GODZILLA SCRIPT
by
Dean Devlin & Roland Emmerich
First Draft 2/19/96
FADE IN:
An iguana...
Crawling off its nest, leaving its eggs exposed.
1 EXT. MORUROA ATOLL ISLANDS, FRENCH POLYNESIA - PACIFIC 1
Grainy, Kodak color, nineteen sixties documentary
footage of a beautiful Polynesian island. We SEE quick
shots of Kimono Dragons, Gila Monsters and Chameleons
all in their natural tropical environment.
Super: Moruro Atoll Islands, French Polynesia - June
1968
Incongruously over this jungle environment we HEAR a
static ridden radio filtered VOICE, slowly counting down
in French. It is almost as through the reptiles of the
island are reacting to the countdown as they anxiously
move about.
Suddenly with a brilliant FLASH OF WHITE LIGHT, a
nuclear EXPLOSION mushrooms into the sky.
We SEE a SERIES of REAL shots of footage of some of the
over one hundred and sixty official nuclear tests the
French government held in this tropical region.
Explosion after explosion devastates the locale. One
building after the next, accelerating in momentum,
culminating in one final EXPLOSION.
The cloud-filled sky begins to drizzle. The ash-like
fallout drifts downward onto what's left of the islands
below.
We FOLLOW this ash as it settles next to a dead reptile,
unrecognizable now, and down onto what's left of the
lizard's eggs.
Suddenly the image clears from the grainy footage to
clean, modern high resolution. We ZOOM IN on one of the
eggs as it slowly gets buried in the falling ash. WE
continue to push in, getting closer...closer...
SMASH CUT TO:
2 EXT. PACIFIC OCEAN - OIL TANKER - RAINSTORM - NIGHT 2
Smashing through the choppy waters, barely by the storm
we SEE the CORI AKIDO, a Japanese oil supertanker.
Super: Pacific Ocean, present day
3 INT. CORI AKIDO - BRIDGE - NIGHT 3
We TRACK across the complicated computerized
navigational console that is actually steering the
immense ship. In the b.g. we HEAR a Japanese t.v.
program playing.
At the end of the console is the ship's SKIPPER, an
overweight Japanese seaman sleepily watches a snowy
satellite broadcast of a Sumo wrestling match.
Suddenly the SONAR blares out a warning ALARM. Startled,
the Skipper awakes and stumbles out of his chair over to
the console.
The SONAR displays an enormous MASS heading quickly
toward the ship. The Skipper's eyes go wide. He hits a
KLAXON alarm, awaking the entire ship. He presses the
radio/intercom.
SKIPPER
(in Japanese)
Captain. This is the bridge. We have
an emergency.
4 INT. SUPERTANKER'S HALLWAYS - SAME - NIGHT 4
Alarms BLARING. The crew rushes out of their quarters
and into the hall. Quickly they race for the upper
decks.
5 INT. OTHER HALLWAY - BY KITCHEN 5
The ship's elderly COOK pokes his head out of the
kitchen and yells at some of the crew as they pass by.
COOK
(in Japanese)
What's going on? What's happening?
Before anyone can answer, the ship is ROCKED by an
enormous THUD as something hits the side of the immense
ship. The crew TUMBLES as the ship SWAYS VIOLENTLY.
The old Cook is thrown to the floor. He looks up
nervously.
6 INT. BRIDGE - SAME - NIGHT 6
The CAPTAIN enters quickly, joining the Skipper at the
console.
CAPTAIN
(in Japanese)
What was that!?
SKIPPER
(in Japanese)
I can't tell...
Again, the ship is HIT. An enormous CRASHING SOUND is
HEARD as the ship ROCKS to one side, tossing the Captain
and Skipper to the floor.
Suddenly we HEAR the tell-tale, famous SCREAMING WAIL of
our creature from somewhere outside. Terror shines in
the Captain's eyes at the sound.
7 INT. HALLWAYS - CONTINUOUS - NIGHT 7
The crew, getting back on their feet, reacts to the
horrible WAILING SOUND.
Suddenly the ship is HIT AGAIN. This time something
enormous RIPS THROUGH THE HULL, crushing one of the crew
members as it TEARS THROUGH THE WALLS.
Water RUSHES THROUGH the large gaping hole, quickly
filling the hallway. The Cook and what's left of the
crew scurry for the stairs, as the water level chases
them.
8 INT. BRIDGE - SAME - NIGHT 8
The ship's computers are WHIRLING with warning lights
and alarms. As the Skipper tries to adjust the controls
in vain, the Captain grabs the ship's p.a. system.
CAPTAIN
(in Japanese)
Abandon ship! Abandon ship! Man the
lifeboats...
But before he can say anything more, something WHIPS
across the bridge's enormous windshield, SHATTERING THE
GLASS. Was it a tail? No way, far too big.
9 EXT. SHIP'S DECK - SAME - NIGHT 9
The doors BURST open as the crew and the Cook rush out
onto the deck. Again, the ship is HIT, ROCKING it
violently.
A TARP
is ripped away, revealing a life boat. Two more life
boats are revealed behind it as the crew desperately
tries to hoist them up and over the side.
ANGLE - WATER BESIDE THE TANKER
Something ENORMOUS jolts out of the water towards the
ship. Through the rainstorm it is hard to make out what
it is, but it SLAMS into the side of the ship, RIPPING
INTO IT, pulling down the starboard side as it does.
Could that have been a CLAW?
THE CREW
Are thrown backwards. The lifeboats swing WILDLY,
several of them SMASHING INTO BITS as they slam against
the ship.
THE CLAW
Or whatever it is, RIPS INTO THE SIDE AGAIN. This time
the entire ship begins to FLIP OVER.
A LIFEBOAT
Bounces off the deck and slides off the side. Following
it is the Cook.
Desperately, the Cook grabs onto the ship's side railing
to keep from falling off. He looks back and SEES
something so horrible that he SCREAMS IN TERROR and lets
go of the railing.
The old Cook slides over the side as the enormous tanker
FLIPS OVER.
CUT TO:
WINDSHIELD WIPERS
Clearing at their highest speed, we see through the rain
doused windshield, DR. NIKO "NICK" TATOPOULOS. Music
blares from the tiny headphones of his Walkman.
NICK
(singing)
...I'm singing in the rain, just
singing in the rain...
CUT TO:
10 INT. RUSSIAN TOWN - RAIN - DAY 10
The utility van races through this small Russian town
right past a roadblock marked with the international
signs for "no trespass" and "nuclear radiation."
NICK
..."What a glorious feeling. I'm happy
again..."
As the van disappears down the road, we CRANE UP
revealing a city sign reading: CHERNOBYL, RUSSIA.
11 EXT. CHERNOBYL DIRT PARK - RAIN - DAY 11
With the infamously crippled nuclear power plant in the
distance, the utility van slides to a muddy stop by this
field of dirt.
Nick hops out quickly and rushes to the back of the van.
He opens the back of the van and grabs several metallic
cases.
Walking a few yards away from the van, he dumps the
cases on the ground, opening them to REVEAL an
assortment of sophisticated scientific equipment.
Taped to the inside are several photos of a girl we'll
meet later. Some of the photos are of her looking young
and beautiful. Others are of the two of them happily
together.
With a switch he turns on the equipment which comes to
life. Inside one of the cases are several cables
attached to long SPIKES. He grabs them and dashes away.
NICK
..."I'm laughing at clouds, so dark up
above..."
Nick rushes over to a small patch of land and begins to
SHOVE the spikes into the muddy earth.
NICK
..."The sun's in my heart and I'm
ready for love..."
Once firmly in the ground, he rushes back over to the
van and pops the hood.
CLOSE - VAN'S ENGINE
We SEE the steaming engine and a large electric car
BATTERY.
NICK
..."Let the cloudy skies chase..."
He attaches the cables to the battery and they SPARK!
Nick YELPS and jumps back. Shaking off the shock, he
rushes back over to the mud pit, dropping down to his
knees.
Suddenly, raising from the mud we see DOZENS OF
EARTHWORMS. Excitedly Tatopoulos grabs a big empty glass
jar and begins filling the jar with worms, happily in
his element.
NICK
..."I'm singin' in the mud, just
scooping up my worms..."
Unable to hear over his Walkman, he is oblivious as an
enormous RUSSIAN MILITARY HELICOPTER lands right behind
him.
From the intense wind kicked up by the helicopter,
Tatopoulos finally turns in time to see several RUSSIAN
OFFICERS coming toward him. Nick scrambles to his feet.
NICK
(broken Russian)
Good day. I am here with
permission...I have a, a...
(in English)
Permit. How do you say permit?
He goes through his pockets looking for his permits.
MALE VOICE (O.S.)
Dr. Nick Topopolosis?
Tatopoulos looks up as the Russian soldiers move past
him and over towards his cases of equipment. A man in a
long raincoat comes forward.
NICK
It's Tatopoulos.
TERRINGTON
The worm guy, right?
(extending his hand as he
approaches)
Kyle Terrington, U.S. State
Department.
The Russian soldiers close up his equipment and take it
off to the Helicopter.
NICK
What are they doing?
TERRINGTON
You've been reassigned.
NICK
You can't shut me down now! My
research here's not finished!
TERRINGTON
It is now.
CUT TO:
12 EXT. PAPEETE - TAHITI - STREET - DAY 12
Coastal town of Papeete, Tahiti. With the ocean in the
distance, through the heat waves we SEE a row of
official looking black sedans coming toward us.
13 EXT. PAPEETE HOSPITAL - CONTINUOUS - DAY 13
The doors to the sedans open as a group of very official
looking Government types. Stopping to light his
cigarette is PHILLIP RAYMOND, 40's, intense, dangerous
and worst of all...French.
14 INT. HOSPITAL HALLWAY - MOMENTS LATER - DAY 14
Raymond leads the official looking group down the hall.
A BRIEFING OFFICER rushes over. (The following dialog is
entirely in French with subtitles)
BRIEFING OFFICER
The Japanese consulate has been
calling and we've been getting
pressure from the Americans.
RAYMOND
What did you tell them?
BRIEFING OFFICER
Nothing yet.
RAYMOND
Are there any other survivors?
BRIEFING OFFICER
Only one, Sir. He was very lucky.
The group arrives at a door at the end of the hall. The
Briefing Officer opens the door.
RAYMOND'S P.O.V. - THROUGH OPEN DOOR
In the corner of the large room we see the old Cook from
the tanker curled up in the fetal position. The doctors
and a few nurses are attending to him.
RAYMOND
Get them out of there.
Two of the Officials move in and escort the Doctors and
Nurses out of the room. Raymond nods to two other
Officials who begin to unpack some recording equipment,
including a video camera.
15 INT. HOSPITAL ROOM - SAME 15
Raymond enters and moves close to the old Cook, kneeling
down in front of him, inspecting his distant glare. The
old Cook seems to be in a world of his own, rocking back
and forth. Raymond nods to another Official who comes
forward.
RAYMOND
(in French)
Ask him what happened.
The Second Official ask him in Japanese, but the old
Cook does not respond. He asks again but the old Cook
seems to be in a world of his own.
BRIEFING OFFICER
(in English)
It's no use. He's been like this since
we fished him out of the ocean.
Whatever happened to that tanker put
him in a complete state of shock.
Raymond takes out his lighter and ignites it on high.
The old Cook's eyes slowly come back to life, transfixed
by the fire. Slowly he brings the flame close to the old
Cook's face.
RAYMOND
(in English)
What did you see, old man?
Drawn out of himself by the flame...
OLD COOK
(weakly)
Gojira...Gojira...
Raymond shoots a look at the Second Official for an
explanation.
SECOND OFFICIAL
(in English)
I have no idea what he is saying.
OLD COOK
(stronger)
...Gojira!...Gojira!...GOJIRA!!
CUT TO:
16 EXT. GULF OF DEN SAN MIGUEL, PANAMA - DAY 16
A small sea plane flies over this jungle region of
Panama, darting up the Gulf into the lush greenery of
the countryside.
Super: Guilfo de San Miguel, Panama - 45 km outside
of La Paz
Slowly the plane begins to descend, landing by a small
village.
17 EXT. VILLAGE FISHING DOCK - MOMENTS LATER - DAY 17
Several soldiers unload Nick's cargo as he steps out of
the plane onto the dock. As he walks towards shore he
SEES...
NICK'S P.O.V. - POLICE BARRICADE
Dozens of citizens as well as the press are gathered at
a police barricade; their access to the village denied.
Panamanian Police and U.S. military working together to
keep people out.
Marching up the shore to greet Nick is MAJOR TONY HICKS,
30's, efficient, who is spearheading this operation.
MAJOR HICKS
Dr. Niko Topopolosis?
NICK
(correcting)
It's Tatopoulos.
MAJOR HICKS
Right. The worm guy.
(to guards at blockade)
Can someone get those people off the
beach?
NICK
Excuse me, would you mind telling me
what the hell I'm doing here?
MAJOR HICKS
Follow me.
The Major leads Nick up the beach away from the crowds.
NICK
You didn't answer my question. In
fact, for the last 18 hours no one has
answered any of my questions.
MAJOR HICKS
We have a situation on our hands that
requires your particular expertise.
ANGLE - DESTROYED VILLAGE HUT
Several soldiers and researchers are investigating the
site when Nick and the Major walk past.
NICK
Look, I may work for the Nuclear
Regulatory Commission but accidents
and spills are not my field.
MAJOR HICKS
We know.
Major Hicks motions to some guards who clear a blockade
away from a jungle pathway. Major Hicks takes the
pathway.
NICK
Do you know that you just interrupted
a three year study of the Chernobyl
earthworm?
MAJOR HICKS
Yeah, you're the worm guy.
NICK
The radioactive contamination in that
area altered the earthworm's DNA! You
have any idea what that means?
MAJOR HICKS
No, but I have the feeling I'm about
to find out.
NICK
It means that due to a man made
accident the Chernobyl earthworms are
now over seventeen percent larger than
they were before. Mutated by seventeen
percent?
Major Hicks stops, turns to Nick.
MAJOR HICKS
(bemused)
Seventeen percent, huh? Sounds big.
NICK
They're enormous! A new species
created by man's recklessness. That's
what I've been trying to tell you, I'm
only a biologist. I take radioactive
samples and study them.
MAJOR HICKS
Then you're perfect.
(pointing to the ground)
Here's your radioactive sample. Study
it.
With that Major Hicks walks away.
NICK
What sample?
MAJOR HICKS
You're standing on it.
Nick looks down, sees nothing.
NICK
I don't see it.
(no response)
Where is it?
We CRANE UP above him, pulling back farther and farther,
until we SEE he's standing inside of a 15 YARD LONG
GIGANTIC FOOTPRINT in the sand.
NICK (CONT'D)
I don't see it!
Two scientists have spread out a tape measure to
document its length as two others inspect it with Geiger
counters. Nick sees them and realizes he's standing in a
remarkable discovery. He looks up ahead and SEES...
OVERHEAD TITLT SHOT - Foot steps...-
Five gigantic footsteps in front of him. Other
researchers examining the prints with all kinds of
equipment. Geiger counters, CLICK, CLICKING away. Nick
is stunned.
18 EXT. TATTERED VILLAGE REMAINS - MOMENTS LATER 18
Nick rushes to catch up with Major Hicks who walks
towards a command tent in the distance.
NICK
(flabbergasted)
That was a footprint. I was standing
inside a footprint.
MAJOR HICKS
That's right.
NICK
But there's no animal in the world
that can make prints like that? Is
there?
MAJOR HICKS
We're hoping you're going to help us
figure that out.
The Major gestures to the many villagers who are being
attended to. Some are injured, others are being examined
for radiation. The village has been decimated.
NICK
Somebody must have seen it.
MAJOR HICKS
It happened so fast no one knew what
hit them 'til is was over.
A jeep pulls up and PETERS, a young researcher, comes
rushing over with a video tape in his hands. As he passes
Major Hicks...
PETERS
(on the run)
Tape's in. The French finally released
it.
Peters takes off for the command' tent. Nick and the
Major follow.
COMMAND TENT - CONTINUOUS - DAY
Part military, part scientific command post. Lots of
activity. Peters waves the tape as he rushes over to a
television. Major Hicks and Nick follow.
MAJOR HICKS
A tanker was attacked and sunk
yesterday near the French Polynesians.
We think there's a connection.
WOMAN SCIENTIST (ELSIE)
Is that the tape of the witness?
Excitedly, ELSIE CHAPMAN, heavy set, early 30's,
paleontologist and head of the research team, leads
several of her colleagues over to the t.v.
NICK
Hi. Nick Tatopoulos...
ELSIE
Ah, Elsie Chapman, paleontologist.
She's clearly attracted to him. This doesn't escape
Nick, who's not too comfortable with her flirtatious
glare. She turns to a scientist standing next to her,
DR. CLIVE CRAVEN.
ELSIE (CONT'D)
Dr. Craven, have you met the worm
guy?
DR. CRAVEN
Nice to meet you.
The t.v. turns on and we SEE the old Cook, rocking on
his bed, repeating over and over the same word...
OLD COOK
(filtered through t.v.)
...Gojira...Gojira...Gojira...
This is all too overwhelming for him. He turns from the
t.v. and looks out into the jungle.
Slowly he walks away, staring at something in the
distance with total awe. Elsie walks up next to him.
ELSIE
What could have possibly done all
that?
We REVERSE ANGLE and SEE what they are staring at.
A gigantic path cut through the jungle.
Something of immense size has trampled and cut a deep
and wide path right through the jungle forest that goes
on for miles on end. Over the stunned face of Nick we
HEAR...
OLD COOK (O.S.)
(filtered)
...Gojira...Gojira...Gojira...
CUT TO:
T.V. MONITOR - JUNGLE FOOTAGE
The same beach scene we saw when Nick arrived. Over
it...
REPORTER
(filtered)
...American and Panamanian troops
quarantined off a section of the
Panamanian jungle today amid
unconfirmed reports of a crashed Air
Force jet...
WIDEN TO REVEAL:
19 INT. WNEW T.V. STATION - DAY 19
As we WIDEN we see this is one of several wall mounted
monitors all showing channel WNEW. Through the glass
doorway nearby we see CHARLES CAIMAN, 40's, handsome,
entering the office.
AUDREY (O.S.)
Murray wants these copied to each
field producer...
ANGLE - SECRETARY DESK
Standing in front of the desk is AUDREY TIMMONDS, early
thirties, attractive, small town girl who still hasn't
toughened in the big city and talking with her
co-worker, LUCY, sitting.
AUDREY
And I'm supposed to remind you to call
him on all of Caiman's expense
p.o.'s.
LUCY
Speak of the devil.
Just then Caiman passes behind them.
AUDREY
(nervous)
Think I should ask him? I'm going to
ask him. You think I should? I will.
Audrey makes the decision and bolts after Caiman. Lucy
rolls her eyes.
LUCY
Oh girl...
ANGLE - CAIMAN
As he walks towards his office Audrey races up to him.
Seeing her, he walks faster hoping to avoid her. He
can't.
AUDREY
Did you talk with Humphries?
CAIMAN
This is not the place...
AUDREY
Just tell me, did you talk with him?
CAIMAN
He said he'd consider it. It's between
you and Rodriguez.
AUDREY
Are you serious? He's going to
consider me for he job? What else did
he say?
