGLE ON: JACK pulling ANN by the HAND towards the TUNNEL
    ENTRANCE. She struggles to break free.

    CLOSE ON: KONG WATCHING ANN being DRAGGED AWAY ... he EXPLODES
    with ANGER, suddenly RISING to his FEET, ripping the NET to
    PIECES! He SWINGS the ROPES AWAY, sending HAPLESS SAILORS flying
    through the AIR!


    103.

    CLOSE ON: DENHAM looks on in HORROR, as his PLAN to CAPTURE KONG
    falls apart.

    SAILOR
    We can't contain him!

    ENGLEHORN
    Kill it!

    DENHAM
    No!

    ENGLEHORN
    It's over, you Goddamn lunatic!

    DENHAM
    I need him alive!

    ENGLEHORN
    Shoot it!!!

    ANGLE ON: ENRAGED KONG throwing SAILORS and overturning STONE
    BUILDINGS.

    CLOSE ON: JIMMY, gripping a TOMMY GUN, stands in front of KONG ...
    his POSE reflecting HAYES' last stand. ENGLEHORN pulls JIMMY away
    by the collar, shoving him down the path.

    ENGLEHORN (cont'd)
    Jimmy - get out of here! Get to the
    boat!
    (yelling)
    All of you! Run!

    ONG climbs DOWN THE WALL.


    EXT. BEACH - DAWN

    ANGLE ON: JACK running with ANN towards a waiting BOAT ... ANN
    fights as JACK tries to LIFT her on BOARD ... both turn!

    JACK
    Get in the boat!

    ANN
    (distraught)
    No! It's me he wants. I can stop this -

    KONG stampedes down towards the COVE ... JIMMY stands his ground
    with his TOMMY GUN.

    ACK yells at BRUCE.

    JACK
    Take her!

    BRUCE takes ANN, as ENGLEHORN leaps into their BOAT ... he yells
    to the SAILORS.


    104.

    ANN
    Let me go to him!

    ENGLEHORN
    Row! Get the hell out of here!

    ANGLE ON: JACK pushes JIMMY into the SECOND BOAT.

    ACK
    Jimmy! No!

    JACK tries to prevent JIMMY from shooting at KONG, as SAILORS push
    their BOAT away from the shore.

    CLOSE ON: DENHAM finds a CRATE of CHLOROFORM BOTTLES on the FLOOR
    of the BOAT. He snatches one up ... prepares to throw.

    ANGLE ON: JIMMY manages to fire a BURST at KONG ... KONG CHARGES
    in FURY and THUMPS his FIST down on the BOW of the BOAT.
    A
    NGLE ON: DENHAM is flung into the water, still clutching the
    CHLOROFORM BOTTLE.

    ANGLE ON: KONG flings the BOAT against the COVE WALL, smashing it -
    sending JACK, JIMMY and SAILORS into the SEA!

    ANN looks on in horror as JACK SURFACES, holding onto JIMMY, who
    is COUGHING SEA WATER.

    KONG turns to ANN'S BOAT ... he looks at her ...

    ANN
    Go back!

    KONG PAUSES at the SOUND of her VOICE ... as if sensing her fear
    for him.

    ENGLEHORN
    Hold her!

    BRUCE holds ANN as ENGLEHORN suddenly FIRES a HARPOON into KONG'S
    KNEE ... KONG ROARS in PAIN and SINKS into the water. ANN is
    sobbing with DISTRESS.

    ANGLE ON: ENGLEHORN starts LOADING a SECOND HARPOON ... DENHAM
    scrambles on to a ROCK, clutching the CHLOROFORM BOTTLE.

    DENHAM
    Wait!

    ENGLEHORN ignores him, intent on killing KONG with his next
    HARPOON.
    A
    NGLE ON: KONG starts CRAWLING painfully towards ANN. ENGLEHORN
    has almost finished LOADING.

    ANN
    Leave him alone!


    105.

    ANGLE ON: DENHAM steadies himself on his rock as KONG crawls past.
    He hurls the CHLOROFORM BOTTLE ... it smashes against KONG'S FACE.
    KONG starts choking on the GAS.

    ANGLE ON: JACK in the sea, holding the unconscious JIMMY, watching
    ANN from across the void of water ...

    KONG starts to succumb to the GAS ... he reaches for ANN.

    ANN watches KONG'S HAND reach out to her .... But she can no
    longer help him ... she has failed to stop this happening.

    CLOSE ON: ANN turns away from KONG ... as he slumps into
    unconsciousness.

    CLOSE ON: ANN and JACK make EYE CONTACT across the water .... She
    starts to CRY. JACK is unable to offer her any comfort.

    ANGLE ON: DENHAM steps up to the UNCONSCIOUS KONG:

    DENHAM
    he whole world will pay to see this.
    We're millionaires, boys. I'll share
    it with all of you! In a few months
    his name will be up in lights on
    Broadway! "Kong - the Eighth Wonder of
    the World"!

    SMASH CUT TO:


    EXT. BROADWAY THEATRE - NIGHT

    ANGLE ON: NEON LETTERS announce "KING KONG - the EIGHTH WONDER OF
    THE WORLD!" on a HUGE GLITTERING marquee.

    WIDE ON: The bustle of TIMES SQUARE on a WINTER'S NIGHT, the
    colorful LIGHTS reflecting in newly FALLEN SNOW.
    A
    n EXCITED and CURIOUS CROWD are converging on the THEATRE - cabs
    are pulling up ... a QUEUE is forming ... SCALPERS are selling
    tickets outside the door.

    LOSE ON: BILLBOARDS outside the THEATRE proclaim "Relive the
    adventure of the Century ... see Miss Ann Darrow offered to the
    Beast!"


    INT. THEATRE DRESSING ROOM - NIGHT

    ANGLE ON: ANN is seated alone in a DRESSING ROOM, she is putting
    on STAGE MAKEUP. There is an emptiness in her face. She appears
    DISCONNECTED, her thoughts on things far away.


