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Volume 5171


KING KONG
The Screenplay
By Ruth Rose and James Ashmore Creelman
Edgar Wallace and Merian C. Cooper (1933 Screen Credits)
INTRO FROM WIKIPEDIA
King Kong is a 1933 landmark black-and-white monster film about a gigantic gorilla named "Kong" and how he is captured from a remote lost prehistoric island and brought to civilization against his will. The film was made by RKO and was originally written for the screen by Ruth Rose and James Ashmore Creelman, based on a concept by Merian C. Cooper. A major on-screen credit for Edgar Wallace, sharing the story with Cooper, was unearned, as Wallace became ill soon after his arrival in Hollywood and died without writing a word, but Cooper had promised him credit. A novelization of the screenplay actually appeared in 1932, a year before the film, adapted by Delos W. Lovelace, and contains descriptions of scenes not present in the movie. Wikipedia.

FADE IN on a composite glass shot over the Hoboken docks -
New York Skyline dimly seen in background. Snow. Sounds of tugboat whistles.
DISSOLVE TO - Ship's side gangway slopes up out of picture.

Weston, a theatrical agent, comes along wharf, peering at ship. He is fifty, heavy, slow, but with a shrewd eye.
He turns up his collar and shivers, stops and looks at ship doubtfully.

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

     WESTON
          Hey, Is this the moving picture ship?

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

     WESTON
              (pausing)
          What's crazy about it?

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

     WESTON
          Carl Denham?

     WATCHMAN
          Guess that's the name. They say he ain't scare of nothin' - if he wants a picture of a lion he walks right up and tells it to look pleasant.

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

     WATCHMAN
          Wal, there's talk around the docks about the cargo for one thing. And I never see a ship this size with such a crew.

     WESTON
          Not enough men to handle her?

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

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

     WESTON
          Denham aboard?

     DRISCOLL
              (comes down gangway into picture)
          Yes. Who are you?

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

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



INT. CABIN - NIGHT
Denham and Englehorn talking.

     ENGLEHORN
          Well, Mr. Denham, you know the reasons for hurrying as well as I do. The insurance company has found out we're carrying explosives, and the Marshal will be aboard tomorrow or next day.

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

     ENGLEHORN
          With ship's articles falsified and ammunition enough aboard to blow up the harbor?
              (he takes a bomb from case on the floor)
          And what do you think the Marshall will say to these new gas-bombs?
          According to you one of them is powerful enough to knock out an elephant.

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

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

     DENHAM
          Don't get sore, Skipper. But you know what it means to hit the tropical rainy season when we're making an outdoor picture. Months wasted, money gone, and nothing to show for it.

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

Driscoll and Weston come in.

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

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

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

     WESTON
          It can't be done, Denham.

     DENHAM
          What? It's got to done.
              (Weston shakes his head in silence)
          Look here, Weston. The Actor's Equity and the Hays outfit have  interfered with every girl I've tried to hire; now every agent in town has shut down on me. All but you. You know I'm square -

     WESTON
          Everybody knows you're square, Denham but you've got a reputation for recklessness that can't be glossed over. And then you're so secretive.

     DRISCOLL
          I'll say so.

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

     WESTON
          There you are. I've got a conscience, Denham. I can't send a  young, pretty girl, such as you want, on a job like this without telling her what to expect.

     DENHAM
          And what is she to expect?

     WESTON
          To go off for no one knows how long, to some place you won't even hint at, the only woman on a ship with the toughest mugs I ever looked at.
              (they all laugh)
          I mean the crew.

     DENHAM
          Good Lord, you'd think I never brought anybody back alive! The Skipper and Driscoll have stuck by me on two trips. They seem healthy.

     DRISCOLL
          Sure we're healthy.

     ENGLEHORN
          But it's different taking a girl into danger.

     DENHAM
          Oh, I suppose there's no danger in New York? Why, there are dozens of girls in this town tonight in more danger than they'd ever see with me.

     DRISCOLL
              (drily)
          Sure. But they know that kind of danger.

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

     DENHAM
              (exploding)
          Holy mackerel D'ye think I want to haul a woman along?

     WESTON
          Then why - ?

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

     WESTON
          Everybody likes romance.

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

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

     DENHAM
          It makes me sore. I go out and sweat blood to make a swell picture, and then the exhibitors  and critics all say, "if this picture had a love interest, it would gross twice as much." All  right, the public wants a girl, and this time I'll give 'em what they want.

     WESTON
              (rising)
          I don't know where you'll get her.

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

     WESTON
          Why?

     DENHAM
          Well - there's a good reason.

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

     DENHAM
          You are, eh? Well, I'll show you.
          If you think I'm going to give up just because you can't find a girl with a backbone --
              (he is struggling into his overcoat)
          -- I'm going to make the greatest picture in the world, something that's never been seen or dreamed of. They'll have to invent some new adjectives when I come back.
              (he is at the door)

     ENGLEHORN
          Where are you going?

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

DISSOLVE TO Long Shot - Broadway at night - stock

CUT TO Denham walking along, scanning faces as he walks.

DISSOLVES of faces of women, Broadway types, bold, indifferent, heavy, ugly - most of them heavily painted.
Rapidly passing, as though the camera were Denham looking them over.

CUT TO Denham. He shakes his head disgustedly, stops, wheels around and starts in another direction, as though he's given up that part of town, and thought of another possibility.

DISSOLVE TO Exterior of a Woman's Mission. A bread-line waiting. Camera moves slowly down the line of faces as thought Denham were looking them over.

CUT TO Denham. He shrugs his shoulders in despair, turns away.

DISSOLVE TO Exterior of one of those Small Wooden Stands you see in the West Forties, a fruit-tobacco and candy shop just big enough for the proprietor and one customer to get into, a stand of fruit and peanut-roaster on sidewalk. Denham comes along, takes out cigarette case, it's empty, he goes in to buy some. We see through window that he is taking cigarettes and paying the Greek proprietor.

Ann Darrow comes slowly into picture; she hesitates, her hand goes stealthily toward a piece of fruit.

She is fingering it when the Greek dashes out and seizes her. She tries to pull her arm away. Denham comes out of shop.

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

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

     GREEK
          I had enough dese stealers --

     DENHAM
          Oh, dry up. The kid didn't take anything.

     ANN
          I didn't, truly I didn't.

     DENHAM
          So, shut up, Socrates. Here's a dollar. Forget it.

The Greek takes the money and releases Ann who stumbles back against Denham. He catches her round the shoulders and she half-collapses. Her head falls back on his arm. He has his first sight of her face.

CLOSE UP Ann, her eyes open as she looks up at Denham, terrified.

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

     DENHAM
              (looking up the street)
          Hi! Taxi!

DISSOLVE TO a one-armed lunch room. Tiled wall, two chairs. Ann has emptied plate and coffee mug on arm of her chair.
Denham in other chair watching her. She sighs happily over  having satisfied her hunger, and leans back.

     DENHAM
          Feeling better?

     ANN
          Yes, thank you. You're very kind.

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

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

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

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

     DENHAM
          No family?

     ANN
          I'm supposed to have an uncle somewhere.

     DENHAM
          Ever do any acting?

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

     DENHAM
          What's you name?

     ANN
          Ann Darrow.

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

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

     DENHAM
          Listen, sister. I've got a job for you. The costumes I've got on board will fit you.
              (looks at his watch)
          The Broadway shops will still be open. I'll get you some clothes for yourself. Come on.

     ANN
          But - but what is it?

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

     ANN
          No! Wait, I can't - I don't understand - you must tell me - I do want the job so - I was starving - but I can't -

Denham has been looking at her, puzzled because she hasn't caught his frantic excitement. He suddenly sees what is troubling her. He calms down and goes back and sits.

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

     ANN
              (meekly)
          I only wanted to -

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

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

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

     ANN
          Where to?

     DENHAM
          A long way from here. Think, Ann, a long voyage, easy living, the warm blue sea, moonlight on the water - isn't that better than tramping New York trying to keep out of the gutter.

     ANN
              (almost whispers)
          Oh, yes.

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

     ANN
          What do I have to go?

     DENHAM
              (leaning over her chair and looking straight at her)
          Trust me. And keep your chin up.

Ann looks at him for a moment, then he holds out his hand.

She takes it and they shake. FADE OUT.

FADE IN - deck of ship at dawn, getting under way. Crew busy casting off lines, moving stuff on deck. A tug is puffing alongside. Driscoll on fo'c'sle head directing.

MEDIUM SHOT - Ann in same dress, but wearing a heavy loose coat Denham has bought her. She climbs to fo'c'sle head, watching this strange new world.

Driscoll backs into scene without seeing her. He is shouting at a sailor.

     DRISCOLL
          Carry that line aft! Aft, you farmer! Back there!

He swings his arm round behind him in a violent full-armed gesture and hits Ann in the face. She staggers back against the rail and nearly falls.

     DRISCOLL
              (turning)
          Who the -- What are you going up here?

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

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

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

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

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

     DRISCOLL
          No. They're a cock-eyed nuisance.

     ANN
          I'll try not to be.

     DRISCOLL
          You got in the way already. Better stay below.

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

     DRISCOLL
              (hesitates, then says in a softened tone -)
          Say, I didn't apologize very good for hitting you. That was an awful sock in the jaw.

Driscoll stares at her doubtfully, she looks up and meets his gaze. Their eyes hold for a moment, then two short toots from a tug alongside, answered by one blast from the ship.

     DRISCOLL
          Well, we're off.

     ANN
              (clasping her hands and peering into the mist)
          We're off.

DISSOLVE TO - Long shot - Miniature ship at sea - DAY



DISSOLVE TO - The deck of the ship at sea. A calm tropical afternoon. Ann and Charley, the Chinese cook, at rail.
Charley with enormous tub of potatoes, peeling them. Ann making an intricate knot with a bit of rope's end, fooling with it as she talks.

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

     CHARLEY
          Too many.

     ANN
          Sailors eat an awful lot, don't they?

     CHARLEY
          All time eat. No can fill up. Some day my go back to China, never see no more potato.

Ann finishes the knot and tugs at it.

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

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

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

     CHARLEY
              (drily)
          Oh yes, very pretty.

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

     CHARLEY
          Ocean very fine when you order weather how you like all same like eggs for breakfast.

Driscoll strolls in. Charley gets up and moves away.

     DRISCOLL
          Hello, Ann.

     ANN
          Hello, Jack.

     DRISCOLL
          Where have you been all morning?

     ANN
          Trying on costumes for Mr. Denham. He's going to make some tests of me this afternoon, here on deck, when the light's right.

     DRISCOLL
          Tests? Why?

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

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

     ANN
              (laughs)
          Yes, but you're not the movie director.

     DRISCOLL
          If I was, you wouldn't be here.

     ANN
          Well, that's a nice thing to say.

     DRISCOLL
          It's no place for a girl.

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

Driscoll grunts.

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

Driscoll is silent.

     ANN
              (looks at him, waits, then anxiously)
          Have I?

     DRISCOLL
          Sure you have.

     ANN
          I don't see - Well, how?

     DRISCOLL
          Just your being here's a trouble.

     ANN
              (mournfully)
          Oh dead. I thought everything was going to nicely.

Driscoll looks at her downcast expression, wiggles uncomfortably and at last blurts an attempt at consolation.

     DRISCOLL
          Aw, you're swell. Women can't help being a bother. I guess they're made that way.

Oddly enough, this doesn't cheer her up very much. But she draws a long breath and smiles.

     ANN
          Well, anyhow, I've had the happiest time of my life on this old ship.

Driscoll is a little touched by this. He gives her a quick look and says awkwardly -

     DRISCOLL
          Why - that's fine.

A little pause. Driscoll thinks it over.

     DRISCOLL
          D'ye really mean that, Ann?

     ANN
          Of course. Everyone's so nice to me - Mr. Denham and the Skipper - Don't you think the Skipper is a sweet old lamb?

     DRISCOLL
              (grinning)
          I'd hate to have him hear me say so.

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

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

Denham approaches them.

     DENHAM
          Beauty and the Beast.

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

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

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

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

     DENHAM
              (half aloud)
          Beauty and the Beast.

     DRISCOLL
          Mr. Denham, I've going to do some butting-in.

     DENHAM
          What's your trouble, Driscoll?

     DRISCOLL
          When do we find out where we're going?

     DENHAM
              (smiling)
          Pretty soon now.

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

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

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

     DENHAM
          Going soft on me, Jack?

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

     DENHAM
          Oh you've gone soft on her? I've got enough on my hands without a love affair to complicate things.
          Better cut it out, Jack

     DRISCOLL
              (sullenly)
          Love affair! You think I'm going to fall for any dams?

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

     DRISCOLL
              (angry)
          Who's getting sappy? I haven't run out on you, have I?

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

     DRISCOLL
              (sulky)
          What are you talking about?

     DENHAM
          It's the idea for my picture. The Beast was a tough guy, Jack. He could lick the world. But when he saw Beauty, she got him. He went soft, he forgot his wisdom, and the little fellers licked him. Think it  over, Jack.

