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                         MIGHTY JOE YOUNG



                           Written by

                Mark Rosenthal & Lawrence Konner




                    Based on a screenplay by

                           Ruth Rose



                            Story by

                        Merian C. Cooper





                                                       August 1997
                                            Final Production Draft




                                                   FOR EDUCATIONAL
                                                     PURPOSES ONLY



1   EXT. MOUNTAIN RANGE - DAY                                    1

    The lush Pangani Mountains of Africa, mysterious and
    seemingly untouched.


2   EXT. PANGANI FOREST - DAY                                    2

    A warm golden light bathes the jungle. Shafts of
    sunlight filter through the forest floor. The sounds of
    WILD BIRDS break the hushed quiet of the setting. As we
    MOVE IN we FIND a large female mountain gorilla lounging,
    eating leaves in the dense undergrowth, her precocious
    baby gorilla plays nearby.


    THROUGH CAMERA LENS

    A view of the mother gorilla, a few PICTURES SNAPPED.


    BACK TO SCENE

    The photographer is RUTH YOUNG, naturalist, researcher,
    sitting in the undergrowth with her camera, notebooks,
    and sketch pad. Her precocious young daughter, JILL,
    plays nearby.

    Jill smiles, watching the baby gorilla clown. As the baby
    sees her, he suddenly scampers to a nearby tree and hides
    his face behind it. Jill does the same. She peeks out to
    catch a glimpse, just as the baby peeks out to catch her
    eye. They both scamper to different trees. Each time
    they move to a different tree, they go through this
    peek-a-boo interaction, both moving further away from
    their mothers. The mother GORILLA notices, lets out a
    CRY. Ruth looks around for Jill and signals by a
    distinctive whistle for her to come back this instant.

    Both children take a last look at each other and then
    scurry to their waiting mothers.

                             RUTH
              Jill.   What did I tell you?

                            JILL
              But Joe started it!

                             RUTH
              It's not good for them to interact
              with us.
                      (gathering her things)
              Besides, that wasn't Joe. It was
              Marley.

                                                   (CONTINUED)
                                                            2.

2   CONTINUED:                                                   2

    Jill helps her mother heft the equipment as they start to
    head back to camp.

                                 JILL
                 No it wasn't.    It was Joe.

                               RUTH
                 Joe is just a baby, Jill.      He was
                 too big to be Joe.

    As they walk, they can see the sunset over the mountain
    trail.

                                JILL
                 Check.   Check the pictures.

    Ruth looks down at her daughter, surprised by the
    confidence in her voice.


3   EXT. EQUATORIAL SKY - NIGHT                                  3

    The Southern Cross above the horizon. The Milky Way a
    dusty streak of white. A shooting star streaks in an arc
    down to the --


    MOUNTAIN RANGE

    The dark peaks silhouetted against the stellar glow.


    POV SHOT

    Charging THROUGH dense, primeval forest. We hear an
    eerie metallic JANGLE of what sounds like wind chimes
    riding right with us. Something is moving quickly up
    this mountain.


4   EXT. PANGANI JUNGLE - NIGHT                                  4

    Bursting THROUGH FRAME -- a pack of mongrel hunting dogs
    driven hard by a half dozen African men with rifles.

    Poachers wielding pangas (machetes). A glint of silver
    as a panga sweeps ACROSS FRAME, hacking at the wall of
    thistles and nettles.

    ON DOGS

    Eyes yellow. Teeth flared. The RINGING sound made by
    TIN SQUARES cut from cans, tied by rawhide around their
    necks. CLANG-CLANG-CLANG. One poacher whips his panga
    again.
                                                  (CONTINUED)
                                                              3.

4   CONTINUED:                                                     4

    PUNCH IN to reveal -- impaled in the earth, a three-foot
    stick figure with a macabre animal skull for a head. The
    poacher shouts in local dialect until -- A foul-looking
    man, GARTH, pushes INTO FRAME. Carrying a heavy Weatherby
    Mark V rifle across his back. Garth yanks the primitive
    doll from the ground. Looks back as -- A figure
    approaches in the darkness.

    A glowing cigar clenched in his stained teeth, STRASSER
    checks the doll over -- primitive, grotesque; then snaps
    it in two. Tossing it away contemptuously, he shouts
    orders in the local dialect.

    The men continue up the path. Dogs sweeping behind like
    a wildfire. CLANG-CLANG-CLANG. PAN UP OVER TO --


5   EXT. FOREST - NIGHT                                            5

    The RING of the DOG COLLARS floats on a night breeze
    across a deep valley to the other side of the mountain,
    down to a...


    CLEARING

    A small circle of huts forming a campsite around a night
    fire. We go inside...

    one of them --


6   INT. HUT - NIGHT                                               6

    Ruth Young's hut. On one side is a makeshift field
    laboratory, highlighted by a wall collage of photos --
    family shots mixed right in with gorilla shots.


    RUTH

    sits on the edge of a cot, tucking Jill into bed.   She
    leans down, kisses Jill gently on her forehead.

                               RUTH
                 Jill, what made you think the
                 gorilla we saw today was Joe?

                               JILL
                 I was right, wasn't I?

                                                  (CONTINUED)
                                                              4.

6   CONTINUED:                                                       6

                               RUTH
                 My notes say that Joe is only six
                 months old. Either I got
                 confused, or he's a very unusual
                 gorilla.

                                JILL
                        (sing-song)
                 I told you so.

                               RUTH
                 Yes, you did. And Mommy's going
                 to write it down in her book.

    She holds up a dog-eared composition book, Ruth's detailed
    log of her observations.

                               RUTH
                 Right here. '... and my trusted
                 colleague, Dr. Jill Young, showed
                 me the error of my ways.'

    Jill smiles.

                               RUTH
                 Now go to sleep.

    Ruth begins singing a lullaby.

                               RUTH
                        (singing)
                 'Sleep till the night ends, the
                 night wind will sing for you.
                 Your song and my song. It goes on
                 forever.'

    As she sings, a man appears in the doorway. This is
    KWELI, the camp manager. He seems nervous and impatient,
    but doesn't want to disturb Ruth. Jill sees him.

                               JILL
                 Goodnight, Kweli.

    Ruth turns.

                                RUTH
                 Kweli?   What is it?

                               KWELI
                 You should come. Quickly.

    As soon as she hears the words, Ruth is up.      As she leaves
    the hut, she grabs her walking stick.

                                                      (CONTINUED)
                                                                 5.

6   CONTINUED:    (2)                                                 6

                               JILL
                 Mommy, can I...

                               RUTH
                 Stay here, Jill.

    Ruth exits, Kweli behind her. Jill follows, despite her
    mother's orders... but Kweli feels her behind him. He
    turns around and crouches down, looking Jill seriously in
    the face:

                               KWELI
                        (fatherly)
                 Stay here, child.

                                                       CUT TO:


7   EXT. HUT                                                          7

    A group of Bahatu trackers have gathered in the center of
    the camp. They stand, silently, listening...

    The distant CHIMING of the poaching dogs is unmistakable --
    ECHOING in the night.

    Ruth walks into the circle, also listening.      She turns to
    Kweli.

                               RUTH
                        (grimly)
                 Poachers.

    Kweli nods.    All the men look at Ruth for a sign.

                               RUTH
                        (in Swahili,
                         subtitled)
                 Let's go.

    Ruth leads them onto the forest path that goes up the
    mountain.


    NEAR HUT

    Jill has not stayed in bed.       She has come out of the hut
    to watch the commotion.

    JILL'S POV

    Her mother, silhouetted by moonlight, in her mind larger-
    than-life, pushes up the trail. Then she's gone.

                                                       CUT TO:
                                                              6.

8    EXT. PANGANI FOREST - NIGHT                                   8

     Strasser leads a breakneck pace through the woods. Garth
     looks around as the AFRICANS begin to murmur something over
     and over. These men seem scared...

                             AFRICANS
               ... n'gai zamu!... n'gai zamu!...

     Garth steps closer to keep up with Strasser.

                             GARTH
               They're at it again.

                             STRASSER
               Mystical nonsense. There's only
               one thing they should be afraid of
               on this mountain.
                      (threatening, to
                       the men)
               And it's staring them right in the
               face!

     The men stare back at Strasser with equal hostility.

     Suddenly, Garth kneels and picks something from the
     ground. Rubs it between his fingers. Deposits it in
     Strasser's hand.

                              GARTH
               Gorilla.   We're close.


9    EXT. BASE CAMP - NIGHT                                        9

     Jill is pacing by the hut, trying to stay put like her
     mother said. Finally she can stand it no more. She
     grabs a long, stainless steel flashlight from a peg
     hanging on the outside of the hut and runs off...


10   EXT. FOREST - WIDEN ANGLE - NIGHT                             10

     The African men fan out. It gets quiet fast. Strasser
     and Garth swing rifles down from their shoulders as they
     stalk. Proficient hunting machines.


     EXTREME CLOSEUP - STRASSER

     His predator's eyes scanning the moonlit green tapestry.
     One more step -- then a dry POK-POK-POK sound erupts from
     the bushes. The DOGS BARK madly -- CLAPPERS RINGING.

                                                    (CONTINUED)
                                                             7.

10   CONTINUED:                                                   10

     Trees shake furiously.

     Strasser spins to see several gorillas, darting from the
     trees, a blur of black shapes trying to escape up the
     mountain.


     CLOSE ON ONE FEMALE

     The same one Ruth watched earlier. Joe clings tightly
     to her back, his eyes wide with fear.


     JOE'S POV

     A nightmarish collage of images accompanied by the
     CLANGING of the dogs' COLLARS, the charge of the African
     poachers, the SCREAMS of the MOTHER and the other
     GORILLAS. Then he sees Strasser run forward, raise his
     rifle with icy precision.


     THROUGH SCOPE

     Strasser has Joe's mother dead on. Her head in the
     cross-hairs as she tries to get away. The MOTHER'S raspy
     animal SCREAM is unmistakably maternal, heart-breaking.
     It ECHOES across the mountain as she tries to reach a
     deep stretch of woods.

     On her back, Joe turns once more to look back and sees --


     EXTREME CLOSEUP - STRASSER'S TRIGGER FINGER

     squeezing gently, the EXPLOSION of the SHOT RATTLES the
     forest.

     The MOTHER'S SCREAM is CUT OFF sharply.


     ON JOE

     We see Joe thrown THROUGH FRAME, tumbling into the high
     grass.

     Then, silence.


     STRASSER AND GARTH

     crash through the dense foliage to retrieve the body.
     The DOGS SNAPPING behind. CLANG-CLANG-CLANG.

                                                   (CONTINUED)
                                                            8.

10   CONTINUED:    (2)                                           10

                                GARTH
                         (shouting)
                  Get the baby!

                                STRASSER
                         (shouting)
                  Don't shoot it! They want the
                  babies alive!! Bring the sack!


     CLOSE ON JOE

     He SCREAMS wildly, darts back and forth, desperately
     looking for his mother.


     JOE'S POV

     THROUGH the tall grass in the b.g., he can see the
     Africans disappear up the hill hunting down the others.


     BACK TO SCENE

     And then we see Joe's anguish turn to fury. He GROWLS --
     and as the two big hunters come nearer -- Joe springs out
     at them.

     Joe is moving so fast, Strasser barely has time to react
     before the furry black shape is on top of him -- WIDEN
     as Joe attacks Strasser, knocking him back. Strasser
     shouts and drops his rifle. Tries to pull Joe off as
     they tumble down through the trees. Strasser punches
     and pulls at this ball of sinew and muscle. He reaches
     for his Match Master side arm with his right hand. PUNCH
     IN CLOSE as Joe bites down viciously through the hand.
     Strasser howls...


     ANGLE ON GARTH

     He has retrieved his rifle and is charging hard for his
     downed companion. He looks for a clear shot at Joe. PAN
     RIGHT and RACK FOCUS as Ruth Young explodes from the
     trees and flashes past Strasser, snatching Joe away. Joe
     is not quite sure what has happened, but he hangs on to
     Ruth for dear life.

     Strasser staggers forward, holding his mangled hand.
     Enraged.

     He rips Garth's gun away from him and with his bloodied
     hand, finds a way to pull the trigger. SHOTS RIP through
     BARK but Ruth disappears into the trees like a spirit.
                                                                9.

11   EXT. FOREST - ON JILL - NIGHT                                    11

     Running but nearing exhaustion. Hearing a fusillade of
     GUNSHOTS -- Jill runs faster, panic contorting her face.

     She runs desperately, swiping at branches, stinging
     vines.


     ANOTHER POV

     Something is running TOWARDS her.


12   EXT. FOREST - NIGHT                                              12

     Jill shines her flashlight into the forest. Further up,
     someone waves a light back and forth. Like a signal.

     Jill's face lights up. She continues running. Suddenly,
     Jill is bowled over by Joe who leaps into her arms. They
     roll on the ground, Jill with the wind knocked out of her.
     They look into each other's face and both know that the
     worst is happening. They are both silent with fear.

     Strasser appears through the darkness. His right hand
     wrapped in a bloody swath. Denying the pain. Garth
     follows, gun up.

     Jill and Joe lie hiding in the undergrowth. Jill's eyes
     tell Joe not to make a sound. They barely breathe.


     JILL'S POV

     of Strasser's and Garth's boots. Jill can hear the sound
     of their voices, but their words are indistinct.


     BACK TO SCENE

                                STRASSER
                         (quietly)
                  She's got to be here somewhere.
                  She's got that damn devil with her.

                                GARTH
                         (matter-of-fact)
                  I think you might've hit the woman.

                                STRASSER
                         (shrugs)
                  These people want to live like
                  heroes, let them die like heroes.

                                                        (CONTINUED)
                                                                   10.

12   CONTINUED:                                                          12

     They are nearly on top of Jill and Joe, and their words
     are now crystal clear. Strasser looks at his bloody,
     wrapped hand and stares vindictively into the dark forest
     around him.

                                STRASSER
                  That little demon took off my damn
                  trigger finger.
                         (in Roumanian)
                  Monstrule!

                                 GARTH
                  Your little 'monster' couldn't
                  have gone far. Want to keep
                  looking or...?

                                  STRASSER
                           (in pain)
                  No.    Let's get out of here.

     Jill and Joe lie still as stone as Strasser and Garth
     continue past. Once they're gone, Joe and Jill begin to
     breathe again. Then, Jill sees a light pop on in the
     darkness. She flashes back.

                                  JILL
                  Mom!

                                  RUTH (O.S.)
                           (whispering)
                  Shhh!

     Ruth suddenly emerges from the darkness.      She collapses
     next to Jill in the undergrowth.

                                JILL
                         (whispering)
                  Mom, there were men, they...

                                RUTH
                  I know, I know. Shhh.


     EXTREME CLOSEUP - RUTH'S HAND

     We see blood trickle down her fingers.       Ruth covers it
     quickly so Jill can't see.


     BACK TO SCENE

     JOE, clinging to Jill, begins to WHIMPER.

                                RUTH
                  Oh, look who it is.    Hello, Joe.
                                                        (CONTINUED)
                                                              11.

12   CONTINUED:    (2)                                               12

                                 JILL
                  He's scared.

                                 RUTH
                  Poor baby.   He lost his mommy
                  tonight.

     Ruth turns her attention from Joe to her daughter.

                                RUTH
                  He needs someone to protect him.
                  Will you do that for me, Jill?

     Jill is taken aback by her mother's behavior. She knows
     something is wrong, but she doesn't know what it is.

                                RUTH
                  Promise me you'll protect him,
                  Jill.

                                JILL
                  I... I promise.

     Ruth takes Jill into her arms. She rocks her back and
     forth, humming the lullaby we heard before.

     HOLD ON --

     -- the three of them, huddled together in the dense jungle,
     the lilting sound of Ruth's lullaby drifting through the
     night air.

     CAMERA FLOATS UP THROUGH the trees until it REVEALS and
     HOLDS ON the star-lit Pangani sky. RUTH'S VOICE EXPANDS
     INTO a CHORUS of POWERFUL AFRICAN VOICES SINGING the
     SAME LULLABY, now transformed into an inspirational hymn.

                                                      DISSOLVE TO:


13   EXT. GRAVE SITE - DAY                                           13

     MUSIC CUE: RUTH'S VOICE BECOMES a CHORUS of powerful
     AFRICAN VOICES SINGING the SAME LULLABY in the local
     dialect. But now it's become a powerful hymn -- sacred
     and inspirational.

     From the sky, flower petals of every color begin to fall.
     As they fall, they land on...

     A wooden plank that simply reads:     "RUTH YOUNG."

                                                      (CONTINUED)
                                                                11A.

13   CONTINUED:                                                        13

     PAN ACROSS TO an adjacent marker that reads: "DR. EDWARD
     YOUNG" -- Jill's parents now reunited on that great
     mountain.

     WIDEN TO camp cemetery.

     Kweli lays Ruth's walking stick across her grave. Steps
     back -- not even trying to wipe away his tears. Jill
     stands bravely, singing through her broken heart.
     Kweli takes her hand in his.


     POV - FROM WOODS

     Someone is watching all of this.    Staring directly at
     Jill.


     BACK TO SCENE

     Kweli looks down at Jill.

                                KWELI
                  Don't worry, little one.   I will
                  take care of you.

     Jill nods, trying to stifle her tears. But she is now
     staring into the woods, sensing that she is being
     watched.

                                KWELI
                  You will love living in the
                  village. There are other
                  children, and...

     Jill pulls her hand away from Kweli's and starts walking
     toward the woods.

                                KWELI
                  Jill!

     But she ignores him, breaking into a run, drawn
     inexorably toward the jungle.


     ON KWELI

     Starting after her at first, but then stopping.    He lets
     her go.

                                                      CUT TO:
                                                               11B.

A14   EXT. PANGANI FOREST - DAY                                       A14

      Jill pushes her way through the brush, finding Joe,
      waiting for her.


      ON JILL

      Joe in her arms now, running through the woods as fast
      as she can, and we PULL BACK and...

                                                   DISSOLVE TO:


14    EXT. AFRICAN LANDSCAPE - AERIAL SHOT - DAY                      14

      Rolling foothills. Farms. Giving way to steeper slopes.
      The mountains rising just beyond.


15    OMITTED                                                         15
                                                                 12.

16    EXT. AFRICAN LANDSCAPE - DAY                                     16

      SUPERIMPOSE:   12 YEARS LATER.

      A quickly-moving dust cloud turns out to be --


      HUMVEE

      racing at breakneck speed over the dirt highway. Driven
      by GREGG O'HARA -- anyone would consider him young,
      strong and handsome -- except that right now, it's all
      hidden under the grime from a long flight and a week's
      growth of beard. Hair long, unkempt; clothes wrinkled.

      Gregg passes four local men burning a clearing in the
      woods for yet more farmland.

      Pushing its way up the mountain side. The humvee is
      packed with EQUIPMENT that RATTLES as Gregg hits every
      bump in the road.


17    EXT. VILLAGE - DAY                                               17

      A tiny African village, just a main square with a bar, a
      school, an infirmary and a gas station.

      Standing smack in the middle of the road is an East Indian
      with a goatee, wrap-around Black Flys, and a Nike workout
      suit.

      Gregg's HUMVEE SKIDS to a sharp stop in front of him.

                              GREGG
                You must be Pindi.

      Pindi flashes him a broad smile.

                              PINDI
                The one and only, bro.

                                                       CUT TO:


17A   EXT. VILLAGE - DAY                                               17A

      Pindi is leading Gregg down a row of vehicles: two Land
      Rovers, one with a strange-looking seat attached to the
      front hood, and an old, flatbed lorry. A surly-looking
      group of men lounge around on them.

                                                       (CONTINUED)
                                                                13.

17A   CONTINUED:                                                      17A

                                  PINDI
                   Six men, three cars... everything
                   you ask for, Mr. Ohara.
                          (lowering his
                           voice)
                   All paid for in advance, out of
                   Pindi's pocket...

      Gregg holds an envelope filled with cash in Pindi's face.
      He nods towards the nasty-looking men.

                                 GREGG
                   Sweet-looking bunch of guys.

      Pindi snatches the envelope -- but Gregg holds onto his
      end.

                                 GREGG
                   I asked for experienced trackers.

                                 PINDI
                   These men are the best -- I assure
                   you. Very best.

      Gregg allows Pindi to pull the envelope away. He
      immediately rifles through the cash, checking to make sure
      it's all there.

      Gregg eyes Pindi's men suspiciously, then walks around to
      the back of his humvee and flips open the storage boot,
      revealing an array of animal-tracking gadgetry. Pindi
      looks over his shoulder as Gregg loads a menacing-looking
      rifle.

                                 PINDI
                   Nice piece you got there. What
                   are we hunting, elephants?

                                 GREGG
                   We're not hunting anything.

      Pindi sees that Gregg is loading the rifle with tran-
      quilizer darts. This confuses him, but he pretends to
      approve.

                                 PINDI
                   Ah! Tranquilizer darts. I agree
                   -- much nicer to animals than
                   bullets.

                                 GREGG
                          (indicating tranquilizer
                           gun)
                   Your men know how to use this, right?

                                                        (CONTINUED)
                                                                   14.

17A   CONTINUED:    (2)                                                  17A

                                    PINDI
                   Oh sure, boss.     Only professionals
                   here.

      Gregg carefully puts the rifle back, then grabs a pair of
      Minolta 10x20 binoculars.

                                 PINDI
                   So tell me, boss -- where are we
                   going today?

      ON Gregg, panning across his field of vision with the
      binoculars. He stops.

                                    GREGG
                   There.


      POV THROUGH BINOCULARS

      The highest peak in the range, playing hide and seek with
      the clouds.


      BACK TO SCENE

      Pindi's men see where Gregg is pointing. They murmur,
      trading grim glances at each other. Pindi jumps with
      nerves.

                                 PINDI
                   There? Uh, boss, that is not such
                   a good mountain. The men don't
                   like it very much at all. You
                   see there is a legend they believe
                   in, that a creature lives there...

      Gregg's back to checking his equipment.

                                 GREGG
                   'N'Gai Zamu.' The sacred guardian
                   of Mount Pangani.

      Pindi looks at Gregg, surprised he knows this.

                                 PINDI
                   You know it? How funny!
                          (with dread)
                   That's not, by any chance, what
                   you are looking for, is it, boss?

      Gregg looks from Pindi's nervous face to the serious
      faces of the trackers. They are all watching him.

                                                           (CONTINUED)
                                                               14A.

17A   CONTINUED:    (2A)                                              17A

                                 GREGG
                   Looking for a legend?   No.   Why
                   would I do that?

      Gregg takes the car keys from Pindi's hand.

                                                       (CONTINUED)
                                                              15.

17A   CONTINUED:    (3)                                             17A

                                  GREGG
                   Gimme those.

      OFF Pindi -- not particularly thrilled...

                                                    CUT TO:


18    EXT. MOUNTAIN ROAD - DAY                                      18

      The caravan trundles up a winding dirt road, into the
      mist-covered mountains.


