There is a widespread misconception that Edgar Wallace played no part in the creation of "King Kong." Nothing could be farther from the truth. In fact he developed the plot line and drafted the original screenplay during the weeks that he spent in Hollywood, completing it before his death on 10 February 1932.
The evidence for this is to be found in letters that he wrote to his wife Ethel between 23 November 1931 and 7 February 1932. Ethel collected and published these letters under the title "My Hollywood Diary" (Hutchinson & Co., London, 1932). Digital editions of this book are available at RGL.
We find the first clear reference to the "Kong" project in a letter dated Wednesday, 23 December 1931, in which Wallace wrote:
"I then went down to the animating room, where they are working on models of a prehistoric story, the script of which I am going to write."
In a letter written on Christmas Day, we read:
"Merian Cooper called and we talked over the big animal play we are going to write, or, rather, I am writing and he is directing. He has just had an approval from New York, and I am going to turn him out a scenario. It will take six months to make. He's a terribly nice fellow and I get on well with him, as I do with David Selznick, who is a regular fellow."
On Wednesday, 30 December 1931, Wallace informed his wife that:
"I am going to write the story of our beast play in collaboration with Merian Cooper. That is to say, I will give him a 'bar line', a bar line being credit as collaborator, because he has really suggested the story, though I of course shall write it, and I am to be allowed to use the illustrations that we are having drawn. It ought to be the best boys' book of the year. He doesn't want to take a penny out of it as long as he has a credit line."
On Monday, 4 January 1932, the author wrote:
"I have nearly finished the beast scenario, and Cooper has the second part and is coming up to discuss one or two points which he thinks are important, but which are really unimportant since they can be altered terribly easily."
Wallace reported completion of his assignment in a letter the next day, Tuesday, with the words:
"I have finished the scenario of "Kong". That is the name. If I have told you this before, excuse me, miss."
The next explicit reference to the project, which he made in a letter written on Thursday, 7 January 1932, proves that Wallace was involved in the pre-production revision of the screenplay:
"I am just changing the character of the girl in "Kong", my animal story. There is a fight between New York and Hollywood as to whether "Kong" shall be the title. Hollywood is enthusiastic, New York says "What does it mean?" which is rather true to type."
A few days later, on Tuesday, 12 January 1932, he indicated that further revision of the screenplay was required:
"I went down to the studio this morning rather early to see Cooper. Apparently they are not going to accept "Kong" as a title: they think it has a Chinese sound and that it is too much like "Chang", and I can see their points of view.
"I had to rewrite certain lines of "Kong", but, of course, this sort of thing will go on all the time; one expects it. We are going into a huddle over it this week some time, and I hope that the executive are going to pass it quickly.
Two days later, on Thursday, 14 January 1932, Wallace reported:
"They are definitely not accepting "Kong" as a title, though Cooper still has hopes. If they don't take that I am going to suggest as a title "King Ape". Cooper is extremely pleased with the story and is going into conference one day this week."
The very next day, Friday, Wallace, wrote:
"Cooper called me up last night and told me that everybody who had read "Kong" was enthusiastic. They say it is the best adventure story that has ever been written for the screen. It has yet to go past the executive, but I rather fancy there will be no kicks. We haven't yet got the girl. We've got to have a tiny for the part, but the tiny has got to act, and that, I think, is going to be the real difficulty more than the size."
Wallace's last reference to his work on the project is found in a letter written on Saturday, 23 January 1932, where we read:
"I still have no satisfaction about the renewal of my contract.
"They have had four stories: one of them quite good, two of them very good, but there is no department which receives stories or reports on them or lets me know what is happening.
"With the exception of "Kong" I have no information whatever as to the reactions of the people who have read them. "Kong" itself, although it has been written over a fortnight, has not been read by the chief executive! In some ways it is rather like living in a madhouse. Now they want me to write a mystery story and turn it in by next week, and on that story they will decide whether they will continue my contract, which means that if it's a very good story they can say: 'No, we won't give you a contract, but we'll take the story because it has been written in our time.'"
Towards the end of January 1932, Wallace began suffering sudden, severe headaches and was diagnosed with diabetes. As his condition deteriorated he slipped into a coma and contracted double pneumonia. He died on 10 February 1932 in North Maple Drive, Beverly Hills.
The subsequent fate of Wallace's screenplay is described by
Wikipedia as follows:
"Despite not using any of the draft in the final production beyond the previously agreed upon plot outline, Cooper gave a screen credit to Wallace as he had promised it as a producer.
"Cooper called in James Ashmore Creelman (who was working on the script of The Most Dangerous Game at the time) and the two men worked together on several drafts under the title The Eighth Wonder. Some details from Wallace's rough draft were dropped, notably his boatload of escaped convicts. Wallace's Danby Denham character, a big game hunter, became film director Carl Denham. His Shirley became Ann Darrow and her lover-convict John became Jack Driscoll. The 'beauty and the beast' angle was first developed at this time. Kong's escape was switched from Madison Square Garden to Yankee Stadium and (finally) to a Broadway theater. Cute moments involving the gorilla in Wallace's draft were cut because Cooper wanted Kong hard and tough in the belief that his fall would be all the more awesome and tragic."
This RGL edition contains the final version of7 the screenplay and a gallery of stills from the 1933 film.
—Roy Glashan, 05 May 2019
K O N G
Changes 09/01/1932 - 09/06/1932
FADE IN on a composite glass shot over the Hoboken docks -
New York Skyline dimly seen in background. Snow. Sounds of
tugboat whistles. DISSOLVE TO -
Ship's side gangway slopes up out of picture.
Weston, a theatrical agent, comes along wharf, peering at
ship. He is fifty, heavy, slow, but with a shrewd eye. He
turns up his collar and shivers, stops and looks at ship
doubtfully.
An old watchman comes along wharf from opposite side,
swinging a lantern.
An old watchman comes along wharf from opposite side,
swinging a lantern.
WESTON
Hey, Is this the moving picture ship?
WATCHMAN
The Venture? Yep.
(Weston starts for gangway)
You going on this crazy voyage?
WESTON
(pausing)
What's crazy about it?
WATCHMAN
I dunno know, but I hear everybody
talkin' about this crazy feller
that's running it.
WESTON
Carl Denham?
WATCHMAN
Guess that's the name. They say he
ain't scare of nothin' - if he
wants a picture of a lion he walks
right up and tells it to look
pleasant.
WESTON
He's a tough egg, all right. But
why the talk about this voyage
being crazy?
WATCHMAN
Wal, there's talk around the docks
about the cargo for one thing. And
I never see a ship this size with
such a crew.
WESTON
Not enough men to handle her?
WATCHMAN
Not enough! The crew's three times
too big for the ship. I dunno know
where they find enough room to
sleep.
DRISCOLL
(from above deck)
Hey, there! What do you want?
WESTON
Denham aboard?
DRISCOLL
(comes down gangway into picture)
Yes. Who are you?
WESTON
I want to see him. I'm Weston, the agent.
DRISCOLL
Come aboard. Denham's getting wild.
Hope you have some good news for him.
INT. CABIN - NIGHT
Denham and Englehorn talking.
ENGLEHORN
Well, Mr. Denham, you know the
reasons for hurrying as well as I
do. The insurance company has found
out we're carrying explosives, and
the Marshal will be aboard tomorrow
or next day.
DENHAM
I suppose if we make a legal case
of it, we'll be tied up for months.
ENGLEHORN
With ship's articles falsified and
ammunition enough aboard to blow up
the harbor?
(he takes a bomb from case on floor)
And what do you think the Marshall
will say to these new gas-bombs?
According to you one of them is
powerful enough to knock out an
elephant.
DENHAM
(pacing up and down)
We've got to get to where we're
going before the monsoon starts.
ENGLEHORN
You can trust me to get you through
a blow, I hope.
DENHAM
Don't get sore, Skipper. But you
know what it means to hit the
tropical rainy season when we're
making an outdoor picture. Months
wasted, money gone, and nothing to
show for it.
ENGLEHORN
But still you always bring back a
picture and everyone says, "There
is only one Carl Denham."
Driscoll and Weston come in.
DENHAM
Weston! I was just going ashore to
ring you up.
WESTON
If I'd known that, I'd have waited.
DENHAM
Meet the Skipper.
(to Englehorn)
This is Weston, the theatrical
agent.
(they shake hands)
And this is Driscoll, the first
mate. Well, where's the girl,
Weston?
WESTON
It can't be done, Denham.
DENHAM
What? It's got to done.
(Weston shakes his head in silence)
Look here, Weston. The Actor's
Equity and the Hays outfit have
interfered with every girl I've
tried to hire; now every agent in
town has shut down on me. All but
you. You know I'm square -
WESTON
Everybody knows you're square,
Denham but you've got a reputation
for recklessness that can't be
glossed over. And then you're so
secretive.
DRISCOLL
I'll say so.
ENGLEHORN
When even the skipper and the mate
don't know where they're going --
(he shrugs)
WESTON
There you are. I've got a
conscience, Denham. I can't send a
young, pretty girl, such as you
want, on a job like this without
telling her what to expect.
DENHAM
And what is she to expect?
WESTON
To go off for no one knows how
long, to some place you won't even
hint at, the only woman on a ship
with the toughest mugs I ever
looked at.
(they all laugh)
I mean the crew.
DENHAM
Good Lord, you'd think I never
brought anybody back alive! The
Skipper and Driscoll have stuck by
me on two trips. They seem healthy.
DRISCOLL
Sure we're healthy.
ENGLEHORN
But it's different taking a girl
into danger.
DENHAM
Oh, I suppose there's no danger in
New York? Why, there are dozens of
girls in this town tonight in more
danger than they'd ever see with
me.
DRISCOLL
(drily)
Sure. But they know that kind of
danger.
WESTON
You never had a woman in your other
pictures, why do you want one in
this?
DENHAM
(exploding)
Holy mackerel D'ye think I want to
haul a woman along?
WESTON
Then why - ?
DENHAM
Because the public - bless 'em -
must have a pretty face to look at.
WESTON
Everybody likes romance.
DENHAM
Isn't there any romance or
adventure in the world without a
flapper in it?
ENGLEHORN
Well, Mr. Denham, why not make a
picture in a monastery?
(they all laugh)
DENHAM
It makes me sore. I go out and
sweat blood to make a swell
picture, and then the exhibitors
and critics all say, "if this
picture had a love interest, it
would gross twice as much." All
right, the public wants a girl, and
this time I'll give 'em what they
want.
WESTON
(rising)
I don't know where you'll get her.
DENHAM
Weston, I've got to. We've got to
sail on the morning tide - we've
got to be out of here by daylight -
WESTON
Why?
DENHAM
Well - there's a good reason.
WESTON
Everything I hear makes me like
this thing less. I'm glad I didn't
get you a girl.
DENHAM
You are, eh? Well, I'll show you.
If you think I'm going to give up
just because you can't find a girl
with a backbone --
(he is struggling into his overcoat)
-- I'm going to make the greatest
picture in the world, something
that's never been seen or dreamed
of. They'll have to invent some new
adjectives when I come back.
(he is at the door)
ENGLEHORN
Where are you going?
DENHAM
I'm going to bring back a girl for
my picture -- if I have to marry
one!
