K O N G Changes 09/01/1932 - 09/06/1932 FADE IN on a composite glass shot over the Hoboken docks - New York Skyline dimly seen in background. Snow. Sounds of tugboat whistles. DISSOLVE TO - Ship's side gangway slopes up out of picture. Weston, a theatrical agent, comes along wharf, peering at ship. He is fifty, heavy, slow, but with a shrewd eye. He turns up his collar and shivers, stops and looks at ship doubtfully. An old watchman comes along wharf from opposite side, swinging a lantern. An old watchman comes along wharf from opposite side, swinging a lantern. WESTON Hey, Is this the moving picture ship? WATCHMAN The Venture? Yep. (Weston starts for gangway) You going on this crazy voyage? WESTON (pausing) What's crazy about it? WATCHMAN I dunno know, but I hear everybody talkin' about this crazy feller that's running it. WESTON Carl Denham? WATCHMAN Guess that's the name. They say he ain't scare of nothin' - if he wants a picture of a lion he walks right up and tells it to look pleasant. WESTON He's a tough egg, all right. But why the talk about this voyage being crazy? WATCHMAN Wal, there's talk around the docks about the cargo for one thing. And I never see a ship this size with such a crew. WESTON Not enough men to handle her? WATCHMAN Not enough! The crew's three times too big for the ship. I dunno know where they find enough room to sleep. DRISCOLL (from above deck) Hey, there! What do you want? WESTON Denham aboard? DRISCOLL (comes down gangway into picture) Yes. Who are you? WESTON I want to see him. I'm Weston, the agent. DRISCOLL Come aboard. Denham's getting wild. Hope you have some good news for him. INT. CABIN - NIGHT Denham and Englehorn talking. ENGLEHORN Well, Mr. Denham, you know the reasons for hurrying as well as I do. The insurance company has found out we're carrying explosives, and the Marshal will be aboard tomorrow or next day. DENHAM I suppose if we make a legal case of it, we'll be tied up for months. ENGLEHORN With ship's articles falsified and ammunition enough aboard to blow up the harbor? (he takes a bomb from case on floor) And what do you think the Marshall will say to these new gas-bombs? According to you one of them is powerful enough to knock out an elephant. DENHAM (pacing up and down) We've got to get to where we're going before the monsoon starts. ENGLEHORN You can trust me to get you through a blow, I hope. DENHAM Don't get sore, Skipper. But you know what it means to hit the tropical rainy season when we're making an outdoor picture. Months wasted, money gone, and nothing to show for it. ENGLEHORN But still you always bring back a picture and everyone says, "There is only one Carl Denham." Driscoll and Weston come in. DENHAM Weston! I was just going ashore to ring you up. WESTON If I'd known that, I'd have waited. DENHAM Meet the Skipper. (to Englehorn) This is Weston, the theatrical agent. (they shake hands) And this is Driscoll, the first mate. Well, where's the girl, Weston? WESTON It can't be done, Denham. DENHAM What? It's got to done. (Weston shakes his head in silence) Look here, Weston. The Actor's Equity and the Hays outfit have interfered with every girl I've tried to hire; now every agent in town has shut down on me. All but you. You know I'm square - WESTON Everybody knows you're square, Denham but you've got a reputation for recklessness that can't be glossed over. And then you're so secretive. DRISCOLL I'll say so. ENGLEHORN When even the skipper and the mate don't know where they're going -- (he shrugs) WESTON There you are. I've got a conscience, Denham. I can't send a young, pretty girl, such as you want, on a job like this without telling her what to expect. DENHAM And what is she to expect? WESTON To go off for no one knows how long, to some place you won't even hint at, the only woman on a ship with the toughest mugs I ever looked at. (they all laugh) I mean the crew. DENHAM Good Lord, you'd think I never brought anybody back alive! The Skipper and Driscoll have stuck by me on two trips. They seem healthy. DRISCOLL Sure we're healthy. ENGLEHORN But it's different taking a girl into danger. DENHAM Oh, I suppose there's no danger in New York? Why, there are dozens of girls in this town tonight in more danger than they'd ever see with me. DRISCOLL (drily) Sure. But they know that kind of danger. WESTON You never had a woman in your other pictures, why do you want one in this? DENHAM (exploding) Holy mackerel D'ye think I want to haul a woman along? WESTON Then why - ? DENHAM Because the public - bless 'em - must have a pretty face to look at. WESTON Everybody likes romance. DENHAM Isn't there any romance or adventure in the world without a flapper in it? ENGLEHORN Well, Mr. Denham, why not make a picture in a monastery? (they all laugh) DENHAM It makes me sore. I go out and sweat blood to make a swell picture, and then the exhibitors and critics all say, "if this picture had a love interest, it would gross twice as much." All right, the public wants a girl, and this time I'll give 'em what they want. WESTON (rising) I don't know where you'll get her. DENHAM Weston, I've got to. We've got to sail on the morning tide - we've got to be out of here by daylight - WESTON Why? DENHAM Well - there's a good reason. WESTON Everything I hear makes me like this thing less. I'm glad I didn't get you a girl. DENHAM You are, eh? Well, I'll show you. If you think I'm going to give up just because you can't find a girl with a backbone -- (he is struggling into his overcoat) -- I'm going to make the greatest picture in the world, something that's never been seen or dreamed of. They'll have to invent some new adjectives when I come back. (he is at the door) ENGLEHORN Where are you going? DENHAM I'm going to bring back a girl for my picture -- if I have to marry one! DISSOLVE TO Long Shot - Broadway at night - stock CUT TO Denham walking along, scanning faces as he walks. DISSOLVES of faces of women, Broadway types, bold, indifferent, heavy, ugly - most of them heavily painted. Rapidly passing, as though the camera were Denham looking them over. CUT TO Denham. He shakes his head disgustedly, stops, wheels around and starts in another direction, as though he's given up that part of town, and thought of another possibility. DISSOLVE TO Exterior of a Woman's Mission. A bread-line waiting. Camera moves slowly down the line of faces as thought Denham were looking them over. CUT TO Denham. He shrugs his shoulders in despair, turns away. DISSOLVE TO Exterior of one of those Small Wooden Stands you see in the West Forties, a fruit-tobacco and candy shop just big enough for the proprietor and one customer to get into, a stand of fruit and peanut-roaster on sidewalk. Denham comes along, takes out cigarette case, it's empty, he goes in to buy some. We see through window that he is taking cigarettes and paying the Greek proprietor. Ann Darrow comes slowly into picture; she hesitates, her hand goes stealthily toward a piece of fruit. She is fingering it when the Greek dashes out and seizes her. She tries to pull her arm away. Denham comes out of shop. GREEK (very excited) Ah-ha! I catch you, you stealer! I catch the cop - you like that, ha! ANN (she keeps her head bent, struggling weakly to pull away) No-no, I didn't. Please let me go. I wanted to, but I didn't. GREEK I had enough dese stealers -- DENHAM Oh, dry up. The kid didn't take anything. ANN I didn't, truly I didn't. DENHAM So, shut up, Socrates. Here's a dollar. Forget it. The Greek takes the money and releases Ann who stumbles back against Denham. He catches her round the shoulders and she half-collapses. Her head falls back on his arm. He has his first sight of her face. CLOSE UP Ann, her eyes open as she looks up at Denham, terrified. MEDIUM SHOT - Denham, holding Ann. He looks at her. Suddenly his face lights up, he snaps his fingers triumphantly. DENHAM (looking up the street) Hi! Taxi! DISSOLVE TO a one-armed lunch room. Tiled wall, two chairs. Ann has emptied plate and coffee mug on arm of her chair. Denham in other chair watching her. She sighs happily over having satisfied her hunger, and leans back. DENHAM Feeling better? ANN Yes, thank you. You're very kind. DENHAM Don't fool yourself. I'm not bothering with you just out of kindness. (Ann opens her eyes wide, half-puzzled, half afraid) How come you're in this fix? ANN Bad luck I guess. There are lots of girls just like me. DENHAM There aren't such a lot who've got your looks. ANN (laughing it off) Oh, I can get by in good clothes. But when a girl gets too shabby -- DENHAM No family? ANN I'm supposed to have an uncle somewhere. DENHAM Ever do any acting? ANN I used to do some extra jobs over at Fort Lee sometimes. Once I got a real part. The studio is shut down now. DENHAM What's you name? ANN Ann Darrow. DENHAM Are you one of these city gals who screams at a mouse and faints at a snake? ANN (laughing) No, of course not. I'm a country gal - or used to be. DENHAM Listen, sister. I've got a job for you. The costumes I've got on board will fit you. (looks at his watch) The Broadway shops will still be open. I'll get you some clothes for yourself. Come on. ANN But - but what is it? DENHAM (excited) It's money, and adventure, and fame. It's the thrill of a lifetime. And a long sea-voyage that starts at six tomorrow morning. ANN No! Wait, I can't - I don't understand - you must tell me - I do want the job so - I was starving - but I can't - Denham has been looking at her, puzzled because she hasn't caught his frantic excitement. He suddenly sees what is troubling her. He calms down and goes back and sits. DENHAM Oh, I see. You got me wrong. Nix, sister, nix. This is strictly business. I'm no chaser. ANN (meekly) I only wanted to - DENHAM Sure. Sure you did. I dot excited and forgot you didn't understand it. Listen, I'm Carl Denham. Ever hear of me? ANN Ye-es. Yes. You make moving pictures. In jungles and places. DENHAM That's right. And I've picked you for the lead in my next picture. We sail at six. ANN Where to? DENHAM A long way from here. Think, Ann, a long voyage, easy living, the warm blue sea, moonlight on the water - isn't that better than tramping New York trying to keep out of the gutter. ANN (almost whispers) Oh, yes. DENHAM I'm square, Ann. And I'll be square with you. No funny business. ANN What do I have to go? DENHAM (leaning over her chair and looking straight at her) Trust me. And keep your chin up. Ann looks at him for a moment, then he holds out his hand. She takes it and they shake. FADE OUT. FADE IN - deck of ship at dawn, getting under way. Crew busy casting off lines, moving stuff on deck. A tug is puffing alongside. Driscoll on fo'c'sle head directing. MEDIUM SHOT - Ann in same dress, but wearing a heavy loose coat Denham has bought her. She climbs to fo'c'sle head, watching this strange new world. Driscoll backs into scene without seeing her. He is shouting at a sailor. DRISCOLL Carry that line aft! Aft, you farmer! Back there! He swings his arm round behind him in a violent full-armed gesture and hits Ann in the face. She staggers back against the rail and nearly falls. DRISCOLL (turning) Who the -- What are you going up here? ANN (meekly, hand to her face) I just wanted to see! DRISCOLL (gruffly) Well, I'm sorry. You're the girl Denham found at the last minute, aren't you? ANN Yes. I'm - I'm awfully excited. It's all so strange, and I've never been on a ship before. DRISCOLL And I've never been on a ship with a woman before. ANN I guess you don't think much of women on ships, do you? DRISCOLL No. They're a cock-eyed nuisance. ANN I'll try not to be. DRISCOLL You got in the way already. Better stay below. ANN What! The whole voyage! (she smiles at him) DRISCOLL (hesitates, then says in a softened tone -) Say, I didn't apologize very good for hitting you. That was an awful sock in the jaw. Driscoll stares at her doubtfully, she looks up and meets his gaze. Their eyes hold for a moment, then two short toots from a tug alongside, answered by one blast from the ship. DRISCOLL Well, we're off. ANN (clasping her hands and peering into the mist) We're off. DISSOLVE TO - Long shot - Miniature ship at sea - DAY DISSOLVE TO - The deck of the ship at sea. A calm tropical afternoon. Ann and Charley, the Chinese cook, at rail. Charley with enormous tub of potatoes, peeling them. Ann making an intricate knot with a bit of rope's end, fooling with it as she talks. ANN Charley, how many potatoes do you suppose you've peeled since we left New York six weeks ago? CHARLEY Too many. ANN Sailors eat an awful lot, don't they? CHARLEY All time eat. No can fill up. Some day my go back to China, never see no more potato. Ann finishes the knot and tugs at it. ANN There. That's fourteen knots I've learned to tie. CHARLEY Pretty soon now you be same sailor. Only don't eat so much. ANN (laughs, then looks around with a contented sigh) I'd like to be a sailor. Isn't the sea wonderful! CHARLEY (drily) Oh yes, very pretty. ANN Of course it wasn't so nice up north when it was cold and rough. CHARLEY Ocean very fine when you order weather how you like all same like eggs for breakfast. Driscoll strolls in. Charley gets up and moves away. DRISCOLL Hello, Ann. ANN Hello, Jack. DRISCOLL Where have you been all morning? ANN Trying on costumes for Mr. Denham. He's going to make some tests of me this afternoon, here on deck, when the light's right. DRISCOLL Tests? Why? ANN Oh - to see which side of my face looks best - and all that. DRISCOLL (very gruff) Both sides looks all right to me. ANN (laughs) Yes, but you're not the movie director. DRISCOLL If I was, you wouldn't be here. ANN Well, that's a nice thing to say. DRISCOLL It's no place for a girl. ANN (indignantly) I wish you wouldn't keep harping on that. It's very mean of you. Anybody'd think I'd been a lot of trouble. Driscoll grunts. ANN (very cross) I haven't! You can't say I've been one bit of trouble to anyone. Driscoll is silent. ANN (looks at him, waits, then anxiously) Have I? DRISCOLL Sure you have. ANN