    EXT. BROADWAY THEATRE - NIGHT

    ANGLE ON: CROWDS flowing into the THEATRE.

    106.


    INT. BROADWAY THEATRE LOBBY - NIGHT

    WIDE ON: The THEATRE LOBBY is teaming with people, handing COATS
    and HATS to the CHECK-IN GIRLS on the CLOAKROOM.

    ANGLE ON: DENHAM who is WARMLY GREETING ZELMAN along with the
    SLEAZY and THUGGISH INVESTOR ... both of whom have STARLETS
    hanging on their arms ...
    A
    NGLE ON: PRESTON watching from the BALCONY. He is looking at
    DENHAM.

    REVERSE ON: DENHAM glancing up, catching the STRANGE LOOK in
    PRESTON'S EYE ...

    ANGLE ON: DENHAM turns away and turns on an INSTANT SMILE for a
    waiting PHOTOGRAPHER.

    PUSHING IN ON: PRESTON ...

    ON THE SOUNDTRACK a sudden burst of UPROARIOUS LAUGHTER!

    DREW V/O
    Look at yourself! Look at what you've
    become!


    INT. ARTY THEATRE - NIGHT

    ANGLE ON: EDGAR, a young man, DRESSED as a WOMAN is pulled to one
    side by his FRIEND, DREW. They are on the STAGE SET of a HOTEL
    LOBBY. A LARGE BOWL of FRUIT sits on a DECORATIVE SIDEBOARD.

    DREW
    No woman is worth this!

    EDGAR
    This woman is worth it. I've gotta win
    her back. I don't care what it takes.

    DREW
    She's not gonna buy it for a second!

    EDGAR
    Shuddup and hand me the grapefruit.

    EDGAR proceeds to stuff a LARGE GRAPEFRUIT down his BRASSIERE.

    THE AUDIENCE BREAKS into LAUGHTER. THE CAMERA PANS along a row in
    a SMALL FRINGE THEATRE, and comes to rest on a THEATRE PROGRAMME
    in the hands a MIDDLE-AGED WOMAN. The front cover reads: "Cry
    Havoc" by Jack Driscoll.

    PULL FOCUS to reveal: JACK sitting behind the WOMAN, intently
    watching the stage ...

    ANGLE ON: JAYNE a BLONDE ACTRESS who looks similar to ANN, and
    THELMA, her CONFIDANT, entering THE HOTEL LOBBY from the other
    side of the STAGE ...

    107.

    THELMA
    Tell me everything - every little
    detail!

    They sit on a SOFA as EDGAR takes a seat in an ARMCHAIR nearby.

    JAYNE
    So, he took me to a fancy French
    restaurant ...

    THELMA
    French, huh?

    JAYNE
    Anyway about half way through the
    whore derves - he clutches my hand ...

    THELMA
    He clutches your hand?!

    EDGAR
    (falsetto)
    It felt like the right thing to do at
    the time.
    (falsetto)
    Oh! I'm sorry - I couldn't help but
    over-hear!

    The TWO WOMEN look at him a beat before turning back to each
    other.

    JAYNE
    He's looking into my eyes -

    THELMA
    And that's when he told you how he
    felt?

    JAYNE
    No - he never said it.

    THELMA
    He never said it?!

    EDGAR
    (falsetto)
    He probably thought he didn't need to
    say it.

    AUDIENCE LAUGHS!

    THELMA
    Then how does she know that it's real?

    JAYNE
    He said it was not about the words.

    THELMA
    Please - if you feel it, you say it.
    It's really very simple.


    108.

    JAYNE
    He said we'd talk about it later. Only
    there was no later ...

    CAMERA PUSHES IN on JACK ....

    AYNE (cont'd)
    It never happened.
    (reflective)
    I just thought that maybe this one
    time, things might actually work out -
    which was really very ...

    LOSE ON: JACK, hearing his own words ...

    JACK/JAYNE
    ... foolish ....

    UDDENLY JACK stands and making his way past surprised AUDIENCE
    MEMBERS, heads for the EXIT.

    HELMA
    Men! They'll give you the world ...
    But they let the one thing that truly
    matters slip through their fingers.
    All for the sake of three little
    words!

    EDGAR
    (indignant)
    The three hardest words in the English
    language!

    AUDIENCE MEMBERS break into fresh LAUGHTER as JACK leaves the
    THEATRE.


    EXT. ARTY THEATRE - NIGHT

    WIDE ON: JACK strides out of the SMALL THEATRE, pulling his collar
    up against the cold. Above him, a simple BILLBOARD advertises "Cry
    Havoc, a new play by Jack Driscoll"


    INT. BROADWAY THEATRE WINGS - NIGHT

    CLOSE ON: CARL DENHAM quietly waiting in the WINGS of the HUGE
    BROADWAY THEATRE. It is a moment of calm ... he is feeling a
    mixture of PRIDE and ANTICIPATION.

    The SOUND of KONG BREATHING - a RASPING WEAK GROWL - causes DENHAM
    to flick his eyes to the darkened AREA behind the CURTAIN.


    INT. THEATRE DRESSING ROOM - NIGHT

    ANGLE ON: ANN in HER DRESSING ROOM pulling on her COSTUME.



    109.


    INT. BROADWAY THEATRE - NIGHT

    WIDE ON: The HUGE AUDITORIUM is filled with nearly 2000 people.
    The EXCITEMENT in the air is PALPABLE.

    WIDE ON: The LARGE CROWD APPLAUDS as DENHAM strides onto the stage
    in the GLARE of THE SINGLE SPOTLIGHT. He waves enthusiastically to
    the AUDIENCE, basking in the acclaim he has wanted for so long.

    DENHAM
    hank you! Thank you! Thank you! Thank
    you! Ladies and Gentlemen, I am here
    to tell you a very strange story ... a
    story of our adventure in which
    seventeen of our party suffered
    horrible deaths! Their lives lost in
    pursuit of a savage Beast, a monstrous
    aberration of nature! But even the
    meanest brute can be tamed. Yes,
    Ladies and Gentlemen, as you will see,
    the Beast was no match for the charms
    of a girl - a girl from New York ...
    who melted his heart. Bringing to mind
    that old Arabian proverb ...