They arrive at his office. An enormous standee of
himself with the ACTION NEWS CREW is there.
CAIMAN
Why don't I tell you over dinner
tonight? Your place.
He stops at his door. Audrey is startled.
AUDREY
Mr. Caiman, you're married.
CAIMAN
And you're beautiful...
AUDREY
Mr. Caiman...
CAIMAN
Call me Charlie.
AUDREY
(stubbornly)
Mr. Caiman, I've been doing extra
research for you after hours and
weekends for nearly a year. And I've
never asked for anything but this job
is really important to me. I'm too old
to be an assistant anymore. I need to
know this job is going someplace.
CAIMAN
So have dinner with me tonight.
AUDREY
I can't.
CAIMAN
It's your choice.
Caiman shuts the door on her. She turns and is face to
face with the standee of Caiman. She takes out her
chewing gum and plasters it on his nose.
CUT TO:
20 EXT. JAMAICAN HIGHWAY - AERIAL SHOT - DAY 20
Over the bumpy Jamaican highway we FOLLOW from above
several military jeeps racing in convoy.
Super: Great Pedro Bluff, Jamaica
21 INT. JEEP - SAME 21
Elsie, Nick and Clive are cramped together along with
Nick's equipment in the back of the jeep. Nick looks
very uncomfortable. Elsie looks at Nick...lasciviously.
ELSIE
Three years digging up worms in
Chernobyl? How did Mrs. Tatopoulos
handle it?
NICK
Oh, I'm not married.
ELSIE
Really? A girlfriend then?
NICK
No. Perhaps I work too much.
ELSIE
(filtered)
You mean to tell me that there is no
one who holds a special place in your
heart?
Nick seems to get lost in thought.
NICK
Not for a long time, now.
ELSIE
Well, I think you're cute.
NICK
(awkward)
Oh, thank you.
(whispered to Clive)
Is she always like this?
CLIVE
(conspiratorially)
I had to beat her off with a stick.
The sound of a HELICOPTER ZOOMS overhead.
AERIAL SHOT - HELICOPTER - SAME - DAY
A helicopter ZOOMS past our convoy. As we FOLLOW the
helicopter we REVEAL...
JAMAICAN BEACH WITH A BEACHED CARGO SHIP - DAY
Taking up nearly the entire beach, an enormous cargo
ship lays on its side in the sand. Two gigantic holes,
ripped into its hull.
MILITARY JEEPS
Nick hops out and joins Major Hicks et al as they push
past the gathered crowd of onlookers. The group gives a
collective gasp as they see the ship for the first
time.
Three men (who we'll recognize from the Tahiti hospital)
take measurements of the holes in the ship.
MAJOR HICKS
Who are they? Lieutenant, get those
people away from there.
RAYMOND
(French accent)
They are with me!
Everyone in the group turns to find Mr. Phillip
Raymond.
MAJOR HICKS
And who are you?
Raymond hands him, as well as anyone who wants one, his
business card.
RAYMOND
CHARGEURES, property and casualty
insurance. We are preparing a report.
MAJOR HICKS
You're fast.
RAYMOND
That is our job.
MAJOR HICKS
Well your people are getting in the
way of my job.
RAYMOND
Major, what do you think could have
done this?
MAJOR HICKS
Get your people out of there or I
will.
The Major walks away. Raymond studies him as he does.
ANGLE - SHIP
Nick can't take his eyes off the enormous holes in the
hull. He steps closer and turns to Peters, who's taking
radiation counts of the ship.
NICK
Mind if I borrow this?
Peter hands him his Geiger counter and walks into the
cracked hull of the ship.
22 INT. CARGO HULL - CONTINUOUS - DAY 22
Inside is eerily dark and creepy. The guts of the ship
are tangled inside. Holding a Geiger counter, he gets
readings from all over the area. One particular spot,
above him, seems slightly stronger.
Nick SEES something there. He opens his knapsack and
puts on some rubber gloves, removing a glass jar (like
the ones from Chernobyl).
Carefully he climbs the debris until he reaches a sharp
shard of metal. Clinging to it he finds a MEATY CHUNK OF
REPTILE FLESH.
He tries remove it but he only gets half. He places it
into his jar. Just as he reaches for the other half,
SOMETHING GIVES WAY.
With a JOLT, the section above him collapses. A rush of
water falls and a HUMAN BODY swings down, just in front
of him.
Nick tumbles backwards, his heart pounding. The body
swings lifelessly as it hangs from above.
The others rush to his side, checking to see if he's all
right.
PETERS
You okay, Nick?
NICK
Yeah, I'm...wait...I lost...
Nick looks around frantically when the glass sample jar
is suddenly handed to him.
RAYMOND
Are you looking for this?
NICK
Thanks.
Raymond studies Nick as he joins the rest outside.
DISSOLVE TO:
UNDERWATER - NETS - MOVING P.O.V.
We are moving very quickly underwater. Ahead of us are
some large FISHING NETS with a catch of fish carried in
the bunt. Quickly we are heading for a collision.
23 EXT. ATLANTIC OCEAN - OFF NEW ENGLAND COAST - DAY 23
A great day for fishing. Slicing through the water we
SEE three New England Fishing TRAWLERS, the HARPO, the
CHICO, and the GROUCHO.
24 EXT. THE HARPO - SAME - DAY 24
ARTHUR is at the wheel. Suddenly the engines WHINE as
the ship begins to slow down. Surprised, Arthur checks
his throttle.
25 EXT. THE CHICO - SAME - DAY 25
LEONARD and his 1st MATE are puzzled by the engine WHINE
of their own ship.
LEONARD
Jerry, why are we slowing down?
JERRY (O.S.)
She's heavy in the bunt.
LEONARD
That was fast.
26 EXT. THE GROUCHO - SAME - DAY 26
The captain, JULES, hasn't noticed a thing as he lays on
his deck tanning himself, a boom-box blaring next to
him. Suddenly THUD. The ship JOLTS for a second. Jules
slides and BANGS his head into the boom-box. He yelps.
DECK HAND
The nets are full!
JULES
Then bring 'em in!
DECK HAND
We can't. She won't budge!
Jules gets up to move aft when THUD, again the ship
ROCKS.
ALL THREE BOATS SLOW TO A CRAWL
Arthur tries to GUN his engine but it only WHINES. Soon
all three boats STOP DEAD. Nothing but quiet for a long
beat.
ARTHUR
What is going on?
Then with another JOLT all three boats begin to move
BACKWARDS, DRAGGED BY THEIR OWN NETS!
LEONARD
She's going sternway!
FIRST MATE
What the hell did we catch?
The three boats begin to PICK UP SPEED, moving BACKWARDS
in the water. Water SPLASHES up into the boats, winches
begin to CRACK under the building pressure.
The boats begin to move incredibly FAST backwards.
Things on the boat begin to BREAK and CRASH DOWN onto
the decks of the ships.
JULES
Cut us free! Cut the nets!
The same cry is heard on all three boats. Leonard grabs
an AXE and starts HACKING AWAY at the tow lines.
Jules and his deck hands do the same. WIRE SHEERS are
brought out for the larger CABLES connected to the nets.
Desperately they try and free themselves as their boats
are dragged helplessly backwards.
ARTHUR
(screaming at his men)
Cut the damned cables!
A CABLE SNAPS!
Jules falls backward as the cables and ropes are either
cut or snapped from the pressure. Their boat stops.
ANOTHER CABLE SNAPS!
Leonard and his crew TUMBLE to the deck as their boat is
freed.
THE HARPO
Is not so fortunate. The lone boat dragged backwards,
faster now without the weight of the other boats. Then
suddenly the aft of the boat begins to get PULLED DOWN,
dipping into the water.
With an unstoppable force the Harpo gets PULLED UNDER
WATER. Deck hands LEAP off the boat as the top cabin is
CRUSHED as the entire ship slowly DISAPPEARS BENEATH THE
SEA.
For a moment all is quiet. No one can believe what just
happened. Hearts pounding, catching their breath.
Then with a WHOOSH of air pressure, the Harpo BURSTS out
of the water. With a gigantic SPLASH, the boat FLOPS on
its side and capsizes. The waters calm, but the nerves
of Jules and Leonard don't.
DISSOLVE TO:
27 EXT. CLOUDY SKIES - MILITARY TRANSPORT PLANE - DAY 27
A storm is brewing ahead as this large Military
Transport plane glides into view then BANKS away.
PETRI DISH
A small piece of Nick's SAMPLE is cut away and placed on
a glass microscope slide.
WIDE TO REVEAL:
28 INT. MILITARY TRANSPORT PLANE - SAME - DAY 28
Nick sits on the floor surrounded by his sloppily
unpacked equipment as he places the slide under his
microscope, examining his specimen.
Quickly stepping over him a young SOLDIER rushes over to
Major Hicks, seated with the rest of the team on the
plane's opposing benches. The Solider interrupts their
discussion.
SOLDIER
Major, we just got a report of a
fishing trawler going down. Exact
position, forty seven degrees
latitude, 67 longitude.
MAJOR HICKS
What makes you think it's related?
SOLDIER
The trawler was pulled under.
The team exchanges worried glances. Hicks moves over to
a map where the other incidents have been marked. He
traces his finger up the 67th longitude until he hits
the 47th parallel. Just off the East Coast.
MAJOR HICKS
Jesus Christ! It's only two hundred
miles off the American Eastern
seaboard and we don't even know what
it is.
ELSIE
Theropoda Allosaurus. Some type of
enormous reptile the likes of which we
haven't seen since the age of
prehistoric dinosaurs.
CLIVE
(sarcastic)
So where's been hiding the last sixty
million years?
ELSIE
The depth and breath of the ocean
floor has barely been explored. His
kind could have survived there
completely undetected.
NICK (O.S.)
What about the traces of radiation?
Everyone turns to discover Nick has walked over holding
his loosely scribbled notes in his hand.
NICK
The radiation is not an anomaly, it's
the clue. This creature is far too
unique on every level to be some lost
dinosaur.
MAJOR HICKS
Don't tell me why it's not, tell me
what the hell it is.
NICK
What do we know? It was first sighted
off the French Polynesian Pacific. An
area that has been exposed to dozens
of nuclear tests over the last thirty
years.
ELSIE
Hence the radiation.
NICK
More than that. I believe this is a
mutated aberration, a hybrid from the
fall out in that region.
CLIVE
(sarcastic)
Like your earthworms?
NICK
Yes! We're looking at a completely
incipient creature. The dawn of a new
species. The first of its kind.
CUT TO:
OCEAN WATER
Racing close to the ocean waters below, something DARK
and ENORMOUS moves swiftly below the surface. We TILT UP
from the raging tides up to REVEAL...
29 EXT. MANHATTAN ISLAND - SKYLINE - RAIN - DAY 29
A storm has arrived as rain moistens the city ahead.
30 INT. DINER - SAME - DAY 30
Dripping wet, Audrey enters from the rain, removing her
raincoat. She walks to a booth where Lucy and ANIMAL, a
slovenly, Italian video cameraman is his mid-thirties,
are taking their lunch break. Animal has two plates of
food he cobbles down.
AUDREY
(sitting)
My life sucks.
LUCY
Oh, please, your life doesn't suck.
His life sucks.
ANIMAL
(between chews)
That's cuz I'm married to you.
LUCY
Shut up. How can you eat like that?
ANIMAL
Big bites.
AUDREY
I can't believe he put the moves on
me. After everything I've done for
him.
LUCY
He's scum! As far as he's concerned
you're just a pair of breasts that
talk.
ANIMAL
I like that image.
AUDREY
You know how I spent last weekend?
Walking his damned dog.
LUCY
I'm telling you he's dirt. He's a
douche bag, gutter slime, dog crap,
puke chunks...
ANIMAL
Hey, hey! I'm eating here!
LUCY
Audrey, you're too damned nice, that's
your problem. Nice gets you nothin' in
this town. You gotta be a killer to
get ahead, you know what I'm sayin'?
I'm sorry, baby, but you just don't
got what it takes.
AUDREY
Animal, you don't think that's true,
do you?
ANIMAL
Nice guys finish last. First rule of
the jungle.
AUDREY
Well, I can be tough if I want.
ANIMAL & LUCY
Yeah, sure.
AUDREY
(seeing something)
Oh my God!
Everything turns to see what Audrey is looking at.
Audrey gets up and rushes over to a television above the
counter.
AUDREY
(excitedly)
Turn that up, turn it up.
The waitress does. On the t.v. plays the same news story
we saw from before from Panama. This time we SEE Nick
and Major Hicks walking on the beach.
AUDREY
It's Nick! I know that guy. I know
him!
LUCY
(unimpressed)
Who is he?
AUDREY
He was my college sweetie! Look at
him. He looks so handsome on t.v. What
the hell is he doing in Panama.
31 EXT. NEW YORK FISH MARKET - BELOW JFK HIGHWAY - DAY 31
Even in the rain doesn't keep people away. Buyers haggle
with sellers. A large MARKET, truck loads of fish. No
one seems to notice the river across from them...
MOUTH OF THE EAST RIVER
Enormous turbulence in the water. Slowly something
begins to LIFT, sheets of water fall. Bursting out, the
backside TALONS of the enormous reptile pierce through.
The TAIL slices through the turbulence.
Two ships anchored at dock begin to LIFT UPWARDS as the
beast below them begins to rise.
ANGLE FISH MARKET
A groaning WAIL ROARS, echoing. The people of the fish
market turn just in time to see...
THE ANCHORED SHIPS
Lifting impossibly into the air above the pier. Suddenly
a TIDAL WAVE of water comes CRASHING down, flooding the
fish market.
32 INT. TRANSIT BUS - P.O.V. THROUGH WINDSHIELD - RAIN - 32
DAY
Through the swinging windshield wipers of the bus we see
the JFK highway in front of us. Suddenly we see...
AN ENORMOUS FOOT
Comes crashing down atop JFK highway, crushing it. The
TRANSIT BUS tumbles off the demolished highway.
The man in the MARKET TRUCK is TOSSED and ENORMOUS TEETH
puncture the top and bottom of his truck as it's LIFTED
IN THE AIR. The man LEAPS from the open back of the
truck.
He lands, HARD, down in front of one of the fish market
stores as hundreds of fish RAIN DOWN from above. With a
loud CRASH, the demolished truck SLAMS to the ground
nearby.
33 EXT. POLITICAL RALLY - BUILDING STEPS - RAIN - DAY 33
With a large RE-ELECT MAYOR FAUSTINO poster behind him,
the MAYOR is at the podium. Before him is a sea of
umbrellas.
MAYOR
I'd like to thank you all for coming
out on this beautiful New York City
day.
Some in the crowd laugh as others applaud. Lost in the
sounds of the crowd we HEAR a soft THUMPING in the
distance.
MAYOR
When I came into office four years
ago, people didn't think we could
reduce crime and I did.
ANGLE - COP IN BACK OF CROWD
leaning to the cop next to him.
COP
(sarcastic)
Yeah, he did.
MAYOR
People didn't think I could restore
order...
This time the THUMPING is HEARD, growing much louder.
MAYOR
...and I did. The city is a safer
place today...
Before he can continue the crowd begins to murmur with
fear as the THUMPING grows LOUDER and CLOSER. Suddenly
with a large CRASHING SOUND a building nearby begins to
CRUMBLE.
MAYOR
(to his aides)
What the hell....
People SCRAMBLE to get out of the way as DEBRIS from the
falling BUILDING litters the area. The Mayor is pulled
inside by his security men.
Bursting out of the crumbling corner of the building we
SEE the enormous LEG of the reptile as it KICKS debris
out of its way.
SIDE ANGLE - WALL STREET - FAST TRAVELING SHOT
Several cars are SQUASHED quickly as the enormous FEET
of the beast STOMPS through the street. Cars FLATTEN and
SCATTER, flipping toward us, from the weight of the
beast. We try to keep up with it, but it's too fast.
After it passes, the Mayor sticks his head out of the
doorway to see the demolished street scene.
MAYOR
What was that?
34 INT. WNEW - CAIMAN'S OFFICE - SAME - DAY 34
Caiman's on the phone as his SECRETARY enters with some
files. Rain and thunder continue outside.
CAIMAN
(into phone)
I don't give a crap about some war in
a country I can't pronounce. That's
not a lead story. Find me a damned
story, will ya!
Just then his Secretary notices a desk lamp, the shade
SHAKING and the light FLICKERING. She hears the THUMPING
approaching. She turns and SEES...
GIGANTIC TEETH
The enormous head of GODZILLA growls as it passes by
Caiman's office window.
SECRETARY
Mr. Caiman. I think your story just
walked by the window.
Caiman turns but there's nothing there. He's confused,
she's dazed.
CAIMAN
What?
Just then the TAIL WHIRLS past with a THUNDERS whip.
35 INT. DINER - SAME - DAY 35
Animal, Lucy and Audrey are at the cashier paying.
LUCY
Did Romeo have a name?
AUDREY
Nick Tatopoulos.
ANIMAL
That why you dumped him?
AUDREY
No! I just couldn't see myself with
some boring egg head who spends his
summer picking apart cockroaches. I
wanted to have some adventure, some
fun...
LUCY
And now you live the glamorous life of
Caiman's assistant. Life's a bitch,
ain't it?
In the distance we can HEAR the THUMPING approaching.
ANIMAL
How long where you and dis guy goin'
steady?
AUDREY
Nearly four years...
LUCY
Four years. Girl, I'm surprised he
didn't ask you to marry him.
AUDREY
That's the problem. He did.
Suddenly the THUMPING gets LOUDER very quickly. Everyone
in the diner reacts.
LUCY
Tell me that's not another goddamned
parade.
The next THUMP RATTLES the entire diner. Things begin to
fall. Through the window we see people RUNNING in
PANIC.
ANIMAL
That's ain't no parade...
Before anyone can speak the entire building is SHAKING.
Through the front window we SEE...
GODZILLA'S FOOT
Smashing down directly outside the window. Cars are
SMASHED. One car SAILS directly INTO THE WINDOW,
shattering it.
Animal uses his size to COVER the girls from the falling
debris. As the danger passes, Animal charges for the
door.
LUCY
Victor, wait!
36 EXT. STREET - CONTINUOUS - RAIN - DAY 36
Animal comes rushing out. Water sprays from displaced
fire hydrants, debris still falls, cars burn. Animal
goes over to his NEWS VAN that has been partially
crushed.
He pries open the rear door and takes out his video
camera and takes off running. Audrey and Lucy arrive too
late to stop him.
LUCY
Victor, don't!
ANIMAL RUNNING
Turning the corner Animal runs full speed through the
debris, trying to jam a video cassette into his camera.
It won't fit. He SEES up ahead...
P.O.V. THE TAIL
Just as it disappears around the corner a few blocks
ahead. Thinking quickly, Animal bolts down a small
alleyway.
37 EXT. OTHER STREET - CONTINUOUS 37
His camera damaged, Animal struggles to get the tape
inside as he exits the other side of the alley. He darts
out into the street to get his shot.
The THUMPING is OVERPOWERINGLY LOUD. He looks up to see,
CARS FLIPPING, PEOPLE SCATTERING.
Then, for the first time, we can clearly see the entire
massive creature that is...
GODZILLA
as he comes barreling towards us. The titanic lizard is
ferocious and agile. Swiftly he moves closer.