DISSOLVE TO Long Shot - Broadway at night - stock
CUT TO Denham walking along, scanning faces as he walks.
DISSOLVES of faces of women, Broadway types, bold,
indifferent, heavy, ugly - most of them heavily painted.
Rapidly passing, as though the camera were Denham looking
them over.
CUT TO Denham. He shakes his head disgustedly, stops, wheels
around and starts in another direction, as though he's given
up that part of town, and thought of another possibility.
DISSOLVE TO Exterior of a Woman's Mission. A bread-line
waiting. Camera moves slowly down the line of faces as
thought Denham were looking them over.
CUT TO Denham. He shrugs his shoulders in despair, turns
away.
DISSOLVE TO Exterior of one of those Small Wooden Stands you
see in the West Forties, a fruit-tobacco and candy shop just
big enough for the proprietor and one customer to get into,
a stand of fruit and peanut-roaster on sidewalk.
Denham comes along, takes out cigarette case, it's empty,
he goes in to buy some. We see through window that he
is taking cigarettes and paying the Greek proprietor.
Ann Darrow comes slowly into picture; she hesitates, her
hand goes stealthily toward a piece of fruit.
She is fingering it when the Greek dashes out and seizes
her. She tries to pull her arm away. Denham comes out of
shop.
GREEK
(very excited)
Ah-ha! I catch you, you stealer! I
catch the cop - you like that, ha!
ANN
(she keeps her head bent, struggling
weakly to pull away)
No-no, I didn't. Please let me go.
I wanted to, but I didn't.
GREEK
I had enough dese stealers --
DENHAM
Oh, dry up. The kid didn't take
anything.
ANN
I didn't, truly I didn't.
DENHAM
So, shut up, Socrates. Here's a
dollar. Forget it.
The Greek takes the money and releases Ann who stumbles back
against Denham. He catches her round the shoulders and she
half-collapses. Her head falls back on his arm. He has his
first sight of her face.
CLOSE UP Ann, her eyes open as she looks up at Denham,
terrified.
MEDIUM SHOT - Denham, holding Ann. He looks at her. Suddenly
his face lights up, he snaps his fingers triumphantly.
DENHAM
(looking up the street)
Hi! Taxi!
DISSOLVE TO a one-armed lunch room. Tiled wall, two chairs.
Ann has emptied plate and coffee mug on arm of her chair.
Denham in other chair watching her. She sighs happily over
having satisfied her hunger, and leans back.
DENHAM
Feeling better?
ANN
Yes, thank you. You're very kind.
DENHAM
Don't fool yourself. I'm not
bothering with you just out of
kindness.
(Ann opens her eyes wide, half-puzzled, half
afraid)
How come you're in this fix?
ANN
Bad luck I guess. There are lots of
girls just like me.
DENHAM
There aren't such a lot who've got
your looks.
ANN
(laughing it off)
Oh, I can get by in good clothes.
But when a girl gets too shabby --
DENHAM
No family?
ANN
I'm supposed to have an uncle
somewhere.
DENHAM
Ever do any acting?
ANN
I used to do some extra jobs over
at Fort Lee sometimes. Once I got a
real part. The studio is shut down
now.
DENHAM
What's you name?
ANN
Ann Darrow.
DENHAM
Are you one of these city gals who
screams at a mouse and faints at a
snake?
ANN
(laughing)
No, of course not. I'm a country
gal - or used to be.
DENHAM
Listen, sister. I've got a job for
you. The costumes I've got on board
will fit you.
(looks at his watch)
The Broadway shops will still be
open. I'll get you some clothes for
yourself. Come on.
ANN
But - but what is it?
DENHAM
(excited)
It's money, and adventure, and
fame.
It's the thrill of a lifetime. And
a long sea-voyage that starts at
six tomorrow morning.
ANN
No! Wait, I can't - I don't
understand - you must tell me - I
do want the job so - I was starving
- but I can't -
Denham has been looking at her, puzzled because she hasn't
caught his frantic excitement. He suddenly sees what is
troubling her. He calms down and goes back and sits.
DENHAM
Oh, I see. You got me wrong. Nix,
sister, nix. This is strictly
business. I'm no chaser.
ANN
(meekly)
I only wanted to -
DENHAM
Sure. Sure you did. I dot excited
and forgot you didn't understand
it. Listen, I'm Carl Denham. Ever
hear of me?
ANN
Ye-es. Yes. You make moving
pictures. In jungles and places.
DENHAM
That's right. And I've picked you
for the lead in my next picture. We
sail at six.
ANN
Where to?
DENHAM
A long way from here. Think, Ann, a
long voyage, easy living, the warm
blue sea, moonlight on the water -
isn't that better than tramping New
York trying to keep out of the
gutter.
ANN
(almost whispers)
Oh, yes.
DENHAM
I'm square, Ann. And I'll be square
with you. No funny business.
ANN
What do I have to go?
DENHAM
(leaning over her chair and looking straight at
her)
Trust me. And keep your chin up.
Ann looks at him for a moment, then he holds out his hand.
She takes it and they shake. FADE OUT.
FADE IN - deck of ship at dawn, getting under way. Crew busy
casting off lines, moving stuff on deck. A tug is puffing
alongside. Driscoll on fo'c'sle head directing.
MEDIUM SHOT - Ann in same dress, but wearing a heavy loose
coat Denham has bought her. She climbs to fo'c'sle head,
watching this strange new world.
Driscoll backs into scene without seeing her. He is shouting
at a sailor.
DRISCOLL
Carry that line aft! Aft, you
farmer! Back there!
He swings his arm round behind him in a violent full-armed
gesture and hits Ann in the face. She staggers back against
the rail and nearly falls.
DRISCOLL
(turning)
Who the -- What are you going up
here?
ANN
(meekly, hand to her face)
I just wanted to see!
DRISCOLL
(gruffly)
Well, I'm sorry. You're the girl
Denham found at the last minute,
aren't you?
ANN
Yes. I'm - I'm awfully excited.
It's all so strange, and I've never
been on a ship before.
DRISCOLL
And I've never been on a ship with
a woman before.
ANN
I guess you don't think much of
women on ships, do you?
DRISCOLL
No. They're a cock-eyed nuisance.
ANN
I'll try not to be.
DRISCOLL
You got in the way already. Better
stay below.
ANN
What! The whole voyage!
(she smiles at him)
DRISCOLL
(hesitates, then says in a softened tone:)
Say, I didn't apologize very good
for hitting you. That was an awful
sock in the jaw.
Driscoll stares at her doubtfully, she looks up and meets
his gaze. Their eyes hold for a moment, then two short toots
from a tug alongside, answered by one blast from the ship.
DRISCOLL
Well, we're off.
ANN
(clasping her hands and peering into the mist)
We're off.
DISSOLVE TO - Long shot - Miniature ship at sea - DAY
DISSOLVE TO - The deck of the ship at sea. A calm tropical
afternoon. Ann and Charley, the Chinese cook, at rail.
Charley with enormous tub of potatoes, peeling them. Ann
making an intricate knot with a bit of rope's end, fooling
with it as she talks.
ANN
Charley, how many potatoes do you
suppose you've peeled since we left
New York six weeks ago?
CHARLEY
Too many.
ANN
Sailors eat an awful lot, don't
they?
CHARLEY
All time eat. No can fill up. Some
day my go back to China, never see
no more potato.
Ann finishes the knot and tugs at it.
ANN
There. That's fourteen knots I've
learned to tie.
CHARLEY
Pretty soon now you be same sailor.
Only don't eat so much.
ANN
(laughs, then looks around with a contented sigh)
I'd like to be a sailor. Isn't the
sea wonderful!
CHARLEY
(drily)
Oh yes, very pretty.
ANN
Of course it wasn't so nice up
north when it was cold and rough.
CHARLEY
Ocean very fine when you order
weather how you like all same like
eggs for breakfast.
Driscoll strolls in. Charley gets up and moves away.
DRISCOLL
Hello, Ann.
ANN
Hello, Jack.
DRISCOLL
Where have you been all morning?
ANN
Trying on costumes for Mr. Denham.
He's going to make some tests of me
this afternoon, here on deck, when
the light's right.
DRISCOLL
Tests? Why?
ANN
Oh - to see which side of my face
looks best - and all that.
DRISCOLL
(very gruff)
Both sides looks all right to me.
ANN
(laughs)
Yes, but you're not the movie
director.
DRISCOLL
If I was, you wouldn't be here.
ANN
Well, that's a nice thing to say.
DRISCOLL
It's no place for a girl.
ANN
(indignantly)
I wish you wouldn't keep harping on
that. It's very mean of you.
Anybody'd think I'd been a lot of
trouble.
Driscoll grunts.
ANN
(very cross)
I haven't! You can't say I've been
one bit of trouble to anyone.
Driscoll is silent.
ANN
(looks at him, waits, then anxiously)
Have I?
DRISCOLL
Sure you have.
ANN
I don't see - Well, how?
DRISCOLL
Just your being here's a trouble.
ANN
(mournfully)
Oh dead. I thought everything was
going to nicely.
Driscoll looks at her downcast expression, wiggles
uncomfortably and at last blurts an attempt at consolation.
DRISCOLL
Aw, you're swell. Women can't help
being a bother. I guess they're
made that way.
Oddly enough, this doesn't cheer her up very much. But she
draws a long breath and smiles.
ANN
Well, anyhow, I've had the happiest
time of my life on this old ship.
Driscoll is a little touched by this. He gives her a quick
look and says awkwardly -
DRISCOLL
Why - that's fine.
A little pause. Driscoll thinks it over.
DRISCOLL
D'ye really mean that, Ann?
ANN
Of course. Everyone's so nice to me
- Mr. Denham and the Skipper -
Don't you think the Skipper is a
sweet old lamb?
DRISCOLL
(grinning)
I'd hate to have him hear me say
so.
Ann laughs and picks up Ignatz, the monkey, who cuddles down
in her lap contentedly.
ANN
Ignatz is nice to me too. He likes
me better than he does anyone else
on board, don't you Iggy?
Denham approaches them.
DENHAM
Beauty and the Beast.
DRISCOLL
Well, I never thought I was
handsome, but -
(they all laugh)
DENHAM
Go put on a costume, Ann. Light's
good for those tests now.
ANN
I won't be a minute, Mr. Denham.
She puts down Ignatz and goes. Denham scratches Ignatz'
head, watches him for moment.
DENHAM
(half aloud)
Beauty and the Beast.
DRISCOLL
Mr. Denham, I've going to do some
butting-in.
DENHAM
What's your trouble, Driscoll?
DRISCOLL
When do we find out where we're
going?
DENHAM
(smiling)
Pretty soon now.
DRISCOLL
Are you going to tell us what
happens when we get there?
DENHAM
How can I? I'm no fortune-teller.
DRISCOLL
But hang it, you must have some
idea what you're after.
DENHAM
Going soft on me, Jack?
DRISCOLL
You know I'm not for myself. But
Ann --
DENHAM
Oh you've gone soft on her? I've
got enough on my hands without a
love affair to complicate things.
Better cut it out, Jack
DRISCOLL
(sullenly)
Love affair! You think I'm going to
fall for any dams?
DENHAM
(musing)
It never fails. Some big hard
boiled egg goes goofy over a pretty
face, and bingo! He cracks up and
gets sappy.