19    OMITTED                                                       19


20    EXT. MOUNTAIN - HIGH MEADOW - DAY                             20

      The vehicles are circled in a clearing. Three small
      audio dishes have been positioned to triangulate the
      location of the slightest sound. An infrared video cam
      is mounted on a tripod. A geometric, field-assembled
      cage made of an impact-resistant, high-tensile steel
      alloy sits off to the side.


21    OMITTED                                                       21


22    EXT. MEADOW - DAY (LATER)                                     22

      Gregg has earphones on, plugged into a backpack with a
      Sony digital recorder, listening. The sound is ambient
      and mysterious.

      Pindi stands behind Gregg, watching him carefully.

                                 PINDI
                   What are you listening to?

                                  GREGG
                   Sounds.

      Pindi listens to the jungle. It is full of sounds.
      Something small makes a RUSTLING SOUND a few yards away.

                                 PINDI
                   Like that right there?

                                  GREGG
                   Yup.

      Pindi nods.

                                                    (CONTINUED)
                                                                16.

22   CONTINUED:                                                       22

                                PINDI
                  I understand completely: jungle
                  sounds! Very important. I know a
                  guy, he can get you a C.D. of
                  jungle sounds, cheap. Even
                  cheaper if you buy ten.

     Gregg puts his hand up to signal for quiet.

     He hears something.

     He listens intently for a moment, then the WHOOSH of a
     SPRING TRAP BLASTS his ears, followed by shouts and the
     sound of an ANIMAL SCREECHING. Gregg throws off the
     headphones, grabs a strange-looking pole called a DNA
     plug gun, and crashes with Pindi through the woods.

     Gregg runs INTO FRAME to see several of Pindi's men
     closing the cage on a lithe, young leopard.

                                PINDI
                         (beaming)
                  How do you like that, boss? I
                  told you these men were the best.

     Gregg kneels to inspect the leopard. He finds it
     beautiful -- his face softens at the sight of it.

                                GREGG
                         (soothing, to leopard)
                  You're a beauty.

     Carefully, he extends the DNA plug gun and pricks the cat,
     startling it and causing all the men to jump.

                                GREGG
                         (stands)
                  Okay, set him free.

     Gregg and Pindi stand over the leopard.       Pindi offers his
     ersatz smile.

                                PINDI
                         (testing the water)
                  Why ask for a cage if you are not
                  keeping the animal?

     Gregg releases the vial of blood from the DNA gun.

                                GREGG
                  Because I'm only keeping this.

                                                        (CONTINUED)
                                                                17.

22   CONTINUED:    (2)                                                22

                                PINDI
                  Yes, but I know a guy, in Botswana,
                  he'd pay you ten thousand American
                  dollars for that leopard. I'd be
                  willing to split with you --
                  fifty/fifty.

     Greg ignores Pindi. He's busy transferring the vial to a
     container. Pindi presses on.

                                PINDI
                  Perhaps you're right. Sixty to
                  you, forty to me. That's a very
                  fair deal!

     Still no response from Gregg -- he's logging notes into a
     book.

                                PINDI
                  My goodness -- you're an
                  excellent negotiator. Okay,
                  boss! Seventy/thirty it is.
                         (to his men)
                  Take him to the truck.

     The men bend over and hoist the cage up -- but now Gregg
     blocks their way.

                                GREGG
                  Put the cat down... now.

     Gregg is one scary-looking bastard.     The men drop the
     cage. Pindi back-pedals.

                                PINDI
                         ("angry," to his
                          men)
                  You heard him... put it down!
                         (to Gregg)
                  They never understand me. I
                  don't know what to do...

     Pindi stops abruptly as his yammering is interrupted by
     the LEOPARD, GROWLING.

     SOUND CUE:    A LOW RUMBLE.

     Floating on the wind like DISTANT THUNDER. It seems to
     come as an answer to the young leopard's cry. Birds fly
     out of the trees above the cage. The men are spooked.

                                                        (CONTINUED)
                                                                 18.

22   CONTINUED:    (3)                                                 22

     GREGG

     quickly puts on his headphones and listens to the
     amplified sound again. HIGH-PITCHED SCREAMS -- then
     the rhythmic rondo of sharp POK-POK-POK-POK CHESTBEATS.

     Pindi is on the verge of panic.       He forces his trademark
     smile.

                                   PINDI
                  Uh, excuse me.     Time to flee,
                  right?


     POV - TREES

     The top branches suddenly shake violently -- sending a
     sharp WOODEN RATTLE across the meadow. Is that a shadow
     from a passing cloud that seems to ripple through the
     foliage? Gregg steps closer. The trees bend like the
     wake of a boat -- they bend in a straight line.

     Something powerful and unseen is moving through the
     trees.

     Pindi and his men retreat back in the meadow. Gregg
     scans the forest. BRANCHES spring with a LOUD WHOOSH!

     Gregg can't help it -- his fear takes over and he
     backsteps into the meadow.

     WIDEN SHOT UP TO the trees. Catapulting DOWN THROUGH
     FRAME -- landing right in front of them is a gorilla --
     nearly 15 feet high. The GROUND TREMBLES from the force.

     A nearby Land Rover bounces two feet into the air from the
     impact.

     His canines are fully exposed. Thick, black hair on his
     crest stand erect. Deep brown eyes aglow as he gives
     another DEAFENING CALL. This is JOE. Backlit by the sun
     he seems to encompass the forest.

     PUSH IN CLOSE ON Gregg's reaction.       In complete awe.

                                GREGG
                  Don't anybody move.

                                 PINDI
                          (frightened out
                           of his wits)
                  How about... I move... just over
                  here...

                                                        (CONTINUED)
                                                                19.

22    CONTINUED:    (4)                                               22

      Pindi scurries for cover behind the frozen, awe-
      stricken trackers.


      ANGLE - JOE

      moves to the cage and peers inside. The LEOPARD paces and
      HISSES. Joe straightens up bi-pedally and pounds his
      massive chest with his fist. The hollow POK-POK-POK ECHOES
      off the mountain.

      Joe raises his hand again and smashes the top off the
      cage, as if it were made of matchsticks. The leopard
      leaps out of the cage and dashes safely into the forest.
      JOE bares his teeth and ROARS at Gregg, as if to say
      "stay off my mountain." His mission accomplished, Joe
      quickly turns and starts back for tree cover.

      Silence. Everyone is open-mouthed, unable to believe
      what they have just seen...

      Then Greg snaps out of it. Bursting into action, he runs
      to the humvee, motions to Pindi.

                                  GREGG
                   Come on!!   We're going after him!

                                 PINDI
                   What is this 'we'? There is no
                   way my men will ever agree to...

      Gregg yells to the paralyzed trackers:

                                 GREGG
                          (in Swahili)
                   Three times your price.
                          (in English)
                   Triple your fee.

      That's what it's all about. The men get a move on,
      running for the vehicles as fast as they can.

      ENGINES REV, DOORS SLAM, as the trackers ready for the
      chase. All four cars pull out.


22A   OMITTED                                                         22A


23    EXT. MEADOW                                                     23

      All is silent for a moment, then Joe EXPLODES INTO FRAME.
      Joe hears the DRONE of ENGINES -- turns to see --

                                                        (CONTINUED)
                                                               20.

23   CONTINUED:                                                      23

     JOE'S POV

     The caravan, looking like the cavalry in a Western, comes
     charging over the hill.

     Gregg's humvee comes crashing over a ridge in pursuit of
     Joe. Gregg yells out to the cars around him:

                                GREGG
                  Herd him towards me!   I gotta get
                  close.

     Gregg grabs his DNA stick and grins at Pindi.

                                GREGG
                  Real close.

     Pindi realizes with a sickening feeling that Gregg is
     having a major rush.


     ANOTHER ANGLE

     The lead car, a Land Rover, comes right up behind Joe.


     BACK TO SCENE

     Joe -- sensing the car next to him, turns and ROARS...


     LAND ROVER

     The guy with the tranquilizer RIFLE panics and FIRES!


     BACK ON JOE

     The dart hits his arm.     Uh oh.   That was a mistake.


     INT. LAND ROVER

     The tracker has just enough time to get a good look at
     Joe's furious expression before... WHAM!

     Joe throws his shoulder into the side of the Land Rover,
     sending it tumbling end over end into a ravine.


     ON GREGG

     Disgusted with the guys' stupidity.

                                                       (CONTINUED)
                                                             21-22.

23   CONTINUED:    (2)                                            23

                                GREGG
                  Experienced trackers, my ass!

     Pindi shrugs. The two of them watch as Joe continues
     running, then changes directions and starts heading
     straight for them. The humvee has to swerve out of the
     way to avoid colliding with Joe.

     FOLLOW JOE as he books across the meadow in the opposite
     direction, now. The modified Land Rover with the hot
     seat attached to the hood swerves around and chases Joe.
     They catch up, and the tracker climbs into the hot seat,
     readying a metal clamp attached to a chain...

     GREGG

     tries to yell across at him.

                                GREGG
                  No, we don't want to...

     Too late, the guy's slapped the clamp onto Joe's arm.

     Joe ROARS, tries to shake off the chain, then speeds up.

     THE CHAIN

     unspools rapidly, whipping out from the front of the
     modified Land Rover. Quickly, it grows taut and now the
     Rover is being pulled by Joe. The driver slams on the
     brakes with both feet, but all that does is tilt the front
     end upwards, digging up clods of dirt as they're dragged
     along.

     JOE

     feels the increased pull, and is starting to get annoyed.
     He heads right for...

     STAND OF TREES

     The guy in the hot seat is battered by branches and leaves
     as they're dragged through the trees.

     BACK ON HUMVEE

     Now circling around the stand of trees, trying to catch up
     with Joe when he emerges from the opposite side.

                                GREGG
                  Hold the wheel!

                                PINDI
                         (terrified)
                  Oh, sure.
                                                   (CONTINUED)
                                                              23.

23   CONTINUED:    (3)                                              23

     Gregg hands the wheel over to Pindi as he reaches for
     his DNA gun...


     THEIR POV

     Joe has just emerged from the tree stand, dragging the
     thoroughly-battered, modified Land Rover and its dazed
     occupants. Joe sees the humvee heading towards him.


     CLOSE ON JOE

     His brow furrows. Is he coming up with a plan?     He makes
     a ninety degree turn...


     BACK ON GREGG

     Who is intently screwing a telescoping extension on the
     DNA plug gun. Pindi gapes at what Gregg is doing.

                                PINDI
                  I hope you are planning on
                  throwing that at him, because...

                                 GREGG
                  Pindi!   Look out!

     Pindi looks forward again just in time to see...


     THE CHAIN

     Pulled taut between Joe and the modified Land Rover, has
     become a moving clothesline, and the humvee is heading
     right into its path. Pindi tries to swerve, but they
     can't avoid it. He ducks and...

     Gregg leaps out of the car, hurdling the chain, just as...

     It shears the top right off the vehicle!

     Gregg tumbles to the ground, as the humvee rolls to a stop
     nearby. Meanwhile, the --


     LAND ROVER

     is SPINNING OUT, still connected to Joe. Joe is almost
     curious about the chain. He begins to pull back as the
     modified Land Rover circles him. The modified Land Rover
     bucks -- and for a second there is a standstill. Then Joe
     yanks...

                                                     (CONTINUED)
                                                                24.

23   CONTINUED:    (4)                                                23

     And the chain, the winch, the tracker in the hot seat...
     in fact, the entire axle of the modified Land Rover, are
     pulled from their moorings.

     The tracker racks up against a tree, followed closely by
     his chair and winch...

     The axle tumbles to a stop...

     The LAND ROVER COLLAPSES like a stack of cards.


     JOE

     stands at the edge of the field, observing his victory.
     Then he beats his chest and ROARS.


     IN MEADOW

     Pindi and his men run to the one remaining car, the
     flatbed lorry. They all pile in and speed away across
     the field. Pindi sees something up ahead, yells at the
     driver.

                                   PINDI
                  Stop!

     The LORRY SCREECHES to a halt, right next to Gregg, who is
     stumbling towards them.

                                   PINDI
                  Hurry up, bro!     Get in!

     Pindi watches as Gregg stumbles around to the back of the
     truck. But instead of getting in, he grabs a silver case
     and pulls it off.

                                PINDI
                  Excuse me, boss, but please, I
                  would like to avoid being killed.

     Gregg flips opens the case, revealing a video camera.      He
     hoists it up, and barely able to walk, takes one last
     look at Pindi and the bruised and busted-up trackers.

                                GREGG
                  Get those men down the mountain.
                  They need help.

     Gregg takes off after Joe.       Pindi can't believe it.

                                PINDI
                  Crazy Americans!

                                                        (CONTINUED)
                                                              24A.

23   CONTINUED:    (5)                                               23

     He slaps the driver on the shoulder.

                                PINDI
                  Get us out of here.

     They PEEL OUT of there...


     GREGG'S POV

     Staring down the path of crushed growth that Joe has left
     in his wake. He takes a deep breath, then exhales. Then
     he heads off into the jungle.


24   EXT. PANGANI FOREST - MOVING - DAY                              24

     FOLLOW Gregg DOWN a wide trail of broken limbs leading
     into the densest part of the mountain. Thorns and
     stingers scratch Gregg as he fights his way through.

     THROUGH VIDEO CAMERA

     The green paradise of the mountain rushes right AT us.
     Bright blossoms and strange insects. The sun diffuses
     in daggers of light.

     INTERCUT WITH:

     EXT. PANGANI FOREST - BACK WITH GREGG - DAY

     Gregg climbs over a fallen tree. Ducks under some low
     branches. Stops to catch his breath. He listens
     intently. Takes another step forward. Hears a TWIG
     SNAP.


     THROUGH VIDEO CAMERA

     PAN RIGHT. Joe springs out from hiding -- as gorillas
     love to do to enemies. He charges Gregg and cuffs him
     onto his back. Joe is in full attack mode -- eyes wide,
     teeth exposed. He snatches Gregg by the foot.


     GREGG

     screams as he's jerked helplessly into the air. Joe
     shakes Gregg viciously -- then whips him back and forth,
     knocking him against a sapling. Gregg fights to free
     himself but he's no match for Joe's strength. He knows
     Joe is going to hurt him badly -- maybe kill him.

     Joe cocks his arm -- to crush Gregg against a wide tree
     trunk.
                                                   (CONTINUED)
                                                              25.

24   CONTINUED:                                                     24

                                  JILL (O.S.)
                  Joe!   Stop!

     Joe looks surprised, caught with his hand in the cookie
     jar.


     GREGG'S UPSIDE-DOWN POV

     A beautiful young woman is standing ten feet from him.


     BACK TO SCENE

                                  GREGG
                  Oh, wow.

                                  JILL
                  Joe...

     ON Jill -- she looks at Gregg like he's the lowest form
     of life on earth.

                                  JILL
                  ... drop him.

     And Joe does, dropping Gregg hard to the ground.   On his
     head.

                                                   CUT TO BLACK.


25   OMITTED                                                        25


26   INT. VILLAGE INFIRMARY - DAY                                   26

     OVER BLACK, we hear the MURMUR of VOICES, speaking in
     Swahili. PICTURE FADES UP...


     POV SHOT

     LOOKING UP AT KWELI, 12 years older than we last saw
     him. Kweli looks right INTO CAMERA, then says something
     over his shoulder in Swahili.


     REVERSE ANGLE

     Bruised and bandaged, Gregg blinks, trying to bring his
     eyes into focus.

                                                   (CONTINUED)
                                                             26.

26   CONTINUED:                                                    26

                                GREGG
                  Where am I?

                                KWELI
                  The infirmary. You've been
                  unconscious for an entire
                  night. You're lucky to be
                  alive.

     Gregg winces as he slowly raises himself to his elbows.

                                GREGG
                  Strange, I don't feel lucky.

     He takes in his surroundings; a simple infirmary. THROUGH
     the open door, he can see the village he started his trip
     in.

                                KWELI
                  You crashed your vehicle. It
                  is waiting for you outside.

                                GREGG
                  You're an injury behind. The
                  kicker was getting dropped on my
                  head by N'gai Zamu.

     Kweli chuckles.

                                GREGG
                  Think that's funny? You should
                  try it?

                                KWELI
                  N'Gai Zamu is just a legend, my
                  friend.

                                GREGG
                  No, he's a giant gorilla with a
                  mean backhand. There was also
                  a woman...

     Gregg tries to get up.     It's an ordeal.

                                KWELI
                  A woman?

                                                     (CONTINUED)
                                                                 27.

26   CONTINUED:    (2)                                                 26

                                GREGG
                  Out in the jungle. She saved my
                  life. A beautiful woman.

     Kweli gives him a patronizing smile.

                                KWELI
                  You were dreaming, Mr. Ohara.

                                  GREGG
                  No.    I never remember my dreams.

     Gregg sits up in bed and swings his feet to the floor.
     Kweli turns and heads for the door.

                                KWELI
                  It would be wise for you to see a
                  doctor in Kimjayo. I took the
                  liberty of calling one for you.

                                GREGG
                  Don't need one.

                                KWELI
                  But he is expecting you. If you
                  can drive, you should leave today.

     Kweli walks out of the room. Gregg squints after him,
     sensing that something is up.

                                                       CUT TO:


27   EXT. INFIRMARY - LATER                                            27

     Gregg walks gingerly out of the infirmary, looking like
     crap. He squints in the bright midday sun, then spots...

     The humvee, a mere shadow of its former self, parked
     right near the infirmary, covered with a tarp. Gregg
     pulls the tarp back to find all his expensive equipment,
     a good deal of it broken, pitchforked into the back. He
     scowls.

     He starts rummaging through the stuff, looking for some-
     thing in particular. Then he finds it -- his video
     camera, covered with mud, but seemingly in good condi-
     tion. He pushes the record button. Light goes on.
     Still works.

     He pops open the tape slot, and his face falls.     The
     video cassette has been removed.

                                                       (CONTINUED)
                                                                28.

27    CONTINUED:                                                      27

                                      GREGG
                   Damnit.

      Just then, a   group of village schoolchildren dash by
      Gregg. They    are giggling, as if they had dared each
      other to run   up to the stranger. They sing out the one
      English word   they know as they pass:

                                      SCHOOL CHILDREN
                   Hello!    Hello!     Hello!

      Gregg shakes his head, smiling, and follows them with his
      eyes as they fly by like a flock of birds. He watches as
      they dart into the open air market, playfully knocking
      aside a familiar individual:

      Kweli.    We watch from...


      GREGG'S POV

      as Kweli steps into a fruit stall, letting the kids fly
      by him.

      Then Gregg's eyes widen as a tall and lovely young
      woman steps INTO VIEW next to Kweli.


      BACK TO SCENE

      He watches as they shop together, realizing that this is,
      in fact, the beautiful young woman who saved him.


28    OMITTED                                                         28
&                                                                     &
28A                                                                   28A


29    EXT. OUTDOOR MARKET - THAT MOMENT                               29

      Kweli and Jill have a familial ease with each other as
      they pick out their groceries.

                                 KWELI
                   Our visitor must be feeling
                   better. He should be leaving
                   the infirmary today.

      Jill looks up toward the infirmary and sees Gregg leaning
      against his truck, watching them.

                                 JILL
                   Looks like he just has.

                                                        (CONTINUED)
                                                               29.

29   CONTINUED:                                                      29

     Jill nods across the street. Kweli looks and sees that
     Gregg is leaning against his Jeep, arms folded across
     his chest, staring at them with a mixture of amusement
     and irritation.

                                JILL
                  He's walking so soon. Joe should
                  have dropped him harder.

                                 KWELI
                  He's not a poacher, Jill. He's
                  working for an animal conservancy
                  in California.

                                JILL
                         (shrugs)
                  He can't be trusted.   He's an
                  outsider.

                                KWELI
                  A grateful outsider. He told me
                  he was saved yesterday by a woman.
                         (teasing Jill)
                  A beautiful woman.

     Jill looks at Kweli sharply, then back across the street
     at Gregg, whose eyes continue to assess her. She looks
     straight back at him, locking into his gaze.

                                JILL
                  And what did you tell him?

                                KWELI
                  What could I tell him? He knows
                  what he saw. He's not a fool.

     Jill and Gregg are still holding each other's eyes.

                                JILL
                  I'll be the judge of that.

     Across the street, Gregg is breaking into a big, slow
     smile. It unnerves Jill. Kweli, always Jill's
     protector, catches the action between the two of them and
     bristles a bit -- but Jill has already turned her back
     and taken off through the back of the market.


30   EXT. PANGANI FOREST - DAY                                       30

     If Ruth Young was suited to these woods, her daughter was
     born to them.

                                                       (CONTINUED)
                                                            29A.

30   CONTINUED:   (A1)                                             30

     She hikes through the forest effortlessly, as though it
     were her own back yard.

     As she walks near the banks of a river, however, she
     stops. She listens carefully, sensing something out
     there, in the jungle.

     BEHIND TREE (NEARBY)

     Gregg, his video camera in one hand, stands stock still
     behind a tree, trying to avoid being discovered. He is
     absolutely drenched in sweat, the long hike clearly much
     harder than Jill has made it look.

                                                   (CONTINUED)
                                                              30.

30   CONTINUED:                                                     30

     BACK TO JILL

     Still listening. All she can hear are the familiar
     SOUNDS of the JUNGLE. A moment passes, then she shakes
     it off and keeps moving.

                                                   CUT TO:


31   EXT. WATERFALL - CONTINUOUS ACTION                             31

     Jill comes out into a clearing, bordered by a large pool
     at the base of a magnificent waterfall. She pulls a
     flashlight out of her back pack and, in the same motion
     her mother used to summon her, begins waving it back and
     forth into the surrounding forest.


     GREGG

     watches this bizarre ritual, wondering what Jill could
     possibly be doing.

                                                   CUT TO:


     JOE'S POV - DEEP IN WOODS

     The beam of light cuts through the deep green darkness of
     the trees.


     BACK TO SCENE

     Jill continues waving the flashlight, waiting for a
     response. Then, we hear the sound of SOMETHING LARGE
     APPROACHING.


     ON GREGG

     The thunderous sound making him nervous...


     ON JILL

     Not so Jill. She waits calmly, at first, as the FOOT-
     STEPS APPROACH. Then, as the branches begin to bend and
     break, and we get our first glimpse of fur, she smiles.

     Mighty Joe Young emerges from the brush, not growling,
     not threatening, but rather looking like a puppy coming
     to greet his master.

                                                   (CONTINUED)
                                                                31.

31   CONTINUED:                                                       31

                                JILL
                         (cooing to Joe)
                  Hey, handsome. How are you?


     ON GREGG

     Absolutely thunderstruck, watching in awe as the giant
     GORILLA bows his head so Jill can scratch behind his ear.
     He makes LOW, GUTTURAL SOUNDS that are the gorilla
     equivalent of a purr.

     Jill inspects Joe, checking him to see if he's okay.       Her
     voice is full of gentle concern and worry.

