[ ♫ MUSIC PLAYING ♫ ]
[ BIRD CAWING ]
[ SNORTING ]
[ WOLVES HOWLING ]
Don't worry, it's a pack of wolves. Come on, we're almost rid of it.
[ NEIGHING ]
[ GRUNTS ]
[ DRUMS BEATING ]
Caleb, it's after me! - Grab on!
Run! Run!
No, Benjamin, we have to finish this.
Come on, help me bury it.
What if someone digs it up?
May God have mercy on his soul.
[ THUNDER CRASHING ]
Hyah!
[ DRUMS BEATING ]
[ ♫ MUSIC PLAYING ♫ ]
WOMAN: Hi, Alan. - Hi, Miss Magruder.
MAN: Afternoon, Alan. - Hello, Frank.
[ KIDS CHATTERING ]
[ WHISTLE BLOWS ]
All yours, Alan. - Thanks, Bill.
Get him!
[ SHOUTING INDISTINCTLY ]
Prepare to die, Parrish!
Hey, Parrish, what's the rush?
He's going to the factory!
BOY: He's going to Daddy now.
[ WHOOPING AND SHOUTING ]
Go on, Parrish! Run to Daddy.
We'll be waiting.
[ SIGHS ]
ALAN: Hi, Carl.
Hey, Alan, my man. I gotta show you something. Come here.
I've been working on this for almost a year.
I got an appointment this afternoon with your father
to show him this. Go ahead, take it.
So, what do you think? Think he'll like it?
What is it?
What is it? This is the future. If I can get Wilt Chamberlain to wear 'em,
I predict there'll be a pair of those in every closet in America.
That's gonna be the height of fashion.
What's wrong?
Nothing.
MAN: Alan!
Thanks, Bob.
What are you doing? I've told you before. This factory isn't a playground. It's dangerous.
Dad, can l have a ride home?
SAM: Oh, Alan.
Is Billy Jessup picking on you again?
Son, you're gonna have to face him sooner or later.
If you're afraid of something, you've got to stand and face it.
Now, run on, son.
Carl, you should know better than to let the boy play in here.
Sorry, sir.
Oh, what was it you wanted to show me? - Just a minute, sir.
[ MACHINE SCREECHING ]
What the devil--?
[ WORKERS CHATTERlNG ]
[ CLEARS THROAT ]
SAM: Who did this?
Well?
I did, sir.
Just because you're a Parrish doesn't mean you can hang around with my girlfriend.
We're just friends.
Not anymore.
Get him! BOY: Yeah!
[ BOYS SHOUTING ]
BILLY: I've got his bike!
Jerks!
[ DRUMS BEATING ]
[ DRUMMlNG STOPS ]
[ DRUMMlNG RESUMES ]
[ DRUMMlNG CONTlNUES ]
[ ♫ MUSIC PLAYING ♫ ]
[ DRUMMlNG APPROACHES ]
[ DRUMMlNG STOPS ]
[ ♫ MUSIC PLAYING ♫ ]
Wow.
[ CLATTERING ]
[ CLOCK CHIMING ]
[ OPERA MUSIC PLAYING ON SPEAKERS ]
[ ♫ ]
Neat.
WOMAN: Alan?
Are you home?
Oh, Alan, not again. Come on.
[ DRUMS BEATING ]
SAM: Hard work, determination, cheerful outlook,
attributes that have exemplified the Brantford spirit
since our forefathers first settled this town.
Despite the harshness of our native clime and the granite of our soil,
we have...
Prosper. I knew the whoIe thing this morning.
You'll know the whole thing tonight.
Right. Let's go. Sam, we have to talk to Alan.
Well, we're, uh-- We're on our way.
Okay.
I toId your father what you told me, that it wasn't just Billy Jessup.
If I'd known that, I wouldn't have--
ALAN: It's okay, Dad.
But I want you to know how proud I am of you. You faced them, even though you were outnumbered.
And since you took it like a man, your mother and I have decided
that you're ready to go to The Cliffside School for Boys. There.
Congratulations, sweetheart.
You don't want me living here anymore?
CAROL: Alan.
It's always been the plan that you go to Cliffside.
I mean, Parrishes have been going to Cliffside ever since the 1700s.
Even your UncIe Skylar went there. Heh, heh.
Look at this. Parrish HalI?
SAM: It's the main dormitory.
This is great. Kids are on my case here because I'm a Parrish.
Just wait till I'm living in a building named after me.
It was named after my father.
Good. Why don't you live in it?
I did. I wouldn't be who I am today if it weren't for my years there.
Maybe I don't want to be who you are.
Maybe I don't even want to be a Parrish.
You won't be. Not till you start acting like one.
Sam-- - Get your coat.
I guess I'm not ready for Cliffside, then!
We're taking you there next Sunday. I don't want to hear another word about it!
You won't! I'm never taIking to you again!
Sam... - Don't.
Sam. - What?
Nothing.
[ KNOCKING ON DOOR ]
What are you doing here?
I brought your bike back.
You didn't have to. I was going over to Billy's to get it myself.
I told Billy to stop picking on you.
You shouIdn't have wasted your breath. We gotta talk about this some other time.
[ DRUMS BEATING ]
What was that?
[ DRUMMlNG STOPS ]
You heard it too? - Of course I heard it.
Come on, l found this really weird game in the factory.
SARAH: A game?
"Jumanji.
A game for those who seek to find a way to leave their world behind.
You roll the dice to move your token. DoubIes gets another turn.
The first to reach the end wins." You want to play?
I quit playing board games five years ago.
Sarah.
[ ♫ ]
It's gotta be magnetized or something.
Alan, look.
"At night they fly, you better run.
These winged things are not much fun."