DRISCOLL
(angry)
Who's getting sappy? I haven't run
out on you, have I?
DENHAM
Nope. You're a good tough guy,
Jack. But if beauty gets you --
(he stops, then laughs a little)
Why, I'm going right into a theme
song!
DRISCOLL
(sulky)
What are you talking about?
DENHAM
It's the idea for my picture. The
Beast was a tough guy, Jack. He
could lick the world. But when he
saw Beauty, she got him. He went
soft, he forgot his wisdom, and the
little fellers licked him. Think it
over, Jack.
SAILOR
(coming up)
Mr. Denham, the Skipper says will
you please come up on the bridge?
We've reached the position you
marked, he says.
DENHAM
Come on, Jack. You're in on this.
I'm going to spill it.
DISSOLVE TO bridge. Englehorn leaning over chart; Denham and
Driscoll across table.
ENGLEHORN
(pointing with dividers)
Here's your noon position. 2 South,
90 East; you promised me some
information when we reached these
latitudes.
DENHAM
(looking at chart)
'Way west of Sumatra.
ENGLEHORN
And way out of any waters I know. I
know the East Indies like my own
hand, but I was never here.
DRISCOLL
(eagerly)
Where do we go from here?
DENHAM
South-West.
ENGLEHORN
South-West! But there is nothing -
nothing for thousands of miles.
What about food? So many in the
crew makes the food melt away. And
water? And coal?
DENHAM
Take it easy, Skipper. We're not going
thousands of miles.
(he takes a wallet from his breast
pocket and very carefully opens two
pieces of paper -- spreads them on
table before Englehorn)
That's the island we're looking for.
ENGLEHORN
The position --
(he leans down, straightens up)
I'll get the big chart.
DENHAM
You won't find that island on any
chart. That one there was made up
by the skipper of a Norwegian
Barque.
DRISCOLL
He was kidding.
DENHAM
No. Listen. A canoe with natives
from this island was blown out to
sea. When the barque picked them
up, there was only one alive. He
died before they reached port, but
not before the skipper had pieced
together a description of the
island and got a fairly good idea
of where it lies.
DRISCOLL
Where did you get hold of it?
DENHAM
Two years ago, in Singapore, going
home from my last trip. I've known
that skipper for years. He knew I'd
be interested.
ENGLEHORN
Does he believe it himself?
DENHAM
I don't know. But I do. See, here's
what the island looks like.
He unfolds second piece of paper.
INSERT crude sketch of island, Denham's hand pointing to
various features. Float Denham's voice.
DENHAM (V.O.)
Here's a long sandy peninsula. The
only possible landing place is
through this reef. The rest of the
shore-line is sheer precipice,
hundreds of feet high. And across
the base of that peninsula, cutting
it off from the rest of the island,
is a wall.
CUT TO Med. Shot - Denham, Driscoll, Englehorn. They stare
at Denham.
ENGLEHORN
A wall?
DENHAM
Built so long ago that the people
who live there now have slipped
back, forgotten the high
civilization that built it. But
it's as strong today as it was
centuries ago. The natives keep
that wall in repair. They need it.
DRISCOLL
Why?
DENHAM
There's something on the other side
- something they fear.
ENGLEHORN
A hostile tribe.
DENHAM
(drawing a long breath)
Did you ever hear of -- KONG?
ENGLEHORN
(thinking)
Why -- yes. Some Malay
superstition. A god or a spirit or
something.
DENHAM
Anyway, neither beast nor man.
Monstrous, all-powerful -- still
living, still holding that island
in the grip of deadly fear.
Englehorn and Driscoll look skeptical.
DENHAM
Every legend has a basis of truth.
I tell you there's something on
that island that no white man has
ever seen.
ENGLEHORN
And you expect to photograph it?
DENHAM
If it's there, you bet I'll
photograph it.
DRISCOLL
(very skeptical)
Suppose it doesn't like having it's
picture taken?
DENHAM
Well, now you know why I brought
those cases of gas-bombs.
Driscoll and Englehorn stare at Denham, then look at each
other. Englehorn shrugs, reaches for the homemade chart.
DISSOLVE TO- Exterior forward deck of ship - Day. Denham has
camera set up. Ann comes in, in Beauty and Beast costume.
DENHAM
Oh, you picked out the Beauty and
the Beast costume!
ANN
It's the prettiest.
DENHAM
All right. Stand over there.
ANN
I'm sort of nervous. Suppose I
don't photograph well?
DENHAM
(busy with camera)
Don't let that worry you.
If I hadn't been sure of that, I
wouldn't have brought you half way
round the world.
ANN
What shall I do?
DENHAM
(squints through the viewfinder,
throws camera over and locks it)
Now when I start cranking hold it a
minute, then turn slowly toward me.
Look at me, look surprised, then
smile a little, listen and then
laugh. All right, camera.
She does as he has said.
CUT TO fo'c'sle head, several members of crew peering out,
watching with great interest. Charley among them.
1ST SAILOR
Looks kinda silly, don't it?
2ND SAILOR
She's sure a pretty dame.
CHARLEY
You think maybe he like take my
picture, huh?
1ST SAILOR
Them camera cost money. Shouldn't
think he'd risk it.
CUT TO Denham and Ann
DENHAM
That was fine. I'm going to try a
filter on this one.
(he fusses around, changing lens, etc.)
ANN
Do you always take the pictures
yourself?
DENHAM
Ever since a trip I made to Africa.
I'd have got a swell picture of a
charging rhino, but the cameraman
got scared. The damned fool. I was
right there with a rifle.
Seemed he didn't trust me to get
the rhino before it got him. I
haven't fooled with cameramen
since. Do the trick myself.
CUT TO the bridge. Englehorn and Driscoll leaning over,
watching Ann and Denham.
DRISCOLL
Think he's crazy, Skipper?
ENGLEHORN
Just enthusiastic!
DRISCOLL
But this yarn about unknown islands
and monstrous gods --
ENGLEHORN
He pays us well to take him where
he wants to go. If the island
exists, we will find it.
CUT TO Denham and Ann.
DENHAM
Now Ann, stand there. Look down.
When I start to crank, look up
slowly. You're quite calm, don't
expect to see anything. Follow my
directions. All right -- camera.
He cranks. He gets more excited through this scene, trying
to force her to feel the emotions he wants.
DENHAM
Now -- look up. Slowly. You see
nothing yet. Look higher. Still
higher. That's it. Now you see it.
You're amazed. You can't believe
it. Your eyes open wider. It's
horrible, but you can't look away.
What is it Ann? What can you do?
No chances for you, no escape.
Helpless, Ann, you're helpless. One
chance -- if you can scream. Your
throat's paralyzed. Try to scream,
Ann. Try. If you didn't see,
perhaps you could scream. Throw you
arms across your eyes, and scream,
Ann, scream for your life!
She has followed his directions.
CUT TO bridge. Driscoll and Englehorn, watching Denham and
Ann. Ann's scream floats.
DRISCOLL
(grasping Englehorn's arm)
What's he think she's really going
to see?
DISSOLVE OUT
FADE IN, bridge in fog, outside wheel-house. Denham, Ann,
Driscoll, Englehorn, at rail peering ahead. Through this
dialogue intercut shots of look-out in bow, man in crows
nest, sailor heaving lead, and sailors clustered at bulwarks
on main deck, watching for island.
DENHAM
This infernal fog! Sure of your
position, Skipper?
ENGLEHORN
(very nervous, but offended at suggestion)
Of course. Last night, before the
fog shut down, I got a good sight.
DENHAM
We must be near the island.
DRISCOLL
If we don't see it when this fog
lifts we never shall. We've
quartered these parts.
CUT TO sailor with lead. He lets go, line runs through his
hand.
SAILOR
No bottom at 30 fathoms!
CUT TO bridge as before.
DRISCOLL
(nervous)
Of course that Norwegian skipper
was guessing at the position.
ANN
How will we know it's the right
island?
DENHAM
(very tense, answering mechanically)
The mountain that looks like a
skull.
ANN
Yes. I'd forgotten. You told me
that. Skull Mountain.
SAILOR'S VOICE
Bottom! 20 fathoms!
ENGLEHORN
Shallowing fast, Driscoll, dead
slow.
Driscoll goes to telegraph, sounds of bells to engine-room
and reply.
DENHAM
Curse the fog!
SAILOR'S VOICE
Sixteen fathoms!
DENHAM
What does she draw, Skipper?
ENGLEHORN
Six.
No one ever looks at person addressed. All eyes ahead,
straining through fog.
DRISCOLL
Listen! Hear anything?
DENHAM
No.
ANN
No.
There is a slight pause.
MAN IN CROWS NEST
Breakers ahead!
Englehorn jumps for telegraph.
SAILOR'S VOICE
Ten fathoms!
Jingle of telegraph, noise of reversing engines.
DRISCOLL
(bellowing at fo'c'sle)
Let go!
Rattle of anchor chain through hawse-pipe, splash of anchor,
more jingle of telegraph. After noise dies down, Driscoll
speaks:
DRISCOLL
That's not breakers. That's drums.
A long distant mutter of drums rolling. DISSOLVE TO:
Boats being lowered, Bos'n giving orders.
CUT TO bridge, Englehorn with binocular. Denham, Ann and
Driscoll.
DENHAM
Well, Skipper, see anybody?
ENGLEHORN
Not a living thing. I think there
are more houses in the thick bush.
DENHAM
Funny they haven't spotted us. I
think the whole population would be
on the beach.
ENGLEHORN
Listen.
The faint throbbing of drums.
DENHAM
Maybe they have seen us and are
signalling. Well, Skipper, do you
believe me now? There's Skull
Mountain, the wall - everything
just like my funny map. Come on,
let's get started.
ENGLEHORN
Twelve men go with you. The rest
stay aboard.
DENHAM
Who's in charge of the gas bombs?
ENGLEHORN
Jimmy. That young feller.
(points down on deck)
DENHAM
Good. Leave the 2nd Mate aboard,
Skipper. I need you, you may be
able to talk to these birds ashore.
ANN
I'm going ashore with you, aren't I?
DENHAM
You bet.
DRISCOLL
She ought not to go till we find
out what goes on --
DENHAM
(good-naturedly)
Say, who's running this show? I've
learned by experience to keep my
cast and my cameras right with me.
You never can tell when you'll want
'em.
DRISCOLL
But it's crazy to risk --
DENHAM
Oh, go on, Jack. Get busy. Deal out
the rifles and ammunition. And pick
me a couple of huskies to carry my
stuff.
Driscoll goes reluctantly. Denham shakes his head over him,
then Ann.
DENHAM
Bring the costume box. We might get
a swell shot right away if we're
lucky.
DISSOLVE TO shot of beach, boats approaching. Village and
wall glassed.
DISSOLVE TO shot from beach, showing loaded boats
approaching.
Drums louder, of course.
CUT TO boats beaching, people getting out, uploading stuff.
Denham puts camera on tripod, one sailor shoulders it,
another with magazine case, third with costume box, fourth
and fifth with trade-goods in boxes. Jimmy with case of
bombs.
DENHAM
You fellers with the camera stay
close to me. Where's Jimmy with the
bombs?
JIMMY
Here, sir.
DENHAM
All right. Stick around. And watch
your step. There's enough
trichloride in that case to put a
herd of hippos to sleep.
