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Science Fiction & Fantasy => King Kong, Gigantopithecus & the Mountain Gorilla => Topic started by: Stacy Dohm on August 25, 2007, 09:21:33 pm

Title: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:21:33 pm

                             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

               An old watchman comes along wharf from opposite side,
               swinging a lantern.

               An old watchman comes along wharf from opposite side,
               swinging a lantern.

                         Hey, Is this the moving picture

                         The Venture? Yep.
                             (Weston starts for
                         You going on this crazy voyage?

                         What's crazy about it?

                         I dunno know, but I hear everybody
                         talkin' about this crazy feller
                         that's running it.

                         Carl Denham?

                         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

                         He's a tough egg, all right. But
                         why the talk about this voyage
                         being crazy?

                         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.

                         Not enough men to handle her?

                         Not enough! The crew's three times
                         too big for the ship. I dunno know
                         where they find enough room to

                             (from above deck)
                         Hey, there! What do you want?

                         Denham aboard?

                             (comes down gangway into
                         Yes. Who are you?

                         I want to see him. I'm Weston, the

                         Come aboard. Denham's getting wild.
                         Hope you have some good news for

               INT. CABIN - NIGHT

               Denham and Englehorn talking.

                         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.

                         I suppose if we make a legal case
                         of it, we'll be tied up for months.

                         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

                             (pacing up and down)
                         We've got to get to where we're
                         going before the monsoon starts.

                         You can trust me to get you through
                         a blow, I hope.

                         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.

                         But still you always bring back a
                         picture and everyone says, "There
                         is only one Carl Denham."

               Driscoll and Weston come in.

                         Weston! I was just going ashore to
                         ring you up.

                         If I'd known that, I'd have waited.

                         Meet the Skipper.
                             (to Englehorn)
                         This is Weston, the theatrical
                             (they shake hands)
                         And this is Driscoll, the first
                         mate. Well, where's the girl,

                         It can't be done, Denham.

                         What? It's got to done.
                             (Weston shakes his head in
                         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 -

                         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

                         I'll say so.

                         When even the skipper and the mate
                         don't know where they're going --
                             (he shrugs)

                         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.

                         And what is she to expect?

                         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.

                         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.

                         Sure we're healthy.

                         But it's different taking a girl
                         into danger.

                         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

                         Sure. But they know that kind of

                         You never had a woman in your other
                         pictures, why do you want one in

                         Holy mackerel D'ye think I want to
                         haul a woman along?

                         Then why - ?

                         Because the public - bless 'em -
                         must have a pretty face to look at.

                         Everybody likes romance.

                         Isn't there any romance or
                         adventure in the world without a
                         flapper in it?

                         Well, Mr. Denham, why not make a
                         picture in a monastery?
                             (they all laugh)

                         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

                         I don't know where you'll get her.

                         Weston, I've got to. We've got to
                         sail on the morning tide - we've
                         got to be out of here by daylight -


                         Well - there's a good reason.

                         Everything I hear makes me like
                         this thing less. I'm glad I didn't
                         get you a girl.

                         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
                         -- 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)

                         Where are you going?

                         I'm going to bring back a girl for
                         my picture -- if I have to marry

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:22:18 pm
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

               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.

                             (very excited)
                         Ah-ha! I catch you, you stealer! I
                         catch the cop - you like that, ha!

                             (she keeps her head bent,
                              struggling weakly to pull
                         No-no, I didn't.  Please let me go.
                         I wanted to, but I didn't.

                         I had enough dese stealers --

                         Oh, dry up. The kid didn't take

                         I didn't, truly I didn't.

                         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,

               MEDIUM SHOT - Denham, holding Ann. He looks at her. Suddenly
               his face lights up, he snaps his fingers triumphantly.

                             (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.

                         Feeling better?

                         Yes, thank you. You're very kind.

                         Don't fool yourself. I'm not
                         bothering with you just out of
                             (Ann opens her eyes wide,
                              half-puzzled, half
                         How come you're in this fix?

                         Bad luck I guess. There are lots of
                         girls just like me.

                         There aren't such a lot who've got
                         your looks.

                             (laughing it off)
                         Oh, I can get by in good clothes.
                         But when a girl gets too shabby --

                         No family?

                         I'm supposed to have an uncle

                         Ever do any acting?

                         I used to do some extra jobs over
                         at Fort Lee sometimes. Once I got a
                         real part. The studio is shut down

                         What's you name?

                         Ann Darrow.

                         Are you one of these city gals who
                         screams at a mouse and faints at a

                         No, of course not. I'm a country
                         gal - or used to be.

                         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.

                         But - but what is it?

                         It's money, and adventure, and
                         It's the thrill of a lifetime. And
                         a long sea-voyage that starts at
                         six tomorrow morning.

                         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.