I don't see - Well, how? DRISCOLL Just your being here's a trouble. ANN (mournfully) Oh dead. I thought everything was going to nicely. Driscoll looks at her downcast expression, wiggles uncomfortably and at last blurts an attempt at consolation. DRISCOLL Aw, you're swell. Women can't help being a bother. I guess they're made that way. Oddly enough, this doesn't cheer her up very much. But she draws a long breath and smiles. ANN Well, anyhow, I've had the happiest time of my life on this old ship. Driscoll is a little touched by this. He gives her a quick look and says awkwardly - DRISCOLL Why - that's fine. A little pause. Driscoll thinks it over. DRISCOLL D'ye really mean that, Ann? ANN Of course. Everyone's so nice to me - Mr. Denham and the Skipper - Don't you think the Skipper is a sweet old lamb? DRISCOLL (grinning) I'd hate to have him hear me say so. Ann laughs and picks up Ignatz, the monkey, who cuddles down in her lap contentedly. ANN Ignatz is nice to me too. He likes me better than he does anyone else on board, don't you Iggy? Denham approaches them. DENHAM Beauty and the Beast. DRISCOLL Well, I never thought I was handsome, but - (they all laugh) DENHAM Go put on a costume, Ann. Light's good for those tests now. ANN I won't be a minute, Mr. Denham. She puts down Ignatz and goes. Denham scratches Ignatz' head, watches him for moment. DENHAM (half aloud) Beauty and the Beast. DRISCOLL Mr. Denham, I've going to do some butting-in. DENHAM What's your trouble, Driscoll? DRISCOLL When do we find out where we're going? DENHAM (smiling) Pretty soon now. DRISCOLL Are you going to tell us what happens when we get there? DENHAM How can I? I'm no fortune-teller. DRISCOLL But hang it, you must have some idea what you're after. DENHAM Going soft on me, Jack? DRISCOLL You know I'm not for myself. But Ann -- DENHAM Oh you've gone soft on her? I've got enough on my hands without a love affair to complicate things. Better cut it out, Jack DRISCOLL (sullenly) Love affair! You think I'm going to fall for any dams? DENHAM (musing) It never fails. Some big hard boiled egg goes goofy over a pretty face, and bingo! He cracks up and gets sappy. DRISCOLL (angry) Who's getting sappy? I haven't run out on you, have I? DENHAM Nope. You're a good tough guy, Jack. But if beauty gets you -- (he stops, then laughs a little) Why, I'm going right into a theme song! DRISCOLL (sulky) What are you talking about? DENHAM It's the idea for my picture. The Beast was a tough guy, Jack. He could lick the world. But when he saw Beauty, she got him. He went soft, he forgot his wisdom, and the little fellers licked him. Think it over, Jack. SAILOR (coming up) Mr. Denham, the Skipper says will you please come up on the bridge? We've reached the position you marked, he says. DENHAM Come on, Jack. You're in on this. I'm going to spill it. DISSOLVE TO bridge. Englehorn leaning over chart; Denham and Driscoll across table. ENGLEHORN (pointing with dividers) Here's your noon position. 2 South, 90 East; you promised me some information when we reached these latitudes. DENHAM (looking at chart) 'Way west of Sumatra. ENGLEHORN And way out of any waters I know. I know the East Indies like my own hand, but I was never here. DRISCOLL (eagerly) Where do we go from here? DENHAM South-West. ENGLEHORN South-West! But there is nothing - nothing for thousands of miles. What about food? So many in the crew makes the food melt away. And water? And coal? DENHAM Take it easy, Skipper. We're not going thousands of miles. (he takes a wallet from his breast pocket and very carefully opens two pieces of paper - spreads over on table before Englehorn) That's the island we're looking for. ENGLEHORN The position -- (he leans down, straightens up) I'll get the big chart. DENHAM You won't find that island on any chart. That one there was made up by the skipper of a Norwegian Barque. DRISCOLL He was kidding. DENHAM No. Listen. A canoe with natives from this island was blown out to sea. When the barque picked them up, there was only one alive. He died before they reached port, but not before the skipper had pieced together a description of the island and got a fairly good idea of where it lies. DRISCOLL Where did you get hold of it? DENHAM Two years ago, in Singapore, going home from my last trip. I've known that skipper for years. He knew I'd be interested. ENGLEHORN Does he believe it himself? DENHAM I don't know. But I do. See, here's what the island looks like. He unfolds second piece of paper. INSERT crude sketch of island, Denham's hand pointing to various features. Float Denham's voice. DENHAM (V.O.) Here's a long sandy peninsula. The only possible landing place is through this reef. The rest of the shore-line is sheer precipice, hundreds of feet high. And across the base of that peninsula, cutting it off from the rest of the island, is a wall. CUT TO Med. Shot - Denham, Driscoll, Englehorn. They stare at Denham. ENGLEHORN A wall? DENHAM Built so long ago that the people who live there now have slipped back, forgotten the high civilization that built it. But it's as strong today as it was centuries ago. The natives keep that wall in repair. They need it. DRISCOLL Why? DENHAM There's something on the other side - something they fear. ENGLEHORN A hostile tribe. DENHAM (drawing a long breath) Did you ever hear of -- KONG? ENGLEHORN (thinking) Why -- yes. Some Malay superstition. A god or a spirit or something. DENHAM Anyway, neither beast nor man. Monstrous, all-powerful -- still living, still holding that island in the grip of deadly fear. Englehorn and Driscoll look skeptical. DENHAM Every legend has a basis of truth. I tell you there's something on that island that no white man has ever seen. ENGLEHORN And you expect to photograph it? DENHAM If it's there, you bet I'll photograph it. DRISCOLL (very skeptical) Suppose it doesn't like having it's picture taken? DENHAM Well, now you know why I brought those cases of gas-bombs. Driscoll and Englehorn stare at Denham, then look at each other. Englehorn shrugs, reaches for the homemade chart. DISSOLVE TO- Exterior forward deck of ship - Day. Denham has camera set up. Ann comes in, in Beauty and Beast costume. DENHAM Oh, you picked out the Beauty and the Beast costume! ANN It's the prettiest. DENHAM All right. Stand over there. ANN I'm sort of nervous. Suppose I don't photograph well? DENHAM (busy with camera) Don't let that worry you. If I hadn't been sure of that, I wouldn't have brought you half way round the world. ANN What shall I do? DENHAM (squints through the viewfinder, throws camera over and locks it) Now when I start cranking hold it a minute, then turn slowly toward me. Look at me, look surprised, then smile a little, listen and then laugh. All right, camera. She does as he has said. CUT TO fo'c'sle head, several members of crew peering out, watching with great interest. Charley among them. 1ST SAILOR Looks kinda silly, don't it? 2ND SAILOR She's sure a pretty dame. CHARLEY You think maybe he like take my picture, huh? 1ST SAILOR Them camera cost money. Shouldn't think he'd risk it. CUT TO Denham and Ann DENHAM That was fine. I'm going to try a filter on this one. (he fusses around, changing lens, etc.) ANN Do you always take the pictures yourself? DENHAM Ever since a trip I made to Africa. I'd have got a swell picture of a charging rhino, but the cameraman got scared. The damned fool. I was right there with a rifle. Seemed he didn't trust me to get the rhino before it got him. I haven't fooled with cameramen since. Do the trick myself. CUT TO the bridge. Englehorn and Driscoll leaning over, watching Ann and Denham. DRISCOLL Think he's crazy, Skipper? ENGLEHORN Just enthusiastic! DRISCOLL But this yarn about unknown islands and monstrous gods -- ENGLEHORN He pays us well to take him where he wants to go. If the island exists, we will find it. CUT TO Denham and Ann. DENHAM Now Ann, stand there. Look down. When I start to crank, look up slowly. You're quite calm, don't expect to see anything. Follow my directions. All right -- camera. He cranks. He gets more excited through this scene, trying to force her to feel the emotions he wants. DENHAM Now -- look up. Slowly. You see nothing yet. Look higher. Still higher. That's it. Now you see it. You're amazed. You can't believe it. Your eyes open wider. It's horrible, but you can't look away. What is it Ann? What can you do? No chances for you, no escape. Helpless, Ann, you're helpless. One chance -- if you can scream. Your throat's paralyzed. Try to scream, Ann. Try. If you didn't see, perhaps you could scream. Throw you arms across your eyes, and scream, Ann, scream for your life! She has followed his directions. CUT TO bridge. Driscoll and Englehorn, watching Denham and Ann. Ann's scream floats. DRISCOLL (grasping Englehorn's arm) What's he think she's really going to see? DISSOLVE OUT FADE IN, bridge in fog, outside wheel-house. Denham, Ann, Driscoll, Englehorn, at rail peering ahead. Through this dialogue intercut shots of look-out in bow, man in crows nest, sailor heaving lead, and sailors clustered at bulwarks on main deck, watching for island. DENHAM This infernal fog! Sure of your position, Skipper? ENGLEHORN (very nervous, but offended at suggestion) Of course. Last night, before the fog shut down, I got a good sight. DENHAM We must be near the island. DRISCOLL If we don't see it when this fog lifts we never shall. We've quartered these parts. CUT TO sailor with lead. He lets go, line runs through his hand. SAILOR No bottom at 30 fathoms! CUT TO bridge as before. DRISCOLL (nervous) Of course that Norwegian skipper was guessing at the position. ANN How will we know it's the right island? DENHAM (very tense, answering mechanically) The mountain that looks like a skull. ANN Yes. I'd forgotten. You told me that. Skull Mountain. SAILOR'S VOICE Bottom! 20 fathoms! ENGLEHORN Shallowing fast, Driscoll, dead slow. Driscoll goes to telegraph, sounds of bells to engine-room and reply. DENHAM Curse the fog! SAILOR'S VOICE Sixteen fathoms! DENHAM What does she draw, Skipper? ENGLEHORN Six. No one ever looks at person addressed. All eyes ahead, straining through fog. DRISCOLL Listen! Hear anything? DENHAM No. ANN No. There is a slight pause. MAN IN CROWS NEST Breakers ahead! Englehorn jumps for telegraph. SAILOR'S VOICE Ten fathoms! Jingle of telegraph, noise of reversing engines. DRISCOLL (bellowing at fo'c'sle) Let go! Rattle of anchor chain through hawse-pipe, splash of anchor, more jingle of telegraph. After noise dies down, Driscoll speaks: DRISCOLL That's not breakers. That's drums. A long distant mutter of drums rolling. DISSOLVE TO: Boats being lowered, Bos'n giving orders. CUT TO bridge, Englehorn with binocular. Denham, Ann and Driscoll. DENHAM Well, Skipper, see anybody? ENGLEHORN Not a living thing. I think there are more houses in the thick bush. DENHAM Funny they haven't spotted us. I think the whole population would be on the beach. ENGLEHORN Listen. The faint throbbing of drums. DENHAM Maybe they have seen us and are signalling. Well, Skipper, do you believe me now? There's Skull Mountain, the wall - everything just like my funny map. Come on, let's get started. ENGLEHORN Twelve men go with you. The rest stay aboard. DENHAM Who's in charge of the gas bombs? ENGLEHORN Jimmy. That young feller. (points down on deck) DENHAM Good. Leave the 2nd Mate aboard, Skipper. I need you, you may be able to talk to these birds ashore. ANN I'm going ashore with you, aren't I? DENHAM You bet. DRISCOLL She ought not to go till we find out what goes on -- DENHAM (good-naturedly) Say, who's running this show? I've learned by experience to keep my cast and my cameras right with me. You never can tell when you'll want 'em. DRISCOLL But it's crazy to risk -- DENHAM Oh, go on, Jack. Get busy. Deal out the rifles and ammunition. And pick me a couple of huskies to carry my stuff. Driscoll goes reluctantly. Denham shakes his head over him, then Ann. DENHAM Bring the costume box. We might get a swell shot right away if we're lucky. DISSOLVE TO shot of beach, boats approaching. Village and wall glassed. DISSOLVE TO shot from beach, showing loaded boats approaching. Drums louder, of course. CUT TO boats beaching, people getting out, uploading stuff. Denham puts camera on tripod, one sailor shoulders it, another with magazine case, third with costume box, fourth and fifth with trade-goods in boxes. Jimmy with case of bombs. DENHAM You fellers with the camera stay close to me. Where's Jimmy with the bombs? JIMMY Here, sir. DENHAM All right. Stick around. And watch your step. There's enough trichloride in that case to put a herd of hippos to sleep. JIMMY Aye Aye, sir. ANN What queer-looking boats. DRISCOLL Outrigger canoes. ENGLEHORN Driscoll, have two men stay with the boat. DRISCOLL All attended to, sir. DENHAM (grinning) Now, all set? Ready, Skipper? ENGLEHORN (coming up) Ready. They start up the beach. CUT TO village. Wall visible over roofs. Party enters. Drums much louder. ENGLEHORN Not a soul in sight. DENHAM That wall, Skipper! What d'ye say to that, eh? ENGLEHORN Colossal! It might almost be Egyptian. DENHAM But what's on the other side? That's what I want to know. ANN (awe-struck) Who do you suppose could have built it? DRISCOLL (trying not to be impressed) Aw, I went up to Angkor once. That's bigger than this - and nobody knows who built it. DENHAM (with a feeling of something even more important than a picture pending, but trying to strike his usual note) Oh, boy! What a chance! What a picture! The chant begins, rising in volume. They all stand frozen. Ann clutches Driscoll's arm. Sailors frightened. Chant dies down to a mutter. DENHAM (shaking himself) Come on! They all move forward cautiously. TRUCK WITH THEM. DENHAM Hear that! They're saying Kong! Kong! DRISCOLL Hope you'll be able to speak their lingo Skipper. DENHAM Can you catch any words yet? ENGLEHORN I'm not sure. It sounds something like the language the Nias Islanders speak. ANN What do you suppose is happening? DRISCOLL Up to some of their heathen tricks. Now don't go rushing out to see. ANN (meekly, but bubbling with excitement) All right. But isn't it exciting! DRISCOLL Sure. I wish we'd left you on the ship. ANN I'm so glad you didn't. They approach masking house. DENHAM Wait. Easy row. Stay here till I see what goes on. They stop in a group behind house. Denham looks round cautiously. CUT TO what he sees. The Ceremony. DENHAM Holy mackerel! What a show! Skipper, get a look at this! Englehorn carefully goes forward and peeps around. DENHAM Did you ever see anything like that before? If I can steal a shot before they see us - He beckons to sailor carrying camera. DENHAM Hey! You with the camera! Sailor starts forward with it. ANN (to Driscoll) I want to see. ENGLEHORN Come on and look, but be careful. Ann looks around house. Denham moves beyond and starts setting up. Chant begins to rise. As it reaches forte, Chief sees them and shouts. CHIEF Bado! Dama pati vego! Ceremony stops, natives turn and stare. DENHAM Too late, they see us. JIMMY Let's beat it! He turns to run. Driscoll seizes and holds him. DRISCOLL Hold on there! What are you running for? DENHAM No use trying to hide now. Everybody come out here in plain sight. Put up a bold front. Driscoll, Ann and sailors come forward in a group a few paces behind Denham and Englehorn. CHIEF Bado! Maka mini tau ansaro.