JIMMY
Aye Aye, sir.
ANN
What queer-looking boats.
DRISCOLL
Outrigger canoes.
ENGLEHORN
Driscoll, have two men stay with
the boat.
DRISCOLL
All attended to, sir.
DENHAM
(grinning)
Now, all set? Ready, Skipper?
ENGLEHORN
(coming up)
Ready.
They start up the beach.
CUT TO village. Wall visible over roofs. Party enters.
Drums much louder.
ENGLEHORN
Not a soul in sight.
DENHAM
That wall, Skipper! What d'ye say
to that, eh?
ENGLEHORN
Colossal! It might almost be
Egyptian.
DENHAM
But what's on the other side?
That's what I want to know.
ANN
(awe-struck)
Who do you suppose could have built
it?
DRISCOLL
(trying not to be impressed)
Aw, I went up to Angkor once.
That's bigger than this - and
nobody knows who built it.
DENHAM
(with a feeling of something even more
important than a picture pending, but
trying to strike his usual note)
Oh, boy! What a chance! What a
picture!
The chant begins, rising in volume. They all stand frozen.
Ann clutches Driscoll's arm. Sailors frightened. Chant dies
down to a mutter.
DENHAM
(shaking himself)
Come on!
They all move forward cautiously. TRUCK WITH THEM.
DENHAM
Hear that! They're saying Kong!
Kong!
DRISCOLL
Hope you'll be able to speak their
lingo Skipper.
DENHAM
Can you catch any words yet?
ENGLEHORN
I'm not sure. It sounds something
like the language the Nias
Islanders speak.
ANN
What do you suppose is happening?
DRISCOLL
Up to some of their heathen tricks.
Now don't go rushing out to see.
ANN
(meekly, but bubbling with excitement)
All right. But isn't it exciting!
DRISCOLL
Sure. I wish we'd left you on the
ship.
ANN
I'm so glad you didn't.
They approach masking house.
DENHAM
Wait. Easy row. Stay here till I
see what goes on.
They stop in a group behind house. Denham looks round
cautiously.
CUT TO what he sees. The Ceremony.
DENHAM
Holy mackerel! What a show!
Skipper, get a look at this!
Englehorn carefully goes forward and peeps around.
DENHAM
Did you ever see anything like that
before? If I can steal a shot
before they see us -
He beckons to sailor carrying camera.
DENHAM
Hey! You with the camera!
Sailor starts forward with it.
ANN
(to Driscoll)
I want to see.
ENGLEHORN
Come on and look, but be careful.
Ann looks around house. Denham moves beyond and starts
setting up. Chant begins to rise. As it reaches forte, Chief
sees them and shouts.
CHIEF
Bado! Dama pati vego!
Ceremony stops, natives turn and stare.
DENHAM
Too late, they see us.
JIMMY
Let's beat it!
He turns to run. Driscoll seizes and holds him.
DRISCOLL
Hold on there! What are you running
for?
DENHAM
No use trying to hide now.
Everybody come out here in plain
sight. Put up a bold front.
Driscoll, Ann and sailors come forward in a group a few
paces behind Denham and Englehorn.
CHIEF
Bado! Maka mini tau ansaro.(Wait!
Two warriors come with me.)
In silence, the Chief with two warriors close behind him
advances through the crowd of natives. The women in the
crowd begin to slip away.
The group of whites watch in tense silence the approach of
the Chief.
2ND SAILOR
Say, let's scram outa this.
DRISCOLL
Stand still, you fool!
Group of sailors are fingering their rifles, shifting
nervously.
DENHAM
(over his shoulder without looking
away from Chief)
Steady, boys. Don't get nervous.
Ann takes hold of Driscoll's arm. He puts his hand on hers
without looking at her.
DRISCOLL
Never let a native see you're
worried, boys. Bluff 'em.
The chief stops.
CHIEF
Watu! Tama di? Tama di? (Stop! Who
are you? Who are you?)
DENHAM
Come on Skipper, make him a
friendly speech.
(advance)
ENGLEHORN
(slowly)
Tabe! Bala kum nono hi. Bala! Bala!
(Greeting! We are your friends.
Friends! Friends!)
CHIEF
(sternly)
Bala reri! Tasko! Tasko! (We don't
want friends, Go! Get out!
DENHAM
He understands you, Skipper! What's
he say?
ENGLEHORN
Telling us to get out.
DENHAM
Talk him out of it. Ask him what
goes on.
ENGLEHORN
Vana di humya? Malem ani humya
vana? (What are you doing? What is
that woman doing?)
(he points to girl)
CHIEF
Ani saba Kong! (She is the bride of Kong!)
The natives all murmur "Saba Kong!"
ENGLEHORN
He says the girl there is the bride
of Kong.
DENHAM
Great! Find out what they're going
to do.
The Witch Doctor rushes forward, very angry. He addresses
Chief.
WITCH DOCTOR
Dama si kasi! Dama si kasi! Punya
bas! Punya! (Strangers have seen!
It is finished.)
CHIEF
(to Englehorn)
Tasko! (Go!)
DENHAM
What's that?
ENGLEHORN
He must be the witch-doctor. He
says the ceremony is spoiled
because we have seen it.
DENHAM
What's the word for friends?
ENGLEHORN
Bala.
DENHAM
Calm the old boy down.
He advances with outspread hands, saying, "Bala! Bala!"
Englehorn hesitates for a moment, then steps forward too.
CHIEF
(bellowing)
Punya!
The warriors move menacingly forward.
ENGLEHORN
I don't like the looks of this,
Denham. The women have cleared out.
That's a bad sign.
The Chief sees Ann.
CHIEF
(shouting to the natives)
Sita! Malem! Malem me pakeno!
(Look! The woman! The woman of
gold!)
Natives all look at her and murmur.
DENHAM
What's that?
ENGLEHORN
He says look at the golden woman.
DENHAM
Blondes are scarce around here.
CHIEF
Malem ma pakapo! Kong wa bisa! Kow
bisa para Kong! (The woman of gold!
Kong's gift! A gift for Kong.)
ENGLEHORN
A gift for Kong, he says.
DENHAM
Good Lord!
CHIEF
Dama, tebo malem na hi? (Strangers,
sell woman to us?)
ENGLEHORN
Wants to buy her.
CHIEF
Sani sita malem ati -
(pointing to sacrificial victim)
- kow dia malem ma pakeno.
(I will give six women like this
for your woman of gold.)
ENGLEHORN
He's offering to trade us six of
his girls for Ann.
Ann gasps, tries to smile.
DRISCOLL
You got her into this, Denham.
ENGLEHORN
Tida, tida! Malem ati rota na hi.
(No, no! Our woman stays with us.)
Chief growls menacingly. Warriors take another step forward.
Sailors finger their rifles.
DRISCOLL
I'm going to take her back to the
ship.
ENGLEHORN
We'd better all get out before they
think to cut us off from the beach.
DENHAM
I guess so. But tell him we'll come
back tomorrow to make friends.
ENGLEHORN
Dulu hi tego. Bala. Dulu. (Tomorrow
we come. Friends. Tomorrow.)
Chief does not move, glares at them.
DENHAM
Get going, Ann. Don't act scared.
Everything's all right. Smile, Ann.
Talk to Jack. Keep your chin up!
Ann, very frightened, but smiling gallantly, does as he tell
her. She and Driscoll retreat slowly, pretending unconcern.
The sailors fall back one by one, Englehorn and Denham last.
Denham cocks his hat over one eye and begins to whistle
carelessly, one hand on his revolver. As they reach the
corner of masking house.
DISSOLVE TO deck in moonlight - Ann and Charley on hatch.
ANN
-- and an enormous wall, Charley,
all the way across that piece of
land where we went ashore.
CHARLEY
What fashion that girl do -- that
girl with flowers on her?
ANN
The poor thing, she looked -- as
though she was too frightened to
feel frightened. You know?
CHARLEY
(nodding wisely)
Sacrifice.
ANN
The Chief said she was the bride of
Kong. Charley, what do you suppose
Kong is?
CHARLEY
My guess he very big joss this
place. People here plenty scared.
You don't worry. No can help.
Ignatz gallops past.
ANN
Oh, there's Ignatz! He's broken
loose again.
Charley grabs at him and misses. Ignatz goes down the deck.
ANN
Catch him, Charley. He'll get in
the cabins and break things.
CHARLEY
My catch him. Bad devil, come here.
He goes off in pursuit. Ann watches, laughing.
CUT TO Sailor on watch in bow. He looks round, yawns, sits
down and makes himself comfortable.
CUT TO Ann on hatch. Driscoll enters.
DRISCOLL
Why aren't you in bed?
ANN
I can't sleep. Those drums make me
nervous, I guess.
DRISCOLL
I think Denham's off his nut,
taking you ashore today.
ANN
I was -- sort of scared there for a
while.
DRISCOLL
Huh! You weren't the only one.
ANN
I wonder what we do next?
DRISCOLL
That's what's worrying me. Denham's
such a fool for risks. No telling
what he'll ask you to do.
ANN
After what he did for me, I'll do
anything he wants.
DRISCOLL
Don't talk like that. When it comes
to getting a picture, he's crazy
enough to try anything.
ANN
I won't go back on him.
DRISCOLL
When I think what might have
happened today -- if anything
happened to you.
ANN
(laughing)
Why then you wouldn't be bothered
with a woman on board.
DRISCOLL
(very staccato)
Don't laugh. I'm scared for you.
I'm sort of - I'm scared of you,
too. Ann, I -- I guess I love you.
They look at each other, both startled by this conclusion.
ANN
Jack! You hate women!
DRISCOLL
(still surprised over his discovery)
You aren't -- women. I love you.
Ann, I don't suppose -- you don't
feel like that about me -- do you?
Ann looks at him soberly for a moment, then takes a step
nearer.
Just as his arms go around her, a hail from the bridge.
ENGLEHORN'S VOICE
Mr. Driscoll! Are you on deck?
DRISCOLL
(lifts his head long enough to reply)
Yes, sir.
(then bends over Ann again)
ENGLEHORN'S VOICE
Please come up here a minute.
DRISCOLL
(same business)
Yes, sir.
ANN
I'll wait here for you.
Driscoll kisses her once more and goes reluctantly.
Ann leans back against the bulwarks with a happy smile,
looking after him.
The Witch Doctor rises noiselessly behind her, and without a
sound she is seized and lifted over the rail.
THE BRIDGE. NIGHT. Englehorn, Denham, Driscoll - talking
over chart table.
DENHAM
Now tomorrow morning, pick out the
men to go ashore. Couple of those
nervous boys you better leave
aboard.
ENGLEHORN
Mr. Denham wants you to break out
the trade goods the first thing
tomorrow.
DENHAM
We'll try a little bribery.
DRISCOLL
Still hoping to make friends with
that bunch ashore?
DENHAM
Sure. We've got to. I've got to
find out what Kong is.
ENGLEHORN
(impatiently)
He's their tribal legend, their
god, of course.
DRISCOLL
You planning to make movies of a
fairy story?
DENHAM
How do you know Kong's only a
legend or a fairy story? That wall
wasn't built for fun.
DRISCOLL
But you said yourself it was built
so long ago the people who live
here now don't know anything about
it.
DENHAM
Yes, but they've kept it in damn
good repair. Did you see how those
gates were fastened? They're meant
to keep something out.