                                 JILL
                  What were you thinking yesterday,
                  letting those men see you? Don't
                  do that again, okay? Please.
                          (praying to herself)
                  Please.

     We see the fear in Jill's face, knowing that Joe can't
     understand what she's saying. She shakes it off and
     brightens. She gives Joe a playful tussle, then covers
     her eyes with her hands.

                                  JILL
                  One.   Two.   Three. Four...

     It takes only a moment for Joe to respond. His eyes open
     wide, he looks in every direction then, suddenly, crashes
     into the woods!

                                JILL
                  ... seven, eight, nine, ten.
                         (yelling)
                  Ready or not, here I come!!

     And Jill runs into the woods after Joe.

                                                      CUT TO:


32   EXT. PANGANI FOREST - DAY                                        32

     Jill walks through the forest, searching for Joe. It
     should be clear by now that they are playing hide and
     seek.

                                                      (CONTINUED)
                                                          31A.

32   CONTINUED:    (A1)                                          32

                                JILL
                         (theatrically)
                  Oh, my God! I can't find Joe.
                  Where's Joe?

     She stomps around, pretending not to see him. Of course,
     she knows exactly where he is. He's so big, the tree
     he's standing behind barely hides one leg.


     CLOSE ON JOE

     He can't help peeking.    He loves this.

                                                  (CONTINUED)
                                                             32.

32   CONTINUED:                                                    32

     Jill pokes her head around every tree.

                                JILL
                  Come out, come out... wherever
                  you are!

     Then, pretending that she just spotted him, she charges
     right at him.

                                  JILL
                  I found you!

     JOE ROARS, delighted by their game. Jill tussles with
     him, then gets a mischievous look in her eye.

                                  JILL
                  Bye-bye, Joe!

     Suddenly, she dashes into the woods -- where she's
     actually small enough to hide well. Joe passes by her,
     moving through the foliage.

     In a moment we see how much he fears actually losing her
     -- he begins to WHIMPER -- and spins around. He stands
     up to his full height, beats his chest and shakes his
     head in frustration. He can't bear the idea that she is
     gone.

     A beat, then Joe starts tearing bushes out by their roots,
     hunting for Jill. He sees one BUSH RUSTLING, goes over
     and rips it out of the ground, revealing...


     GREGG

     Standing there, completely exposed, filming all this
     with his dented video camera. He looks up at Joe
     towering over him.

                                  GREGG
                  Oh boy.

     JOE ROARS!

     Gregg stumbles backwards, trapping himself against a tree
     as Joe advances. Remembering what one should do when
     faced with an enraged gorilla. Gregg averts his eyes and
     rolls into a ball, assuming the submissive position. He's
     like a pill bug, playing dead, protecting the back of his
     neck with his arms.

     Joe raises his mighty fist -- it looks like he might
     smash Gregg anyway... but then he hears Jill's voice.

                                                   (CONTINUED)
                                                                 33.

32   CONTINUED:    (2)                                                 32

                                 JILL (O.S.)
                          (soothing)
                  Joe!   It's okay.

     Joe stops and turns his head to Jill.

                                JILL
                  Now get out of here, Joe.     Run.

     Joe looks at her, not sure why her tone's gotten so stern.

                                 JILL
                  Run, Joe.   Run!

     Joe looks back at Gregg, still curled into a tight ball.
     He gives him a playful, parting swat for good measure
     before obeying Jill and running into the forest.

     The "little swat" is powerful enough to send Gregg rolling
     like a croquet ball into a thicket of bushes. Painfully,
     he uncurls, plucking nettles out of his legs as Jill
     approaches.

                                 GREGG
                         (pulling out
                          a nettle)
                  Nobody better try and tell me I
                  imagined this.

     Jill reaches down to Gregg.        He thinks she's offering him
     a hand up.

                                JILL
                  Anything broken?

                                GREGG
                         (checking himself)
                  No... no. I think I'm... oh.

     Gregg's voice trails off as Jill reaches for the video
     camera, not him. She examines the camera.

                                JILL
                  Hmm -- it looks okay.     I think
                  it's still working.

                                GREGG
                         (relieved)
                  Oh -- good.

                                JILL
                  Well -- I can fix that.

                                                         (CONTINUED)
                                                                34.

32    CONTINUED:    (3)                                               32

      Jill smashes the camera into a tree, breaking it for
      good. She drops the pieces onto the ground and takes off.

                                 GREGG
                          (calling after her)
                   Hey -- wait a minute!


32A   EXT. RIVER BANK                                                 32A

      Jill is making good time down the rough terrain of the
      river bank. Gregg catches up to her.

                                 GREGG
                   Hang on a second -- what's the
                   problem?

                                 JILL
                   You. You're the problem. That's
                   the second time I've stopped you
                   from being ripped in two -- and
                   next time I'm just going to watch.
                   Understand?

                                 GREGG
                          (appeasing)
                   You saved me. I'm grateful. Now
                   I just want to talk to you -- Miss
                   Young.

      Jill stops in her tracks and shoots Gregg a surprised
      look. He explains gently.

                                 GREGG
                   I know who you are. I read all
                   your mother's work. Books...
                   notes... everything I could get a
                   hold of.

                                 JILL
                          (hiding emotion)
                   So?

                                 GREGG
                   So it's why I'm here.

      Jill gives a short nod, accepting this tribute. She
      turns back around and resumes walking. Gregg follows,
      bursting with questions.

                                                        (CONTINUED)
                                                                 35.

32A   CONTINUED:                                                       32A

                                 GREGG
                   She knew about Joe? Did she have
                   a theory on him? How old is he?
                   I can't believe you kept him a
                   secret all these years. How'd you
                   manage that?

                                 JILL
                   By keeping people like you off the
                   mountain.

                                 GREGG
                   You got this all wrong.   I want to
                   help you.

                                 JILL
                   You're not helping anybody here.
                   You're just making matters worse.

                                 GREGG
                   How's that?

                                 JILL
                   This mountain will be crawling with
                   people, thanks to you. You go back
                   to wherever you're from, put the
                   word out...

                                 GREGG
                   The word is out. It's done. I'm
                   not the only one who saw him, remember?
                   Rare animals mean big money and Joe's
                   as rare as they come. It's going to
                   be tough to protect him here. Maybe
                   impossible.

      Jill spins on him.

                                  JILL
                   'Here' is Joe's home. And 'here'
                   is where he must live. He doesn't
                   have a choice.

                                 GREGG
                   That's not true. Place that sent
                   me could take care of Joe. They
                   got the facilities...

                                 JILL
                   Just what Joe needs.   A cage.

                                                         (CONTINUED)
                                                                  35A.

32A   CONTINUED:    (2)                                                  32A

                                 GREGG
                   Not a cage, a preserve. A place
                   where he'll be free from poachers,
                   free from land development...

                                 JILL
                   But he won't be free.

                                 GREGG
                   How long do you think Joe will
                   stay free here? I'm telling you
                   there's gonna be a hunt starting
                   on this mountain tomorrow. And I
                   don't expect they'll give it up
                   until one of them bags the prize.
                   You should think about it.

      Jill hates the ring of truth in Gregg's words.     She turns
      and takes off down the mountain alone.

                                                        CUT TO:


33    OMITTED                                                            33


34    EXT. RAHA PRESERVE AND CONSERVANCY (BOTSWANA) - SUNSET             34

      Giraffe roam the grounds of a lush, private preserve,
      surrounding a large, opulent, main house.

                                 ANDERSON (O.S.)
                   Quite an impressive facility you
                   have here, Mr. Strasser.


35    INT. LODGE - SUNSET                                                35

      STRASSER sits in a leather chair, in an expensively-
      appointed room. His rough exterior has been polished
      by money, but his cold eyes have not changed. Sitting
      across from him is ANDERSON, the button-down director of
      the Cascade Park Zoo.

                                 ANDERSON
                   Tell me, why is it that you keep
                   such a low profile about this
                   wonderful place?

                                 STRASSER
                   Our only interest is the well-
                   being of our animals.

                                                        (CONTINUED)
                                                                  36.

35   CONTINUED:                                                         35

                                ANDERSON
                         (satisfied)
                  Well, I think I've come to the
                  right place for Morris.

     Anderson puts some photos on the coffee table.


     CLOSE ON PHOTOS

     of a full-grown Bengal tiger, looking miserable in a
     fairly small enclosure. We see insignias for the Cascade
     Park Zoo on the fences around him.

                                ANDERSON
                  You can see how depressed he is.
                  He's grown out of his habitat, and
                  our zoo doesn't have the budget to
                  do anything about it. That's why
                  he needs a new home.

     Strasser reaches out to pick up the photos, and as he
     does...


     CLOSE ON STRASSER'S HAND

     A black leather glove-like apparatus with a thumb and
     forefinger in place that gives the appearance of a whole,
     if menacing, hand.

                                STRASSER
                  Poor thing. Yes, he will be much
                  happier here on our preserve.
                  Back to the wild. Free again.

     A door opens behind Anderson.       Garth sticks his head in
     the room.

                                   GARTH
                  Phone for you.     Urgent.

     Strasser stands.

                                STRASSER
                  Will you excuse me, Mr. Anderson?

     Strasser turns and follows Garth through the door,
     into...

                                                        CUT TO:
                                                               37.

35A   INT. BACK ROOM (RAHA) - CONTINUOUS ACTION                      35A

      ... a room that would give dear Mr. Anderson nightmares.
      A man in a white smock is packaging poached rhino horns
      into boxes. The boxes, labelled medical supplies, are
      being sent to addresses in China.

      On another wall, in front of a bank of telephones, is a
      dry-erase board covered with animal names, and their
      respective prices.

                              STRASSER
                See what our friends in China will
                give us for a Bengal tiger, Garth.

      Strasser hands Garth the photo of the tiger.

                              GARTH
                Looks like a big fellah.
                       (excited, looking
                        at photo)
                I'll set a new record with you.

      Strasser picks up one of the phones.   He idly plays with
      a rhino horn as he talks to Pindi.

                              STRASSER
                Strasser.

                              PINDI (O.S.)
                It's about time already! You know
                how long I am waiting? A man can
                only carry so much change...

                              STRASSER
                       (irritated)
                What do you want, Pindi?

                                                     CUT TO:


35B   EXT. VILLAGE - SUNSET                                          35B

      A small street of stores -- all covered in brightly-
      painted advertisements. Outside one store is a lone pay
      phone -- manned by Pindi. Pindi speaks furtively, so as
      not to be overheard. INTERCUT conversation.

                                                     (CONTINUED)
                                                                38.

35B   CONTINUED:                                                      35B

                                 PINDI
                   Not what I want, boss, what you
                   want. How about a giant gorilla?

                                 STRASSER
                   Talk.

                                 PINDI
                   Big as three men, two thousand
                   pounds, at least.

                                 STRASSER
                   You've been drinking, haven't you?

                                 PINDI
                   Swear to God, boss. Saw him with
                   my own two eyes.

                                 STRASSER
                   Don't waste my time again.


      ON PINDI

      There is a CLICK on the LINE.

                                                        (CONTINUED)
                                                                   39.

35B   CONTINUED:                                                         35B

                                  PINDI
                   Hello?   Boss...

      Now a DIAL TONE.      Pindi looks at the phone.

                                 PINDI
                   I'll catch him and charge you
                   double, madar chode.

      Pindi smashes the phone down on its cradle.

                                                         CUT TO:


36    EXT. VILLAGE - MORNING                                             36

      In the center of the village, two trucks of rough-looking
      men are gassing up their vehicles. A third truck arrives
      from the other direction.

      It's a POACHER we recognize, one of Pindi's men,
      accompanied by a half dozen others, all armed with rifles.


      ANGLE ON JILL

      She steps out in front of the Poacher's truck. The
      driver SLAMS on the BRAKES, stopping within an inch of
      striking her. Alarmed, the Poacher stands in his seat
      and screams at Jill.

                                 POACHER
                   Stupid girl! What do you think
                   you're doing?

      Jill calmly walks up to the Poacher's side of the vehicle.

                                 JILL
                   I found this in the forest this
                   morning. Thought maybe you
                   dropped it and might want it back.

      With that, Jill brazenly steps forward and throws a net
      over his head. It's a poacher's net.

      Enraged, the Poacher slowly pulls the net off his head.
      The other poachers find the scene hilarious. It
      infuriates Jill.

                                 JILL
                   Poaching is illegal!   Get off this
                   mountain!

                                                         (CONTINUED)
                                                                40.

36    CONTINUED:                                                      36

      The Poacher and his driver exchange a significant look.
      Nodding to each other, they start to climb out of their
      truck, eyes glaring at Jill...

                                  KWELI (O.S.)
                   Jill!   Jill Young!

      Everyone turns to see Kweli walking quickly towards them.

                                 KWELI
                          (to Jill)
                   Come here immediately! You are
                   needed at the school this moment!

      Kweli is trying to give her a way to save face. Jill
      knows it, but she doesn't want to back down before the
      poachers.

      Kweli snatches Jill by the elbow and drags her away.     The
      poachers hiss and cat call. Jill walks away slowly.      She
      wants to make sure they know she's not running.

      Kweli hisses furiously into her ear:

                                 KWELI
                   We have to talk. Now.


36A   INT. RUTH'S HUT - DAY                                           36A

      This is Jill's mother's hut. It is full of significant
      mementos -- her mother's old bulletin board, photographs,
      research, etc. It feels homey.

      Kweli, distraught with worries over Jill, rips a photo of
      her mother from the wall and shoves it in front of her face.

                                 KWELI
                   Your mother slept in this bed.
                   She worked at this desk. She died
                   in this jungle. Do you plan to do
                   everything just like her?

                                 JILL
                   My mother would have been proud of
                   what I did today.

                                  KWELI
                          (angry)
                   Proud? Of that foolishness out
                   there? Of you risking your life?

                                                        (CONTINUED)
                                                            41.

36A   CONTINUED:                                                  36A

                                 JILL
                   She risked hers -- why shouldn't I
                   risk mine? I'm just doing what I
                   promised, and I promised to protect
                   Joe. And I'm going to do
                   everything I can to stop the
                   poachers...

                                 KWELI
                   You can't stop them.
                          (more gently)
                   Even she couldn't stop them.

      Jill holds the photo of her mother tightly in her hands.

                                 KWELI
                   Jill, the other gorillas have
                   moved south, to safer lands...
                   but Joe has stayed behind.

                                 JILL
                   They don't want him.   They won't
                   let him come.

                                 KWELI
                   Maybe... or maybe you won't let
                   him go.

                                 JILL
                          (sharply)
                   He needs me.

      It's only half the truth, and they both know the other
      half -- that Jill needs Joe, too. Kweli sighs. He puts
      his hand protectively on Jill's shoulder.

                                 KWELI
                   The danger here is building for
                   both of you. I feel it -- and so
                   do you.

      Jill looks away.    She knows he's right.

                                 KWELI
                   I know what the American is
                   offering, Jill.

      Jill looks into Kweli's eyes. He must be very worried,
      to be checking around like this.

                                 KWELI
                   Think about what he has to say.
                   That's all I ask.

      Kweli leaves Jill to mull it over.
                                                           41A.

37   OMITTED                                                      37


38   EXT. GAS PUMP - DAY                                          38

     A poacher's truck, carrying six rowdy poachers, speeds
     down the main street, kicking up a cloud of dust. The
     dust cloud envelops Gregg, making him cough as he repacks
     some of the damaged equipment in his truck.

                                                   (CONTINUED)
                                                               42.

38   CONTINUED:                                                      38

     He hears more coughing behind him and turns to find Jill
     at his shoulder. She has a troubled air about her --
     clearly she is wrestling with something.

                                   JILL
                  Leaving?

     Gregg nods, continuing packing.

                                GREGG
                  I'm gonna head up the mountain.
                  See if I can throw some of the
                  poachers off the trail.

                                JILL
                         (dubious)
                  You think it will work?

                                GREGG
                  Not for long. Just trying to buy
                  you a little time, that's all.
                  With more of these bastards
                  arriving every hour, I suggest you
                  get Joe as deep into the jungle as
                  you can -- as fast as you can.

     Across the street at the bar, a chorus of CACKLES rises
     from a group of drunken poachers. The mere sound of them
     makes Jill dig her fingers into her arms with anxiety.

     She looks across at the poachers -- and then back to
     Gregg, packing up. If she doesn't say this right now,
     this second, she never will. She snaps.

                                   JILL
                  Okay!

                                   GREGG
                  Okay what?

                                   JILL
                  Okay we'll go.

     Gregg turns and looks at her.

                                   GREGG
                  We?

                                JILL
                  Me and Joe. To that place of
                  yours in California.
                         (off Gregg's look)
                  What?! You didn't think you could
                  take him without me, did you?

                                                       (CONTINUED)
                                                               42A.

38   CONTINUED:    (2)                                                38

     Gregg stops packing to look squarely at Jill.

                                GREGG
                  You're sure about this?

                               JILL
                  No. I am completely unsure about
                  this. But I'll do it. On one
                  condition.

                                   GREGG
                  Name it.

                                JILL
                  I'm in charge of Joe.

                                   GREGG
                  Done.

                                JILL
                         (suspicious)
                  Done? Just like that?     That was
                  way too easy.

                                GREGG
                  You're not a very trusting soul
                  are you, Miss Young?

                                   JILL
                  No, I'm not.

                                GREGG
                         (sarcastic)
                  Tough, isn't it? Trying to measure
                  me up -- decide if I'm a fraud...

                                   JILL
                  ... or a fool.

     Gregg smiles, half sour, half amused.

                                GREGG
                  Well, I'd like to know if you're
                  a bona fide lunatic or just a
                  mixed up monkey girl but -- but I
                  guess we'll have to take our
                  chances and figure it out as we go
                  along.

     Jill snorts.    Gregg looks her straight in the eye.

                                                       (CONTINUED)
                                                                    42B.

38   CONTINUED:    (3)                                                     38

                                GREGG
                  Come on, Jill. Trust it.      You'll
                  be in charge of Joe.
                         (extends hand)
                  Let's shake on it.

                                JILL
                  I don't shake. That's not how we
                  make pacts around here.

                                GREGG
                         (growing impatient)
                  Alright, how do you make pacts
                  around here?

                                 JILL
                  You have to endure a bite from a
                  Makiki spider.

                                  GREGG
                  A what?

                                JILL
                  You'll have a high fever and
                  hallucinations. You'll say
                  things -- lots of things. We'll
                  hear what's in your heart. Then,
                  if your intentions prove true, the
                  pact is made.

     Gregg nods to himself, considering.

                                GREGG
                  A spider bite and hallucinations?

                                  JILL
                  That's right.

                                GREGG
                  Then you'll trust me and let me
                  have Joe?

                                  JILL
                  That's right.    Well?

     Gregg cocks his head.

                                GREGG
                  Well... I think... that's the
                  biggest load of crap I've ever
                  heard.

     Jill smiles. She's satisfied.         This is the answer she
     was looking for.

                                                         (CONTINUED)
                                                              42C.

38   CONTINUED:    (4)                                               38

                               JILL
                  Good. Maybe you're not a fool
                  after all.

     Gregg scoffs, realizing she was only testing him. Jill
     turns and starts walking away. Gregg calls after her.

                                GREGG
                  Get your things together. Fast.
                  We're getting out of here as soon
                  as we can.

     Gregg watches her go, head held high like a queen. He
     chuckles to himself. It's hard not to appreciate this
     girl.

                                 GREGG
                         (to himself)
                  Makiki spider.


39   EXT. MOUNTAIN TRAIL - MOVING - DAY                              39

     Jill bursts INTO FRAME -- racing at full stride, long
     hair flowing -- so reminiscent of that little girl we saw
     before -- a wild mixture of fluid grace and strength.
     The trees seem to fly apart behind her revealing Joe --
     running with her. As if speed alone could make their
     enemies disappear.


40   EXT. MEADOW - DAY                                               40

     Jill watches the clouds rush by the mountaintop. Joe
     stands next to her, looking out at the mountain valley
     where they've grown up together.

     Wind sweeps down from the peak. The trees bow and bend
     gracefully. To Jill, the mountain has never seemed more
     beautiful. She looks at Joe -- magnificent against the
     natural tableau of his world. She looks at him, worry on
     her face about what is about to happen to him.

     He looks at her trying to understand.

                                JILL
                  I don't know what else to do.

     CRANE UP so we can see Joe and Jill against the Edenic
     mountain vista.
                                                            42D.

40A   EXT. WILDLIFE CONSERVANCY - MOUNTAIN TOP - MORNING           40A

      Backlit against a blue sky. PAN DOWN as the wind RUSTLES
      the TREES and a flock of small birds appear and disappear
      like a storm cloud. CONTINUE DOWN PAST a waterfall, as
      we COME TO a grassy field, then a moat, then, finally, a
      railing at the edge of an observation area.

                                                    (CONTINUED)
                                                                    43.

40A    CONTINUED:                                                         40A

       NOW REVEAL

       That what we are looking at is not, in fact, the African
       landscape, but rather a fabricated habitat, encircled
       by a sprawling campus of stucco buildings.

       Workers in matching uniforms with the "CALIFORNIA ANIMAL
       CONSERVANCY" logo on them, run back and forth, a hive of
       activity in anticipation of the new arrival.

       PULL IN ON two of them, walking and talking: DR. HARRY
       RUBEN, the Conservancy's Director and Chief Zoologist,
       and DR. CECILY BANKS, an African-American veterinarian
       with long braids stuffed under a baseball cap.

                                   HARRY
                    This is crazy. All I said was,
                    'Bring back some blood samples.'
                    So what does he bring back? A
                    giant gorilla.

                                  CECILY
                    Don't even pretend to be upset,
                    Harry.

                                  HARRY
                    You know how much it cost to
                    convert the tiger habitat? Try
                    half our operating budget.

                                  CECILY
                    You'll be on the cover of National
                    Geographic, Harry.

                                  HARRY
                    Hey, I just said it was crazy.    I
                    didn't say it wasn't worth it.

       They continue walking, and we...

                                                          CUT TO:


41     OMITTED                                                            41
thru                                                                      thru
44                                                                        44


45     EXT. SAN DIEGO FREEWAY RAMP - MORNING                              45

       A busy freeway, near Los Angeles. FIND a car with a
       California Animal Conservancy logo on the side...
                                                              44.

46   INT. CAR - MOVING                                              46

     Gregg drives. Jill, almost bouncing with anxiety and
     excitement, rides shotgun.

                                JILL
                  There are more cars on this
                  road than I've seen in my
                  entire life, total.

                                GREGG
                  Welcome to L.A.

     Jill whips around in her car seat and peers anxiously
     through the back window.


     JILL'S POV

     We see the cab of a large trailer following their car.


     BACK TO SCENE

                                JILL
                         (anxious)
                  Think he's okay back there?   I
                  think he's okay back there.

     Three seconds pass.

                                JILL
                  You think he's okay back there?

                                GREGG
                         (soothing)
                  Don't worry. He's doing fine.

                                  JILL
                  Sorry.    I'm a little tense.
                           (checking behind
                            her again)
                  Yeah.    I think he's okay back
                  there.