(Wait! Two warriors come with me.) In silence, the Chief with two warriors close behind him advances through the crowd of natives. The women in the crowd begin to slip away. The group of whites watch in tense silence the approach of the Chief. 2ND SAILOR Say, let's scram outa this. DRISCOLL Stand still, you fool! Group of sailors are fingering their rifles, shifting nervously. DENHAM (over his shoulder without looking away from Chief) Steady, boys. Don't get nervous. Ann takes hold of Driscoll's arm. He puts his hand on hers without looking at her. DRISCOLL Never let a native see you're worried, boys. Bluff 'em. The chief stops. CHIEF Watu! Tama di? Tama di? (Stop! Who are you? Who are you?) DENHAM Come on Skipper, make him a friendly speech. (advance) ENGLEHORN (slowly) Tabe! Bala kum nono hi. Bala! Bala! (Greeting! We are your friends. Friends! Friends!) CHIEF (sternly) Bala reri! Tasko! Tasko! (We don't want friends, Go! Get out! DENHAM He understands you, Skipper! What's he say? ENGLEHORN Telling us to get out. DENHAM Talk him out of it. Ask him what goes on. ENGLEHORN Vana di humya? Malem ani humya vana? (What are you doing? What is that woman doing?) (he points to girl) CHIEF Ani saba Kong! (She is the bride of Kong!) The natives all murmur "Saba Kong!" ENGLEHORN He says the girl there is the bride of Kong. DENHAM Great! Find out what they're going to do. The Witch Doctor rushes forward, very angry. He addresses Chief. WITCH DOCTOR Dama si kasi! Dama si kasi! Punya bas! Punya! (Strangers have seen! It is finished.) CHIEF (to Englehorn) Tasko! (Go!) DENHAM What's that? ENGLEHORN He must be the witch-doctor. He says the ceremony is spoiled because we have seen it. DENHAM What's the word for friends? ENGLEHORN Bala. DENHAM Calm the old boy down. He advances with outspread hands, saying, "Bala! Bala!" Englehorn hesitates for a moment, then steps forward too. CHIEF (bellowing) Punya! The warriors move menacingly forward. ENGLEHORN I don't like the looks of this, Denham. The women have cleared out. That's a bad sign. The Chief sees Ann. CHIEF (shouting to the natives) Sita! Malem! Malem me pakeno! (Look! The woman! The woman of gold!) Natives all look at her and murmur. DENHAM What's that? ENGLEHORN He says look at the golden woman. DENHAM Blondes are scarce around here. CHIEF Malem ma pakapo! Kong wa bisa! Kow bisa para Kong! (The woman of gold! Kong's gift! A gift for Kong.) ENGLEHORN A gift for Kong, he says. DENHAM Good Lord! CHIEF Dama, tebo malem na hi? (Strangers, sell woman to us?) ENGLEHORN Wants to buy her. CHIEF Sani sita malem ati - (pointing to sacrificial victim) - kow dia malem ma pakeno. (I will give six women like this for you woman of gold.) ENGLEHORN He's offering to trade us six of his girls for Ann. Ann gasps, tries to smile. DRISCOLL You got her into this, Denham. ENGLEHORN Tida, tida! Malem ati rota na hi. (No, no! Our woman stays with us.) Chief growls menacingly. Warriors take another step forward. Sailors finger their rifles. DRISCOLL I'm going to take her back to the ship. ENGLEHORN We'd better all get out before they think to cut us off from the beach. DENHAM I guess so. But tell him we'll come back tomorrow to make friends. ENGLEHORN Dulu hi tego. Bala. Dulu. (Tomorrow we come. Friends. Tomorrow.) Chief does not move, glares at them. DENHAM Get going, Ann. Don't act scared. Everything's all right. Smile, Ann. Talk to Jack. Keep your chin up! Ann, very frightened, but smiling gallantly, does as he tell her. She and Driscoll retreat slowly, pretending unconcern. The sailors fall back one by one, Englehorn and Denham last. Denham cocks his hat over one eye and begins to whistle carelessly, one hand on his revolver. As they reach the corner of masking house. DISSOLVE TO deck in moonlight - Ann and Charley on hatch. ANN -- and an enormous wall, Charley, all the way across that piece of land where we went ashore. CHARLEY What fashion that girl do -- that girl with flowers on her? ANN The poor thing, she looked -- as though she was too frightened to feel frightened. You know? CHARLEY (nodding wisely) Sacrifice. ANN The Chief said she was the bride of Kong. Charley, what do you suppose Kong is? CHARLEY My guess he very big joss this place. People here plenty scared. You don't worry. No can help. Ignatz gallops past. ANN Oh, there's Ignatz! He's broken loose again. Charley grabs at him and misses. Ignatz goes down the deck. ANN Catch him, Charley. He'll get in the cabins and break things. CHARLEY My catch him. Bad devil, come here. He goes off in pursuit. Ann watches, laughing. CUT TO Sailor on watch in bow. He looks round, yawns, sits down and makes himself comfortable. CUT TO Ann on hatch. Driscoll enters. DRISCOLL Why aren't you in bed? ANN I can't sleep. Those drums make me nervous, I guess. DRISCOLL I think Denham's off his nut, taking you ashore today. ANN I was -- sort of scared there for a while. DRISCOLL Huh! You weren't the only one. ANN I wonder what we do next? DRISCOLL That's what's worrying me. Denham's such a fool for risks. No telling what he'll ask you to do. ANN After what he did for me, I'll do anything he wants. DRISCOLL Don't talk like that. When it comes to getting a picture, he's crazy enough to try anything. ANN I won't go back on him. DRISCOLL When I think what might have happened today -- if anything happened to you. ANN (laughing) Why then you wouldn't be bothered with a woman on board. DRISCOLL (very staccato) Don't laugh. I'm scared for you. I'm sort of - I'm scared of you, too. Ann, I -- I guess I love you. They look at each other, both startled by this conclusion. ANN Jack! You hate women! DRISCOLL (still surprised over his discovery) You aren't -- women. I love you. Ann, I don't suppose -- you don't feel like that about me -- do you? Ann looks at him soberly for a moment, then takes a step nearer. Just as his arms go around her, a hail from the bridge. ENGLEHORN'S VOICE Mr. Driscoll! Are you on deck? DRISCOLL (lifts his head long enough to reply) Yes, sir. (then bends over Ann again) ENGLEHORN'S VOICE Please come up here a minute. DRISCOLL (same business) Yes, sir. ANN I'll wait here for you. Driscoll kisses her once more and goes reluctantly. Ann leans back against the bulwarks with a happy smile, looking after him. The Witch Doctor rises noiselessly behind her, and without a sound she is seized and lifted over the rail. THE BRIDGE. NIGHT. Englehorn, Denham, Driscoll - talking over chart table. DENHAM Now tomorrow morning, pick out the men to go ashore. Couple of those nervous boys you better leave aboard. ENGLEHORN Mr. Denham wants you to break out the trade goods the first thing tomorrow. DENHAM We'll try a little bribery. DRISCOLL Still hoping to make friends with that bunch ashore? DENHAM Sure. We've got to. I've got to find out what Kong is. ENGLEHORN (impatiently) He's their tribal legend, their god, of course. DRISCOLL You planning to make movies of a fairy story? DENHAM How do you know Kong's only a legend or a fairy story? That wall wasn't built for fun. DRISCOLL But you said yourself it was built so long ago the people who live here now don't know anything about it. DENHAM Yes, but they've kept it in damn good repair. Did you see how those gates were fastened? They're meant to keep something out. Englehorn and Driscoll exchange skeptical looks. Noise of drums increase suddenly. ENGLEHORN (looks at watch) After ten. And they're still at is ashore. DENHAM If I could only take pictures by firelight! I'd sneak back there now and get a scene. ENGLEHORN (exasperated) Be sensible. We're lucky to be all safe aboard tonight. DENHAM Oh sure, sure. He looks to Driscoll, who has crossed over and is peering down onto the deck. DENHAM What is is, Jack? DRISCOLL Oh -- er -- I was looking for Ann. She's gone below, I guess. DENHAM How about turning in, Skipper? ENGLEHORN No, not for me tonight. DENHAM But you've set a watch in the bow. Englehorn shakes his head stubbornly. Driscoll starts to go. DENHAM Oh well, I'll sit up with you then. ENGLEHORN Mr. Driscoll, I wish you'd take a star sight. See how our position checks up with what I got last night before we ran into the fog. Driscoll gets out the instruments. DRISCOLL (reluctantly) Yes sir. I guess it's been a long time since the map-makers got a brand new island to put down. DISSOLVE TO Charley, on afterdeck, tying Ignatz and scolding him in Chinese. Ignatz chattering and scolding right back at him. SHOT of bow watch, having a peaceful nap. DISSOLVE TO Bridge, interior - Englehorn and Driscoll bending over chart, making calculations. Denham half asleep in a chair. ENGLEHORN That's about it. (marking chart) We'll make absolutely sure tomorrow noon. Denham yawns, stretches, looks at watch, crosses and looks toward shore. DENHAM About midnight. Hey, look at that. ENGLEHORN (crosses and looks) Torches going through the village. Driscoll exits. DENHAM Looks like the night before election. Noise of drums increases suddenly. DENHAM Listen to 'em, will you? Wonder what's up. CUT TO main deck. Driscoll speaking to Charley. CHARLEY My don't know, sir. My not see Missy one, two hour. DRISCOLL Guess, she's in her cabin. He goes off. Charley takes a long round deck, sees something near rail. Goes over, picks it up. A native bracelet of woven straw. He examines it for a moment, suddenly realizes what it means, jumps and shouts. CHARLEY On deck! On deck! He stamps frantically on deck, turns and runs for the bridge. Man on watch in bow runs to rail of fo'c'sle head and shouts. SAILOR IN BOW All hands on deck! CUT TO bridge. Charley runs into Englehorn and Denham. CHARLEY Look sir! My found on deck. ENGLEHORN A native bracelet! CHARLEY Crazy black man that place comes this place! Driscoll arrives on the run. DRISCOLL Who's turning out the crew? What's the matter? ENGLEHORN Charley found this. Some one's been aboard. Search the ship. Charley exits. DRISCOLL Oh my God! Where's Ann? DENHAM In her cabin - DRISCOLL No, she isn't! I just looked. He rushes out. Confused sound of sailors' voices from deck below. Englehorn leans from wheel-house window, shouts down. ENGLEHORN Bos'n! BOS'N'S VOICE (from below) Yes sir. ENGLEHORN Man the boats. Serve out the rifles. Search the ship. BOS'N'S VOICE Yes sir. Bos'n's whistle is heard, creak and thump of davits. Englehorn takes his revolver from chart-table drawer, examines it, puts it in his pocket. DENHAM The boats, Skipper? D'ye think -- ? ENGLEHORN (significantly) They may have stolen something. They look at each other for a moment, as they start out. DISSOLVE TO wall and Great Gate. The gate is being opened by natives. Procession passes through, taking Ann to the altar. People crowding to top of wall. CUT TO exterior of wall, projection of altar on left. Ann being tied to altar. People crowding to top of wall. CUT TO exterior of wall, projection of altar on left. Ann being tied to altar. People crowding top of wall with torches. Two men begin beating big gong, those on wall yelling and beating drums. CUT TO Great Gate, natives closing and bracing it. Top of wall. Chief invoking Kong: CHIEF Kara Ta ni, Kong. O Taro Vey, Rama Kong. (We call thee, Kong. O Mighty One, Great Kong.) Wa saba ani mako, O Taro Vey, Rama Kong. (The bride is here, O Mighty One, Great Kong.) CUT TO altar and jungle opening set, split shot. Noise suddenly stops. KONG steps from jungle opening, looks at people on wall, beats his chest. Sees Ann, starts toward her. CUT TO exterior of wall, projection of altar on left. Kong walks way from camera till he blocks altar from view. People on wall watch in silence. CUT TO close altar set, Ann and altar against projection background, cutting to double projection when Kong passes foreground. Kong in close up stands behind girl, looking at her. He looks up at wall and beats his chest. He walks round altar, then starts to unfasten her. CUT TO straight shot of people on wall, breaking out in wild demonstration as Kong takes Ann. CUT TO village street, Council House set, ship's party racing through and into court. CUT TO exterior wall set, Kong turns from Altar with Ann in his hand and walks toward camera. Crowd on wall in uproar gong, drums, yelling, waving torches. CUT TO Driscoll and party reaching Gate, he hears Ann scream, looks through window. CUT TO what he sees. Edge of Jungle set, miniature. KONG walks away from camera and into jungle, turning to look back, so Ann is seen in his hand. CUT TO Great Gate. Driscoll wildly gesturing to sailors to open it. Noise continues. Sailors struggle with pole. They get it down and start tugging at gate. DRISCOLL He's got Ann! Who's coming with