[ ANIMALS SQUEALING ]
What was that?
I don't know.
Put it away, Alan. - Okay.
[ CLOCK CHIMING ]
Oh, no.
The game thinks I rolled.
What do you mean, "the game thinks"?
ALAN: "In the jungle you must wait,
until the dice read five or eight."
In the jungle you must wait? What does that mean?
[ SCREAMS ]
[ SCREAMING ]
[ BOTH SCREAMING ]
Sarah!
Roll the dice!
Sarah!
[ BATS SQUEALING ]
[ SCREAMING ]
[ SARAH SCREAMING IN DlSTANCE ]
WOMAN 1 : I think a bed-and-breakfast is just what this town needs.
WOMAN 2: It was pretty hard to pass up, especially full of furniture.
Oh, boy.
I keep forgetting how big this place is.
Judy, Peter, come look at this.
I'm gonna put a reception area right over here.
Uh-huh. - Yeah.
And a bar over here in the parlour.
That sounds lovely.
I'm sure you and your kids will be very happy here.
Oh. Well...
Actually, they're my late brother's.
He and his wife passed away just last winter.
[ ♫ ]
Is this something, or what?
It sure is.
What do you think, young man? Is it big enough for you?
Peter hasn't spoken a word since it happened.
Oh.
Oh, my. I'm so sorry. How terribly awful.
It's okay.
We bareIy even knew our parents. They were always away.
Skiing in St. Moritz, gambling in Monte Carlo,
safariing in darkest Africa.
We didn't even know if they loved us.
But when the sheik's yacht went down,
they managed to write us a beautiful goodbye note
that was found floating in a champagne bottle amongst the debris.
[ SOBBING ]
Excuse me.
[ LAUGHS ]
They were very devoted parents. It was a car crash in Canada.
You'll send me the escrow papers? - First thing tomorrow.
[ ♫ ]
I'll have to get a locksmith out for this one.
Peter, pick up your toys, please.
Peter, take this suitcase up to the attic.
Then we can all have ice cream. And bourbon.
[ ♫ ]
[ BAT SQUEALING ]
[ PETER SCREAMS ]
What? What is it?
[ CREAKING ]
I'm going to Motel 6.
Oh, for heaven's sake.
[ ♫ ]
[ BATS SQUEALING ]
I don't see any guano.
He said it looked like that.
That's an African bat. Some kid said she saw a bunch of those back in the '60s.
Heh, heh. But we don't get bats like that in New England.
But that's what he saw.
Well, whatever it was, it's gone now.
Bats aren't what I'd worry about in this house, anyways.
What would you worry about?
EXTERMINATOR: Well, personally,
I wouldn't want to live in a house where someone was murdered.
Murdered? EXTERMINATOR: Yep.
Little Alan Parrish. I say his father did it.
There's 1,001 places he could've hid the body in this house.
Especially if he chopped it up first.
NORA: Hey up there!
You kids don't want to be late for your first day of school.
Not a bat in sight, ma'am. NORA: You hear that?
There's nothing to be afraid of in this house.
[ COLE PORTER'S "NIGHT AND DAY" PLAYING ]
[ JETHRO TULL'S "LOCOMOTIVE BREATH" PLAYING ]
[ ANTONIN DVORAK'S "SERENADE IN D, OP. 44" PLAYING ]
I can't believe I have to see your principaI after your first day.
What am I gonna do?
Let's just try to relax and finish our dinner. Talk about something else.
Well, we found out why you got this house so cheap.
Twenty-six years ago, a kid named Alan Parrish used to Iive here.
Then one day he just disappeared.
Because his parents chopped him up and hid him in the walls.
Okay, that's it. I'm sick and tired of your lies. You're grounded.
JUDY: Fine, there's nowhere to go in this stupid town anyway.
But just for your information, that wasn't a lie.
[ DRUMS BEATING ]
[ FLOOR CREAKING ]
[ ♫ ]
Did you hear anything a littIe while ago?
Do you miss Mom and Dad?
No.
Liar.
Cut that out, or they'll send you to a shrink.
Where do you think they're gonna send you if you don't start talking?
[ DRUMS BEATING ]
If I get held up at the permit office, l'll call.
School bus will be here any minute.
[ DRUMS BEATING ]
You guys still have your house keys?
[ DRUMMlNG CONTlNUES ]
You guys listening to me?
Hello?
What?
Maybe I should wait with you till the bus comes.
Did your parents used to put you on the bus?
No. No.
[ DRUMMlNG STOPS ]
Are you sure?
I could drop you off.
No, don't worry about us. The bus will be here any minute.
Okay. Please be good today.
[ DOOR CLOSES ]
You do hear it.
Hear what?
[ DRUMS BEATING ]
[ DRUMMlNG APPROACHES ]
Where's it coming from?
[ DRUMS POUNDING ] [ SCREAMS ]
[ DRUMMlNG STOPS ]
JUDY: Wow.
Let's bring it over here.
Weird. They're stuck.
"Jumanji, a game for those who seek to find
a way to leave their worlds behind.
Roll the dice to move your token. DoubIes get another turn.
The first player to reach the end wins."
[ ♫ ]
It's gotta be microchips or something.
You go first.
Okay.
Six.
"A tiny bite can make you itch, make you sneeze, make you twitch."
[ SCREAMING ]
[ INSECTS BUZZING ]
Don't!
[ ♫ ]
"This will not be an easy mission. Monkeys slow the expedition."
[ CLATTERING ]
What is that?
[ CLATTERING CONTINUES ]
[ MONKEYS SCREECHlNG ]
[ SHRIEKS ]
I bet those monkeys came from the game.
The mosquitoes too.
Uh-oh.
I didn't see this part.