    INT. THEATRE DRESSING ROOM - NIGHT

    CLOSE ON: ANN, now in a WHITE VELVET GOWN, a look of SADNESS in
    her EYES.

    DENHAM V/O cont'd)
    "And lo the Beast looked upon the face
    of Beauty and Beauty stayed his hand
    ... and from that day forward he was
    as one dead ..."

    A VOICE interrupts ANN'S contemplation.

    STAGE MANAGER
    You're on, Miss Darrow, five minutes.

    ANN stands up ...


    INT. BROADWAY THEATRE STAGE - NIGHT

    DENHAM basking in the SPOTLIGHT.

    DENHAM
    nd now Ladies & Gentlemen, I'm going
    to show you the greatest thing your
    eyes have ever beheld. He was a King
    in the world he knew but he comes to
    D you now ... a captive!

    DENHAM lifts his ARMS ...



    110.

    DENHAM (cont'd)
    Ladies and gentlemen: I give you Kong -
    the Eighth Wonder of the World!!

    STAGE MUSIC strikes up.


    INT. BROADWAY THEATRE STAGE - NIGHT

    WIDE ON: With a DRAMATIC FLOURISH the CURTAIN slowly rises to
    REVEAL:

    KONG sitting slumped and unresponsive, his WRISTS MANACLED to a
    STEEL SCAFFOLD. Other MANACLES and CHAINS secure his ANKLES, NECK
    and WAIST.

    There is a BIG GASP from the AUDIENCE ... KONG'S sheer size is
    OVERWHELMING.

    CLOSE ON: DENHAM ... euphoric, as the collective GASP of 2000
    PEOPLE washes over him.

    NGLE ON: KONG's head lolls, as if he is barely aware of his
    surroundings ...

    DENHAM
    Don't be alarmed, ladies and
    gentlemen. It is perfectly safe. These
    chains are made of chrome steel!

    WILD APPLAUSE!


    EXT. NEW YORK STREETS - NIGHT

    ANGLE ON: JACK, jostled on a crowded NEW YORK STREET hurrying
    rapidly along the sidewalk.

    JACK crosses the BUSY ROAD, heading straight towards the BROADWAY
    THEATRE.


    INT. BROADWAY THEATRE STAGE - NIGHT

    WIDE ON: DENHAM on stage with KONG ...

    DENHAM
    dramatic)
    Observe if you will, I am touching the
    beast! I am actually laying my hand on
    the twenty-five foot gorilla.

    DENHAM reaches up and touches KONG'S LEG. KONG'S foot twitches
    slightly causing DENHAM to jump back in fright ...

    LOSE ON: JACK enters the AUDITORIUM.

    ANGLE ON: DENHAM signals to the STAGE HANDS in the WINGS ...



    111.

    ANGLE ON: A STAGE HAND begins to CRANK a WINCH ... the CHAINS
    at KONG'S WRISTS tighten ... the AUDIENCE GASP as KONG is SLOWLY
    FORCED to his FULL HEIGHT ...

    ANGLE ON: JACK walks into the BACK of the BALCONY of the
    darkened AUDITORIUM. He quietly makes his way down the SHADOWED
    AISLE.

    NGLE ON: DENHAM turns back to face the AUDIENCE ...

    DENHAM (cont'd)
    We have in the auditorium tonight, a
    surprise guest. The real life hero of
    this story ... the man who hunted down
    the mighty "Kong"!

    CLOSE ON: JACK as he watches DENHAM, unnerved by the SPECTACLE.

    DENHAM (cont'd)
    The man who risked all to win the
    freedom of a helpless female! A big
    hand for ... Mr. Bruce Baxter!

    ANGLE ON: BRUCE striding on stage, dressed as the Great White
    Hunter.

    UGE AUDIENCE ACCLAIM! DENHAM shakes BRUCE by the hand, slapping
    him on the BACK as if they were OLD FRIENDS ... BRUCE turns and
    acknowledges the ADULATION of the AUDIENCE.

    A LINE of DANCERS, dressed as cheesy NATIVES appear from either
    side of the stage. They dance to the beat, playing to KONG, who
    stares impassively at them.

    A PULSATING DRUM BEAT begins to fill the AUDITORIUM!

    DENHAM (cont'd)
    Ladies and Gentlemen, imagine if you
    will an uncharted island ... a
    forgotten fragment from another time
    ... And clinging to life in this
    savage place, imagine a people
    untutored in the ways of the civilised
    world. A people who have dwelt all
    their lives in the shadow of Fear! In
    the shadow of ... "Kong"!

    CLOSE ON: JACK ... staring TRANSFIXED at the STAGE.

    EHIND him in the DARKNESS of the AUDITORIUM a FIGURE rises
    from a SEAT.

    PRESTON
    (quietly)
    He was right ...

    JACK turns to find PRESTON standing beside him ...



    112.

    PRESTON (cont'd)
    ... about there still being some
    mystery left in this world ...

    CLOSE ON: PRESTON stares down at the figure of DENHAM, standing
    to one side of the STAGE ...

    PRESTON (cont'd)
    (softly)
    And we can all have a piece of it ...
    for the price of an admission ticket.

    ANGLE ON: PRESTON turns to look at JACK ... JACK'S EYES flicker
    towards the SCAR which runs down one side of PRESTON'S CHEEK ...

    JACK
    (quietly)
    That's the thing you come to learn
    about Carl ... his unfailing ability
    to destroy the things he loves.

    ANGLE ON: DENHAM as he strides to the FRONT of the STAGE ...

    DENHAM
    lease remain calm, Ladies and
    Gentlemen - for we now come to the
    climax of this savage ritual ... the
    Sacrifice of a beautiful young girl!