Animal's hands fumble with the tape. He JAMS it in,
sweating. He fingers the POWER BUTTON, the red light
goes on. Quickly he shoulders the camera.
P.O.V. THROUGH CAMERA - GODZILLA
Nearly on top of him, Godzilla's own image is suddenly
covered by his own immense foot as it's lifted and about
to come down directly on us.
ANIMAL
Oh shit!
Before he can do anything about it...
GODZILLA'S FOOT
Towering above him. He has no time to flinch as the
gargantuan foot SMASHES DOWN.
In terrifying amazement, Animal remains standing IN
BETWEEN THE BEAST'S TOES. Abruptly the foot LIFTS
again. Animal is unscathed and frozen with fear.
ANGLE - ANIMAL
Close on Animal as the endless TAIL of the creature
DRAGS just past him. It seems to go on forever. Finally
it disappears.
WIDE ANGLE - TABLEAU OF A DEMOLISHED STREET
Deserted and demolished. Cars burn, debris falls.
Animal, the lone figure, just stands there, his chest
heaving, hyper ventilating.
CUT TO:
38 EXT. NEW JERSEY STREETS - LOW ANGLE - AFTERNOON 38
A military CONVOY with Police escort RACES past us.
ABOVE - HELICOPTER SHOT - CONVOY
Sirens BLARING, the convoy and escort speed onward.
39 INT. MILITARY SEDAN - THROUGH WINDSHIELD - SAME 39
Just as they arrive at a military roadblock. Crowds have
gathered as the military try to keep them at bay.
40 EXT. NEW JERSEY SHORE - CLIFF SIDE - DAY 40
The guards let the convoy pass. The military is putting
up a number of large tents. A SERGEANT moves over
quickly to greet the team as they exit their vehicles.
SERGEANT
(quick salute)
Sergeant O'Neal, Sir.
MAJOR HICKS
Any word from the Mayor's office?
Just then dozens of NEWS VANS pull up. Reporters and
camera crews come rushing toward them. The guards rush
to intercept. Stepping out of the next car in the
convoy, Nick and Elise join Major Hicks.
SERGEANT
They've agreed to evacuate the city.
They've called out the National Guard
and riot police are on alert.
As they walk towards the tents the crowd crushes close.
Nick and Elsie are overwhelmed.
ELSIE
(aside to Nick)
Evacuate Manhattan? That's over three
million people. Has that ever been
done before?
NICK
I don't think so.
Several military guards have to clear a path for them as
they enter the tents.
41 INT. COMMAND TENT - CONTINUOUS - DAY 41
Still in construction. The team enters.
MAJOR HICKS
Status report?
SERGEANT
We've lost sight of it, Sir.
MAJOR HICKS
You want to run that by me again?
SERGEANT
(nervous)
After the initial attack he
just...disappeared.
OFFICER
(interrupting)
Major, Secretary of Defense Burk on
the line.
This takes Major Hicks off guard. The last person he
wants to talk to. Nick walks over to the Sergeant.
NICK
I don't understand. How can something
that large just disappear?
SERGEANT
We're not sure. We're scanning the
area now.
ELSIE
He probably returned to the river.
Just like everywhere else we've been,
we're always one step behind.
Nick turns and notices the back of the tent is open
revealing a beautiful view of the Manhattan skyline.
Several soldiers enter, setting up telescopes.
NICK
I don't think so.
Over Manhattan we see several dark plumes of smoke from
the destruction. Military helicopters scan the city.
Staring out at the skyline, Nick is mesmerized.
NICK
I mean, look at it. It's perfect. An
island, water on all sides. But like
no other island in the world, this is
a place where he can easily hide.
(beat)
He's in there someplace.
A SOLDIER comes rushing in.
SOLDIER
Channel eight caught it on film!
He rushes over to a bank of monitors, turns one on. On
the screen we SEE the shaky video Animal took of the
creature just as it was about to step on him.
CAIMAN
(filtered)
...WNEW's exclusive images of the
creature were taken less than a half
hour ago.
Nick and Elsie's jaws nearly hit the floor at the sight
of the immense creature.
CAIMAN
Cameraman Victor "Animal" Palotti
barely survived this vicious attack to
provide us with this footage.
The sounds of applause lead us to...
42 INT. WNEW BUILDING - SAME - DAY 42
Everyone is applauding as Animal, carrying crates of
equipment, passes the t.v. playing the same news story.
Embarrassed, Animal smiles awkwardly.
CO-WORKERS
Way to go Animal! That's my man!
Animal passes Audrey and Lucy who are packing up some
files.
AUDREY
Great stuff, Animal. Weren't you
scared?
ANIMAL
Sure I was. I thought Lucy was gonna
kill me.
LUCY
Damned right, you crazy Wop!
We SEE the room is in disarray from packing up cartons
of boxes and equipment. The workers have taken a break
from the packing as they watch the t.v. broadcast. The
station manager, MURRAY enters anxiously.
MURRAY
People! We have to be completely
relocated to the New Jersey station
before our 5:30 broadcast.
(reading from list)
Okay, Caiman, Devoe and Animal, you're
on the helicopter. Everyone else we'll
see you in Jersey.
ANIMAL
Gotta go, honey. You guys gonna be all
right?
LUCY
Audrey's going to stay with us
tonight.
ANIMAL
Great. See ya then.
Animal hurries out after him. Audrey and Lucy go back to
packing. Audrey looks up at the t.v. just as they replay
the footage of Nick and Elsie being led into the command
tent.
FIELD REPORTER
(filtered)
...military and government health
officials set up a command post on the
New Jersey coast this afternoon...
Surprised at first, Audrey suddenly becomes very
excited. She SEES Caiman exiting the studio at the end
of the hall. She rushes over to him.
AUDREY
Caiman, wait. Take me with you.
CAIMAN
What?
AUDREY
I've got something on this. I know a
guy on the inside with the
military...
CAIMAN
Not now. You got my bag?
Audrey holds up his bag as they walk towards the
elevator.
AUDREY
You don't understand, I can get us
information...
CAIMAN
Listen, this is the time when the big
boys have to go to work, okay Honey?
With that, Caiman walks into the elevator. Pissed,
Audrey just stares at him.
CAIMAN
The bag?
Audrey THROWS the bag at him, knocking him backwards as
the elevator doors close. Lucy walks over.
LUCY
Come on, Girl, we've gotta go!
43 EXT. WNEW OFFICE BUILDING - MINUTES LATER - DAY 43
Lucy and Audrey carry their bags outside into the chaos
that has taken over the city. Hundreds of people trying
to leave at once. Gridlock.
As they move into an overcrowded subway entrance,
Audrey looks up just in time to SEE the WNEW NEWS
HELICOPTER lifting off from the building behind them.
CUT TO:
44 EXT. MANHATTAN - HELICOPTER SHOT - LATE AFTERNOON 44
We SEE the destroyed parts of downtown Manhattan. Police
barricade the streets as firemen work to contain the
fires.
CAIMAN (O.S.)
...in what city officials are calling
the worst act of destruction since the
World Trade Tower bombing...
45 INT. WNEW NEW HELICOPTER - SAME - LATER AFTERNOON 45
Caiman stares earnestly at his video camera.
CAIMAN
...Police and the National Guard have
quarantined off over twenty square
city blocks...
46 EXT. OVERHEAD HELICOPTER SHOT OF MANHATTAN - SAME 46
Below we see the largest traffic jam in the history of
the city. Police and National Guardsmen guide the
traffic.
CAIMAN
...hundreds of thousands have jammed
the streets in the largest evacuation
in the history of the city. And many
people are not happy about it.
47 EXT. MAN ON THE STREET INTERVIEW - VIDEO FOOTAGE 47
Quick cuts of people who where interviewed earlier.
WOMAN
I don't understand why we have to
leave our homes. It's over already,
isn't it?
MAN
What are we running from? A big
lizard? I've got cockroaches in my
building that could kick the crap out
of it.
48 EXT. TIMES SQUARE - GRIDLOCK - LATE AFTERNOON 48
Near chaos as police and National guardsmen attempt to
bring order to the hundreds of honking, screaming
motorists.
RIOT POLICE VAN
Dozens of armed officers pile out of the van.
NATIONAL GUARDSMEN
Maintaining blockades in front of their military
vehicles.
49 EXT. SEVENTH AVE E - ROADBLOCK - LATER AFTERNOON 49
The evacuation effort is made more difficult as traffic
must be diverted away from the quarantined destruction
area ahead. Police block the street, smoldering
buildings behind them. The detour only makes things
worse.
50 EXT. CITY BANK BUILDING - WALL STREET - SAME 50
Several National Guardsmen walk up to the City Bank
building where they find an ENORMOUS HOLE smashed into
the side of the building. The Guardsmen peek inside.
GUARDSMEN'S P.O.V. - INTO BUILDING
We SEE THROUGH the building to a hold on the other side.
Godzilla apparently walked RIGHT THROUGH. The Guardsmen
are visibly shaken.
51 INT. SUBWAY STATION - SAME 51
Way beyond capacity, the flooded subway platform bursts
with people pushing and shoving to get into the trains.
Caught in the craziness we find Audrey and Lucy trying
desperately to get on board.
P.A.
Please don't push. People are getting
shoved down onto the tracks and the
trains can't leave...
The last to fit inside, Lucy and Audrey cram in just as
the doors shut behind them. People left behind BANG on
the closed doors as the subway pulls out.
52 EXT. GEORGE WASHINGTON BRIDGE - HELICOPTER SHOT - SAME 52
A gigantic traffic back up all the way down the Westside
Highway. The bridge is a veritable parking lot.
MAYOR (O.S.)
Well this is great!
53 INT. MAYOR'S HELICOPTER - LATER AFTERNOON 53
With his close aides in tow, the Mayor stares at the
melee below.
MAYOR
If we're wrong on this evacuation
they'll string me up from the Liberty
torch.
54 EXT. COMMAND CENTER - JERSEY CLIFF SIDE - LATE 54
AFTERNOON
The Mayor's helicopter sails over the George Washington
Bridge and over to a small landing pad near the Command
Center. A large group of people dressed in business
suits await the helicopter.
55 INT. MAYOR'S HELICOPTER - LATE AFTERNOON 55
Just as the helicopter is landing, the crowd moves
toward the chopper.
MAYOR
Who the hell are they?
AIDE
It's a contingent of building owners
and community business
representatives.
MAYOR
I don't have time for this nonsense.
AIDE
Most of them are campaign
contributors.
Well that's a different story.
56 EXT. LANDING PAD - CONTINUOUS - LATE AFTERNOON 56
As the Mayor steps out he's greeted by a nervous crowd
of people shouting, "How long do we have to shut our
business down? Will the city cover the damages? Etc."
Among them, DONALD TRUMP tries to get the Mayor's
attention.
MAYOR
I share your concerns. I want to get
the city back in business as soon as
possible.
As he pushes through the dense crowd he runs directly
into...
RAYMOND
Who waits for the Mayor. The Mayor is momentarily
stopped.
RAYMOND
(handing his card)
CHARGURES Insurance. We represent
nearly thirteen percent of the
buildings in your city.
MAYOR
If you'll excuse me...
RAYMOND
We are very happy that you are in
control of this situation.
With that he gently pats the Mayor on the back, leaving
a small, nearly undetectable DEVICE on the Mayor's
collar.
RAYMOND
You can count on our emotional and
financial support.
MAYOR
Oh, well, thank you very much.
Briskly he shakes his hand as he pushes his way through
the crowd. Raymond watches him pass, seeing the device
stuck to the Mayor's collar.
ANGLE - WNEW NEWS CHOPPER
Rushing over from the parked news chopper, Animal and
Caiman race for the Mayor who walks through a mob of
reporters.
CAIMAN
Hurry, we're going to miss the Mayor.
But before he can get close, two POLICE OFFICERS stop
them.
POLICE OFFICER
Sorry, you gotta have a press ID past
this point.
CAIMAN
Don't you watch t.v.?
POLICE OFFICER
Can we see your press pass, sir?
Flustered, Caiman searches his pockets for his press
pass.
CAIMAN
I had one here on my bag. Where the
hell did I put it?
CAIMAN'S PRESS PASS - ECU
We SEE Caiman's plastic smile on his press ID. Suddenly
AUDREY'S picture is placed on top of Caiman's.
WIDEN TO
REVEAL:
57 INT. SUBWAY STATION - SAME - LATER AFTERNOON 57
Smashed together like sardines, Audrey plays with
Caiman's press pass, trying to put her photo over his.
LUCY
What the hell are you doing?
AUDREY
Remember my friend we saw on t.v.?
LUCY
Your old sweetheart?
AUDREY
Yeah, well he just turned up in New
Jersey at the military command post.
Somehow all this is related to what
happened down in Panama. There's a
story here. I know it. You got any
tape or glue?
LUCY
I left my forgery kit back at the
office.
Audrey looks over at a young ten year old boy holding
his backpack, a RULER sticking out of the back.
AUDREY
Hey, do you have any glue in your
bag?
KID
What's it to you?
AUDREY
Can I use some?
KID
What do I get?
AUDREY
The warm feeling of helping your
fellow man.
KID
Five bucks.
AUDREY
You're kidding, right?
The Kid simply puts his hand out.
58 EXT. NEW JERSEY TRAIN STATION - LATER 58
People FLOOD off the train out into the station.
P.A. ANNOUNCER
Please exit the station. For those of
you without accommodations, the city
has opened up shelters on Monroe and
60th and at Bergenline and 72nd.
Please exit the...
Audrey and Lucy walk through the crowd. Audrey turns and
gives Lucy a kiss.
AUDREY
Wish me luck!
LUCY
Audrey, I don't think this is a very
good idea. Caiman finds out and he'll
have your job.
AUDREY
I'm tired of waiting for someone else
to give me an opportunity, Luce. If
there's a story here I'm going to find
it.
Lucy nods in acceptance as Audrey disappears into the
dense crowd. Lucy worries for her friend.
CUT TO:
"YUM YUM DOUGHNUTS" BAG - PRE-SUNSET
Carried along with a Styrofoam cup of coffee. We WIDEN
TO REVEAL a MAN carrying the junk food to a GREY VAN
parked not too far from the Command Center Tent across
the way.
The man knocks on the back of the van. The van opens to
reveal...
59 INT. RAYMOND'S VAN - PRE-SUNSET 59
Filled with high tech monitoring equipment, Raymond and
his men are listening in to a conversation. The man with
junk food hands it to Raymond.
RAYMOND
Merci.
He opens the bag and takes out a croissant. He bites
into it and grimaces. To wash away the taste, he drinks
from the coffee. It's worse than the croissant.
RAYMOND
You call this coffee?
MAN
(French accent)
I call this America.
The man takes a seat near Raymond as Raymond turns up
the volume on his headset.
MAYOR (O.S.)
(mid argument)
You're telling me that in an election
month I've evacuated the entire city
for nothing?
60 INT. COMMAND TENT - WAR ROOM (TENT) - PRE-SUNSET 60
From behind the Mayor's head we SEE the monitoring
device attracted to his collar. As he speaks we WIDEN TO
REVEAL...
MAYOR
Do you realize what this evacuation
will cost the people of this city!?
Representatives of all branches of the military,
National Guard and the Mayor's office are here. The room
overflows with people. Nick, Elsie and the scientist
stand near the back of the tent.
ADMIRAL PHELPS
We're been monitoring the waters
around the island. As far as we can
tell it hasn't left the area.
MAYOR
But you don't know for sure.
MAJOR HICKS
We think there's a strong reason to
believe it may be hiding inside one of
the buildings within the sequestered
area.
MAYOR
But you don't know for sure!
Just then Sergeant O'Neal enters hurriedly. He wants to
speak but waits for the opportunity.
MAJOR
(controlling his temper)
Mr. Mayor, if he's not in one of those
buildings then we give the all clear.
But not until we've checked each
building!
SERGEANT O'NEAL
Sir, that may be more difficult than
we originally projected.
MAJOR
More good news?!
SERGEANT O'NEAL
We've run into a problem.
CUT TO:
A SIGN READING: SUBWAY STATION: 23RD STREET - SUNSET
We CRANE DOWN to reveal several military sedans pulling
up into FLAT IRON SQUARE (where Broadway meets 5th).
Sergeant O'Neal leads the team out of the cars and down
a subway entrance.
61 INT. SUBWAY STAIRWELL - CONTINUOUS - SUNSET 61
Marching down the stairs, the team enters into the very
large subway station. For all we see it seems like a
normal subway station except for the fact that every one
of the team members look ASTONISHED.
SERGEANT O'NEAL
Lt. Anderson and his men found this
late this afternoon.
The camera makes a hundred and eighty degree turn as we
suddenly SEE what the team is staring at...
AN ENORMOUS HOLE
The four normal subway tunnels have been CARVED OUT
making one GIGANTIC TUNNEL. Debris and crumbled brick
are everywhere. Several SOLDIERS with flashlights
approach the hole.
Lt. Anderson moves over to the astonished group. Some of
the scientists fan out, examining the area.
LT. ANDERSON
We were checking the office building
above when we discovered the floor was
gone.
LOW ANGLE - REVEALING THE HOLE IN THE CEILING
We SEE that not only is the ceiling gone but the
building above is hollowed and torn to shreds. Another
hole in the building leads to the street.
LT. ANDERSON
When we learned he could burrow his
way through the tunnels we realized he
could be out of the quarantined zone.
MAJOR HICKS
Christ. How many tunnels lead off the
island?
LT. ANDERSON
Only five, Sir. We've checked them
all. He hasn't used any of them.
MAJOR HICKS
Have them sealed off.
LT. ANDERSON
And how should we do that, Sir?
MAJOR HICKS
Fill them with cement, brick them up,
put land mines in them, bombs, I don't
know, just make sure that goddamned
thing doesn't leave the island!
ANGLE - INSIDE DARKENED TUNNEL
As the SOLDIERS slowly move down deeper into the
tunnels, their flashlight beams scan the area. Could
they stumble onto something dangerous?
ANGLE - NICK
as he approaches Major Hicks and Sergeant O'Neal.
NICK
You know, he's not an enemy trying to
evade you. He's just an animal.
MAJOR HICKS
What are you suggesting?
NICK
When I needed to catch earthworms, I
knew the best way to catch them was
not to chase them. I had to draw them
out.
ANGLE - SOLDIERS - DARKNESS
Still moving deeper into the tunnel we get the feeling
these soldiers may just waken a sleeping giant.
BACK TO TEAM
Nick moves to the edge of the platform, looking off into
the dark tunnel.
NICK
All we need to do is find out what it
wants, what it needs, and he'll come
to us.
ANGLE - SOLDIERS - DARKNESS
The lead Soldier SEES something. Cautiously he moves
forward thinking he's onto something. We HEAR something
MOVING in the darkness.
We FOLLOW his beam as the noise grows clearer. The beam
falls onto something on the floor...
A FISH
Flopping on the ground is a large FISH. As the beam
moves farther along we see two, no, three fish ahead.
CUT TO:
62 EXT. NEW YORK CITY STREET - POST-SUNSET (MAGIC HOUR) 62
A battalion of armored TANKS roll down this deserted
city street. A large number of GROUND TROOPS march
behind.
COBRA HELICOPTERS - SAME - MAGIC HOUR
Banking in formation, the helicopters swerve, heading
towards mid-town Manhattan.