"Adventurers, beware."
[ DOOR SLAMS ]
"Adventurers, beware. Do not begin unless you intend to finish.
The consequences of the game will vanish only when a player has reached Jumanji
and called out its name."
The monkeys are gone. - Good.
Put it away. - Wait!
If we finish the game, it'll all go away.
We better do it, or Aunt Nora will pitch a fit.
We shouId just get through it quickly. I mean, there's no skill involved.
No, you rolled doubles.
You get another turn. Roll.
PETER: Five.
"His fangs are sharp. He likes your taste.
Your party better move post haste."
I don't like the sound of that.
Judy, someone's in here.
[ BOTH GASP ]
[ FLOOR CREAKING ]
[ GROWLING ]
[ WHISPERS ] It's not real, Peter. It's an hallucination.
[ ROARING ]
JUDY [ IN NORMAL VOICE ]: Run, Peter!
[ BOTH SCREAM ]
[ GROWLING ]
Ha!
[ BOTH SCREAM ]
[ GROWLING ]
Hey!
Hoo!
Ha!
[ ROARING ]
[ YELLS ]
[ ROARING ]
[ SNIFFING ]
[ BOTH SCREAMING ]
[ YELLS ]
[ ♫ ]
[ WHISPERING ] I'm back.
My bike.
[ IN NORMAL VOICE ] Somebody roll a five or an eight?
He did.
[ LAUGHING ]
[ KIDS SCREAMING ]
Thank you! Thank you! Thank you!
Thank you.
Sorry if I scared you. Sorry if I scared you.
Thank you.
I'm back!
Mom! Dad!
I'm home!
I'm back!
It's me! It's me, Alan, Mom and Dad!
I'm home! I'm back!
Are you my littIe sister?
No, I'm Judy and he's Peter.
Where's Mom? Is Dad at the factory?
Are you...
Alan Parrish?
Yeah. Who are you?
We Iive here now.
Where's my mom and dad?
We don't know.
This house has been empty for years.
Everyone thought you were dead.
Sorry.
[ DISPATCHER SPEAKING INDISTINCTLY ON RADIO ]
Give me that description again. - I said "red fur and long tail."
[ TYRES SCREECHING ]
CARL: Oh!
Get down off of my car, please, and get up on the sidewalk.
What year is it? - It was brand-new.
No. What year is it? - Uh, 1995, remember?
Ninety-five...
You got some ID? Oh, let me guess, it's in your other Tarzan outfit, right?
Twenty-six years. - Are you from around here?
I was. But I've been in Jumanji.
Indonesia. He was in the Peace Corps.
ALAN: "Bentley."
Carl Bentley, the sole man. - Is this man related to you?
JUDY: Yes, he's our uncle.
CARL: Does he always dress like that?
JUDY: Well, yeah, he's, uh, a vegetarian.
Get out of there!
[ ALAN YELLING ]
[ ALAN GIBBERING ]
Monkeys. Monkeys.
Is he all right upstairs?
He suffered a head injury a few months ago.
[ SHRIEKING ]
[ GlBBERlNG ]
[ GUNSHOT ]
CARL: Hey, hey, hey!
[ SIREN WAILING ]
Don't you move!
Hey! Hey!
Stop! Don't move, don't move.
Hey, wait a minute! Where are you going?
To find my parents!
Come on.
[ ♫ ]
[ MAN SPEAKS lNDISTINCTLY ]
[ COUGHING ]
Wait!
[ ♫ ]
My dad used to make shoes here.
They were the best shoes in New England.
[ ALAN GASPS ]
Hey!
Sorry.
[ DOG GROWLlNG ]
MAN: Easy, girI.
Do you know what happened to this shoe factory?
Yeah, it folded up. Like everything eIse in this town.
It's pretty cold out there. How about some coffee?
Why would they close Parrish Shoes?
When his kid ran away, Sam put everything he had into trying to find him.
His time, his money...
Everything.
After a while, he stopped coming to work.
He just quit caring.
I don't think anybody loved his boy more than Sam did.
Here.
You're gonna freeze out there.
Thank you. Are the Parrishes still around?
I see them now and then. - Yeah?
They're over on Adams Street.
[ ♫ ]
Our parents are dead, too.
They were in the Middle East negotiating peace when--
Our dad was in advertising.
I bet you miss him, huh?
Me too.
There he goes again.
Listen. I know you're upset now, but we should finish the game.
We? Why do you need me?
Well, just in case any other scary stuff comes out.
Plus, there's a lion in my aunt's bedroom.
Do I look like a Ringling Brother?
She'll be home soon.
Won't she be surprised? I hope she's not allergic to cats.
[ SIREN WAILING ]
[ TYRES SCREECHING ]
[ SIGHS ]
PARAMEDIC: Larry, we need the wheels. Give me a hand.
Did we hit her hard? - No, it looks like another of those weird bites.
Yeah, it's another one, all right. - Jesus. Over 50. What's going on?
Easy now, easy. - Hey, look.
Isn't that Mrs. Thomas? PETER: Who's that?
The realtor. - Quiet.
Listen.
[ FLUTTERING ]
You hear that? - Hear what?
Get in the car.
Okay, think. What came out of the game before me?
There was a lion, a bunch of monkeys and, um--
That! - Whoa!
It's okay, it's okay. It's just a bug.
We're safe in here. See?
We're fine.
[ JUDY SCREAMS ]
[ MOSQUITOES BUZZING ]
If we stay low, he can't get through there too far. Okay?
Don't you worry. We're fine. JUDY: Ah!
He can't get us. He can't get through the glass.
We're safe.
Either of you know how to drive?
No? That's no problem.
My dad used to Iet me back the car down the driveway.
Once.