    The CROWD erupts into WILD CHEERS!

    he LIGHTS DIM ... The DRUM BEAT increases ... The NATIVE
    DANCERS fall to their KNEES in WORSHIP as a PLATFORM rises from
    beneath the STAGE ...

    DENHAM (cont'd)
    Behold her terror as she is offered up
    to the mighty "Kong"! A big hand folks
    for the bravest girl I ever met! Miss
    Ann Darrow!

    A DRAMATIC SILHOUETTE of a WOMAN dressed in a WHITE SILK GOWN.
    She is tied to a wooden ALTAR, her BACK to the audience.

    CLOSE ON: KONG, a flicker of HOPE in his EYES.

    The TINY FIGURE tethered to the ALTAR looks up! For the first
    time KONG sees her FACE.
    A
    NGLE ON: KONG utterly CONFUSED; this is NOT ANN, but a woman in a
    blonde wig, dressed to look LIKE HER!

    ONG roars!

    FAKE ANN thrashes around SCREAMING unconvincingly!

    FAKE ANN
    No! No! Help me, no!



    113.

    ANGLE ON: KONG staring at FAKE ANN with mounting CONFUSION and
    ANGER!

    CLOSE ON: JACK as he realises it is not ANN on stage. He turns
    to PRESTON.

    JACK
    Where is she??


    INT. BROADWAY THEATRE STAGE - NIGHT

    CLOSE ON: JACK glances at PRESTON, who turns away looking
    UNCOMFORTABLE.

    JACK
    (urgent)
    Where's Ann?

    PRESTON
    I've no idea. I heard he offered her
    all kinds of money and she turned him
    down flat.


    INT. SHOWGIRL'S THEATRE - NIGHT

    SLOW, DREAMY MUSIC ... A FEATHERED FAN sweeps across a FACE to
    reveal ... ANN.

    WIDER: ANN dancing in a LINE of CHORUS GIRLS, all identically
    dressed ...

    ANGLE ON: A MALE DANCER slides into VIEW ... the STAR of the SHOW
    ... the WOMEN behind him, merely window dressing.

    PUSH IN: on ANN as she goes through the motions of the routine
    ... a look of DISTANT SORROW on her FACE.


    INT. BROADWAY THEATRE STAGE - NIGHT

    CLOSE ON: PHOTOGRAPHERS push forward, LIGHT BULBS flash at KONG
    who ROARS ANGRILY.

    DENHAM signals to BRUCE to join him ... behind them we can see the
    FAKE ANN still performing her feigned terror ...

    DENHAM
    Here's your story, boys - "Beauty and
    the Man who saved her from the Beast".

    ANGLE ON: JACK watching from the BALCONY ... he STARES at KONG who
    is BREATHING HARD through his NOSTRILS ... JACK can feel KONG'S
    mounting ANGER.

    JACK
    (turning to PRESTON)
    We have get these people out of here -



    114.

    JACK'S eyes turn to the AUDIENCE seated nearby ... he gets up and
    attempts to usher people out.

    JACK (cont'd)
    Everyone has to leave.

    CLOSE ON: KONG, his ANGER growing as he struggles against his
    chains.

    PRESS MAN 2
    How did you feel, Mr. Baxter - when
    you were on the island?

    BRUCE
    Well to be honest with you, I had some
    anxious moments ...

    The MEMBERS of the PRESS all nod, understandingly ...

    BRUCE (cont'd)
    For a while there it looked like I
    wasn't going to get paid ... But as it
    turned out, Mr. Denham here has been
    more than generous -

    CLOSE ON: DENHAM ...

    DENHAM
    et him roar! It makes a swell
    picture!!!

    ANGLE ON: DENHAM and BRUCE as they POSE for the PHOTOGRAPHERS.

    ANGLE ON: JACK heading down the STAIRS, trying to convince members
    of the audience to leave.

    JACK
    Head for the exits ...

    AUDIENCE 2
    Get your own seat Buddy - you ain't
    having mine.

    The CONFUSED AUDIENCE continue to APPLAUD ...

    CLOSE ON: The FAKE ANN'S EYES suddenly WIDEN as:

    KONG rips one of his MANACLED HANDS FREE!

    AKE ANN lets out her most CONVINCING SCREAM!

    JOURNALISTS and PHOTOGRAPHERS start backing away, snapping
    pictures as they retreat ... FLASHBULBS POP ... KONG COWERS BACK
    shielding his eyes ... ROARING in DEFIANCE!

    ANOTHER DEAFENING ROAR!!! DENHAM looks up, AWESTRUCK, as he sees
    KONG TEARING FREE of the rest of his CHAINS!!

    The AUDIENCE BEGIN TO RISE from their SEATS ... PANIC sets in!



    115.

    AAAARRRRRGH!!!!! The FAKE ANN tethered to the ALTAR screams again
    for help!

    KONG reaches across and picks her up, HURLING the FAKE ANN and the
    ALTAR across the wide AUDITORIUM!

    LOW MOTION: LINKS snapping ... CHAINS breaking, BOLTS lifting
    from the FLOOR!

    With a MIGHTY FLOURISH, KONG rips off his WAIST RESTRAINTS and is
    at last completely FREE! The AUDIENCE RUSH the EXITS in a
    COLLECTIVE STAMPEDE!

    KONG swings from the STAGE into the FRONT ROW SEATS ... STOMPING
    and CRUSHING the slower moving PATRONS!


    EXT. BROADWAY THEATRE - NIGHT

    ANGLE ON: PATRONS rush out of the THEATRE into the street.


    INT. BROADWAY THEATRE STAGE - NIGHT

    KONG ROARS and hurls a PLASTER CORNICE across the length of the
    THEATRE - straight at JACK!

    ONG is now below the BALCONY LEVEL ...

    n that moment KONG turns ... and sees JACK! For a brief second
    their EYES LOCK!

    NGLE ON: KONG using his amazing STRENGTH to SWING up to the UPPER
    LEVEL BOXES ... with a LEAP he jumps on to the BALCONY ... the
    BALCONY crumbles under his WEIGHT ... sending DOZENS OF PEOPLE
    plummeting into the STALLS.