me? 1ST SAILOR I'll go. 2ND SAILOR Sure. Me too. 3RD SAILOR I'm going, sir. DRISCOLL All right. Here you - and you - (selecting sailors) DENHAM What did you see? DRISCOLL (brushing him aside) Skipper, you stay here with half the men and guard this gate. Don't let 'em close it. DENHAM Who's got the bombs? Jimmy comes forward. DRISCOLL Come on, you fellers. Driscoll, Denham and eleven sailors start through gate. DENHAM (shouts back) Keep the gate open for us, Skipper. LAP DISSOLVE EXT. JUNGLE - FULL OR MED. SHOT PAN to follow the men, headed by Driscoll and Denham as they plunge through the jungle; left to right. (NOTE: This along top of ledge-crevasse set, not showing edge.) EXT. JUNGLE - FULL SHOT - DAWN CRANE TO FOLLOW as they come up the ledge. A twittering of birds and insects' noises. Ad lib as they come: "Watch that log" -- "Shove right on through." Men go left to right. DENHAM (stops, wipes his forehead) No telling where he's gone in this darkness. DRISCOLL He came by here. Look at those broken branches. DENHAM That's right. He's up ahead somewhere. DRISCOLL (looks about) The sun ought to be rising about now. DENHAM Listen to those birds. (bird noises) It's dawn all right. DRISCOLL Look here. He points to one of Kong's great footprints; just visible as a first shaft of dawn light strikes down between the trees. CRANE TO CLOSE. All move forward - TRUCK TO FOLLOW To look at Kong's footprint. Probably no close up necessary. Ad lib murmurs together, "Get that" - "It's tracks" - "Look here, Jo." DENHAM Look at the size of that. He must be as big as a house. He's come this way, all right. DRISCOLL And he's heading that way. Come on. TRUCK to LONGER SHOT as he leads them forward. All hasten on after Kong. DENHAM (to sailors) Keep those guns cocked. SAILOR IN BLACK SWEATER He's telling us! As they exit, camera left - DISSOLVE OUT. EXT. GLADE - FULL SHOT - DAWN As the men come from the edge of the jungle, last fringe of shrubbery masking foreground, to look out upon an open glade. They pause, as they see broken shrubbery. It is now full dawn. Use "Most Dangerous Game" ledge set, men coming towards camera. DRISCOLL That's right. We're on his trail. He leads them forward out into - EXT. GLADE - FULL SHOT - DAWN The open glade. Kong's footsteps is visible in soft earth again. DRISCOLL (sees footprints, points, shouts back without stopping) There! All hurry forward in a dog trot. A couple of sailors, running, pass Driscoll, then stop, run back into the arms of the others. SAILORS Look out! Look out! They point and all stop as they see -- An immense spike-tailed beast coming through the jungle parallel with them, partially masked by trees. Men in foreground here. (Williams Process) DENHAM Great Scott, that's something I didn't know about. DRISCOLL I got an idea there's plenty on this island you weren't figuring on. The beast crashes out into the open. DENHAM Gimme one of those bombs. ONE ANGLE ONLY He snatches a bomb from the sailor who is carrying them. EXT. GLADE - DAWN The beast charges. The men run. Only Driscoll and Denham stand their ground. Driscoll fires several times without effect. This should be a very wide glade to get the full effect of a long charge. EXT. GLADE - FULL SHOT - DAWN The first angle at edge of glade, with Denham and Driscoll in the foreground, other men running back. DRISCOLL (gun empty) It won't stop him. Denham throws his bomb. EXT. GLADE - FULL SHOT - DAWN Second angle again. The bomb strikes the beast, explodes. Out of the smoke, the two-horned beast staggers towards the two men. They throw themselves to either side. EXT. GLADE - FULL SHOT - DAWN First angle. Driscoll and Denham throw themselves flat on the ground as -- EXT. GLADE - FULL SHOT - DAWN In the first angle, the beast collapses just short of the men. EXT. GLADE - DAWN Its head is just short of Driscoll. It goes limp. EXT. GLADE - FULL SHOT - DAWN The sailors, huddled behind the shrubbery at the edge of the wood (as in the first shot of this sequence) stare at -- EXT. GLADE - FULL SHOT - DAWN The beast, unconscious on the ground. In the foreground, Denham and Driscoll pick themselves up. EXT. GLADE - FULL SHOT - DAWN FIRST ANGLE - the sailors run forward to -- EXT. GLADE - FULL SHOT - DAWN Join Driscoll and Denham. They start forward towards the beast. It is in the background. (Projection) DENHAM Wait a minute. He's only knocked out. He takes a gun from one of the men and goes forward to the great beast's head. He shoots it through the ear. It's starts convulsing, then grows rigid. DENHAM (after a look, speaks to Driscoll) I told you those gas bombs would bring down anything. We'll get that ape alive. DRISCOLL We're not trying to catch the ape - we're trying to save that girl. Come on - we're losing time. He leads them off towards -- LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY DISSOLVE IN on the exterior of a bank, leading, in the background down into a hollow filled with fog. The men come in from camera left and look down. (Fog Hollow set from "most Dangerous Game") DENHAM (following tracks with eyes) There's his foot again -- (following director) -- he's down in that hollow where the fog is, some place. DRISCOLL (looks) There's water down there. Here. They listen. Sounds of splashing. DENHAM That's him, splashing through. Come on. They run down into fog. (CURTAIN EFFECT) EXT. STREAM - FULL SHOT - DAY The men run down the muddy bank through heavy fog towards the water, left to right. (Fog Hollow set) EXT. STREAM - FULL SHOT - DAY The water's edge, as the men run down through heavy fog left to right. A couple of fallen trees, floated down with the current, lie half submerged by the bank. Kong's footprints is in the mud, Kong splashing out of stream on other side can be heard as men come up. (Fog Hollow Set) DRISCOLL (looks at footprint, then across stream) He must have swum across. DENHAM That's out for us. We can't swim with guns and bombs. DRISCOLL (looks about, sees log, gets an idea) How about these -- (indicates logs) -- for a raft? DENHAM Yeah, that's it. A raft. DRISCOLL All right, boys, gets busy. 1ST SAILOR Get some vines, Tim. Tim, the sailor to be used in tree, runs for vines. Other sailors run to logs. 2ND SAILOR (at log) Pull 'em clear now. LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY DISSOLVE IN on the raft, now completed. They have bound the logs together with liana vines. Heavy fog. The arms and bombs are loaded on the raft. So are they men. They last of them are just getting on. DENHAM Don't get the arms wet, boys. SAILOR A (guarding them) I'm watching 'em. SAILOR B (helping another on) Easy now. DRISCOLL (shouts, looking around) All set? All set, everybody? SAILORS All set. Let 'er go. TOGETHER O.K. DRISCOLL Shove off. A couple of sailors; still on shore, push the raft out until they are waist deep, then jump aboard. Others use poles to push it towards the opposite bank. Ad lib, "Push -- put your back in it, etc." EXT. STREAM - GENERAL VIEW - DAY The raft moves across the stream through heavy fog. (Miniature raft and miniature men.) EXT. STREAM - FULL OR MED. SHOT - DAY This shot moves through fog with men as they pole raft. DENHAM Easy now -- keep her against the current. DRISCOLL Keep your weight in the center, boys -- weight in the center. 1ST SAILOR (stops poling to stare) Holy mackerel -- look at that. All look. EXT. STREAM - LONG SHOT - DAY A huge scaly head rears up from the water to look down on the raft, drifting, horrible. It is the head of a Dinosaur. In this the raft can also be seen. (Miniature raft, miniature beast.) Heavy fog. The men shriek in wild commotion. EXT. STREAM - FULL OR MED. SHOT - DAY The angle which moves with the raft as the men, yelling wildly, attempt to pole the raft towards the shore. One or two men are pushed off in the panic. Everyone shoves the wrong way. Heavy fog here. EXT. STREAM - LONG SHOT - DAY The Dinosaur dives and starts for the raft in a series of undulating, sea-serpent dives. Wild panic and shrieks on the raft. Heavy fog. (Miniature raft, men and beast.) EXT. STREAM - FULL OR MED. SHOT - DAY The angle which moves with the raft. It has come to a standstill now as the men shove in the wrong directions, shouting at each other. Some are trying vainly to reach the arms. The head of the Dinosaur rears up from the water behind the boat, upsetting; as he comes up under it, the raft with its occupants. They fall, screaming, into the stream. Fog. (Miniature projection) EXT. STREAM - MED. SHOT - DAY Three sailors as they land in the water and come up screaming. A FLASH. Fog. Tank. EXT. STREAM - SEMI CLOSE UP - DAY A sailor drowning. Flash. Fog. Tank. EXT. STREAM - MED. SHOT - DAY The sailor with the bombs starts to sink. He loosens the bombs and lets them go to the bottom. Fog. Tank. EXT. STREAM - LONG SHOT - DAY The Dinosaur thrashing among the men and the broken raft. Some swim for the shore. (Miniature raft, men and beast as before) Heavy Fog. EXT. STREAM - FULL SHOT - DAY The men run out of the water on the far bank. The beast can be heard behind them. They run up, left to right. Heavy fog. (Fog Hollow set, use bullrushes) EXT. STREAM - FULL SHOT - DAY The men run up another section of bank. Either away from camera or left to right. The beast can be heard behind them. Fog. (Fog Hollow Set) EXT. STREAM - FULL SHOT - DAY Another shot of the men running up the bank, away from camera or left to right, with the beast heard behind them. Fog. (Fog Hollow Set) EXT. STREAM - GENERAL VIEW - DAY The men run up the bank. One man (Tim) is in the rear. He sees the Dinosaur following through the fog (double print miniature) He runs toward the jungle - (tree not in this shot) Fog. (Fog Hollow Set) EXT. STREAM - FULL SHOT - DAY The men run out of the fog at the top of the bank. (Fog Hollow Set where they were seen entering fog, curtain effect) Left to right movement, slightly head-on. EXT. STREAM - LONG SHOT - DAY The men run left to right, followed by the beast. Tim, the last man, runs towards and into the jungle, with the Dinosaur after him. (Miniature man, miniature beast, projection on) No fog. (Most Dangerous Game set) EXT. BANK - FULL SHOT - DAY The men climb a bank. (Most Dangerous Game Ledge set) EXT. STREAM - FULL SHOT - DAY Tim runs up to the base of a tree, climbs it. (Real man, real tree from Most Dangerous Game set) EXT. STREAM - BANK - FULL SHOT - DAY The men climb higher on the bank. EXT. ASPHALT PIT - FULL SHOT - DAY They climb over the top of the bank. Shrubbery masks the foreground. In the background is seen an asphalt morass, backed by jungle. Driscoll in the lead here. Denham the last man. (Most Dangerous Game ledge set for the foreground, matte and miniature for background). They hear the sound of the Dinosaur and the shrieks of the sailor they left behind. All turn. SAILOR A (stares) It's Tim he's after. All stare as they see -- EXT. TREE - LONG SHOT - DAY The Dinosaur approaches the sailor who has climbed to the tree top. He shrieks in terror. (Miniature man and tree) EXT. ASPHALT PIT - MED. SHOT - DAY The men stare at this, horrified. DENHAM Hasn't anybody got a gun? Each man looks at the next fellow, hoping he has saved a gun. DRISCOLL They're all at the bottom of the lake. DENHAM (to sailor who carried bombs) Then gimme one of those bombs. BOMB CARRIER I had to let them go to keep from drowning. DENHAM You fool. BOMB CARRIER You lost your gun. All stare back at tree as the doomed sailor's shrieks for help grow louder. EXT. TREE - LONG SHOT - DAY The Dinosaur comes up to the man in the tree. (Miniature man and tree) EXT. TREE TOP - MED. SHOT - DAY The man in the tree shrieks. The Dinosaur's head comes into the shot, about to seize him. (Real man, real tree from Most Dangerous Game, miniature projection background) EXT. TREE - LONG SHOT - DAY The Dinosaur seizes the man. His cries cease abruptly as the teeth crunch into him. EXT. ASPHALT PIT - FULL OR MED. SHOT - DAY The men at the top of the bank look sickened. They stare as they see -- EXT. TREE - LONG SHOT - DAY The Dinosaur carries the sailor away into the jungle. EXT. DITCH - FULL SHOT - DAY They turn away, lead by Denham, then stop as they see, over the shrubbery, Kong retreating towards them with the girl, from the jungle background into a mire which lies in the middle distance, masked by foreground shrubbery and backed by jungle. (MATTE) This mire is an asphalt pit. In the center is a dry mound to which Kong springs. He is pursued by two huge three horned beasts (tricerotops) who, trying to follow, find themselves mired. DRISCOLL (to men) Down! Down! All throw themselves down behind shrubbery. DENHAM If we only had some of those bombs! (MED. SHOT of men crouching behind shrubbery, as he speaks this last line) A terrific fight now ensues between Kong and the three-horned beasts. Kong picks up boulders and hurls them down on the beasts as they try to reach him through the asphalt mire. He kills two. The third retreats. During this, the men exit cautiously, camera right, and reappear in the background, camera right. (Matte) The three horned beast sees them. He charges them. They run out, camera right, with the three-horned beast following. EXT. JUNGLE A - FULL SHOT - DAY SIDE ANGLE - PAN to follow men as they run, left to right. EXT. JUNGLE B - FULL SHOT - DAY The men to run to camera. No beast in this shot. EXT. JUNGLE C - FULL SHOT - DAY REVERSE ANGLE as they run away from camera. A low-hanging branch bars their way. They run under it. The sailor with the striped trousers is last. He turns to look back at the beast, whose noise behind them can be heard, and strikes his head against the branch. He falls, picks himself up. SAILOR WITH STRIPED TROUSERS (as he picks himself up, holding head, dazed) Boys - boys, where are you? He looks up into camera, first dazed, then, as his head clears, he sees the beast charging. He shrieks and runs off camera right. EXT. CREATION SHOT - FULL SHOT - DAY The old shot from Creation. The striped-trousers sailor runs through the