                         Oh, I see. You got me wrong. Nix,
                         sister, nix. This is strictly
                         business. I'm no chaser.

                         I only wanted to -

                         Sure. Sure you did. I dot excited
                         and forgot you didn't understand
                         it. Listen, I'm Carl Denham. Ever
                         hear of me?

                         Ye-es. Yes. You make moving
                         pictures. In jungles and places.

                         That's right. And I've picked you
                         for the lead in my next picture. We
                         sail at six.

                         Where to?

                         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

                             (almost whispers)
                         Oh, yes.

                         I'm square, Ann. And I'll be square
                         with you. No funny business.

                         What do I have to go?

                             (leaning over her chair
                              and looking straight at
                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:23:22 pm
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.

                         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.

                         Who the -- What are you going up

                             (meekly, hand to her face)
                         I just wanted to see!

                         Well, I'm sorry. You're the girl
                         Denham found at the last minute,
                         aren't you?

                         Yes. I'm - I'm awfully excited.
                         It's all so strange, and I've never
                         been on a ship before.

                         And I've never been on a ship with
                         a woman before.

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

                         No. They're a ****-eyed nuisance.

                         I'll try not to be.

                         You got in the way already. Better
                         stay below.

                         What! The whole voyage!
                             (she smiles at him)

                             (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.

                         Well, we're off.

                             (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.

                         Charley, how many potatoes do you
                         suppose you've peeled since we left
                         New York six weeks ago?

                         Too many.

                         Sailors eat an awful lot, don't

                         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.

                         There. That's fourteen knots I've
                         learned to tie.

                         Pretty soon now you be same sailor.
                         Only don't eat so much.

                             (laughs, then looks around
                              with a contented sigh)
                         I'd like to be a sailor. Isn't the
                         sea wonderful!

                         Oh yes, very pretty.

                         Of course it wasn't so nice up
                         north when it was cold and rough.

                         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.

                         Hello, Ann.

                         Hello, Jack.

                         Where have you been all morning?

                         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.

                         Tests? Why?

                         Oh - to see which side of my face
                         looks best - and all that.

                             (very gruff)
                         Both sides looks all right to me.

                         Yes, but you're not the movie

                         If I was, you wouldn't be here.

                         Well, that's a nice thing to say.

                         It's no place for a girl.

                         I wish you wouldn't keep harping on
                         that. It's very mean of you.
                         Anybody'd think I'd been a lot of

               Driscoll grunts.

                             (very cross)
                         I haven't! You can't say I've been
                         one bit of trouble to anyone.

               Driscoll is silent.

                             (looks at him, waits, then
                         Have I?

                         Sure you have.

                         I don't see - Well, how?

                         Just your being here's a trouble.

                         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.

                         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.

                         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 -

                         Why - that's fine.

               A little pause. Driscoll thinks it over.

                         D'ye really mean that, 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?

                         I'd hate to have him hear me say

               Ann laughs and picks up Ignatz, the monkey, who cuddles down
               in her lap contentedly.

                         Ignatz is nice to me too. He likes
                         me better than he does anyone else
                         on board, don't you Iggy?

               Denham approaches them.

                         Beauty and the Beast.

                         Well, I never thought I was
                         handsome, but -
                             (they all laugh)

                         Go put on a costume, Ann. Light's
                         good for those tests now.

                         I won't be a minute, Mr. Denham.

               She puts down Ignatz and goes. Denham scratches Ignatz' head,
               watches him for moment.

                             (half aloud)
                         Beauty and the Beast.

                         Mr. Denham, I've going to do some

                         What's your trouble, Driscoll?

                         When do we find out where we're

                         Pretty soon now.

                         Are you going to tell us what
                         happens when we get there?

                         How can I? I'm no fortune-teller.

                         But hang it, you must have some
                         idea what you're after.

                         Going soft on me, Jack?

                         You know I'm not for myself. But
                         Ann --

                         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

                         Love affair! You think I'm going to
                         fall for any dams?

                         It never fails. Some big hard
                         boiled egg goes goofy over a pretty
                         face, and bingo! He cracks up and
                         gets sappy.

                         Who's getting sappy? I haven't run
                         out on you, have I?

                         Nope. You're a good tough guy,
                         Jack. But if beauty gets you --
                             (he stops, then laughs a
                         Why, I'm going right into a theme

                         What are you talking about?

                         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.

                             (coming up)
                         Mr. Denham, the Skipper says will
                         you please come up on the bridge?
                         We've reached the position you
                         marked, he says.

                         Come on, Jack. You're in on this.
                         I'm going to spill it.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:24:29 pm
DISSOLVE TO bridge. Englehorn leaning over chart; Denham and
               Driscoll across table.

                             (pointing with dividers)
                         Here's your noon position. 2 South,
                         90 East; you promised me some
                         information when we reached these

                             (looking at chart)
                         'Way west of Sumatra.