    ACK turns and RUNS for the DOOR as KONG struggles to REACH him.

    JACK reaches the EXIT, turns and looks back at KONG, a mixture of
    DREAD and AWE on his FACE.

    CLOSE ON: DENHAM remains in the middle of the THEATRE mesmerized
    by the spectacle of KONG'S unleashing power!


    EXT. BROADWAY - NIGHT

    ANGLE ON: JACK emerges from the THEATRE, all around him PANICKED
    PEOPLE run in TERROR!

    BOOM! JACK turns in time to see ...

    The VAST THEATRE WALL explodes onto the street, showering PEOPLE
    and CARS with BRICKS and STEEL ... KONG bursts into the MIDDLE OF
    THE ROAD!!!

    ANGLE ON: JACK stares up in horror as KONG heads straight for him
    ... JACK is going to DIE!



    116.

    With an ANGUISHED ROAR the HUGE GORILLA stumbles past JACK into
    the BRIGHT LIGHTS of TIMES SQUARE ... he hasn't seen JACK!

    KONG spins around reacting with terrified confusion to the
    STRANGENESS of CARS, TRUCKS, TRAMS, LIGHTS ... screaming people
    everywhere!
    J
    ACK watches as KONG'S FEAR builds to a growing sense of ANGER and
    FRUSTRATION!

    ANGLE ON: KONG circles TIMES SQUARE ... snatching up any WOMAN
    with BLONDE HAIR ... desperately looking for ANN!

    ODGING bits of FLYING DEBRIS, JACK tires to push his way through
    CROWDS of FLEEING PEOPLE towards KONG...

    AR WINDSCREEN POV ... KONG STOMPS on the CAR in FRONT, LIFTS FOOT
    and STOMPS over CAMERA.

    ANGLE ON: A TRAM heading straight for KONG ... the GIANT GORILLA
    THRUSTS out an ARM PROTECTIVELY ... KONG pulls his arm back ...
    TRAM firmly attached! KONG'S FIST is CAUGHT in the TRAM'S WINDOWS!

    CLOSE ON: JACK ... as he realises what KONG is doing ...

    JACK
    (under his breath)
    Oh Jesus ...

    ANGLE ON: JACK as he watches KONG heading off down BROADWAY.

    CRASHING off BUILDINGS KONG CAREENS out of TIMES SQUARE ...


    EXT. NEW YORK SHABBY THEATRE - NIGHT

    ANGLE ON: ANN emerges from a SHABBY THEATRE, just as SEVERAL
    POLICE CARS drive past at SPEED.

    ANN runs to an INTERSECTION and looks up the STREET. Several
    blocks away PANDEMONIUM is erupting outside a BROADWAY THEATRE.

    ANN starts to RUN.


    EXT. BROADWAY/NEW YORK - NIGHT

    JACK spies a CAB that has STOPPED in the MIDDLE of the ROAD ...
    it's DRIVER watching the scene, MOUTH AGAPE!

    ANGLE ON: JACK jumping into the BACK of the CAB. He gestures
    towards KONG!

    JACK
    Follow that ape!

    ANGLE ON: The CAB DRIVER jumping out of the CAB.

    CABBIE
    It's all yours, Buddy!



    117.

    ANGLE ON: JACK scrambling into the FRONT SEAT of the CAB ... he
    throws it into GEAR and heads off after KONG!

    ANGLE ON: KONG reacts like a CORNERED ANIMAL in a BLIND PANIC ...
    FLAILING his arms in PANIC, the TRAM swinging through the air and
    SMASHING into BUILDINGS like a GIANT CLUB!

    NGLE ON: JACK drives the CAB DOWN BROADWAY ... swerving to MISS
    bits of TRAM that disintegrate off the FIST of KONG ...

    JACK accelerates, straight through the LEGS of the GIANT GORILLA!

    ANGLE ON: the CAB SPINS so that it now is facing KONG!


    ANGLE ON: KONG ... his FIST about to SMASH down on a TRAM full
    of PEOPLE! The BLARE of a CAR HORN makes him turn ... he
    hesitates ... realizing who is behind the wheel of the CAB!

    ACK'S POV ... as KONG comes closer. PANICKING DRIVERS PILE into
    each other. JACK desperately tries his door, but it won't open, he
    is WEDGED IN by CARS on either side.

    KONG LIFTS THE CAR directly in front - HIGH ABOVE HIS HEAD,
    throwing it into a BUILDING.


    EXT/INT. STREETS/CAB - NIGHT

    CLOSE ON: JACK'S FOOT depresses ACCELERATOR.

    The WHEELS are SPINNING WILDLY ... in a CLOUD OF BURNING RUBBER,
    the CAB speeds down the ROAD, weaving in and out of the path cut
    by KONG'S DESTRUCTION.

    KONG BOUNDS AFTER THE CAB, running on all FOURS with incredible
    speed.

    JACK crosses an INTERSECTION, driving up on the SIDEWALK to get a
    CLEARER DRIVING LANE ... PEDESTRIANS scatter - not only from the
    CAB, but from KONG who is in HOT PURSUIT.
    T
    he CAB SLEWS across the STREET, disappearing up a TINY ALLEY,
    only just wide enough for the CAB, but TOO NARROW for KONG.

    JACK glances back at KONG, ROARING with frustration at the ALLEY
    ENTRANCE.


    EXT/INT. HERALD SQ/CAB - NIGHT

    JACK speeds out of the ALLEY and CROSSES the TRAFFIC FLOW, causing
    much BRAKING and HORN action. He gets SLOWED in THICK TRAFFIC ...

    KONG BURSTS his way out of the ALLEY ENTRANCE ... RIGHT IN FRONT
    OF JACK'S CAB!!!

    JACK SWERVES on to the SIDEWALK ...



    118.

    JACK steers the CAB wildly along the SIDEWALK scattering
    PEDESTRIANS in all directions!

    KONG follows in HOT PURSUIT!