Englehorn and Driscoll exchange skeptical looks.
Noise of drums increase suddenly.
ENGLEHORN
(looks at watch)
After ten. And they're still at is
ashore.
DENHAM
If I could only take pictures by
firelight! I'd sneak back there now
and get a scene.
ENGLEHORN
(exasperated)
Be sensible. We're lucky to be all
safe aboard tonight.
DENHAM
Oh sure, sure.
He looks to Driscoll, who has crossed over and is peering
down onto the deck.
DENHAM
What is is, Jack?
DRISCOLL
Oh -- er -- I was looking for Ann.
She's gone below, I guess.
DENHAM
How about turning in, Skipper?
ENGLEHORN
No, not for me tonight.
DENHAM
But you've set a watch in the bow.
Englehorn shakes his head stubbornly. Driscoll starts to go.
DENHAM
Oh well, I'll sit up with you then.
ENGLEHORN
Mr. Driscoll, I wish you'd take a
star sight. See how our position
checks up with what I got last
night before we ran into the fog.
Driscoll gets out the instruments.
DRISCOLL
(reluctantly)
Yes sir. I guess it's been a long
time since the map-makers got a
brand new island to put down.
DISSOLVE TO Charley, on afterdeck, tying Ignatz and scolding
him in Chinese. Ignatz chattering and scolding right back at
him. SHOT of bow watch, having a peaceful nap.
DISSOLVE TO Bridge, interior - Englehorn and Driscoll
bending over chart, making calculations. Denham half asleep
in a chair.
ENGLEHORN
That's about it.
(marking chart)
We'll make absolutely sure tomorrow
noon.
Denham yawns, stretches, looks at watch, crosses and looks
toward shore.
DENHAM
About midnight. Hey, look at that.
ENGLEHORN
(crosses and looks)
Torches going through the village.
Driscoll exits.
DENHAM
Looks like the night before
election.
Noise of drums increases suddenly.
DENHAM
Listen to 'em, will you? Wonder
what's up.
CUT TO main deck. Driscoll speaking to Charley.
CHARLEY
My don't know, sir. My not see
Missy one, two hour.
DRISCOLL
Guess, she's in her cabin.
He goes off. Charley takes a long round deck, sees something
near rail. Goes over, picks it up. A native bracelet of
woven straw. He examines it for a moment, suddenly realizes
what it means, jumps and shouts.
CHARLEY
On deck! On deck!
He stamps frantically on deck, turns and runs for the
bridge.
Man on watch in bow runs to rail of fo'c'sle head and
shouts.
SAILOR IN BOW
All hands on deck!
CUT TO bridge. Charley runs into Englehorn and Denham.
CHARLEY
Look sir! My found on deck.
ENGLEHORN
A native bracelet!
CHARLEY
Crazy black man that place comes
this place!
Driscoll arrives on the run.
DRISCOLL
Who's turning out the crew? What's
the matter?
ENGLEHORN
Charley found this. Some one's been
aboard. Search the ship.
Charley exits.
DRISCOLL
Oh my God! Where's Ann?
DENHAM
In her cabin -
DRISCOLL
No, she isn't! I just looked.
He rushes out. Confused sound of sailors' voices from deck
below. Englehorn leans from wheel-house window, shouts down.
ENGLEHORN
Bos'n!
BOS'N'S VOICE
(from below)
Yes sir.
ENGLEHORN
Man the boats. Serve out the
rifles. Search the ship.
BOS'N'S VOICE
Yes sir.
Bos'n's whistle is heard, creak and thump of davits.
Englehorn takes his revolver from chart-table drawer,
examines it, puts it in his pocket.
DENHAM
The boats, Skipper? D'ye think -- ?
ENGLEHORN
(significantly)
They may have stolen something.
They look at each other for a moment, as they start out.
DISSOLVE TO wall and Great Gate. The gate is being opened by
natives. Procession passes through, taking Ann to the altar.
People crowding to top of wall.
CUT TO exterior of wall, projection of altar on left. Ann
being tied to altar. People crowding to top of wall.
CUT TO exterior of wall, projection of altar on left. Ann
being tied to altar. People crowding top of wall with
torches.
Two men begin beating big gong, those on wall yelling and
beating drums.
CUT TO Great Gate, natives closing and bracing it.
Top of wall. Chief invoking Kong:
CHIEF
Kara Ta ni, Kong. O Taro Vey, Rama Kong.
(We call thee, Kong. O Mighty One, Great Kong.)
Wa saba ani mako, O Taro Vey, Rama Kong.
(The bride is here, O Mighty One, Great Kong.)
CUT TO altar and jungle opening set, split shot. Noise
suddenly stops. KONG steps from jungle opening, looks at
people on wall, beats his chest. Sees Ann, starts toward
her.
CUT TO exterior of wall, projection of altar on left. Kong
walks way from camera till he blocks altar from view.
People on wall watch in silence.
CUT TO close altar set, Ann and altar against projection
background, cutting to double projection when Kong passes
foreground.
Kong in close up stands behind girl, looking at her. He
looks up at wall and beats his chest. He walks round
altar, then starts to unfasten her.
CUT TO straight shot of people on wall, breaking out in wild
demonstration as Kong takes Ann.
CUT TO village street, Council House set, ship's party
racing through and into court.
CUT TO exterior wall set, Kong turns from Altar with Ann in
his hand and walks toward camera. Crowd on wall in uproar
gong, drums, yelling, waving torches.
CUT TO Driscoll and party reaching Gate, he hears Ann
scream, looks through window.
CUT TO what he sees. Edge of Jungle set, miniature.
KONG walks away from camera and into jungle, turning to look
back, so Ann is seen in his hand.
CUT TO Great Gate. Driscoll wildly gesturing to sailors to
open it. Noise continues.
Sailors struggle with pole. They get it down and start
tugging at gate.
DRISCOLL
He's got Ann! Who's coming with me?
1ST SAILOR
I'll go.
2ND SAILOR
Sure. Me too.
3RD SAILOR
I'm going, sir.
DRISCOLL
All right. Here you - and you -
(selecting sailors)
DENHAM
What did you see?
DRISCOLL
(brushing him aside)
Skipper, you stay here with half
the men and guard this gate. Don't
let 'em close it.
DENHAM
Who's got the bombs?
Jimmy comes forward.
DRISCOLL
Come on, you fellers.
Driscoll, Denham and eleven sailors start through gate.
DENHAM
(shouts back)
Keep the gate open for us, Skipper.
LAP DISSOLVE
EXT. JUNGLE - FULL OR MED. SHOT
PAN to follow the men, headed by Driscoll and Denham as they
plunge through the jungle; left to right. (NOTE: This along
top of ledge-crevasse set, not showing edge.)
EXT. JUNGLE - FULL SHOT - DAWN
CRANE TO FOLLOW as they come up the ledge. A twittering of
birds and insects' noises. Ad lib as they come: "Watch that
log" -- "Shove right on through." Men go left to right.
DENHAM
(stops, wipes his forehead)
No telling where he's gone in this
darkness.
DRISCOLL
He came by here. Look at those
broken branches.
DENHAM
That's right. He's up ahead
somewhere.
DRISCOLL
(looks about)
The sun ought to be rising about
now.
DENHAM
Listen to those birds.
(bird noises)
It's dawn all right.
DRISCOLL
Look here.
He points to one of Kong's great footprints; just visible as
a first shaft of dawn light strikes down between the trees.
CRANE TO CLOSE. All move forward - TRUCK TO FOLLOW
To look at Kong's footprint. Probably no close up necessary.
Ad lib murmurs together, "Get that" - "It's tracks" - "Look
here, Jo."
DENHAM
Look at the size of that. He must
be as big as a house. He's come
this way, all right.
DRISCOLL
And he's heading that way. Come on.
TRUCK to LONGER SHOT as he leads them forward. All hasten on
after Kong.
DENHAM
(to sailors)
Keep those guns cocked.
SAILOR IN BLACK SWEATER
He's telling us!
As they exit, camera left - DISSOLVE OUT.
EXT. GLADE - FULL SHOT - DAWN
As the men come from the edge of the jungle, last fringe of
shrubbery masking foreground, to look out upon an open
glade.
They pause, as they see broken shrubbery. It is now full
dawn. Use Most Dangerous Game ledge set, men coming
towards camera.
DRISCOLL
That's right. We're on his trail.
He leads them forward out into -
EXT. GLADE - FULL SHOT - DAWN
The open glade. Kong's footsteps is visible in soft earth
again.
DRISCOLL
(sees footprints, points, shouts back
without stopping)
There!
All hurry forward in a dog trot. A couple of sailors,
running, pass Driscoll, then stop, run back into the arms of
the others.
SAILORS
Look out! Look out!
They point and all stop as they see --
An immense spike-tailed beast coming through the jungle
parallel with them, partially masked by trees. Men in
foreground here. (Williams Process)
DENHAM
Great Scott, that's something I
didn't know about.
DRISCOLL
I got an idea there's plenty on
this island you weren't figuring
on.
The beast crashes out into the open.
DENHAM
Gimme one of those bombs.
ONE ANGLE ONLY
He snatches a bomb from the sailor who is carrying them.
EXT. GLADE - DAWN
The beast charges. The men run. Only Driscoll and Denham
stand their ground. Driscoll fires several times without
effect. This should be a very wide glade to get the full
effect of a long charge.
EXT. GLADE - FULL SHOT - DAWN
The first angle at edge of glade, with Denham and Driscoll
in the foreground, other men running back.
DRISCOLL
(gun empty)
It won't stop him.
Denham throws his bomb.
EXT. GLADE - FULL SHOT - DAWN
Second angle again. The bomb strikes the beast, explodes.
Out of the smoke, the two-horned beast staggers towards
the two men. They throw themselves to either side.
EXT. GLADE - FULL SHOT - DAWN
First angle. Driscoll and Denham throw themselves flat on
the ground as --
EXT. GLADE - FULL SHOT - DAWN
In the first angle, the beast collapses just short of the
men.
EXT. GLADE - DAWN
Its head is just short of Driscoll. It goes limp.
EXT. GLADE - FULL SHOT - DAWN
The sailors, huddled behind the shrubbery at the edge of the
wood (as in the first shot of this sequence) stare at --
EXT. GLADE - FULL SHOT - DAWN
The beast, unconscious on the ground. In the foreground,
Denham and Driscoll pick themselves up.
EXT. GLADE - FULL SHOT - DAWN
FIRST ANGLE - the sailors run forward to --
EXT. GLADE - FULL SHOT - DAWN
Join Driscoll and Denham. They start forward towards the
beast. It is in the background. (Projection)
DENHAM
Wait a minute. He's only knocked
out.
He takes a gun from one of the men and goes forward to the
great beast's head. He shoots it through the ear. It's
starts convulsing, then grows rigid.
DENHAM
(after a look, speaks to Driscoll)
I told you those gas bombs would
bring down anything. We'll get that
ape alive.
DRISCOLL
We're not trying to catch the ape -
we're trying to save that girl.
Come on - we're losing time.
He leads them off towards --
LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY
DISSOLVE IN on the exterior of a bank, leading, in the
background down into a hollow filled with fog. The men come
in from camera left and look down. (Fog Hollow set from
Most Dangerous Game)
DENHAM
(following tracks with eyes)
There's his foot again --
(following director)
-- he's down in that hollow where
the fog is, some place.