                         And way out of any waters I know. I
                         know the East Indies like my own
                         hand, but I was never here.

                         Where do we go from here?


                         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?

                         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
                         That's the island we're looking

                         The position --
                             (he leans down,
                              straightens up)
                         I'll get the big chart.

                         You won't find that island on any
                         chart. That one there was made up
                         by the skipper of a Norwegian

                         He was kidding.

                         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.

                         Where did you get hold of it?

                         Two years ago, in Singapore, going
                         home from my last trip. I've known
                         that skipper for years. He knew I'd
                         be interested.

                         Does he believe it himself?

                         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

                         A wall?

                         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.


                         There's something on the other side
                         - something they fear.

                         A hostile tribe.

                             (drawing a long breath)
                         Did you ever hear of -- KONG?

                         Why -- yes. Some Malay
                         superstition. A god or a spirit or

                         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.

                         Every legend has a basis of truth.
                         I tell you there's something on
                         that island that no white man has
                         ever seen.

                         And you expect to photograph it?

                         If it's there, you bet I'll
                         photograph it.

                             (very skeptical)
                         Suppose it doesn't like having it's
                         picture taken?

                         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.

                         Oh, you picked out the Beauty and
                         the Beast costume!

                         It's the prettiest.

                         All right. Stand over there.

                         I'm sort of nervous. Suppose I
                         don't photograph well?

                             (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.

                         What shall I do?

                             (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.

                         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

                         That was fine. I'm going to try a
                         filter on this one.
                             (he fusses around,
                              changing lens, etc.)

                         Do you always take the pictures

                         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.

                         Think he's crazy, Skipper?

                         Just enthusiastic!

                         But this yarn about unknown islands
                         and monstrous gods --

                         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.

                         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.

                         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.

                             (grasping Englehorn's arm)
                         What's he think she's really going
                         to see?

                                                           DISSOLVE OUT

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:25:29 pm
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.

                         This infernal fog! Sure of your
                         position, Skipper?

                             (very nervous, but
                              offended at suggestion)
                         Of course. Last night, before the
                         fog shut down, I got a good sight.

                         We must be near the island.

                         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

                         No bottom at 30 fathoms!

               CUT TO bridge as before.

                         Of course that Norwegian skipper
                         was guessing at the position.

                         How will we know it's the right

                             (very tense, answering
                         The mountain that looks like a

                         Yes. I'd forgotten. You told me
                         that. Skull Mountain.

                                   SAILOR'S VOICE
                         Bottom! 20 fathoms!

                         Shallowing fast, Driscoll, dead

               Driscoll goes to telegraph, sounds of bells to engine-room
               and reply.

                         Curse the fog!

                                   SAILOR'S VOICE
                         Sixteen fathoms!

                         What does she draw, Skipper?


               No one ever looks at person addressed. All eyes ahead,
               straining through fog.

                         Listen! Hear anything?



               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.

                             (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

                         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

                         Well, Skipper, see anybody?

                         Not a living thing. I think there
                         are more houses in the thick bush.

                         Funny they haven't spotted us. I
                         think the whole population would be
                         on the beach.


               The faint throbbing of drums.

                         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.

                         Twelve men go with you. The rest
                         stay aboard.

                         Who's in charge of the gas bombs?

                         Jimmy. That young feller.
                             (points down on deck)

                         Good. Leave the 2nd Mate aboard,
                         Skipper. I need you, you may be
                         able to talk to these birds ashore.

                         I'm going ashore with you, aren't

                         You bet.

                         She ought not to go till we find
                         out what goes on --

                         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

                         But it's crazy to risk --

                         Oh, go on, Jack. Get busy. Deal out
                         the rifles and ammunition. And pick
                         me a couple of huskies to carry my

               Driscoll goes reluctantly. Denham shakes his head over him,
               then Ann.

                         Bring the costume box. We might get
                         a swell shot right away if we're

               DISSOLVE TO shot of beach, boats approaching. Village and
               wall glassed.

               DISSOLVE TO shot from beach, showing loaded boats

               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

                         You fellers with the camera stay
                         close to me. Where's Jimmy with the

                         Here, sir.

                         All right. Stick around. And watch
                         your step. There's enough
                         trichloride in that case to put a
                         herd of hippos to sleep.

                         Aye Aye, sir.

                         What queer-looking boats.

                         Outrigger canoes.

                         Driscoll, have two men stay with
                         the boat.

                         All attended to, sir.

                         Now, all set? Ready, Skipper?

                             (coming up)

               They start up the beach.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:27:11 pm
CUT TO village. Wall visible over roofs. Party enters.

               Drums much louder.

                         Not a soul in sight.

                         That wall, Skipper! What d'ye say
                         to that, eh?

                         Colossal! It might almost be

                         But what's on the other side?
                         That's what I want to know.