                                  GREGG
                  Good.    Thanks for the update.

     Jill pulls herself away from the back window and faces
     front again. She stares out at the nondescript sprawl of
     greater L.A. It looks like non-place. There is no
     "there" there.

                                                    (CONTINUED)
                                                           45.

46   CONTINUED:                                                  46

                                JILL
                  So this is L.A.
                         (perplexed)
                  It all looks the same.   How do you
                  know where you are?

                                GREGG
                  Beach is that way, mountains are
                  that way, Mexico's that way,
                  Canada's that way. Don't worry
                  about the rest -- you'll never see
                  it through the smog.

     Gregg glances over at Jill. She is drumming her fingers
     in her lap with nerves, not listening to a word he's
     saying.

     Gregg smiles with empathetic amusement.

                                GREGG
                  Maybe you better check and see if
                  Joe's okay back there.

     Jill obediently whips around in her seat to check for
     Joe -- then realizes Gregg was teasing. She settles back
     down, facing front again.

                                  JILL
                           (blushing)
                  Ha ha.


47   EXT. SAN DIEGO FREEWAY RAMP - CONTINUOUS ACTION             47

     A livestock truck, same conservancy labels, travels right
     behind Gregg and Jill's vehicle. Heavy, open air slats
     obscure the truck's occupant, but we know who it is.


     JOE'S POV - LOOKING OUT

     Traffic rushes by, a buffeting rush of air -- the
     strangeness of it all frightens Joe -- and makes him
     curious. PUSH IN CLOSE ON the air slats as Joe peers out
     again.


     POV SHOT - MINIVAN

     comes INTO FRAME passing by the trailer.
                                                               45A.

47A   INT. MINIVAN                                                    47A

      A mom drives her son home from little league. She
      listens to an OLDIES station. He looks out the window,
      bored. Then his eyes go wide.


      BOY'S POV

      PUSH IN CLOSE ON the trailer and Joe's two big eyes
      staring out. They lock eyes momentarily.

      The boy isn't sure if he's seeing things. Then two
      enormous fingers extend out from between the slats and
      wave at him.


      BOY

      For the boy it is a beat of pure astonishment. As if a
      daydream came real for the moment. The trailer pulls
      past leaving the boy wide-eyed, wondering.

                                                    CUT TO:
                                                               46.

48   EXT. CALIFORNIA ANIMAL CONSERVANCY - DAY                        48

     Gregg and Jill's car pulls onto the grounds of the
     California Animal Conservancy. A sprawling campus of
     stucco buildings and lifelike habitats, the conservancy
     is a state-of-the-art preserve.

     The car passes the main gate, where a worker in a
     conservancy uniform waves Gregg through. As the live-
     stock truck pulls in behind them, the worker picks up
     his walkie-talkie.

                             CONSERVANCY WORKER
               Main gate to Dr. Banks. They're
               pulling up now.

                                                     CUT TO:


49   EXT. JOE'S HABITAT - DAY                                        49

     Cecily clicks off her walkie-talkie, turns and yells to
     anyone in earshot.

                             CECILY
               Elvis is in the building! I
               repeat, Elvis is in the building...

     On her order, workers in matching conservancy uniforms
     start moving into position around Joe's Habitat.


     NEAR OBSERVATION AREA

     A crane is lowering a platform into place that will
     straddle the moat. Harry scowls, seemingly unable to
     enjoy the moment.

                             CECILY
               You hear that, Harry?

     From around the conservancy, we can hear the sounds of
     the other ANIMALS, SCREECHING, SNARLING, BELLOWING...

                             CECILY
               They smell him.

                             HARRY
               Gregg, or the gorilla?

     They both turn as...

                                                     (CONTINUED)
                                                                  47.

49   CONTINUED:                                                         49

     CONSERVANCY CAR

     pulls up right in front of them.         Gregg gets out first.

                                HARRY
                  I'm confused, O'Hara. You phone
                  us to say you're bringing back a
                  two thousand pound wild animal...

                                   GREGG
                  Hello, Harry.     Cecily.

                                CECILY
                         (affectionate)
                  Welcome back, baby.

                                HARRY
                  ... but security tells me you've
                  requested no firehoses, no
                  restraints of any kind...

                                GREGG
                  Let me introduce you to...

                                HARRY
                  How are we supposed to control
                  the animal? With a giant,
                  rolled-up...

     Harry trails off as Jill gets out of the car.

                                   HARRY
                  ... newspaper?

     Harry wasn't prepared for somebody this young and
     beautiful. Neither was Cecily. They raise their eyebrows
     at Gregg.

                                GREGG
                  Jill Young, Dr. Harry Ruben -- he
                  run the place -- and Dr. Cecily
                  Banks, who makes sure he doesn't
                  screw it up.

                                CECILY
                         (chuckles)
                  Chief veterinarian. Hi.

     Jill steps forward, shy and polite.        She extends her hand.

                               JILL
                  Hello. It's a privilege to meet
                  you both.

                                                          (CONTINUED)
                                                             48.

49   CONTINUED:    (2)                                             49

     Harry is too flustered by Jill to say a word. He just
     manages a weird little smile and a sound that's not
     English.

     Just then, a BANG and a loud GROWL come out of the
     trailer. Harry and Cecily almost jump out of their skins.

                                JILL
                  Coming, Joe! Hold on!
                         (to Harry)
                  I think he'd like to come out
                  now -- if you don't mind.

                                  HARRY
                           (stammering, scared)
                  Mind?    No, of course I don't mind.

     Jill and Gregg look at each other, excited. This is the
     moment they've been waiting for. They grin at each other.

                                 GREGG
                  Harry?   I think it's time you met
                  Joe.

     They start moving to the trailer...

                                  HARRY
                  Hold it!

     Harry whirls around and waves over a pair of nerdy, grad-
     school-geek conservancy workers, JACK and VERN. They run
     eagerly forward to take orders. They gawk at Jill, each
     one instantly deciding she is the woman of their dreams.
     Harry barks at them, bringing them back to attention.

                                 HARRY
                  Jack? Vern?    Get the sedatives
                  ready.

                                JILL
                         (quickly)
                  We won't need any of that.

                                HARRY
                  Miss Young, we know what we're
                  doing here, and the best way to...

     Gregg steps forward.

                                GREGG
                  Harry -- you and I made an
                  agreement. The lady's in charge
                  of Joe.
                                                               49.

50   EXT. BACK OF TRAILER                                            50

     Jack and Vern nervously raise the gate to the back of the
     trailer. The gate lays flat against a retractable plank
     that creates a bridge to the habitat.

     JOE GROWLS SOFTLY from inside.

                                JACK
               Easy, big boy.

                             VERN
               Don't forget who's gonna feed you.

     They raise the gate completely.    Jill comes up behind
     them.

                             JILL
               I'll take it from here.

     Jack and Vern are only too happy to let Jill take over.


     JOE'S POV - FROM TRAILER DOOR

     He can hear Jill but sees only her silhouette at first...
     and the lush greenery behind her. He GROWLS...

     The entire staff, other than Gregg, takes one step back-
     ward. Harry whispers in his ear.

                             HARRY
               You sure she knows what she's
               doing?

     Gregg's watching Jill with quiet admiration.

                                GREGG
               She knows.


     BACK BY TRAILER

     Jill keeps coaxing Joe.

                                JILL
               Come on, Joe.     Come on, big guy.


     SHADOW

     passes over the staff of the conservancy. A look of
     absolute wonderment on every face as Joe emerges from the
     trailer. Cecily nudges Harry, whose jaw is slack. Gregg
     sees this reaction, and beams.

                                                     (CONTINUED)
                                                                50.

50   CONTINUED:                                                       50

     BY TRAILER

     Joe takes a step forward. He looks out across the plat-
     form into the sanctuary -- taking in the familiar trees
     and flowers the staff has planted for him.


     ON HARRY AND CECILY

     Completely overwhelmed by the sight of this massive
     creature. Cecily manages a few words.

                                CECILY
                  That is one, big gorilla.


     BACK TO JOE

     His head turning sideways at the sound of her voice. A
     tense moment, as Joe glares at the assembled crowd. He
     is magnificent. Awesome. Staggering.

     Harry knows a photo-op when he sees one.     He whispers
     loudly to Vern:

                                HARRY
                  Hey! What do I pay you for?    Get
                  some shots -- of me, too.

     Vern picks up a camera and scrambles to get into
     position -- but he's so nervous that he trips, sprawling
     on the ground and startling Joe. Joe turns and scampers
     back into the trailer.

     Vern gets back on his feet, red-faced. Jill glares at
     Harry. Gregg just chuckles at the stupidity. Harry
     blames Vern.

                                HARRY
                  What -- he did it.


     BY TRAILER

     Jill walks to the edge of the trailer.     She coos into the
     darkened interior.

                                JILL
                  Come on, ya big baby. Come on
                  back.   Do I have to come in there
                  and get you myself?

     She heads into the trailer after him.      Harry and Cecily
     exchange incredulous looks.

                                                       (CONTINUED)
                                                                  51.

50   CONTINUED:    (2)                                                  50

     INSIDE TRAILER

     We can hear JOE making PANTING and HOOTING sounds, almost
     as if he is trying to reason with Jill. Jill coos and
     makes her own soothing sighs and sounds. Their noises
     bounce off the metal trailer walls.


     OUTSIDE TRAILER

     Everyone exchanges curious glances.      Miss Young is one
     strange girl. Gregg just smiles.

     A moment passes -- and then the trailer begins to rock
     as Jill backs out of it, followed by Joe. She leads him,
     walking backwards, down the platform, then steps off so
     he can pass.

                                JILL
                         (soothing)
                  That's it. That-a-boy.

     Joe hesitantly takes a few steps forward on his own.

                                GREGG
                         (under his breath)
                  Go on, Joe. Go on.

     Everyone holds their breath as Joe completes the crossing.
     Gregg looks over at Jill. Her eyes are glistening.

     Joe heads up through the back of the habitat, already
     investigating his new home. Everyone exhales.

                                 HARRY
                  Alright.   Take the platform away.

     Jill is instantly alarmed.     She turns to Harry.

                                JILL
                  Hold on -- I'm going in with him.

     Harry shakes his head and motions for the workers to
     proceed with removing the platform.

                                HARRY
                  No. We can't allow that. We
                  don't have insurance to cover
                  anyone in there who's not an
                  employee.

                                 GREGG
                  Harry...

                                                       (CONTINUED)
                                                                52.

50    CONTINUED:    (3)                                               50

                                 JILL
                   But you said -- I'm in charge of
                   Joe.

                                HARRY
                   Yes. And I'm in charge of this
                   facility.

      Jill looks over at Gregg, distraught. Gregg shakes his
      head, disgusted -- he sees exactly where this is going.


50A   INT. HALLWAY OF CONSERVANCY CONDO - DAY                         50A

      Jill and Gregg are at a door that Gregg is unlocking.
      Jill paces angrily and storms through the door as Gregg
      opens it. CAMERA FOLLOWS Gregg in. He's carrying her
      bags.

                                 JILL
                          (imitating Harry)
                   'I'm in charge of this facility.'
                   Who is that guy? I bet that man
                   hasn't spent one night outside in
                   his entire life.

                                   GREGG
                   Probably not.

                                  JILL
                   You said I was going to be in
                   charge of Joe. I should be
                   sleeping down there, with him, not
                   in this... this...
                          (taking in the
                           space)
                   cage.

      Gregg is grim and quiet. He thinks what she's saying is
      true. He sets her bags down, detesting the antiseptic
      space as much as she does.

      Feeling claustrophobic, Jill dashes to the window and
      tries to open it. It's a double-paned window. The top
      doesn't open at all -- the bottom cranks open three
      inches, barely letting in air. Jill pushes on the
      window, horrified?

                                 JILL
                   What's wrong with this window?
                          (pushing on it)
                   That's all it opens? That's all?
                                 (MORE)

                                                        (CONTINUED)
                                                              53.

50A   CONTINUED:                                                    50A

                                 JILL (CONT'D)
                          (growing breathless)
                   This is wrong. This is all
                   wrong...
                          (pleading)
                   Please, fix it, or do something...

      It only takes a second. Gregg grabs a pillow from the
      couch and lays it against the top portion of the window.
      He gives it one swift karate chop, breaking out the glass.
      He methodically breaks out the remaining shards, dusts off
      the pillow, and carefully replaces it on the couch.

      Jill just stares at him, open-mouthed.    Gregg looks her
      straight in the eye.

                                 GREGG
                          (quietly)
                   I'll do everything I can for you.

      They hold each other's eyes.

                                 JILL
                          (small voice)
                   Thank you.

      Gregg walks out.


50B   EXT. CONSERVANCY - NIGHT                                      50B

      The conservancy is quiet at night, except for the
      occasional ANIMAL sound rising into the air.
                                                                54.

50C    INT. JILL'S CONDO - NIGHT                                      50C

       Jill leans on her elbows, staring out her recently-broken
       window, a lost look on her face.


51     OMITTED                                                        51


51A    EXT. JOE'S HABITAT - THAT MOMENT                               51A

       The CAMERA LEAVES Jill's window and FINDS Joe, sitting in
       his man-made grassy field, looking equally lost and
       lonely. He is unsure of what to do with himself, confused
       by his surroundings.

       PAN TO:


51B    EXT. JOE'S HABITAT - ANOTHER ANGLE - THAT MOMENT               51B

       The CAMERA FINDS Gregg, leaning against the bar at the
       edge of the moat. His face is soft as he watches Joe.

       Joe lists his mammoth head and looks up towards the right
       corner of his habitat. Gregg follows Joe's eyeline and
       sees that Joe is looking at a TRANSFORMER. The ELECTRIC
       BUZZ reaches Gregg's ear... and he becomes aware of it in
       a new way. He hears its HUM the way Joe hears it --
       strange, menacing.

       Gregg shakes his head to himself -- why didn't the
       designers pay attention to this? He looks back at Joe,
       almost apologetically, and is startled to find that:

       Joe is looking back at him.

       It is the first time these two have had real eye contact,
       and for Gregg it is almost overwhelming. Man and beast
       read each other's faces, and it is in this moment that
       the giant ape becomes more than a phenomenon to Gregg.
       Gregg finally feels some of what Jill has been feeling.
       He connects to Joe.

       And Joe connects to Gregg. It's just a blink of the eye,
       a turn of the head -- but it's there. And they both feel
       it.


51C    OMITTED                                                        51C
thru                                                                  thru
54                                                                    54

                                                     FADE OUT.
                                                              55.

     FADE IN:

55   EXT. CONSERVANCY - NEXT MORNING                                55

     Cecily runs up to the front of the main building, where
     Harry is waiting for her.

                                 CECILY
                Where's Gregg?

                              HARRY
                Beats me. He collected his
                pay check. He's probably in some
                jungle by now, not using deodorant.

                              CECILY
                I think he should be here. This
                is his discovery, after all.

                              HARRY
                Excuse me, Gregg's expertise is
                pitching tents, not explaining
                primate behavior to the Chairman
                of the Conservancy Board.

                              CECILY
                       (disgusted)
                Know what I think, Harry?

                              HARRY
                I have a feeling I'm gonna find
                out.

                              CECILY
                I think you're jealous.

                              HARRY (O.S.)
                Of Gregg? Don't be ridiculous.
                       (beat)
                I'm crippled with envy.

     In the distance, we see a Cadillac approaching on the
     Conservancy roadway.

                              HARRY
                Just once I wanted to go into
                the field and find a new species...
                mollusk, anything. Instead, he
                makes the zoological discovery of
                the century.

                              CECILY
                And he still has a full head of
                hair.


                                                      (CONTINUED)
                                                               56.

55   CONTINUED:                                                       55

                                HARRY
                  That's not funny.

     Cecily nods to the road.

                                  CECILY
                  Heads up.

     The Cadillac comes to a stop in front of them. A
     distinguished man in a business suit steps out. This is
     ELLIOT BAKER, the Chairman of the Board.

                                 HARRY
                  Elliot.   Good to see you again.

                                  BAKER
                  Harry.    Dr. Banks.

     He claps his hands together.

                                 BAKER
                  So?   Let's go see him.

                                CECILY
                  Right this way.


56   INT. CONSERVANCY NEAR JOE'S HABITAT - DAY                        56

     Harry and Cecily walk with     a conservative-looking man in
     his fifties, Elliot Baker,     the Chairman of the Board of
     the conservancy. Harry is      working for brownie points,
     excitedly pointing out his     "important role" in discovering
     Joe.

                                HARRY
                  I always had a suspicion that the
                  legend coming out of the Pangani
                  forest might have some truth to
                  it. It was just a hunch -- sort
                  of a gut feeling -- but I sent my
                  field zoologist to check it out.

     Cecily shoots a look at Harry. She's not going to let
     him grab the glory away from Gregg.

                                CECILY
                  That field zoologist, Dr. O'Hara,
                  had a theory -- and Joe's blood
                  work confirms it. The gorillas in
                  the Pangani carry a recessive gene
                  that pops up every four or five
                  generations with this rare form of
                  gigantism.

                                                       (CONTINUED)
                                                                 57.

56   CONTINUED:                                                         56

                                BAKER
                         (excited)
                  And that's where the legend comes
                  from! That zoologist of yours --
                  what's his name, Harry?

                                HARRY
                         (begrudging)
                  Gregg O'Hara.

                                BAKER
                  Pretty damn sharp.

     This kills Harry. Cecily snickers.      They arrive at the
     fence surrounding Joe's habitat.

                                 HARRY
                  Here we are.

     They walk up to the observation railing.        Baker cranes his
     neck. Joe's nowhere to be seen.

                                 BAKER
                  Where is he?

                                HARRY
                         (calling)
                  Joe! Here, Joe!
                         (apologetic joke
                          to Baker)
                  I told him the Chairman of the
                  Board was coming and he promised
                  to come say 'hi.'

     Cecily gaps and mouths "kiss ass" behind Baker's back.

                                BAKER
                  Well I don't see him.

                                HARRY
                  Mmmm. We'll feed him.    That'll
                  get him to come out.

                                 CECILY
                  Uh, Harry...

                                HARRY
                  I know what I'm doing.   Let's open
                  the gate.

     Cecily hesitantly pulls out her keys to the security gate.


57   OMITTED                                                            57
&                                                                       &
58                                                                      58
                                                                57A.

58A   OMITTED                                                          58A


58B   INT. JILL'S APARTMENT - DAY                                      58B

      Mementos, photos, and fabrics from home are strewn
      around, already adding Jill's warmth and personality to
      the place.

      Jill is standing at the window hanging an African piece
      of fabric as a makeshift curtain when a piercing ALARM
      RINGS OUT over the compound. Worried by the urgent sound
      of the alarm, Jill steps down and hurries out the door.


58C   EXT. CONSERVANCY GROUNDS - DAY                                   58C

      Jill runs out of the building and almost collides with
      Gregg, who is rushing in..

                              GREGG
                I was coming to get you.

                              JILL
                What is that noise?

                                 GREGG
                Come on!

      The two of them rush off across the compound.   As they
      do, they pass...


59    JILL'S POV - BUNKER                                              59

      A concrete building that's used to lock down wild
      animals. Jill watches, nervously, as conservancy workers
      with tranquilizer rifles stream out of the building and
      jump into vehicles, heading toward Joe's habitat.

                                                      CUT TO:


60    EXT. JOE'S HABITAT - DAY                                         60

      Jill and Gregg drive up to the habitat.   As they come
      close, Gregg finds Cecily.

                              GREGG
                What the hell is going on?

                              CECILY
                It's Joe, he's gone crazy!

      Jill and Gregg follow Cecily towards...

                                                      (CONTINUED)
                                                            58-59.

60   CONTINUED:                                                   60

     JOE'S HABITAT

     Conservancy workers have entered Joe's habitat and have
     their guns trained on --


     JOE

     who is standing in a clearing, SNARLING and beating his
     chest. Which is scaring the crap out of...


     HARRY

     who, white as a sheet, hides behind a tree, his hands
     shaking. He doesn't dare move an inch, for fear Joe will
     spot him.


     BY GATE

     The conservancy workers are raising their tranq rifles,
     about to fire, when...

                             GREGG
                  Stop!

     Jill and Gregg come running up behind them.   Jill yells
     to Harry.

                                                    (CONTINUED)
                                                              60.

60   CONTINUED:                                                     60

                                 JILL
                  Harry!   Jump out from behind the
                  tree!

     He shakes his head.     No way he's gonna jump in front of
     that gorilla.

                                JILL
                  Jump out and say 'You found me!'

                                  GREGG
                  Do it, Harry!

     Joe grabs a bush and tears it from the ground...

     The guards aim their rifles, fingers on triggers...

     And Harry, having nothing to lose but his life, jumps
     out from behind the tree...

                                  HARRY
                  You found me!

     There is a tense moment, then...

     Joe stops growling. In the next instant, he starts
     spinning in a circle, gleefully. Then he dashes off and
     hides behind a very tiny tree.


     ON HARRY

     completely confused.     Jill walks up to him.

                                JILL
                  He's playing hide and seek.

     Jill starts rooting around in the trees, pretending not
     to see Joe.

                                 JILL
                  Okay, where are you? Come out,
                  big guy! Where'd he go?
                         (finding him)
                  There you are!

     He screams with delight, and spins in a circle again.

     As it dawns on everyone that she's actually right, and
     that he's really playing, the guards start to lower their
     guns. Then they start laughing. An embarrassed Harry
     slinks by Gregg, who can't help but chuckle as he leaves.
                                                            61.

61   EXT. JOE'S HABITAT - CONTINUOUS ACTION                       61

     An exhausted Harry catches his breath at the gate around
     the habitat. Baker has a thoughtful look on his face.

                             BAKER
               Put that girl in charge of the
               gorilla, Harry.

                             HARRY
               What? Elliot, she's got no
               scientific...

                             BAKER
               That ape is the best fund-raising
               tool this conservancy has ever
               seen. He's happy -- I'm happy.
               Put her on the payroll.

     Baker turns and walks away.


62   EXT. JOE'S HABITAT - CONTINUOUS ACTION                       62

     Gregg and Cecily watch as Jill plays hide and seek with
     Joe.

     Jill dashes away and runs over to Gregg. She is
     absolutely glowing, bouncing around with happiness.   She
     grabs both his arms, jumping up and down.

                               JILL
               He's playing!    Did you see?

                               GREGG
                        (laughing)
               I saw.

                             JILL
               He likes it here! Isn't it great?

                               GREGG
               It's great.

     Jill surprises Gregg by giving him a hug. Gregg looks over
     her shoulder and sees that Joe is giving him the evil eye.
     He's jealous. Gregg stares back, equally challenging.

     Jill, unaware of the competition, lets go of Gregg and
     happily runs back to Joe. Gregg and Joe continue to hold
     each other's eyes. Cecily sighs and shakes her head.

                             CECILY
               Sorry, babe, but in a pissing
               match the monkey kicks your ass.