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

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

DISSOLVE TO bridge. Englehorn leaning over chart; Denham and Driscoll across table.

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

     DENHAM
              (looking at chart)
          'Way west of Sumatra.

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

     DRISCOLL
              (eagerly)
          Where do we go from here?

     DENHAM
          South-West.

     ENGLEHORN
          South-West! But there is nothing - nothing for thousands of miles.
          What about food? So many in the crew makes the food melt away. And water? And coal?

     DENHAM
          Take it easy, Skipper. We're not going thousands of miles.
              (he takes a wallet from his breast pocket and very carefully opens two pieces of paper - spreads over on table before Englehorn)
          That's the island we're looking for.

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

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

     DRISCOLL
          He was kidding.

     DENHAM
          No. Listen. A canoe with natives from this island was blown out to sea. When the barque picked them up, there was only one alive.
          He died before they reached port, but not before the skipper had pieced together a description of the island and got a fairly good idea of where it lies.

     DRISCOLL
          Where did you get hold of it?

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

     ENGLEHORN
          Does he believe it himself?

     DENHAM
          I don't know. But I do. See, here's what the island looks like.

He unfolds second piece of paper.

INSERT crude sketch of island, Denham's hand pointing to its features. Float Denham's voice.

     DENHAM (V.O.)
          Here's a long sandy peninsula. The only possible landing place is through this reef. The rest of the shore-line is sheer precipice, hundreds of feet high. And across the base of that peninsula, cutting it off from the rest of the island, is a wall.

CUT TO Med. Shot - Denham, Driscoll, Englehorn. They stare at Denham.

     ENGLEHORN
          A wall?

     DENHAM
          Built so long ago that the people who live there now have slipped back, forgotten the high civilization that built it. But it's as strong today as it was centuries ago. The natives keep that wall in repair. They need it.

     DRISCOLL
          Why?

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

     ENGLEHORN
          A hostile tribe.

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

     ENGLEHORN
              (thinking)
          Why -- yes. Some Malay superstition. A god or a spirit or something.

     DENHAM
          Anyway, neither beast nor man. Monstrous, all-powerful -- still living, still holding that island in the grip of deadly fear.

Englehorn and Driscoll look skeptical.

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

     ENGLEHORN
          And you expect to photograph it?

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

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

     DENHAM
          Well, now you know why I brought those cases of gas-bombs.

Driscoll and Englehorn stare at Denham, then look at each other. Englehorn shrugs, reaches for the homemade chart.

DISSOLVE TO- Exterior forward deck of ship - Day. Denham has camera set up. Ann comes in, in Beauty and Beast costume.

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

     ANN
          It's the prettiest.

     DENHAM
          All right. Stand over there.

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

     DENHAM
              (busy with camera)
          Don't let that worry you. If I hadn't been sure of that, I wouldn't have brought you half way round the world.

     ANN
          What shall I do?

     DENHAM
              (squints through the viewfinder, throws camera over and locks it)
          Now when I start cranking hold it a minute, then turn slowly toward me. Look at me, look surprised, then smile a little, listen and then laugh. All right, camera.

She does as he has said.

CUT TO fo'c'sle head, several members of crew peering out, watching with great interest. Charley among them.

     1ST SAILOR
          Looks kinda silly, don't it?

     2ND SAILOR
          She's sure a pretty dame.

     CHARLEY
          You think maybe he like take my picture, huh?

     1ST SAILOR
          Them camera cost money. Shouldn't think he'd risk it.

CUT TO Denham and Ann

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

     ANN
          Do you always take the pictures yourself?

     DENHAM
          Ever since a trip I made to Africa.
          I'd have got a swell picture of a charging rhino, but the cameraman got scared. The damned fool. I was right there with a rifle.
          Seemed he didn't trust me to get the rhino before it got him. I haven't fooled with cameramen since. Do the trick myself.

CUT TO the bridge. Englehorn and Driscoll leaning over, watching Ann and Denham.

     DRISCOLL
          Think he's crazy, Skipper?

     ENGLEHORN
          Just enthusiastic!

     DRISCOLL
          But this yarn about unknown islands and monstrous gods --

     ENGLEHORN
          He pays us well to take him where he wants to go. If the island exists, we will find it.

CUT TO Denham and Ann.

     DENHAM
          Now Ann, stand there. Look down.
          When I start to crank, look up slowly. You're quite calm, don't expect to see anything. Follow my directions. All right -- camera.

He cranks. He gets more excited through this scene, trying to force her to feel the emotions he wants.

     DENHAM
          Now -- look up. Slowly. You see nothing yet. Look higher. Still higher. That's it. Now you see it.
          You're amazed. You can't believe it. Your eyes open wider. It's horrible, but you can't look away.
          What is it Ann? What can you do? No chances for you, no escape.
          Helpless, Ann, you're helpless. One chance -- if you can scream. Your throat's paralyzed. Try to scream,  Ann.
          Try. If you didn't see, perhaps you could scream.
          Throw you arms across your eyes, and scream, Ann, scream for your life!

She has followed his directions.

CUT TO bridge. Driscoll and Englehorn, watching Denham and Ann's scream floats.

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

              DISSOLVE OUT

FADE IN, bridge in fog, outside wheel-house. Denham, Ann, Driscoll, Englehorn, at rail peering ahead. Through this dialogue intercut shots of look-out in bow, man in crows nest, sailor heaving lead, and sailors clustered at bulwarks on main deck, watching for island.

     DENHAM
          This infernal fog! Sure of your position, Skipper?

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

     DENHAM
          We must be near the island.

     DRISCOLL
          If we don't see it when this fog lifts we never shall. We've quartered these parts.

CUT TO sailor with lead. He lets go, line runs through his
    SAILOR
          No bottom at 30 fathoms!

CUT TO bridge as before.

     DRISCOLL
              (nervous)
          Of course that Norwegian skipper was guessing at the position.

     ANN
          How will we know it's the right island?

     DENHAM
              (very tense, answering mechanically)
          The mountain that looks like a skull.

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

     SAILOR'S VOICE
          Bottom! 20 fathoms!

     ENGLEHORN
          Shallowing fast, Driscoll, dead slow.

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

     DENHAM
          Curse the fog!

     SAILOR'S VOICE
          Sixteen fathoms!

     DENHAM
          What does she draw, Skipper?

     ENGLEHORN
          Six.

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

     DRISCOLL
          Listen! Hear anything?

     DENHAM
          No.

     ANN
          No.

There is a slight pause.

     MAN IN CROWS NEST
          Breakers ahead!

Englehorn jumps for telegraph.

     SAILOR'S VOICE
          Ten fathoms!

Jingle of telegraph, noise of reversing engines.

     DRISCOLL
              (bellowing at fo'c'sle)
          Let go!

Rattle of anchor chain through hawse-pipe, splash of anchor, more jingle of telegraph. After noise dies down, Driscoll speaks:

     DRISCOLL
          That's not breakers. That's drums.

A long distant mutter of drums rolling. DISSOLVE TO:

Boats being lowered, Bos'n giving orders.

CUT TO bridge, Englehorn with binocular. Denham, Ann and Driscoll.

     DENHAM
          Well, Skipper, see anybody?

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

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

     ENGLEHORN
          Listen.

The faint throbbing of drums.

     DENHAM
          Maybe they have seen us and are signalling. Well, Skipper, do you believe me now? There's Skull Mountain, the wall - everything just like my funny map. Come on, let's get started.

     ENGLEHORN
          Twelve men go with you. The rest stay aboard.

     DENHAM
          Who's in charge of the gas bombs?

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

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

     ANN
          I'm going ashore with you, aren't I?

     DENHAM
          You bet.

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

     DENHAM
              (good-naturedly)
          Say, who's running this show? I've learned by experience to keep my cast and my cameras right with me.
          You never can tell when you'll want 'em.

     DRISCOLL
          But it's crazy to risk --

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

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

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

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

DISSOLVE TO shot from beach, showing loaded boats approaching.

Drums louder, of course.

CUT TO boats beaching, people getting out, uploading stuff.

Denham puts camera on tripod, one sailor shoulders it, another with magazine case, third with costume box, fourth and fifth with trade-goods in boxes. Jimmy with case of bombs.

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

     JIMMY
          Here, sir.

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

     JIMMY
          Aye Aye, sir.

     ANN
          What queer-looking boats.

     DRISCOLL
          Outrigger canoes.

     ENGLEHORN
          Driscoll, have two men stay with the boat.

     DRISCOLL
          All attended to, sir.

     DENHAM
              (grinning)
          Now, all set? Ready, Skipper?

     ENGLEHORN
              (coming up)
          Ready.

They start up the beach.

CUT TO village. Wall visible over roofs. Party enters.

Drums much louder.

     ENGLEHORN
          Not a soul in sight.

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

     ENGLEHORN
          Colossal! It might almost be Egyptian.

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

     ANN
              (awe-struck)
          Who do you suppose could have built it?

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

     DENHAM
              (with a feeling of something even more important than a picture pending, but trying to strike his usual note)
          Oh, boy! What a chance! What a picture!

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

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

     DENHAM
              (shaking himself)
          Come on!

They all move forward cautiously. TRUCK WITH THEM.

     DENHAM
          Hear that! They're saying Kong!
          Kong!

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

     DENHAM
          Can you catch any words yet?

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

     ANN
          What do you suppose is happening?

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

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

     DRISCOLL
          Sure. I wish we'd left you on the ship.

     ANN
          I'm so glad you didn't.

They approach masking house.

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

They stop in a group behind house. Denham looks round cautiously.

CUT TO what he sees. The Ceremony.

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

Englehorn carefully goes forward and peeps around.

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

He beckons to sailor carrying camera.

     DENHAM
          Hey! You with the camera!

Sailor starts forward with it.

     ANN
              (to Driscoll)
          I want to see.

     ENGLEHORN
          Come on and look, but be careful.

Ann looks around house. Denham moves beyond and starts setting up. Chant begins to rise. As it reaches forte, Chief sees them and shouts.

     CHIEF
          Bado! Dama pati vego!

Ceremony stops, natives turn and stare.

     DENHAM
          Too late, they see us.

     JIMMY
          Let's beat it!

He turns to run. Driscoll seizes and holds him.

     DRISCOLL
          Hold on there! What are you running for?

     DENHAM
          No use trying to hide now.
          Everybody come out here in plain sight. Put up a bold front.

Driscoll, Ann and sailors come forward in a group a few behind Denham and Englehorn.

     CHIEF
          Bado! Maka mini tau ansaro.(Wait! Two warriors come with me.)

In silence, the Chief with two warriors close behind him advances through the crowd of natives. The women in the crowd begin to slip away.

The group of whites watch in tense silence the approach of the Chief.

     2ND SAILOR
          Say, let's scram outa this.

     DRISCOLL
          Stand still, you fool!

Group of sailors are fingering their rifles, shifting nervously.

     DENHAM
              (over his shoulder without looking away from Chief)
          Steady, boys. Don't get nervous.

Ann takes hold of Driscoll's arm. He puts his hand on hers without looking at her.

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

The chief stops.

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

     DENHAM
          Come on Skipper, make him a  friendly speech.
              (advance)

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

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

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

     ENGLEHORN
          Telling us to get out.

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

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

     CHIEF
          Ani saba Kong! (She is the bride of Kong!)

The natives all murmur "Saba Kong!"

     ENGLEHORN
          He says the girl there is the bride of Kong.

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

The Witch Doctor rushes forward, very angry. He addresses Chief.

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

     CHIEF
              (to Englehorn)
          Tasko! (Go!)

     DENHAM
          What's that?

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

     DENHAM
          What's the word for friends?

     ENGLEHORN
          Bala.

     DENHAM
          Calm the old boy down.

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

Englehorn hesitates for a moment, then steps forward too.

     CHIEF
              (bellowing)
          Punya!

The warriors move menacingly forward.

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

The Chief sees Ann.

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

Natives all look at her and murmur.

     DENHAM
          What's that?

     ENGLEHORN
          He says look at the golden woman.

     DENHAM
          Blondes are scarce around here.

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

     ENGLEHORN
          A gift for Kong, he says.

     DENHAM
          Good Lord!

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

     ENGLEHORN
          Wants to buy her.

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

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

Ann gasps, tries to smile.

     DRISCOLL
          You got her into this, Denham.

     ENGLEHORN
          Tida, tida! Malem ati rota na hi.
          (No, no! Our woman stays with us.)

Chief growls menacingly. Warriors take another step forward.finger their rifles.

     DRISCOLL
          I'm going to take her back to the ship.

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

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

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

Chief does not move, glares at them.

     DENHAM
          Get going, Ann. Don't act scared.
          Everything's all right. Smile, Ann.
          Talk to Jack. Keep your chin up!

Ann, very frightened, but smiling gallantly, does as he tell
her. She and Driscoll retreat slowly, pretending unconcern.
The sailors fall back one by one, Englehorn and Denham last.