                         Who do you suppose could have built

                             (trying not to be
                         Aw, I went up to Angkor once.
                         That's bigger than this - and
                         nobody knows who built it.

                             (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

               The chant begins, rising in volume. They all stand frozen.

               Ann clutches Driscoll's arm. Sailors frightened. Chant dies
               down to a mutter.

                             (shaking himself)
                         Come on!

               They all move forward cautiously. TRUCK WITH THEM.

                         Hear that! They're saying Kong!

                         Hope you'll be able to speak their
                         lingo Skipper.

                         Can you catch any words yet?

                         I'm not sure. It sounds something
                         like the language the Nias
                         Islanders speak.

                         What do you suppose is happening?

                         Up to some of their heathen tricks.
                         Now don't go rushing out to see.

                             (meekly, but bubbling with
                         All right. But isn't it exciting!

                         Sure. I wish we'd left you on the

                         I'm so glad you didn't.

               They approach masking house.

                         Wait. Easy row. Stay here till I
                         see what goes on.

               They stop in a group behind house. Denham looks round

               CUT TO what he sees. The Ceremony.

                         Holy mackerel! What a show!
                         Skipper, get a look at this!

               Englehorn carefully goes forward and peeps around.

                         Did you ever see anything like that
                         before? If I can steal a shot
                         before they see us -

               He beckons to sailor carrying camera.

                         Hey! You with the camera!

               Sailor starts forward with it.

                             (to Driscoll)
                         I want to see.

                         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.

                         Bado! Dama pati vego!

               Ceremony stops, natives turn and stare.

                         Too late, they see us.

                         Let's beat it!

               He turns to run. Driscoll seizes and holds him.

                         Hold on there! What are you running

                         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.

                         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.

                         Stand still, you fool!

               Group of sailors are fingering their rifles, shifting

                             (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.

                         Never let a native see you're
                         worried, boys. Bluff 'em.

               The chief stops.

                         Watu! Tama di? Tama di? (Stop! Who
                         are you? Who are you?)

                         Come on Skipper, make him a
                         friendly speech.

                         Tabe! Bala kum nono hi. Bala! Bala!
                         (Greeting! We are your friends.
                         Friends! Friends!)

                         Bala reri! Tasko! Tasko! (We don't
                         want friends, Go! Get out!

                         He understands you, Skipper! What's
                         he say?

                         Telling us to get out.

                         Talk him out of it. Ask him what
                         goes on.

                         Vana di humya? Malem ani humya
                         vana? (What are you doing? What is
                         that woman doing?)
                             (he points to girl)

                         Ani saba Kong! (She is the bride of

               The natives all murmur "Saba Kong!"

                         He says the girl there is the bride
                         of Kong.

                         Great! Find out what they're going
                         to do.

               The Witch Doctor rushes forward, very angry. He addresses

                                   WITCH DOCTOR
                         Dama si kasi! Dama si kasi! Punya
                         bas! Punya! (Strangers have seen!
                         It is finished.)

                             (to Englehorn)
                         Tasko! (Go!)

                         What's that?

                         He must be the witch-doctor. He
                         says the ceremony is spoiled
                         because we have seen it.

                         What's the word for friends?


                         Calm the old boy down.

               He advances with outspread hands, saying, "Bala! Bala!"

               Englehorn hesitates for a moment, then steps forward too.


               The warriors move menacingly forward.

                         I don't like the looks of this,
                         Denham. The women have cleared out.
                         That's a bad sign.

               The Chief sees Ann.

                             (shouting to the natives)
                         Sita! Malem! Malem me pakeno!
                         (Look! The woman! The woman of

               Natives all look at her and murmur.

                         What's that?

                         He says look at the golden woman.

                         Blondes are scarce around here.

                         Malem ma pakapo! Kong wa bisa! Kow
                         bisa para Kong! (The woman of gold!
                         Kong's gift! A gift for Kong.)

                         A gift for Kong, he says.

                         Good Lord!

                         Dama, tebo malem na hi? (Strangers,
                         sell woman to us?)

                         Wants to buy her.

                         Sani sita malem ati -
                             (pointing to sacrificial
                         - kow dia malem ma pakeno.
                         (I will give six women like this
                         for you woman of gold.)

                         He's offering to trade us six of
                         his girls for Ann.

               Ann gasps, tries to smile.

                         You got her into this, Denham.

                         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.

                         I'm going to take her back to the

                         We'd better all get out before they
                         think to cut us off from the beach.

                         I guess so. But tell him we'll come
                         back tomorrow to make friends.

                         Dulu hi tego. Bala. Dulu. (Tomorrow
                         we come. Friends. Tomorrow.)

               Chief does not move, glares at them.

                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:28:16 pm
DISSOLVE TO deck in moonlight - Ann and Charley on hatch.

                         -- and an enormous wall, Charley,
                         all the way across that piece of
                         land where we went ashore.