So, what's the big deal?
Buckle up. - Here we go!
[ ENGINE STARTS ]
Ho!
Wait a minute. - What? Wait. Ah!
[ ENGINE REVVING ]
Alan, the top!
[ ♫ ]
[ HORN HONKS ]
[ KIDS SCREAM ]
Piece of cake.
Yeah.
[ ♫ ]
JUDY: Alan.
Aah!
Keep that thing away from me!
When are you gonna help us play? We gotta hurry. Our aunt will be home soon.
ALAN: Good. You can inform her that she's the ex-owner of this house.
I hope you realise, with my parents gone, this home belongs to me.
Oh, thank you.
No more banana leaves.
Yes.
[ TOILET FLUSHING ]
What do you think those monkeys will do to the ecosystem?
[ ALAN SINGlNG "THEME FROM GILLIGAN'S ISLAND" ]
Hello?
[ WATER RUNNING ]
[ ALAN CONTINUES SINGlNG ]
[ YAWNS ]
What happened to you? Did you shave with a piece of glass?
What happened to you? Did the Clampetts have a yard sale? Heh.
What do you want? I've never shaved before.
Where are you going?
JUDY: How about Peter and I play, and you just sort of watch?
Thanks, I've seen it.
So, if you're not gonna help us, what are you gonna do?
I don't know. Pretty much take up where I left off.
I wonder if Mrs. Niedermeyer's still teaching sixth grade.
[ GlBBERlNG ] [ ALAN SCREAMS ]
[ CHUCKLING ]
[ SHRIEKS ]
Come on, Judy, he's not gonna help us. He's afraid.
What did you say?
You're afraid. It's okay to be afraid.
[ CHUCKLES ]
Let's set it up in the living room.
[ LAUGHS ]
You have no idea what you're getting yourseIf into.
Whatever it is, we'll handle it by ourselves. We don't need your help.
I don't think so.
You think monkeys, mosquitoes and lions are bad?
That's just the beginning.
I've seen things you've only seen in your nightmares.
Things you can't even imagine.
Things you can't even see.
There are things that hunt you in the night.
Then something screams. Then you hear them eating.
And you hope to God that you're not dessert.
Afraid?
You don't even know what afraid is.
You will not last five minutes without me.
So...
you're gonna help us?
[ ♫ ]
I'll watch...
but I'm not afraid.
Peter, that was very cool.
It's reverse psychology. Dad used to pull it on me all the time.
Ready?
Yeah.
Alan, ready?
There is no "ready."
I'll try it again.
Alan, it's not working.
ALAN: Oh, no.
It's not your turn.
Yeah. l rolled first. Then Peter twice because he got doubles.
Now it's my turn again.
No, look. Two of those pieces are yours, right?
Who's the other pieces?
The elephant was mine.
You're playing the game I started in 1969.
I'm gonna have to play.
It's not my turn.
Whose turn is it?
Sarah Whittle.
[ ♫ ]
This is where she used to live.
This place gives me the creeps.
We used to play on this porch.
I knew she still wouldn't Iive here. Probably married Billy Jessup, living in a trailer park.
Come on, let's go. - Let's at least ask.
Maybe she'll know where Sarah went.
Of course she'll know. She's a psychic.
Good point.
I remember the porch being a Iot bigger.
WOMAN: Hello?
Um, can you heIp us? - Do you have an appointment?
No, we're just trying to find someone.
Madam Serena can't see anyone right now.
Maybe you can help us.
WOMAN: What is it?
We're looking for someone who used to live here.
No, I've lived here my whole life.
Well, then you must know Sarah Whittle.
WOMAN: What do you want with Sarah Whittle?
Sarah?
No, I don't go by that name anymore.
Sarah Whittle?
What do you want?
Twenty-six years ago, you played a game with a littIe boy down the street.
A game with drums.
How do you know that?
I was that little boy, Sarah.
Alan?
[ THUDS ]
You killed her.
WOMAN [ ON MACHINE ]: Leaνe a message and the doctor will call you back
at his earliest convenience.
[ MACHINE BEEPS ]
Dr. Boorstein, it's Sarah Whittle. If you could call me back as soon as you can.
I think I need to have my dosage checked.
That event we've been discussing, the one that didn't realIy happen?
Oh, boy. I'm having an episode here today
with the little boy that didn't really disappear.
I'm sitting in his living room, drinking lemonade.
If you could call me, I'd really be interested in your interpretation. Thank you so much.
He'll call me back. ALAN: While we're waiting...
Whoa! God! No, no, no! - Sarah, Sarah.
Oh, no, no, no. - It's okay. Sarah.
I've spent over 2000 hours in therapy, convincing myself that doesn't exist.
What happened to you was so awfuI, I made up this thing--
ALAN: Sarah, it was awful. It was awful.
It really was.
But it was real. Real.
No, no, no. It wasn't real. Your father murdered you and he chopped you up.
Sarah, come on.
My dad did that?
My father could barely hug me,
let alone cut me into littIe pieces.
Twenty-six years ago, we started playing a little game.
And now,
we're all gonna sit down and we're gonna finish it.
And guess what.
It's your turn.
No.
Here.
Play the game, Sarah.
Oh, no, no. ALAN: Fine.
Just give me the dice and you can go home. You don't have to play.
Thank you, Alan.
[ LAUGHING ]
Oh, my God! How could you do that?
It's the law of the jungle, Sarah. You'll get used to it.
SARAH: When I think of the energy I spent visualising you as a radiant spirit--
Go on, read it.
[ ♫ ]
"They grow much faster than bamboo.
Take care or they'll come after you."
ALAN: Oh, great.
SARAH: Oh, God. Tell me this isn't happening.