SAND BAG FORTIFICATION
Soldiers pile up sand bags, creating a make shift
fortification. SHARP SHOOTERS and a BAZOOKA BRIGADE
settle into place.
63 EXT. FLAT IRON SQUARE - SAME - MAGIC HOUR 63
Major Hicks moves over to a jeep and grabs the radio.
64 INT. COMMAND TENT - SAME - MAGIC HOUR 64
Major Hicks sits by a bank of communications
technicians.
MAJOR HICKS
Where are they now?
RADIO TECHNICIAN
Delta niner, what is convoy position?
65 EXT. BROOKLYN BRIDGE - SAME - MAGIC HOUR 65
Led by armored military vehicles we SEE a convoy of
TWENTY YELLOW DUMP TRUCKS passing over the bridge.
DRIVER (O.S.)
Command, we're just entering the
city.
66 EXT. FLAT IRON SQUARE - SERGEANT O'NEAL - SAME 66
Sergeant O'Neal listens to the response on the radio.
RADIO TECHNICIAN
Convoy ETA, five minutes.
The Sergeant signals several military technicians, who
are mounting several video cameras to hurry.
67 INT. COMMAND TENT - SAME - MAGIC HOUR 67
A buzz of activity. Military Officials and personnel.
The Mayor enters and joins his aides in the back of the
room.
MAYOR
(whispering to Aide)
They find anything yet?
The Aide shakes his head. Monitors come to life with a
live video feed-from several cameras we saw mounted.
A CABLE REPAIRMAN - MAGIC HOUR
In blue overalls, the REPAIRMAN walks up to a large
satellite dish. We WIDEN to REVEAL the dish is parked
next to the Command Tent. He kneels down next to some
cables leading away from the dish toward the Command
Tent.
68 INT. COMMAND TENT - MAGIC HOUR 68
Suddenly all the screens FUZZ OUT. Just as quickly the
monitors return to normal. No one seems to notice.
69 EXT. SATELLITE DISH - SAME - MAGIC HOUR 69
The Repairman finishes affixing a small DEVICE to the
cable. He taps his earpiece and speaks into his own
lapel.
REPAIRMAN
(French accent)
It is good.
70 INT. MOTEL ROOM - SAME - MAGIC HOUR 70
We SEE Raymond and his men have turned this dingy Motel
room into a command central of their own. Raymond is
putting sugar into his coffee when a bank of monitors
turn on. They are seeing THE SAME VIDEO FEED as the
Mayor. Pleased, he takes a sip. It's awful.
RAYMOND
You said this was French Roast!
His aid turns, holding a package labeled FRENCH ROAST.
RAYMOND
(defeated)
More cream.
His associate hands him some milk. He adds it to the
coffee. No use, it still sucks. On the monitors we SEE
the DUMP TRUCKS entering Flat Iron Square.
71 EXT. FLAT IRON SQUARE - SAME - MAGIC HOUR 71
The DUMP TRUCKS arrive and the soldiers guide the
trucks, forming a circle, their tails facing each other.
As the last one passes it REVEALS Nick and Sergeant
O'Neal.
SERGEANT O'NEAL
I sure hope your plan works.
NICK
I'm kind of hoping the same thing.
The twenty of them, in concert, begin to dump their
cargo.
LOW ANGLE - CENTER OF THE DUMP TRUCK CIRCLE
Tons and tons of FISH are DUMPED directly on top of us.
72 INT. RAYMOND'S MOTEL - SAME - MAGIC HOUR 72
On the monitors they watch in astonishment as the fish
get dumped into a large pile in the center of Flat Iron
Square.
AIDE
Tres bizarre.
RAYMOND
No.
(leaning forward)
Very clever.
73 EXT. FLAT IRON SQUARE - FISH PILE - SAME - NIGHT 73
A MOUNTAIN OF FISH have been piled into the center of
Flat Iron Square.
NICK
That's a lot of fish.
A master of the obvious. Sergeant O'Neal shoots him a
glare and moves over to the men. Together they march
into a building at the edge of the square.
SOLDIERS
Loading up rifles, taking positions. GAS MASKS being
handed out down a long line for all the soldiers.
The TANKS move into their final positions. The National
Guardsmen and Soldiers supporting the Tanks take
positions.
74 EXT. TOP OF THE SQUARE - SAME - NIGHT 74
Entering from the stairs out onto the roof, Sergeant
O'Neal and his men take positions, observing from
above.
Everyone is waiting. The silence is deafening.
ANGLE - NICK
As everyone waits, Nick scans the area, thinking.
Suddenly something catches his eye...
STEAM VENT
Through a steam vent in the streets. Nick sees STEAM
lifting into the air. He notices several other vents
doing the same thing around the square. Quickly Nick
rushes over to a YOUNG OFFICER.
NICK
I need your radio.
The Young Officer leads Nick over to his jeep. Nick
grabs the receiver.
NICK
Sergeant O'Neal, the subway vents. We
have to shut them down...
75 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 75
O'Neal listens to Nick on his radio.
NICK (O.S.)
(filtered)
...With the air pressure pushing up,
he'll never smell the bait!
SERGEANT O'NEAL
(turning to soldier)
Get some men down into those air
vents. Shut 'em down!
76 INT. SUBTERRANEAN AIR VENT - MOMENTS LATER - NIGHT 76
With a loud WHINE we HEAR the vents shutting down. The
large whirling FAN BLADES slow to a stop.
77 EXT. FLAT IRON SQUARE - SAME 77
One by one the steam pillars begin to disappear as the
vents are turned off. There is a long tense moment of
waiting. When will it come? Will it come?
Before the Young Officer can stop him, Nick rushes over
to a manhole cover in the center of the street. The
cover is to heavy. He yells back.
NICK
We need to open all the manhole covers
in the area. Let the scent waft down.
The Young Officer signals other soldiers. Nick steps
back and lets the soldiers go to work. As he walks back,
he spots another manhole cover at the next intersection
down a side street. He runs over to it.
ANGLE - SIDE STREET - MANHOLE COVER
A particularly heavy one in the center of this
intersection (a block away from Flat Iron Square), Nick,
alone, wrestles to remove it. With all his might, he
drags it clear.
Suddenly, through the hole he HEARS some STRANGE NOISES
from below. Rattled, he slowly backs away from the hole.
The NOISES grow increasingly louder.
Then with a DEAFENING ROAR, the ground behind Nick
ERUPTS and GODZILLA RISES, ripping up the boulevard as
he does.
Nick SPINS only to find himself face to face with the
gigantic creature. Godzilla's head slopes down,
apparently looking Nick in the eye.
All around foot soldiers appear, guns trained, shoulder
hoisted rocket launchers prepared.
Out of the corner of his eye, Nick sees all this. He
gently signals with his hands that they should NOT fire.
Sensing no danger from Nick, Godzilla simply STEPS OVER
Nick.
NICK'S POV - UNDER GODZILLA
As the gargantuan creature walks over us, making a
beeline for the fish.
Nick turns and RUNS, following him.
78 EXT. FLAT IRON SQUARE - CONTINUOUS - NIGHT 78
Godzilla moves into the square. The military hunkers
down, ready to strike. Cautiously the beast moves over
to the mountain of fish.
79 INT. COMMAND TENT - SAME 79
Major Hicks watches the monitors as Godzilla approaches
the fish.
MAJOR HICKS
Commence phase one. Let's gas it!
80 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 80
Everyone on the rooftop puts on their GAS MASKS.
SERGEANT O'NEAL
Let 'em fly!
ANGLE - STREET LEVEL - SAME
All the soldiers PUT ON their GAS MASKS. A team of
EIGHT, pull out a GAS CANISTERS and yank the releases.
They DROP them down the long barrels of air cannons,
preparing to fire.
SAND BAG FORTIFICATION - SAME
Nick runs past the fortification, trying to get a closer
look. The Young Officer yells after him.
YOUNG OFFICER
Where're you going? Nick!
Nick stops briefly as the Young Officer TOSSES a gas
mask to Nick who quickly puts it on and dashes for a
closer spot. Suddenly SAILING OVER HIS HEAD we SEE...
GAS CANISTERS
Firing from the air cannons, the GAS CANISTERS streak
across the sky landing behind Godzilla. The Yellow gas
forms a wall of smoke that drifts upwards.
ANOTHER ANGLE - OPPOSITE CORNER
Across the way eight MORE CANISTERS are FIRED at the
beast. Quickly Godzilla is surrounded by the gas fumes.
ANGLE - NICK
Frustrated at his inability to see through the smoke, he
DASHES forward over to a large BRONZE STATUE.
GODZILLA
The smoke annoying and distracting him, Godzilla spins,
his tail waving the smoke away. But the smoke returns.
Godzilla YELLS OUT. Frustrated he rears back and
BLASTS!
For the first time we SEE the infamous POWER BREATH of
Godzilla. With amazing FORCE the smoke, canisters, cars
and anything that isn't nailed down SAILS BACKWARDS from
the intense pressure.
Nick is HIT by the WAVE of air pressure and is sent
FLYING BACKWARDS, impossibly high in the air.
An enormous fabric BANNER advertising this season at the
MET, catches Nick who SLIDES down the banner, hitting
the ground, HARD. Just as he looks up he SEES...
A LARGE TRUCK
Tumbling toward him from the power breath. Nick
SCRAMBLES to his feet just in time as the rolling Truck
SMASHES into the building behind where he just sat.
ANGLE - TROOPS - FORTIFICATION
The troops have to SCATTER as the tumbling trucks and
cars are FLUNG AT THEM, disabling their attack forces.
Trucks and rocket launches are CRUSHED by the tumbling
debris.
Godzilla CONTINUES to BLOW at everything around him.
Cars and trucks ROLLING. Soldiers DIVING for cover. It's
chaos.
The glass in all the surrounding buildings SHATTER,
shards of glass raining down. Windows, street lamps, all
blown out by the tremendous gale force winds.
81 INT. COMMAND TENT - MAJOR HICKS - SAME - NIGHT 81
On the monitors we SEE the melee.
MAJOR HICKS
Fire at will!
82 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 82
SERGEANT O'NEAL
Fire at will. Fire at will.
83 EXT. FLAT IRON SQUARE - SAME - NIGHT 83
From all angles, soldiers rush back to their equipment
and attempt to FIRE. Very few are able to get off
rounds.
84 EXT. ROOFTOP - SAME - NIGHT 84
O'Neal tries to steady himself as the soldiers FIRE down
at the creature below. One HOISTS a MISSILE launcher.
ANGLE - GODZILLA - NIGHT
As the FIREPOWER begins around Godzilla, he takes a hit
in the shoulder and SCREAMS OUT. Suddenly he LEAPS away
just as several MISSLES HIT the Flat Iron Building
behind where Godzilla was standing only moments
earlier.
Dashing down a side street, Godzilla LEAPS over the
waiting tanks who cannot adjust their cannons in time.
WE'VE NEVER SEEM HIM MOVE THIS QUICKLY. Several tanks
are SQUASHED as the beast bull dozes right through the
regiment.
85 INT. COMMAND TENT - SAME - NIGHT 85
We SEE the Flat Iron Building crumbling on one of the
monitors near Major Hicks. In the rear of the room the
Mayor looks sick.
86 EXT. FLAT IRON SQUARE - SAME - NIGHT 86
Soldiers come out from behind the crashed vehicles and
debris. Only the smoldering devastation is left behind.
87 INT. COMMAND TENT - MAJOR HICKS - SAME - NIGHT 87
The monitors only show static or devastation.
MAJOR HICKS
(into radio)
O'Neal, what the hell is going on
there!?
88 EXT. ROOFTOP - SAME 88
Quickly his men are packing up.
SERGEANT O'NEAL
(into radio)
He's gone, Sir. Echo division's in
pursuit.
89 EXT. AVENUE OF THE AMERICAS (6TH AVE.) - SAME - NIGHT 89
Four ARMORED MILITARY VEHICLES come SKIDDING around the
corner in hot pursuit. Each with a team manning enormous
mounted weaponry.
REVERSE ANGLE - 6TH AVE. - GODZILLA
Galloping like a Gisele uptown, Godzilla is SPEEDING up
the boulevard. The armored vehicles OPEN FIRE. Some
shots CLIP into Godzilla's back. Ahead he is running
directly into...
MOBILE MISSILE LAUNCHERS
Blocking off the street in front of him. They FIRE.
Pinned down, the creature SCREAMS and DUCKS away down
another side street. The missiles can't turn fast enough
and SLAM into a building, DEMOLISHING it.
90 EXT. ELECTRONICS STORE - SAME - NIGHT 90
The window is SMASHED in. A small group of LOOTERS are
loading up their mini-van. Finishing up the group is
about to leave.
LOOTER #1
Jimmy, let's go.
LOOTER #2
Wait. I want this. Help me!
The group rejoins Jimmy as they try to pull an enormous
Pin Ball machine from the window. As they carry the
machine back towards the mini-van...
SQUASH! - GIGANTIC FOOT
Godzilla's enormous foot flattens the mini-van like a
pancake. The Looters go pale. As the Military Armored
Vehicles RACE by in hot pursuit.
91 EXT. BROADWAY - SAME - NIGHT 91
Godzilla BOUNDS onto Broadway and FREEZES, looking
around. As he looks downtown he SEES...
GODZILLA'S P.O.V. - MILITARY ARMORED VEHICLES
Skidding around the corner a few blocks back, the
armored vehicles reappear.
Godzilla turns uptown and BOLTS. As he gets up to full
speed...
COBRA HELICOPTERS
A team of FOUR COBRA HELICOPTERS swoops down heading
directly for Godzilla.
92 INT. COMMAND TENT - MAJOR HICKS - NIGHT 92
The Mayor stands over a Radio technician.
HELICOPTER PILOT (O.S.)
(filtered)
We have him, locked on.
MAJOR HICKS
Then FIRE damn it!
93 EXT. TIMES SQUARE - SAME - NIGHT 93
Godzilla runs into the famous lighted square (looking
remarkably like Tokyo) just as the COBRA'S come SWEEPING
DOWN out of the sky.
Godzilla SPOTS them and leaps away just as they FIRE
missiles, which RIP INTO the famous JUMBO TRON VIDEO
BILLBOARD, demolishing the building.
The Cobra's SWERVE quickly, pursuing Godzilla down a
side street.
94 EXT. LEXINGTON AVENUE - SAME - NIGHT 94
Godzilla appears, turning the corner and racing down the
street. From behind, the Cobra helicopters come
SCREAMING down on him, they FIRE ROCKETS at Godzilla
who, again, deftly turns a corner.
The errant rockets BLAST into the CHRYSLER BUILDING, as
they attempt to follow him but fail. Shards of glass come
RAINING DOWN as the building crumbles.
ANGLE - ARMORED VEHICLES
As they race around the corner they SLAM ON THE BREAKS
just as the familiar CONE of the Chrysler building comes
CRASHING DOWN just inches in front of the vehicles,
tumbling into the street.
95 INT. COMMAND TENT - SAME - NIGHT 95
The static increases over the radio.
HELICOPTER PILOT
(filtered)
That is a negative impact.
The Mayor, in the back of the room stands, furious.
MAYOR
Negative impact!?! It's the goddamned
Chrysler building, that's what it is!
His aides try to calm him.
MAJOR HICKS
(into radio)
You said he was locked on!
96 EXT. SIDE STREET - COBRA HELICOPTER P.O.V. - NIGHT 96
Moving through the narrow side street.
HELICOPTER PILOT (O.S.)
The heat seekers can't lock. He's
colder than the buildings around him.
97 EXT. 5TH AVENUE - CONTINUOUS - NIGHT 97
The four Cobra helicopters ZOOM around the corner and
into 5th avenue.
COBRA HELICOPTER P.O.V. - GODZILLA
Godzilla is ahead of us. The choppers FIRE again, this
time using their gun turrets, ACCELERATING toward the
beast.
Under heavy bullet firepower and the choppers nearly on
top of him, Godzilla DIVES into an office building.
The helicopters surround the crumbling building, and
OPEN FIRE, decimating it. They STOP firing and stare
into the smoldering mess they've made.
PILOT
I think we got him.
Just then ERUPTING out of a building behind them...
GODZILLA
POUNCES OUT of the building, snapping up two of the
helicopters in one bite!
He WHIRLS around and SWIPES another out of the air with
his ENORMOUS CLAW. The CLAWED helicopter SLAMS into the
ground just as...
ARMORED VEHICLES
come sliding around the corner, directly into the
CRASHING HELICOPTER which explodes on impact. The entire
team is taken out with the concussion.
98 INT. COMMAND TENT - MAJOR HICKS - SAME - NIGHT 98
Major Hicks is on his feet, steaming mad.
MAJOR HICKS
(into radio)
Echo four, where is he!?
99 EXT. AVENUE OF THE AMERICAS - SAME - NIGHT 99
As the remaining Cobra helicopter SWERVES around,
Godzilla is gone.
HELICOPTER PILOT #4
I don't know sir. He just vanished.
As the helicopter PASSES a dark building we SEE a SHAPE
MOVE! We realize that like a chameleon, Godzilla had
TAKEN THE COLOR of the building and hid. With the
helicopter past him, he CHASES FROM THE REAR.
HELICOPTER PILOT #4
(realizing)
Oh Jesus!
The chopper GUNS IT, full throttle. Godzilla GIVES
CHASE. Even at its top speed it can't out run the big
creature.
The chopper tries to LIFT AWAY but before he can get the
height, Godzilla SNAPS his gigantic jaws and SWALLOWS
THE HELICOPTER WHOLE.
STREET - WIDE ANGLE
The fires burn and the rubble crumbles. Godzilla gives
one final SCREAM and DIVES into a building,
disappearing.
100 INT. COMMAND TENT - SAME - NIGHT 100
The Mayor's aide try to hold him back as the Mayor is
charging at Major Hicks.
MAYOR
What the hell is the matter with you
people?! You caused more damage than
that thing did!
101 EXT. 5TH AVENUE - SAME - NIGHT 101
Empty and devastated. Fires continue to burn.
102 EXT. FLAT IRON SQUARE - SAME - NIGHT 102
Nick, Sergeant O'Neal and several of his men walk
through the devastated area. Nick kneels down and
SEES...
NICK'S P.O.V. - PUDDLE OF BLOOD
There is a large reddish brown puddle of blood. Nick
takes out a small glass container and scoops some up.
SERGEANT O'NEAL
I can't believe it. He did all this
and we did nothing to him.
Nick walks over to him, consoling.
NICK
That's not true. We fed him.
REVERSE ANGLE
Only a few scattered fish remain where the mountain of
fish once was. Our team stands there amidst the rubble.
FADE OUT:
FADE IN:
103 INT. NETWORK NEWS DESK - VIDEO FOOTAGE 103
A network news ANCHOR speaks directly at us as a video
of the Chrysler building getting destroyed plays behind
him.
ANCHOR
While it may have looked like Beirut,
it was in fact, Manhattan where man
and nature have collided with brute
force.
The video switches to the White House where we SEE the
President signing a bill.
ANCHOR
The President today declared a state
of emergency and has issued disaster
relief funds to New York City.