                         What fashion that girl do -- that
                         girl with flowers on her?

                         The poor thing, she looked -- as
                         though she was too frightened to
                         feel frightened. You know?

                             (nodding wisely)

                         The Chief said she was the bride of
                         Kong. Charley, what do you suppose
                         Kong is?

                         My guess he very big joss this
                         place. People here plenty scared.
                         You don't worry. No can help.

               Ignatz gallops past.

                         Oh, there's Ignatz! He's broken
                         loose again.

               Charley grabs at him and misses. Ignatz goes down the deck.

                         Catch him, Charley. He'll get in
                         the cabins and break things.

                         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.

                         Why aren't you in bed?

                         I can't sleep. Those drums make me
                         nervous, I guess.

                         I think Denham's off his nut,
                         taking you ashore today.

                         I was -- sort of scared there for a

                         Huh! You weren't the only one.

                         I wonder what we do next?

                         That's what's worrying me. Denham's
                         such a fool for risks. No telling
                         what he'll ask you to do.

                         After what he did for me, I'll do
                         anything he wants.

                         Don't talk like that. When it comes
                         to getting a picture, he's crazy
                         enough to try anything.

                         I won't go back on him.

                         When I think what might have
                         happened today -- if anything
                         happened to you.

                         Why then you wouldn't be bothered
                         with a woman on board.

                             (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.

                         Jack! You hate women!

                             (still surprised over his
                         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

               Just as his arms go around her, a hail from the bridge.

                                   ENGLEHORN'S VOICE
                         Mr. Driscoll! Are you on deck?

                             (lifts his head long
                              enough to reply)
                         Yes, sir.
                             (then bends over Ann

                                   ENGLEHORN'S VOICE
                         Please come up here a minute.

                             (same business)
                         Yes, sir.

                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:30:04 pm
THE BRIDGE. NIGHT. Englehorn, Denham, Driscoll - talking over
               chart table.

                         Now tomorrow morning, pick out the
                         men to go ashore. Couple of those
                         nervous boys you better leave

                         Mr. Denham wants you to break out
                         the trade goods the first thing

                         We'll try a little bribery.

                         Still hoping to make friends with
                         that bunch ashore?

                         Sure. We've got to. I've got to
                         find out what Kong is.

                         He's their tribal legend, their
                         god, of course.

                         You planning to make movies of a
                         fairy story?

                         How do you know Kong's only a
                         legend or a fairy story? That wall
                         wasn't built for fun.

                         But you said yourself it was built
                         so long ago the people who live
                         here now don't know anything about

                         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.

                             (looks at watch)
                         After ten. And they're still at is

                         If I could only take pictures by
                         firelight! I'd sneak back there now
                         and get a scene.

                         Be sensible. We're lucky to be all
                         safe aboard tonight.

                         Oh sure, sure.

               He looks to Driscoll, who has crossed over and is peering
               down onto the deck.

                         What is is, Jack?

                         Oh -- er -- I was looking for Ann.
                         She's gone below, I guess.

                         How about turning in, Skipper?

                         No, not for me tonight.

                         But you've set a watch in the bow.

               Englehorn shakes his head stubbornly. Driscoll starts to go.

                         Oh well, I'll sit up with you then.

                         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.

                         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

                         That's about it.
                             (marking chart)
                         We'll make absolutely sure tomorrow

               Denham yawns, stretches, looks at watch, crosses and looks
               toward shore.

                         About midnight. Hey, look at that.

                             (crosses and looks)
                         Torches going through the village.

               Driscoll exits.

                         Looks like the night before

               Noise of drums increases suddenly.

                         Listen to 'em, will you? Wonder
                         what's up.

               CUT TO main deck. Driscoll speaking to Charley.

                         My don't know, sir. My not see
                         Missy one, two hour.

                         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.

                         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.

                         Look sir! My found on deck.

                         A native bracelet!

                         Crazy black man that place comes
                         this place!

               Driscoll arrives on the run.

                         Who's turning out the crew? What's
                         the matter?

                         Charley found this. Some one's been
                         aboard. Search the ship.

               Charley exits.

                         Oh my God! Where's Ann?

                         In her cabin -

                         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.


                                   BOS'N'S VOICE
                             (from below)
                         Yes sir.

                         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.

                         The boats, Skipper? D'ye think -- ?

                         They may have stolen something.

               They look at each other for a moment, as they start out.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:31:22 pm
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

               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:

                         Kara Ta ni, Kong. O Taro Vey, Rama
                         (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

               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.

                         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.

                         All right. Here you - and you -
                             (selecting sailors)

                         What did you see?

                             (brushing him aside)
                         Skipper, you stay here with half
                         the men and guard this gate. Don't
                         let 'em close it.

                         Who's got the bombs?

               Jimmy comes forward.

                         Come on, you fellers.