woods, followed by the three-horned beast. He seeks refuge behind a tree. The beast knocks over the tree. It falls upon the sailor, pinning him down. The beast gores him to death. EXT. LOG - RAVINE - FULL SHOT - DAY The remaining men run towards a deep ravine, across which a huge tree has fallen. Ravine is background. Kong is crossing this log with the girl, right to left. Men run in left to right. They stop at seeing Kong, then turn back to see -- EXT. RAVINE - LOG - FULL SHOT - DAY SHOT looking away from ravine, over men's heads. Men in foreground. In the background may be seen entering a huge two horned beast, (Arsinotherium). He is rooting in the ground. He lifts his head, sniffs, smelling the men. He begins to lumber towards them with gathering speed. They run out, left to right. EXT. LOG - FULL SHOT - DAY The men run in from left to right, led by Driscoll. He waves them on. In the foreground is a huge tree. In the background is the big fallen tree across the ravine. He passes this tree to camera right, and reappears from camera right crossing the log. The men follow, shouting. EXT. CLEARING - FULL SHOT - DAY Kong comes into a clearing, in the foreground of which is a high dead tree. He hears the shouts of the men behind. EXT. CLEARING - MEDIUM SHOT - DAY He puts the girl down in the top of the dead tree, snarls, and turns back to attack the men. EXT. CLEARING - FULL SHOT - DAY He goes back to attack the men, leaving the girl in the top of the dead tree. EXT. JUNGLE POOL - FULL SHOT - DAY Kong goes back along the pool towards the ravine. EXT. LOG - FULL SHOT - DAY Driscoll enters from camera left, waves the men on. In this shot, the log is seen in the background, extending across the ravine. In the foreground is a huge tree. The men follow Driscoll about this tree to camera right and reappear on the log, entering from camera left. They start across it. EXT. LOG - FULL SHOT - DAY The log itself is seen, with the men crossing it from camera right and going towards the other side of the ravine, Driscoll in the lead. EXT. LOG - FULL SHOT - DAY REVERSE ANGLE as the men cross in the foreground, where the end of the log lies on the far side of the ravine. The men come off this end of the log onto the bank, in foreground, faces camera. In the background, Denham can be seen. He is the last man and is about to cross when suddenly he sees something and shouts. EXT. LOG - FULL SHOT - DAY Original angle with the men coming off log on the far side of the ravine. Kong appears from camera right to menace them. EXT. LOG - FULL SHOT - DAY Kong snarls at them. EXT. LOG - FULL SHOT - DAY REVERSE ANGLE as Denham sees this and ducks back into the shrubbery out of sight. The men in the foreground also see Kong and run back across the log. Driscoll climbs over bank in the foreground. EXT. LOG - FULL SHOT - DAY The log itself as the men run back across it, stumbling and falling, only to be stopped by -- EXT. LOG - LONG SHOT - DAY -- the two horned beast, who is coming up to the log, which is in the foreground, from camera left background. REVERSE ANGLE. EXT. LOG - FULL SHOT - DAY The top of the far bank, as the last of the men rush across the log. Driscoll climbs down over the bank, using a vine for support. (Note. This angle may not be necessary now). EXT. CAVE - LONG SHOT - DAY Driscoll comes down on the vine along the side of the bank and steps into a cave in the side of the bank some ten feet below the top. He looks to see -- EXT. LOG - FULL SHOT - DAY The men running back on the log, towards the camera, with the ape coming up to the log on the far bank, menacing them. This the original angle. EXT. LOG - SEMI CLOSE UP - DAY Kong menaces them. His face leaps up into the camera. EXT. LOG - SEMI CLOSE UP - DAY The sailor in the black sweater, on the log, horrified as he sees this. EXT. LOG - LONG SHOT - DAY The log itself, no beasts in the shot. The men see the horned beast off screen and retreat only to be stopped by Kong off screen. EXT. CAVE - LONG SHOT - DAY Driscoll in the cave sees this, holding to a vine. He continues to look up, watching -- EXT. LOG - FULL SHOT - DAY The men, in the original angle, as Kong in the background heaves up the far end of the log. EXT. LOG - MED. SHOT - DAY The men on the log, terrified, as Kong rocks it. EXT. LOG - SEMI CLOSE UP - DAY Kong roaring at them. EXT. LOG - FULL SHOT - DAY The men on the log with Kong shaking it, from the original angle. Two fall off. EXT. RAVINE BOTTOM - FULL SHOT - DAY The men fall to the bottom of the ravine. It is very deep, with mud and slime at the bottom. Caves and fissures in the rock lie at the sides of this mud. EXT. RAVINE - MED. SHOT - DAY The men land in the mud. EXT. LOG - MED. SHOT - DAY The men on the log, as Kong rocks it. EXT. LOG - SEMI CLOSE UP - DAY Kong roars at them. EXT. LOG - SEMI CLOSE UP - DAY A sailor stares at Kong and screams in stark terror. EXT. LOG - LONG SHOT - DAY SIDE ANGLE of the log with the men clinging to it as Kong shakes it. The two horned beast can be seen menacing them from his bank with his horns. Another sailor falls off. EXT. RAVINE BOTTOM - LONG SHOT - DAY The sailor falls into the ravine bottom. EXT. RAVINE BOTTOM - FULL SHOT - DAY He lands in the mud. EXT. LOG - FULL SHOT - DAY From the original angle, Kong is seen rocking the log. EXT. LOG - FULL SHOT - DAY The log with men clinging to it. EXT. LOG - SEMI CLOSE UP - DAY Kong roars at them. EXT. LOG - SEMI CLOSE UP - DAY The men, on the log, horrified. EXT. LOG - LONG SHOT - DAY From the original angle, Kong rocks the log with men on it. EXT. LOG - SEMI CLOSE UP - DAY The men on the log. One tries to hold himself from falling by clutching another's face. EXT. SHRUBBERY - MED. SHOT - DAY Suggest here a SHOT of Denham watching from his shrubbery, horrified, so as not to lose him. REVERSE ANGLE. EXT. LOG - LONG SHOT - DAY From side angle, the men are seen clinging to the log, while the ape rocks it and the horned beast menaces them from the other side. More men fall. EXT. RAVINE BOTTOM - FULL SHOT - DAY The men fall to the ravine bottom. EXT. RAVINE BOTTOM - MED. SHOT - DAY They land in the mud. EXT. LOG - SEMI CLOSE UP - DAY Kong roars at the men and beats chest. EXT. LOG - CLOSE UP - DAY One of the sailors on the log shrieks in horror. EXT. LOG - SEMI CLOSE UP - DAY Kong's face rushes up into the camera as he reaches for a man. EXT. LOG - FULL SHOT - DAY Kong, from the original angle, reaches for the men remaining on the log, trying to seize them with his hand. The man he reaches for drops flat, ducking his grasp. EXT. LOG - SEMI CLOSE UP - DAY Kong roars at them. EXT. LOG - FULL SHOT - DAY Kong, from the original angle, rocks the log. A man falls off. EXT. LOG - FULL SHOT - DAY The man falls to the ravine bottom. EXT. LOG - MED. SHOT - DAY He lands in the mud. EXT. LOG - MED. SHOT - DAY The man on the log, only one remains - clinging as the log is rocked by Kong, off-screen. EXT. LOG - FULL SHOT - DAY From the original angle, Kong is seen trying to shake the last man off the log. EXT. LOG - MED. SHOT - DAY The last man hanging to the log desperately. EXT. LOG - LONG SHOT - DAY The SIDE ANGLE with the last man hanging to the log. Kong lifts the log and drops it into the ravine. No horned beast here. EXT. RAVINE BOTTOM - DAY The log and the man fall to the ravine bottom. EXT. RAVINE BOTTOM - MED. SHOT - DAY They land in the mud. EXT. LOG - FULL SHOT - DAY Kong on the bank yammers down at the men who have fallen. Driscoll can be seen in the cave below. EXT. RAVINE BOTTOM - LONG SHOT - DAY The men at the bottom of the ravine are attacked by giant insects who come out of caves and fissures to eat them. EXT. RAVINE BOTTOM - CLOSE UP - DAY The surprised face of a sailor lying in the mud as he see this. EXT. RAVINE BOTTOM - CLOSE UP - DAY Face of another sailor staring up in horror from the mud. EXT. RAVINE BOTTOM - CLOSE UP - DAY Face of a third sailor in the mud, horrified as he sees -- EXT. RAVINE BOTTOM - MED. SHOT - DAY An insect with octopus arms takes a man. (Projection) EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY Its arms wind around the struggling man. EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY Two men on their backs staring up at a spider who attacks them. (Projection). EXT. RAVINE BOTTOM - CLOSE UP - DAY The face of a fourth sailor, fallen in mud, staring in horror as he sees -- EXT. RAVINE BOTTOM - FULL SHOT - DAY A giant lizard takes a man. EXT. CAVE - FULL SHOT - DAY Kong on the bank senses Driscoll's presence in the cave below. PAN down to the cave with Driscoll. He looks up, warily watching for Kong above. Continued to PAN DOWN revealing a huge spider climbing up on a vine from the ravine bottom to the cave. EXT. CAVE - MEDIUM SHOT - DAY Driscoll in his cave notices the vine shake. He looks down to see -- EXT. RAVINE - FULL SHOT - DAY The spider coming up the vine. (Previous angle) EXT. CAVE - MEDIUM SHOT - DAY Driscoll whips out his knife and starts cutting the vine. EXT. CAVE - FULL SHOT - DAY Driscoll cuts the line just in time to prevent the spider reaching him. The giant insect falls to the ravine bottom. PAN UP to Kong again. He reaches in the cave trying to get Driscoll. EXT. CAVE - MEDIUM SHOT - DAY Driscoll eludes the hand, stabbing at it. EXT. LOG - MED. SHOT - DAY Denham watching from his shrubbery on the far side. REVERSE ANGLE. EXT. LOG - FULL SHOT - DAY Kong tries to reach Driscoll who backs about the cave, stabbing with his knife. EXT. CAVE - MEDIUM SHOT - DAY Driscoll succeeds in stabbing Kong's hand. EXT. LOG - FULL SHOT - DAY Kong pulls back his hand, licks it, snarling angrily. LAP DISSOLVE: EXT. MEDIUM SHOT - DAY Ann, on the dead tree top, awakens from her faint. She looks about dazed. She looks down to see -- EXT. LONG SHOT - DAY A snake crawling along beside the tree - VERTICAL SHOT from her angle. EXT. MEDIUM SHOT - DAY Ann gasps in terror. EXT. LOG - FULL SHOT - DAY Kong is still trying to reach Driscoll in the cave. EXT. CLEARING - FULL SHOT - DAY A giant meat-eater enters the glade. Girl on tree-top in foreground. It sees her, comes toward her. EXT. CLEARING - MEDIUM SHOT - DAY A man-eater, in the background, comes toward Ann on the tree top in the foreground. She shrieks. EXT. CLEARING - LOG - FULL SHOT - DAY Kong, reaching for Driscoll in the cave, is just about to get him when he hears Ann's screams. He starts back at once towards her. EXT. JUNGLE POOL - FULL SHOT - DAY Kong comes back along the side of a pool, which lies in the foreground of the scene, jungle in the background. He hastens from camera left and out camera right to - EXT. CLEARING - FULL SHOT - DAY The clearing with the dead tree. The terrified girl is in the tree, foreground. The meat-eater in the background turns as he hears Kong off screen from camera left. EXT. CLEARING - GENERAL VIEW - DAY Kong enters from camera left. The meat-eater advances to meet him from camera left. The tree with the girl is in the middle distance. This shot is masked by foreground trees. EXT. CLEARING - MEDIUM SHOT - DAY Kong and the meat-eater fight. Ann on her tree-top is in the foreground, animals in the background. EXT. CLEARING - GENERAL VIEW - DAY Kong is knocked down by the meat-eaters tail. The meat-eater attacks him as he lies sprawled on his back. Kong manages to get to his feet. EXT. CLEARING - MEDIUM SHOT - DAY The ape and the meat-eater fight. Ann on the tree-top in the foreground. EXT. CLEARING - GENERAL VIEW - DAY Kong dodges back and out of the scene to camera left as the meat-eater leaps from camera right. The girl on the dead tree in the foreground. EXT. CLEARING - MEDIUM SHOT - DAY The animals fight, moving into this shot from camera left. Ann on her tree top in the foreground. EXT. CLEARING - GENERAL VIEW - DAY Kong backs into this shot from camera left. The meat-eater follows to attack. They fight. Kong gets a grip on the meat eater's hind foot and throws him. Both wheel around as they fall. The meat-eater falls on camera right, Kong on camera left. Kong leaps on the meat-eater as he lies on his back. Girl on tree in foreground. EXT. CLEARING - MEDIUM SHOT - DAY Kong falls. Ann on the tree top in the foreground. EXT. CLEARING - GENERAL VIEW - DAY The meat-eater, still on his back, kicks Kong out to camera left. Ann on tree in foreground. EXT. CLEARING - GENERAL VIEW - DAY The meat-eater springs up and menaces Kong, who is out of the shot, off camera left. Girl on tree in foreground. EXT. CLEARING - MEDIUM SHOT - DAY Kong, on his feet, beats his chest in defiance. Girl in foreground on tree top. EXT. CLEARING - GENERAL VIEW - DAY Kong leaps in and grabs the meat-eater's front foot. Girl in foreground on tree top. EXT. CLEARING - MEDIUM SHOT - DAY Kong shifts his hold on the front leg to a head hold, throws the meat-eater over his head. Girl on tree top in foreground. EXT. CLEARING - GENERAL VIEW - DAY Kong throws the meat-eater. The meat-eater gets up. Kong grapples with him again. The meat-eater throws Kong back against the tree with the girl in foreground. This is a new angle, tree center foreground. EXT. CLEARING - MEDIUM SHOT - DAY Ann on the tree top as Kong backs into it. She screams as the tree, jarred by the tremendous impact, starts to fall. TILT DOWN as tree falls. EXT. CLEARING - GENERAL VIEW - DAY The tree falls, with the screaming girl, pinning her under it. Kong falls also. This is the new angle. EXT. CLEARING - MEDIUM SHOT - DAY The girl on the ground pinned by the tree, which half covers her body. EXT. CLEARING - GENERAL VIEW - DAY The beasts fighting, with the girl under the tree in the foreground. EXT. CLEARING - FULL SHOT - DAY The fight continues, with the girl under the tree in the foreground. EXT. CLEARING - GENERAL VIEW The beasts fighting. Girl under the tree in foreground. EXT. CLEARING - MEDIUM SHOT - DAY The girl, under the tree, looks in horror at this spectacle. REVERSE ANGLE. EXT. CLEARING - GENERAL VIEW - DAY The beasts fight. Ann under the tree in foreground. EXT. CLEARING - MEDIUM SHOT - DAY