    ACK sends the CAB into a couple of TIGHT TURNS ... he rounds a
    bend and DRIVES straight into a FRUIT VENDOR'S STALL!

    ANGLE ON: The CAB, covered by the RUINED STALL, SLAMS into the
    WALL of a BUILDING. JACK is thrown forward on IMPACT ...

    KONG rounds the corner and BOUNDS PAST JACK'S CAB ... hidden
    beneath the RUBBLE ...

    KONG searches for the CAB, ROARING in FRUSTRATION!

    KONG'S HUGE EYES glance in the WINDOW, just as:

    KONG suddenly FREEZES! He inclines his HEAD; unsure if what he is
    seeing is REAL.

    KONG'S POV: ANN is walking towards him!

    KONG tentatively inches TOWARDS ANN!

    ANN stops ... KONG stops. They stare at each other for a long
    moment ... ANN offers KONG a small SMILE, and reaches her HAND out
    hesitantly towards his ARM.
    K
    ONG gently picks ANN up ... his EYES never leaving her FACE.

    ANN holds tightly on to his HAND and they DISAPPEAR into the
    night.


    EXT. CENTRAL PARK - NIGHT

    IDE ON: KONG carries ANN through the snow covered trees of
    CENTRAL PARK ...

    SUDDENLY he finds himself stepping on to the FROZEN POND ...

    ANGLE ON: The GIANT GORILLA slipping on the ICE ... as soon as his
    hand hits the ice he slips ...

    KONG stands up and growls ... he slips again, spinning this time
    ... it becomes a game ...

    CLOSE ON: ANN realizing what is happening ... She starts to LAUGH.

    LIGHTS spin past ... it is a brief moment of respite ...

    SUDDENLY! BULLETS RAIN down on KONG & ANN ... KONG rears back in
    FRIGHT.

    NGLE ON: MILITARY TRUCK as it launches ROCKETS at KONG.

    COMMANDER
    Fire!



    119.

    MORE RAIN down as SMASH! The ICE CRACKS under the weight of the
    MORTAR FIRE ...

    ROARING with ANGER KONG struggles out from the FROZEN POND and
    flees ... back on to the STREETS of NEW YORK.


    EXT. NEW YORK STREETS - NIGHT

    KONG bounds out into the streets, swaying to avoid the bullet
    fire, angrily smashing cars out the way.

    ANGLE ON: The TRUCK flipping through the AIR as KONG continues on
    his way through the STREETS ...

    KONG ROARS DEFIANTLY as the GUN'S BARREL swings in their
    direction!

    The STREETS are TEEMING with these VEHICLES as the ARMY spreads
    out across town in the hunt for KONG.

    ARMY VEHICLES are RACING along the QUIET STREETS ... an ARMORED
    CAR is firing at KONG ... followed by a TRUCK carrying a MOBILE
    SEARCHLIGHT.

    KONG bounds into a construction site, climbing with ease up
    through the frame.

    A MILITARY TRUCK races through the STREETS of NEW YORK ... still
    firing at KONG.

    ANGLE ON: ANN clutches KONG as he BOUNDS along the roofs at HIGH
    SPEED!

    ANOTHER SEARCHLIGHT FINDS HIM! ... and ANOTHER! The ARMY are
    closing in. MACHINE-GUN FIRE rips past him as he LEAPS another
    GREAT DISTANCE across the STREET. ANN clings on, shutting her
    EYES.

    As BULLETS WHIZZ around him, KONG LEAPS ACROSS THE STREET - 10
    stories high! He LANDS on the opposite ROOFTOP and BOUNDS AWAY.

    ANGLE ON: JACK running along the STREET, following a STREAM of
    POLICE and MILIARY VEHICLES.

    RMORED CARS and MOBILE SEARCHLIGHTS converge on KONG ... ahead of
    him, across the CAVERN of 34th STREET, rises the SHEER WALL of the
    EMPIRE STATE BUILDING!!!
    A
    n MOBILE ANTI-AIRCRAFT GUN screeches to a HALT on 34th STREET.

    ANGLE ON: An ARMY COMMANDER shouts rapid orders to his MEN.

    COMMANDER
    Standby to fire!

    The CAPTAIN runs up to the ARMY COMMANDER ...



    120.

    CAPTAIN
    I can't give that order! Sir, the
    ape's holding a girl -

    ANGLE ON: The ARMY COMMANDER brushes past the CAPTAIN ...

    COMMANDER
    (drily)
    Then I guess it's her unlucky day.
    shouts to his GUNNERS)
    Take aim!

    CAPTAIN
    Sir ...?!

    COMMANDER
    (to his GUNNERS)
    Shoot to kill!
    (yells)
    Fire!

    POV: Looking up CROSS-HAIRS at KONG, high on the side of the
    building - a SITTING DUCK.

    A SUDDEN BLOOM of FIRE erupts from the GUN BARREL speeding
    straight towards KONG and ANN!

    ANGLE ON: KONG leaps across 34th STREET just as BOOM! The MISSILE
    hits the BUILDING'S ROOF!

    WIDE ON: KONG smashes into the SIDE of the EMPIRE STATE BUILDING!

    GLASS RAINS DOWN 12 STORIES TO THE STREET as KONG uses WINDOWS for
    HAND and FOOT HOLDS. He is ONE-HANDED - his other hand still
    holding ANN protectively to his CHEST.

    JACK runs forward amidst the noise and confusion he stares up at
    the long length of the EMPIRE STATE BUILDING ...

    USH IN: JACK staring at the unguarded, darkened entrance to the
    EMPIRE STATE BUILDING ...


    EXT. EMPIRE STATE BUILDING/MANHATTAN - PRE DAWN

    Looking at MANHATTAN from the HARBOUR ... the EMPIRE STATE
    BUILDING rises from the MIDTOWN area like a giant solitary finger,
    reaching for the heavens.

    WIDE SHOT ... KONG climbing the EMPIRE STATE BUILDING, silhouetted
    against the LIGHTENING SKY.