Denham cocks his hat over one eye and begins to whistle
carelessly, one hand on his revolver. As they reach the
corner of masking house.

DISSOLVE TO deck in moonlight - Ann and Charley on hatch.

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

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

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

     CHARLEY
              (nodding wisely)
          Sacrifice.

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

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

Ignatz gallops past.

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

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

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

     CHARLEY
          My catch him. Bad devil, come here.

He goes off in pursuit. Ann watches, laughing.

CUT TO Sailor on watch in bow. He looks round, yawns, sits
down and makes himself comfortable.

CUT TO Ann on hatch. Driscoll enters.

     DRISCOLL
          Why aren't you in bed?

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

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

     ANN
          I was -- sort of scared there for a
          while.

     DRISCOLL
          Huh! You weren't the only one.

     ANN
          I wonder what we do next?

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

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

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

     ANN
          I won't go back on him.

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

     ANN
              (laughing)
          Why then you wouldn't be bothered
          with a woman on board.

     DRISCOLL
              (very staccato)
          Don't laugh. I'm scared for you.
          I'm sort of - I'm scared of you,
          too. Ann, I -- I guess I love you.

They look at each other, both startled by this conclusion.

     ANN
          Jack! You hate women!

     DRISCOLL
              (still surprised over his
discovery)
          You aren't -- women. I love you.
          Ann, I don't suppose -- you don't
          feel like that about me -- do you?

Ann looks at him soberly for a moment, then takes a step
nearer.

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

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

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

     ENGLEHORN'S VOICE
          Please come up here a minute.

     DRISCOLL
              (same business)
          Yes, sir.

     ANN
          I'll wait here for you.

Driscoll kisses her once more and goes reluctantly.

Ann leans back against the bulwarks with a happy smile,
looking after him.

The Witch Doctor rises noiselessly behind her, and without a
sound she is seized and lifted over the rail.

THE BRIDGE. NIGHT. Englehorn, Denham, Driscoll - talking
over chart table.

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

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

     DENHAM
          We'll try a little bribery.

     DRISCOLL
          Still hoping to make friends with
          that bunch ashore?

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

     ENGLEHORN
              (impatiently)
          He's their tribal legend, their
          god, of course.

     DRISCOLL
          You planning to make movies of a
          fairy story?

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

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

     DENHAM
          Yes, but they've kept it in damn
          good repair. Did you see how those
          gates were fastened? They're meant
          to keep something out.

Englehorn and Driscoll exchange skeptical looks.

Noise of drums increase suddenly.

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

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

     ENGLEHORN
              (exasperated)
          Be sensible. We're lucky to be all
          safe aboard tonight.

     DENHAM
          Oh sure, sure.

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

     DENHAM
          What is is, Jack?

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

     DENHAM
          How about turning in, Skipper?

     ENGLEHORN
          No, not for me tonight.

     DENHAM
          But you've set a watch in the bow.

Englehorn shakes his head stubbornly. Driscoll starts to go.

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

     ENGLEHORN
          Mr. Driscoll, I wish you'd take a
          star sight. See how our position
          checks up with what I got last
          night before we ran into the fog.

Driscoll gets out the instruments.

     DRISCOLL
              (reluctantly)
          Yes sir. I guess it's been a long
          time since the map-makers got a
          brand new island to put down.

DISSOLVE TO Charley, on afterdeck, tying Ignatz and scolding
him in Chinese. Ignatz chattering and scolding right back at
him. SHOT of bow watch, having a peaceful nap.

DISSOLVE TO Bridge, interior - Englehorn and Driscoll
bending over chart, making calculations. Denham half asleep
in a chair.

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

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

     DENHAM
          About midnight. Hey, look at that.

     ENGLEHORN
              (crosses and looks)
          Torches going through the village.

Driscoll exits.

     DENHAM
          Looks like the night before
          election.

Noise of drums increases suddenly.

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

CUT TO main deck. Driscoll speaking to Charley.

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

     DRISCOLL
          Guess, she's in her cabin.

He goes off. Charley takes a long round deck, sees something
near rail. Goes over, picks it up. A native bracelet of
woven straw. He examines it for a moment, suddenly realizes
what it means, jumps and shouts.

     CHARLEY
          On deck! On deck!

He stamps frantically on deck, turns and runs for the
bridge.

Man on watch in bow runs to rail of fo'c'sle head and
shouts.

     SAILOR IN BOW
          All hands on deck!

CUT TO bridge. Charley runs into Englehorn and Denham.

     CHARLEY
          Look sir! My found on deck.

     ENGLEHORN
          A native bracelet!

     CHARLEY
          Crazy black man that place comes
          this place!

Driscoll arrives on the run.

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

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

Charley exits.

     DRISCOLL
          Oh my God! Where's Ann?

     DENHAM
          In her cabin -

     DRISCOLL
          No, she isn't! I just looked.

He rushes out. Confused sound of sailors' voices from deck
below. Englehorn leans from wheel-house window, shouts down.

     ENGLEHORN
          Bos'n!

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

     ENGLEHORN
          Man the boats. Serve out the
          rifles. Search the ship.

     BOS'N'S VOICE
          Yes sir.

Bos'n's whistle is heard, creak and thump of davits.
Englehorn takes his revolver from chart-table drawer,
examines it, puts it in his pocket.

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

     ENGLEHORN
              (significantly)
          They may have stolen something.

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

DISSOLVE TO wall and Great Gate. The gate is being opened by
natives. Procession passes through, taking Ann to the altar.
People crowding to top of wall.

CUT TO exterior of wall, projection of altar on left. Ann
being tied to altar. People crowding to top of wall.

CUT TO exterior of wall, projection of altar on left. Ann
being tied to altar. People crowding top of wall with
torches.

Two men begin beating big gong, those on wall yelling and
beating drums.

CUT TO Great Gate, natives closing and bracing it.

Top of wall. Chief invoking Kong:

     CHIEF
          Kara Ta ni, Kong. O Taro Vey, Rama
          Kong.
          (We call thee, Kong. O Mighty One,
          Great Kong.)
          Wa saba ani mako, O Taro Vey, Rama
          Kong. (The bride is here, O Mighty
          One, Great Kong.)

CUT TO altar and jungle opening set, split shot. Noise
suddenly stops. KONG steps from jungle opening, looks at
people on wall, beats his chest. Sees Ann, starts toward
her.

CUT TO exterior of wall, projection of altar on left. Kong
walks way from camera till he blocks altar from view.

People on wall watch in silence.

CUT TO close altar set, Ann and altar against projection
background, cutting to double projection when Kong passes
foreground.

Kong in close up stands behind girl, looking at her. He
looks up at wall and beats his chest. He walks round
altar, then starts to unfasten her.

CUT TO straight shot of people on wall, breaking out in wild
demonstration as Kong takes Ann.

CUT TO village street, Council House set, ship's party
racing through and into court.

CUT TO exterior wall set, Kong turns from Altar with Ann in
his hand and walks toward camera. Crowd on wall in uproar
gong, drums, yelling, waving torches.

CUT TO Driscoll and party reaching Gate, he hears Ann
scream, looks through window.

CUT TO what he sees. Edge of Jungle set, miniature.

KONG walks away from camera and into jungle, turning to look
back, so Ann is seen in his hand.

CUT TO Great Gate. Driscoll wildly gesturing to sailors to
open it. Noise continues.

Sailors struggle with pole. They get it down and start
tugging at gate.

     DRISCOLL
          He's got Ann! Who's coming with me?

     1ST SAILOR
          I'll go.

     2ND SAILOR
          Sure. Me too.

     3RD SAILOR
          I'm going, sir.

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

     DENHAM
          What did you see?

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

     DENHAM
          Who's got the bombs?

Jimmy comes forward.

     DRISCOLL
          Come on, you fellers.

Driscoll, Denham and eleven sailors start through gate.

     DENHAM
              (shouts back)
          Keep the gate open for us, Skipper.

LAP DISSOLVE
 
 

EXT. JUNGLE - FULL OR MED. SHOT

PAN to follow the men, headed by Driscoll and Denham as they
plunge through the jungle; left to right. (NOTE: This along
top of ledge-crevasse set, not showing edge.)
 
 

EXT. JUNGLE - FULL SHOT - DAWN

CRANE TO FOLLOW as they come up the ledge. A twittering of
birds and insects' noises. Ad lib as they come: "Watch that
log" -- "Shove right on through." Men go left to right.

     DENHAM
              (stops, wipes his
forehead)
          No telling where he's gone in this
          darkness.

     DRISCOLL
          He came by here. Look at those
          broken branches.

     DENHAM
          That's right. He's up ahead
          somewhere.

     DRISCOLL
              (looks about)
          The sun ought to be rising about
          now.

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

     DRISCOLL
          Look here.

He points to one of Kong's great footprints; just visible as
a first shaft of dawn light strikes down between the trees.

CRANE TO CLOSE. All move forward - TRUCK TO FOLLOW

To look at Kong's footprint. Probably no close up necessary.
Ad lib murmurs together, "Get that" - "It's tracks" - "Look
here, Jo."

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

     DRISCOLL
          And he's heading that way. Come on.

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

     DENHAM
              (to sailors)
          Keep those guns cocked.

     SAILOR IN BLACK SWEATER
          He's telling us!

As they exit, camera left - DISSOLVE OUT.
 
 

EXT. GLADE - FULL SHOT - DAWN

As the men come from the edge of the jungle, last fringe of
shrubbery masking foreground, to look out upon an open
glade.
They pause, as they see broken shrubbery. It is now full
dawn. Use "Most Dangerous Game" ledge set, men coming
towards camera.

     DRISCOLL
          That's right. We're on his trail.

He leads them forward out into -
 
 

EXT. GLADE - FULL SHOT - DAWN

The open glade. Kong's footsteps is visible in soft earth
again.

     DRISCOLL
              (sees footprints, points,
shouts back without
stopping)
          There!

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

     SAILORS
          Look out! Look out!

They point and all stop as they see --

An immense spike-tailed beast coming through the jungle
parallel with them, partially masked by trees. Men in
foreground here. (Williams Process)

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

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

The beast crashes out into the open.

     DENHAM
          Gimme one of those bombs.

ONE ANGLE ONLY

He snatches a bomb from the sailor who is carrying them.
 
 

EXT. GLADE - DAWN

The beast charges. The men run. Only Driscoll and Denham
stand their ground. Driscoll fires several times without
effect. This should be a very wide glade to get the full
effect of a long charge.
 
 

EXT. GLADE - FULL SHOT - DAWN

The first angle at edge of glade, with Denham and Driscoll
in the foreground, other men running back.

     DRISCOLL
              (gun empty)
          It won't stop him.

Denham throws his bomb.
 
 

EXT. GLADE - FULL SHOT - DAWN

Second angle again. The bomb strikes the beast, explodes.
Out of the smoke, the two-horned beast staggers towards
the two men. They throw themselves to either side.
 
 

EXT. GLADE - FULL SHOT - DAWN

First angle. Driscoll and Denham throw themselves flat on
the ground as --
 
 

EXT. GLADE - FULL SHOT - DAWN

In the first angle, the beast collapses just short of the
men.
 
 

EXT. GLADE - DAWN

Its head is just short of Driscoll. It goes limp.
 
 

EXT. GLADE - FULL SHOT - DAWN

The sailors, huddled behind the shrubbery at the edge of the
wood (as in the first shot of this sequence) stare at --
 
 

EXT. GLADE - FULL SHOT - DAWN

The beast, unconscious on the ground. In the foreground,
Denham and Driscoll pick themselves up.
 
 

EXT. GLADE - FULL SHOT - DAWN

FIRST ANGLE - the sailors run forward to --
 
 

EXT. GLADE - FULL SHOT - DAWN

Join Driscoll and Denham. They start forward towards the
beast. It is in the background. (Projection)

     DENHAM
          Wait a minute. He's only knocked
          out.

He takes a gun from one of the men and goes forward to the
great beast's head. He shoots it through the ear. It's
starts convulsing, then grows rigid.

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

     DRISCOLL
          We're not trying to catch the ape -
          we're trying to save that girl.
          Come on - we're losing time.

He leads them off towards --
 
 

LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY

DISSOLVE IN on the exterior of a bank, leading, in the
background down into a hollow filled with fog. The men come
in from camera left and look down. (Fog Hollow set from
"most
Dangerous Game")

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

     DRISCOLL
              (looks)
          There's water down there. Here.

They listen. Sounds of splashing.

     DENHAM
          That's him, splashing through. Come
          on.

They run down into fog. (CURTAIN EFFECT)
 
 

EXT. STREAM - FULL SHOT - DAY

The men run down the muddy bank through heavy fog towards
the water, left to right. (Fog Hollow set)
 
 

EXT. STREAM - FULL SHOT - DAY

The water's edge, as the men run down through heavy fog left
to right. A couple of fallen trees, floated down with the
current, lie half submerged by the bank. Kong's footprints
is
in the mud, Kong splashing out of stream on other side can
be
heard as men come up. (Fog Hollow Set)

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

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

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

     DENHAM
          Yeah, that's it. A raft.