                                                   (CONTINUED)
                                                                62.

62   CONTINUED:                                                       62

                                GREGG
                  What are you talking about?

                                CECILY
                  Oh please. I was wondering why
                  you hadn't taken off yet.
                  Normally, you're out the door soon
                  as the animal's in his habitat.

                                GREGG
                  You've got an active imagination,
                  Cecily.

                                CECILY
                  I don't think so. I think Mr.
                  World Traveller has goo-goo eyes
                  for the gorilla girl.

     Gregg scoffs. But from the look on his face, it's clear
     she's hit a nerve.


63   INT. JILL'S APARTMENT - DAY                                      63

     A KNOCK at Jill's apartment door. She opens it and lights
     up to see Gregg standing there. Gregg looks past her into
     the room. She's made some changes; the bed's on the floor
     and a few large potted ferns crowd the room.

                                GREGG
                  Like what you've done with the
                  place.

                                JILL
                  Too bad it's always so cold --
                  somebody broke my window.

     She smiles at him and motions for him to come in.     Gregg
     steps just inside the door and stops.

                                GREGG
                  I just came by to tell you that I
                  think Joe looks real good out
                  there...

                                JILL
                  I know! This is working out --
                  better than I expected.

                                GREGG
                  ... and that I'm hitting the road.

     Jill looks at Gregg keenly.    He's acting like he's got
     something to tell her.

                                                       (CONTINUED)
                                                             63.

63   CONTINUED:                                                    63

                                JILL
                  Where you going?

                                GREGG
                  Back to Africa.
                         (pauses)
                  For a couple of months.

     Jill stays light.

                                 JILL
                  No kidding?   When do you leave?

                                    GREGG
                  Now.

     Jill just nods.

     Gregg is struggling -- this is more difficult than it's
     ever been for him. He tries to be nonchalant...

                                GREGG
                  It's the job, y'know. Always on
                  the road. It's what I like,
                  anyway -- can't stand to be caged
                  up...

     They meet eyes.      They both know what that means.

                                GREGG
                  You and Joe will be okay...

     Jill shrugs, acting like she doesn't care either.

                                JILL
                  Oh -- of course.

                                    GREGG
                  Yeah.   Well...

               JILL                         GREGG
           (overlapping)                    (overlapping)
       See you when you get back.           I'll call you.
                                                                63A.

63A   INT. CONSERVANCY CONDO - HALLWAY - CONTINUOUS ACTION             63A

      Gregg turns and heads back down the hall.    Jill sticks her
      head out and calls after him.

                               JILL
                        (biting)
                 Say hello to Africa for me.

      She slams the door to her apartment. Gregg freezes for a
      moment, then continues down the hallway alone.

                                                      FADE OUT.


      FADE IN:

64    EXT. OUTSIDE JOE'S HABITAT - DAY                                 64

      A CNN reporter delivers a remote.

                               REPORTER (V.O.)
                 ... behind me you see the habitat
                 of what experts are calling one
                 of the most important zoological
                 finds of this century. This is
                 the home of what's believed to be
                 the world's largest primate -- a
                 two thousand pound gorilla named Joe.

      We see a shot of Joe, in his habitat, with a conservancy
      worker in the f.g., for scale.

                               REPORTER (V.O.)
                 Joe has been at the California
                 Animal Conservancy for a little
                 more than a month now. He was
                 brought here from Africa by Dr.
                 Gregory O'Hara. According to
                 Dr. O'Hara...

      PULL BACK FROM the screen to reveal...

                                                      CUT TO:


      INT. RAHA PRESERVE AND CONSERVANCY (BOTSWANA) - EVENING

      Strasser, in the main room of his preserve, watches the
      news report, absolutely riveted. He is polishing a
      leather object that we can't clearly make out.   Garth
      stands behind him.

      Strasser is on the edge of his seat, watching the screen.

                                                      (CONTINUED)
                                                               63B.

64   CONTINUED:                                                       64

                                STRASSER
                         (amazed)
                  My God. Pindi was right.

                                REPORTER (V.O.)
                  ... Joe's remarkable size made him
                  a natural target for poachers.
                  Fortunately the California Animal
                  Conservancy's program in...

     The program continues with more shots of Joe.     Strasser is
     overcome with desire.

                                STRASSER
                         (transfixed)
                  He's beautiful. The most
                  beautiful animal I have ever seen.

                                GARTH
                  And the most valuable, that's for
                  sure.

                                 STRASSER
                  I want him.   He belongs here with
                  me.

                                 GARTH
                          (thinking it over)
                  It'll be a bit tricky, won't it?
                  They're not gonna want to part
                  with...

                                 STRASSER
                  Wait!   Be quiet!

     Strasser points to the television...


     ON TV

     Intercut with shots of Joe are shots of the conservancy
     staff. Jill is among them, and her look of displeasure
     with the photographing of Joe makes her stand out from the
     staff. This shot is replaced with side by side photographs
     of Jill and her mother, Ruth.

                                REPORTER (V.O.)
                  ... was raised from infancy by
                  Jill Young, the daughter of famed
                  primatologist Ruth Young. Their
                  closeness stems from a tragic
                  bond.
                                (MORE)

                                                       (CONTINUED)
                                                                  64.

64   CONTINUED:    (2)                                                  64

                                REPORTER (V.O.CONT'D)
                  Both Joe and Jill's mothers were
                  killed by poachers, twelve years
                  ago, in the Pangani Forest,
                  orphaning them on the same night.


     ON STRASSER

     Emotion surging through him. He realizes now, all at
     once, exactly who Joe and Jill are.

                                GARTH
                         (surprised)
                  Bloody hell. That's the little
                  monster that...

     Garth stops abruptly, glancing at Strasser's hand. He
     knows better than to mention it directly. Strasser looks
     down...


     CLOSEUP - STRASSER'S HAND

     tanned, manicured, and missing the thumb and forefinger.
     The leather he's been polishing this whole time is his
     prosthetic hand. He straps it back on.

                                STRASSER
                         (softly, to himself)
                  I am always amazed how, if you
                  wait long enough, the opportunity
                  for justice finally comes.

     Garth watches his boss, who seems lost in his private
     dream of revenge. It's a moment before Strasser looks
     back at him.

                                STRASSER
                  Book us two tickets to America.
                  We're going to pay a visit to
                  this incredible animal.

     He looks back at the TV, where Jill is on screen.

                                STRASSER
                  I think I know how to convince his
                  current owners to part with him.

     And on that foreboding note...

                                                        CUT TO:
                                                                65.

65     OMITTED                                                        65
thru                                                                  thru
67                                                                    67


68     EXT. CONSERVANCY GROUNDS - LATE AFTERNOON                      68

       CLOSE ON the sleepy face of a shaggy yak. PULL BACK TO
       a small group of V.I.P.s being led on a tour by Harry.

                               HARRY
                 This fellow is one of only three
                 hundred wild yaks remaining on
                 the planet. There are those who
                 would ask, why should we care if
                 this sub-species of yak survives?

       We SPOT a man blending in with the group. We recognize
       Garth. He looks quite respectable in a suit. The antsy
       V.I.P. next to Garth interrupts Harry.

                                V.I.P. #1
                 Excuse me.   Can we see Joe?

       The other V.I.P.s echo this wish.   Harry refocuses
       himself.

                               HARRY
                        (charming)
                 You certainly can -- for the mere
                 price of a 'Diamond Circle
                 Benefactor Ticket' to tomorrow
                 night's benefit.

       The V.I.P.s laugh and groan. Garth takes this moment
       to slip away, unnoticed. Harry twinkles at the V.I.P.s.

                               HARRY
                 It's all for a good cause.


68A    EXT. CONSERVANCY GROUNDS - ANOTHER AREA - LATER                68A

       Harry is waving good-bye to the V.I.P.s, who have
       completed their tour.

                               HARRY
                 Good-bye. Good-bye.
                        (under his breath)
                 Throw money... throw money...

       Jill and Cecily drive up in an electric cart. Jill
       jumps out, wearing a conservancy T-shirt, and from the
       looks of things she's been working hard in the habitat
       all day. She's a lovely mess, head to toe.

                                                      (CONTINUED)
                                                               66.

68A   CONTINUED:    (A1)                                             68A

      She runs up to Harry, all energy and smiles.

                                 JILL
                   Harry -- see what's in that cart?
                   That's all we have left of the
                   lobelia leaves for Joe. Did you
                   by any chance place that new
                   order I asked for?

                                 HARRY
                          (guilty)
                   Of course I... actually, perhaps
                   I...

                                 JILL
                          (sympathetic)
                   I wouldn't be surprised if you
                   forgot, considering you have so
                   much on your mind.

                                                       (CONTINUED)
                                                                67.

68A   CONTINUED:                                                      68A

                                 HARRY
                   I'll go rush order it for you now.

                                 JILL
                          (beaming)
                   Thank you so much.

      Cecily rolls her eyes.     Jill winks at her
      conspiratorially.

                                 CECILY
                          (to Harry)
                   She's nice. I'm not. If you
                   forget to order something I need,
                   I'll knock you upside the head.

      Cecily and Harry walk off grumbling at each other like
      an old married couple.

                                 HARRY
                   I keep telling you -- stop
                   talking to me like that.

                                  CECILY
                   Please.   You love it.

      Jill smiles to herself. She turns to get back to her
      other business, and almost walks right into:

      Gregg. He's been leaning against a wall, and he's
      caught the whole thing.

                                 GREGG
                   Lobelia leaves. Should have
                   called me in Africa. I would have
                   brought 'em back for ya.

      Jill just stares for a moment, trying to decide how to
      handle Gregg's sudden reappearnce. His clothes look
      travelled in, and another month in Africa has put a
      deeper shade of brown on his face. He's got the ragged
      look of someone who's just gotten off a 16-hour flight.

                                 GREGG
                   Nice to see you running the
                   place, Jill.

      Jill nods and starts walking like someone with urgent
      business to attend to. Gregg falls in beside her.

                                 JILL
                   You're back early. What happened?
                   Run out of humvees to crash?

                                                        (CONTINUED)
                                                                 68.

68A   CONTINUED:    (2)                                                68A

                                 GREGG
                   No -- just wanted to get back.

                                 JILL
                          (frosty)
                   Really? And why is that?

                                 GREGG
                   Guess I missed Harry.

      Gregg smiles teasingly at Jill but she's in no mood to
      melt that easily. He continues.

                                 GREGG
                   They want me to show my face at
                   the fundraiser tomorrow night...
                   and I guess I got my mind fixed on
                   a good meal in a fine restaurant.
                   Thought you might like to join me.

                                 JILL
                          (cool)
                   No thanks. I still don't want to
                   leave Joe.

                                GREGG
                   'Still'? Haven't you been out of
                   here yet?

                                 JILL
                          (flip)
                   What's to see? Beach is that way,
                   mountains are that way, Mexico's
                   that way, Canada's that way...

      Gregg reaches out and slows her down.    He wants to see
      her eyes.

                                 GREGG
                   Come on. Have dinner with me,
                   Jill.
                          (tenderly)
                   You won't find a better excuse
                   to brush your hair.

      Gregg reaches out and pulls a piece of straw from Jill's
      tossled locks. She can't help herself anymore -- and
      breaks into a slow smile.

                                 JILL
                   I'll brush my hair if you take a
                   shower.

                                     GREGG
                           (grins)
                   Deal.
                                                              69.

68B   EXT. OUTSIDE JOE'S HABITAT - DAY                              68B

      Garth walks quickly -- but not fast enough to draw
      attention. He moves along the handrail at the edge of
      the moat. Takes off his sunglasses and looks for Joe.


      GARTH'S POV - JOE

      is moving slowly among saplings.

      CLOSE ON GARTH'S HAND

      as he reaches in his pocket and pulls out one of the
      poaching dog collars. Garth looks around -- then gives
      the metal clappers one loud shake -- quickly drops them
      back into his pocket.

      Joe reacts immediately to the JANGLING sound. Imprinted
      deep in his memory. He rises up quickly and GROWLS
      furiously -- pounding his chest -- looking around for the
      danger. It's instinctive and frightening. Joe sees Garth
      and charges him. Joe's anger takes him into the
      electrified wire around the habitat. JOE ROARS at the
      shock and recoils.

                              GARTH
                You remember, don't you?

69    OMITTED                                                       69


69A   EXT. VENICE BEACH - NIGHT                                     69A

      It's a beautiful and lively night on Venice Beach.
      A few people have made bonfires along the water's
      edge, and the MUSIC of a DISTANT bar band wafts
      through the air. It's a magic night.

      Gregg and Jill walk away from a funky food shack,
      festooned with tiny lights. They share a carton of
      fish and chips.

                              JILL
                So this is what you call a good
                meal in a fine restaurant?

                                 GREGG
                          (thinks about it)
                Yeah.

      Gregg grins at Jill, all boyish charm. She stiffles a
      smile, struggling to hold on to her pervious indignation.

                                                    (CONTINUED)
                                                                 70.

69A   CONTINUED:                                                       69A

                                 JILL
                   Don't point that smile at me.
                   I'm still mad at you for taking
                   off and leaving me here all alone.

                                 GREGG
                          (guilty)
                   I'm sorry -- I had things I had
                   to do...

                                 JILL
                          (doesn't buy it)
                   Uh-huh...

                                 GREGG
                   Besides, you weren't all alone.
                   You had Joe.

      Jill nods at the truth of this.    She continues, almost
      to herself:

                                 JILL
                          (softly)
                   That's right. Me and Joe.   Just
                   like always.

      There is a lonliness about Jill as she says this.     Gregg
      senses it.

                                 GREGG
                   Growing up with him around --
                   what's it been like for you?
                   I mean -- most guys are afraid
                   of girls' fathers. I can just
                   see a guy telling Joe he'll get
                   you home by midnight...

                                 JILL
                          (shrugs)
                   Never had anyone to bring home
                   anyway. All that stuff -- I
                   don't even know what it's like.

                                 GREGG
                   All what 'stuff'?

                                  JILL
                          (defensive/dismissive)
                   Whatever you want to call it.
                   Being in love.

                                 GREGG
                          (smiles)
                   Well -- it's kinda like getting
                   bit by a makiki spider.
                                                        (CONTINUED)
                                                            71.

69A   CONTINUED:    (2)                                           69A

      Jill looks sharply at Gregg.        Not so fast.

                                  JILL
                   Oh yeah?   How's that?

                                 GREGG
                          (stepping closer
                           to Jill)
                   You'll get a kind of a fever...

                                  JILL
                   Fever?   Really. How high?

                                  GREGG
                   Pretty high.

                                  JILL
                   Interesting.   Hallucinations
                   with that?

                                 GREGG
                   Oh yeah... and you'll, uh -- find
                   yourself saying things. Lots of
                   things.

      Gregg is very close to Jill. He wants to kiss her right
      now. Jill smiles. She knows what he's doing. Maybe
      she'll let Gregg kiss her.

      Just then:

                                  JILL
                   Aaah!

      She pulls a beeper off her belt and checks the message.


      INSERT - BEEPER READOUT

      A message scrolls across that says, "GET BACK HERE!
      NOW!!!"

                                  JILL
                   Come on!

      Jill and Gregg bolt for the car.

70    OMITTED                                                     70
&                                                                 &
70A   OMITTED                                                     70A

71    EXT. JOE'S HABITAT - NIGHT                                  71

      JOE is on a major destructive rampage, pulling up trees,
      ROARING, beating his chest.
                                                    PAN TO:
                                                                 72.

72    EXT. HABITAT - BY GATE - NIGHT                                   72

      Gregg, Jill, Cecily and Harry watching Joe's rampage from
      outside the gate. Jack and Vern run over, covered in mud
      and overly exited.

                              VERN
                He's ripping out saplings like
                bam-bam-bam!

                              JACK
                And taking out irrigation pipes.
                One good yank -- on comes the
                flood.

                              HARRY
                He just pulled out another acacia
                tree. You know what I paid for
                those?

                              GREGG
                       (to Cecily)
                Do you know what's wrong with him?

      Cecily shakes her head "no."

                                 CECILY
                          (to Jill)
                Do you?

      Jill's brow is furrowed with concern.

                                 JILL
                No.

                              HARRY
                Well could you get in there and
                calm him down before he pulls out
                the rest of my landscaping?


72A   EXT. JOE'S HABITAT - NIGHT                                       72A

      Jill has done her job.    Joe is calm but spent, leaning
      against a tree.

      Jill sits in his lap, softly singing the same lullaby
      we heard her mother sing to her 12 years ago.

      She caresses the palm of Joe's giant leathery paw, her
      tiny white hand almost disappearing in its black folds.

      Gregg watches, leaning against a tree not ten feet away.
      It is the most intimate moment between Jill and Joe that
      he has seen yet. The tableau invokes myth: the beauty
      in the service of the beast; the man who has come to
      free her.
                                                    (CONTINUED)
                                                                  73.

72A   CONTINUED:                                                        72A

      Gregg comes forward... slowly... but Joe suddenly lifts
      his head and GRUNTS at him, a kind of warning bark for
      Gregg to stay where he is.

      Jill doesn't even notice.     She lays her soft cheek
      against Joe's giant palm.     He cradles her face.

      She closes her eyes.

                                                          FADE OUT.


      FADE IN:

73    INT. CONSERVANCY CONTROL ROOM - CLOSE ON BAKER - NEXT             73
      DAY

      Looking fairly annoyed.

                                 BAKER
                          (emphatic)
                   Impossible.

      PULL OUT to find: Baker, facing off with Jill. She looks
      flushed with emotion as she follows Baker around the room,
      dogging him.

                                 JILL
                          (adamant)
                   Please, Mr. Baker -- I   wouldn't be
                   asking you to postpone   the benefit
                   unless I thought there   was
                   something really wrong   with Joe.
                   And I do.

                                 BAKER
                   From what I heard, you sang him to
                   sleep last night like a baby.
                   What's really wrong about that?

                                 JILL
                   I swear to you, Joe's still not
                   himself -- he's nervous and
                   agitated. He shouldn't be exposed
                   to a crowd of strangers right now.
                   If you would only delay the party
                   a few more...

                                 BAKER
                   It's too late, Jill.

                                  JILL
                           (adamant)
                   No.   It's too soon.

                                                          (CONTINUED)
                                                                 74.

73   CONTINUED:                                                        73

     Baker gives Jill a hard look.

                                BAKER
                  Miss Young, let me give you some
                  advice. Stop worrying about Joe,
                  and start worrying about what
                  you'll wear tomorrow night.

     With that, Baker gives Jill his back and starts a phone
     call. Frustrated, Jill turns and walks out of the room.

74   EXT. CONSERVANCY GROUNDS - CONTINUOUS ACTION                      74

     Jill storms out of Baker's office stewing, head down.
     She's walking so fast that she collides into a man coming
     the other way.

                                 JILL
                  Oh!   Excuse me.

     The man rights himself and smiles politely.

                                   STRASSER
                  No, excuse me.     My fault.

     It's Strasser. He's tamed his looks and dressed himself
     in modest attire. With his damaged hand concealed in his
     pocket and a pleasant smile arranged on his face, he has
     re-invented himself. He comes across like a friendly
     conservationist.

     He stares openly at Jill.       It flusters her.

                                STRASSER
                         (feigning surprise)
                  I'm so sorry -- it's just -- you
                  must be Jill Young...

                                   JILL
                  Yes...?

                                STRASSER
                         ("moved")
                  And -- you look just like her.

     The words electrify Jill.       She almost gasps.

                                STRASSER
                  I'm Andre Strasser. An old friend
                  of your mother's.
                         (warmly)
                  I knew her when she was only a
                  little older than you, and you
                  were just a tiny thing. What an
                  incredible woman she was.
                                                         (CONTINUED)
                                                               75.

74   CONTINUED:                                                      74

     Jill is overwhelmed.     She immediately melts.   She reaches
     her hand out to him.

                                JILL
                  How wonderful to meet you.   What
                  are you doing here?

     Strasser pretends to look uncomfortable.

                                STRASSER
                  I've come to talk with your Mr.
                  Baker.
                         (pained)
                  You see, I am here for Joe. And,
                  in a way, for your mother, too.
                         (passionate)
                  I believe she would agree with
                  me -- a magnificent wild animal
                  like Joe needs more space -- like
                  the Raha Preserve I run in Botswana.

     Bingo.   Jill's face falls.    The guilt is working already.

                                 JILL
                  Raha?   A preserve?

                                 STRASSER
                  I have twenty thousand acres there
                  where the animals are free to run.
                  I would like to offer them to Joe.
                         (sighs)
                  Here, it's such a shame... to see
                  Joe living in a man-made habitat
                  and being used as an attraction
                  to raise money...

     Strasser shakes his head at the inhumanity of it all.
     His clever words work on Jill like a charm -- she looks
     absolutely crestfallen. He pretends to comfort her.

                                STRASSER
                  Oh -- I've upset you! Please... I
                  only mean to offer an alternative.
                  I will be attending the event
                  tomorrow night. Maybe we can talk
                  more about this matter then.

                                JILL
                  I'll look forward to it.

                                 STRASSER
                  Good-bye.

     Strasser walks off, leaving Jill deep in thought. He
     smiles to himself, certain he's landed a direct hit.
                                                              76.

75   EXT. JOE'S HABITAT - NIGHT                                     75

     A tent has been set up outside Joe's habitat, the long
     end flush up against the railing that surrounds the moat.

                                                   CUT TO:


76   INT. TENT - NIGHT                                              76

     A small, elegant and tasteful party. A collection of
     fifty VIPs, all dressed to the nines, mingle with the
     conservancy staff. Tables have been arranged in a
     wide semi-circle around a podium, which is on the moat
     edge of the tent.


     BY BAR

     Gregg, wearing a tuxedo, walks up to Cecily and Harry,
     also in black tie. Harry is stuffing his face.

     Cecily looks admiringly at Gregg.

                             CECILY
               Don't you clean up nice.

                             GREGG
               Cecily -- you're ravishing.
               Harry -- you got shrimp on your
               shirt.

     Harry looks down at his shirt smeared with cocktail sauce.

                             HARRY
                      (dismayed)
               Of course. I look ridiculous.

                             CECILY
               No.  You look fine.
                      (pointing at
                       Jack and Vern)
               They look ridiculous.

     Jack and Vern are off the dweeb-scale in their ill-fitting
     tuxes. They crowd the food table, gobbling down
     appetizers.

                              HARRY
               Hel-lo.   Look what we have here.

     Gregg and Cecily turn to see what Harry's looking at.

                                                   (CONTINUED)
                                                               77.

76   CONTINUED:                                                      76

     BY ENTRANCE

     Jill has just stepped into the tent, looking absolutely
     stunning. All heads turn too look at her. Intimidated,
     she falters at the door, too afraid to enter.


     BACK ON STAFF

     Like everyone else in the room, Cecily and Harry admire
     Jill. Gregg is rendered speechless by her beauty.

                                 CECILY
                         (proud)
                  I picked out the dress.   Aren't I
                  smart?

                                GREGG
                  Brilliant.