REVERSE ANGLE again of the girl watching, horrified. EXT. CLEARING - GENERAL VIEW - DAY The animals fight. Kong grabs the meat-eater's head, bites and twists. The meat-eater falls, then gets up. Kong leaps on his back, grabs his mouth, trying to pry open jaws. Ann under tree in foreground. EXT. CLEARING - MEDIUM SHOT - DAY Kong grabs the meat-eater's jaws, pries them open. EXT. CLEARING - MEDIUM SHOT - DAY The girl, under the tree, staring, horrified. REVERSE ANGLE. EXT. CLEARING - GENERAL VIEW - DAY Kong, on the meat-eater's back, pulls open its jaws. Girl in foreground under tree. Kong pulls back, so that he pulls the meat-eater over. He falls with it, gets up, grabs his jaws again. The meat-eater lies prostrate as he works on it. EXT. CLEARING - MEDIUM SHOT - DAY Kong's hands break the jaw. Ann under tree in foreground. EXT. CLEARING - GENERAL VIEW - DAY Kong sees he has broken the meat-eater's jaw. He gives it a waggle to make sure, see it is dead, then rises and pounds his chest with a triumphant roar. He starts over towards the girl. EXT. CLEARING - SEMI CLOSE UP - DAY Kong's face as he looks down at Ann, interested and pleased. EXT. CLEARING - FULL SHOT - DAY The girl under the tree. She screams as she sees Kong looking down at her. This shot from Kong's angle. TRUCK DOWN to MEDIUM SHOT. EXT. CLEARING - GENERAL VIEW - DAY Kong takes hold of the log. Ann screams. EXT. CLEARING - MEDIUM SHOT - DAY Kong's hand lifts up the tree, freeing Ann. EXT. CLEARING - GENERAL VIEW - DAY Kong picks up Ann. EXT. CLEARING - LONG SHOT - DAY Ann, as she is lifted by Kong's hand. His shoulder is in foreground. REVERSE ANGLE. She looks fearfully up at him. This from his angle. EXT. CLEARING - SEMI CLOSE UP - DAY Kong as he looks down at her, interested. EXT. CLEARING - MEDIUM SHOT - DAY The girl held in his hand - shoulder out of shot now. REVERSE ANGLE. EXT. CLEARING - GENERAL VIEW - DAY Kong goes off with her to Camera right. EXT. LOG - MED. SHOT - DAY Denham raises himself cautiously from the shrubbery. He looks to see -- EXT. LOG - FULL SHOT - DAY -- the Stegasaurus disappearing in the direction from which he first appeared. EXT. LOG - MED. SHOT - DAY Denham, reassured, moves forward to -- EXT. LOG - MED. SHOT - DAY --the edge of the ravine by the big log. He looks down horrified at what he sees, then across. He is startled to see- EXT. LOG - FULL SHOT - DAY --from his angle, Driscoll rises from the bottom of what had seemed a quite empty cave. Driscoll does not at first see Denham. He too looks down to the bottom of the ravine, then starts to climb up the vines to the top of the ravine above the cave. EXT. LOG - MED. SHOT - DAY Denham's impulse is to call to him, but caution asserts itself. He checks himself, looks carefully behind him, then back, to see. EXT. LOG - FULL SHOT - DAY --Driscoll, from his angle, climbing up to the top of the bank. EXT. LOG - MED. SHOT - DAY DENHAM (calls, as softly as possible) Jack - Jack Driscoll. EXT. LOG - MED. SHOT - DAY Driscoll, turns, looks startled as he sees Denham in the background. EXT. RAVINE BOTTOM - FULL SHOT - DAY --Denham on the far side. Driscoll in the foreground of this SHOT. DENHAM Hey -- Jack. EXT. LOG - MED. SHOT - REVERSE ANGLE Shooting into his face. DRISCOLL (annoyed) It didn't get you, huh? EXT. LOG - MED. SHOT - DAY DENHAM I got to cover, same as you. (looking around apprehensively) I guess we're safe now. EXT. LOG - FULL SHOT - DAY Driscoll in foreground, Denham in background. DRISCOLL Safe like a cow in the stockyards. (glances down ravine) There's only two of us left alive, to save that girl. DENHAM I can't get across now. DRISCOLL I don't want you to. You got to lam back for some more of them bombs. DENHAM You wouldn't follow that beast alone? EXT. LOG - MED. SHOT - DAY - REVERSE ANGLE To get fence. DRISCOLL Someone's got to keep on his trail while it's hot. Maybe I'll get a chance to snake her away -- and if I don't I'll figure some way to signal your party where he's taken her. EXT. LOG - FULL SHOT - DAY Driscoll in foreground, Denham in background. DENHAM I guess that's the only out. DRISCOLL Sure it is. Get going now -- and don't get croaked till you give the office to Englehorn. DENHAM (starts into shrubbery - waves back) O.K., Jack. Good luck. DRISCOLL See you later...maybe (exits camera left) EXT. JUNGLE POOL - FULL SHOT - DAY Driscoll plunges into the jungle after Kong. The parrot flutters after him. He crosses by the pool. EXT. TREE - FULL SHOT - DAY Driscoll comes out to the clearing with the tree. The dead meat-eater lies there. Vultures are feeding on him. Driscoll looks at this. A distant crashing sounds in the woods. He listens and realizes it is Kong crashing through the jungle, carrying the girl. Driscoll starts after him. EXT. JUNGLE - FULL SHOT - DAY Denham makes his way through the jungle, left to right, PAN TO FOLLOW, on his way back to the village. LAP DISSOLVE EXT. MOUNTAIN - GENERAL VIEW - DAY Kong crosses foreground of a big shot with mountain and cliff in background. Boy pursues on the run. EXT. POOL - FULL SHOT - DAY ANIMATION & MIN. TO DO Driscoll runs through the pool and waterfall set after Kong. EXT. BASE CLIFF - FULL SHOT - DAY ANIMATION & MIN. TO DO Kong comes from the jungle and starts up the base of a cliff. (Deadfall set of Most Dangerous Game.) Driscoll runs out of the jungle and starts up the cliff after Kong. LAP DISSOLVE EXT. FISSURE - FULL SHOT - DAY DISSOLVE IN as Kong climbs to a ledge from which a great fissure in the rock opens into the mountains. He is unaware that the boy is following him. He enters this fissure with the girl. INT. CAVERN - GENERAL VIEW - DAY A great black pool lies at camera right. Entrance as at back. It has an outlet through the rock through which the water pours out in a waterfall. Steep walls of rock rise to an immense height all around. A trail leads up camera left to a ledge high above. This ledge looks out upon an opening through which daylight pours. It is this daylight which faintly illuminates the subterranean depths below. Kong enters with the girl, passes along the camera left side of the pool towards the trail. The head of the monster rears out the pool. He stares at Kong, who can be seen starting up the path which leads towards the ledge above. The monster lunges for the shore and starts to glide up the trail after Kong. Driscoll enters in the background and at once dunks behind a rock. Kong places the girl on a small ledge beside the trail to his lair. He plunges down over the side of his lair, with a roar, to attack the sea monster.
EveAnn is in the foreground of this shot, on the ledge. Instantly, the water monster winds himself about Kong and draws him toward the pool. Kong fights to keep himself from being drawn into the pool by the monster, whose tail has a purchase in the bottom of the water somewhere. He grips rocks with his feet, locks his great arms about the monster, crushing him, sinking his teeth into the monster's body. The monster in turn winds his coils about the great ape trying to crush him. After a few moments of frantic struggle, accompanied by hideous noises, both lapse into low grunts and hisses as each exerts strength against the other. It is a question of which will be crushed first. Driscoll in the foreground or background of this shot. As the monsters, locked in a death embrace, grow still, hardly moving at all, FADE OUT. FADE IN. THE GREAT GATE - NIGHT - Sailors on guard. Englehorn, 2nd Mate and others in group round Denham who is sitting on the ground, torn, dishevelled, still panting. DENHAM --Skipper, I tell you this Kong is the biggest thing on earth. He shook the men off that log like flies. ENGLEHORN All those men lost! Incredible! DENHAM Driscoll said he'd try to signal us when he found Ann. ENGLEHORN (groans) We'll never see either of them again. 2ND MATE Don't give up, Skipper. There's still a chance for Driscoll. DENHAM We'll have to wait for daylight. Then we'll bridge the ravine. Where's that other case of bombs? SAILOR Here, sir. ENGLEHORN This--this monster that you saw, will he care for bombs. DENHAM If we can get near enough to use 'em, you bet he'll care. Had any trouble with the natives? ENGLEHORN Yes, just after you left. DENHAM What happened? ENGLEHORN We fired a couple volleys over their heads, and they took to their huts like scared rabbits. DENHAM Gunpowder's something new in their lives, huh? ENGLEHORN They're terrified. 2ND MATE They've kept under cover ever since. DENHAM (to 2nd Mate) Briggs, get up on the wall and keep your eyes peeled. We'll start at dawn, whether we get a signal for Driscoll or not. LAP DISSOLVE INT. CAVERN - GENERAL VIEW - NIGHT DISSOLVE IN on the interior of the cavern. Kong and the water monster are still locked in each other's arms at the edge of the pool. Driscoll is in the foreground behind a rock. Kong manages to exert a last pressure of arms and teeth. The water monster suddenly gives a snakey cry of agony and goes limp. His coils relax. His head falls back. Kong realizes he is dead and extricates himself. He is very tired. He staggers towards the trail, takes the girl from the ledge and ascends to his lair once more. Driscoll comes out from behind his rock to watch this. INT. TRAIL - FULL SHOT - NIGHT Kong takes the girl up into his lair, shooting towards lair. INT. LAIR - FULL SHOT - NIGHT This lair opens out upon the mountain side at a great height. The opening is the eye of the legendary Skull after which the island is named. This shot looking from the opening into the lair as Kong brings the girl up into the lair from the trail. (Miniature and matte.) He goes to: EXT. LAIR - FULL SHOT - NIGHT --the ledge outside the opening, overlooking the island. SIDE SHOT. He sets her down. Then he towers over her, silhouetted against the rising moon, he gives a triumphant roar. He beats his chest, defying the world outside. Ann shrieks. INT. CAVERN - GENERAL VIEW - NIGHT Driscoll hears her cry and starts cautiously up the trail to the lair. INT. LAIR - FULL SHOT - NIGHT Now Kong, in the side angle, squats and takes up the girl in his great hand. She tries to run away. He lets her run to the edge of the trail, then catches her and pulls her back, as a cat might play with a mouse. Repeat this action. The second time, he takes her up in his hand and stares at her. INT. LAIR - SEMI CLOSE UP - NIGHT Kong stares at the girl with a puzzled, interested expression. INT. LAIR - SEMI CLOSE UP - NIGHT The girl in his hand looks back at him, terrified. INT. LAIR - FULL SHOT - NIGHT Kong, in side angle, begins to pick her clothes off, as a monkey might pick a rag doll to pieces. INT. LAIR - MED. SHOT - NIGHT Ann shrinks and screams as her clothes are pulled off bit by bit. EXT. TRAIL - FULL SHOT - NIGHT Driscoll comes up the trail. He can hear the girl's screams. He hurries. INT. LAIR - FULL SHOT - NIGHT The girl is almost naked. SIDE ANGLE. Kong is still picking at her when he turns startled. INT. LAIR - SEMI CLOSE UP - NIGHT Kong looks alert and startled toward the trail. INT. LAIR - FULL SHOT - NIGHT Kong puts the girl down and goes to look over the edge of the trail. SIDE ANGLE. The girl at once retreats to the edge of the outer edge of the lair, the lair which overlooks the landscape without. INT. TRAIL - FULL SHOT - NIGHT Kong looks down upon the trail from the lair above, this from cavern in train set, shooting into Kong's face and the boy's back. Driscoll can be seen below Kong, flattening himself into a crevice in the rocks. Kong looks down, trying to see him, much puzzled over the source of the noise. EXT. LAIR - FULL SHOT - NIGHT This shot from outside looking in. The girl looks terrified as she sees: INT. LAIR AND MOUNTAIN - GENERAL VIEW - NIGHT A giant meat-eating bird (petrodactyl) high above her, wheeling. Girl in foreground here. EXT. MOUNTAIN - LONG SHOT - NIGHT This shot taken with bird in foreground, ZOOMING down towards girl, seen on lair far below, as the bird dives. CAMERA ZOOMS with bird. EXT. LAIR - FULL SHOT - NIGHT Ann screams as the bird seizes her. SIDE ANGLE. INT. LAIR - FULL SHOT - NIGHT Kong, peering down the trail, hears noise and turns to rush back. Boy in foreground. EXT. LAIR - FULL SHOT - NIGHT He catches the bird out of the air just as it starts to fly away with the girl. A terrific fight between the two. The girl runs back towards the trail. SIDE ANGLE here. INT. LAIR - FULL SHOT - NIGHT Driscoll comes up over the edge of the lair as the girl runs in. Shot from looking outside looking in. He sees the girl. He rushes to seize her. He tries to rush her back towards the trail. As he does do, Kong finishes wringing the bird's neck and turns to see the intruder. INT. LOG - SEMI CLOSE UP - NIGHT Kong's face as he sees Driscoll with the girl and roars angrily. INT. LAIR - FULL SHOT - NIGHT Shot from outside looking in. Kong starts toward them. INT. TRAIL - FULL SHOT - NIGHT Driscoll takes the only means of escape possible. He is on the inner edge of the lair, overlooking the subterranean pool. Seizing the girl about the waist, he dives off with her, just in time to avoid Kong's grasp. INT. CAVERN POOL - FULL SHOT - NIGHT They land in the pool and come up. This a shot of surface of pool. INT. TRAIL - FULL SHOT - NIGHT Kong rushes down the trail after them. INT. CAVERN - GENERAL VIEW - NIGHT Kong, at the edge of the pool. He tries to reach them as they swim towards the orifice. INT. CAVERN POOL - FULL SHOT - NIGHT His great hand just misses them in the water. They dive. He reaches for them again. INT. TANK - FULL SHOT - NIGHT UNDERWATER SHOT as his hand tries to seize them. INT. CAVERN POOL - FULL SHOT - NIGHT (MINIATURE) The subterranean outlet, through which the water of the pool pours out in a waterfall to the mountain side without. They comes up just in time to be sucked through it. (Miniature figure) EXT. WATERFALL - FULL SHOT - NIGHT (MINIATURE) They are seen going over the waterfall as it pours out of the mountain. They are swept down the torrents below. (Miniature