     DRISCOLL
          All right, boys, gets busy.

     1ST SAILOR
          Get some vines, Tim.

Tim, the sailor to be used in tree, runs for vines. Other
sailors run to logs.

     2ND SAILOR
              (at log)
          Pull 'em clear now.
 
 

LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY

DISSOLVE IN on the raft, now completed. They have bound the
logs together with liana vines. Heavy fog.
The arms and bombs are loaded on the raft. So are they men.
They last of them are just getting on.

     DENHAM
          Don't get the arms wet, boys.

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

     SAILOR B
              (helping another on)
          Easy now.

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

     SAILORS
          All set. Let 'er go.

     TOGETHER
          O.K.

     DRISCOLL
          Shove off.

A couple of sailors; still on shore, push the raft out until
they are waist deep, then jump aboard. Others use poles to
push it towards the opposite bank. Ad lib, "Push -- put your
back in it, etc."
 
 

EXT. STREAM - GENERAL VIEW - DAY

The raft moves across the stream through heavy fog.
(Miniature raft and miniature men.)
 
 

EXT. STREAM - FULL OR MED. SHOT - DAY

This shot moves through fog with men as they pole raft.

     DENHAM
          Easy now -- keep her against the
          current.

     DRISCOLL
          Keep your weight in the center,
          boys -- weight in the center.

     1ST SAILOR
              (stops poling to stare)
          Holy mackerel -- look at that.

All look.
 
 

EXT. STREAM - LONG SHOT - DAY

A huge scaly head rears up from the water to look down on
the raft, drifting, horrible. It is the head of a Dinosaur.
In this the raft can also be seen. (Miniature raft,
miniature beast.) Heavy fog. The men shriek in wild
commotion.
 
 

EXT. STREAM - FULL OR MED. SHOT - DAY

The angle which moves with the raft as the men, yelling
wildly, attempt to pole the raft towards the shore. One or
two men are pushed off in the panic. Everyone shoves the
wrong way. Heavy fog here.
 
 

EXT. STREAM - LONG SHOT - DAY

The Dinosaur dives and starts for the raft in a series of
undulating, sea-serpent dives. Wild panic and shrieks on the
raft. Heavy fog. (Miniature raft, men and beast.)
 
 

EXT. STREAM - FULL OR MED. SHOT - DAY

The angle which moves with the raft. It has come to a
standstill now as the men shove in the wrong directions,
shouting at each other. Some are trying vainly to reach the
arms. The head of the Dinosaur rears up from the water
behind the boat, upsetting; as he comes up under it, the
raft with its occupants. They fall, screaming, into the
stream. Fog.
(Miniature projection)
 
 

EXT. STREAM - MED. SHOT - DAY

Three sailors as they land in the water and come up
screaming.

A FLASH. Fog. Tank.
 
 

EXT. STREAM - SEMI CLOSE UP - DAY

A sailor drowning. Flash. Fog. Tank.
 
 

EXT. STREAM - MED. SHOT - DAY

The sailor with the bombs starts to sink. He loosens the
bombs and lets them go to the bottom. Fog. Tank.
 
 

EXT. STREAM - LONG SHOT - DAY

The Dinosaur thrashing among the men and the broken raft.
Some swim for the shore. (Miniature raft, men and beast as
before) Heavy Fog.
 
 

EXT. STREAM - FULL SHOT - DAY

The men run out of the water on the far bank. The beast can
be heard behind them. They run up, left to right. Heavy fog.
(Fog Hollow set, use bullrushes)
 
 

EXT. STREAM - FULL SHOT - DAY

The men run up another section of bank. Either away from
camera or left to right. The beast can be heard behind them.
Fog. (Fog Hollow Set)
 
 

EXT. STREAM - FULL SHOT - DAY

Another shot of the men running up the bank, away from
camera or left to right, with the beast heard behind
them. Fog.
(Fog Hollow Set)
 
 

EXT. STREAM - GENERAL VIEW - DAY

The men run up the bank. One man (Tim) is in the rear. He
sees the Dinosaur following through the fog (double print
miniature) He runs toward the jungle - (tree not in this
shot) Fog. (Fog Hollow Set)
 
 

EXT. STREAM - FULL SHOT - DAY

The men run out of the fog at the top of the bank. (Fog
Hollow Set where they were seen entering fog, curtain
effect).
Left to right movement, slightly head-on.
 
 

EXT. STREAM - LONG SHOT - DAY

The men run left to right, followed by the beast. Tim, the
last man, runs towards and into the jungle, with the
Dinosaur after him. (Miniature man, miniature beast,
projection on)
No fog. (Most Dangerous Game set)
 
 

EXT. BANK - FULL SHOT - DAY

The men climb a bank. (Most Dangerous Game Ledge set)
 
 

EXT. STREAM - FULL SHOT - DAY

Tim runs up to the base of a tree, climbs it. (Real man,
real tree from Most Dangerous Game set)
 
 

EXT. STREAM - BANK - FULL SHOT - DAY

The men climb higher on the bank.
 
 

EXT. ASPHALT PIT - FULL SHOT - DAY

They climb over the top of the bank. Shrubbery masks the
foreground. In the background is seen an asphalt morass,
backed by jungle. Driscoll in the lead here. Denham the last
man. (Most Dangerous Game ledge set for the foreground,
matte and miniature for background). They hear the sound
of the Dinosaur and the shrieks of the sailor they left
behind. All turn.

     SAILOR A
              (stares)
          It's Tim he's after.

All stare as they see --
 
 

EXT. TREE - LONG SHOT - DAY

The Dinosaur approaches the sailor who has climbed to the
tree top. He shrieks in terror. (Miniature man and tree)
 
 

EXT. ASPHALT PIT - MED. SHOT - DAY

The men stare at this, horrified.

     DENHAM
          Hasn't anybody got a gun?

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

     DRISCOLL
          They're all at the bottom of the
          lake.

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

     BOMB CARRIER
          I had to let them go to keep from
          drowning.

     DENHAM
          You fool.

     BOMB CARRIER
          You lost your gun.

All stare back at tree as the doomed sailor's shrieks for
help grow louder.
 
 

EXT. TREE - LONG SHOT - DAY

The Dinosaur comes up to the man in the tree. (Miniature man
and tree)
 
 

EXT. TREE TOP - MED. SHOT - DAY

The man in the tree shrieks. The Dinosaur's head comes into
the shot, about to seize him. (Real man, real tree from Most
Dangerous Game, miniature projection background)
 
 

EXT. TREE - LONG SHOT - DAY

The Dinosaur seizes the man. His cries cease abruptly as the
teeth crunch into him.
 
 

EXT. ASPHALT PIT - FULL OR MED. SHOT - DAY

The men at the top of the bank look sickened. They stare as
they see --
 
 

EXT. TREE - LONG SHOT - DAY

The Dinosaur carries the sailor away into the jungle.
 
 

EXT. DITCH - FULL SHOT - DAY

They turn away, lead by Denham, then stop as they see, over
the shrubbery, Kong retreating towards them with the girl,
from the jungle background into a mire which lies in the
middle distance, masked by foreground shrubbery and backed
by
jungle.

(MATTE) This mire is an asphalt pit. In the center is a dry
mound to which Kong springs. He is pursued by two huge three
horned beasts (tricerotops) who, trying to follow, find
themselves mired.

     DRISCOLL
              (to men)
          Down! Down!

All throw themselves down behind shrubbery.

     DENHAM
          If we only had some of those bombs!

(MED. SHOT of men crouching behind shrubbery, as he speaks
this last line)

A terrific fight now ensues between Kong and the three-
horned beasts. Kong picks up boulders and hurls them
down on the beasts as they try to reach him through the
asphalt mire. He kills two. The third retreats.

During this, the men exit cautiously, camera right, and
reappear in the background, camera right. (Matte) The three
horned beast sees them. He charges them. They run out,
camera right, with the three-horned beast following.
 
 

EXT. JUNGLE A - FULL SHOT - DAY

SIDE ANGLE - PAN to follow men as they run, left to right.
 
 

EXT. JUNGLE B - FULL SHOT - DAY

The men to run to camera. No beast in this shot.
 
 

EXT. JUNGLE C - FULL SHOT - DAY

REVERSE ANGLE as they run away from camera. A low-hanging
branch bars their way. They run under it. The sailor with
the striped trousers is last. He turns to look back at
the beast, whose noise behind them can be heard, and
strikes his head against the branch. He falls, picks
himself up.

     SAILOR WITH STRIPED TROUSERS
              (as he picks himself up,
holding head, dazed)
          Boys - boys, where are you?

He looks up into camera, first dazed, then, as his head
clears, he sees the beast charging. He shrieks and runs off
camera right.
 
 

EXT. CREATION SHOT - FULL SHOT - DAY

The old shot from Creation. The striped-trousers sailor runs
through the woods, followed by the three-horned beast. He
seeks refuge behind a tree. The beast knocks over the tree.
It falls upon the sailor, pinning him down. The beast gores
him to death.
 
 

EXT. LOG - RAVINE - FULL SHOT - DAY

The remaining men run towards a deep ravine, across which a
huge tree has fallen. Ravine is background. Kong is crossing
this log with the girl, right to left. Men run in left to
right. They stop at seeing Kong, then turn back to see --
 
 

EXT. RAVINE - LOG - FULL SHOT - DAY

SHOT looking away from ravine, over men's heads. Men in
foreground. In the background may be seen entering a huge
two-horned beast, (Arsinotherium). He is rooting in the
ground.
He lifts his head, sniffs, smelling the men. He begins to
lumber towards them with gathering speed. They run out, left
to right.
 
 

EXT. LOG  - FULL SHOT - DAY

The men run in from left to right, led by Driscoll. He waves
them on. In the foreground is a huge tree. In the background
is the big fallen tree across the ravine. He passes this
tree to camera right, and reappears from camera right
crossing the log. The men follow, shouting.
 
 

EXT. CLEARING - FULL SHOT - DAY

Kong comes into a clearing, in the foreground of which is a
high dead tree. He hears the shouts of the men behind.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

He puts the girl down in the top of the dead tree, snarls,
and turns back to attack the men.
 
 

EXT. CLEARING - FULL SHOT - DAY

He goes back to attack the men, leaving the girl in the top
of the dead tree.
 
 

EXT. JUNGLE POOL - FULL SHOT - DAY

Kong goes back along the pool towards the ravine.
 
 

EXT. LOG - FULL SHOT - DAY

Driscoll enters from camera left, waves the men on. In this
shot, the log is seen in the background, extending across
the ravine. In the foreground is a huge tree. The men
follow Driscoll about this tree to camera right and
reappear on the log, entering from camera left. They
start across it.
 
 

EXT. LOG - FULL SHOT - DAY

The log itself is seen, with the men crossing it from camera
right and going towards the other side of the ravine,
Driscoll in the lead.
 
 

EXT. LOG - FULL SHOT - DAY

REVERSE ANGLE as the men cross in the foreground, where the
end of the log lies on the far side of the ravine. The men
come off this end of the log onto the bank, in foreground,
faces camera. In the background, Denham can be seen. He is
the last man and is about to cross when suddenly he sees
something and shouts.
 
 

EXT. LOG - FULL SHOT - DAY

Original angle with the men coming off log on the far side
of the ravine. Kong appears from camera right to menace
them.
 
 

EXT. LOG - FULL SHOT - DAY

Kong snarls at them.
 
 

EXT. LOG - FULL SHOT - DAY

REVERSE ANGLE as Denham sees this and ducks back into the
shrubbery out of sight. The men in the foreground also see
Kong and run back across the log. Driscoll climbs over bank
in the foreground.
 
 

EXT. LOG - FULL SHOT - DAY

The log itself as the men run back across it, stumbling and
falling, only to be stopped by --
 
 

EXT. LOG - LONG SHOT - DAY

-- the two horned beast, who is coming up to the log, which
is in the foreground, from camera left background. REVERSE
ANGLE.
 
 

EXT. LOG - FULL SHOT - DAY

The top of the far bank, as the last of the men rush across
the log. Driscoll climbs down over the bank, using a vine
for support.

(Note. This angle may not be necessary now).
 
 

EXT. CAVE - LONG SHOT - DAY

Driscoll comes down on the vine along the side of the bank
and steps into a cave in the side of the bank some ten feet
below the top. He looks to see --
 
 

EXT. LOG  - FULL SHOT - DAY

The men running back on the log, towards the camera, with
the ape coming up to the log on the far bank, menacing
them.
This the original angle.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong menaces them.  His face leaps up into the camera.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

The sailor in the black sweater, on the log, horrified as he
sees this.
 
 

EXT. LOG - LONG SHOT - DAY

The log itself, no beasts in the shot. The men see the
horned beast off screen and retreat only to be stopped
by Kong off screen.
 