    LOOKING DOWN ... ANN clings to KONG'S SHOULDER, a DIZZYING 1000
    foot drop to the street below.

    KONG climbs onto the OBSERVATION DECK of the EMPIRE STATE
    BUILDING. He gently places ANN down ... a CHILL WIND catches at
    her DRESS. ANN looks up at KONG ... BLOOD slowly seeps from his
    numerous WOUNDS ...




    121.

    KONG sits still, staring out across the CITY ...

    To the EAST the sun is rising, casting an soft glow over
    buildings ... glinting off the WATERS of the EAST...

    ONG looks down at ANN ... he gestures with his hands ... touching
    his heart ... ANN looks at him confused, he repeats the gesture
    ...

    CLOSE ON: ANN, she understands ...

    ANN
    (whisper)
    Beautiful ...

    Here, high above the squalor and the noise and confusion, the city
    lies quiet, almost peaceful ...

    ANN (cont'd)
    Yes ... yes it is.

    WIDER ... KONG cradles ANN in his HAND as they SHARE the moment.

    WIDE ON: KONG and ANN sit on the LEDGE, watching the SUN RISE.
    SIX NAVAL BIPLANES suddenly ROAR INTO SHOT, sweeping low over the
    DOWNTOWN BUSINESS DISTRICT ... and closing in on KONG. These are
    TWO-SEATERS, armed with TWIN MACHINE-GUNS for the PILOT, and a
    flexible MACHINE-GUN for the OBSERVER.

    CLOSE ON: PILOT'S FINGER on trigger.

    A COLD WIND blows ANN'S hair as she watches the PLANES approach.
    KONG is UNEASY about these BUZZING PREDATORS as they CIRCLE above
    him.

    The NAVAL PLANES peel off into an ATTACKING DIVE at KONG.

    DOWN GUN-SIGHTS ... drifting left and right as KONG grows in size
    ... LOCKED ON!

    KONG is suddenly FEARFUL ... he INSTINCTIVELY pushes ANN towards
    the BUILDING'S WALL!

    The PLANES split to either side of KONG, ZOOMING straight at him!

    KONG ROARS at the PLANES, as if issuing a CHALLENGE.

    ANN is screaming ...

    ANN (cont'd)
    No!!!

    THE SIX NAVAL PLANES fly at KONG from different directions!
    MACHINE-GUNS START FIRING!

    KONG ROARS ... and SNATCHES at the NAVAL PLANES as they ZOOM by
    ... he FLINCHES as he is HIT BY BULLETS!



    122.

    KONG clambers onto the SIDE of the BUILDING and begins climbing
    to the UPPER MOST LEVEL...attempting to DRAW the PLANES away from
    ANN ...

    CLOSE ON: The MASKED FACE of a PILOT as he heads straight for
    KONG.

    ANGLE ON: KONG swipes at the MOORING MAST and sends it crashing
    down to the streets below.

    WIDER ON: KONG stands atop the BUILDING, ROARING & DRUMMING HIS
    CHEST in ANGER.

    ANGLE ON: ANN as she desperately begins to climb up a SERVICE
    LADDER on the outside of the STEEL DOME ...


    EXT. EMPIRE STATE BUILDING/MANHATTAN - DAWN

    NGLE ON: KONG ROARS in pain as the bullets hit ... As the PLANES
    fly past he SNATCHES at them ...

    CLOSE ON: A GUNNER ...

    ANGLE ON: KONG recoils in pain as each bullet hits... HE ROARS IN
    PAIN.

    ANGLE ON: KONG leaps into the AIR smashing at the last PLANE ...
    the GIANT APE falls through the AIR ...

    The CRIPPLED PLANE spins out of control ... plummeting towards the
    street!

    he PLANES continue their attack as KONG tries each time to SWAT
    at them.


    INT. EMPIRE STATE BUILDING - DAWN

    ANGLE ON: JACK RACES into a LIFT and hurriedly punches the BUTTON
    ... nothing happens ...

    LD SECURITY GUARD
    Hey, hey, nobody past this point. You
    can't go in there.

    JACK pushes past the OLD SECURITY GUARD!

    ANGLE ON: JACK races round a corner ... races into the SERVICE
    ELEVATOR ... the doors slowly close.


    EXT. EMPIRE STATE BUILDING/MANHATTAN - PRE DAWN

    The continued assault ... POV: through the gunners sight as
    bullets attack KONG.

    ANGLE ON: ANN continues to climb the ladder, SHE is nearing the
    top.



    123.

    SUDDENLY a PLANE FLIES straight at KONG. He LEAPS out the way and
    FALLS...

    KONG smashes into the SIDE of the BUILDING ... one hand still
    grasping onto the UPPER LEVEL ... the TOP of ANN'S LADDER gives
    way ...

    HIGH ANGLE ON: ANN dangling precariously in mid-air as she
    desperately tries to hold on to the STEEL RUNGS ... her fingers
    slip ... ANN FALLS!

    KONG stretches out and catches ANN in his HUGE PAW ... behind him
    the planes are circling preparing to dive once again ...

    KONG reaches through the BROKEN WINDOWS and puts ANN in the GLASS-
    IN UPPER-OBSERVATION DECK ... ANN tumbles to the GROUND.

    Before she can stand another BURST of GUNFIRE rakes the BUILDING!
    WINDOWS SHATTER! GLASS FLIES all around ANN. BULLETS SLAM into the
    BACK of KONG!

    KONG circles the building trying to get away from the PLANE but it
    continues to follow him.

    NGLE ON: KONG leaping back on to the top of the EMPIRE STATE
    BUILDING ... He grabs the PLANE'S WING, spinning it around and
    around ...

    NGLE ON: The PLANE CRASHING in to one of the OTHER PLANES ...
    both PLANES plummet to the ground.


    INT. OBSERVATION DECK, EMPIRE STATE BUILDING - DAWN

    NGLE ON:ANN staggers to her FEET and races outside to the
    balcony, desperately looking for KONG.

    KONG looks FEARFUL ... he is WEAKENING from his BULLET WOUNDS.