WIDEN TO
REVEAL:
104 INT. WNEW NEWS TRUCK - VIDEO FEEDS - SAME - NIGHT 104
We SEE that we've been watching the video on one of MANY
video monitors showing all the news broadcasts. As an
assistant moves away from the monitors we FOLLOW him out
of the truck.
105 EXT. WNEW NEWS TRUCK - CONTINUOUS - SAME - NIGHT 105
We continue to FOLLOW the assistant outside, revealing
the enormous MOB of reporters that have gathered just
outside the military command tents. As we FOLLOW the
assistant he passes several reporters doing "stand-up"
reports.
REPORTER #1
...rumors continue to mount as to the
origin of this, perhaps, lost
dinosaur...
REPORTER #2
...having shut down the United Nations
in the evacuation, foreign diplomats
are demanding an international
coalition be assembled to track the
creature...
The assistant finally arrives at Caiman who is doing a
live remote. Animal works the camera.
CAIMAN
...Maintaining a total media blackout,
officials remain silent this evening
as to their progress in containing
this creature...
Behind him, in the crowd we SEE Audrey pushing her way
through the reporters, her fake ID pinned on her shirt.
She turns and sees Caiman. Quickly she ducks down and
moves deeper into the crowds.
Suddenly there is movement as the crowd turns their
collective attention over to a group of cars pulling up
nearby. Audrey pushes her way to see what's happening.
The cars are BLOCKED from returning to the command tents
as the reporters MOB the first car in line.
106 INT. SEDAN - NICK - NIGHT 106
Nick observes the chaos. Through the crowd he SEES a
Pharmacy, a neon sign reading: Never Closes. He looks
back down at the blood sample he holds in his lap and
gets an idea.
NICK
(to the driver)
It's okay, I'll get out here.
He opens the car door and pushes his way through the
crowds who are less interested in him as they are the
military officials.
NICK'S P.O.V. - MEDIA CIRCUS - CROWDS - NIGHT
Pushing his way through, Nick SEES what a circus this
has become; t.v. news camera crews, journalists,
concerned citizens, worried mothers, and of course,
merchandising...
STREET STANDS
Nick passes several vendors selling dinosaur toys,
copies of Animal's now famous news video clip and, of
course, tee shirts with still images from that same
clip.
ANGLE - AUDREY
Through the dense crowd, Audrey SEES Nick in the
distance. Excited she starts to push her way through.
107 INT. PHARMACY - SECONDS LATER - NIGHT 107
Ringing the night bell, Nick calls for the PHARMACIST
who enters, weary eyed.
PHARMACIST
Can I help you, young man?
NICK
Do you have any home pregnancy tests?
Especially ones that test for
catastrophic hormones or clomiphene
citrate.
PHARMACIST
This is all we've got.
The Pharmacist puts onto the counter six different off
the shelf home pregnancy tests.
NICK
I'll take them all.
AUDREY (O.S.)
You must have quite some harem.
Nick spins to find Audrey standing right behind him.
Embarrassed, Nick awkwardly pays for the tests.
NICK
Audrey?! Is that you? Hi, hello. You
look, wow, uh, how've you been?
AUDREY
It's good to see you, Nick.
The Pharmacist puts out Nick's change. He scoops it out
and we FOLLOW them as they exit together.
NICK
So you made it.
AUDREY
What?
He points to her fake press ID she's still wearing.
NICK
You're a reporter. That's what you
always wanted to be, right? I'm happy
for you. Really, I am.
AUDREY
Yeah, well...
108 EXT. PHARMACY - CONTINUOUS - NIGHT 108
Nick opens the door for Audrey and follows her out.
AUDREY
So, you still picking apart
cockroaches?
NICK
No, I'm into earthworms now. You
wouldn't be interested. They're real
"boring" creatures. Very reliable,
dependable, no surprises...
AUDREY
You're still mad at me, aren't you?
NICK
You just left me without a phone call,
a letter, nothing. All this time.
Yeah, I guess I'm still a little mad.
AUDREY
That was eight years ago. Some people
change, you know.
NICK
Most people don't.
AUDREY
I'm sorry you feel that way.
Audrey turns and walks away. Nick regrets his behavior
and calls after her.
NICK
Wait. I'm sorry. You're right. Eight
years is a long time. Can I offer you
a cup of tea?
AUDREY
Sure. I'd like that.
There's an awkward moment as neither knows what to say.
AUDREY
One, thing, though. Who'd you get
pregnant?
Off Nick's awkward reaction...
CUT TO:
109 INT. NICK'S TENT - LATER - NIGHT 109
Nick has set up a mini-lab in his private, small, tent.
The home pregnancy tests have been ripped apart. Nick
mixes some of the contents together.
AUDREY
I still can't believe it. How does a
guy go from an anti-nuke activists to
working for the Nuclear Regulatory
Commission?
NICK
When you and I use to attend rallies
in college, we helped to create
awareness. But from the inside now I
can actually effect change.
(pointedly)
I never lost my idealism.
AUDREY
And exactly what changes are you
trying to effect?
NICK
I have this theory that we're
inadvertently creating new species as
a direct result of what we've done to
nature.
AUDREY
And you think this creature is one of
them?
NICK
Yes. The first of its kind. I found
this blood sample earlier this
evening...
AUDREY
Blood sample? How close did you get to
that thing?
NICK
I got pretty close.
AUDREY
What else do you know about it?
Nick finishes his concoction, adding the blood sample
into it He takes the piece of litmus paper from one of
the home test boxes and dips it in.
NICK
Well, we know he eats fish, he's of
reptile genus, he's a burrower, he's
amphibious and...
Nick points out the litmus paper. It turns RED.
NICK
...he's pregnant.
AUDREY
Are you sure?
Nick gets up and starts to gather his materials.
NICK
(thrilled)
Well, obviously these tests weren't
designed for this but fundamentally
they're looking for the same hormonal
patterns that would indicate
pregnancy.
AUDREY
I don't get it. If it's the first of
its kind, how can it be pregnant?
Excitedly Nick begins to pace.
NICK
The ultimate expression of evolution,
it reproduces asexually. Think about
it, all kinds of creatures have been
known to travel great distances for
reproduction. That's why he came to
New York. Like every species of
insufficient progenitors, he's
nesting!
AUDREY
Nesting?
NICK
Yes. Do you realize that a creature
like this could lay as many as a dozen
eggs at a time!
Nick moves to the front exit of the tent.
NICK
Forgive me but I've got to get this
into the lab, to confirm all this.
I'll be right back.
Nick rushes from the tent. Alone, Audrey can't help but
poke around a bit. She opens one of his CASES. Taped to
the roof of the case she SEES...
INSERT PHOTOS - NICK AND AUDREY
Happy times long ago. They're both young and in love.
Audrey is surprised Nick still keeps them. She's
touched.
Feeling guilty she quickly closes the case and sits back
down. As she does she notices a video tape labeled
FIRST SIGHTING. Unable to resist, she puts it in and
turns on the t.v. The shot of the Japanese Cook
appears.
COOK
(filtered through t.v.)
...Gojira...Gojira...
She hits the fast forward tape and SEES, the enormous
footprints in Panama. She fast forwards again and sees
the beached cargo ship in Jamaica.
Audrey is torn. She makes a decision, pops the tape back
out, puts in her purse and takes off out the back of the
tent. Moments later, Nick returns from the front.
NICK
Audrey? Audrey?
A flash of lighting and thunder accents Nick's
confusion.
CUT TO:
110 INT. EDITING BAY - LATER - DAWN 110
On two monitors we SEE Audrey doing a "stand up."
AUDREY
(filtered)
...which is why in this case "all the
kings horses and all the kings men"
may not be able to put the big apple
together again. Audrey Timmons, WNEW.
We pull back to reveal Audrey, Animal and an editor,
ED, watching the piece.
ED
That's it. You owe me a breakfast.
AUDREY
(turning to Animal)
So, what do you think?
ANIMAL
It's good. It's a real good piece. But
how'd you get a hold of this
material?
Audrey covers her own mixed emotions.
AUDREY
Like you said, "Good guys finish
last."
She snatches the tape and she takes off running.
Concerned and worried, Animal watches her leave.
CUT TO:
111 EXT. WNEW TRUCK - COMMAND TENT AREA - RAIN - DAWN 111
Rushing out of the WNEW truck and into the rain, Audrey
spots her Station Manager, Murray. In the b.g. we SEE
Caiman getting make up, about to do a live spot with
another cameraman.
AUDREY
Murray, I need you to look at this
tape.
MURRAY
Not now, Audrey, we've about to go
live with the morning report.
AUDREY
You're going to want to include this.
I've got exclusive footage of other
places this thing has attacked.
MURRAY
(suddenly interested)
You do? Who's story is this?
AUDREY
Mine!
ANGLE - CAIMAN
About to go on, Caiman waves off his make up artist as
he watches Audrey hand Murray the tape. His field
producer counts down to going live.
P.O.V. THROUGH BINOCULARS - NICK - RAIN - MORNING
Through the lenses we SEE exiting his tent and moving on
towards the large center command tent. We REVERSE to
reveal...
112 INT. RAYMOND'S MOTEL ROOM - SAME - RAIN - MORNING 112
One of Raymond's men observes with binoculars from the
window. Tucking his napkin into his lapel, Raymond eats
breakfast with his men. Another man, JEAN-CLAUDE,
listens at the monitoring equipment. He turns to
Raymond.
JEAN-CLAUDE
Taisez-Vous.
He turns on the room speaker.
MALE VOICE
(filtered)
...Major Hicks, what makes you believe
another attempt to gun that creature
down will work?
113 INT. COMMAND TENT - WAR ROOM - RAIN - SAME - MORNING 113
Nick is moving to take his seat next to Elise at this
very crowded conference. The big wigs are here and the
room is packed. Major Hicks walks to a large map of
Manhattan.
MAJOR HICKS
General Anderson, the problem was the
terrain. If we lure him out into a
more open area such as this portion of
Central Park...
(points to the map)
We should be able to take him down.
MAYOR
Last time you didn't even scratch it!
MAJOR HICKS
That's not true. Our worm guy, er, I
mean, Dr. Tatopoulos found blood.
All eyes turn towards Nick who's still arranging his
papers. Nervously Nick addresses the crowd.
NICK
Well, yes. I did. Clearly he was
injured and bled.
MAJOR HICKS
You see, all we need to do is get a
better shot at it with weapons that
don't rely on heat seeking...
NICK
Um, excuse me, sir, but the
situation's more complicated than
that. The blood I recovered revealed
that the creature is either about to
lay eggs or already has.
GOVERNOR
Are you trying to tell us there's
another one of those things out
there?
NICK
I don't believe so.
MAYOR
Then how can it be pregnant? What is
this, the "virgin lizard?"
There's a smattering of laughter in the room.
NICK
No, it reproduces asexually. That's
why we must find the nest. If we
don't, dozens will be born, each one
capable of laying eggs of its own.
Very quickly we could be looking at an
enormous population.
MAJOR HICKS
So after we kill the creature we'll
begin a search for the nest.
NICK
It may be too late by then. These eggs
will hatch very quickly.
CLIVE
How could you possible know that?
NICK
The fish. The fish we found down in
the subway. He's not gathering all
that food for himself. He's preparing
to feed his young.
114 INT. RAYMOND'S MOTEL - RAIN - SAME - MORNING 114
Raymond listens intently. He grabs a folder off the desk
and opens it. We SEE photos and documents of every
member of the team. He finds the photo of Nick and
examines it.
115 INT. DINER - RAIN - SAME - MORNING 115
Audrey shakes off the rain and moves over to join Ed and
Animal at a booth.
ANIMAL
They just promo-ed your spot. It's
coming on right after this.
116 INT. COMMAND TENT - RAIN - SAME - MORNING 116
An AIDE comes in and whispers something into the
Governor's ear, who nods approval.
MAJOR HICKS
If Dr. Tatopoulos is right, we must
act quickly before this problem
escalates.
GENERAL ANDERSON
You want to divide our efforts based
solely on a wild theory?
MAJOR HICKS
He's come through for us before and if
he feels strongly...
GENERAL ANDERSON
Come through for you!? Major, your
campaign's a disaster. You weren't
even able to prevent this thing
from coming to Manhattan.
GOVERNOR
Excuse me Gentlemen, but I think we
should see this.
The Aide moves over to a television and turns it on.
Just as the t.v. comes to life we SEE the old Japanese
Cook.
GENERAL ANDERSON
How the hell did this get out?
The image of the Cook saying, "Gojira" FREEZES and cuts
back to reveal Caiman doing his "stand-up."
CAIMAN
(filtered)
From an old Japanese sailor's song
called GODZILLA, a mythological sea
dragon who attacked sailors, to our
own modern day terror. Today in my
special report, who is this Godzilla,
where did he come from and why is he
here?
117 EXT. DINER - SAME - MORNING 117
Audrey is furious, on her feet.
AUDREY
You're special report! I'm the one
that found that stupid song! That's my
special report, you bastard!
Animal tries to calm her down as the story continues.
AUDREY
And it's "Gojira" not Godzilla you
moron!
118 INT. RAYMOND'S MOTEL - SAME - MORNING 118
Fiddling with the motel t.v., Raymond's men attempt to
clear the fuzzy picture.
JEAN-CLAUDE
Merde!
RAYMOND
Allez, allez!
Finally the picture clears.
CAIMAN
(filtered)
...a path can be traced back from
Manhattan, to Jamaica, back to Panama
and all the way back to the French
Polynesians where nuclear testing has
been going on for over twenty
years...
119 INT. COMMAND TENT - SAME 119
Everyone stares at the television. Major Hicks burns
with embarrassment.
CAIMAN
(filtered)
...But why? Research team member Dr.
Niko Padopolus believes the creature
is nesting, using Manhattan as ground
zero to cultivate his species...
GENERAL ANDERSON
You went to the press with this?
NICK
No, I didn't...I didn't talk with
anyone.
The military men are furious at the breach of security.
All eyes turn toward Nick.
GENERAL ANDERSON
They mentioned you by name!
NICK
Yes...but I...
MAJOR HICKS
You gave them the tape?
NICK
No, it's still in my tent. It's...oh
my God, she took it.
Pissed, GENERAL ANDERSON walks up to Nick.
GENERAL ANDERSON
Pack your stuff. You're officially off
this project as of now.
120 INT. DINER - SAME - MORNING 120
Caiman is still on television, wrapping up.
AUDREY
He stole my report! That's my report!
ANIMAL
We know, Audrey.
CAIMAN
(filtered)
...and in this reporter's opinion,
"all the kings horses and all the
kings men"...
Audrey wads up her napkin and heaves it at the t.v.
AUDREY
Caiman you suck!
121 INT. RAYMOND'S MOTEL ROOM - SAME - MORNING 121
The television is snapped OFF and Raymond walks over to
the window looking out, thinking. Finally...
RAYMOND
We're leaving.
CUT TO:
A LARGE TRUNK
Slams shut. More suitcases and trunks. Widen to
reveal...
122 INT. NICK'S TENT - LATER - DAY 122
Nick is finishing packing as some soldiers carry his
things away. Elsie enters.
ELSIE
I'm sorry about all this.
NICK
Me too.
Nick hoists his bag and moves to leave.
NICK
Make sure they find that nest before
it's too late.
ELSIE
I'll try.
Reluctantly Nick nods acceptance and exits out into the
rain. We SEE the torn photographs of Nick and Audrey
laying on the floor.
ELSIE
Bye worm guy.
CUT TO:
123 INT. PHONE BOOTH - MOMENTS LATER - RAIN - DAY 123
Audrey in a street phone booth.
AUDREY
What do you mean Murray's not there? A
second ago you told me he was on the
other line...
Something catches Audrey's eye.
AUDREY'S P.O.V. - THROUGH GLASS - NICK
Lugging his bags out into the rain, Nick moves over to a
waiting cab.
124 EXT. COMMAND TENT AREA - NICK & CAB - RAIN - DAY 124
Lifting a heavy case, Nick places it into the cab's
trunk.
CABBY
Where to?
NICK
Newark airport.
Audrey moves up behind Nick.
AUDREY
You're leaving? Why?
Nick ignores her and continues to load the cab.
AUDREY
Is this cause of me? Because of the
story?
NICK
Well what the hell did you think was
going to happen?
AUDREY
You never said it was off the record.
NICK
I shouldn't have to, Audrey. You're
supposed to be my friend. I trusted
you.
AUDREY
I didn't mean for it to turn out like
this.
(confessing)
Look, I lied to you. I'm not a
reporter. When we broke up and I came
out to New York I was so sure I'd make
it. But I haven't. That's why I needed
this story so bad. I just couldn't
tell you I'm a failure.
NICK
So you thought that made it okay to
steal my tapes?
The last bag stowed, Nick moves to get into the cab. He
stops and turns back to her.
NICK
Good luck in your new career. I think
you really have what it takes.
He gets in and slams the door. The cab takes off leaving
a very alone Audrey standing in the rain.
AUDREY
(sad; to herself)
I'm sorry.
CUT TO:
125 INT. NEWARK AIRPORT - DAY 125
Long waiting lines for people trying to leave town.
People sleeping on the floors. Chaos. One group gathered
around a television set.
T.V. NEWS BROADCAST - VIDEO
We see images from crowed refugee shelters.
REPORTER
(filtered)
...every shelter in the tri-state area
has been overflowing with displaced
people. Tent cities have begun to
spring up all over the county...
As we TRACK away from the t.v. we FIND Nick taking a
seat at a small bar next to the gate. A WAITER comes
over.
WAITER
Can I get you something?
Before Nick can answer...
RAYMOND
Pernot, no ice.
Taking a seat directly across from Nick, Raymond sits
down, sizing him up. Nick is confused.
NICK
Do I know you?
RAYMOND
We've met before.
NICK
(remembering)
Oh yeah, the insurance guy.
Raymond pulls out his badge and lays it on the table in
front of Nick.
RAYMOND
SDECE, Service de Documentation
Exterieure et de Contre-Espionnage.
Agent Phillip Raymond.
NICK
Sounds like a big company.
RAYMOND
It's the French Secret Service.
NICK
Oh.
RAYMOND
We have learned that your American
friends have decided not to look for
the creature's nest.
NICK
(alarmed)
Are you sure? How do you know?
RAYMOND
We know.
NICK
Why are you telling this to me?
RAYMOND
I need you to trust me.
NICK
Why do you need that?
RAYMOND
I need your trust if you're to help me
find the nest.
NICK
Oh, my bags. I've checked them in.
RAYMOND
We, have already taken care of them.
Nick realizes Raymond is serious. The waiter hands
Raymond his drink. Raymond toasts Nick.
RAYMOND
Bon Chance!
CUT TO:
126 EXT. TENT CITY - AFTERNOON 126
A makeshift tent city has been set up in the park.
Animal video tapes an interview with a displaced
person.
DISPLACED PERSON
No one tells us a Goddamned thing. My
family is getting soaked out here. We
have no place else to go. We just want
to go back to our home.
Animal begins to PAN his camera around the tent city
when he SEES a SEDAN in the distance. He focus in on it
and SEES...
ANIMAL'S P.O.V. - SEDAN - NICK AND RAYMOND
Coming to stop at a light. Animal quickly lowers his
camera and hands it off to the Reporter he's working
with.
ANIMAL
I'll be right back.
Animal rushes over to the news van and takes off after
them, following.