 

EXT. CAVE - LONG SHOT - DAY

Driscoll in the cave sees this, holding to a vine. He
continues to look up, watching --
 
 

EXT. LOG - FULL SHOT - DAY

The men, in the original angle, as Kong in the background
heaves up the far end of the log.
 
 

EXT. LOG - MED. SHOT - DAY

The men on the log, terrified, as Kong rocks it.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong roaring at them.
 
 

EXT. LOG - FULL SHOT - DAY

The men on the log with Kong shaking it, from the original
angle. Two fall off.
 
 

EXT. RAVINE BOTTOM - FULL SHOT - DAY

The men fall to the bottom of the ravine.  It is very deep,
with mud and slime at the bottom. Caves and fissures in the
rock lie at the sides of this mud.
 
 

EXT. RAVINE - MED. SHOT - DAY

The men land in the mud.
 
 

EXT. LOG - MED. SHOT - DAY

The men on the log, as Kong rocks it.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong roars at them.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

A sailor stares at Kong and screams in stark terror.
 
 

EXT. LOG - LONG SHOT - DAY

SIDE ANGLE of the log with the men clinging to it as Kong
shakes it. The two horned beast can be seen menacing them
from his bank with his horns. Another sailor falls off.
 
 

EXT. RAVINE BOTTOM - LONG SHOT - DAY

The sailor falls into the ravine bottom.
 
 

EXT. RAVINE BOTTOM - FULL SHOT - DAY

He lands in the mud.
 
 

EXT. LOG - FULL SHOT - DAY

From the original angle, Kong is seen rocking the log.
 
 

EXT. LOG - FULL SHOT - DAY

The log with men clinging to it.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong roars at them.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

The men, on the log, horrified.
 
 

EXT. LOG - LONG SHOT - DAY

From the original angle, Kong rocks the log with men on it.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

The men on the log. One tries to hold himself from falling
by clutching another's face.
 
 

EXT. SHRUBBERY - MED. SHOT - DAY

Suggest here a SHOT of Denham watching from his shrubbery,
horrified, so as not to lose him. REVERSE ANGLE.
 
 

EXT. LOG - LONG SHOT - DAY

From side angle, the men are seen clinging to the log, while
the ape rocks it and the horned beast menaces them from the
other side. More men fall.
 
 

EXT. RAVINE BOTTOM - FULL SHOT - DAY

The men fall to the ravine bottom.
 
 

EXT. RAVINE BOTTOM - MED. SHOT - DAY

They land in the mud.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong roars at the men and beats chest.
 
 

EXT. LOG - CLOSE UP - DAY

One of the sailors on the log shrieks in horror.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong's face rushes up into the camera as he reaches for a
man.
 
 

EXT. LOG - FULL SHOT - DAY

Kong, from the original angle, reaches for the men remaining
on the log, trying to seize them with his hand. The man he
reaches for drops flat, ducking his grasp.
 
 

EXT. LOG - SEMI CLOSE UP - DAY

Kong roars at them.
 
 

EXT. LOG - FULL SHOT - DAY

Kong, from the original angle, rocks the log. A man falls
off.
 
 

EXT. LOG - FULL SHOT - DAY

The man falls to the ravine bottom.
 
 

EXT. LOG - MED. SHOT - DAY

He lands in the mud.
 
 

EXT. LOG - MED. SHOT - DAY

The man on the log, only one remains - clinging as the log
is rocked by Kong, off-screen.
 
 

EXT. LOG - FULL SHOT - DAY

From the original angle, Kong is seen trying to shake the
last man off the log.
 
 

EXT. LOG - MED. SHOT - DAY

The last man hanging to the log desperately.
 
 

EXT. LOG - LONG SHOT - DAY

The SIDE ANGLE with the last man hanging to the log. Kong
lifts the log and drops it into the ravine. No horned beast
here.
 
 

EXT. RAVINE BOTTOM - DAY

The log and the man fall to the ravine bottom.
 
 

EXT. RAVINE BOTTOM - MED. SHOT - DAY

They land in the mud.
 
 

EXT. LOG - FULL SHOT - DAY

Kong on the bank yammers down at the men who have fallen.
Driscoll can be seen in the cave below.
 
 

EXT. RAVINE BOTTOM - LONG SHOT - DAY

The men at the bottom of the ravine are attacked by giant
insects who come out of caves and fissures to eat them.
 
 

EXT. RAVINE BOTTOM - CLOSE UP - DAY

The surprised face of a sailor lying in the mud as he see
this.
 
 

EXT. RAVINE BOTTOM - CLOSE UP - DAY

Face of another sailor staring up in horror from the mud.
 
 

EXT. RAVINE BOTTOM - CLOSE UP - DAY

Face of a third sailor in the mud, horrified as he sees --
 
 

EXT. RAVINE BOTTOM - MED. SHOT - DAY

An insect with octopus arms takes a man. (Projection)
 
 

EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY

Its arms wind around the struggling man.
 
 

EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY

Two men on their backs staring up at a spider who attacks
them. (Projection).
 
 

EXT. RAVINE BOTTOM - CLOSE UP - DAY

The face of a fourth sailor, fallen in mud, staring in
horror as he sees --
 
 

EXT. RAVINE BOTTOM - FULL SHOT - DAY

A giant lizard takes a man.
 
 

EXT. CAVE - FULL SHOT - DAY

Kong on the bank senses Driscoll's presence in the cave
below. PAN down to the cave with Driscoll. He looks up,
warily watching for Kong above. Continued to PAN DOWN
revealing a huge spider climbing up on a vine from the
ravine bottom to the cave.
 
 

EXT. CAVE - MEDIUM SHOT - DAY

Driscoll in his cave notices the vine shake. He looks down
to see --
 
 

EXT. RAVINE - FULL SHOT - DAY

The spider coming up the vine. (Previous angle)
 
 

EXT. CAVE - MEDIUM SHOT - DAY

Driscoll whips out his knife and starts cutting the vine.
 
 

EXT. CAVE - FULL SHOT - DAY

Driscoll cuts the line just in time to prevent the spider
reaching him. The giant insect falls to the ravine bottom.
PAN UP to Kong again. He reaches in the cave trying to get
Driscoll.
 
 

EXT. CAVE - MEDIUM SHOT - DAY

Driscoll eludes the hand, stabbing at it.
 
 

EXT. LOG - MED. SHOT - DAY

Denham watching from his shrubbery on the far side. REVERSE
ANGLE.
 
 

EXT. LOG - FULL SHOT - DAY

Kong tries to reach Driscoll who backs about the cave,
stabbing with his knife.
 
 

EXT. CAVE - MEDIUM SHOT - DAY

Driscoll succeeds in stabbing Kong's hand.
 
 

EXT. LOG - FULL SHOT - DAY

Kong pulls back his hand, licks it, snarling angrily.

             LAP DISSOLVE:
 
 

EXT. MEDIUM SHOT - DAY

Ann, on the dead tree top, awakens from her faint. She looks
about dazed. She looks down to see --
 
 

EXT. LONG SHOT - DAY

A snake crawling along beside the tree - VERTICAL SHOT from
her angle.
 
 

EXT. MEDIUM SHOT - DAY

Ann gasps in terror.
 
 

EXT. LOG - FULL SHOT - DAY

Kong is still trying to reach Driscoll in the cave.
 
 

EXT. CLEARING - FULL SHOT - DAY

A giant meat-eater enters the glade. Girl on tree-top in
foreground. It sees her, comes toward her.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

A man-eater, in the background, comes toward Ann on the tree
top in the foreground. She shrieks.
 
 

EXT. CLEARING - LOG - FULL SHOT - DAY

Kong, reaching for Driscoll in the cave, is just about to
get him when he hears Ann's screams.  He starts back at
once towards her.
 
 

EXT. JUNGLE POOL - FULL SHOT - DAY

Kong comes back along the side of a pool, which lies in the
foreground of the scene, jungle in the background. He
hastens from camera left and out camera right to -
 
 

EXT. CLEARING - FULL SHOT - DAY

The clearing with the dead tree. The terrified girl is in
the tree, foreground. The meat-eater in the background
turns as he hears Kong off screen from camera left.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong enters from camera left. The meat-eater advances to
meet him from camera left. The tree with the girl is in
the middle distance. This shot is masked by foreground
trees.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong and the meat-eater fight. Ann on her tree-top is in the
foreground, animals in the background.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong is knocked down by the meat-eaters tail. The meat-eater
attacks him as he lies sprawled on his back. Kong manages to
get to his feet.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

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

EXT. CLEARING - GENERAL VIEW - DAY

Kong dodges back and out of the scene to camera left as the
meat-eater leaps from camera right. The girl on the dead
tree in the foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

The animals fight, moving into this shot from camera left.
Ann on her tree top in the foreground.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong backs into this shot from camera left. The meat-eater
follows to attack. They fight. Kong gets a grip on the meat
eater's hind foot and throws him. Both wheel around as they
fall. The meat-eater falls on camera right, Kong on camera
left. Kong leaps on the meat-eater as he lies on his back.
Girl on tree in foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong falls. Ann on the tree top in the foreground.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

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

EXT. CLEARING - GENERAL VIEW - DAY

The meat-eater springs up and menaces Kong, who is out of
the shot, off camera left. Girl on tree in foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong, on his feet, beats his chest in defiance. Girl in
foreground on tree top.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong leaps in and grabs the meat-eater's front foot. Girl in
foreground on tree top.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong shifts his hold on the front leg to a head hold, throws
the meat-eater over his head. Girl on tree top in
foreground.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong throws the meat-eater. The meat-eater gets up. Kong
grapples with him again. The meat-eater throws Kong back
against the tree with the girl in foreground. This is a new
angle, tree center foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Ann on the tree top as Kong backs into it.  She screams as
the tree, jarred by the tremendous impact, starts to fall.
TILT DOWN as tree falls.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

The tree falls, with the screaming girl, pinning her under
it. Kong falls also. This is the new angle.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

The girl on the ground pinned by the tree, which half covers
her body.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

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

EXT. CLEARING - FULL SHOT - DAY

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

EXT. CLEARING - GENERAL VIEW

The beasts fighting. Girl under the tree in foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

The girl, under the tree, looks in horror at this spectacle.

REVERSE ANGLE.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

The beasts fight. Ann under the tree in foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

REVERSE ANGLE again of the girl watching, horrified.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

The animals fight. Kong grabs the meat-eater's head, bites
and twists. The meat-eater falls, then gets up. Kong leaps
on his back, grabs his mouth, trying to pry open jaws.
Ann under tree in foreground.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong grabs the meat-eater's jaws, pries them open.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

The girl, under the tree, staring, horrified. REVERSE ANGLE.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong, on the meat-eater's back, pulls open its jaws. Girl in
foreground under tree. Kong pulls back, so that he pulls the
meat-eater over. He falls with it, gets up, grabs his jaws
again. The meat-eater lies prostrate as he works on it.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

Kong's hands break the jaw. Ann under tree in foreground.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong sees he has broken the meat-eater's jaw. He gives it a
waggle to make sure, see it is dead, then rises and pounds
his chest with a triumphant roar. He starts over towards the
girl.
 
 

EXT. CLEARING - SEMI CLOSE UP - DAY

Kong's face as he looks down at Ann, interested and pleased.
 
 

EXT. CLEARING - FULL SHOT - DAY

The girl under the tree. She screams as she sees Kong
looking down at her. This shot from Kong's angle.
TRUCK DOWN to MEDIUM SHOT.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong takes hold of the log. Ann screams.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

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

EXT. CLEARING - GENERAL VIEW - DAY

Kong picks up Ann.
 
 

EXT. CLEARING - LONG SHOT - DAY

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

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

EXT. CLEARING - SEMI CLOSE UP - DAY

Kong as he looks down at her, interested.
 
 

EXT. CLEARING - MEDIUM SHOT - DAY

The girl held in his hand - shoulder out of shot now.
REVERSE ANGLE.
 
 

EXT. CLEARING - GENERAL VIEW - DAY

Kong goes off with her to Camera right.
 
 

EXT. LOG - MED. SHOT - DAY

Denham raises himself cautiously from the shrubbery. He
looks to see --
 
 

EXT. LOG - FULL SHOT - DAY

-- the Stegasaurus disappearing in the direction from which
he first appeared.
 
 

EXT. LOG - MED. SHOT - DAY

Denham, reassured, moves forward to --
 
 

EXT. LOG - MED. SHOT - DAY

--the edge of the ravine by the big log. He looks down
horrified at what he sees, then across. He is startled to
see-
 
 

EXT. LOG - FULL SHOT - DAY

--from his angle, Driscoll rises from the bottom of what had
seemed a quite empty cave. Driscoll does not at first see
Denham. He too looks down to the bottom of the ravine, then
starts to climb up the vines to the top of the ravine above
the cave.
 