Oh, it is. Stay away from the walls. Don't touch anything.
No quick movements.
Wow. They're beautiful. - Oh, yeah, they're beautiful.
Don't touch the purple ones. They shoot poisonous barbs.
And definitely stay away from the pods. The big yellow ones.
What big yellow ones?
[ PETER SCREAMING ]
ALAN: Peter!
I got you! Get his arms!
PETER: Get it off me! Get it off me!
[ JUDY SCREAMS ]
[ ROARING ]
[ KIDS SCREAMING ]
Oh, my God!
[ ALL SCREAMING ]
Hang on, boy.
Got him? I'll be right back.
Oh, my God.
Sorry, Angus.
Whoa.
Harvest time!
[ WHIMPERING ]
Are you okay?
Peter.
Oh, my God!
My car. Oh, my car.
DISPATCHER [ OVER RADIO ]: Carl, come in, please. Come in please, Carl.
Has anybody seen Carl?
I can't believe this. Start, start, please. Yes.
Carl? Come in, Carl. - Carl here.
Where have you been? We've got a serious animal-control situation.
Get Stan and Willy on it.
I've gotta check out a suspicious character at the Parrish place. Over.
I should've been a fireman.
Yeah.
Sarah!
[ SARAH SCREAMS ]
SARAH: Ooh! Get your hands off me!
The game is not over yet, Sarah. - It is for me.
You are not in the jungle anymore.
Stop this! You don't treat people like this.
Okay.
Anybody up for iced tea? I'm gonna make some tea.
Alan, pIease, last time I played this game it ruined my life.
[ CHUCKLES ]
It ruined your life? Heh, heh. - Yes.
"In the jungle you must wait till the dice read five or eight."
I was a littIe girl, Alan.
You disappeared.
And a bunch of bats surrounded me and chased me down the street.
I was afraid.
I'm sorry, Alan.
No one believed me. I was all alone.
So was I, for 26 years, Sarah.
Me, too.
It's okay, Sarah. We're scared, too.
But if we finish the game, it'll all go away.
What if I get stuck in the game?
You won't.
Because I won't stop playing.
And neither will I.
I won't either.
ALAN: Come on, Sarah.
JUDY: Please?
I knew this was gonna be a bad day.
Hey, come on, we'll be fine.
We just have to keep our heads.
And roll with the punches.
[ ♫ ]
"A hunter from the darkest wild
makes you feel just like a child."
What is it?
Van Pelt.
[ GUNSHOT ]
You miserable coward! Come back and face me like a man.
[ GUNSHOT ]
Not good enough, Sonny Jim.
Coming, ready or not.
[ GUN COCKS ]
[ GUNSHOT ]
Hey, you!
[ GUNSHOT ]
Drop your gun and get your hands in the air!
[ GUN CLlCKS ]
Man, I don't believe this.
[ TYRES SCREECHING ]
So even if Alan gets out of this situation,
the same kind of things will happen over again.
When you carry around so much repressed anger, it attracts a lot of negative energy.
And things happen, like ending up in the jungIe. That was no accident.
There are no accidents.
Whose turn is it?
It's my turn. - Really? Great.
You might've told us there was a man who hunts people.
I didn't know, okay? It's just the roll of the dice.
Is he the reason you didn't want to play?
[ SCOFFS ]
SARAH: You didn't want to play, either?
Mr. We-Started-26-Years-Ago- and-Now-We-Gotta-Finish-It?
SARAH: What's the deal with this guy?
He's a hunter. He kills things. Right now, he wants to hunt and kill me. Okay?
Why you? - Why me?
I don't know. He finds me offensive. You'd think it'd be a waste of his time.
Maybe he needs something for his wall.
It's your turn.
SARAH: Have you ever thought about just sitting down and talking about your differences?
Are you crazy? The man has a gun-- - Don't ever call me crazy, Alan. Ever.
Everyone's called me crazy ever since I said you were sucked into a board game.
Maybe I should roll. - Yeah.
SARAH: I was the girI who saw you murdered.
Think anybody came to my 14th birthday party?
Hello, I'm rolling now. - Billy who?
ALAN: Are you an owl? Come on, Madam Serena, dig into your higher consciousness.
Here, just roll. ALAN: Find the memory
of your old boyfriend, BilIy.
SARAH: The kid who'd steal your bicycle?
ALAN: The kid who took you to the movies.
JUDY: "Don't be fooled, that isn't thunder. Staying put would be a blunder."
ALAN: You're immature. SARAH: You are.
ALAN: I know you are, but what am I? SARAH: You are. Uh-huh.
Do you feel that?
[ ♫ ]
[ RUMBLING ]
Run!
It's a stampede! - Ah!
Come on.
The game!
[ SCREAMING ]
Don't look back! - Aah!
[ ALAN & PETER SCREAMING ]
[ BIRDS SQUAWKING ]
[ SQUAWKING ]
Ha!
Not the game!
Why didn't you grab the game, Peter?
Just ignore him, honey. He's a Libra.
Where are you going? ALAN: He'll head for water!
Here we go. Come on.
[ PHONE RINGS ]
Hello? NORA: lt's Aunt Nora.
Where have you been?
[ IN BRITISH ACCENT ] I'm sorry, dear. You have the wrong number.
Wait for me!
[ ORCHESTRAL MUSIC PLAYING OVER SPEAKERS ]
What can I do for you? - I'll have a gross of these.
You know, they stopped making these in 1903.
Damn. Then I shall need a replacement weapon.
There's a waiting period.
And you'll have to fill out these.
Or I could fill these out.
Louise.
Now, anyone asks, you didn't get this here.
You're not a postal worker, are you?
SARAH: Alan!
ALAN: Quiet.
[ ♫ ]
Ow!