DRISCOLL
(looks)
There's water down there. Here.
They listen. Sounds of splashing.
DENHAM
That's him, splashing through. Come
on.
They run down into fog. (CURTAIN EFFECT)
EXT. STREAM - FULL SHOT - DAY
The men run down the muddy bank through heavy fog towards
the water, left to right. (Fog Hollow set)
EXT. STREAM - FULL SHOT - DAY
The water's edge, as the men run down through heavy fog left
to right. A couple of fallen trees, floated down with the
current, lie half submerged by the bank. Kong's footprints
is
in the mud, Kong splashing out of stream on other side can
be
heard as men come up. (Fog Hollow Set)
DRISCOLL
(looks at footprint, then across stream)
He must have swum across.
DENHAM
That's out for us. We can't swim
with guns and bombs.
DRISCOLL
(looks about, sees log, gets an idea)
How about these --
(indicates logs)
-- for a raft?
DENHAM
Yeah, that's it. A raft.
DRISCOLL
All right, boys, gets busy.
1ST SAILOR
Get some vines, Tim.
Tim, the sailor to be used in tree, runs for vines. Other
sailors run to logs.
2ND SAILOR
(at log)
Pull 'em clear now.
LAP DISSOLVE - EXT. STREAM - FULL SHOT - DAY
DISSOLVE IN on the raft, now completed. They have bound the
logs together with liana vines. Heavy fog.
The arms and bombs are loaded on the raft. So are they men.
They last of them are just getting on.
DENHAM
Don't get the arms wet, boys.
SAILOR A
(guarding them)
I'm watching 'em.
SAILOR B
(helping another on)
Easy now.
DRISCOLL
(shouts, looking around)
All set? All set, everybody?
SAILORS
All set. Let 'er go.
TOGETHER
O.K.
DRISCOLL
Shove off.
A couple of sailors; still on shore, push the raft out until
they are waist deep, then jump aboard. Others use poles to
push it towards the opposite bank. Ad lib, "Push -- put your
back in it, etc."
EXT. STREAM - GENERAL VIEW - DAY
The raft moves across the stream through heavy fog.
(Miniature raft and miniature men.)
EXT. STREAM - FULL OR MED. SHOT - DAY
This shot moves through fog with men as they pole raft.
DENHAM
Easy now -- keep her against the
current.
DRISCOLL
Keep your weight in the center,
boys -- weight in the center.
1ST SAILOR
(stops poling to stare)
Holy mackerel -- look at that.
All look.
EXT. STREAM - LONG SHOT - DAY
A huge scaly head rears up from the water to look down on
the raft, drifting, horrible. It is the head of a Dinosaur.
In this the raft can also be seen. (Miniature raft,
miniature beast.) Heavy fog. The men shriek in wild
commotion.
EXT. STREAM - FULL OR MED. SHOT - DAY
The angle which moves with the raft as the men, yelling
wildly, attempt to pole the raft towards the shore. One or
two men are pushed off in the panic. Everyone shoves the
wrong way. Heavy fog here.
EXT. STREAM - LONG SHOT - DAY
The Dinosaur dives and starts for the raft in a series of
undulating, sea-serpent dives. Wild panic and shrieks on the
raft. Heavy fog. (Miniature raft, men and beast.)
EXT. STREAM - FULL OR MED. SHOT - DAY
The angle which moves with the raft. It has come to a
standstill now as the men shove in the wrong directions,
shouting at each other. Some are trying vainly to reach the
arms. The head of the Dinosaur rears up from the water
behind the boat, upsetting; as he comes up under it, the
raft with its occupants. They fall, screaming, into the
stream. Fog. (Miniature projection)
EXT. STREAM - MED. SHOT - DAY
Three sailors as they land in the water and come up
screaming.
A FLASH. Fog. Tank.
EXT. STREAM - SEMI CLOSE UP - DAY
A sailor drowning. Flash. Fog. Tank.
EXT. STREAM - MED. SHOT - DAY
The sailor with the bombs starts to sink. He loosens the
bombs and lets them go to the bottom. Fog. Tank.
EXT. STREAM - LONG SHOT - DAY
The Dinosaur thrashing among the men and the broken raft.
Some swim for the shore. (Miniature raft, men and beast as
before) Heavy Fog.
EXT. STREAM - FULL SHOT - DAY
The men run out of the water on the far bank. The beast can
be heard behind them. They run up, left to right. Heavy fog.
(Fog Hollow set, use bullrushes)
EXT. STREAM - FULL SHOT - DAY
The men run up another section of bank. Either away from
camera or left to right. The beast can be heard behind them.
Fog. (Fog Hollow Set)
EXT. STREAM - FULL SHOT - DAY
Another shot of the men running up the bank, away from
camera or left to right, with the beast heard behind
them. Fog. (Fog Hollow Set)
EXT. STREAM - GENERAL VIEW - DAY
The men run up the bank. One man (Tim) is in the rear. He
sees the Dinosaur following through the fog (double print
miniature) He runs toward the jungle - (tree not in this
shot) Fog. (Fog Hollow Set)
EXT. STREAM - FULL SHOT - DAY
The men run out of the fog at the top of the bank. (Fog
Hollow Set where they were seen entering fog, curtain
effect). Left to right movement, slightly head-on.
EXT. STREAM - LONG SHOT - DAY
The men run left to right, followed by the beast. Tim, the
last man, runs towards and into the jungle, with the
Dinosaur after him. (Miniature man, miniature beast,
projection on) No fog. (Most Dangerous Game set)
EXT. BANK - FULL SHOT - DAY
The men climb a bank. (Most Dangerous Game ledge set)
EXT. STREAM - FULL SHOT - DAY
Tim runs up to the base of a tree, climbs it. (Real man,
real tree from Most Dangerous Game set)
EXT. STREAM - BANK - FULL SHOT - DAY
The men climb higher on the bank.
EXT. ASPHALT PIT - FULL SHOT - DAY
They climb over the top of the bank. Shrubbery masks the
foreground. In the background is seen an asphalt morass,
backed by jungle. Driscoll in the lead here. Denham the last
man. (Most Dangerous Game ledge set for the foreground,
matte and miniature for background). They hear the sound
of the Dinosaur and the shrieks of the sailor they left
behind. All turn.
SAILOR A
(stares)
It's Tim he's after.
All stare as they see --
EXT. TREE - LONG SHOT - DAY
The Dinosaur approaches the sailor who has climbed to the
tree top. He shrieks in terror. (Miniature man and tree)
EXT. ASPHALT PIT - MED. SHOT - DAY
The men stare at this, horrified.
DENHAM
Hasn't anybody got a gun?
Each man looks at the next fellow, hoping he has saved a
gun.
DRISCOLL
They're all at the bottom of the
lake.
DENHAM
(to sailor who carried bombs)
Then gimme one of those bombs.
BOMB CARRIER
I had to let them go to keep from
drowning.
DENHAM
You fool.
BOMB CARRIER
You lost your gun.
All stare back at tree as the doomed sailor's shrieks for
help grow louder.
EXT. TREE - LONG SHOT - DAY
The Dinosaur comes up to the man in the tree. (Miniature man
and tree)
EXT. TREE TOP - MED. SHOT - DAY
The man in the tree shrieks. The Dinosaur's head comes into
the shot, about to seize him. (Real man, real tree from Most
Dangerous Game, miniature projection background)
EXT. TREE - LONG SHOT - DAY
The Dinosaur seizes the man. His cries cease abruptly as the
teeth crunch into him.
EXT. ASPHALT PIT - FULL OR MED. SHOT - DAY
The men at the top of the bank look sickened. They stare as
they see --
EXT. TREE - LONG SHOT - DAY
The Dinosaur carries the sailor away into the jungle.
EXT. DITCH - FULL SHOT - DAY
They turn away, lead by Denham, then stop as they see, over
the shrubbery, Kong retreating towards them with the girl,
from the jungle background into a mire which lies in the
middle distance, masked by foreground shrubbery and backed
by jungle.
(MATTE) This mire is an asphalt pit. In the center is a dry
mound to which Kong springs. He is pursued by two huge three
horned beasts (tricerotops) who, trying to follow, find
themselves mired.
DRISCOLL
(to men)
Down! Down!
All throw themselves down behind shrubbery.
DENHAM
If we only had some of those bombs!
(MED. SHOT of men crouching behind shrubbery, as he speaks
this last line)
A terrific fight now ensues between Kong and the three-
horned beasts. Kong picks up boulders and hurls them
down on the beasts as they try to reach him through the
asphalt mire. He kills two. The third retreats.
During this, the men exit cautiously, camera right, and
reappear in the background, camera right. (Matte) The three
horned beast sees them. He charges them. They run out,
camera right, with the three-horned beast following.
EXT. JUNGLE A - FULL SHOT - DAY
SIDE ANGLE - PAN to follow men as they run, left to right.
EXT. JUNGLE B - FULL SHOT - DAY
The men to run to camera. No beast in this shot.
EXT. JUNGLE C - FULL SHOT - DAY
REVERSE ANGLE as they run away from camera. A low-hanging
branch bars their way. They run under it. The sailor with
the striped trousers is last. He turns to look back at
the beast, whose noise behind them can be heard, and
strikes his head against the branch. He falls, picks
himself up.
SAILOR WITH STRIPED TROUSERS
(as he picks himself up, holding head, dazed)
Boys - boys, where are you?
He looks up into camera, first dazed, then, as his head
clears, he sees the beast charging. He shrieks and runs off
camera right.
EXT. CREATION SHOT - FULL SHOT - DAY
The old shot from Creation. The striped-trousers sailor runs
through the woods, followed by the three-horned beast. He
seeks refuge behind a tree. The beast knocks over the tree.
It falls upon the sailor, pinning him down. The beast gores
him to death.
EXT. LOG - RAVINE - FULL SHOT - DAY
The remaining men run towards a deep ravine, across which a
huge tree has fallen. Ravine is background. Kong is crossing
this log with the girl, right to left. Men run in left to
right. They stop at seeing Kong, then turn back to see --
EXT. RAVINE - LOG - FULL SHOT - DAY
SHOT looking away from ravine, over men's heads. Men in
foreground. In the background may be seen entering a huge
two-horned beast, (Arsinotherium). He is rooting in the
ground.
He lifts his head, sniffs, smelling the men. He begins to
lumber towards them with gathering speed. They run out, left
to right.
EXT. LOG - FULL SHOT - DAY
The men run in from left to right, led by Driscoll. He waves
them on. In the foreground is a huge tree. In the background
is the big fallen tree across the ravine. He passes this
tree to camera right, and reappears from camera right
crossing the log. The men follow, shouting.
EXT. CLEARING - FULL SHOT - DAY
Kong comes into a clearing, in the foreground of which is a
high dead tree. He hears the shouts of the men behind.
EXT. CLEARING - MEDIUM SHOT - DAY
He puts the girl down in the top of the dead tree, snarls,
and turns back to attack the men.
EXT. CLEARING - FULL SHOT - DAY
He goes back to attack the men, leaving the girl in the top
of the dead tree.
EXT. JUNGLE POOL - FULL SHOT - DAY
Kong goes back along the pool towards the ravine.