 

EXT. LOG - MED. SHOT - DAY

Denham's impulse is to call to him, but caution asserts
itself. He checks himself, looks carefully behind him, then
back, to see.
 
 

EXT. LOG - FULL SHOT - DAY

--Driscoll, from his angle, climbing up to the top of the
bank.
 
 

EXT. LOG - MED. SHOT - DAY

     DENHAM
              (calls, as softly as
possible)
          Jack - Jack Driscoll.
 
 

EXT. LOG - MED. SHOT - DAY

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

EXT. RAVINE BOTTOM - FULL SHOT - DAY

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

     DENHAM
          Hey -- Jack.
 
 

EXT. LOG - MED. SHOT - REVERSE ANGLE

Shooting into his face.

     DRISCOLL
              (annoyed)
          It didn't get you, huh?
 
 

EXT. LOG - MED. SHOT - DAY

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

EXT. LOG - FULL SHOT - DAY

Driscoll in foreground, Denham in background.

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

     DENHAM
          I can't get across now.

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

     DENHAM
          You wouldn't follow that beast
          alone?
 
 

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

To get fence.

     DRISCOLL
          Someone's got to keep on his trail
          while it's hot. Maybe I'll get a
          chance to snake her away -- and if
          I don't I'll figure some way to
          signal your party where he's taken
          her.
 
 

EXT. LOG - FULL SHOT - DAY

Driscoll in foreground, Denham in background.

     DENHAM
          I guess that's the only out.

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

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

     DRISCOLL
          See you later...maybe
              (exits camera left)
 
 

EXT. JUNGLE POOL - FULL SHOT - DAY

Driscoll plunges into the jungle after Kong. The parrot
flutters after him. He crosses by the pool.
 
 

EXT. TREE - FULL SHOT - DAY

Driscoll comes out to the clearing with the tree. The dead
meat-eater lies there. Vultures are feeding on him. Driscoll
looks at this. A distant crashing sounds in the woods. He
listens and realizes it is Kong crashing through the jungle,
carrying the girl. Driscoll starts after him.
 
 

EXT. JUNGLE - FULL SHOT - DAY

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

LAP DISSOLVE
 
 

EXT. MOUNTAIN - GENERAL VIEW - DAY

Kong crosses foreground of a big shot with mountain and
cliff in background. Boy pursues on the run.
 
 

EXT. POOL - FULL SHOT - DAY

ANIMATION & MIN. TO DO

Driscoll runs through the pool and waterfall set after Kong.
 
 

EXT. BASE CLIFF - FULL SHOT - DAY

ANIMATION & MIN. TO DO

Kong comes from the jungle and starts up the base of a
cliff.
(Deadfall set of Most Dangerous Game.) Driscoll runs out of
the jungle and starts up the cliff after Kong.

LAP DISSOLVE
 
 

EXT. FISSURE - FULL SHOT - DAY

DISSOLVE IN as Kong climbs to a ledge from which a great
fissure in the rock opens into the mountains.
He is unaware that the boy is following him. He enters this
fissure with the girl.
 
 

INT. CAVERN - GENERAL VIEW - DAY

A great black pool lies at camera right. Entrance as at
back.
It has an outlet through the rock through which the water
pours out in a waterfall. Steep walls of rock rise to an
immense height all around. A trail leads up camera left to a
ledge high above. This ledge looks out upon an opening
through which daylight pours. It is this daylight which
faintly illuminates the subterranean depths below. Kong
enters with the girl, passes along the camera left side of
the pool towards the trail.

The head of the monster rears out the pool. He stares at
Kong, who can be seen starting up the path which leads
towards the ledge above. The monster lunges for the shore
and
starts to glide up the trail after Kong.

Driscoll enters in the background and at once dunks behind a
rock.

Kong places the girl on a small ledge beside the trail to
his
lair. He plunges down over the side of his lair, with a
roar,
to attack the sea monster. Eve Ann is in the foreground of
this shot, on the ledge.

Instantly, the water monster winds himself about Kong and
draws him toward the pool.

Kong fights to keep himself from being drawn into the pool
by
the monster, whose tail has a purchase in the bottom of the
water somewhere. He grips rocks with his feet, locks his
great arms about the monster, crushing him, sinking his
teeth
into the monster's body. The monster in turn winds his coils
about the great ape trying to crush him. After a few moments
of frantic struggle, accompanied by hideous noises, both
lapse into low grunts and hisses as each exerts strength
against the other.

It is a question of which will be crushed first. Driscoll in
the foreground or background of this shot. As the monsters,
locked in a death embrace, grow still, hardly moving at all,
FADE OUT.

FADE IN. THE GREAT GATE - NIGHT - Sailors on guard.
Englehorn, 2nd Mate and others in group round Denham who is
sitting on the ground, torn, dishevelled, still panting.

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

     ENGLEHORN
          All those men lost! Incredible!

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

     ENGLEHORN
              (groans)
          We'll never see either of them
          again.

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

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

     SAILOR
          Here, sir.

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

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

     ENGLEHORN
          Yes, just after you left.

     DENHAM
          What happened?

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

     DENHAM
          Gunpowder's something new in their
          lives, huh?

     ENGLEHORN
          They're terrified.

     2ND MATE
          They've kept under cover ever
          since.

     DENHAM
              (to 2nd Mate)
          Briggs, get up on the wall and keep
          your eyes peeled. We'll start at
          dawn, whether we get a signal for
          Driscoll or not.

LAP DISSOLVE
 
 

INT. CAVERN - GENERAL VIEW - NIGHT

DISSOLVE IN on the interior of the cavern. Kong and the
water monster are still locked in each other's arms at
the edge of the pool. Driscoll is in the foreground
behind a rock. Kong manages to exert a last pressure of
arms and teeth. The water monster suddenly gives a
snakey cry of agony and goes limp.
His coils relax. His head falls back. Kong realizes he is
dead and extricates himself. He is very tired. He staggers
towards the trail, takes the girl from the ledge and ascends
to his lair once more. Driscoll comes out from behind his
rock to watch this.
 
 

INT. TRAIL - FULL SHOT - NIGHT

Kong takes the girl up into his lair, shooting towards lair.
 
 

INT. LAIR - FULL SHOT - NIGHT

This lair opens out upon the mountain side at a great
height.
The opening is the eye of the legendary Skull after which
the island is named. This shot looking from the opening
into the
lair as Kong brings the girl up into the lair from the
trail.
(Miniature and matte.) He goes to:
 
 

EXT. LAIR - FULL SHOT - NIGHT

--the ledge outside the opening, overlooking the island.
SIDE SHOT. He sets her down. Then he towers over her,
silhouetted against the rising moon, he gives a
triumphant roar. He beats his chest, defying the world
outside. Ann shrieks.
 
 

INT. CAVERN - GENERAL VIEW - NIGHT

Driscoll hears her cry and starts cautiously up the trail to
the lair.
 
 

INT. LAIR - FULL SHOT - NIGHT

Now Kong, in the side angle, squats and takes up the girl in
his great hand. She tries to run away. He lets her run to
the
edge of the trail, then catches her and pulls her back, as a
cat might play with a mouse. Repeat this action.  The second
time, he takes her up in his hand and stares at her.
 
 

INT. LAIR - SEMI CLOSE UP - NIGHT

Kong stares at the girl with a puzzled, interested
expression.
 
 

INT. LAIR - SEMI CLOSE UP - NIGHT

The girl in his hand looks back at him, terrified.
 
 

INT. LAIR - FULL SHOT - NIGHT

Kong, in side angle, begins to pick her clothes off, as a
monkey might pick a rag doll to pieces.
 
 

INT. LAIR - MED. SHOT - NIGHT

Ann shrinks and screams as her clothes are pulled off bit by
bit.
 
 

EXT. TRAIL - FULL SHOT - NIGHT

Driscoll comes up the trail. He can hear the girl's screams.
He hurries.
 
 

INT. LAIR - FULL SHOT - NIGHT

The girl is almost naked. SIDE ANGLE. Kong is still picking
at her when he turns startled.
 
 

INT. LAIR - SEMI CLOSE UP - NIGHT

Kong looks alert and startled toward the trail.
 
 

INT. LAIR - FULL SHOT - NIGHT

Kong puts the girl down and goes to look over the edge of
the trail. SIDE ANGLE. The girl at once retreats to the
edge of the outer edge of the lair, the lair which
overlooks the landscape without.
 
 

INT. TRAIL - FULL SHOT - NIGHT

Kong looks down upon the trail from the lair above, this
from cavern in train set, shooting into Kong's face and
the boy's back. Driscoll can be seen below Kong,
flattening himself into a crevice in the rocks. Kong
looks down, trying to see him, much puzzled over the
source of the noise.
 
 

EXT. LAIR - FULL SHOT - NIGHT

This shot from outside looking in. The girl looks terrified
as she sees:
 
 

INT. LAIR AND MOUNTAIN - GENERAL VIEW - NIGHT

A giant meat-eating bird (petrodactyl) high above her,
wheeling. Girl in foreground here.
 
 

EXT. MOUNTAIN - LONG SHOT - NIGHT

This shot taken with bird in foreground, ZOOMING down
towards girl, seen on lair far below, as the bird
dives. CAMERA ZOOMS with bird.
 
 

EXT. LAIR - FULL SHOT - NIGHT

Ann screams as the bird seizes her. SIDE ANGLE.
 
 

INT. LAIR - FULL SHOT - NIGHT

Kong, peering down the trail, hears noise and turns to rush
back. Boy in foreground.
 
 

EXT. LAIR - FULL SHOT - NIGHT

He catches the bird out of the air just as it starts to fly
away with the girl. A terrific fight between the two. The
girl runs back towards the trail. SIDE ANGLE here.
 
 

INT. LAIR - FULL SHOT - NIGHT

Driscoll comes up over the edge of the lair as the girl runs
in. Shot from looking outside looking in. He sees the girl.
He rushes to seize her. He tries to rush her back towards
the
trail. As he does do, Kong finishes wringing the bird's neck
and turns to see the intruder.
 
 

INT. LOG - SEMI CLOSE UP - NIGHT

Kong's face as he sees Driscoll with the girl and roars
angrily.
 
 

INT. LAIR - FULL SHOT - NIGHT

Shot from outside looking in. Kong starts toward them.
 
 

INT. TRAIL - FULL SHOT - NIGHT

Driscoll takes the only means of escape possible. He is on
the inner edge of the lair, overlooking the subterranean
pool. Seizing the girl about the waist, he dives off with
her, just in time to avoid Kong's grasp.
 
 

INT. CAVERN POOL - FULL SHOT - NIGHT

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

INT. TRAIL - FULL SHOT - NIGHT

Kong rushes down the trail after them.
 
 

INT. CAVERN - GENERAL VIEW - NIGHT

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

INT. CAVERN POOL - FULL SHOT - NIGHT

His great hand just misses them in the water. They dive. He
reaches for them again.
 
 

INT. TANK - FULL SHOT - NIGHT

UNDERWATER SHOT as his hand tries to seize them.
 
 

INT. CAVERN POOL - FULL SHOT - NIGHT (MINIATURE)

The subterranean outlet, through which the water of the pool
pours out in a waterfall to the mountain side without. They
comes up just in time to be sucked through it. (Miniature
figure)
 
 

EXT. WATERFALL - FULL SHOT - NIGHT (MINIATURE)

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

INT. CAVERN - GENERAL VIEW - NIGHT

Kong roars furiously. He rushes out through the entrance.
 
 

EXT. RAPIDS - FULL SHOT - NIGHT

The boy and girl are swept down rapids.
 
 

EXT. FISSURE - FULL SHOT - NIGHT

Kong comes out of the fissure and starts down the edge of
the cliff.
 
 

EXT. TORRENT - FULL SHOT - NIGHT

Driscoll pulls the girl ashore. He helps her out, supporting
her. They disappear into the jungle. FADE OUT.

FADE IN
 
 

EXT. WALL - FULL SHOT - NIGHT

--on Englehorn's party grouped about the inner side of the
great gate. It is closed. The ship's party have lit a
bonfire, about which there are grouped with their arms,
including Denham and Englehorn. At the top of the wall,
sailors are standing watch.
 
 

EXT. WALL TOP - MED. OR FULL SHOT - NIGHT

One of the sailors at the top of the wall suddenly grabs the
arm of another and points as he sees Driscoll and Ann coming
out of the woods. They are visible in the background.
(Double print silhouettes.) They look to see --
 
 

EXT. ALTAR - FULL SHOT - NIGHT

-- Driscoll and Ann, from their angle, as they come from the
jungle Driscoll is carrying the girl. (This using set of
Kong's original entrance.)
 
 

EXT. WALL TOP - MED. OR FULL SHOT - NIGHT

The sailor who saw this calls down to those below.

     LOOKOUT ON WALL
              (shouts down)
          Driscoll and the lady -- coming up
          from the woods, sir.
 