127 EXT. WAREHOUSE - MOMENTS LATER - AFTERNOON 127
Pulling up in front of a warehouse, Nick and Raymond
step out of the sedan. Staying hidden from view, Animal
pulls over. Intrigued, he watches them enter the
building.
128 INT. WAREHOUSE - RAYMOND'S MEN - AFTERNOON 128
Raymond enters with Nick. The room is filled with
equipment; radios, guns, explosives and armored
vehicles. We notice that more of Raymond's support team
are here.
NICK
How did you get all of this stuff into
the country?
RAYMOND
This is America. There is nothing you
can not buy.
Raymond gives Nick a tour.
NICK
So why all the secrecy? Why aren't you
guys working with the US military?
RAYMOND
I am not permitted to speak of such
things.
Nick stops and confronts Raymond.
NICK
You said you wanted my trust, then I
need yours.
Raymond considers this. Finally...
RAYMOND
I am a patriot. I love my country. Can
you understand that?
NICK
Sure.
RAYMOND
It is my job to protect my country.
Sometimes I must even protect it from
itself. From mistakes we have made.
Mistakes that we do not want the world
to know about.
NICK
Your talking about the nuclear testing
in the Pacific.
RAYMOND
Yes. This testing done by my country
left a terrible mess. We are here to
clean it up.
129 EXT. WAREHOUSE - ANIMAL - SAME - RAIN - AFTERNOON 129
Moving down alongside the building, Animal walks down
the side alley. He climbs up onto a garbage hamper and
peers into a cracked opened window.
ANIMAL'S P.O.V. - WAREHOUSE
Animal sees Nick and Raymond with all the hardware.
Several of the men are repainting the vehicles to
resemble those of the US Army.
130 INT. WAREHOUSE - SAME 130
Nick walks past the myriad of warfare tools. Jean-Claude
turns from the radios.
JEAN-CLAUDE
They will set the trap at thirty
minutes to ten.
RAYMOND
That is when we will go in.
Raymond leads Nick over to a large map.
RAYMOND
We know how to get into the city. We
just do not know where to start
looking.
Nick moves closer to the map, putting his finger on the
Flat Iron square subway station.
NICK
Here. 23rd street subway station.
Where we first found the fish. With a
little luck, this will lead us right
to it.
RAYMOND
So you're in?
NICK
Are you kidding? I always wanted to
join the French Foreign Legion.
CUT TO:
131 INT. LUCY'S APARTMENT BUILDING - LATER - LATE AFTERNOON 131
Animal quickly climbs the stairs. People are everywhere.
He has to step over them to get to his apartment. AS he
opens the door to his apartment he SEES...
132 INT. APARTMENT - CONTINUOUS - LATE AFTERNOON 132
Filled with people, Lucy is serving coffee. She smiles
at Animal as he enters.
ANIMAL
Who the hell are all these people?
LUCY
What? I just couldn't just let them
sleep in the street.
ANIMAL
Where's Audrey?
LUCY
In the bedroom. Crying her eyes out
because of you.
ANIMAL
What?
LUCY
All that "you gotta be vicious" stuff
you filled her head with.
ANIMAL
Me!? You where the one...
LUCY
Go in there. Talk to her.
Lucy pushes Animal towards the back bedroom.
133 INT. BEDROOM - SAME - LATE AFTERNOON 133
Audrey has been crying. Crumpled Kleenex wads piled up
all around her. A television plays a news broadcast,
boasting the headline: THEY CALL HIM GODZILLA! On the
t.v. we SEE a news conference with General Anderson
addressing some reporters.
REPORTERS
(simultaneously)
Can you comment on the nest? How many
more of these things will there be?
GENERAL ANDERSON
(filtered)
That's why I'm holding this
conference. To try and avoid a
needless panic.
Animal enters and watches from the back of the room.
GENERAL ANDERSON
Contrary to some frivolous reports, we
have no information to lead us to
believe that there are any eggs of the
creature in the city.
AUDREY
Stupid idiots!
ANIMAL
You okay?
AUDREY
It's all my fault. What have I done,
Animal? What have I become? Look at
me. This isn't me. I don't do things
like this.
ANIMAL
You made a mistake.
Suddenly someone exits the bathroom and crosses out of
the room. Animal looks at the stranger as he leaves.
AUDREY
Yeah, I just screwed up with the only
man who ever really cared about me.
ANIMAL
Didn't you tell me he left for the
airport?
AUDREY
Yeah. Why are you asking?
ANIMAL
I just saw him. He's with a bunch of
guys who want to sneak into the city
tonight.
Audrey tries to make sense of this. Suddenly she
realizes.
AUDREY
My God. He's going after the nest.
ANIMAL
Perfect! You wanted a story, well,
baby, you got one.
Excitedly Animal goes to the closet and retrieves a big
overcoat.
AUDREY
Animal, I can't.
ANIMAL
Look, you want to make it up to your
friend? Well if he's right, this is
your chance.
He starts going through his drawers, taking out battery
packs, tapes, etc, and putting it in his pockets.
AUDREY
(misgivings)
I don't know. I've already made such a
mess of things...
Animal walks up to the door, ready to exit.
ANIMAL
(smiling)
Audrey, I'm going after them. You can
come with me or not.
Conflicted, Audrey is not sure what to do. Animal opens
the bedroom window and begins to climb out.
AUDREY
What are you doing?
ANIMAL
Lucy'd kill me if she knew.
CUT TO:
134 INT. WAREHOUSE - LATER - SUNSET 134
Nick marches out of a changing room dressed in a
military uniform. As he moves into the room we SEE all
of Raymond's men dressed similarly.
As they climb into their vehicles, Raymond hands each a
stick of chewing gum. Nick gets in the passenger seat of
one of the vehicles, Raymond climbs in behind the
wheel.
NICK
What's with the chewing gum?
RAYMOND
Makes us look more American.
Nick looks over at the faux Americans. It's a tough
sell, gum or not.
NICK
Just let me do all the talking.
With that the vehicles pull out of the warehouse and out
into the rainy night.
135 EXT. LINCOLN TUNNEL - ENTRANCE - RAIN - SUNSET 135
An armed blockage seals the Jersey entrance to the
Lincoln tunnel. We widen to reveal Audrey and Animal by
a small side entrance. Animal works the lock.
AUDREY
What are you doing?
ANIMAL
It's the maintenance entrance. Runs
along the side of the tunnel. When
they repaired it last year I worked on
a piece about it.
Just then the lock TURNS and the door opens. They
enter.
136 EXT. GEORGE WASHINGTON BRIDGE - JERSEY SIDE - SUNSET 136
A line of military vehicles approaches and slowly passes
through a guarded entrance, each vehicle checked. Nick
and Raymond's Humvee nears.
ANGLE - GUARDED BLOCKADE - CONTINUOUS
Raymond's Humvee rolls up and a GUARD walks up to the
window.
GUARD
(checking clipboard)
Who you boys with?
NICK
Oh, we're with the three two.
GUARD
I didn't ask you, soldier.
NICK
Sergeant O'Neal just called down for
us to join in.
Now he's suspicious. The guard approaches Raymond, checks
him out.
GUARD
You got a problem talkin'?
RAYMOND
(perfect southern accent)
Why no sir, I'm fine.
The Guard is suspicious but on a tight schedule. Finally
he waves him through.
GUARD
All right, keep it moving.
RAYMOND
(ala Presley)
Thank you very much.
They drive off. Nick is stunned by the act.
RAYMOND
Elvis Presley movies.
(by way of explanation)
He was the King!
137 INT. LINCOLN TUNNEL - MAINTENANCE DOOR - SAME - NIGHT 137
The door creeps open. Animal leans out to find the
tunnel deserted. He and Audrey step out and into the
tunnel. We FOLLOW them as they are headed for the exit
of the tunnel into Manhattan.
138 INT. RAYMOND'S HUMVEE - NIGHT 138
Raymond and Nick drive through Central Park. We can SEE
dozens of military people and vehicles in a large
meadow.
139 EXT. CENTRAL PARK - LARGE MEADOW - NIGHT 139
The enormous pile of fish is getting dumped in the
center of the field as many others are planting land
mines. Tanks, rockets and soldiers align the area.
The convoy of vehicles turn onto the meadow but Raymond
and his men keep going straight. They drive slowly right
past the trap sight and out of the park.
TIRES SQUEALING TO A STOP
Doors slam and immediately boots march past. We WIDEN to
reveal Raymond's team quickly gathering their gear and
heading down the subway entrance.
Raymond grabs a heavy bag and tosses it to Nick who
nearly topples from the weight.
RAYMOND
Be careful with that.
Nick looks into the bag and sees a bag marked
EXPLOSIVES. Shocked he looks back at Raymond, but he's
gone. Nick regains his breath and follows.
THE FISH
Older and nastier, but the same fish we saw in the
tunnel before. We FOLLOW the beam to its owner and find
Nick. We WIDEN to reveal that we're....
140 INT. SUBWAY TUNNEL - MOMENTS LATER - NIGHT 140
The crisscrossing beams from the assault team's
flashlights nearly blind us as Nick leads the team
cautiously into the depth of this tunnel. Periodic fish
are found along the way. Suddenly the faint HUMMING
sound in the tunnel STOPS.
Everyone freezes as the wind shifts direction. A
familiar SMELL passes over them as they sniff the air.
NICK
They've turned off the ventilation
system. They're calling him to
dinner.
RAYMOND
Let's hope we are not the hors
d'oeuvres.
Nervously they continue onward.
141 EXT. 23RD STREET SUBWAY STATION - SAME - NIGHT 141
Animal and Audrey arrive, spotting the assault team's
vehicles. They head carefully down the stairs.
142 INT. 23RD STREET SUBWAY STATION - SAME - NIGHT 142
Audrey and Animal, camera in hand shooting everything,
climb down into the station. Animal rushes to the end of
the platform and searches down into the tunnels.
VIDEO P.O.V. - DARK TUNNEL - DISTANT LIGHTS
Through the camera we SEE the lights in the distance of
the tunnel.
ANIMAL
(whispering)
They're down there. Let's go.
Animal jumps off the platform, down onto what's left of
the tracks. Audrey squeamishly follows.
143 INT. TUNNELS - NICK & TEAM - SAME - NIGHT 143
Nick kneels down to inspect some debris. An old
SCREECHING SOUND is heard in the distance. Suddenly the
ground begins to quake. Dust falling. The SCREECHING
gets louder and louder.
Raymond moves up to Nick and points ahead. Nick nods in
nervous agreement. Just as they move towards the sounds
the ENTIRE WALL OF THE TUNNEL COLLAPSES next to them.
Bursting through the tunnel wall GODZILLA appears. His
enormous claws burrowing, he makes his way through and
into the tunnel. Quickly he moves past the team.
The team DIVES into a cross tunnel just as the colossal
beast BLASTS past them, barely missing them.
144 INT. 23RD STREET SUBWAY STATION - TUNNEL ENTRANCE 144
Audrey and Animal have just gotten into the tunnel
entrance. The entire place is shaking. Audrey is in a
panic.
AUDREY
Animal, let's get out of here.
But Animal hoists his camera and starts filming as
SOMETHING is moving TOWARDS them. Audrey is tugging at
him as the shaking gets more violent. With all her
strength, she finally gets Animal to start moving
backwards.
Just as they're out of the tunnel, the CREATURE BLASTS
outward. Audrey and Animal DIVE into the maintenance
ducks along side the tracks to avoid collision.
ANGLE - AUDREY AND ANIMAL
Animal is shielding Audrey with his body. She looks up
just in time to SEE Godzilla CRAWLING UP and out through
the ceiling. An amazing site.
AUDREY
Shoot! Shoot it!
Animal grabs his camera and gets the last moment of it
disappearing from view. Once gone, they both break into
enormous sighs of relief and nervous laughter.
145 INT. TUNNEL - SAME 145
Recovering, Raymond and the team walk back into the main
tunnel. They near the hole Godzilla just created,
examining it. Nick climbs into the hole.
NICK
I guess we go this way.
Raymond and his men follow.
146 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 146
Major Hicks is at the radio as the Generals sit behind
him.
MAJOR HICKS
(into radio)
Sergeant, status?
147 INT. CENTRAL PARK - SAME - NIGHT 147
The park is bathed in light. Armed troops surround the
area. Tanks and missile launchers are in place. Sergeant
O'Neal kneels down by a sandbag fortification.
SERGEANT O'NEAL
(into radio)
Any sign of it?
148 EXT. ROOFTOP - SPOTTERS - SAME - NIGHT 148
From the rooftop of one of the central park south high
rises, a team of SPOTTERS scan the area.
SPOTTER P.O.V. - THROUGH BINOCULARS - GODZILLA
Moving steadily towards central park, Godzilla makes his
way up seventh avenue.
SPOTTER
Got him. Section 5, heading north to
target.
149 EXT. CENTRAL PARK - SERGEANT O'NEAL - SAME 149
The Sergeant gives the nod and several teams of shooters
take off running, taking positions. The tanks turn their
gun turrets towards downtown, expectantly. Missile
launchers turn, arming devices locked.
150 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 150
Major Hicks stands near a computerized schematic of
Manhattan. A large RED FLASHING BLIP nears Central
Park.
151 EXT. SEVENTH AVENUE - GODZILLA - SAME 151
Godzilla moves up 7th Ave. He reaches Central Park South
and STOPS. He glances over to the park where bright
lights are glaring.
Something is making Godzilla more cautious this time.
Unsure he vacillates between moving forward and staying
within the shelter of the tall buildings.
ANGLE - O'NEAL - CENTRAL PARK
SERGEANT O'NEAL
(into radio)
Don't fire until he's cleared the
buildings and has moved into the
park.
ANGLE - GODZILLA
Still unsure, he ROARS out, frustrated with his own
indecision.
SERGEANT O'NEAL
Come on, come on!
152 INT. TUNNELS - SAME - NIGHT 152
Nick leads the team through the cross town tunnel
created by Godzilla. Climbing over the debris, they make
their way to another opening. We FOLLOW them as they
clamber through the hole and into...
153 INT. PENN STATION - CONTINUOUS - NIGHT 153
The largest subway/rail station in New York. Godzilla
has torn it to shreds. We get the feeling this is where
Godzilla has spent most of his time. Scattered fish
abound.
High above, there is a immense black hole in the tall
ceiling. Wherever it leads to is very dark. Nick and
Raymond stare at the hole together.
RAYMOND
What is up there?
154 EXT. 34TH STREET - MOMENTS LATER - SUBWAY ENTRANCE - 154
NIGHT
Climbing the stairs out from the subway, Nick et all
walk up onto the street to SEE...
MADISON SQUARE GARDEN
The team cautiously approaches the building.
155 EXT. CENTRAL PARK - SAME - NIGHT 155
Carefully moving out from between the buildings Godzilla
takes a step into Central Park.
SERGEANT O'NEAL
(into radio)
Prepare to fire!
Guns are cocked, locked on and hoisted. Suddenly
Godzilla gets cold feet and starts to turn around.
156 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 156
The RED BLIP suddenly begins to move away from the
park.
MAJOR HICKS
(into radio)
Damn it! Fire! Shoot it before it gets
away!
157 EXT. CENTRAL PARK - SAME - NIGHT 157
SERGEANT O'NEAL
Fire at will! Fire at will!
All the weapons surround the area FIRE AT ONCE. Several
more Cobra Helicopters ZOOM DOWN out of nowhere.
Plunging downward, they FIRE at Godzilla.
The firepower ripping up everything around him, Godzilla
ROARS and deftly DIVES out of the park and back between
the buildings.
But as he bounds over to 57th street, there is a
contingency of MOBILE ROCKET LAUNCHERS waiting. They
FIRE. Godzilla DODGES and the rockets DESTROY PLANET
HOLLYWOOD as Godzilla races by.
With the helicopters right on his tail, Godzilla makes a
westward run across 57th street. Smashing parked
vehicles and his tail SWIPING buildings as it DASHES.
WEST SIDE HIGHWAY
Godzilla is heading straight for it, the helicopters
SHOOTING from the air. Suddenly Godzilla LEAPS higher
than we've seen before. He hurls himself OVER the West
Side Highway and SPLASHES DOWN into the Hudson River,
vanishing beneath the water's surface.
158 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 158
Furious, Major Hicks throws his headset against the
console violently. ADMIRAL JOHNSTON leans down into
frame.
ADMIRAL JOHNSTON
Don't worry. The Navy has a little
something there waiting for him.
THREE NUCLEAR SUBMARINES
In the murky waters of the Hudson river.
159 INT. NUCLEAR SUBMARINE - THE ARIZONA - SAME - NIGHT 159
The alarm KLAXONS are RINGING OUT as everyone rushes to
battle stations. The CAPTAIN moves over to a sonar
screen; a large MASS nearby blips on the screen.
CAPTAIN
(into radio)
We've got him on sonar. Arizona
closing in.
160 INT. COMMAND TENT - SAME - NIGHT 160
Different monitors have put up a three dimensional
schematic of the Hudson river. We SEE outlines of the
three nuclear subs approaching their target.
RADIO VOICES
(filtered)
...Indiana, closing in...Calvin
Coolidge, closing in...
161 INT. LOBBY - MADISON SQUARE GARDEN - SAME - NIGHT 161
The doors are pried open. It's very dark in here, only
the assault team's flashlights illuminate. As they enter
the lobby, the team splits up into different search
groups.
Nick, Raymond and Jean-Claude move down the large front
lobby and turn down one of the many hallways surrounding
the main auditorium.
ANGLE - HALLWAY - ENTRY LEVEL - CONTINUOUS
Cautiously they move towards us. In the distance we see
the rest of the team moving the other direction. Raymond
and Nick arrive at a door leading to the main
auditorium. Nick is about to push the door open when
Raymond stops him.
RAYMOND
Jean-Claude.
On command, Jean-Claude snaps together his automatic
rifle as Raymond pulls out his semi-automatic pistol. He
nods "okay" to Nick who slowly opens the door.
As the door opens a small pile of FISH tumbles down over
their feet. They step over the fish and enter.
162 INT. AUDITORIUM - ENTRY LEVEL - CONTINUOUS - NIGHT 162
Total darkness. Nick, Raymond and Jean-Claude cautiously
step over the fish inside. Only their flashlight beams
can be seen.
NICK'S P.O.V. - TRASHED AUDITORIUM
His beam cruises over the area nearby. It's been gutted.
Fish lay strewed on the floor everywhere. Suddenly Nick
spots a strange cluster of OBJECTS. He moves closer.
Raymond follows. With their combined light we can
SEE...
THREE ENORMOUS EGGS
A pile of reptile eggs nearly twice as tall as they are.
Raymond walks behind the egg, illuminating it from the
other side, making it partially translucent. We can SEE
THE EMBRYO inside the egg and IT'S MOVING!
NICK
Three eggs. I thought there would be
more.
RAYMOND
You were right.
Slowly Nick turns and SEES what Jean-Claude is staring
at open jawed...
DOZENS OF EGGS
Together their beams of light scan across the main
auditorium floor surrounding the gaping hole to discover
DOZENS OF EGGS piled in clumps everywhere.
NICK
That can't be. That's got to be over
twenty eggs.
163 INT. OTHER HALLWAY - SAME - NIGHT 163
Another of Raymond's men (R-MAN #2) has found a
switchboard, he examines the switches.
