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King Kong - 1933 Screenplay

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Author Topic: King Kong - 1933 Screenplay  (Read 12388 times)
Stacy Dohm
Superhero Member
Posts: 4566

« 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
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Stacy Dohm
Superhero Member
Posts: 4566

« Reply #1 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.
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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #2 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.
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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #3 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

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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
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Posts: 4566

« Reply #4 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.

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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #5 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.
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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #6 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.
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Stacy Dohm
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« Reply #7 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.
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Stacy Dohm
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« Reply #8 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.

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Stacy Dohm
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« Reply #9 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 --


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Stacy Dohm
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« Reply #10 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

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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #11 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.
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Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
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Posts: 4566

« Reply #12 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.

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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #13 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.
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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
Stacy Dohm
Superhero Member
Posts: 4566

« Reply #14 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.
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"All that we see or seem
Is but a dream within a dream." - Edgar Allen Poe
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