 

EXT. WALL - FULL SHOT - NIGHT

A commotion at the foot of the wall. All spring to their
feet.

     ENGLEHORN
          Gott sei dank!

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

     DENHAM
          Give her to me.
              (takes the girl from
Driscoll)

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

Driscoll almost collapses.

     ENGLEHORN
              (half supporting him,
pulls flask from his
pocket)
          Here.

Driscoll takes it, staggers over to Ann. She is lying on
ground, Denham kneeling beside her. Driscoll bends over her,
gives her a drink.  She chokes over it, pushes it away.

     ANN
          I'm all right. Oh Jack.

She hides her face against him.

     ENGLEHORN
          Now, now. You're safe. We'll be
          back on the ship in no time.

Driscoll is kneeling, holding Ann in his arms. Denham gets
up.

     DENHAM
          Wait a minute. What about Kong?

     DRISCOLL
          What about him?

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

     ENGLEHORN
              (can't believe his ears)
          What!

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

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

     DENHAM
          If he chooses to stay there.

They all stare at him.

     DENHAM
          We've got something he wants.

He looks at Ann. She shrinks in horror.

     DRISCOLL
              (furiously)
          Something he won't get again.

The roar of KONG is heard in the jungle.

     DRISCOLL
          He's followed us!

Ann screams, Driscoll puts arms round her.
 
 

EXT. ALTAR - FULL SHOT - NIGHT

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

EXT. ALTAR - GENERAL VIEW - NIGHT

All run for the gate.
 
 

EXT. VILLAGE SQUARE - GENERAL VIEW - NIGHT

This SHOT shooting towards village street, as native
warriors, alarmed at sound of Kong - which can be heard -
come running towards gate with weapons in hand.
 
 

EXT. WALL - FULL SHOT - NIGHT

The sailors at the gate hear the natives running up behind
them and snatch up weapons, ready to defend themselves. The
natives, however, run up, holding their hands, with weapons
above their heads, to show no harm is meant, shouting "KONG,
KONG," and indicating with gestures that the gate must be
closed. Some start to pick up the big pole used to keep the
gate shut. Before the sailors have time to ask questions,
another frightful roar and drumming is heard beyond the
wall.
 
 

EXT. ALTAR - FULL SHOT - NIGHT

REVERSE ANGLE as Kong, in the foreground, pursues the people
in the background. (Using Most Dangerous Game jungle glass).
 
 

EXT. WALL - FULL SHOT - NIGHT

The party who went to meet the boy and girl, with boy and
girl, run through the gate, past natives and sailors.

     DENHAM
              (shouts)
          Shut the gate - shut the gate.

     ENGLEHORN
          All hands on the gate.

     2ND MATE
              (blows whistle)

Driscoll runs straight on out of the shot, with Ann, towards
village square. The sailors drop their weapons to push the
gate closed. The native warriors, who picked up the big
pole, now push it against the gate - some sixty of them
on it. A few others stand by with weapons - leaders,
evidently - shouting orders and encouragements.
 
 

EXT. ALTAR - FULL SHOT - NIGHT

REVERSE ANGLE - Kong, in the foreground, pursues the people
in the background. (Using Most Dangerous Game jungle glass).
 
 

EXT. ALTAR - FULL SHOT - NIGHT

Kong reaches the gate and gets his foot jammed in it as it
closes. (Miniature)
 
 

EXT. WALL - FULL SHOT - NIGHT

The ship's party tries to force the gate shut. Kong gets his
arm through it.
 
 

EXT. WALL - MED. SHOT - NIGHT

The arm lifts a sailor and crushes him or beats him against
the gate.
 
 

EXT. WALL - MED. SHOT - NIGHT

Sailors at the bottom press against the gate frantically to
keep Kong out. Kong's foot can be seen blocking the gate.
 
 

EXT. WALL - MED. SHOT - NIGHT

The great hand drops the sailor, dead.
 
 

EXT. WALL - MED. SHOT - NIGHT

He falls among the sailors at the bottom of the gate, as
they strain keep Kong out.  Kong's foot in the shot.
 
 

EXT. ALTAR - FULL SHOT - NIGHT

Kong throws himself repeatedly against the gate. It begins
to wrench loose.
 
 

EXT. WALL - FULL SHOT - NIGHT

The sailors press against the gate. They look up, horrified
as they see --
 
 

EXT. WALL - SEMI CLOSE UP OR MED. SHOT - NIGHT

--the hinges above tearing loose.
 
 

EXT. WALL - FULL SHOT - NIGHT

They redouble their efforts to keep the gate shut.
 
 

EXT. ALTAR - FULL SHOT - NIGHT

Kong makes one last lunge at the gate. It rips loose from
its hinges --
 
 

EXT. ALTAR - FULL SHOT - NIGHT

-- and falls in. The sixty natives on the long pole are
crushed. The sailors run for their lives. They have no time
to pick up weapons. The few surviving natives with spears -
the one's nor on pole - also run. Kong stands in the gate,
snarling, beating his chest. He starts after them.

Village street, sailors panicking through, taking refuge in
huts.

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

     DENHAM
          The bombs! Who's got the bombs!

KONG advances down street, towering over huts. He roars and
knocks huts aside.

Men in foreground run.

KONG tears roof off a hut.

Interior Hut from Kong's angle. Men cowering in a corner.

They look up at camera and shriek.

KONG reaches into hut, picks up a native.

Exterior, behind a hut. Driscoll, half-carrying Ann. Stops,
looks back, hurries her out.

KONG looks at native in his hand, throws him aside.

Denham runs past after some sailors, one of them carrying
the
bombs.

KONG knocking down more huts. Driscoll and Ann running,
trying to keep behind huts.

KONG sees them over roofs.

Close-up of KONG snarling as he sees: Long shot, Driscoll
and
Ann clear of village and running for beach.

KONG starts after them.

The beach, boats drawn up. Sailors running.

Denham overtakes them, grabs man with bombs, pulls him
around.

Man tries to run. Denham hits him, seizes bombs.

Driscoll and Ann running toward camera. KONG pursuing.

Denham steps forward, throws bombs over Driscoll's head.

Bombs burst in front of KONG. Smoke veils him.

KONG staggers forward through smoke, coughing. He knocks
Denham aside with his hand.

He reaches for Driscoll and Ann, and pitches forward.

CLOSE SHOT, Driscoll and Ann. KONG'S reaching hand falls
into
this shot, and he's limp.

Village street. Night. Englehorn and Denham.

     ENGLEHORN
          Are you hurt?

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

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

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

     ENGLEHORN
          What are you going to do?

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

     ENGLEHORN
          No chains will hold -- that.

     DENHAM
          We'll give him more than chains.
          He's always been king of the world.
          But we'll teach him fear.
              (his voice rises
triumphantly)
          We're millionaires. I'll share with
          all of you. Listen, boys a few
          months from now it'll be in lights
          on Broadway -- Kong, the Eight
          Wonder.

DISSOLVE TO electric sign on a theatre, "KONG, the Eight
Wonder."

Tilt down to crowds outside.

CLOSEUPS of crowd.

     1ST MAN
          What is it, anyhow?

     2ND MAN
          They say it's sort of a gorilla.

     1ST MAN
          Gee, ain't we got enough of them in
          New York?

Another close-up.

     YOUNG MAN
              (to his girl)
          I hear it's bigger'n an elephant.

     GIRL
              (chewing gum)
          Does it do tricks or what?

Another close-up.

     WOMAN
              (in evening dress)
          Heavens, what a mob.

     HER HUSBAND
          Well, you would come. And the
          tickets cost me twenty bucks.

Long Shot of crowd, zoom forward over their heads toward the
entrance.

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

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

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

     ANN
          Of course we had to come when he
          said it would help the show. Do you
          suppose we'll really make a lot of
          money, Jack?

     DRISCOLL
              (fussing with his collar)
          Enough to pay him back for these
          clothes, anyway...I never had an
          open-face suit before.

Denham bustles in. Full evening dress, silk hat, gardenia.
He
is excited and important.

     DENHAM
          Hello, you're just on time. You
          look great, Ann. Glad I dressed you
          up for this show. Hello, Jack. Ten
          thousand dollars in the box office.
          How's that for one night?

     DRISCOLL
          Say! That's money!

     DENHAM
          Oh, we're going to do that every
          night. The newspaper boys are
          coming in now.

Group of reporters and photographers come in to Ann,
Driscoll, and Denham.

     DENHAM
          Miss Darrow, boys. And Mr.
          Driscoll.

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

     ANN
          Yes. He was alone. All the sailors
          with him had been killed.

     2ND REPORTER
              (looking off-stage)
          Alone, eh? Whew! How did you tackle
          that baby?

     DRISCOLL
          Aw, Denham's the one that got him.
          The rest of us were running like
          rabbits, but Denham had the nerve
          to stand still and chuck gas-bombs
          at him.

The Reporters turn to Denham, saying "Oh, you're the hero."
"Come on spill it," etc.

     DENHAM
          No, lay off me. Miss Darrow is the
          story. If it hadn't been for her,
          we'd never have got near KONG. He
          came back to the village for her.

     3RD REPORTER
          Beauty and the Beast, huh?

     DENHAM
          That's it. Play up that angle.
          Beauty and the Beast. KONG could
          have stayed safe where we'd never
          have got him, but he couldn't stay
          away from Beauty. That's your
          story, boys.

     2ND REPORTER
          It's a story all right.

     1ST PHOTOGRAPHER
          How about a few pictures?

     DENHAM
          Wait. I want you to take
          flashlights on the stage in front
          of the audience. We'll ring the
          curtain up now, and I'll make a
          speech. Tell 'em about KONG and
          Miss Darrow and Driscoll. Then when
          I call you, you all come on and
          take pictures.

The photographers ad lib. "Sure," "We'll do that," etc.

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

     ANN
              (shrinking)
          Oh, no.

     DENHAM
          It's all right. We've knocked some
          of the fight out of him since you
          saw him.

He urges Ann off. Driscoll follows.

Cut to back of theatre, looking toward stage, curtain down.

House packed. Denham comes before the curtain. In almost the
tones of the circus spieler, he begins:

     DENHAM
          Ladies and gentlemen, I am here
          tonight to tell you a strange
          story. So strange a story that no
          one will believe it. But, ladies
          and gentlemen, seeing is believing,
          and we -- I and my partners -- have
          brought back the living proof of
          our adventure, an adventure in
          which twelve of our party met
          terrible deaths.

Cut to wings of theatre. Reporters and photographers looking
onto the stage.

     2ND PHOTOGRAPHER
          Holy smoke, look at that!

     1ST PHOTOGRAPHER
          Hope he's tied up good and plenty.

     1ST REPORTER
          Sure he is. Denham's taking no
          chances.

Cut to front of theatre. Denham addressing audience.

     DENHAM
          - and now, ladies and gentlemen,
          before I tell you more, I am going
          to show you the greatest sight your
          eyes ever beheld. He was the king
          and the god of the world he knew,
          but now he comes to civilization,
          merely a captive, a show to gratify
          your curiosity. Ladies and
          gentlemen, look at KONG, the Eight
          Wonder of the World.

The curtain rises to disclose a raised platform, on which is
KONG, loaded with chains and so fastened that he can move
nothing but his head. Murmurs and exclamations from the
audience, a few rise to their feet to get a better look.

CUT TO medium shot on stage. Denham takes Ann's hand.

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

Audience applauds.

     DENHAM
          There the Beast, and here the
          Beauty. She has lived through an
          experience that no other woman ever
          dreamed of. And she was rescued
          from the very grasp of KONG by her
          future husband. I want you to meet
          a very brave gentleman, Mr. John
          Driscoll.

Audience applauds. Driscoll bows awkwardly.

     DENHAM
          Now, before I tell you the full
          story of our voyage. I am going to
          ask the gentlemen of the press to
          come forward, so that the audience
          may have the privilege of seeing
          them take the first photographs of
          KONG and his captors.

He looks off-stage and beckons. The press men come on.

     DENHAM
          Miss Darrow first, alone. Stand in
          front of KONG, Ann.

Ann reluctantly does so.

     1ST PHOTOGRAPHER
          That's it - That's near enough.

     2ND PHOTOGRAPHER
          Ready. Hold it. Smile, please.

The flashlights go off. KONG roars. Ann looks round in
terror, with a startled cry.

     DENHAM
          Don't be alarmed, ladies and
          gentlemen. Those chains are made of
          chrome steel. He can't move.

Flashlights again. KONG roars and strains at chains. Ann
covers her face. Driscoll steps forward to her.

     DRISCOLL
          It's all right, Ann.

     DENHAM
          Get them together, boys. They're
          going to be married tomorrow.

     1ST PHOTOGRAPHER
          Put your arm around her, Driscoll.

Driscoll does so. Flashlights. KONG roars, struggles. Ann
hides her face against Driscoll.

     DENHAM
          Wait. Hold on. He thinks you're
          attacking the girl.