    ANGLE ON: ANN climbs the SMALL STAIRWAY which leads to the STEEL
    DOME ...
    E

    EXT. UPPER-LEVEL, EMPIRE STATE BUILDING - DAWN

    KONG, clearly weakened, looks out across the city to the
    approaching PLANES.

    THE PLANES are CIRCLING in the DISTANCE, preparing for an ATTACK
    RUN.


    INT. ELEVATOR, EMPIRE STATE BUILDING

    CLOSE ON: JACK watches the LIFT FLOOR INDICATOR as it slowly
    rises.



    124.


    EXT. UPPER-LEVEL, EMPIRE STATE BUILDING - DAWN

    ANGLE ON: A LONE PLANE as it NEARS it's TARGET.

    CLOSE ON: THE PILOTS FACE...

    CLOSE ON: KONG musters all his remaining strength and in one last
    challenge, rises up ROARING at the APPROACHING PLANE...

    ANN races between KONG'S LEGS to the EDGE of the BUILDING ... she
    frantically waves at the PLANES, screaming as loud as she can!

    ANN
    No! No!

    CLOSE ON: THE PILOT ... seeing ANN, he decides not to fire.

    ANGLE ON: KONG, now barely clinging to the top of the building,
    gently picks up ANN and STARES AT HER ONE LAST TIME. HE places her
    GENTLY down on the ground ...

    IDE ON: THE PLANES as they fly at KONG.

    GUNFIRE SMASHES into KONG. ANN looks up ... KONG grasps the side
    of the BUILDING ... She crawls over to him, clutches his FINGERS,
    hugging them, trying to COMFORT HIM. TEARS STREAM DOWN HER FACE
    ... KONG slowly lifts her in his HAND ... he looks beyond her ...

    ALL SOUND FADES AWAY ... except for a gentle breeze ...

    The FEAR leaves KONG ... he looks at ANN with TENDERNESS and LOVE.

    LOSE ON: KONG ... as the light in his eyes slowly fades and goes
    out.

    KONG topples back ... disappearing from sight.

    WIDE ON: KONG plummeting away ... Towards the ground FAR BELOW.

    ANGLE ON: ANN as she moves towards the edge of the EMPIRE STATE
    BUILDING ... she stares down at the STREETS BELOW ... overcome
    by a sense of utter despair ...

    CLOSE ON: ANN ... for a brief moment she wants to do nothing
    more than follow KONG ...

    ANGLE ON: JACK as he climbs on to the ROOF ... he looks at ANN.

    SLOWLY ANN turns and faces him ... her grief still trapped
    inside her ... JACK can see in her eyes how close he is to
    losing her.

    ANN stares at him a beat ... tears begin to spill from her
    eyes. Slowly she rises to her feet and walks hesitantly towards
    Jack.

    ACK gently embraces her. She wraps her arms around him.



    125.

    WIDE SHOT: JACK and ANN holding each other as dawn light washes
    over them.


    EXT. FIFTH AVENUE - MORNING

    CROWDS are gathering to STARE at KONG'S BODY. A SWARM of
    JOURNALISTS converge on KONG ... light-bulbs flashing ...

    ANGLE ON: TWO PHOTOGRAPHERS climb onto KONG'S CHEST ... CAMERAS
    AIMED right at KONG'S FACE ... they jostle for position.

    A POLICEMAN drags them off ...

    POLICEMAN
    Come on, boys, move on! Show's over!
    Stay back! Behind the line!

    As the NATIONAL GUARD begin holding the CROWD of ONLOOKERS
    BACK.

    SOLDIERS pose for PHOTOS.

    CLOSE ON: PHOTOGRAPHER 1 staring up the long length of the
    EMPIRE STATE BUILDING ... the distance that KONG has plummeted.

    PHOTOGRAPHER 1
    Why'd he do that? Climb up there and
    get himself cornered? The ape musta
    known what was comin'.

    PHOTOGRAPHER 2
    It's just a dumb animal - it didn't
    know nuthin'!

    ANGLE ON: DENHAM pushing through the CROWD. He stares at KONG,
    DREAD, REALIZATION dawning on his face.

    PHOTOGRAPHER 2 (cont'd)
    What does it matter? The airplanes got
    him.

    PUSH IN ... on DENHAM staring at KONG, an ASHEN expression on
    his face.

    DENHAM
    It wasn't the airplanes ...

    The PHOTOGRAPHERS stare at DENHAM ... expectant.

    DENHAM (cont'd)
    ... it was beauty killed the beast.

    ANGLE ON: DENHAM turns and slowly walks away from CAMERA.

    FADE TO BLACK

    THE END
    Cám ơn những thăng trầm của cuộc sống, đã cho tôi nếm đủ mọi mùi vị ngọt bùi, cay đắng của cuộc đời, để nhận ra cuộc sống này là vô thường... để từ đó bớt dần "cái tôi"- cái ngã mạn của ngày nào.

  2. #2
    Tham gia ngày
    Jan 1970
    Địa chỉ
    Dora Wonderland
    Bài gởi
    393
    Blog Entries
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    Mặc Định

    Không hỉu sao ai xem phim này cũng nói đoạn đầu chán ??? Tui thì cả bộ phim ko giây nào tui dứt mắt ra khỏi màn hình được

  3. #3
    Tham gia ngày
    Jan 1970
    Địa chỉ
    Homeless
    Bài gởi
    3,139
    Blog Entries
    3

    Mặc Định

    Up nguyên cái kịch bản của bộ phim cho mọi người xem này.

    Click here to see the King Kong 2005 movie script.
    Cám ơn những thăng trầm của cuộc sống, đã cho tôi nếm đủ mọi mùi vị ngọt bùi, cay đắng của cuộc đời, để nhận ra cuộc sống này là vô thường... để từ đó bớt dần "cái tôi"- cái ngã mạn của ngày nào.

  4. #4

    Mặc Định

    có bạn nào tốt bụng dịch giúp mình đi

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