     Gregg picks up a glass of champagne for Jill and starts
     crossing the room to her.

                                CECILY
                  Shut your mouth, Harry -- you're
                  catching flies.


     ON JILL

     Feeling terribly insecure, Jill gratefully watches Gregg
     cross the room towards her. They can't take their eyes
     off each other. When he reaches her side, she grabs on
     to him.

                                 JILL
                         (self-conscious)
                  Tell me the truth -- do I look
                  stupid in this? Everyone is
                  staring at me.

                                GREGG
                         (reassuring)
                  They're not staring at you.
                         (looks around)
                  They're staring at that... uh...
                  banana tower.

     Jill turns and sees a ridiculous-looking decorative
     mountain of bananas sitting on a table top just behind
     her. It's the creation of an over-zealous caterer.

     Jill blushes, realizing Gregg's joking.

                                                       (CONTINUED)
                                                              78.

76   CONTINUED:    (2)                                              76

                                JILL
                  Very funny.


     ACROSS ROOM

     Strasser and Garth observe the crowd.

                                GARTH
                  Quite a turnout they have here.

                                STRASSER
                  All the better.

                                BAKER (O.S.)
                  Ladies and gentlemen, can I
                  have your attention, please?

     Strasser puts his drink down, taps Garth.

                                STRASSER
                  Let's go.

     The two of them head for the exit.


     AT PODIUM - WITH BAKER

                                BAKER
                  When was the last time you laid
                  eyes on something so unique, so
                  spectacular, that it literally
                  took your breath away? Well,
                  prepare yourselves, for tonight
                  you will have such an experience.


     WITH STRASSER AND GARTH

     Heading for the exit, they hear Baker's words and exchange
     a knowing glance -- if they have their way, tonight will
     be more of an "experience" than Baker is bargaining for.
     Garth slips his hand into his jacket, checking for the
     dog collar...

     Just as Jack and Vern start coming the other way. Jack's
     already had one glass too many, and he's reckless on his
     feet.

                                JACK
                         (to Vern)
                  There's nothing in this punch,
                  man. I could drink twelve of
                  these and not feel a thing.

                                                      (CONTINUED)
                                                                  79.

76   CONTINUED:    (3)                                                  76

     Smack! Jack collides with Garth, causing Garth to drop
     the dog collar. Vern stoops to retrieve it, (picking it
     up by a rusty key that is one of the clanking objects on
     the collar).

                                 VERN
                  Sorry!   Here's your... uh... key
                  chain.

     Garth grabs it back.      Strasser nods coolly to Vern and
     Jack.

                                 STRASSER
                  Thank you.

     Vern and Jack stumble on, none the wiser.

     Strasser and Garth slip out.


77   EXT. JOE'S HABITAT - CONTINUOUS ACTION                             77

     Joe is feeding on bamboo in the center of his habitat
     when something abruptly catches his ear. A slight
     JANGLING sound, the TIMPANI of WIND CHIMES, floating
     through the air. It GROWS LOUDER.

     Joe stands up. The hair on his neck bristles. He moves
     towards the source of the sound, at the edge of the moat.


     JOE'S POV

     Garth stands at the railing surrounding the moat,
     rattling the dog collars. It's a sound that haunts him,
     from the darkest depths of his memory. He starts to GROWL
     and then he sees something that really drives him nuts.

     Strasser steps into the light, joining Garth by the
     water's edge. He rattles the dog collar, and now...


     ZOOM IN ON JOE

     His eyes, locking with Strasser's. His pupils narrow,
     his nostrils flare, and Joe FREAKS OUT!

     He starts tearing up the ground, beating his chest, then
     he ROARS and charges straight for them, stopping at the
     water's edge.

                                                       (CONTINUED)
                                                              80.

77   CONTINUED:                                                     77

     ON STRASSER

     locking eyes with Joe. This is the first time he has seen
     Joe since the animal bit his hand off twelve years ago. A
     smile creeps across his face.

                                STRASSER
                         (to himself)
                  So you haven't forgotten me.   Good.
                         (holding up his
                          dead hand)
                  Have you forgotten this?

     Garth is still rattling the dog collar, enjoying Joe's
     display of rage.

                                GARTH
                  What do you think the big guy is
                  worth? A couple million?

                                STRASSER
                  I will get that for the paws alone.
                  After we sell him off piece by
                  piece, who knows how much we'll
                  make?

     Garth shakes the dog collar more furiously, making Joe
     rush at them again.

                                GARTH
                  Got you going now! That should
                  rattle the jewelry off the ladies.

                                STRASSER
                         (indicating dog
                          collar)
                  Hang it there -- where he can see
                  it.
                         (warning)
                  And come back for it -- after.

     Garth hangs the dog collar on the fence. Joe can hear it
     clank in the breeze -- he is in a truly frightening state.

                                STRASSER
                  Come, we've done our job here.

     As Strasser and Garth leave, Joe looks after them, beside
     himself with fury. Outraged, he turns this way and that
     way, finally focusing on a tall tree in his habitat.
                                                              81.

78   INT. TENT - NIGHT                                              78

     At the podium, Baker is making his presentation to the
     tony crowd.

                             BAKER
               ... and now to introduce our
               remarkable new acquisition, I would
               like to bring up to the podium the
               director of the conservancy...

     A sudden ROAR coming from behind the curtain drowns out
     Baker's voice. The audience members jump in their seats,
     frightened. Baker is rattled, too, then regains his
     composure.

                             BAKER
               Well! I suppose there's no need
               to add to that introduction.

     The audience laughs and relaxes.

                             BAKER
               Here's Dr. Harry Ruben.

     Baker motions to Harry, who freezes with a sudden bout of
     stage fright. Cecily gives him a discreet push on the
     back and he stumbles forward.

     JOE can still be heard GROWLING and beating his chest in
     the background. Jill and Gregg look at each other with
     mounting anxiety.

     Harry reaches the mic.

                             HARRY
                      (into mic)
               In the time it took you to
               drive here tonight, three species
               have disappeared from the Earth.
               Extinct. Never to return. We
               here at the conservancy say this
               is a tragedy...

     Another O.S. ROAR from JOE. It is spine-tingling.    Harry
     almost jumps out of his loafers.

                             HARRY
                      (nervous joke)
               Obviously Joe agrees.

     Everybody laughs. The audience doesn't know enough to
     be really afraid -- they're just excited and twittering.

                                                     (CONTINUED)
                                                              82.

78   CONTINUED:                                                     78

     Jill is feeling increasingly nervous. She glances around
     the room and meets eyes with Strasser. He nods at her,
     his eyes indicating that he is "worried" for Joe as well.
     Jill nods back.

     We continue to hear uncanny SOUNDS from behind the curtain.
     It's all Harry can do to stick to his speech. He keeps
     glancing nervously over his shoulder.

                                HARRY
                  But tonight, rather than focusing
                  on what we've lost, I'm going to
                  introduce you to something we've
                  found.

     There is a tremendous CRACKING sound from behind the
     curtain. The audience murmurs. Harry sweats. Jill
     grabs Gregg's hand tightly.

                                HARRY
                  Ladies and gentlemen, the
                  California Animal Conservancy
                  proudly introduces our newest
                  member, Mighty Joe...

     CRASH! Before Harry can say "Young," a TREE comes
     CRASHING through the curtain.

     Gregg leaps forward, knocking Harry out of the way just
     as the tree crushes the podium into kindling.

     Joe comes blasting through the hole in the curtain.    He
     has joined the party.

     Joe stands on the stage, his chest heaving. There is
     total silence. The party guests are frozen with fear,
     literally speechless. A few of them laugh nervously,
     wondering if this is really just part of the show.

     But Jill knows better. She and Gregg exchange glances
     -- what the hell is going on?

     Jill rises, trying to stay calm herself, and slowly
     approaches Joe, speaking in a soothing voice. She
     wants to get his attention.

                                JILL
                         (soothing)
                  Hey, Joe. I'm right here. You hear
                  me? Good boy. Take it easy, Joe. We
                  don't want to scare anybody, do we?

                                                      (CONTINUED)
                                                                   83.

78   CONTINUED:    (2)                                                   78

     Jill is within arm's reach of Joe -- it looks like he
     might turn his head to her, calm down, become docile...

     But that's when he spots Strasser. Joe's face registers
     towering rage as Strasser stares back, provoking Joe
     further.

     Joe takes off, knocking over a table that bangs into Jill
     and sends her flying backwards into a wall. She hits the
     wall and sinks down, stunned.


     JOE

     heads through the people towards Strasser.        The party
     erupts with screams.

     Joe makes his way towards Strasser, swatting people out
     of the way.


     ON STRASSER

     Frozen, in horror, as Joe plows through the party, heading
     straight for him. Tables are broken like match sticks,
     GLASS SHATTERS.

     Joe catches up to Strasser, grabs his tuxedo jacket and
     hoists him into the air.


     CLOSE ON MAN

     It's not Strasser. Frustrated, Joe flings him aside. The
     man flies through the air, slamming into the tent wall,
     and then falling on the catering table.


     ON GREGG AND JILL

     As they watch Joe's rampage in horror.

                                 JILL
                  My God.   What's wrong with him?

                                GREGG
                  We've got to bring him down.   I'm
                  going for the tranq guns.

                                JILL
                  No -- let me stop him.

                                                         (CONTINUED)
                                                             84.

78   CONTINUED:    (3)                                             78

     But Gregg's already taken off.


     MEANWHILE

     Mighty Joe is still looking for Strasser, as he heads
     back across the room.

     A glamorous couple, (TERRY and RAY), crawls frantically
     on all fours, trying to stay ahead of Joe.

                                TERRY
                         (frantic)
                  Faster! Faster!

                                RAY
                  I'm trying!


     JILL

     is pushing against the tide of people to get to Joe.
     Somebody shoves against her hard: it's Baker, in a
     panic to get away.


     JOE

     continues to make his way towards Strasser.   As he rushes
     towards him...

     A security guard runs into the tent, raising his TRANQ gun
     and FIRES...

     The dart misses, hitting a fleeing guest, who, we see as
     he crumples to the ground, is actually Baker.


     STRASSER

     is fleeing for the exit.


     JOE

     chases him through the tent. A guest falls in Joe's path
     and Joe heedlessly steps on his leg, crushing it. The man
     screams in agony.

                                                    (CONTINUED)
                                                               84A.

78    CONTINUED:   (4)                                                78

      JILL

      is scrambling over broken tables and chairs to get to Joe,
      when he turns sharply away from her.


      BACK TO SCENE

      Strasser is trapped behind a table. JOE throws the
      table out of his way, ROARS and is about to crush a
      cowering Strasser into poacher mulch, when...

      SFX: the EXPLOSION of a RIFLE.   Joe looks surprised at
      first.

      Joe drops to all fours, revealing Gregg holding a tranq
      gun. Other Animal Control Officers are with him, also
      holding tranq rifles.

      Gregg lowers his gun, a pained expression on his face.

      But one tranq dart is not enough to stop Mighty Joe.    He
      rises again, ready to smash Strasser...

      And a HAIL of TRANQ DARTS sail through the air as the
      conservancy workers pepper Joe with SHOTS.

      Joe swipes several darts from his flank -- but the
      accumulation is too much even for him. He stumbles
      backward and falls.

      Jill screams.   Gregg looks sick at the sight of Joe
      falling.

      Joe hits the ground hard.   His eyes close.

                                                     FADE TO BLACK.

      FADE IN:

79    OMITTED                                                         79
&                                                                     &
80                                                                    80


A81   EXT. CONSERVANCY - DAY                                          A81

      A grim-faced FEMALE REPORTER faces the camera. The tent
      is sprawled on the ground in the b.g. As she starts to
      speak we PAN PAST a line of other TV news reporters
      delivering essentially the same report TO CAMERA.

                                                     (CONTINUED)
                                                              84B.

A81   CONTINUED:    (A1)                                             A81

                                 NEWS ANCHOR #1
                   Officials here are saying they don't
                   know what caused the animal's rampage,
                   which injured over a dozen people, eight
                   of which are currently hospitalized.
                   Three of those have already filed law
                   suits, and word has it that the City
                   Attorney is calling for the animal to
                   be put to sleep. Standing with me is
                   the chairman of the Conservancy board,
                   Elliot Baker.

                                                      (CONTINUED)
                                                                85.

A81   CONTINUED:                                                      A81

      She turns to her left and INTO FRAME we see Mr. Baker,
      steeling himself for the consequences of last night.

                                 NEWS ANCHOR #1
                   Mr. Baker, what is the Conservancy
                   doing to assure the public Joe
                   won't attack again?

                                 BAKER
                   Joe has been transferred to a
                   special steel reinforced concrete
                   bunker.

                                 NEWS ANCHOR #1
                   And what about after you let him
                   out?

                                 BAKER
                   That won't be happening anytime
                   soon. In the meantime, we will do
                   anything necessary to ensure the
                   safety of the public.


81    EXT. BUNKER - DAY                                               81

      A animal control officer has been posted outside the
      bunker, the conservancy's lockdown building for animals
      that get out of control. He stands next to his squad car,
      a rifle at his side.


82    INT. BUNKER - DAY                                               82

      A holding room.    A cage criss-crossed by six-inch steel
      bars.

      Joe stares out through one narrow window. He sees a
      bar-striped slice of blue sky. He reaches up one hand
      towards the window -- he can't even fit it through the
      bars. He still looks drugged and despondent. Hunched
      over. His head almost scrapes the ceiling. His breathing
      raspy.

      On the other side of the bars, Jill and Gregg hover like
      distraught parents. Jill pets Joe's fur through the
      bars.

                                 JILL
                   Joe... look at me. Over here, big
                   guy.

      Joe barely reacts.    Jill is near tears.

                                                        (CONTINUED)
                                                             86.

82   CONTINUED:                                                    82

                                JILL
                         (to Gregg)
                  I knew something was wrong with
                  him.

                                GREGG
                  What do you think happened out
                  there?

                                JILL
                         (shaking her head)
                  Joe never would have hurt all
                  those people unprovoked...
                  something must have got to him.

                                 GREGG
                  Something.   Or someone.

     Jill looks at Gregg, considering this for the first time.

                                 HARRY (O.S.)
                  Jill?

     They turn to see Harry, poking his head in the room. He
     still looks freaked out from the events of the night.

                                HARRY
                  Can I talk to you for a second?

     Jill nods. She takes one last look at Joe, then walks
     out of the room, leaving...

     Gregg, alone with Joe for the first time since Joe held
     him upside down in the jungle.

     Gregg leans against the cage next to Joe. They have never
     been in such close proximity before. The expressive-ness
     in Joe's eyes is uncanny -- Gregg feels almost as if he
     could understand what he's saying.

                                 GREGG
                          (deeply sorry)
                  Well this wasn't in the brochure,
                  was it?

     Gregg looks around at the claustrophobic space.

                                GREGG
                  I promised you wouldn't be put in
                  a cage. I'm sorry, Joe. I helped
                  put you here. And now I'm going
                  to do everything I can to get you
                  out.

     Gregg reaches out for Joe's paw and lays his hand in it.
     Joe gently curls his fingers around Gregg's hand.
                                                              87.

83   EXT. OBSERVATION AREA - BUNKER - CONTINUOUS ACTION             83

     Jill and Harry are in the observation area, a glassed-off
     room that looks into the holding cell. Harry is still
     extremely rattled from the fiasco of the night before.
     He's trying to act tough but he's torn up inside, not sure
     who he's worried about more -- Joe or himself.

                             HARRY
               The City Attorney talked to Baker.
               It wasn't my decision, and
               there's nothing I can do about it.

                               JILL
               About what?

                             HARRY
               Joe stays in there until they
               decide what to do with him.

                             JILL
                      (freaking out)
               In there? Harry, look at him.
               He's depressed, he won't eat. If
               he stays in there, he'll die within
               days.

                               HARRY
               So sue me.    Everybody else is.

                             JILL
               Listen, Harry, either you tell them
               you're getting Joe out of there or
               I will!

                             HARRY
               Don't you get it? This is way
               beyond you, and me. Joe freaked
               out on some very influential
               people. He's a public relations
               nightmare. No zoo will take a
               two-thousand-pound killer gorilla...

                             JILL
                      (interrupting)
               He's not a killer!

                             HARRY
               ... and unless you can write a
               check for millions of dollars to
               buy him a big back yard somewhere,
               Joe's got nowhere to go.

                               JILL
               That's it?    You're not going to do
               anything?

                                                      (CONTINUED)
                                                              88.

83   CONTINUED:                                                     83

     Harry looks at Jill's angry face -- he knows he's just
     lost her respect and it bugs him more than he'd like to
     admit. But there's nothing more he can say.

     He leaves the room, brushing shoulders with Gregg,
     entering. Judging from the expression on Gregg's face,
     he's overheard the whole thing.

     Jill and Gregg look at each other with determination in
     their eyes. There's no question in either of their minds
     about what needs to be done next.

                                JILL
                  I need your help.

                                GREGG
                  You got it.


84   EXT. BUNKER - NIGHT                                            84

     An ANIMAL CONTROL OFFICER stands guard outside the bunker.

     Gregg, Cecily, and Jill walk casually towards the Officer.
     The Officer straightens up and looks tough. He comes
     forward halfway to meet them.

                                CECILY
                         (big smile)
                  Good evening.

                                A.C. OFFICER
                  'Evening.

     Our three just breeze on by the Officer into the bunker.

                                A.C. OFFICER
                  Hey, wait a minute!

     Gregg hangs back with the A.C. Officer as Cecily and Jill
     disappear inside. To buy time for Cecily and Jill, Gregg
     pretends to take the big lug into his confidences.

                                GREGG
                         (confidential)
                  We're conservancy doctors. Do me
                  a favor -- stay here and guard
                  the door.

     The guard nods and looks confused.    Gregg disappears
     inside.
                                                            89.

85   INT. BUNKER - AT CAGE                                        85

     Cecily takes a key from her pocket and opens the door to
     Joe's cage.

                             JILL
               Come on, Joe. We're leaving.
               Let's get you out of here.

     The open door has a stronger effect on Joe than the
     sedatives in his system. He clambers to his feet and
     follows Jill out of the cage.

                                                   (CONTINUED)
                                                              90.

85   CONTINUED:                                                     85

                                A.C. OFFICER (O.S.)
                  What the hell are you doing?

     They turn to see the Officer has a rifle aimed at Joe.
     He's terrified. JOE GROWLS ominously.

                                CECILY
                  I'm Dr. Banks, the head vet. And
                  I'm taking Joe for a CAT Scan.

                                A.C. OFFICER
                  I take my orders from Mr. Baker.
                  Put him back in the cage. Now.

     The Officer trains his gun on Joe. Joe looks at the
     Officer menacingly and bares his huge fangs.

                                GREGG
                         (friendly voice)
                  Officer, you don't want to point
                  that gun at him, believe me.

     The Officer suddenly grabs his neck, which now has a
     tranquilizer dart sticking out of it.

     Jill lowers a tranq gun.

                                JILL
                         (simply)
                  He didn't believe you.

     The Officer slumps to the ground.


86   EXT. BUNKER - CONTINUOUS ACTION                                86

     Cecily steps out of the bunker and blinks a flashlight
     into the dark.

     The red taillights of a trailer suddenly appear as a huge
     tractor trailer backs up towards the bunker.

     Cecily calls out towards the bunker:

                                   CECILY
                  Bring him out.

     Now Jill and Gregg lead Joe outside as Cecily opens the
     doors to the trailer. Joe climbs inside.


87   EXT. TRAILER                                                   87

     Now someone steps out of the passenger side of the cab.

                                                      (CONTINUED)
                                                               91.

87   CONTINUED:                                                      87

     It's Strasser. Avoiding the back of the trailer (where
     he would encounter Joe), Strasser stays where he is and
     calls out to Jill in hushed tones.

                                STRASSER
                  Jill, I got the plane. It's
                  waiting at the airport. We must
                  hurry.

     Strasser holds his hand up in salute to Gregg and Cecily --
     that's about as close as he wants to get to them. Using
     urgency as an excuse, he jumps back into the trailer
     before anyone can engage him in further conversation.

     It's time to say good-bye.    Cecily looks into the back of
     the trailer.

                                CECILY
                  I'm going to miss your ugly face.
                  Be good, Joe.

                                HARRY (O.S.)
                  Yeah. Don't start a fight with
                  anyone bigger than you.

     Harry steps out of the shadows. Everyone turns and looks
     at him. He feels their eyes on him and shuffles a
     little.

                                HARRY
                  You'd better leave out of the
                  west gate. The guard there got
                  called away. Urgent business.

     Jill puts her arms around Harry.    He's antsy and
     embarrassed.

                                JILL
                  You're not such a big coward after
                  all.

                                HARRY
                         (as she keeps
                          hugging)
                  Okay, okay, let go.

     Harry disengages from Jill and disappears back where he
     came from.

     Now Cecily turns to Jill.    She hugs her with great emotion.

                                CECILY
                  Write me when Joe gets settled.

                                                       (CONTINUED)
                                                             91A.

87   CONTINUED:    (2)                                              87

                                 JILL
                  I promise.

     Cecily moves off, leaving Gregg and Jill alone to say
     good-bye. They look into each other's eyes, hating to
     part, everything they have to say to each other still
     unsaid.

                                JILL
                         (yearning)
                  You coming to the airport, or...?

                                GREGG
                         (strained)
                  I think I better stay here and keep
                  people away from that bunker. Give
                  you a head start before they
                  realize he's gone.

     Jill is crumbling. For her, it's awful to leave him, but
     he's not acting heart-broken at all. Confused, she tries
     desperately to stay light. She chatters like a nervous
     schoolgirl.

                                JILL
                         (stammering)
                  Well -- if you're ever in Botswana,
                  come by and take me out to a good
                  meal in a fine restaurant. That
                  is, if you're not afraid to tell
                  Joe that you'll get me home by...

     She doesn't get the rest of her sentence out because Gregg
     is kissing her mouth. It's the kiss he's been wanting to
     give her since the day he first laid eyes on her.

     He lets go of her again, leaving her breathlessly looking
     after him. He walks to the back of the trailer.

     Gregg and Joe make serious eyes contact.

                                GREGG
                         (pointedly, to Joe)
                  Take care of her for me, will ya?

     Gregg shuts the trailer door and walks off, not daring to
     look back. Jill is about to call after him when Strasser
     steps back out of the passenger's side of the trailer.
     He whispers urgently:

                                 STRASSER
                  Jill!   We must go!

     Jill runs to the passenger side of the trailer.
                                                               91B.

87A   INT. TRAILER CAB - THAT MOMENT                                  87A

      Hopping into the trailer, Jill comes face to face with
      Garth, who is sitting behind the steering wheel. He
      nods to her, all business.

                              GARTH
                Hello.

      Strasser gets in on the other side of Jill, closing the
      door behind him. She's sandwiched.


88    EXT. TRAILER - THAT MOMENT                                      88

      Gregg stops and turns around for one last look at the
      trailer as it drives off.