Oh! Oh!
Okay.
Here.
[ SQUAWKS ]
No!
Peter! Peter!
Ha.
[ ♫ ]
Ah.
SARAH: Peter, are you okay? JUDY: That was great.
I can't believe you did that. - That was so cool.
You gave me chills. - It was great.
Alan.
Nice work. Come on, give me the game. Let's go.
[ ♫ ]
[ SNIFFING ]
Ah.
ALAN: Oh, no.
Act natural.
[ WHISTLlNG ]
Hey!
[ WHISPERS ] Hide the game.
I don't beIieve this. Every time there's trouble, I run into you.
[ IN NORMAL VOICE ] I don't know what you're taIking about.
I'm taking you in. - I'm not going anywhere.
[ ALAN GRUNTING ]
All right.
[ SILENCED GUNSHOT ]
SARAH: Just a second. You can't take him, he's, uh--
Her fiancé. - Wait. You said he's your uncle.
It's all right. I'll be back soon.
Blast.
Remember you said you'd never abandon your friends?
We'll finish the game later. SARAH: Later?
ALAN [ WHISPERS ]: Van Pelt. Van PeIt.
I suggest you all go home now.
Okay.
Now how are we supposed to finish the game?
We can't. We can't finish it without him.
PETER: Judy.
What?
What happened?
I thought I could end the game. I was only 10 spaces away.
"A law of Jumanji, having been broken,
you will sIip back even more than your token."
You tried to cheat?
No, I tried to drop the dice so they landed on 12.
Oh, okay, honey. Well, that would be cheating.
Peter, your hands! Look at your hands!
[ ♫ ]
[ PEOPLE SHOUTING ]
[ GlBBERlNG ]
[ SHRIEKING ]
MAN [ ON RADIO ]: Come in, this is Willy. They cleaned out Larry's Hardware.
I can't stop them, Lorraine. Get the National Guard down here now.
All right, what is this about? I know you know.
Yes, l do. But you wouldn't believe me even if I told you, Carl.
Wait a minute. How do you know my name is Carl?
I know a lot more than that.
I know you used to work on the stamping line at Parrish Shoes.
They used to call you "Sole Man." - Ha, ha.
Sole Man. Yeah, that's right. I was in there too, man,
till old man Parrish fired me.
He fired you? - Yeah, man.
And I had something that could've turned this whole town around.
Your shoes. - Right.
Listen, Carl.
I know it doesn't mean much after 26 years,
but I'm sorry.
I'm sorry.
Sorry for what?
It's me. Alan.
[ TYRES SCREECHING ]
SARAH: Thank you.
[ GLASS SHATTERING ]
What's going on?
SARAH: Well, apparently there's, uh, a sale, honey. Whoa.
[ SIREN WAILING ]
You just saw three monkeys go by on a motorcycle, didn't you?
Yes. - Good girl. Come on.
[ BEEPING ]
Well, maybe we can baiI him out with a cheque.
VAN PELT: Thank you.
You tell that snivelling coward, from me, if he wants--
[ GLASS SHATTERING AND CROWD SCREAMING ]
VAN PELT: Boy!
Get out of my way!
[ ELEPHANTS TRUMPETING ]
[ SCREAMING ]
Give me that, boy! - No!
Hey!
JUDY: Peter! - Help me!
Get me out of here!
SARAH: It's all right. JUDY: Oh, my God, Peter.
All right.
JUDY: There it is.
Wait here.
Gotcha, girlie.
No.
When Alan hears of your predicament, he'lI come.
He doesn't know I'm here. So it won't work. Your plan's ruined.
[ GUNSHOTS ]
VAN PELT: Don't move or I'll blow your friggin' brains out!
SARAH: Okay. WOMAN: Call the cops!
That should do the trick, don't you think? - Oh, yeah.
Argh! - Aah!
Price check! - Aah!
ALAN: If you let me go, I can stop all this.
It's like The Twilight Zone, but it's true.
Please, you gotta help me on this.
I know I'm gonna regret this.
Just hold still. Hm.
Okay. - There, I let you go.
Now what are we gonna do?
You're staying here. - My keys!
It's for your own good. You just stay there!
My handcuff keys! - This is something I have to do.
Alan! - You'll thank me someday.
DISPATCHER [ OVER RADIO ]: Carl, code red.
Hostage situation at Sir Sav-a-lot. A woman and two children.
It sounds like the armed perpetrator in the pith helmet. Over.
Carl? Come in, Carl.
Lorraine? What's Sir Sav-a-lot?
It's a discount store. Move over.
Wait. Gently, gently. Okay. All right, all right.
Don't worry, I've done this before.
Once.
[ SIREN WAILING ]
[ CARL SCREAMING ]
[ ♫ ]
[ GUNSHOTS ]
Where's Sir Sav-a-Iot?
Monroe and Elm. - The Episcopal church.
No, not anymore. Now it's a Speedy Burger.
At least it was. I don't know what's Ieft. People are going loopy.
Judy!
[ SIREN WAILING ]
Uh-oh. We got company.
CARL: No, no, no. It's all right. That's just a traffic cop. He'll back us up.
[ GASPS ]
Whoa!
Huh?
[ SCREAMING ]
Here's the game. - Come on. Let's get out of here.
Rats.
[ MUTTERING ]
[ GUNSHOTS ]
[ ALL SCREAMING ]
Turn the siren off. Right there! Okay, I got it.
[ SIREN STOPS ]
Stop your cringing, woman. I could have shot you at any moment.
Then why didn't you?
You didn't rolI the dice, Alan did.
There it is, there it is. Hit the brakes!
- I'm hitting it. I'm hitting the brakes!