164 INT. PENN STATION - SAME - NIGHT 164
Animal and Audrey are wandering through the debris.
AUDREY
Okay, where'd they go from here?
165 INT. OTHER HALLWAY - SAME - NIGHT 165
R-MAN #2 locates the switch he's looking for and hits
it.
166 INT. AUDITORIUM - SAME - NIGHT 166
Nick, Raymond and Jean-Claude are stunned as the work
lights suddenly TURN ON illuminating the room,
revealing...
HUNDREDS OF EGGS
All over the main auditorium floor. A stunning tableau.
Nick is speechless. Raymond turns to him.
RAYMOND
Start counting.
167 INT. PENN STATION - SAME 167
The light filters down from the gaping hole in the
ceiling.
ANIMAL
They must have climbed all the way up
into there.
Together they notice some large metal piping that has
fallen from the auditorium. They move over to it and
begin to climb.
168 EXT. UNDERWATER - HUDSON RIVER - NUCLEAR SUB - NIGHT 168
The Arizona races past us.
169 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 169
We follow a runner who hands a report to the Admiral who
is conferring with the General and Major Hicks by the
schematic. The Admiral reads the report.
ADMIRAL JOHNSTON
They've surrounded the target just at
the mouth of the Hudson river.
170 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 170
He swims at enormous speed heading directly at the
Arizona.
171 INT. SUBMARINE - ARIZONA - SAME - NIGHT 171
The lights dim as they prepare for battle.
CAPTAIN
Are we locked on?
ENSIGN
Locked on, Captain.
CAPTAIN
Fire.
172 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 172
The torpedo is FIRED and comes darting directly at
Godzilla who abruptly SWERVES. The torpedo, however,
FOLLOWS him.
ANGLE - SUBMARINE - CALVIN COOLIDGE
From the other direction, closing in. Godzilla DIVES,
skidding close to the bottom. The TORPEDO begins to
close the gap.
Suddenly Godzilla SHOOTS UPWARDS heading directly for
the underside of the Calvin Coolidge.
173 INT. CALVIN COOLIDGE SUB - BRIDGE - SAME - NIGHT 173
The Calvin's CAPTAIN rushes over to the sonar screens.
ENSIGN #2
He's shifted course. He's heading
right at us!
CALVIN'S CAPTAIN
Full stern!
174 EXT. UNDERWATER - GODZILLA - SAME 174
Godzilla RAMS the underside of the Calvin Coolidge
before she can turn. The entire sub SPINS, TWISTING OVER
its side and colliding directly with...
THE TORPEDO
slams into the side of the rolling and dented nuclear
submarine. With a CONCUSSION the sub EXPLODES.
175 EXT. HUDSON RIVER - SAME 175
An enormous SPRAY OF WATER erupts from the river,
bubbles and debris float to the surface.
176 INT. COMMAND TENT - SAME 176
The computerized representation of the Calvin Coolidge
VANISHES off the monitor.
RADIO OPERATOR
We've lost the Coolidge, Sir.
The Admiral burns.
177 INT. ARIZONA SUBMARINE - SONAR CONSOLE - SAME - NIGHT 177
The BLIP representing Godzilla turns.
ENSIGN
He's shifted course, Sir. He's heading
back towards Manhattan.
CAPTAIN
Full ahead. Close in and lock on.
178 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 178
Godzilla attempts to make his way back to the shore. The
Indiana and Arizona close in on either side.
179 INT. ARIZONA - SAME 179
ENSIGN
Locked on, Sir.
CAPTAIN
Fire!
180 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 180
Boxed in from either side, Godzilla RACES through the
water. At the same moment both submarines FIRE their
torpedoes.
Godzilla reaches the underwater shoreline of Manhattan
and begins BURROWING FURIOUSLY. As his gigantic claws
start DIGGING up earth, an enormous TURBULENCE of clouds
and dirt cloud the waters around him, cloaking him.
181 INT. ARIZONA - SAME - NIGHT 181
The Captain and his Ensign are at the Sonar. We TRACK
two torpedoes approaching target (Godzilla).
ENSIGN
Impact in eight seconds, seven,
six...
182 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 182
Huddled around the schematic and radio, they hear...
ENSIGN (O.S.)
(filtered)
...five, four, three...
183 EXT. UNDERWATER - SAME 183
The torpedoes ENTER into frame and disappear into this
undersea dust cloud. An enormous EXPLOSION BLASTS from
its center, waves of concussion reverberate.
184 EXT. BATTERY PARK - MANHATTAN - SAME - NIGHT 184
With the EXPLOSION and enormous TIDAL WAVE rises and
CRASHES DOWN over battery park with tremendous impact.
Parked cars and phone booths are washed away.
185 INT. ARIZONA SUBMARINE - SAME - NIGHT 185
The ENSIGN checks the SONAR.
ENSIGN
Direct hit!
The crew erupts in cheers.
186 INT. COMMAND TENT - SAME - NIGHT 186
They hear the cheering from the sub over the radio.
SOLDIER
They got 'em!
The Generals congratulate each other and Major Hicks.
187 EXT. UNDERWATER - SAME - NIGHT 187
Toppling down out of the murky turbulence, we SEE
Godzilla falling away from the shoreline, backwards the
ocean floor, drifting down to the bottom of the Hudson
river like so many cement shoed gangsters.
188 INT. MADISON SQUARE GARDEN - SAME - NIGHT 188
Raymond and his men are laying out the plastic
explosives around the room by the clumps of eggs.
Jean-Claude walks up to Raymond.
JEAN-CLAUDE
We do not have enough explosives.
Raymond turns and sees Nick, across the room studying a
group of eggs. Raymond goes towards him.
ANGLE - AUDITORIUM FLOOR - HOLE - SAME
Crawling out from the hole in the center of the floor,
Animal and Audrey appear. They're stunned at what they
see. Quickly Animal hoists his camera and begins to film
as an amazed Audrey walks through.
ANGLE - NICK AND EGGS - MID-LEVEL DECK
Kneeling down along side the eggs, Nick examines them.
Raymond approaches.
RAYMOND
Nick, we have a problem.
Nick silences him with a gesture as he moves in to
listen to the egg. He leans his ear against the shell.
Suddenly we HEAR a loud CRACK. Nick jumps backwards.
The shell RUPTURES and an large FISSURE opens up across
the egg. As we hear other CRACKS O.S., Nick turns and
SEES more eggs beginning to open all around them.
ANGLE - AUDREY AND ANIMAL - FLOOR LEVEL
Hidden in this forest of tall eggs, Animal leans in
close to one getting video footage of it cracking.
Audrey nervously watches. What she doesn't see, however,
is a BABYZILLA, fish hanging from its jaw, as it
approaches from behind.
ANGLE - NICK AND RAYMOND
Stunned, they can only stare as the BABYZILLA BREAKS
FREE of his shell and gives a mini version of the famous
WAIL.
RAYMOND
I think we should leave now.
NICK
Good idea.
The BABYZILLA kneels down and immediately starts
GOBBLING UP the dead fish laying nearby. Cautiously Nick
and Raymond slowly back away until they are a far enough
distance, then they break into a run and head for the
exit.
ANGLE - AUDREY AND ANIMAL - FLOOR LEVEL
The Babyzilla continues to chomp on its fish as it nears
Audrey. Animal continues to shoot the cracking egg.
ANIMAL
(whispered)
One more second. This is fantastic.
Just then Animal turns to SEE the Babyzilla right behind
Audrey.
AUDREY
Don't you think we have enough?
ANIMAL
Yes. Definitely. Definitely enough.
Audrey turns to see what Animal is staring at. Her eyes
go WIDE as she backs up into Animal. Another BABYZILLA
appear on the other side of them.
ANIMAL
Just be calm. Don't startle them.
Animal leads Audrey backwards as they make their way
towards the large "team" entrance at the end of the
floor. The two Babyzillas swallow their fish and begin
to SNIFF the air.
Audrey moves up the isle. An egg CRACKS and an ARM
breaks out through a shell, GRABBING HER LEG. Audrey
FREAKS and frantically she KICKS herself free. They both
suddenly take off running.
189 INT. MID-LEVEL HALLWAYS - SAME 189
Nick and Raymond race to the stairwell. Raymond pulls
out his radio.
RAYMOND
(into radio)
Everyone, outside! Now!
ANGLE - JEAN-CLAUDE - MID-LEVEL DECKS - ACROSS THE ROOM
Laying down the plastic explosives. Hearing the radio,
he drops what they're doing just as several eggs near
them begin to CRACK. Quickly he and his partner take off
running.
190 INT. FAR BACK WALL - LOWER LEVEL - SAME 190
Two other men are still laying cables for the
explosives. One of them is kneeling in a pile of FISH
near the eggs.
R-MAN #2
Come on, let's go.
R-MAN #3
One moment. I've almost got this.
Just then a BABYZILLA pops up behind the eggs, a fish in
his mouth. He SWALLOWS the fish and begins SNIFFING THE
AIR. He turns and stares directly at the slowly
retreating R-MAN #3.
He smells his own hands and realizes he smells like
fish, quickly he turns and RUNS.
But Babyzilla is faster. He runs up from behind and
LEAPS onto R-MAN #3's back. R-MAN #2 begins to FIRE at
Babyzilla just as another one TACKLES HIM from the
side.
In moments, they are both devoured.
191 INT. TEAM ENTRANCE - FLOOR-LEVEL - SAME 191
Audrey and Animal reach the entrance and race inside.
The main exit doors are locked from the outside. They
turn back just as...
THREE BABYZILLAS
appear in the team entrance doorway SNIFFING THE AIR.
Audrey SEES something, grabs Animal's wrist and pulls
him to one of the Locker room doors. It's open.
192 INT. LOCKER ROOM - CONTINUOUS 192
Through the door we SEE the Babyzilla approaching as
Audrey and Animal leap inside, slamming the door behind
them. There is a sudden THUD against the door.
Animal rushes over to a large LOCKER CABINET and, with
all his strength, PUSHES it over, blocking the door.
AUDREY
Great. Now what do we do?
193 INT. HALLWAYS - MID-LEVEL - SAME 193
Nick and Raymond run up to another open doorway and look
inside.
NICK'S P.O.V. - AUDITORIUM
Dozens and dozens of eggs HATCHING. BABYZILLAS
everywhere begin to awaken and immediately begin to
devour all the fish. A Babyzilla appears only feet away
and turns and stares directly at us.
Quickly Raymond slams the doors shut as they both
retreat back into the hallway. Raymond SMASHES the glass
covering of a nearby FIRE HOSE and raps it around the
door handles, locking it closed.
Suddenly a loud THUD as something begins to BANG against
the locked doorway.
RAYMOND
We've got to lock them inside while we
can.
Raymond tosses his cellular phone to Nick.
RAYMOND
Contact the military and get them to
send a bomber to blow up this building
before these things escape.
NICK
How do I do that?
RAYMOND
555-7600. Tell them it's a code
dragonfly. They should get you
through.
Amazed by Raymond, Nick just stares at him.
RAYMOND
What are you waiting for?
Nick snaps out of it and dials.
OPERATOR
(filtered)
...all circuits are busy right now.
Please hang up and try again...
194 EXT. GEORGE WASHINGTON BRIDGE - SAME - NIGHT 194
A large and ANGRY mob has gathered at the roadblock to
the bridge. People, their cars packed with belongings,
are screaming to be let back into Manhattan. Horns honk
and the blockade guards are getting nervous.
195 INT. COMMAND TENT - SAME - NIGHT 195
The Mayor marches over to Major Hicks who is consulting
with the Generals.
MAYOR
Do you have any idea what's going on
out there? The phones are ringing off
the hook with people screaming to be
let back into the city.
MAJOR HICKS
We're sending divers into the river
now to retrieve the body.
MAYOR
That thing's dead. What the hell are
we waiting for?
Just then Elise rushes over to the Major.
ELSIE
Major, if Nick is right, this could be
our last chance to do something about
it. We have to search for the nest,
now.
Major Hicks is torn. Finally he nods in agreement,
turning to another officer.
MAJOR HICKS
Organize a search party. I want a
complete sweep of the entire city and
subway system.
MAYOR
You don't have the authority to do
that.
The Major turns and cooly approaches the Mayor.
MAJOR HICKS
Try and stop me.
Major Hicks smiles at the Mayor who exits, petulantly.
196 INT. AUDITORIUM - MADISON SQUARE GARDEN - DOORWAY - 196
NIGHT
We SEE dozens and dozens of Babyzillas fighting with
each other over the last of the fish. Suddenly this
image is SLAMMED SHUT as doors are closed and a FIRE
HOSE is rapped around door handles. We widen to
reveal...
Raymond fastening the hose around the door. Secured,
Raymond takes off running.
197 INT. MADISON SQUARE GARDEN - HALLWAY - SAME 197
Nick is on the pay phone frantically dialing as Raymond
comes up. We hear a BUSY signal from the phone. Nick
dials again.
RAYMOND
What'd they say?
NICK
I can't get through. I don't know
what's wrong.
OPERATOR
(filtered)
...all circuits are busy right now...
Jean-Claude and his partner arrive.
JEAN-CLAUDE
We've secured the doors on both
levels.
RAYMOND
Where's Luc and Pierre?
JEAN-CLAUDE
They didn't make it.
RAYMOND
(quickly recovering)
Nick, my men and I will hold them
here. You will have to go and get
help!
Nick nods in agreement and takes off down stairs. The
rest of the team SNAP TOGETHER their automatic rifles
and prepare for a fight.
198 INT. LOCKER ROOM - SAME 198
Animal and Audrey are checking out every corner of the
room.
ANIMAL
There's got to be another way out of
here.
Audrey climbs up onto a table and yanks out a grate
covering the air vent.
AUDREY
Think we can fit up in there?
ANIMAL
Only one way to find out.
He rushes over to her and helps her climb up inside.
199 INT. FLOOR-LEVEL HALLWAYS - SAME 199
Jean-Claude sends Luc up ahead as they guard the
doorways. A loud THUMP is heard on the door they are
guarding. Each turns their weapon towards the doors.
Suddenly a portion of WALL BETWEEN THEM COLLAPSES.
A DOZEN BABYZILLAS leaping through the plaster. As they
spill out into the hall, Jean-Claude attempts to open
FIRE. One of the Babyzilla's is HIT.
His brothers ATTACK. Luc from the other side tries to
lay down cover fire but he's overrun by the herd.
200 INT. HALLWAY - MAIN LOBBY LEVEL - SAME 200
Nick comes racing down the stairs and into the hallway.
Just then, he passes a locked door, BANGING on the other
side.
Just up ahead he can SEE the main lobby. But before he
can get there, a LOUD CRASH is heard as the locked door
in front of him SMASHES TO BITS as...
DOZENS OF BABYZILLAS
Flood into the main lobby only a few yards ahead. Nick
slams on the breaks and quietly tries to back away. He
turns to run the other directions when...
MORE BABYZILLA
Come BURSTING THROUGH the locked door behind him. Pinned
down with no way out. Nick SEES the elevator nearby and
races over, slamming his hand against the button.
NICK
Come on, come on.
The Babyzillas by the front door spot Nick. A couple of
them start to SNIFF THE AIR and start to move towards
him. Behind, the Babyzilla also catch the scent and
turn.
NICK
This is not good.
Just then the elevator doors open, Nick LEAPS inside.
201 INT. ELEVATOR - SAME 201
Nick frantically pushes the CLOSE DOOR button but it's
painfully slow to react.
NICK
I hate these things!
Just then the Babyzillas appear. They're just about to
move in when the doors finally CLOSE. Nick breaths a
sigh of relief just as a loud THUD is heard as one of
them SLAMS against the door. It's too late, the elevator
begins to rise.
202 INT. AIR VENT - SAME - NIGHT 202
Climbing upward, Animal reaches a plateau and crawls
into cross vent. He reaches back and grabs his camera.
Putting it down he turns back and helps Audrey up and
in.
ANIMAL
You okay?
Out of breath, she nods. Animal takes the lead again,
pushing his camera in front of him. He reaches another
vent that looks down. He's about to pull it free when
something catches his eye.
ANIMAL'S P.O.V. - THROUGH VENT - RAYMOND
Standing guard, automatic rife in hand, Raymond appears
with his back toward us. Animal lifts his camera to
shoot.
AUDREY
(whispered)
What? What is it?
Animal doesn't answer, he just shoots.
203 INT. HALLWAY - SAME 203
The elevator doors open and Raymond SWERVES his gun
around ready to shoot. Frightened, Nick throws his hands
in the air.
NICK
Hey, it's me!
204 INT. VENT - SAME 204
Audrey has pushed her way up alongside of Animal to peer
down through the grating.
RAYMOND
What happened?
205 INT. HALLWAY - SAME 205
Nick keeps dialing the cell phone, still busy.
NICK
They're loose. They're all over the
main lobby. I couldn't get out.
Just then the vents above COLLAPSES and Animal and
Audrey come tumbling down. In a flash, Raymond has his
weapon trained on their heads.
RAYMOND
Who the hell are you?
NICK
It's okay. I know her.
Raymond turns his gun towards the fallen video camera
and FIRES, ripping the camera apart.
ANIMAL
Hey! What gives?
RAYMOND
No cameras.
Nick moves to Audrey's side, helping her up.
NICK
What are you doing here?
AUDREY
I thought you said there'd only be a
dozen eggs.
NICK
I was wrong.
Just then a LOUD THUMP is heard against the near locked
door. The THUMPING gets louder and heavier.
RAYMOND
Do you have a radio, a walkie-talkie?
Anything we can use to contact the
outside.
AUDREY
What about the phones?
NICK
Circuits are overloaded.
AUDREY
(gets an idea)
I know a way. I know how you can get
a message out of here.
The door BURSTS OPEN and TWENTY BABYZILLAS stampede into
the hallway. Audrey is fast on her feet.
AUDREY
This way.
She takes off running and they follow. The Babyzillas
give chase. Animal, hangs back and runs over to the
destroyed video camera and PULLS OUT THE TAPE. Just as
he does, the Babyzillas are nearly on top of him. He
dashes off.
ANGLE - END OF HALL - BACK DOOR
Audrey gets there first and opens the small doorway that
leads to a back stairwell, she ushers the rest inside.
She slams the door behind her as the Babyzillas appear
and begin to SNIFF the doorway.
206 INT. HALLWAY - LUXURY BOXES - SAME - NIGHT 206
They spill out into the hall and rush past all the
luxury boxes overlooking the auditorium.
AUDREY
Come on, the broadcast booth is right
over here.
NICK
How do you know?
AUDREY
Our network covers the Ranger games.
207 INT. MID-LEVEL - END OF HALL - BACK DOOR 207
The Babyzillas are gathered by the doorway SNIFFING. One
of the more aggressive ones starts to CLAW at the door,
RIPPING into it. Another charges it, THUD.
208 INT. LUXURY BOX HALLWAY - SAME 208
They rush up to a door marked BROADCAST BOOTH. Audrey
tries the door, it's locked. Animal charges his shoulder
into it, but it doesn't give.
Raymond gently moves Animal out of the way and SHOOTS
the lock to pieces. He opens the door for everyone to
enter.
209 INT. BROADCAST BOOTH - SAME - NIGHT 209
They rush into the empty broadcast booth. Animal turns
on the lights as Audrey goes over and boots the computer
terminal. Raymond moves some equipment against the door,
securing it closed.