      Cecily exhales -- this love stuff is too hot to handle
      -- and follows Gregg.


88A   EXT./INT. TRUCK/STREET - NIGHT                                  88A

      Jill sits nervously between Strasser and Garth as the
      trailer leaves the gate of the conservancy.

                              STRASSER
                Don't worry, Jill. Soon Joe will
                be back home again.

      Jill looks straight ahead.


88B   EXT. CONSERVANCY GROUNDS - NIGHT                                88B

      Gregg and Cecily walk back through the conservancy.

                              CECILY
                       (wry)
                How many minutes do you give it
                before the whole world knows he's
                missing?

                              GREGG
                Five. How many minutes do you give
                it before we're both lookin' through
                the want ads?

                              CECILY
                Six.

      They smile warmly at each other, respecting the sacrifice
      they've both just made.

                                                    (CONTINUED)
                                                                   91C.

88B   CONTINUED:                                                          88B

      Just then, Vern and Jack drive up in a Blazer.      They stop
      next to Gregg and Cecily.

                                 GREGG
                   What're you guys doing here
                   so late?

      Jack and Vern hop out of the car.       Vern is carrying a
      cardboard box.

                                 JACK
                   Baker wants the tent cleaned
                   up A.S.A.P.

      Vern holds out the box.

                                 VERN
                   Check out the loot we plundered
                   in the wake of mass party panic!
                   This is some weird lost and
                   found, man.

      Vern pulls a single high-heeled shoe out of the box and
      hands it to Cecily.

                                 JACK
                   Yeah, and we've got the fun job
                   of getting this stuff back to
                   everybody.
                          (pulls out a
                           toupee)
                   Somebody's head is cold!

      Digging in the box again, Vern innocently pulls out the
      poacher's dog collar. It means nothing to him, but
      Gregg instantly grabs for it.

                                 GREGG
                          (alarmed)
                   Where did you find this?

                                 VERN
                   Oh -- that was by the habitat.
                          (to Jack)
                   Guess we've got to find those
                   two guys again.

                                  GREGG
                          (urgent)
                   What two guys?

                                                         (CONTINUED)
                                                               91D.

88B   CONTINUED:    (2)                                               88B

                                 JACK
                   That, uh...
                          (to Vern)
                   What do you think that one guy
                   is? Russian? Lithuanian?

      It takes less than a second. Gregg springs into action,
      grabbing the keys to the Blazer out of Jack's hand. He
      sprints to the car. Jack and Vern watch him go.

                                 CECILY
                          (calling after him)
                   Be careful!

      They watch him go.


89    INT. CAB OF CONSERVANCY TRUCK - NIGHT                           89

      Jill glances nervously back as they drive down surface
      streets. She looks over at Strasser. In the passing
      light of the street lamps, he is regaining his sinister
      sheen.

      Garth is driving the trailer very fast. They hit a
      bump, making them lurch in their seat. Jill hears JOE
      go THUD in the trailer.

                                  JILL
                   Please!   Be careful...

                                 STRASSER
                   Always worrying, eh? Your mother
                   was a worrier, too. Always
                   worrying about the gorillas. It
                   made her a lot of enemies. It led
                   to tragedy.

      His tone has something vaguely malevolent in it.    It
      rankles Jill.

                                 JILL
                   My mother was brave.

                                 STRASSER
                   So are you, my dear.

      Jill looks at Strasser sharply. For the first time, she
      really notices his strange, leather hand. For reasons
      she's not yet conscious of, it scares her.

      Strasser notices that Jill is staring at his hand.

                                                       (CONTINUED)
                                                             92.

89   CONTINUED:                                                    89

                                STRASSER
                  It's not so pretty, I know.

                                 JILL
                         (looking away)
                  I'm sorry.
                         (beat)
                  What happened?

     Strasser and Garth exchange amused glances.

                                STRASSER
                  Well... you could say I had an
                  encounter with a monster.
                         (in Roumanian)
                  Monstrule.

     Strasser and Garth chuckle -- they think they're just
     sharing a private joke.

     But Jill has a troubled look in her eyes -- the foreign
     epithet has struck a chord from long ago... she struggles
     to remember...

     Then she gets it. She sees herself crouching in the
     forest with Joe over 12 years ago, overhearing Strasser's
     curses, and her blood runs cold. She glances at
     Strasser, everything dawning on her at once. The hand...
     the face... it all comes together for Jill.

     Strasser catches the look on Jill's face and knows some-
     thing is wrong. Adrenaline is pumping through her.
     Unsure of how to make her next move, Jill tries to hide
     the realization that is crashing down on her...

     She glances in the side view mirror of the truck and
     sees:

     Gregg, driving up behind them in the Conservancy vehicle.
     Jill's face reacts ever so slightly, but Strasser catches
     it. He follows her eye line, looking where she looked,
     and as he also spots Gregg, Jill knows the game is up.
     She loses it and screams:

                                JILL
                  Murdering bastard!

     Jill slams her elbow into Strasser's nose. Strasser's
     face reflexively goes down in his hands. Stunned, Garth
     swerves at the wheel. Fast as lightning, Jill grabs his
     hair and slams his face into the dash.

     Before the men can recover, Jill kicks and claws her way
     over Strasser's back, fighting toward the open window...

                                                   (CONTINUED)
                                                               93.

89    CONTINUED:    (2)                                              89

      She reaches through the window and grabs onto the side
      view mirror. The truck door swings open and Jill sails
      out the door, dangling from her hold on the side view.

      The speeding truck swerves wildly, banging Jill again and
      again against the door.

      Gregg sees her and is horrified at the danger.   He speeds
      up, trying to reach her...

      Strasser grabs for Jill, trying to pull her back into the
      truck... she kicks at him and loses her grasp on the side
      view mirror.


90    EXT. CITY STREET - NIGHT                                       90

      Jill falls, hitting the running board and bouncing hard
      onto the concrete roadway.

      Two CARS swerve and CRASH around her.


91    INT. TRAILER HOLD                                              91

      JOE'S POV

      THROUGH the slats in the trailer, Joe sees Jill almost
      being hit by the cars. He goes crazy, trying to get
      out, rocking the trailer back and forth...


91A   EXT. STREET - THAT MOMENT                                      91A

      Jill lifts her head off the concrete and screams futilely
      after Joe:

                                     JILL
                   Joe!   Get out!


91B   INT. CAB OF CONSERVANCY TRUCK - THAT MOMENT                    91B

      Strasser looks back at Jill lying on the road and slams
      the truck door closed.

                                   STRASSER
                            (to Garth)
                   Drive!

      Garth FLOORS it.      The truck speeds away.
                                                                  94.

91C    EXT. CITY STREET - NIGHT                                         91C

       Gregg sees Jill up ahead and SLAMS on the BRAKES. He
       jumps out of his car and races to her side. He reaches
       her and scoops her away, narrowly saving her from being
       hit by another passing car.


91D    EXT. STREET/INT. CAB - CONTINUOUS ACTION                         91D

       The wheel flies through Garth's hand as he tries to
       control it. Strasser's face is covered in blood.

       The trailer rights itself.    Continues on.


92     OMITTED                                                          92
thru                                                                    thru
95                                                                      95


96     EXT. CITY STREET - CONTINUOUS ACTION                             96

       Gregg checks Jill over. She is bruised and bloody, but
       she doesn't seem to notice. She just stares after the
       trailer and moans...

                               JILL
                        (to herself)
                 What have I done? Mother, oh,
                 God, what have I done...
                        (to Gregg)
                 Do you know who they are?

                                  GREGG
                 I know.

       Gregg half-carries her to the truck.

                                GREGG
                 Come on.   Let's go get him back.

       They see the trailer disappear around the corner...


97     INT. CONSERVANCY TRUCK - CAB - CONTINUOUS ACTION                 97

       Garth tries desperately to steer the truck as the
       steering wheel burns through his hands.


98     EXT. HOLLYWOOD BLVD. - WIDER SHOT - NIGHT                        98

       The picture postcard version.      Lots of neon.   Tourists.

       Movie theaters flashing elaborate marquees.

                                                          (CONTINUED)
                                                          95.

98   CONTINUED:                                                 98

     Gleaming Harleys parked in a row.

     INTO FRAME -- trailer --

     -- weaves wildly. It clips a car coming the other way
     and begins to skid sideways through traffic. It enters
     the intersection kicking off sparks, sending cars
     swerving away.

     WIDEN as the truck jackknifes -- and -- skids to a
     stop -- the back at an acute angle to the cab. A second
     of eerie silence as --

     Out of the stores and theaters, people run towards the
     accident. They encircle the truck. People press closer
     trying to get a look.

     A loud GROWL stops them cold.

     TILT UP -- top of trailer.

     -- Joe's fist punches through. WIDEN as Joe tears away
     the top and pulls himself free -- climbing up atop the
     truck. Its effect on the crowd is like Pandora opening
     her box. They all surge backwards.

                                                  (CONTINUED)
                                                                    96.

98    CONTINUED:                                                          98

      JOE'S POV

      Looking down at the horrified faces simply shouting at
      him. Confused by the blinding headlights and BLARING
      HORNS. People stampeded trying to get away -- some
      stumble on top of each other.


99    LOW ANGLE - CAB                                                     99

      Garth helps Strasser from the wreckage.       Neither of them
      are that badly hurt.

                                   STRASSER
                   Wait.

      Strasser reaches back into the truck cab.       Garth looks
      around, nervously.

                                 GARTH
                   Police'll be here any minute.

      Strasser pulls a leather case from the truck. Then he
      reaches back in for his hunter's hat -- and sets it firmly
      on his head. We haven't seen Strasser like this since
      twelve years earlier: the hunter is back.

      The sound of SIRENS reaches their ears.       Garth is nervous
      as hell.

                                   GARTH
                   We better go.

      Strasser has the thousand yard stare.        Garth has to drag
      him away.

                                  GARTH
                   Come on!   We need to get out
                   of here!

      The two of them leave the site of the accident, just as...


100   EXT. STREET - THAT MOMENT                                           100

      Joe drops down from the truck. People on the street run
      up, take his picture, and run away.

                                TOURIST
                   Hey! It's that gorilla that was
                   on TV!

                                                          (CONTINUED)
                                                              97.

100   CONTINUED:                                                    100

      BACK TO JOE

      FOLLOW Joe DOWN the boulevard, as he moves in a four-
      point walk through the intersection and along the
      boulevard.

      Two women coming out of a shop see Joe and scream -- that
      frightens Joe and makes him bare his fangs. Which only
      makes matters worse. He feints a charge -- and one woman
      collapses.


      JOE'S POV

      It is indeed an urban jungle -- made up of neon and
      steel.


      ANGLE

      Joe walks down the street and bumps into:


      PARKED MERCEDES

      Whose ALARM GOES OFF immediately.   Joe wheels and smashes
      the car until the sound STOPS.


      CLOSE ON JOE

      The lights and loud VOICES blend into one single tumult --
      dangerous and threatening.

      The sounds of SIRENS tell us the police are coming fast --
      a block away we see two BLACK & WHITES SCREECH INTO VIEW.

      THROUGH the crowd we see a street kid, RAY, 13, come face-
      to-face with Joe. His eyes go wide with the wonder of Joe.

                                 RAY
                   Whoa... Hey, Joe!

      It's as if he's seeing a completely different animal than
      everyone else around him. It's a look we've seen in young
      Jill's eyes.

      Ray looks down the street at the approaching cop cars and
      back at Joe. He understands the danger.

      Ray points the right way for Joe to go, away from the
      police cars. Joe watches Ray closely, as if he were
      studying the boy's face. Then he moves off in the
      direction Ray was pointing, towards:
                                                               98.

101   EXT. MANN'S CHINESE THEATER - NIGHT                            101

      Where patrons hang fearfully by the doors.   Theatergoers
      rush back inside.


      CLOSE ON IMPRINTS

      for John Travolta and Donald Duck -- As an enormous
      gorilla foot descends on them. They split down the
      middle, then crumble into dust.

      INSIDE TICKET KIOSK

      A Mexican-American female ticket-taker hyperventilates,
      boxed in her tiny glass booth. From HER POV, Joe ducks
      down and stares at her, bringing his giant face close to
      the glass. She is speechless with fright. Joe moves on.

      Now the sounds of POLICE SIRENS can be heard APPROACHING.
      FIND Joe -- boxed in by the movie theater. Angry. He
      starts searching for a way out...


      ANGLE - STREET

      Just then -- two LAPD cars pull up.   COPS jump out.    They
      spot Joe...

                                COP
                Up there!

      The Cop points up to...


102   EXT. TOP OF MANN'S CHINESE                                     102

      Joe uses his powerful muscles to scale the theater.     He
      makes it to the top -- high over Hollywood.

      Behind him are hills and trees.   Something familiar.


      BACK ON COPS

      They've got their guns aimed, but Joe disappears over the
      top of the theater.

                                                     CUT TO:


103   EXT. BOULEVARD - GREGG'S CAR                                   103

      Gregg and Jill pull up to the overturned trailer, see the
      wreckage... but no sign of Joe. Stunned, they whirl
      around, hoping he'll still be somewhere in sight...

                                                     (CONTINUED)
                                                                 99.

103   CONTINUED:                                                       103

                                 GREGG
                   He couldn't have gotten far.

      Jill is overwhelmed with frustration. In seconds, she
      climbs on top of the overturned can and screams at the
      top of her lungs:

                                  JILL
                           (screaming)
                   Joe!   Joe!

      Gregg sees a group of EXCITED NEIGHBORS run down the street
      towards Mann's Chinese screaming to each other:

                                  EXCITED NEIGHBORS
                   This way!

      Jill hops down and she and Gregg tear off down the street
      towards the gathered crowd at the Chinese Theater.

                                                       CUT TO:


104   EXT. HOLLYWOOD SIGN                                              104

      The world famous icon -- starkly white against the hill.


105   EXT. HOLLYWOOD SIGN                                              105

      PUSH IN CLOSE ON the "O."     A shadow moves across the
      opening.


      CLOSER

      beat -- then Joe steps through.     He's at the apex of the
      urban mountain range.


      JOE'S POV - WEST

      A beam of light is sweeping back and forth across the
      night sky.


      JOE

      PUSH IN CLOSE ON JOE -- he GROWLS as if he recognizes it.
      From this distance it looks like a flashlight beam. In
      Joe's mind it means only one thing -- Jill. He ROARS --
      and moves off across the hill.

                                                       CUT TO:
                                                                 100.

106   EXT. CHINESE THEATER - NIGHT                                      106

      As Jill and Gregg run up, Cops are interviewing witnesses
      to Joe's flight. One CREW-CUT COP speaks into his walkie-
      talkie.

                              CREW-CUT COP
                Orders are shoot to kill. He's
                extremely dangerous.

      Jill hears this and flips out.    She almost attacks the
      Cop.

                              JILL
                       (screaming at Cop)
                No! He's not dangerous! You're
                dangerous! You're dangerous!

      The Cop gives Jill a look that says she's two seconds away
      from handcuffs.

                              GREGG
                       (to Officer)
                She didn't mean that.

      Gregg drags Jill away before she gets arrested.

                              JILL
                       (shouting back
                        at Cop)
                Yes I did.

                              GREGG
                Better cool it, baby.

                              JILL
                They're going to shoot him.

      Gregg looks up over the facade of the theater to the hills
      beyond.

                              GREGG
                Not if we find him first.

      POLICE HELICOPTERS BUZZ by overhead.

                              GREGG
                Let's follow them.

      They run back towards their car.


107   EXT. ALLEY NEAR HOLLYWOOD BLVD.                                   107

      Garth and Strasser watch as Jill and Gregg head off
      after Joe.

                                                      (CONTINUED)
                                                                 101.

107   CONTINUED:                                                        107

      Strasser opens the case he retrieved from the truck,
      starts assembling a hunting rifle. Garth looks at it
      in surprise.

                                 GARTH
                   What are you doing? You don't
                   think we can get the gorilla
                   now, do you?

      Strasser doesn't even bother to answer the question.       He
      finishes loading his rifle.

                                    STRASSER
                   We need a car.     Now.

                                                       CUT TO:


108   EXT. HOLLYWOOD BLVD - NIGHT                                       108

      A RUBBERNECKER sits in his car, a Range Rover, gawking at
      the police all over Hollywood Blvd. Then a hunting rifle
      ENTERS FRAME, pressing right against his cheek.

      The Rubbernecker doesn't even seem scared.     He just
      shakes his head, annoyed.

                                 RUBBERNECKER
                   Fifth goddamn time this year.

      He grabs his soda from the cupholder, his garage door
      opener (Guy's been through this before) but before he can
      reach for his Thomas Guide...

      Garth hauls him out of the car and throws him on the
      ground.

                                 RUBBERNECKER
                   Hey! I was going! No need to be
                   so pushy about it.

      Strasser and Garth jump in the car and drive away.

                                                       CUT TO:


109   EXT. SANTA MONICA MOUNTAINS - NIGHT                               109

      Homes built into the dark green hills. FOLLOW a wooden
      fence -- a long wooden barrier that's been blown out of
      its mooring. A MAN in BOXER SHORTS runs out of his
      kitchen door. His wife behind him. Their DOG is WHINING
      at something from underneath their deck.

                                                       (CONTINUED)
                                                                  102.

109   CONTINUED:                                                         109

      POV SHOT - LOOKING THROUGH BACK YARD

      The couple can see all the way down back.     Every fence
      has been knocked over.

      We TRACK THROUGH the back yards, PAST overturned lawn
      furniture and downed clotheslines. People stepping out
      of the doors -- confused.


      BACK TO MAN

      on cordless phone, surveying the damage.

                                 BOXER SHORTS MAN
                          (into phone)
                   Is this L.A. County Animal
                   Control...? You're not gonna
                   believe this...


110   EXT. SEPULVEDA PASS - NIGHT                                        110

      FIND Joe -- emerging from the thick growth. He can hear
      the NOISE like a rushing river O.S. He moves to the top
      of the crest.


      JOE'S POV - SAN DIEGO FREEWAY - NIGHT

      Where the hills are split by the river of light.    Joe
      looks out over the freeway.


111   EXT. NIGHT-SCAPE                                                   111

      Joe can see the searchlights in the distance.

      The rushing river of light is an image Joe can't quite
      assimilate. But somehow Joe knows he must cross this
      "thing" to get to the hills on the other side.


112   EXT. FREEWAY - NIGHT                                               112

      Joe steps into the first eight lanes of freeway traffic.

      We hear some SCREECHING and SKIDDING as the first four
      drivers of the first four CARS in each northbound lane
      spot Joe and slam on the BRAKES.

      Miraculously, nobody crashes. Bumpers remain uncrushed.
      Almost ceremoniously, the oncoming traffic comes to a
      respectful halt as Joe hesitantly lumbers past.

                                                       (CONTINUED)
                                                               103.

112   CONTINUED:                                                      112

      It's almost like church. The freeway becomes quiet.
      Nobody honks. Nobody screams.

      Overcome with awe, a woman steps out of her car and just
      stands there in the middle of the freeway, watching Joe
      pass. Others follow suit.

      Joe climbs the center divider.    The same thing happens in
      the southbound lane.

      As Joe disappears up the hill on the other side, the
      stunned drivers simply stare in disbelief. L.A. is in awe.


113   OMITTED                                                         113


114   INT. CONSERVANCY VEHICLE (FREEWAY OVERPASS)                     114

      Gregg and Jill arrive on the scene.

      They look down from the overpass and see cops swarming
      around the area where Joe was, shining their flashlights
      into the brush and talking to motorists.

                                 GREGG
                   Any idea where he might've headed?

      ON JILL -- drifting off, as something O.S. catches her
      attention.

                                 JILL
                   Look.

      She points out THROUGH the windshield.


      LONG SHOT - JILL'S POV - THROUGH WINDSHIELD

      Shining over the horizon, coming from somewhere near the
      ocean, is a searchlight, piercing the night sky. The
      image is as familiar to Jill as it was to Joe.


      BACK TO SCENE

                                 JILL
                   That's where he'll go. He'll
                   think that's me calling him.

      Gregg steps on the accelerator. As their car pulls away,
      PAN TO Strasser and Garth following a few car lengths
      behind.
                                                                104.

115   OMITTED                                                          115


116   HELICOPTER SHOT - MOVING ACROSS BAY - NIGHT                      116

      The moon-striped water surges and ebbs as we SKIM the
      waves, RUSHING TOWARDS --


117   EXT. PALISADES OCEAN PARK - NIGHT                                117

      A festival of lights.   Rides, arcades, lots of people.


      CLOSE ON SEARCHLIGHT

      A kettle light rotating on its base. CAMERA CRANES UP
      THROUGH the klieg beams REVEALING the park -- CONTINUE
      TO CRANE UP 'til we see, towering over everything, the
      new Ferris wheel -- a neon blur spinning grandly against
      the moon-bright sky.


118   EXT. PALISADES OCEAN PARK - VARIOUS SHOTS - NIGHT                118

      Quintessentially American images of beach-side amusement
      park. A carnival-like atmosphere.


      ANGLE - ARCHWAY ENTRANCE

      Some couples stop to take their photos, kissing under
      the iconic neon arch that welcomes people to the park.


      YOUNG COUPLE

      stops to share the view -- and a kiss.   Until a LOUD
      GROWL makes them jump back.

      Joe has appeared under the arch. The young girl
      screams -- her boyfriend pulls her back.


      JOE'S POV

      It's like a slow-motion panic. The noise and tumult of
      the crowded park keeps people from hearing the screams
      right away.

      One toddler smiles and waves at Joe until his mother
      snatches him and runs for dear life.

                                                     (CONTINUED)
                                                              105.

118   CONTINUED:                                                     118

      AT FERRIS WHEEL

      A crowd of kids waits in line. One of them, a particularly
      appealing little boy named JASON, is having a conversation
      with his MOTHER. She has the aura of a single mom about her,
      and she clearly adores her sweet-faced kid.

                                 JASON
                   Mom, I don't think I can let
                   you go on the ferris wheel.

                                 JASON'S MOTHER
                   Why not?

                                 JASON
                   Because the last time after you
                   ate two hot dogs, you threw up,
                   remember?

                                  JASON'S MOTHER
                   What if I promised to throw up
                   over the side?

      They both giggle at her joke.

                                 JASON
                   Mom, I think I should do this
                   ride by myself.

                                 JASON'S MOTHER
                          (reluctant)
                   Okay... I'll watch you.

      TILT UP TO the wheel turning majestically -- filled with
      kids. Some wave from the chairs as they crest -- it
      feels like they're flying over the ocean below.

      We NOTICE two girls (JENNY, seven, and EMMA, nine) as
      they come over the top. On the way down, they can see
      the crowd parting below as Joe ENTERS FRAME.

      At the base of the great wheel -- parents are finally
      hearing the commotion.


      BY LIGHT

      Joe arrives at his destination -- the bright light that
      drew him here. He's confused by the fact that Jill's
      nowhere to be found. Desperately, he scans the park...