               Driscoll, Denham and eleven sailors start through gate.

                             (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.

                             (stops, wipes his
                         No telling where he's gone in this

                         He came by here. Look at those
                         broken branches.

                         That's right. He's up ahead

                             (looks about)
                         The sun ought to be rising about

                         Listen to those birds.
                             (bird noises)
                         It's dawn all right.

                         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."

                         Look at the size of that. He must
                         be as big as a house. He's come
                         this way, all right.

                         And he's heading that way. Come on.

               TRUCK to LONGER SHOT as he leads them forward. All hasten on
               after Kong.

                             (to sailors)
                         Keep those guns cocked.

                                   SAILOR IN BLACK SWEATER
                         He's telling us!

               As they exit, camera left - DISSOLVE OUT.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:32:20 pm

               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

                         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

                             (sees footprints, points,
                              shouts back without

               All hurry forward in a dog trot. A couple of sailors,
               running, pass Driscoll, then stop, run back into the arms of
               the others.

                         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)

                         Great Scott, that's something I
                         didn't know about.

                         I got an idea there's plenty on
                         this island you weren't figuring

               The beast crashes out into the open.

                         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.

                             (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

               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)

                         Wait a minute. He's only knocked

               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.

                             (after a look, speaks to
                         I told you those gas bombs would
                         bring down anything. We'll get that
                         ape alive.

                         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 --


Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:37:02 pm
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")

                             (following tracks with
                         There's his foot again --
                             (following director)
                         -- he's down in that hollow where
                         the fog is, some place.

                         There's water down there. Here.

               They listen. Sounds of splashing.

                         That's him, splashing through. Come

               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)

                             (looks at footprint, then
                              across stream)
                         He must have swum across.

                         That's out for us. We can't swim
                         with guns and bombs.

                             (looks about, sees log,
                              gets an idea)
                         How about these --
                             (indicates logs)
                         -- for a raft?

                         Yeah, that's it. A raft.

                         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.


               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.

                         Don't get the arms wet, boys.

                                   SAILOR A
                             (guarding them)
                         I'm watching 'em.

                                   SAILOR B
                             (helping another on)
                         Easy now.

                             (shouts, looking around)
                         All set? All set, everybody?

                         All set. Let 'er go.


                         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.

                         Easy now -- keep her against the

                         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

               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

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:38:14 pm
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

                                   SAILOR A
                         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.

                         Hasn't anybody got a gun?

               Each man looks at the next fellow, hoping he has saved a gun.

                         They're all at the bottom of the

                             (to sailor who carried
                         Then gimme one of those bombs.

                                   BOMB CARRIER
                         I had to let them go to keep from

                         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.


               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

               (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.

                             (to men)
                         Down! Down!

               All throw themselves down behind shrubbery.

                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:39:23 pm

               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

               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

               (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

               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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 09:42:29 pm

               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.


               The sailor falls into the ravine bottom.


               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.


               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

               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

               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

               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.


               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

               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)


               Its arms wind around the struggling man.


               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 --


               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

               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

               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.


               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.


               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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:14:58 pm

               The ape and the meat-eater fight. Ann on the tree-top in the


               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.


               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.


               The meat-eater, still on his back, kicks Kong out to camera
               left. Ann on tree in foreground.


               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.


               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.


               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.


               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.


               The beasts fighting, with the girl under the tree in the

               EXT. CLEARING - FULL SHOT - DAY

               The fight continues, with the girl under the tree in the


               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.


               The beasts fight. Ann under the tree in foreground.

               EXT. CLEARING - MEDIUM SHOT - DAY

               REVERSE ANGLE again of the girl watching, horrified.


               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.


               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.


               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

               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.


               Kong takes hold of the log. Ann screams.

               EXT. CLEARING - MEDIUM SHOT - DAY

               Kong's hand lifts up the tree, freeing Ann.


               Kong picks up Ann.

               EXT. CLEARING - LONG SHOT - DAY

               Ann, as she is lifted by Kong's hand. His shoulder is in

               REVERSE ANGLE. She looks fearfully up at him. This from his

               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


               Kong goes off with her to Camera right.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:16:41 pm

               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

               EXT. LOG - MED. SHOT - DAY

                             (calls, as softly as
                         Jack - Jack Driscoll.

               EXT. LOG - MED. SHOT - DAY

               Driscoll, turns, looks startled as he sees Denham in the


               --Denham on the far side. Driscoll in the foreground of this

                         Hey -- Jack.

               EXT. LOG - MED. SHOT - REVERSE ANGLE

               Shooting into his face.

                         It didn't get you, huh?

               EXT. LOG - MED. SHOT - DAY

                         I got to cover, same as you.
                             (looking around
                         I guess we're safe now.

               EXT. LOG - FULL SHOT - DAY

               Driscoll in foreground, Denham in background.