     1ST PHOTOGRAPHER
          Let him roar. Swell picture.
              (to flashlight men)
          Get this.

Flashlights again.

With a frightful roar, KONG breaks his chains.

Everyone stands paralyzed, as KONG beats his chest, roaring.

The Driscoll grabs Ann, and rushes for door.

The theatre; reporters, attendants running for safety.

Audience in panic. KONG roaring.

Driscoll and Ann through door.

KONG starts across arena.

Driscoll and Ann in street.

     DRISCOLL
          My hotel! Across the street!

They run.

KONG pushes down big door. Crowded street seen beyond him.

He plunges through.

KONG comes up to hotel. Door is too small for him. He peers
through big window.

Driscoll and Ann in elevator going up. She is clinging to
him
in panic.

KONG outside hotel.

A woman, several stories above, looks out window, sees KONG,
screams. KONG looks up, sees woman, thinks it is Ann, starts
to climb. Woman sees him coming, goes back from window.

KONG climbing up building.

A room in hotel, five men playing poker.

     1ST MAN
          Sweeten it - sweeten it.

They all ante, while 2nd Man deals.

     3RD MAN
          What's all the doings over there at
          the theatre?

     2ND MAN
          Sounds like a three-alarm fire.

     4TH MAN
          Aw, some movie stunt about a
          monkey.

     5TH MAN
          I hear the theatre's sold out.

     3RD MAN
          This town sure is full of hicks.

     1ST MAN
          Barnum was right.

KONG appears at window. They panic.

Another room in hotel. Ann and Driscoll rush in, he slams
door. Ann clings to him for a moment, then collapses on bed,
gasping and sobbing. He kneels beside her.

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

KONG climbing building.

Another hotel room. A woman in negligee at telephone.

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

     JIMMY
          Howya, kid. Glad I'm back?

     WOMAN
          You bet I'm glad you're back...I
          got your postal. Talk louder,
          Jimmy, there's fire-engines going
          by. I can't hear...

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

     MABEL
          Sure I saved the evening...Nine
          o'clock'll be swell...And say, wait
          until you see my new outfit...All
          right, I'll be there...Say, when
          did I ever break a date with you,
          honey...

     JIMMY
          Whatsa matter? Hey, kid, what yer
          yelling -- Mabel! Mabel! Operator,
          something's happened!

KONG at window. He reaches in, picks her up, pulls her out
window.

Exterior, hotel wall. KONG looks at her, sees she isn't Ann,
drops her disgustedly.

Driscoll's hotel room. Ann sitting on bed. Driscoll kneeling
beside her.

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

     ANN
              (gasping)
          It's a like a horrible dream. It's
          like -- being back there -- on the
          island.

Driscoll puts his arms round her, murmurs soothingly.

KONG appears in window.

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

KONG smashes window, his hand comes in, reaching. Driscoll
picks up a chair and attacks hand.

KONG'S hand knocks him across room, where he lies senseless.

KONG'S hand drags the bed to the window, picks up Ann, takes
her out window.

Driscoll staggers to window, looks up after KONG, turns and
rushes out.

(Changes - 9/6/32)

Hotel corridor. Denham running toward camera, followed by
pop
eyed bell-boys, clerks and waiter.

Door to Driscoll's room opens, and Driscoll staggers out,
almost colliding with Denham.

     DENHAM
          Jack! He's climbing up, outside
          there.

     DRISCOLL
          He got Ann. He's taking her up.

     DENHAM
          The roof! Quick!

They rush off.

CUT TO roof of hotel. Denham and Driscoll run in. They see
KONG, holding Ann, going over another roof. He goes out of
sight.

     DENHAM
          What'll we do?

     DRISCOLL
              (turning to go)
          Fire Department searchlights.
          They'll keep him in sight.

CUT TO - motorcycle cops.

Crowd pointing and shouting.

Policeman turning in alarm.

Hook and ladder.

KONG climbing. Cornice breaks.

Cornice crashes on man.

Firehouse, searchlights coming out. Siren.

Mounted police ride out.

Crowd in street.

Searchlights on roof.

     1ST FIREMAN
          Where is he?

     2ND FIREMAN
          He went that way.

     1ST FIREMAN
          He may have fallen.

Searchlight settles on Kong on distant roof.

     1ST FIREMAN
          There! There he is.

     2ND FIREMAN
          He's still got the girl.

Another searchlight picks up Kong.

     3RD FIREMAN
          He's turned. He's going back.

Police station, cops run out with guns.

Wall of windows, full of heads, craning.

Cop telephoning from street-box.

Roof with searchlight. Kong not seen. Light moves to and
fro,
looking.

     2ND FIREMAN
          Where's he gone?

Two policemen enter.

     1ST COP
          Can you see him?

     2ND FIREMAN
          No. Lost sight of him half and hour
          ago.

Crowd in street. Two men looking up.

     1ST MAN
          They say he's disappeared.

     2ND MAN
          Well, what could he hide in?

     1ST MAN
          Gee, I hope he don't come down in
          the street.

     2ND MAN
          You said it.

Police Station. Sergeant at desk with phone. Denham and
Driscoll pacing the floor. Phone rings.

     SERGEANT
              (into phone)
          Yes? Yes...No, not
          yet...Headquarters is broadcasting
          the reports.
              (he hangs up)

     THE LOUDSPEAKER
          Kong, the giant ape, is still at
          large. He has not been seen since
          midnight. The whole city is
          aroused. We are hoping for a report
          at any moment.

Driscoll sits down with a groan and puts his head in his
hands. Denham rests a hand on his shoulder.

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

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

     DENHAM
          But we're pretty sure he won't hurt
          her.

     DRISCOLL
          He may have dropped her. She may be
          lying somewhere.

     THE LOUDSPEAKER
          Attention, all stations! Kong has
          been seen again. He is on the roofs
          of the warehouses at 41st Street.
          He is going toward the East River.
          He is still carrying Ann Darrow.

Driscoll leaps up, clutching Denham.

Phone on desk rings.

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

     DENHAM
          If he puts Ann down --

     SERGEANT
              (into phone)
          It'll be daylight in an hour. Keep
          him in sight.

     THE LOUDSPEAKER
          Kong is going West. He is making
          for the Empire State Building.

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

     SERGEANT
          We won't be able to get near him.

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

     DENHAM
          That's licked us.

     DRISCOLL
          There's one thing that hasn't been
          tried.

     SERGEANT
          What?

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

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

CUT TO planes taking off.

Crowd in street, gazing up.

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

An airplane squadron, flying in formation.

The planes over New York. Pilot looks over side, gives
signal
to rest of squadron.

Entrance to Empire State, crowd around doors, police holding
them back. Denham, Driscoll, with two policemen, push their
way through crowd. They pause in door.

     DENHAM
          Here comes the planes.

     POLICEMAN
          They'll get him.

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

     POLICEMAN
          Hold on. Don't you get on that roof
          too.

     DENHAM
          Give the pilots a chance, Jack.

They all exit into building.

Top of Empire State. Dawn. Kong turns and looks up at a
plane, roars and beats his chest.

In plane, shot over pilot's shoulder, as plane dives at
Kong.

Top of Empire State. Kong snatches at plane and drops it
into
street.

In the street, plane drops and burns.

Top of Empire State. Kong roars and beats his chest.

In 2nd plane, observer taps pilot and points. They dive.

Top of Empire State. Plane banks around Kong, firing machine
gun.

Close shot of Kong - he is hit by bullets, staggers.

Shot of Ann on ledge.

Another plane zooms past, firing at Kong.

Close shot of Kong, hit again. He coughs, looks down at his
wounds. Looks at Ann, reaches as though to pick her up.

Top of Empire State. More planes zoom down. Kong stands
erect, drumming on his chest. The planes sweep by, firing.
He staggers, turns slowly, and topples off roof.
 
 

EXT. NEW YORK STREET - GENERAL VIEW - NIGHT (STOCK)

Fire engines, searchlight units, police cars, motorcycles
and what not, speeding through crowded streets with
sirens blowing. This would be particularly effective in
some well recognized location such as Times Square.
 
 

EXT. 3RD ROOFS - FULL SHOT - NIGHT

Kong, carrying the girl, runs across roofs to the edge of a
city street. He leaps across the street, or alley, if the
distance is too great, and catches a window of a building on
the opposite side. He pulls himself up and continues the
chase. Crowds can be seen below.
 
 

EXT. 2ND STREET - FULL SHOT - NIGHT

Confusion in the street below this building as the crowds of
police, firemen, etc., rush after Kong.

LAP DISSOLVE
 
 

EXT. 4TH ROOFS - FULL SHOT - DAWN

DISSOLVE IN on an armed party, including Driscoll and police
officer, as they rush across roof tops and stop bewildered
as they see no trace of Kong. The first streaks of dawn
are tinging the sky.
 
 

EXT. 4TH ROOFS - MED. SHOT - DAWN

     POLICE CAPTAIN
          It's no use. All night we've been
          after him -- and never got near
          enough to take a shot.

     POLICE LIEUTENANT
          It'll be daylight soon. That ought
          to help.

     POLICE CAPTAIN
          Help the ape, maybe.

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

Points to --
 
 

EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN

-- Kong with the girl seen in the distance, going across
roofs toward Empire State Building background. Probably no
men needed in this shot, as building gives size.
 
 

EXT. 4TH ROOFS - MED. SHOT - DAWN

     POLICE CAPTAIN
          If he takes the girl up there with
          him, we're fair beat.

     POLICE LIEUTENANT
          That's right. We can't shoot him
          down while he has the girl.

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

     POLICE CAPTAIN
          And what is that?

     DRISCOLL
          Air planes. The army planes from
          Roosevelt Field. They might find a
          way to pick him off without
          touching her.

     POLICE CAPTAIN
          You're right.
              (to Lieutenant)
          Get to a phone, Tim. Call the
          field, - burn up the wires -

As they move away, DISSOLVE OUT.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. AIRPORT - GENERAL VIEW - DAWN

Military planes as they take off from an airport.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

The crowd in the street, watching this aghast. There are
police cars, motorcycles, fire engines, and two of three
searchlight units, keeping their lights fixed on him. Police
are keeping the crowd back. VERTICAL SHOT DOWN.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. SKY AND CITY - GENERAL VIEW - DAWN

An airplane squadron over New York, flying toward the Empire
State Building. If desirable, this can be done without city
below, just against sky backing. The planes are pursuit
ships.
 
 

EXT. 1ST AIRPLANE - MED. SHOT - DAWN

The squadron leader looking over the side of the plane. He
waves a signal to the other and dives.
 
 

EXT. SKY AND CITY - FULL SHOT - DAWN

The leader dives toward the Empire State Building, seen far
below, Kong is just a dot on the roof. The rest continue to
fly in formation.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

Kong hears the planes. He turns to look as the squadron
leader banks about the top of the building, making a
reconnaissance. Kong puts the girl down and suddenly reaches
out, snatches the plane out of the air. He crumples it and
hurls it to --
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

Kong again roars angry defiance at the world.
 
 

EXT. 2ND AIRPLANE - MED. SHOT - DAWN

The observer of a 2nd plane taps the pilot's back, indicates
here's their chance. The military pilot of the second
airplane fires machine gun as he dives.

(NOTE: A LONG SHOT of Kong in dome from angle of plane would
it it's possible, help observer get this over. Maybe ZOOM
SHOT, plane in background)
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

The airplane whizzes by Kong, firing into him.
 
 

EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN

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

EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN

The girl watching, terrified.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

Another airplane zooms by firing into Kong.
 
 

EXT. EMPIRE STATE BUILDING - MED. SHOT - DAWN

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

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

-- pick her up.
 
 

EXT. EMPIRE STATE BUILDING - MED. SHOT

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

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

-- down, straightens up, roars defiance up at the planes. He
coughs as he drums his chest, daring them to come on.
 
 

EXT. CITY AND SKY - FULL SHOT - DAWN

The remainder of the squadron dive together towards the
Empire State Building.
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. EMPIRE STATE BUILDING - GENERAL VIEW - DAWN

Kong as he falls to --
 
 

EXT. EMPIRE STATE BUILDING - FULL SHOT - DAWN

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

EXT. DOME OF THE EMPIRE STATE - DAWN

Ann lying on ledge. Driscoll, Denham, couple of cops rush
in, as Kong goes over. Driscoll leaps across, gets Ann,
he is incoherent with terror for her. He kisses her
wildly, talking all the time.

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

     ANN
          Ad lib.

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

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

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

Cop stares at him, very puzzled.

  FADE OUT





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OTHER OFF-SITE WEB REFS
Original King Kong on IMDB
Watch King Kong Online
King Kong Gutenberg Article
Gutenberg Australia
King Kong 1933 on Filmsite
Screenplay: The Original (alt)
Screenplay ~ The 2005 Remake
Fay Wray Photos at the Shill Pages Site
Dark Horse Kong by Joe DeVito
King Kong Movie Site with Trailer
Tarzan Meets Kong

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