Hit the brakes! Aah! - I'm hitting the brakes! Aah!
He should be here any moment.
[ VAN PELT YELLING ]
ALAN: Sarah!
Are you alI right? - Yes.
Where's Peter? - I'm here.
Oh, great.
MAN [ ON TAPE ]: "So remember, circumstances are never, ever out of your control."
[ BEEPS ]
"End of tape three."
WOMAN [ ON RADIO ]: Update on the extraordinary events in Brantford, New Hampshire.
Ninety-eight people have been hospitalized with symptoms
ranging from inexplicable fevers and rashes to violent seizures.
Local resources are strained to the breaking point.
And state officials are now asking those with such symptoms to dial 911.
[ RUMBLING ]
[ ELEPHANTS TRUMPETING ]
[ MONKEY SHRlEKING ]
[ RHINO GRUNTING ]
Oh.
[ MONKEY GIBBERING ] [ NORA SCREAMING ]
[ TYRES SCREECHING ]
I got it.
Alan, talk to him, please?
What? We don't have time for this, okay?
I know, but he's a kid and he was trying to help.
All right, come on. - Thank you.
Judy, come on.
I warned you about this, Peter.
No, you wanted to play the game.
[ PETER CRYING ]
What, are you crying? You don't cry, you keep your chin up.
Come on, keep your chin up.
Crying never helped anybody do anything. Okay?
If you have a probIem, you face it like a man.
[ ♫ ]
[ CRYING ]
Hey. Hey.
I'm sorry. Twenty-six years buried in the deepest, darkest jungle
and I still became my father.
It's okay. Come here, I'm sorry. Hey, it's alI right.
Remember what you told me? It's all right to be afraid.
It's not that.
What is it?
[ WHISPERING INDISTINCTLY ]
Oh.
Okay.
Ready?
[ FABRIC TEARS ]
ALAN: Don't worry, we'll have you turn back into your old self in no time flat.
Because we'll go in here, together, we'll sit down and finish that game.
No matter...
what.
[ ♫ ]
Suddenly, I feel right at home.
[ GRUNTS ]
[ BEEPING ]
[ ♫ ]
Lorraine, this is Carl.
I know who's behind all this. I'm heading over to the Parrish place. Give me backup.
[ MONKEYS GIBBERING OVER RADIO ]
Lorraine?
Wait! Wait!
Now what?
Stop!
Wait! Stop!
[ ENGINE BACKFIRES ]
Is there a problem?
Can I have a ride home? - Where do you live?
Jefferson Street. The old Parrish place.
Do you have chiIdren? A boy and a girl?
Oh, my God. What happened? - Get in.
I'll explain it all on the way.
Aah!
[ BOTH SCREAMING ]
Fine! Take it!
We gotta get to that house.
Shouldn't we play someplace else? - No.
I grew up in this. It's out there that scares me.
[ MOUTHING ]
SARAH: Okay, it's my turn. - Sarah, if you roll a 12, you win.
SARAH: Okay, ready? Here I go.
It's okay.
"Every month at the quarter moon, there'll be a monsoon
in your Iagoon." Monsoon?
Well, at least we're inside. Heh.
Yeah, right.
[ THUNDER CRASHING ]
[ GASPS ]
[ JUDY SCREAMS ]
Well, a littIe rain never hurt anybody.
Yeah. But a lot can kill you.
Come on!
This way!
What do we do now? - We get to higher ground.
Okay. - Come on! Stay together!
[ ALL SCREAMING ]
You okay?
Judy! - Alan?
ALAN: What? - What is that?
Aah! Swim! Look out! Look out!
SARAH: Alan! ALAN: Judy, swim! Go! Move!
Keep going!
[ CROCODILE GROWLS ]
Stay on the table!
Feet out of the water!
[ JUDY SCREAMS ]
ALAN: On the chandelier!
Come on, Sarah.
[ SCREAMING ]
Peter!
Hang on, Sarah!
Are you okay?
Where--?
Aah!
Alan! Alan!
[ ALL SCREAMING INSlDE ]
Judy? Peter!
Ma'am, step back and let me handle this, please.
It's nothing. They probably left the TV on too loud.
Peter? Judy?
[ SCREAMING CONTINUES ]
I always wanted to do this. Could you step back, please?
[ GRUNTS ]
[ CREAKING ]
[ BOTH SCREAMING ]
[ GRUNTING ]
Alan, give me your hand! Alan!
PETER: Grab my hand! - I got it.
Alan!
[ BOTH SCREAMING ]
[ CROCODILE GROWLING ]
[ SCREAMING ]
Take the game.
Here you go.
You okay? - Yeah.
Alan, you wrestled an alligator for me.
[ CHUCKLES ]
It was a crocodile.
Alligators don't have that little fringe on their hind leg.
Come on.
My mistake.
It's okay.
[ ALL SCREAM ]
Come on.
ALAN: Okay, it's my turn.
I've got it.
Colonel Mustard in the library with the wrench. Heh, heh, heh.
Clue.
Okay.
[ ♫ ]
"Beware the ground on which you stand.
The floor is quicker than the sand."
[ ALL SCREAMING ]
SARAH: Alan!
Okay. ALAN: Sarah!
Help me. SARAH: Okay. Stay calm.
Don't struggle. Stay calm.
I'm caIm. JUDY: Alan!
Grab on! Pull!
Okay. I got it. Pull!
SARAH: Stay calm!
ALAN: Come on!
Oh, good!
[ ALAN GRUNTING ]
SARAH: I got you--
Stop giving me things that come apart!
JUDY: "There is a lesson..."
All right.
"There is lesson you will learn."
Oh, I got you.
"Sometimes you must go back a turn."
[ ALAN YELLS ]
Ow.