                         Safe like a cow in the stockyards.
                             (glances down ravine)
                         There's only two of us left alive,
                         to save that girl.

                         I can't get across now.

                         I don't want you to. You got to lam
                         back for some more of them bombs.

                         You wouldn't follow that beast

               EXT. LOG - MED. SHOT - DAY - REVERSE ANGLE

               To get fence.

                         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

               EXT. LOG - FULL SHOT - DAY

               Driscoll in foreground, Denham in background.

                         I guess that's the only out.

                         Sure it is. Get going now -- and
                         don't get croaked till you give the
                         office to Englehorn.

                             (starts into shrubbery -
                              waves back)
                         O.K., Jack. Good luck.

                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:17:29 pm

               Denham makes his way through the jungle, left to right, PAN
               TO FOLLOW, on his way back to the village.

               LAP DISSOLVE


               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

               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. Eve Ann 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.

                         --Skipper, I tell you this Kong is
                         the biggest thing on earth.
                         He shook the men off that log like

                         All those men lost! Incredible!

                         Driscoll said he'd try to signal us
                         when he found Ann.

                         We'll never see either of them

                                   2ND MATE
                         Don't give up, Skipper. There's
                         still a chance for Driscoll.

                         We'll have to wait for daylight.
                         Then we'll bridge the ravine.
                         Where's that other case of bombs?

                         Here, sir.

                         This--this monster that you saw,
                         will he care for bombs.

                         If we can get near enough to use
                         'em, you bet he'll care. Had any
                         trouble with the natives?

                         Yes, just after you left.

                         What happened?

                         We fired a couple volleys over
                         their heads, and they took to their
                         huts like scared rabbits.

                         Gunpowder's something new in their
                         lives, huh?

                         They're terrified.

                                   2ND MATE
                         They've kept under cover ever

                             (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

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:18:47 pm

               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.


               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

               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

               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:


               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

               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.


               They land in the pool and come up. This a shot of surface of

               INT. TRAIL - FULL SHOT - NIGHT

               Kong rushes down the trail after them.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:19:36 pm

               Kong, at the edge of the pool. He tries to reach them as they
               swim towards the orifice.


               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.


               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


               They are seen going over the waterfall as it pours out of the
               mountain. They are swept down the torrents below. (Miniature


               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

               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

                         Gott sei dank!

               Driscoll and Ann - as the rescue party runs up to them.

                         Give her to me.
                             (takes the girl from

                             (grasping Driscoll's hand)
                         Good man, Jack!

               Driscoll almost collapses.

                             (half supporting him,
                              pulls flask from his

               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.

                         I'm all right. Oh Jack.

               She hides her face against him.

                         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

                         Wait a minute. What about Kong?

                         What about him?

                         We came here to make a moving
                         picture, but we've found something
                         worth all the movies in the world.

                             (can't believe his ears)

                         We've got the bombs. If we capture
                         him alive --

                         You're crazy. Anyway, he's on top
                         of a cliff where an army couldn't
                         get at him.

                         If he chooses to stay there.

               They all stare at him.

                         We've got something he wants.

               He looks at Ann. She shrinks in horror.

                         Something he won't get again.

               The roar of KONG is heard in the jungle.

                         He's followed us!

               Ann screams, Driscoll puts arms round her.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:20:46 pm

               Kong bursts from the jungle. Sees them and beats his breast.

               EXT. ALTAR - GENERAL VIEW - NIGHT

               All run for the gate.


               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.

                         Shut the gate - shut the gate.

                         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 --


               --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 --

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:21:35 pm

               -- 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

               Driscoll and Ann run across, behind huts. Denham runs in.

                         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

               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

               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.

                         Are you hurt?

                             (gets up, pushes Englehorn
                         Come on. We've got him.

               Village street. Night. KONG's great side, heaving as he
               breathes. All crowd around him.

                         He'll be out for hours. Send off to
                         the ship for anchor-chain, Skipper.
                         And tools.

                         What are you going to do?

                         Build a raft to float him out to
                         the ship. The whole world'll pay to
                         see this!

                         No chains will hold -- that.

                         We'll give him more than chains.
                         He's always been king of the world.
                         But we'll teach him fear.
                             (his voice rises
                         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

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:23:16 pm
DISSOLVE TO electric sign on a theatre, "KONG, the Eight

               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.

                             (chewing gum)
                         Does it do tricks or what?

               Another close-up.

                             (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

               Dissolve to wings of theatre, shoot toward stage. Ann and
               Driscoll in foreground, peering toward stage. Ann evening
               dress. Driscoll dinner jacket.

                         I don't like to look at him, Jack.
                         It makes me feel the way I did that
                         awful day on the island.

                         I wouldn't have brought you, but
                         you know how Denham insisted.

                         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?

                             (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.

                         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?

                         Say! That's money!

                         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.