EXT. LOG - FULL SHOT - DAY
Driscoll enters from camera left, waves the men on. In this
shot, the log is seen in the background, extending across
the ravine. In the foreground is a huge tree. The men
follow Driscoll about this tree to camera right and
reappear on the log, entering from camera left. They
start across it.
EXT. LOG - FULL SHOT - DAY
The log itself is seen, with the men crossing it from camera
right and going towards the other side of the ravine,
Driscoll in the lead.
EXT. LOG - FULL SHOT - DAY
REVERSE ANGLE as the men cross in the foreground, where the
end of the log lies on the far side of the ravine. The men
come off this end of the log onto the bank, in foreground,
faces camera. In the background, Denham can be seen. He is
the last man and is about to cross when suddenly he sees
something and shouts.
EXT. LOG - FULL SHOT - DAY
Original angle with the men coming off log on the far side
of the ravine. Kong appears from camera right to menace
them.
EXT. LOG - FULL SHOT - DAY
Kong snarls at them.
EXT. LOG - FULL SHOT - DAY
REVERSE ANGLE as Denham sees this and ducks back into the
shrubbery out of sight. The men in the foreground also see
Kong and run back across the log. Driscoll climbs over bank
in the foreground.
EXT. LOG - FULL SHOT - DAY
The log itself as the men run back across it, stumbling and
falling, only to be stopped by --
EXT. LOG - LONG SHOT - DAY
-- the two horned beast, who is coming up to the log, which
is in the foreground, from camera left background. REVERSE
ANGLE.
EXT. LOG - FULL SHOT - DAY
The top of the far bank, as the last of the men rush across
the log. Driscoll climbs down over the bank, using a vine
for support.
(Note. This angle may not be necessary now).
EXT. CAVE - LONG SHOT - DAY
Driscoll comes down on the vine along the side of the bank
and steps into a cave in the side of the bank some ten feet
below the top. He looks to see --
EXT. LOG - FULL SHOT - DAY
The men running back on the log, towards the camera, with
the ape coming up to the log on the far bank, menacing
them.
This the original angle.
EXT. LOG - SEMI CLOSE UP - DAY
Kong menaces them. His face leaps up into the camera.
EXT. LOG - SEMI CLOSE UP - DAY
The sailor in the black sweater, on the log, horrified as he
sees this.
EXT. LOG - LONG SHOT - DAY
The log itself, no beasts in the shot. The men see the
horned beast off screen and retreat only to be stopped
by Kong off screen.
EXT. CAVE - LONG SHOT - DAY
Driscoll in the cave sees this, holding to a vine. He
continues to look up, watching --
EXT. LOG - FULL SHOT - DAY
The men, in the original angle, as Kong in the background
heaves up the far end of the log.
EXT. LOG - MED. SHOT - DAY
The men on the log, terrified, as Kong rocks it.
EXT. LOG - SEMI CLOSE UP - DAY
Kong roaring at them.
EXT. LOG - FULL SHOT - DAY
The men on the log with Kong shaking it, from the original
angle. Two fall off.
EXT. RAVINE BOTTOM - FULL SHOT - DAY
The men fall to the bottom of the ravine. It is very deep,
with mud and slime at the bottom. Caves and fissures in the
rock lie at the sides of this mud.
EXT. RAVINE - MED. SHOT - DAY
The men land in the mud.
EXT. LOG - MED. SHOT - DAY
The men on the log, as Kong rocks it.
EXT. LOG - SEMI CLOSE UP - DAY
Kong roars at them.
EXT. LOG - SEMI CLOSE UP - DAY
A sailor stares at Kong and screams in stark terror.
EXT. LOG - LONG SHOT - DAY
SIDE ANGLE of the log with the men clinging to it as Kong
shakes it. The two horned beast can be seen menacing them
from his bank with his horns. Another sailor falls off.
EXT. RAVINE BOTTOM - LONG SHOT - DAY
The sailor falls into the ravine bottom.
EXT. RAVINE BOTTOM - FULL SHOT - DAY
He lands in the mud.
EXT. LOG - FULL SHOT - DAY
From the original angle, Kong is seen rocking the log.
EXT. LOG - FULL SHOT - DAY
The log with men clinging to it.
EXT. LOG - SEMI CLOSE UP - DAY
Kong roars at them.
EXT. LOG - SEMI CLOSE UP - DAY
The men, on the log, horrified.
EXT. LOG - LONG SHOT - DAY
From the original angle, Kong rocks the log with men on it.
EXT. LOG - SEMI CLOSE UP - DAY
The men on the log. One tries to hold himself from falling
by clutching another's face.
EXT. SHRUBBERY - MED. SHOT - DAY
Suggest here a SHOT of Denham watching from his shrubbery,
horrified, so as not to lose him. REVERSE ANGLE.
EXT. LOG - LONG SHOT - DAY
From side angle, the men are seen clinging to the log, while
the ape rocks it and the horned beast menaces them from the
other side. More men fall.
EXT. RAVINE BOTTOM - FULL SHOT - DAY
The men fall to the ravine bottom.
EXT. RAVINE BOTTOM - MED. SHOT - DAY
They land in the mud.
EXT. LOG - SEMI CLOSE UP - DAY
Kong roars at the men and beats chest.
EXT. LOG - CLOSE UP - DAY
One of the sailors on the log shrieks in horror.
EXT. LOG - SEMI CLOSE UP - DAY
Kong's face rushes up into the camera as he reaches for a
man.
EXT. LOG - FULL SHOT - DAY
Kong, from the original angle, reaches for the men remaining
on the log, trying to seize them with his hand. The man he
reaches for drops flat, ducking his grasp.
EXT. LOG - SEMI CLOSE UP - DAY
Kong roars at them.
EXT. LOG - FULL SHOT - DAY
Kong, from the original angle, rocks the log. A man falls
off.
EXT. LOG - FULL SHOT - DAY
The man falls to the ravine bottom.
EXT. LOG - MED. SHOT - DAY
He lands in the mud.
EXT. LOG - MED. SHOT - DAY
The man on the log, only one remains - clinging as the log
is rocked by Kong, off-screen.
EXT. LOG - FULL SHOT - DAY
From the original angle, Kong is seen trying to shake the
last man off the log.
EXT. LOG - MED. SHOT - DAY
The last man hanging to the log desperately.
EXT. LOG - LONG SHOT - DAY
The SIDE ANGLE with the last man hanging to the log. Kong
lifts the log and drops it into the ravine. No horned beast
here.
EXT. RAVINE BOTTOM - DAY
The log and the man fall to the ravine bottom.
EXT. RAVINE BOTTOM - MED. SHOT - DAY
They land in the mud.
EXT. LOG - FULL SHOT - DAY
Kong on the bank yammers down at the men who have fallen.
Driscoll can be seen in the cave below.
EXT. RAVINE BOTTOM - LONG SHOT - DAY
The men at the bottom of the ravine are attacked by giant
insects who come out of caves and fissures to eat them.
EXT. RAVINE BOTTOM - CLOSE UP - DAY
The surprised face of a sailor lying in the mud as he see
this.
EXT. RAVINE BOTTOM - CLOSE UP - DAY
Face of another sailor staring up in horror from the mud.
EXT. RAVINE BOTTOM - CLOSE UP - DAY
Face of a third sailor in the mud, horrified as he sees --
EXT. RAVINE BOTTOM - MED. SHOT - DAY
An insect with octopus arms takes a man. (Projection)
EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY
Its arms wind around the struggling man.
EXT. RAVINE BOTTOM - SEMI CLOSE UP - DAY
Two men on their backs staring up at a spider who attacks
them. (Projection).
EXT. RAVINE BOTTOM - CLOSE UP - DAY
The face of a fourth sailor, fallen in mud, staring in
horror as he sees --
EXT. RAVINE BOTTOM - FULL SHOT - DAY
A giant lizard takes a man.
EXT. CAVE - FULL SHOT - DAY
Kong on the bank senses Driscoll's presence in the cave
below. PAN down to the cave with Driscoll. He looks up,
warily watching for Kong above. Continued to PAN DOWN
revealing a huge spider climbing up on a vine from the
ravine bottom to the cave.
EXT. CAVE - MEDIUM SHOT - DAY
Driscoll in his cave notices the vine shake. He looks down
to see --
EXT. RAVINE - FULL SHOT - DAY
The spider coming up the vine. (Previous angle)
EXT. CAVE - MEDIUM SHOT - DAY
Driscoll whips out his knife and starts cutting the vine.
EXT. CAVE - FULL SHOT - DAY
Driscoll cuts the line just in time to prevent the spider
reaching him. The giant insect falls to the ravine bottom.
PAN UP to Kong again. He reaches in the cave trying to get
Driscoll.
EXT. CAVE - MEDIUM SHOT - DAY
Driscoll eludes the hand, stabbing at it.
EXT. LOG - MED. SHOT - DAY
Denham watching from his shrubbery on the far side. REVERSE
ANGLE.
EXT. LOG - FULL SHOT - DAY
Kong tries to reach Driscoll who backs about the cave,
stabbing with his knife.
EXT. CAVE - MEDIUM SHOT - DAY
Driscoll succeeds in stabbing Kong's hand.
EXT. LOG - FULL SHOT - DAY
Kong pulls back his hand, licks it, snarling angrily.
LAP DISSOLVE:
EXT. MEDIUM SHOT - DAY
Ann, on the dead tree top, awakens from her faint. She looks
about dazed. She looks down to see --
EXT. LONG SHOT - DAY
A snake crawling along beside the tree - VERTICAL SHOT from
her angle.
EXT. MEDIUM SHOT - DAY
Ann gasps in terror.
EXT. LOG - FULL SHOT - DAY
Kong is still trying to reach Driscoll in the cave.
EXT. CLEARING - FULL SHOT - DAY
A giant meat-eater enters the glade. Girl on tree-top in
foreground. It sees her, comes toward her.
EXT. CLEARING - MEDIUM SHOT - DAY
A man-eater, in the background, comes toward Ann on the tree
top in the foreground. She shrieks.
EXT. CLEARING - LOG - FULL SHOT - DAY
Kong, reaching for Driscoll in the cave, is just about to
get him when he hears Ann's screams. He starts back at
once towards her.
EXT. JUNGLE POOL - FULL SHOT - DAY
Kong comes back along the side of a pool, which lies in the
foreground of the scene, jungle in the background. He
hastens from camera left and out camera right to -
EXT. CLEARING - FULL SHOT - DAY
The clearing with the dead tree. The terrified girl is in
the tree, foreground. The meat-eater in the background
turns as he hears Kong off screen from camera left.
EXT. CLEARING - GENERAL VIEW - DAY
Kong enters from camera left. The meat-eater advances to
meet him from camera left. The tree with the girl is in
the middle distance. This shot is masked by foreground
trees.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong and the meat-eater fight. Ann on her tree-top is in the
foreground, animals in the background.
EXT. CLEARING - GENERAL VIEW - DAY
Kong is knocked down by the meat-eaters tail. The meat-eater
attacks him as he lies sprawled on his back. Kong manages to
get to his feet.
EXT. CLEARING - MEDIUM SHOT - DAY
The ape and the meat-eater fight. Ann on the tree-top in the
foreground.