figures) INT. CAVERN - GENERAL VIEW - NIGHT Kong roars furiously. He rushes out through the entrance. EXT. RAPIDS - FULL SHOT - NIGHT The boy and girl are swept down rapids. EXT. FISSURE - FULL SHOT - NIGHT Kong comes out of the fissure and starts down the edge of the cliff. EXT. TORRENT - FULL SHOT - NIGHT Driscoll pulls the girl ashore. He helps her out, supporting her. They disappear into the jungle. FADE OUT. FADE IN EXT. WALL - FULL SHOT - NIGHT --on Englehorn's party grouped about the inner side of the great gate. It is closed. The ship's party have lit a bonfire, about which there are grouped with their arms, including Denham and Englehorn. At the top of the wall, sailors are standing watch. EXT. WALL TOP - MED. OR FULL SHOT - NIGHT One of the sailors at the top of the wall suddenly grabs the arm of another and points as he sees Driscoll and Ann coming out of the woods. They are visible in the background. (Double print silhouettes.) They look to see -- EXT. ALTAR - FULL SHOT - NIGHT -- Driscoll and Ann, from their angle, as they come from the jungle Driscoll is carrying the girl. (This using set of Kong's original entrance.) EXT. WALL TOP - MED. OR FULL SHOT - NIGHT The sailor who saw this calls down to those below. LOOKOUT ON WALL (shouts down) Driscoll and the lady -- coming up from the woods, sir. EXT. WALL - FULL SHOT - NIGHT A commotion at the foot of the wall. All spring to their feet. ENGLEHORN Gott sei dank! Driscoll and Ann - as the rescue party runs up to them. DENHAM Give her to me. (takes the girl from Driscoll) ENGLEHORN (grasping Driscoll's hand) Good man, Jack! Driscoll almost collapses. ENGLEHORN (half supporting him, pulls flask from his pocket) Here. Driscoll takes it, staggers over to Ann. She is lying on ground, Denham kneeling beside her. Driscoll bends over her, gives her a drink. She chokes over it, pushes it away. ANN I'm all right. Oh Jack. She hides her face against him. ENGLEHORN Now, now. You're safe. We'll be back on the ship in no time. Driscoll is kneeling, holding Ann in his arms. Denham gets up. DENHAM Wait a minute. What about Kong? DRISCOLL What about him? DENHAM We came here to make a moving picture, but we've found something worth all the movies in the world. ENGLEHORN (can't believe his ears) What! DENHAM We've got the bombs. If we capture him alive -- DRISCOLL You're crazy. Anyway, he's on top of a cliff where an army couldn't get at him. DENHAM If he chooses to stay there. They all stare at him. DENHAM We've got something he wants. He looks at Ann. She shrinks in horror. DRISCOLL (furiously) Something he won't get again. The roar of KONG is heard in the jungle. DRISCOLL He's followed us! Ann screams, Driscoll puts arms round her. EXT. ALTAR - FULL SHOT - NIGHT Kong bursts from the jungle. Sees them and beats his breast. EXT. ALTAR - GENERAL VIEW - NIGHT All run for the gate. EXT. VILLAGE SQUARE - GENERAL VIEW - NIGHT This SHOT shooting towards village street, as native warriors, alarmed at sound of Kong - which can be heard - come running towards gate with weapons in hand. EXT. WALL - FULL SHOT - NIGHT The sailors at the gate hear the natives running up behind them and snatch up weapons, ready to defend themselves. The natives, however, run up, holding their hands, with weapons above their heads, to show no harm is meant, shouting "KONG, KONG," and indicating with gestures that the gate must be closed. Some start to pick up the big pole used to keep the gate shut. Before the sailors have time to ask questions, another frightful roar and drumming is heard beyond the wall. EXT. ALTAR - FULL SHOT - NIGHT REVERSE ANGLE as Kong, in the foreground, pursues the people in the background. (Using Most Dangerous Game jungle glass). EXT. WALL - FULL SHOT - NIGHT The party who went to meet the boy and girl, with boy and girl, run through the gate, past natives and sailors. DENHAM (shouts) Shut the gate - shut the gate. ENGLEHORN All hands on the gate. 2ND MATE (blows whistle) Driscoll runs straight on out of the shot, with Ann, towards village square. The sailors drop their weapons to push the gate closed. The native warriors, who picked up the big pole, now push it against the gate - some sixty of them on it. A few others stand by with weapons - leaders, evidently - shouting orders and encouragements. EXT. ALTAR - FULL SHOT - NIGHT REVERSE ANGLE - Kong, in the foreground, pursues the people in the background. (Using Most Dangerous Game jungle glass). EXT. ALTAR - FULL SHOT - NIGHT Kong reaches the gate and gets his foot jammed in it as it closes. (Miniature) EXT. WALL - FULL SHOT - NIGHT The ship's party tries to force the gate shut. Kong gets his arm through it. EXT. WALL - MED. SHOT - NIGHT The arm lifts a sailor and crushes him or beats him against the gate. EXT. WALL - MED. SHOT - NIGHT Sailors at the bottom press against the gate frantically to keep Kong out. Kong's foot can be seen blocking the gate. EXT. WALL - MED. SHOT - NIGHT The great hand drops the sailor, dead. EXT. WALL - MED. SHOT - NIGHT He falls among the sailors at the bottom of the gate, as they strain keep Kong out. Kong's foot in the shot. EXT. ALTAR - FULL SHOT - NIGHT Kong throws himself repeatedly against the gate. It begins to wrench loose. EXT. WALL - FULL SHOT - NIGHT The sailors press against the gate. They look up, horrified as they see -- EXT. WALL - SEMI CLOSE UP OR MED. SHOT - NIGHT --the hinges above tearing loose. EXT. WALL - FULL SHOT - NIGHT They redouble their efforts to keep the gate shut. EXT. ALTAR - FULL SHOT - NIGHT Kong makes one last lunge at the gate. It rips loose from its hinges -- EXT. ALTAR - FULL SHOT - NIGHT -- and falls in. The sixty natives on the long pole are crushed. The sailors run for their lives. They have no time to pick up weapons. The few surviving natives with spears - the one's nor on pole - also run. Kong stands in the gate, snarling, beating his chest. He starts after them. Village street, sailors panicking through, taking refuge in huts. Driscoll and Ann run across, behind huts. Denham runs in. DENHAM The bombs! Who's got the bombs! KONG advances down street, towering over huts. He roars and knocks huts aside. Men in foreground run. KONG tears roof off a hut. Interior Hut from Kong's angle. Men cowering in a corner. They look up at camera and shriek. KONG reaches into hut, picks up a native. Exterior, behind a hut. Driscoll, half-carrying Ann. Stops, looks back, hurries her out. KONG looks at native in his hand, throws him aside. Denham runs past after some sailors, one of them carrying the bombs. KONG knocking down more huts. Driscoll and Ann running, trying to keep behind huts. KONG sees them over roofs. Close-up of KONG snarling as he sees: Long shot, Driscoll and Ann clear of village and running for beach. KONG starts after them. The beach, boats drawn up. Sailors running. Denham overtakes them, grabs man with bombs, pulls him around. Man tries to run. Denham hits him, seizes bombs. Driscoll and Ann running toward camera. KONG pursuing. Denham steps forward, throws bombs over Driscoll's head. Bombs burst in front of KONG. Smoke veils him. KONG staggers forward through smoke, coughing. He knocks Denham aside with his hand. He reaches for Driscoll and Ann, and pitches forward. CLOSE SHOT, Driscoll and Ann. KONG'S reaching hand falls into this shot, and he's limp. Village street. Night. Englehorn and Denham. ENGLEHORN Are you hurt? DENHAM (gets up, pushes Englehorn aside) Come on. We've got him. Village street. Night. KONG's great side, heaving as he breathes. All crowd around him. DENHAM (exultant) He'll be out for hours. Send off to the ship for anchor-chain, Skipper. And tools. ENGLEHORN What are you going to do? DENHAM Build a raft to float him out to the ship. The whole world'll pay to see this! ENGLEHORN No chains will hold -- that. DENHAM We'll give him more than chains. He's always been king of the world. But we'll teach him fear. (his voice rises triumphantly) We're millionaires. I'll share with all of you. Listen, boys a few months from now it'll be in lights on Broadway -- Kong, the Eight Wonder. DISSOLVE TO electric sign on a theatre, "KONG, the Eight Wonder." Tilt down to crowds outside. CLOSEUPS of crowd. 1ST MAN What is it, anyhow? 2ND MAN They say it's sort of a gorilla. 1ST MAN Gee, ain't we got enough of them in New York? Another close-up. YOUNG MAN (to his girl) I hear it's bigger'n an elephant. GIRL (chewing gum) Does it do tricks or what? Another close-up. WOMAN (in evening dress) Heavens, what a mob. HER HUSBAND Well, you would come. And the tickets cost me twenty bucks. Long Shot of crowd, zoom forward over their heads toward the entrance. Dissolve to wings of theatre, shoot toward stage. Ann and Driscoll in foreground, peering toward stage. Ann evening dress. Driscoll dinner jacket. ANN I don't like to look at him, Jack. It makes me feel the way I did that awful day on the island. DRISCOLL I wouldn't have brought you, but you know how Denham insisted. ANN Of course we had to come when he said it would help the show. Do you suppose we'll really make a lot of money, Jack? DRISCOLL (fussing with his collar) Enough to pay him back for these clothes, anyway...I never had an open-face suit before. Denham bustles in. Full evening dress, silk hat, gardenia. He is excited and important. DENHAM Hello, you're just on time. You look great, Ann. Glad I dressed you up for this show. Hello, Jack. Ten thousand dollars in the box office. How's that for one night? DRISCOLL Say! That's money! DENHAM Oh, we're going to do that every night. The newspaper boys are coming in now. Group of reporters and photographers come in to Ann, Driscoll, and Denham. DENHAM Miss Darrow, boys. And Mr. Driscoll. 1ST REPORTER It was Mr. Driscoll rescued you from the ape, wasn't it? ANN Yes. He was alone. All the sailors with him had been killed. 2ND REPORTER (looking off-stage) Alone, eh? Whew! How did you tackle that baby? DRISCOLL Aw, Denham's the one that got him. The rest of us were running like rabbits, but Denham had the nerve to stand still and chuck gas-bombs at him. The Reporters turn to Denham, saying "Oh, you're the hero." "Come on spill it," etc. DENHAM No, lay off me. Miss Darrow is the story. If it hadn't been for her, we'd never have got near KONG. He came back to the village for her. 3RD REPORTER Beauty and the Beast, huh? DENHAM That's it. Play up that angle. Beauty and the Beast. KONG could have stayed safe where we'd never have got him, but he couldn't stay away from Beauty. That's your story, boys. 2ND REPORTER It's a story all right. 1ST PHOTOGRAPHER How about a few pictures? DENHAM Wait. I want you to take flashlights on the stage in front of the audience. We'll ring the curtain up now, and I'll make a speech. Tell 'em about KONG and Miss Darrow and Driscoll. Then when I call you, you all come on and take pictures. The photographers ad lib. "Sure," "We'll do that," etc. DENHAM Come on Ann. I want you and Jack there when the curtain goes up. ANN (shrinking) Oh, no. DENHAM It's all right. We've knocked some of the fight out of him since you saw him. He urges Ann off. Driscoll follows. Cut to back of theatre, looking toward stage, curtain down. House packed. Denham comes before the curtain. In almost the tones of the circus spieler, he begins: DENHAM Ladies and gentlemen, I am here tonight to tell you a strange story. So strange a story that no one will believe it. But, ladies and gentlemen, seeing is believing, and we -- I and my partners -- have brought back the living proof of our adventure, an adventure in which twelve of our party met terrible deaths. Cut to wings of theatre. Reporters and photographers looking onto the stage. 2ND PHOTOGRAPHER Holy smoke, look at that! 1ST PHOTOGRAPHER Hope he's tied up good and plenty. 1ST REPORTER Sure he is. Denham's taking no chances. Cut to front of theatre. Denham addressing audience. DENHAM - and now, ladies and gentlemen, before I tell you more, I am going to show you the greatest sight your eyes ever beheld. He was the king and the god of the world he knew, but now he comes to civilization, merely a captive, a show to gratify your curiosity. Ladies and gentlemen, look at KONG, the Eight Wonder of the World. The curtain rises to disclose a raised platform, on which is KONG, loaded with chains and so fastened that he can move nothing but his head. Murmurs and exclamations from the audience, a few rise to their feet to get a better look. CUT TO medium shot on stage. Denham takes Ann's hand. DENHAM I want to introduce Miss Ann Darrow. The pluckiest girl I've ever known. Audience applauds. DENHAM There the Beast, and here the Beauty. She has lived through an experience that no other woman ever dreamed of. And she was rescued from the very grasp of KONG by her future husband. I want you to meet a very brave gentleman, Mr. John Driscoll. Audience applauds. Driscoll bows awkwardly. DENHAM Now, before I tell you the full story of our voyage. I am going to ask the gentlemen of the press to come forward, so that the audience may have the privilege of seeing them take the first photographs of KONG and his captors. He looks off-stage and beckons. The press men come on. DENHAM Miss Darrow first, alone. Stand in front of KONG, Ann. Ann reluctantly does so. 1ST PHOTOGRAPHER That's it - That's near enough. 2ND PHOTOGRAPHER Ready. Hold it. Smile, please. The flashlights go off. KONG roars. Ann looks round in terror, with a startled cry. DENHAM Don't be alarmed, ladies and gentlemen. Those chains are made of chrome steel. He can't move. Flashlights again. KONG roars and strains at chains. Ann covers her face. Driscoll steps forward to her. DRISCOLL It's all right, Ann. DENHAM Get them together, boys. They're going to be married tomorrow. 