                         Miss Darrow, boys. And Mr.

                                   1ST REPORTER
                         It was Mr. Driscoll rescued you
                         from the ape, wasn't it?

                         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?

                         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.

                         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?

                         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?

                         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.

                         Come on Ann. I want you and Jack
                         there when the curtain goes up.

                         Oh, no.

                         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:

                         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

               Cut to front of theatre. Denham addressing audience.

                         - 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.

                         I want to introduce Miss Ann
                         Darrow. The pluckiest girl I've
                         ever known.

               Audience applauds.

                         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

               Audience applauds. Driscoll bows awkwardly.

                         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.

                         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.

                         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.

                         It's all right, Ann.

                         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.

                         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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:24:16 pm
Driscoll and Ann in street.

                         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

                                   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.

                         Hush, Ann. Hush, darling. It's all
                         right. You're safe here.

               KONG climbing building.

               Another hotel room. A woman in negligee at telephone.

                         Yes, Jimmy, it's Mabel - I been
                         waiting for you to call up.

                         Howya, kid. Glad I'm back?

                         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...

                         Gonna step out with me, kid? Ya
                         save the evening like I told ya?

                         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,

                         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

               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.

                         We'll stay here, dear. I won't
                         leave you. They'll get him. It's
                         all right.

                         It's a like a horrible dream. It's
                         like -- being back there -- on the

               Driscoll puts his arms round her, murmurs soothingly.

               KONG appears in window.

               Driscoll starts up. Ann turns and sees, shrieks, cowers on

               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.

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:26:09 pm
(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.

                         Jack! He's climbing up, outside

                         He got Ann. He's taking her up.

                         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

                         What'll we do?

                             (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,

                                   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

               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.

                             (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.

                         Snap out of it, Jack. They're bound
                         to find him when morning comes.

                         I can't do anything. Ann's out
                         there -- somewhere --

                         But we're pretty sure he won't hurt

                         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.

                             (answering it)
                         Yes?...Yes, the report just come
                         in...I don't know. What can we do
                         without killing the girl, too?

                         If he puts Ann down --

                             (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.

                             (to Sergeant)
                         If he goes up there, what can we

                         We won't be able to get near him.

                                   THE LOUDSPEAKER
                         Kong is climbing the Empire State.
                         He is still carrying Ann Darrow.

                         That's licked us.

                         There's one thing that hasn't been


                         Airplanes. If he should put Ann
                         down -- if they could fly near
                         enough to pick him off -- without
                         hitting Ann --

                         You're right! Planes -- as soon as
                         it's daylight --
                             (he turns to phone and
                              starts to call)

Title: Re: King Kong - 1933 Screenplay
Post by: Stacy Dohm on August 25, 2007, 10:27:06 pm
CUT TO planes taking off.

               Crowd in street, gazing up.

               Kong on top of Empire State. He puts Ann down and beats his

               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.

                         Here comes the planes.

                         They'll get him.

                         Can they shoot him and not hit Ann?
                             (he starts inside)

                         Hold on. Don't you get on that roof

                         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

               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

               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.


               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.

                         There he goes -- making for the
                         Empire State Building.

               Points to --


               -- 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.

                         Wait a minute. There's one thing we
                         haven't tried.

                                   POLICE CAPTAIN
                         And what is that?

                         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.


               DISSOLVE IN on the Empire State Building, as Kong climbs it
               with the girl. The first streaks of Dawn light the sky.


               Military planes as they take off from an airport.


               The dome of the Empire State Building as Kong climbs up.


               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.


               Kong climbs to stand on the dome, holding the girl. He beats
               his chest, defying the whole civilized world.


               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

               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.


               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 --


               -- the street below. It lands just short of the crowd and
               bursts into flames.


               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)


               The airplane whizzes by Kong, firing into him.


               Kong is seen from the waist up. The bullet strikes him about
               the chest. He staggers.


               The girl watching, terrified.


               Another airplane zooms by firing into Kong.


               Again Kong is hit. He coughs. He looks down at the girl. He
               looks at his wounds, realizes he is weakening. He moves to --


               -- pick her up.


               As he stares at her with a puzzled, hurt look. The he puts
               her --


               -- 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.


               They sweep past Kong with a roar of machine guns. He
               staggers, turns and slowly topples off the roof.


               Kong as he falls to --


               -- the street below. He lands beside the burning airplane.


               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.

                         Ann! Ann! Are you all right? Oh, my
                         darling, sure you're not hurt?

                         Ad lib.

               Denham and one cop lean over the parapet looking down at the
               fallen Kong.

                             (drawing a long breath)
                         Gee, what a sight. Well, the
                         aviators got him.

                         Oh no, 'twasn't the aviators
                             (Cops looks question)
                         It was Beauty killed the Beast.

               Cop stares at him, very puzzled.

                                                              FADE OUT.