Did I hurt you? - Oh, no.
I love you
Oh. Thank you, Judy. Thank you. That was very quick thinking.
Sarah and l would like to get out of the floor.
So it's your turn, Peter.
Okay.
I thought I'd lost you again.
Thanks for sticking around this time.
"Need a hand? While, you just wait.
We'll help you out. We each have eight."
[ SPIDER SCREECHING ]
[ PETER SCREAMING ]
[ SCREAMING ]
What's that? What is it?
JUDY: Nothing. -You don't go "Ah!" for nothing.
[ ALAN SCREAMS ]
Peter, my dad kept an axe in the woodshed. Go get it!
Okay. ALAN: Hurry! Go, go, go!
[ SARAH SCREAMS ]
Sarah!
Oh!
[ ALAN & SARAH SHOUTING ]
Judy?
Peter?
Ah!
Oh!
[ ROARING ]
[ SNEAKERS SQUEAKING ]
[ GASPS ]
Aunt Nora, it's me. Peter.
[ SCREAMING ]
Sorry. I can't talk right now. I'll explain later.
Sarah. - What?
It's your turn. You can finish if you roll seven.
I can't roll. - Put the dice in your mouth.
SARAH: Judy! Bring the game. Hurry!
[ SCREAMS ]
Judy!
Judy, are you okay?
I'm fine. Help them.
SARAH: Come on, Judy. Come on.
Judy! Judy.
Give me the dice.
"You're almost there with much at stake.
But now the ground begins to quake."
Judy! - Aah!
Oh, my God! - What? What?
[ ALAN YELLS ]
[ SCREECHING ]
[ BLOWING ]
I wish Mom and Dad were here.
So do I.
[ RUMBLING ]
Her only chance is if we finish the game!
SARAH: It's your turn!
Oh, my God!
[ SCREAMING ]
Get the game! The game!
No! I won't let you go!
[ SARAH SCREAMING ]
Alan!
[ ROARING ]
Ah!
VAN PELT: Don't move.
Stand up.
What's in your hand?
Drop it.
End of the line, Sonny Jim.
Game's up. Start running.
No.
Aren't you afraid?
I'm terrified.
But my father told me...
you should always face what you're afraid of.
[ LAUGHING ]
Good lad. You're finally acting like a man.
Any last words?
Jumanji.
Huh?
It's Jumanji.
[ GUN COCKS ]
No, Alan, no! Ah!
[ GUNSHOT ]
[ BOTH SCREAMING ]
What--?
[ GRUNTING ]
[ VAN PELT SCREAMING ]
[ ♫ ]
[ DOOR OPENS ]
[ DOOR CLOSES ]
I forgot my speech notes.
Dad, I'm so gIad you're back.
I've onIy been gone five minutes.
It seems like a lot Ionger to me.
I thought you told me you were never going to talk to me again.
Whatever I said, Dad, I'm sorry.
Look, Alan, I was angry.
I'm sorry too, son.
Look, you don't have to go to Cliffside if you don't want to.
[ WHISPERING ] Let's talk it over tomorrow. Man-to-man.
[ WHISPERING ] How about father to son?
Great.
[ IN NORMAL VOICE ] Hey, I've gotta get going. I'm the guest of honour.
[ IN NORMAL VOICE ] Dad?
Back in 196-- I mean, today in the factory,
it wasn't Carl Bentley's fault.
I put the shoe on the conveyer belt.
I'm glad you told me, son.
Thanks.
Bye, Dad.
Goodbye.
Holy smokes! Judy and Peter! - Alan.
They're not there.
It's 1969.
They don't even exist yet.
[ ♫ ]
[ DRUMS BEATING ]
[ DRUMMlNG STOPS ]
I'm starting to forget what it's like to be a grownup.
That's okay, as long as we don't forget each other.
Or Judy and Peter.
Alan, there's something I've been wanting to do.
And I better do it before I feel too much like a kid.
Heh.
They probably don't teach driver training in the sixth grade, huh?
[ PEOPLE SINGING "HARK! THE HERALD ANGELS SING" ]
Merry Christmas.
Do you want these?
Dad, no. The new cross-trainer's doing fabuIous.
No, it's not a bra, it's a shoe.
Honey, they're here.
Listen, Dad, I gotta run. We'll pick you up tomorrow at the airport.
You'll be the best Christmas gift of all. Bye-bye.
They're here? Come on, let's go. - Yeah. Okay.
Lisa, hi.
Pardon me.
Jim! Glad you could make it.
Thanks. This is my wife, Martha. - Hi. This is Sarah.
Hi, Sarah. - Where are the kids?
Oh, my God, there they are.
MARTHA: How'd you know?
A guess. A guess, of course. They're your kids.
JIM: Right, these are our children.
Judy and Peter. Say hi to Mr. and Mrs. Parrish.
Nice to meet you.
ALAN: You're just like we remembered you.
I feel like we know so much about them.
Because, you know--
SARAH: You've told Alan about them. ALAN: Yeah, and l told her.
I'll get the presents. - Sure, honey.
Well, we love children. Heh, heh.
Merry Christmas. - Cool.
So when can you start?
Actually, we were thinking of taking a skiing holiday up in the Canadian Rockies.
BOTH: No!
ALAN: Sorry.
We-- We just...
Need you to get that marketing done on the new line, pronto. Heh, heh. Right?
No problem. I could probably start next week.
That'd be great. Let me introduce you to the rest of the folks you'll be working with.
Come on in. Our house was your house. Is. Anytime you'd like.
[ PEOPLE SINGING "WE WISH YOU A MERRY CHRISTMAS" ]
[ DRUMS BEATING ]
[ IN FRENCH ] What's that noise?
[ ♫ ]