1ST PHOTOGRAPHER Put your arm around her, Driscoll. Driscoll does so. Flashlights. KONG roars, struggles. Ann hides her face against Driscoll. DENHAM Wait. Hold on. He thinks you're attacking the girl. 1ST PHOTOGRAPHER Let him roar. Swell picture. (to flashlight men) Get this. Flashlights again. With a frightful roar, KONG breaks his chains. Everyone stands paralyzed, as KONG beats his chest, roaring. The Driscoll grabs Ann, and rushes for door. The theatre; reporters, attendants running for safety. Audience in panic. KONG roaring. Driscoll and Ann through door. KONG starts across arena. Driscoll and Ann in street. DRISCOLL My hotel! Across the street! They run. KONG pushes down big door. Crowded street seen beyond him. He plunges through. KONG comes up to hotel. Door is too small for him. He peers through big window. Driscoll and Ann in elevator going up. She is clinging to him in panic. KONG outside hotel. A woman, several stories above, looks out window, sees KONG, screams. KONG looks up, sees woman, thinks it is Ann, starts to climb. Woman sees him coming, goes back from window. KONG climbing up building. A room in hotel, five men playing poker. 1ST MAN Sweeten it - sweeten it. They all ante, while 2nd Man deals. 3RD MAN What's all the doings over there at the theatre? 2ND MAN Sounds like a three-alarm fire. 4TH MAN Aw, some movie stunt about a monkey. 5TH MAN I hear the theatre's sold out. 3RD MAN This town sure is full of hicks. 1ST MAN Barnum was right. KONG appears at window. They panic. Another room in hotel. Ann and Driscoll rush in, he slams door. Ann clings to him for a moment, then collapses on bed, gasping and sobbing. He kneels beside her. DRISCOLL Hush, Ann. Hush, darling. It's all right. You're safe here. KONG climbing building. Another hotel room. A woman in negligee at telephone. WOMAN Yes, Jimmy, it's Mabel - I been waiting for you to call up. JIMMY Howya, kid. Glad I'm back? WOMAN You bet I'm glad you're back...I got your postal. Talk louder, Jimmy, there's fire-engines going by. I can't hear... JIMMY Gonna step out with me, kid? Ya save the evening like I told ya? MABEL Sure I saved the evening...Nine o'clock'll be swell...And say, wait until you see my new outfit...All right, I'll be there...Say, when did I ever break a date with you, honey... JIMMY Whatsa matter? Hey, kid, what yer yelling -- Mabel! Mabel! Operator, something's happened! KONG at window. He reaches in, picks her up, pulls her out window. Exterior, hotel wall. KONG looks at her, sees she isn't Ann, drops her disgustedly. Driscoll's hotel room. Ann sitting on bed. Driscoll kneeling beside her. DRISCOLL We'll stay here, dear. I won't leave you. They'll get him. It's all right. ANN (gasping) It's a like a horrible dream. It's like -- being back there -- on the island. Driscoll puts his arms round her, murmurs soothingly. KONG appears in window. Driscoll starts up. Ann turns and sees, shrieks, cowers on bed. KONG smashes window, his hand comes in, reaching. Driscoll picks up a chair and attacks hand. KONG'S hand knocks him across room, where he lies senseless. KONG'S hand drags the bed to the window, picks up Ann, takes her out window. Driscoll staggers to window, looks up after KONG, turns and rushes out. (Changes - 9/6/32) Hotel corridor. Denham running toward camera, followed by pop eyed bell-boys, clerks and waiter. Door to Driscoll's room opens, and Driscoll staggers out, almost colliding with Denham. DENHAM Jack! He's climbing up, outside there. DRISCOLL He got Ann. He's taking her up. DENHAM The roof! Quick! They rush off. CUT TO roof of hotel. Denham and Driscoll run in. They see KONG, holding Ann, going over another roof. He goes out of sight. DENHAM What'll we do? DRISCOLL (turning to go) Fire Department searchlights. They'll keep him in sight. CUT TO - motorcycle cops. Crowd pointing and shouting. Policeman turning in alarm. Hook and ladder. KONG climbing. Cornice breaks. Cornice crashes on man. Firehouse, searchlights coming out. Siren. Mounted police ride out. Crowd in street. Searchlights on roof. 1ST FIREMAN Where is he? 2ND FIREMAN He went that way. 1ST FIREMAN He may have fallen. Searchlight settles on Kong on distant roof. 1ST FIREMAN There! There he is. 2ND FIREMAN He's still got the girl. Another searchlight picks up Kong. 3RD FIREMAN He's turned. He's going back. Police station, cops run out with guns. Wall of windows, full of heads, craning. Cop telephoning from street-box. Roof with searchlight. Kong not seen. Light moves to and fro, looking. 2ND FIREMAN Where's he gone? Two policemen enter. 1ST COP Can you see him? 2ND FIREMAN No. Lost sight of him half and hour ago. Crowd in street. Two men looking up. 1ST MAN They say he's disappeared. 2ND MAN Well, what could he hide in? 1ST MAN Gee, I hope he don't come down in the street. 2ND MAN You said it. Police Station. Sergeant at desk with phone. Denham and Driscoll pacing the floor. Phone rings. SERGEANT (into phone) Yes? Yes...No, not yet...Headquarters is broadcasting the reports. (he hangs up) THE LOUDSPEAKER Kong, the giant ape, is still at large. He has not been seen since midnight. The whole city is aroused. We are hoping for a report at any moment. Driscoll sits down with a groan and puts his head in his hands. Denham rests a hand on his shoulder. DENHAM Snap out of it, Jack. They're bound to find him when morning comes. DRISCOLL I can't do anything. Ann's out there -- somewhere -- DENHAM But we're pretty sure he won't hurt her. DRISCOLL He may have dropped her. She may be lying somewhere. THE LOUDSPEAKER Attention, all stations! Kong has been seen again. He is on the roofs of the warehouses at 41st Street. He is going toward the East River. He is still carrying Ann Darrow. Driscoll leaps up, clutching Denham. Phone on desk rings. SERGEANT (answering it) Yes?...Yes, the report just come in...I don't know. What can we do without killing the girl, too? DENHAM If he puts Ann down -- SERGEANT (into phone) It'll be daylight in an hour. Keep him in sight. THE LOUDSPEAKER Kong is going West. He is making for the Empire State Building. DRISCOLL (to Sergeant) If he goes up there, what can we do? SERGEANT We won't be able to get near him. THE LOUDSPEAKER Kong is climbing the Empire State. He is still carrying Ann Darrow. DENHAM That's licked us. DRISCOLL There's one thing that hasn't been tried. SERGEANT What? DRISCOLL Airplanes. If he should put Ann down -- if they could fly near enough to pick him off -- without hitting Ann -- SERGEANT You're right! Planes -- as soon as it's daylight -- (he turns to phone and starts to call) CUT TO planes taking off. Crowd in street, gazing up. Kong on top of Empire State. He puts Ann down and beats his chest. An airplane squadron, flying in formation. The planes over New York. Pilot looks over side, gives signal to rest of squadron. Entrance to Empire State, crowd around doors, police holding them back. Denham, Driscoll, with two policemen, push their way through crowd. They pause in door. DENHAM Here comes the planes. POLICEMAN They'll get him. DRISCOLL Can they shoot him and not hit Ann? (he starts inside) POLICEMAN Hold on. Don't you get on that roof too. DENHAM Give the pilots a chance, Jack. They all exit into building. Top of Empire State. Dawn. Kong turns and looks up at a plane, roars and beats his chest. In plane, shot over pilot's shoulder, as plane dives at Kong. Top of Empire State. Kong snatches at plane and drops it into street. In the street, plane drops and burns. Top of Empire State. Kong roars and beats his chest. In 2nd plane, observer taps pilot and points. They dive. Top of Empire State. Plane banks around Kong, firing machine gun. Close shot of Kong - he is hit by bullets, staggers. Shot of Ann on ledge. Another plane zooms past, firing at Kong. Close shot of Kong, hit again. He coughs, looks down at his wounds. Looks at Ann, reaches as though to pick her up. Top of Empire State. More planes zoom down. Kong stands erect, drumming on his chest. The planes sweep by, firing. He staggers, turns slowly, and topples off roof. EXT. NEW YORK STREET - GENERAL VIEW - NIGHT (STOCK) Fire engines, searchlight units, police cars, motorcycles and what not, speeding through crowded streets with sirens blowing. This would be particularly effective in some well recognized location such as Times Square. EXT. 3RD ROOFS - FULL SHOT - NIGHT Kong, carrying the girl, runs across roofs to the edge of a city street. He leaps across the street, or alley, if the distance is too great, and catches a window of a building on the opposite side. He pulls himself up and continues the chase. Crowds can be seen below. EXT. 2ND STREET - FULL SHOT - NIGHT Confusion in the street below this building as the crowds of police, firemen, etc., rush after Kong. LAP DISSOLVE EXT. 4TH ROOFS - FULL SHOT - DAWN DISSOLVE IN on an armed party, including Driscoll and police officer, as they rush across roof tops and stop bewildered as they see no trace of Kong. The first streaks of dawn are tinging the sky. EXT. 4TH ROOFS - MED. SHOT - DAWN POLICE CAPTAIN It's no use. All night we've been after him -- and never got near enough to take a shot. POLICE LIEUTENANT It'll be daylight soon. That ought to help. POLICE CAPTAIN Help the ape, maybe. DRISCOLL There he goes -- making for the Empire State Building. Points to -- EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN -- Kong with the girl seen in the distance, going across roofs toward Empire State Building background. Probably no men needed in this shot, as building gives size. EXT. 4TH ROOFS - MED. SHOT - DAWN POLICE CAPTAIN If he takes the girl up there with him, we're fair beat. POLICE LIEUTENANT That's right. We can't shoot him down while he has the girl. DRISCOLL Wait a minute. There's one thing we haven't tried. POLICE CAPTAIN And what is that? DRISCOLL Air planes. The army planes from Roosevelt Field. They might find a way to pick him off without touching her. POLICE CAPTAIN You're right. (to Lieutenant) Get to a phone, Tim. Call the field, - burn up the wires - As they move away, DISSOLVE OUT. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN DISSOLVE IN on the Empire State Building, as Kong climbs it with the girl. The first streaks of Dawn light the sky. EXT. AIRPORT - GENERAL VIEW - DAWN Military planes as they take off from an airport. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN The dome of the Empire State Building as Kong climbs up. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN The crowd in the street, watching this aghast. There are police cars, motorcycles, fire engines, and two of three searchlight units, keeping their lights fixed on him. Police are keeping the crowd back. VERTICAL SHOT DOWN. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN Kong climbs to stand on the dome, holding the girl. He beats his chest, defying the whole civilized world. EXT. SKY AND CITY - GENERAL VIEW - DAWN An airplane squadron over New York, flying toward the Empire State Building. If desirable, this can be done without city below, just against sky backing. The planes are pursuit ships. EXT. 1ST AIRPLANE - MED. SHOT - DAWN The squadron leader looking over the side of the plane. He waves a signal to the other and dives. EXT. SKY AND CITY - FULL SHOT - DAWN The leader dives toward the Empire State Building, seen far below, Kong is just a dot on the roof. The rest continue to fly in formation. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN Kong hears the planes. He turns to look as the squadron leader banks about the top of the building, making a reconnaissance. Kong puts the girl down and suddenly reaches out, snatches the plane out of the air. He crumples it and hurls it to -- EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN -- the street below. It lands just short of the crowd and bursts into flames. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN Kong again roars angry defiance at the world. EXT. 2ND AIRPLANE - MED. SHOT - DAWN The observer of a 2nd plane taps the pilot's back, indicates here's their chance. The military pilot of the second airplane fires machine gun as he dives. (NOTE: A LONG SHOT of Kong in dome from angle of plane would it it's possible, help observer get this over. Maybe ZOOM SHOT, plane in background) EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN The airplane whizzes by Kong, firing into him. EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN Kong is seen from the waist up. The bullet strikes him about the chest. He staggers. EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN The girl watching, terrified. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN Another airplane zooms by firing into Kong. EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN Again Kong is hit. He coughs. He looks down at the girl. He looks at his wounds, realizes he is weakening. He moves to -- EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN -- pick her up. EXT. EMPIRE STATE BUILDING - MED. SHOT As he stares at her with a puzzled, hurt look. The he puts her -- EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN -- down, straightens up, roars defiance up at the planes. He coughs as he drums his chest, daring them to come on. EXT. CITY AND SKY - FULL SHOT - DAWN The remainder of the squadron dive together towards the Empire State Building. EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN They sweep past Kong with a roar of machine guns. He staggers, turns and slowly topples off the roof. EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN Kong as he falls to -- EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN -- the street below. He lands beside the burning airplane. EXT. DOME OF THE EMPIRE STATE - DAWN Ann lying on ledge. Driscoll, Denham, couple of cops rush in, as Kong goes over. Driscoll leaps across, gets Ann, he is incoherent with terror for her. He kisses her wildly, talking all the time. DRISCOLL Ann! Ann! Are you all right? Oh, my darling, sure you're not hurt? ANN Ad lib. Denham and one cop lean over the parapet looking down at the fallen Kong. COP (drawing a long breath) Gee, what a sight. Well, the aviators got him. DENHAM Oh no, 'twasn't the aviators (Cops looks question) It was Beauty killed the Beast. Cop stares at him, very puzzled. FADE OUT.