      People scream and panic around Joe. The noise drives
      him deeper into the park, searching for Jill.
      Meanwhile --

                                                     (CONTINUED)
                                                                106.

118   CONTINUED:    (2)                                                118

      AT ARCADE - BIG SAFARI BOOTH

      Three college guys shoot replica AIR GUNS at cardboard
      lions and elephants, setting off fake explosions in a
      "Big Safari" booth.


      JOE

      feels threatened and recoils. Then he continues past
      them. The rush of people away from him gets more
      frenzied.


119   EXT. PARK ENTRANCE - SAME TIME                                   119

      Jill and Gregg run under the archway. People rush past
      them. They fight their way through the crowd.

                                 JILL
                   He's gotta be here.   Do you see
                   him?

      Gregg and Jill scan the amusement park, looking for the
      source of all the commotion.

                                                      CUT TO:


120   EXT. PARKING LOT - NIGHT                                         120

      Garth and Strasser have parked at the edge of the
      amusement park. Strasser has the rifle out and propped
      up on one knee. He uses the scope as a viewfinder.

      STRASSER'S POV THROUGH SCOPE - JILL AND GREGG

      running towards the carnival games.


      BACK TO SCENE

      Garth puts his hand on the barrel of the gun and pulls it
      away from Strasser's eye. He's so nervous he's almost
      chuckling.

                                  GARTH
                          (very nervous)
                   Hold on, now -- just who are
                   you aiming at?

      Strasser looks at Garth with deadly focus. His eyes tell
      the story. Garth realizes his boss's intentions with
      horror.

                                                      (CONTINUED)
                                                              107.

120   CONTINUED:                                                     120

                                  GARTH
                   No.   You can't do that.

                                 STRASSER
                   If that girl starts telling
                   people who we really are, our
                   whole cover operation will be
                   blown.

      Strasser aims his rifle again.

                                 GARTH
                   She's not an animal. That's a
                   human being you're about to
                   kill.

      Strasser fixes Garth with an icy stare.

                                 STRASSER
                   Go wait in the car.

      He raises the gun again, gets the sight lined up just as
      Gregg and Jill pass near the klieg light. Garth grabs
      the gun, just as Strasser is about to pull the trigger.

                                                    CUT TO:


121   EXT. PARK - NIGHT                                              121

      BLAM!

      Strasser's SHOT, altered by Garth, hits the klieg light
      behind Jill and Gregg.

      The LIGHT EXPLODES -- GLASS SHATTERS.

      Gregg pulls Jill to the ground, as...

      Sparks shoot out of the klieg light, a few of them
      hitting the ubiquitous sawdust and straw that buffers
      the floors of many rides.

      It takes only one second before there is a flame that
      begins to spread in a SIZZLING POOL of OIL right at the
      base of the Ferris wheel.


      ANGLE - IN BACK OF FERRIS WHEEL

      The FLAME dances over an oil slick and engulfs several
      sacks of sawdust. It smolders -- then ERUPTS in a much
      larger conflagration.

                                                    (CONTINUED)
                                                                 108.

121   CONTINUED:                                                        121

      FIND one parent (Jenny and Emma's MOTHER) who is nervously
      waiting for her children near the bottom of the Ferris
      wheel. She hears the HISS of the FIRE and sees the
      shadows cast by the flames. She moves away from the
      other parents -- into --


      POV SHOT

      -- as she now sees the fire attacking the Ferris wheel.

                                 JENNY'S MOTHER
                   Oh God...

      The Ferris wheel operator sprays an industrial
      extinguisher on the flames. He crawls underneath the
      machine where the fire is worst.

                                                       CUT TO:


122   EXT. PARKING LOT                                                  122

      Strasser, extremely pissed off, turns to look at Garth.

                                 STRASSER
                   That was very stupid, Garth.

                                 GARTH
                   You're not a hunter, you're a
                   murderer, and I won't be a
                   part of this...

      Strasser flips the gun and cracks Garth squarely in the
      head with the rifle butt.

      Garth hits the ground like a bag of sand.

                                 STRASSER
                   Anything else on your mind?

      Strasser turns to look back at the park. He no longer
      has a clear shot at Jill. He realizes he's going to have
      to move in close.

      From his jacket he takes a .45 caliber semi-automatic
      Match Master and a barrel extension which he screws on
      with great concentration using his gloved hand.

      Strasser begins to work his way into the park.

                                                       CUT TO:
                                                               109.

123   EXT. PARK - NIGHT                                               123

      Jill and Gregg pick themselves up off the ground.

                                 JILL
                What was that?

      Then they spot the fire, spreading to the Ferris wheel.
      Gregg turns to Jill.

                              GREGG
                Go find Joe, get him out of here.
                       (looking towards
                        the wheel)
                I'm gonna see if I can help.

      Gregg moves off towards the Ferris wheel.


      JILL

      heads over to the carnival games.

                                                    CUT TO:


124   EXT. PARK - CONTINUOUS ACTION                                   124

      Strasser, calm and totally committed to his course of
      action moves through the pandemonium of the crowd, gun
      by his side.

                                                    CUT TO:


      AT FERRIS WHEEL

      Parents are shouting, crowding the Ferris wheel. Two
      operators are unloading children as quickly as they can.

      They look like they are about to be overwhelmed but
      then...

      Gregg ENTERS FRAME. He vaults the guard rail, starts
      unloading children right from their moving cars.

      There is utter chaos, children screaming, fire and smoke.
      CRANE UP PAST the terrified faces of the children who
      have to wait, 'til we GET TO Jenny and Emma. Jenny turns
      to see the fire beneath them.

                                                    (CONTINUED)
                                                                110.

124   CONTINUED:                                                       124

      FIRE

      is really starting to burn out of control now. It has
      spread to the engine of the FERRIS WHEEL, which, heated
      to the bursting point, suddenly EXPLODES.

      The ride operator with the fire extinguisher is blown
      through the air, and the Ferris wheel lurches to a halt.


      JENNY AND EMMA

      grip their safety bar as their bucket swings back and
      forth. Emma nearly falls out -- until Jenny grabs her
      and holds her tight.

                                  JENNY
                   Mo-om!!

                                  JENNY'S MOTHER
                   Oh my God!   Somebody help!

      Gregg -- sees the girls, their bucket having come to a
      stop about fifteen feet off the ground. Thinking
      quickly, he jumps up on the guard railing, then leaps
      across to their bucket.

      He just grabs onto the bottom. The bucket shakes back
      and forth violently, causing the two girls to scream.
      Gregg looks up at them.

                                 GREGG
                   Don't be scared. Climb down my
                   back.

      The girls look at Gregg, too nervous to move.

                                  GREGG
                   Come on.

      Tentatively, Jenny and Emma climb out of their bucket and
      onto Gregg's back, using him like a human ladder. They
      shimmy down to his feet, then drop off, one by one, into
      the waiting arms of their mother.

      Gregg lets go of the bucket, drops a good fifteen feet,
      landing roughly. The girls' mother looks down at Gregg,
      thankfully.

                                  JENNY'S MOTHER
                   Thank you!   Oh God, thank you!

      Gregg, winded, just nods.

                                                      CUT TO:
                                                                 111.

125   EXT. AMUSEMENT PARK - PARKING LOT - NIGHT                         125

      A phalanx of cop cars races up to the park.


126   EXT. AMUSEMENT PARK - NEAR CARNIVAL GAMES                         126

      Jill moves through the maze of carnival games. She spots
      Joe, moving through the small buildings, clearly
      disoriented. She yells out...

                               JILL
                Joe!   Joe!!

      But above the tumult, he can't hear her. Jill pushes her
      way towards him, when she comes face to face with...

      Strasser. Just yards away.      He flashes his sickening
      smile, raises his gun...

      ON JILL -- a look of terror crossing her face as she
      realizes she's about to die. Then, as a shadow passes
      over her, her expression of terror melts away.

      ON STRASSER -- seeing Jill's expression, his smile fades.
      Why's she so calm all of a sudden? He doesn't even need
      to turn around to know that:

      Joe is behind him. As Strasser turns slowly around, Joe
      reaches down swiftly and hoists Strasser off the ground.
      The GUN GOES OFF, barely missing Joe. JOE ROARS and
      crushes Strasser's left hand in his paw, a bone-crunching,
      slow squeeze that makes Strasser scream in agony.

      Then Joe swings Strasser around and grabs him around the
      chest with his right paw. He pulls him close to his face
      and blasts a DEAFENING ROAR into his face. Joe cocks his
      arm and heaves Strasser with mighty force into the air.

      Screaming, Strasser hurtles through space with incredible
      speed, CRASHING right through the flaming signage of the
      "Big Safari" booth, sending out a SHOWER OF SPARKS...

      ... and continues flying through the air until WHACK!      He
      hangs up on a power line.

      Strasser slips down, catching his fall with his fake hand.
      This section of the LINE is safe, but directly below it is
      a cluster of electrical junction boxes. Cracked and
      blistered by the heat of the nearby fire, they are sparking
      dangerously -- to fall on to them would mean certain
      electrocution.

                                                       (CONTINUED)
                                                               112.

126   CONTINUED:                                                      126

      Strasser's bad hand begins to slip from the wire.
      Desperate, he reaches up with his left hand to grab on --
      only to remember that this hand has just been crushed
      by Joe, and is useless to him now.

      Strasser helplessly watches as his prosthetic comes
      unclasped from his hand and he slips the last, fatal
      fraction of an inch.

      Strasser falls onto the junction boxes, which explode in
      a shower of sparks. Strasser sizzles and dies, while above
      him, the prosthesis still swings on the wire.


127   EXT. PARK - CONTINUOUS ACTION                                   127

      Jill stands where she is, frozen at the horrible sight
      of what has just happened. A dozen people scream and
      recoil.

      A swarm of policemen, led by Commander Gorman, watch
      Joe's violent action in stunned silence. Gorman motions
      to his men.

                                 COMMANDER GORMAN
                   Get the marksmen up here! Now!

      Jill knows what's coming. Convincing Gorman is hopeless.
      She runs to Joe. Fearing for his life, she calls for
      him to follow her deeper into the park.

                                   JILL
                   Come on, Joe.    Come on.


      FERRIS WHEEL

      Gregg is catching his breath on the ground near the Ferris
      wheel.

      Jill runs up to him, Joe close behind.

                                 JILL
                          (breathlessly)
                   Joe got Strasser. He was trying
                   to kill me.

                                  GREGG
                   I know.   I just hope they do.

      He motions to the cops, who have set up at the park's
      edge.

                                                     (CONTINUED)
                                                                 113.

127   CONTINUED:                                                        127

      CLOSE ON JOE

      He's not looking at the cops. He's focused on the Ferris
      wheel. The fire is burning near the metal supports that
      hold it upright. With each passing minute, the wheel's
      moorings are getting looser.

      PAN UP TO a bucket at the very top of the wheel. Two
      small hands hold on for dear life. He starts moving
      towards it.

                                 JILL
                   Joe?

      In the next instant, Joe has started running for the
      wheel.

                                 JILL
                   Joe!


      COPS

      are getting into firing squad position.       A SHARPSHOOTER
      follows Joe through his scope.

                                 SHARPSHOOTER
                          (to fellow cop)
                   Talk about an easy target.


      SHARPSHOOTER'S POV

      He's got Joe right in his crosshairs, when...

                                 GREGG (O.S.)
                   Stop!

      Gregg and Jill run into the crosshairs, waving their
      arms.

                                 GREGG
                   Don't shoot him.

      Commander Gorman comes forward, yelling at Gregg.

                                 COMMANDER GORMAN
                          (to Gregg)
                   Get out of the way. Get back.
                          (to cops)
                   Ready...

                                                         (CONTINUED)
                                                              114.

127   CONTINUED:    (2)                                              127

                                JILL
                   Stop! He's not dangerous,
                   please...

      The Commander is furious at these two civilians keeping
      him from his job. He barks orders to two cops:

                                 COMMANDER GORMAN
                          (to two cops)
                   Get them out of here! Now!

      The cops are about to move on Gregg and Jill when Jason's
      Mother, panic-stricken, runs up to Gorman.

                                 JASON'S MOTHER
                   Officer, help! I can't find my
                   son! I think he's still on the
                   Ferris wheel.

                                 JILL
                   Look!

      Everyone turns to look at the Ferris wheel...


      SHARPSHOOTER

      follows Joe's ascent through his viewfinder.


      HIS POV - TOP OF FERRIS WHEEL

      A frightened six-year-old boy pops his head up from a
      bucket. Everyone is stunned as they see this lone
      child -- trapped at the top.

                                 JASON'S MOTHER
                          (in agony)
                   Oh my God! Jason!

      PAN DOWN to reveal -- Joe is heading straight for Jason.
      Massive muscles pulling him up higher, towards the
      endangered boy.


      ON GORMAN

      ready to shoot Joe.

      Jill turns to Jason's Mother, quietly pleading.

                                 JILL
                   He'll save your boy.

                                                      (CONTINUED)
                                                                   114A.

127   CONTINUED:    (3)                                                127

      Jason's Mother looks at Jill, panicking.      She swallows
      hard and turns to Gorman.

                                   JASON'S MOTHER
                   Don't shoot.
                          (beat)
                   Let him try.

      Gorman looks at Jason's Mother, then at Joe. Then at the
      boy at the top of the Ferris wheel. He motions to his men.

                                 GORMAN
                   Hold your fire.
                                                               115.

128   EXT. FERRIS WHEEL - NEAR TOP                                    128

      Joe climbing with all his strength, comes to the top of
      the Ferris wheel.

      ON JASON -- staring, wide-eyed, at this miraculous
      animal. He watches, in awe, as Joe extends a massive
      hand and lifts him out of his seat.


      ON GROUND

      All eyes watch, in awe, as Joe presses Jason to his
      massive chest.

      ON JILL -- smiling through tears.    Gregg puts an arm
      around her.


      BEHIND THEM

      Camera crews from local TV news stations have poured into
      the park. They film all of this.


      AT BASE OF WHEEL

      The wood attached to the metal supports has completely
      burned through. With a terrible CRACKING sound, the
      SUPPORTS begin to tear away.

      Another EXPLOSION rocks the WHEEL.   It SHUDDERS.

                                JASON'S MOTHER
                  Oh, please, no...

      WIDEN SHOT -- The Ferris wheel begins to tip over.

      ON JILL -- a look of horror passes over her face as well.

                                GREGG
                  It's going to tip! Everyone back
                  up!

      Everyone starts backing away from the wheel.

      The wheel seems to fall slowly -- like in a dream --
      sending debris and flames spilling across the park.


      ON JOE

      As he cradles Jason tight in his arms.

      The wheel begins to fall towards the ground.

                                                      (CONTINUED)
                                                               116.

128   CONTINUED:                                                      128

      Joe jumps away from the burning wheel --


      POV SHOT

      As the ground comes rushing up at him.


      JOE

      hits hard, just clearing the falling wheel by inches.    He
      doesn't move.

      PAN the crowd -- an eerie silence falls over everyone.
      The only sound the CRACKLING of the FIRE.


      JILL

      breaks free from Gregg and runs toward Joe.   Jason's
      Mother races with her.


      ON JOE

      Motionless on his back. Still cupping the boy, nestled
      and protected against his massive chest. A beat -- then
      Jason looks up from Joe --

                              JASON
                   Mom?

      Jason's Mother bursts into joyous sobs as her son climbs
      into her arms. A general sense of relief passes through
      the crowd, except for...


      JILL

      She kneels by Joe stroking his great chest. Joe doesn't
      respond. Jill bows her head and cries deeply.

      People back away to give her room. How strange to see
      this huge, powerful animal stilled.


      Gregg comes and kneels by Joe's side. He checks for a
      heart beat. For wounds. Joe doesn't stir. Gregg is
      devastated, too.

      PAN CROWD...

      Firemen, paramedics and television reporters run through
      the park. The paramedics lead off the wounded.

                                                     (CONTINUED)
                                                              117.

128   CONTINUED:    (2)                                              128

      Still holding her boy, Jason's Mother comes forward. She
      recognizes what Jill is going through her own version
      of mother's grief. She approaches respectfully...

                                 JASON'S MOTHER
                   I'm so sorry...

      Jill is beyond comfort. She's in another world. Humming
      their lullaby, she rests her soft cheek in Joe's giant paw
      for the last time. Her blonde hair spills on his
      fingers...

      And then, SLOWLY ENTERING FRAME, a giant finger reaches for
      Jill's cheek and strokes it gently...

      It takes Jill a moment to realize she hasn't imagined
      this... she opens her eyes, sees the moving fingers, turns
      to look into Joe's face, just as his eyes open...

      Elated, Jill moves up to Joe's head and kisses his face a
      thousand times. Gregg takes a deep breath, privately
      thanking God. Jason's Mother is tearful -- Jason is all
      smiles.

      Jill tearfully blathers soothing words...

                                 JILL
                          (kissing Joe's
                           head)
                   That's right, Joe -- that's
                   right, big guy. That was a big
                   fall but you're okay, aren't
                   you? You're tough. You're so
                   tough. Yes you are. Yes you are.

                                 GREGG
                          (checking Joe over)
                   We've got to get him checked
                   out.
                          (looking around
                           at crowd)
                   And get him somewhere safe.

      Jill looks at Gregg with a heavy heart.

                                 JILL
                          (bitter/rhetorical)
                   Somewhere safe? Where is that?

      Jason's Mother breaks in timidly.

                                                      (CONTINUED)
                                                                 118.

128   CONTINUED:    (3)                                                 128

                                 JASON'S MOTHER
                          (stammering)
                   Perhaps... I mean, maybe...
                   isn't there anything we can do?

      Jason pushes in front of his mother. He reaches out his
      little hand and pets Joe. He looks up at Jill and Gregg
      with a shining face and smiles hopefully.

      (ALTERNATE END OF SCENE)

      Jill shakes her head at the mother and continues to pet
      Joe softly.

                                 JILL
                          (kindly)
                   No. I don't think so. Not unless
                   you have a few million dollars on
                   you to buy him a home somewhere.

      Jason's mother nods hopelessly, comprehending the
      difficulty of the situation. But Jason has also heard
      Jill's words. He pushes in front of his mother, reaches
      into his pocket and pulls out a crumpled dollar bill. He
      hands it to Jill and Gregg with a shining face and smiles
      hopefully.

                                  JASON
                   Here.   For Joe.

      Gregg and Jill are moved by the gesture. Gregg respect-
      fully takes the dollar from the little boy while everyone
      looks on.

                                  GREGG
                   Thanks.

      Gorman and his men exchange glances, also touched by the
      little boy's deed. Now Gorman reaches into his pocket and
      pulls out a ten. He comes forward and hands it to Gregg.

                                  GORMAN
                   For Joe.

      Now the other cops are reaching into their pockets.    They
      come forward with dollars in their hands.

                                  COPS
                   Here.   For Joe.

      Gregg's hands and pockets are being stuffed with money as
      dozens of people begin to come forward with whatever they
      can afford. Gregg looks at Jill, overwhelmed by what's
      happening, and her face echoes his emotions...

                                                       CUT TO:
                                                                 A118A.

129    EXT. SCHOOL - DAY                                             129

       Jason walks up and down the aisle collecting pennies.
       He holds a collection can that reads, simply, "Joe."

                                                      CUT TO:


130    EXT. NEW YORK SUBWAY - DAY                                    130

       Busy commuters rush through turnstiles -- but stop long
       enough to throw money into a big Joe bucket manned by a
       guy wearing a gorilla suit.

                                                      CUT TO:


131    OMITTED                                                       131


132    EXT. HOLLYWOOD BOULEVARD - DAY                                132

       We see Ray and his street-tough buddies collecting money
       for Joe.

                                                      CUT TO:


132A   EXT. KWELI'S VILLAGE - DAY                                    132A

       Kweli walks through the outdoor bar, collecting money for
       Joe from a half dozen villagers.

       A hand, holding a few crumpled bills, taps him on the
       back.

       Kweli turns around and comes face to face with Pindi.
       Pindi stuffs the money in Kweli's can and grins.

                               PINDI
                 For Mighty Joe, bro.


133    INT. POST OFFICE - PILE OF MAIL - DAY                         133

       Dumped on the ground of the post office.   PULL BACK as
       four more bags are dumped.

       PUSH IN CLOSE ON one envelope -- with an obviously
       foreign stamp simply addressed:

       "Joe Young, America."

                                                      DISSOLVE TO:
                                                                 118A.

134   INT. M.J.Y. WILDLIFE PRESERVE - DAY                              134

      The blue sky above Africa.    CRANE DOWN to see:

      An entry gate with the words "Joe Young Wildlife Park"
      printed across the top.

      Beneath the gate: Kweli, standing with Jill and Gregg,
      is blowing a ceremonial horn, sending an ancient blessing
      into the air. As he finishes, we hear applause.

      PULL BACK to reveal 35 people -- locals, villagers,
      friends -- applauding the opening of the park.

      Voiceover begins:

                              JILL (V.O.)
                Dear Cecily: I promised to write
                you when Joe was settled and now I
                finally can. We finally dedicated
                the Joe Young Wildlife Park last
                week and it was one of the
                happiest days of my life. At last
                I have kept my promise to my
                mother.

      Under the gate, Jill jumps joyously on Gregg, and he
      whirls her around in a tight embrace.

                              JILL (V.O.)
                Joe seems so happy here. I know
                he feels that he's safe.

      Gregg looks O.S. and waves.

                              GREGG
                Hey, Joe -- come on, big guy...

      Joe comes walking INTO FRAME. Gregg smiles at Jill, very
      pleased with himself that Joe responds to him now, too.

                              JILL (V.O.)
                He and Gregg have become good
                friends. They even play together.
                And that jealous rivalry they
                had? It's all gone.

      Joe swats Gregg to the ground and takes his place next
      to Jill.

                              JILL (V.O.)
                Well... almost all gone.

                                                         (CONTINUED)
                                                                 119.

134   CONTINUED:                                                        134

      Not completely amused, Gregg picks himself up and raises
      a warning finger at Joe. Joe looks over at him, and
      purses his lips at Gregg, as if laughing at his own
      rough play.

      Joe turns and walks away up the hillside. Jill helps
      Gregg up. He puts his arm around her and kisses her
      hair. They watch Joe go.

                                 JILL (V.O.)
                   It's been a long journey getting
                   to this place, but Joe is finally
                   home. I think we all are.

      CAMERA PULLS BACK over the crowd of villagers who have
      begun singing a powerful African hymn.

      As the sound of their singing rises into the mountain
      sky, we --

                                                       CUT TO:


      AERIAL SHOT

      TRACKING WITH Joe, who begins to run now, limbs out-
      stretched with energy and joy, claiming his freedom.

      The CAMERA RISES OFF of Joe to the verdant African
      landscape beyond. Joe's home -- protected and free.

                                                       FADE OUT.




                                 THE END

Mighty Joe Young



Writers :   Mark Rosenthal  Lawrence Konner  Ruth Rose
Genres :   Action  Adventure  Family


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