EXT. CLEARING - GENERAL VIEW - DAY
Kong dodges back and out of the scene to camera left as the
meat-eater leaps from camera right. The girl on the dead
tree in the foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
The animals fight, moving into this shot from camera left.
Ann on her tree top in the foreground.
EXT. CLEARING - GENERAL VIEW - DAY
Kong backs into this shot from camera left. The meat-eater
follows to attack. They fight. Kong gets a grip on the meat
eater's hind foot and throws him. Both wheel around as they
fall. The meat-eater falls on camera right, Kong on camera
left. Kong leaps on the meat-eater as he lies on his back.
Girl on tree in foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong falls. Ann on the tree top in the foreground.
EXT. CLEARING - GENERAL VIEW - DAY
The meat-eater, still on his back, kicks Kong out to camera
left. Ann on tree in foreground.
EXT. CLEARING - GENERAL VIEW - DAY
The meat-eater springs up and menaces Kong, who is out of
the shot, off camera left. Girl on tree in foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong, on his feet, beats his chest in defiance. Girl in
foreground on tree top.
EXT. CLEARING - GENERAL VIEW - DAY
Kong leaps in and grabs the meat-eater's front foot. Girl in
foreground on tree top.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong shifts his hold on the front leg to a head hold, throws
the meat-eater over his head. Girl on tree top in
foreground.
EXT. CLEARING - GENERAL VIEW - DAY
Kong throws the meat-eater. The meat-eater gets up. Kong
grapples with him again. The meat-eater throws Kong back
against the tree with the girl in foreground. This is a new
angle, tree center foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
Ann on the tree top as Kong backs into it. She screams as
the tree, jarred by the tremendous impact, starts to fall.
TILT DOWN as tree falls.
EXT. CLEARING - GENERAL VIEW - DAY
The tree falls, with the screaming girl, pinning her under
it. Kong falls also. This is the new angle.
EXT. CLEARING - MEDIUM SHOT - DAY
The girl on the ground pinned by the tree, which half covers
her body.
EXT. CLEARING - GENERAL VIEW - DAY
The beasts fighting, with the girl under the tree in the
foreground.
EXT. CLEARING - FULL SHOT - DAY
The fight continues, with the girl under the tree in the
foreground.
EXT. CLEARING - GENERAL VIEW
The beasts fighting. Girl under the tree in foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
The girl, under the tree, looks in horror at this spectacle.
REVERSE ANGLE.
EXT. CLEARING - GENERAL VIEW - DAY
The beasts fight. Ann under the tree in foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
REVERSE ANGLE again of the girl watching, horrified.
EXT. CLEARING - GENERAL VIEW - DAY
The animals fight. Kong grabs the meat-eater's head, bites
and twists. The meat-eater falls, then gets up. Kong leaps
on his back, grabs his mouth, trying to pry open jaws.
Ann under tree in foreground.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong grabs the meat-eater's jaws, pries them open.
EXT. CLEARING - MEDIUM SHOT - DAY
The girl, under the tree, staring, horrified. REVERSE ANGLE.
EXT. CLEARING - GENERAL VIEW - DAY
Kong, on the meat-eater's back, pulls open its jaws. Girl in
foreground under tree. Kong pulls back, so that he pulls the
meat-eater over. He falls with it, gets up, grabs his jaws
again. The meat-eater lies prostrate as he works on it.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong's hands break the jaw. Ann under tree in foreground.
EXT. CLEARING - GENERAL VIEW - DAY
Kong sees he has broken the meat-eater's jaw. He gives it a
waggle to make sure, see it is dead, then rises and pounds
his chest with a triumphant roar. He starts over towards the
girl.
EXT. CLEARING - SEMI CLOSE UP - DAY
Kong's face as he looks down at Ann, interested and pleased.
EXT. CLEARING - FULL SHOT - DAY
The girl under the tree. She screams as she sees Kong
looking down at her. This shot from Kong's angle.
TRUCK DOWN to MEDIUM SHOT.
EXT. CLEARING - GENERAL VIEW - DAY
Kong takes hold of the log. Ann screams.
EXT. CLEARING - MEDIUM SHOT - DAY
Kong's hand lifts up the tree, freeing Ann.
EXT. CLEARING - GENERAL VIEW - DAY
Kong picks up Ann.
EXT. CLEARING - LONG SHOT - DAY
Ann, as she is lifted by Kong's hand. His shoulder is in
foreground.
REVERSE ANGLE. She looks fearfully up at him. This from his
angle.
EXT. CLEARING - SEMI CLOSE UP - DAY
Kong as he looks down at her, interested.
EXT. CLEARING - MEDIUM SHOT - DAY
The girl held in his hand - shoulder out of shot now.
REVERSE ANGLE.
EXT. CLEARING - GENERAL VIEW - DAY
Kong goes off with her to Camera right.
EXT. LOG - MED. SHOT - DAY
Denham raises himself cautiously from the shrubbery. He
looks to see --
EXT. LOG - FULL SHOT - DAY
-- the Stegasaurus disappearing in the direction from which
he first appeared.
EXT. LOG - MED. SHOT - DAY
Denham, reassured, moves forward to --
EXT. LOG - MED. SHOT - DAY
--the edge of the ravine by the big log. He looks down
horrified at what he sees, then across. He is startled to
see-
EXT. LOG - FULL SHOT - DAY
--from his angle, Driscoll rises from the bottom of what had
seemed a quite empty cave. Driscoll does not at first see
Denham. He too looks down to the bottom of the ravine, then
starts to climb up the vines to the top of the ravine above
the cave.
EXT. LOG - MED. SHOT - DAY
Denham's impulse is to call to him, but caution asserts
itself. He checks himself, looks carefully behind him, then
back, to see.
EXT. LOG - FULL SHOT - DAY
--Driscoll, from his angle, climbing up to the top of the
bank.
EXT. LOG - MED. SHOT - DAY
DENHAM
(calls, as softly as possible)
Jack - Jack Driscoll.
EXT. LOG - MED. SHOT - DAY
Driscoll, turns, looks startled as he sees Denham in the
background.
EXT. RAVINE BOTTOM - FULL SHOT - DAY
--Denham on the far side. Driscoll in the foreground of this
SHOT.
DENHAM
Hey -- Jack.
EXT. LOG - MED. SHOT - REVERSE ANGLE
Shooting into his face.
DRISCOLL
(annoyed)
It didn't get you, huh?
EXT. LOG - MED. SHOT - DAY
DENHAM
I got to cover, same as you.
(looking around apprehensively)
I guess we're safe now.
EXT. LOG - FULL SHOT - DAY
Driscoll in foreground, Denham in background.
DRISCOLL
Safe like a cow in the stockyards.
(glances down ravine)
There's only two of us left alive,
to save that girl.
DENHAM
I can't get across now.
DRISCOLL
I don't want you to. You got to lam
back for some more of them bombs.
DENHAM
You wouldn't follow that beast
alone?
EXT. LOG - MED. SHOT - DAY - REVERSE ANGLE
To get fence.
DRISCOLL
Someone's got to keep on his trail
while it's hot. Maybe I'll get a
chance to snake her away -- and if
I don't I'll figure some way to
signal your party where he's taken
her.
EXT. LOG - FULL SHOT - DAY
Driscoll in foreground, Denham in background.
DENHAM
I guess that's the only out.
DRISCOLL
Sure it is. Get going now -- and
don't get croaked till you give the
office to Englehorn.
DENHAM
(starts into shrubbery - waves back)
O.K., Jack. Good luck.
DRISCOLL
See you later...maybe
(exits camera left)
EXT. JUNGLE POOL - FULL SHOT - DAY
Driscoll plunges into the jungle after Kong. The parrot
flutters after him. He crosses by the pool.
EXT. TREE - FULL SHOT - DAY
Driscoll comes out to the clearing with the tree. The dead
meat-eater lies there. Vultures are feeding on him. Driscoll
looks at this. A distant crashing sounds in the woods. He
listens and realizes it is Kong crashing through the jungle,
carrying the girl. Driscoll starts after him.
EXT. JUNGLE - FULL SHOT - DAY
Denham makes his way through the jungle, left to right, PAN
TO FOLLOW, on his way back to the village.
LAP DISSOLVE
EXT. MOUNTAIN - GENERAL VIEW - DAY
Kong crosses foreground of a big shot with mountain and
cliff in background. Boy pursues on the run.
EXT. POOL - FULL SHOT - DAY
ANIMATION & MIN. TO DO
Driscoll runs through the pool and waterfall set after Kong.
EXT. BASE CLIFF - FULL SHOT - DAY
ANIMATION & MIN. TO DO
Kong comes from the jungle and starts up the base of a
cliff.
(Deadfall set of Most Dangerous Game.) Driscoll runs out of
the jungle and starts up the cliff after Kong.
LAP DISSOLVE
EXT. FISSURE - FULL SHOT - DAY
DISSOLVE IN as Kong climbs to a ledge from which a great
fissure in the rock opens into the mountains.
He is unaware that the boy is following him. He enters this
fissure with the girl.
INT. CAVERN - GENERAL VIEW - DAY
A great black pool lies at camera right. Entrance as at
back.
It has an outlet through the rock through which the water
pours out in a waterfall. Steep walls of rock rise to an
immense height all around. A trail leads up camera left to a
ledge high above. This ledge looks out upon an opening
through which daylight pours. It is this daylight which
faintly illuminates the subterranean depths below. Kong
enters with the girl, passes along the camera left side of
the pool towards the trail.
The head of the monster rears out the pool. He stares at
Kong, who can be seen starting up the path which leads
towards the ledge above. The monster lunges for the shore
and
starts to glide up the trail after Kong.
Driscoll enters in the background and at once dunks behind a
rock.
Kong places the girl on a small ledge beside the trail to
his
lair. He plunges down over the side of his lair, with a
roar,
to attack the sea monster. 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.
Bruce Cabot and Fay Wray in King Kong (1933).
Robert Armstrong, Bruce Cabot, Frank Reicher, and Fay Wray in King Kong (1933).
Scene from King Kong (1933).
Steve Clemente, Noble Johnson, and Fay Wray in King Kong (1933).
Robert Armstrong, Bruce Cabot, Frank Reicher, and Fay Wray in King Kong (1933).
Scene from King Kong (1933).
Robert Armstrong, Bruce Cabot, Frank Reicher, and Fay Wray in King Kong (1933).
Robert Armstrong, Bruce Cabot, James Flavin, Sam Hardy, Frank Reicher, Fay Wray, and King Kong in King Kong (1933).
Steve Clemente, Noble Johnson, and Fay Wray in King Kong (1933).
Fay Wray and King Kong in King Kong (1933).
Fay Wray and King Kong in King Kong (1933).
Fay Wray and King Kong in King Kong (1933).
Fay Wray in King Kong (1933).
King Kong and T-Rex (1933).
Walter Ackerman, Robert Armstrong, Roscoe Ates, Eddie Boland, Harry Bowen, Lynton Brent, Bruce Cabot, Frank Mills, and Fay Wray in King Kong (1933).
Robert Armstrong, Bruce Cabot, Fay Wray, and King Kong in King Kong (1933).
Scene from King Kong (1933).
Scene from King Kong (1933).
Scene from King Kong (1933).
Bruce Cabot and Fay Wray in King Kong (1933).