AUDREY
The network is on an intranet. It's a
direct feed into our computer system.
NICK
Your station won't have any easier
time contacting the military than I
did.
That stumps her. Animal gets an idea.
ANIMAL
When you worked with them, did they
monitor the news broadcasts?
NICK
(getting the idea)
Yes, they did.
ANIMAL
We'll go live! We'll broadcast from
here. Hopefully they'll see it.
210 INT. MID-LEVEL - END OF HALL - BACK DOOR 210
More of the creatures have gathered by the door. Two
more CHARGE and the door collapses. The Babyzillas rush
up the stairs.
211 INT. WNEW NEWS TRUCK - EDITING BAY - SAME 211
Ed is watching the news feed. Caiman is on.
CAIMAN
(filtered)
...Yes, the threat is over but the
pain continues...
Suddenly Ed's computer begins to BEEP. Ed slides his
chair over and looks at his monitor. It reads NEW MAIL:
URGENT! He double clicks it and a letter pops up that
reads. Ed pick up transponder CFX 1 and watch the feed.
ED
(to himself)
There's no Ranger game on tonight.
Ed makes a couple of adjustments on his controls and
turns on a blank monitor. He SEES...
C.U. MONITOR - AUDREY
Racing in front of the camera we SEE Audrey in the
control booth.
AUDREY
...If you're seeing this, Ed, please
put us on Live! This is urgent! I know
this sounds crazy Ed but you have to
do it. Please, trust me.
ED
(incredulous)
I'm not putting you on live!
212 INT. BROADCAST BOOTH - SAME 212
Nick turns on a small television and we still SEE Caiman
doing the news. Audrey turns to Animal.
AUDREY
He's not going to do it.
ANIMAL
Oh yes he will.
Animal turns the camera and points out the window at the
BABYZILLA'S below.
213 INT. WNEW NEWS TRUCK - SAME 213
Ed's eyes nearly pop out of his head.
AUDREY
(filtered)
Ed, you see that? They'll be all over
the city if we don't stop them!
Ed rushes over to the console and goes to work.
214 INT. COMMAND TENT - SAME 214
The mode is festive. The Generals are preparing to leave
as is Major Hicks. Sergeant O'Neal and some of his men
are watching the t.v. news.
CAIMAN
(filtered)
...as our fears have been allayed
thanks to the dedicated work of our
boys in uniform...
Everyone in the room begins to cheer. Suddenly Caiman's
image goes fuzzy. In a moment it's replaced by Audrey.
AUDREY
(filtered)
Are we on? Are we live?
215 INT. BROADCAST BOOTH - SAME 215
Nick SEES Audrey on the t.v. and gives her the thumbs
up.
AUDREY
We're live from inside Madison Square
Garden where Dr. Niko Tatopoulos has
discovered the beasts lair. Doctor,
tell us what is happening here.
Animal swerves the camera over to Nick. Raymond stays
back behind the camera, watching.
NICK
We've discovered over two hundred eggs
which began hatching only moments ago.
216 INT. LUXURY BOXES HALLWAY - SAME 216
The creatures come bursting out of the stairwell and
flood into the hall. Sniffing around they pick up the
scent and take off.
217 INT. COMMAND TENT - SAME 217
A Soldier tugs on Major Hicks shoulder, try to get his
attention.
MAJOR HICKS
What is it?
SOLDIER
You better see this.
The Major turns around just in time to SEE Nick on the
t.v.
NICK
If the military are listening, they
must immediately destroy this building
before they can escape.
AUDREY (O.S.)
Oh my God! They're coming!
The camera SWERVES to SEE through the luxury booths
across from them, the dozens of Babyzillas approaching.
218 INT. LUCY'S APARTMENT - BEDROOM - SAME 218
The bedroom is packed with Lucy's "guests" as they watch
the t.v., SEEING the Babyzillas.
LUCY
Oh my God!
On the screen the image turns to Nick.
NICK
(filtered)
If those creatures escape and
multiply, in a very short time a new
species will emerge. One that could
replace us as the dominant species of
this planet.
219 INT. COMMAND TENT - SAME 219
Major Hicks is on the phone.
MAJOR HICKS
(into phone)
That's correct, I want you to blow up
Madison Square Garden. No I'm not
drunk.
(to O'Neal)
Contact the news station. Tell them
we're on the way.
220 INT. BROADCAST BOOTH - SAME - NIGHT 220
Raymond spots a large spool of co-axle cable. Quickly he
ties it to the support beam.
AUDREY
Reporting live from Madison Square
Garden, this is Audrey Timmonds,
WNEW.
221 INT. AUDREY'S APARTMENT - BEDROOM - SAME 221
Everyone is breathless watching the news. Lucy beams.
LUCY
That's my girl.
222 INT. BROADCAST BOOTH - SAME 222
Animal lowers the camera and everyone is silent.
NICK
Thanks, Audrey.
The computer beeps, Animal reads the message.
ANIMAL
The good news is they got the message.
The bad news is we've got five and a
half minutes to get out of the
building.
Suddenly the room ROCKS as the Babyzillas begin crashing
against the blocked door. Raymond jumps to his feet.
RAYMOND
Okay, party's over. Time to leave.
With that he SPRAYS bullets into the front glass window
SHATTERING IT. Glass rains down below. Raymond tosses
the spool of cable out the broken window.
RAYMOND
Anyone care to join me?
Animal dislodges one of the video cameras, hoists it on
his shoulder and moves over to join Raymond.
223 EXT. AIR BASE - F-18 SQUADRON - SAME - NIGHT 223
Several F-18's prepare to take flight. We focus on one,
an enormous bomb attached under its wing. The F-18 taxis
away from us.
224 INT. MADISON SQUARE GARDEN - AUDITORIUM - SAME 224
Repelling down from the broken window of the broadcast
booth, Animal and Raymond land on the upper-level
balcony. Raymond signals to the others to follow.
225 INT. BROADCAST BOOTH - SAME 225
Audrey and Nick are nervous as they stare at the long
drop down. The door is begging to give way from the
repeated THUMPING. Suddenly Audrey leans over and kisses
Nick.
AUDREY
In case I can't later.
With that she JUMPS out, repelling downward. Nick is
stunned by the unexpected kiss. Suddenly the door GIVES
and the Babyzilla FLOOD into the room. Nick jumps.
226 INT. AUDITORIUM - CONTINUOUS 226
Audrey hits the ground followed by Nick. Raymond leads
as they make their way out.
On the other end of the room some Babyzilla appear in a
doorway and watch our friends scurry away. The
Babyzillas take off in hot pursuit.
227 INT. DARK SKIES - F-18 SQUADRON - NIGHT 227
The F-18's fly in formation. Their leader carrying the
same bomb we saw loaded earlier.
228 INT. FLOOR-LEVEL HALLWAY - SAME - NIGHT 228
Raymond, guns in each hand, comes rushing into the
hallway. He SEES a small group of Babyzillas down the
hall and gestures for the group to go the other way.
Raymond backs away, guns trained on the Babyzillas who
SNIFF the air and decide to pursue. Raymond turns and
runs.
ANGLE - FARTHER DOWN HALLWAY - AROUND THE CORNER - SAME
As they tear forward they nearly run smack into a heard
of several dozen Babyzillas who are tearing the
concession stands to ribbons looking for food.
Spotted, the Babyzillas LEAP forward after the team.
Raymond spots the escalators across the hall.
RAYMOND
The escalators, hurry!
229 EXT. SKIES - F-18'S - NIGHT 229
We FOLLOW the squadron as they pass us to reveal the
beautiful MANHATTAN SKYLINE approaching.
230 INT. ESCALATOR CORRIDOR - MADISON SQUARE - SAME 230
The team races into the corridor. Animal reaches down
and hits the POWER button near the moving stairs. The
escalator comes to life.
The team runs down the "down" escalators as the
Babyzillas flood into the corridor. Some try to go down
the "up" escalator and fall all over themselves. Others
are spooked by the moving down escalator. Finally, the
brave ones begin to LEAP down the "down" escalator.
231 INT. MAIN LOBBY HALLWAY - SAME 231
Racing out of the escalator corridor the team moves into
the main lobby and FREEZES. They are surrounded on all
sides by Babyzillas!
Like the scene in Hitcock's "The Birds" it is eerily
still as everyone freezes.
232 EXT. MANHATTAN SKYLINE - F-18'S - NIGHT 232
Closing over the city, the lead bomber breaks formation,
flying lower, closer to the rooftops.
233 INT. COCKPIT - HUD DISPLAY - NIGHT 233
Through the windshield's Heads-Up-Display (HUD) we SEE a
target LOCKING ON, flashing.
PILOT
I'm locking on now.
234 INT. MAIN LOBBY - MADISON SQUARE - SAME 234
As several SNIFF THE AIR, they begin to CLOSE IN. The
Babyzillas from the escalator corridor finally get to
the ground level and rush over from behind.
Raymond spots the large hanging CHANDELIERS in the front
lobby. He FIRES a short BURST, SLICING the cable
supporting the chandelier.
The chandelier DROPS and SHATTERS in the center of the
main lobby. The Babyzillas scatter, opening a pathway to
the front door.
RAYMOND
Go! Now!
Raymond PUSHES the team forward as he takes the rear
through the pathway which begins to close up as they
pass through.
The Babyzillas recover and begin to charge. As Raymond
passes some CANDY MACHINES, he grabs one and SMASHES IT
to the ground.
THOUSANDS OF GUM BALLS
Scatter all over the floor. As the Babyzillas run, they
begin to stumble allover each other, tripping on the
gum balls.
Animal is the first to reach the main door, he opens it
and Audrey and Nick are the first to exit. Raymond,
FIRING MADLY behind as he rushes for the door.
235 INT. COCKPIT - F-18 - NIGHT 235
The locked FLASHES RED.
PILOT
Stallion 15, Fox 6.
236 EXT. SKIES - F-18 - BOMB - NIGHT 236
The immense BOMB drops and takes flight on its own. We
can see it's heading directly for MADISON SQUARE
GARDEN.
237 EXT. MADISON SQUARE GARDEN - NIGHT 237
Raymond exits and Animal shuts the door behind him. The
Babyzillas SLAM against the doors. It takes all of
Animal's and Raymond's strength to hold the doors
closed.
Raymond slides his rifle barrel between the handles as a
temporary lock. He pulls Animal away and they take off
running.
BOMB'S P.O.V. - MADISON SQUARE - NIGHT
Rapidly approaching the famous forum.
ANGLE - RAYMOND, ANIMAL
Not far behind Nick and Audrey as they race from the
building. Behind them we SEE...
BOMB AND BUILDING
Collide and an ENORMOUS EXPLOSION ERUPTS, engulfing the
entire building in a mountain of flame.
Raymond, Animal, Audrey and Nick are THROWN several feet
forwards, toppling to the ground from the incredible
impact.
As the building CRUMBLES in FLAMES we HEAR several of
the Babyzillas SCREAMING. Soon they are silenced.
Slowly Nick sits up and turns to Audrey. They're both
shaken up. Nick touches her cheek gently.
NICK
Are you okay?
AUDREY
Somehow I never thought your life was
this exciting.
NICK
You'd be surprised.
AUDREY
Really? I'd like to find out.
She hugs him tightly. Nick smiles. Animal turns to
Raymond who has cut above his eye.
ANIMAL
Hey Man, you all right?
RAYMOND
I could use a coffee.
We begins to pull away from this tableau, slowly lifting
upwards when suddenly...
THAT FAMOUS WAIL
Is heard! Then, violently BURSTING up through the ashes,
a very angry GODZILLA emerges!
Bleeding from his injuries, Godzilla leans down and
nuzzles the burned out remains of his young. For the
first time in the film we can SEE a partial expression
of Godzilla's face; pain.
But quickly that pain turns to burning anger as he
focuses his hatred downwards, staring directly, and
accusingly, at our heroes.
NICK
Ohhhhhhhh.....shit.
ANIMAL
What do we do?
RAYMOND
Running would be a good idea.
And they do just as Godzilla POUNCES. Fortunately our
team DARTS around a corner just in time.
238 EXT. SIDE STREET - SAME 238
As our heroes come rushing around a corner, Godzilla
BURSTS THROUGH the building in front of them, sealing
off their exit. Raymond notices a very narrow alley.
ANGLE - ALLEY WAY
Raymond leads them through this slim alley between to
large brick buildings. They run for their lives as
Godzilla appears behind them.
His claws are too big to reach into the alley so he
BULLDOZES his way into it, the building ripping apart as
he marches forward.
Bricks go FLYING as debris showers down on our team just
they make their way to the other side.
Slowed down by the position of the alley, Godzilla
SWINGS his arms violently to clear a path.
239 EXT. 29TH STREET - CONTINUOUS - NIGHT 239
Racing from the alley Raymond races over to a parked
YELLOW CAB.
240 INT. CAB - CONTINUOUS - SAME 240
In one deft move, Raymond draws a screwdriver out of his
belt, pops the ignition device off the steering column
and hot wires the car in under 15 seconds. It's
amazing.
As he does this the others pile into the car. Not even
completely all in, Raymond takes off as soon as the
engine turns over. Animal nearly falls out.
241 EXT. 29TH STREET - CONTINUOUS - NIGHT 241
Just as GODZILLA bursts out from between the buildings
the CAB DARTS away, squealing around the next corner.
242 EXT. 8TH AVENUE - CONTINUOUS - NIGHT 242
Power sliding around the wet street corner, the Yellow
Cab FISHTAILS onto 8th Ave. Whipping around the corner
behind them Godzilla appears.
As he's MUCH faster, he nearly overtakes the car in a
single LEAP but the cab SWERVES AGAIN moving down
another street.
243 EXT. 27TH STREET - SAME 243
The cab darts onto 27th street. DEBRIS tumbles down in
their path as GODZILLA SMASHES through another
building.
244 INT. CAB - SAME 244
The rear window SHATTERS as falling bricks and debris
HIT THE CAR. Again, the Cab darts down a small side
street.
245 EXT. LEWELLEN DRIVE - SAME 245
Using this small cut-across, the cab quickly exits out
onto the next main street (28th). Godzilla rushes down
the side street, his TAIL shattering buildings as he
does.
246 INT. CAB - SAME 246
Animal fumbles with his camera trying to get it to power
up. The light goes ON and Animal quickly holsters it and
begins filming out the shattered back window.
AUDREY
Cut uptown, take 8th to 57th then cut
up Broadway.
ANIMAL
You're crazy, go to the east side and
take the park avenue to the JFK.
AUDREY
The JFK? In the rain!?
247 EXT. STREET - CAB & GODZILLA - NIGHT 247
LEAPING forward, Godzilla BITES down, SNAPPING at the cab
as it SWERVES just out of danger, gunning it.
248 INT. CAB - SAME - NIGHT 248
ANIMAL
What are you talking about? The east
side is always faster.
AUDREY
But we can get to the west side
faster.
Through the rear window we SEE Godzilla SNAPPING down
trying to take a bite. The cab, again, SWERVES wildly,
darting down a side street.
RAYMOND
Somebody make up your mind!
AUDREY & ANIMAL
Take central park!
249 EXT. 8TH AVENUE - SAME 249
Taking her advice, Raymond swerves up 8th Ave. uptown.
He GUNS IT and RACES up ahead.
250 EXT. 28TH STREET - SAME 250
The last two turns of the cab have temporarily
disoriented Godzilla who looks around to find the cab.
He moves up a block and begins to look around.
GODZILLA'S P.O.V. - CAB - SAME - NIGHT
Several blocks ahead, Godzilla spots the cab. He narrows
his eyes and WAILS ANGRILY. Suddenly he BOLTS after the
cab.
251 INT. CAB - SAME 251
Animal clears away the broken glass and leans out the
back window.
ANIMAL'S P.O.V. THROUGH WINDOW - GODZILLA
Gaining on them GODZILLA is in hot pursuit.
ANIMAL
Better step on it Frenchie!
252 EXT. MEADOW - SAME 252
The military is cleaning up the trap from before.
Sergeant O'Neal SPINS as the cab LEAPS out from behind
the trees.
SERGEANT O'NEAL
What the hell....?
The cab POWER SLIDES right past and out of the Meadow
again just as GODZILLA STOMPS directly into the clean up
crew. Soldiers DIVE for cover as others scramble out of
the way.
Godzilla MARCHES after the cab, his tail SWIPING several
vehicles which tumble, crashing into the troops.
In a flash, Godzilla disappears back into the forest on
the other side. O'Neal grabs his radio.
SERGEANT O'NEAL
Command, Command, this Sergeant
O'Neal. He's back!
253 INT. COMMAND TENT - SAME - NIGHT 253
Major Hicks moves over towards the radios.
MAJOR HICKS
Captain Rogers, do we still have those
F-18's in the air?
RODGERS
They're heading back to base now,
sir.
MAJOR HICKS
Turn 'em around.
254 EXT. BROADWAY - UPTOWN - SAME 254
The cab heads up the deserted streets, racing full
tilt.
255 INT. CAB - SAME 255
Animal pulls himself back into his seat.
ANIMAL
I think we lost him.
256 EXT. BROADWAY - SAME 256
Wrong again! Leaping out several blocks ahead, GODZILLA
emerges. He KNEELS DOWN and gives a gigantic POWER BLAST
of his BREATH.
Cars, street signs, vending machines SAIL BACKWARDS from
the force.
A Newspaper vending machine SLAMS into the hood of the
cab as the cab SQUEALS around a corner, avoiding the
rest of the onslaught of debris.
257 EXT. SKIES - SAME 257
The F-18's BANK and head back towards Manhattan.
258 EXT. HARLEM - SAME - NIGHT 258
Racing up through the streets of Harlem we SEE the cab.
259 INT. CAB - SAME 259
Everyone is looking around for the creature.
RAYMOND
Anyone see him.
Suddenly from behind, Animal spots the creature several
blocks behind. Again, he lifts the camera.
ANIMAL'S P.O.V. - GODZILLA
Running full boar directly at them.
260 EXT. HARLEM STREETS - CONTINUOUS 260
Godzilla quickly makes up ground. Running at the cab
it's only a matter of seconds before he'll reach them.
261 INT. CAB - RAYMOND - SAME 261
Raymond looks up, spots something.
RAYMOND'S P.O.V. - SIGN
Up ahead is a sign for the exit for the George
Washington Bridge. Raymond decides to take it.
262 EXT. HARLEM STREETS - SAME 262
The cab SWERVES heading towards the bridge entrance just
as Godzilla BITES DOWN, barely missing the cab as it
turns the corner.
Godzilla LEAPS OVER THE ENTIRE BLOCK, landing directly
IN FRONT OF THE CAB.
The cab SPINS, pulling a full 180 degree turn, and PEELS
OUT just before Godzilla can SNAP DOWN again, just
missing the cab.
The cab PEELS around the creature and UP THE ONRAMP.
Just then Godzilla LEAPS AFTER THEM. His jaw open, he
BITES DOWN ON THE CAB.
263 INT. CAB - CONTINUOUS 263
Everyone ducks as the enormous JAWS OF THE CREATURE
CLAMP DOWN OVER THE CAB.
264 EXT. EXIT RAMP - SAME 264
Taking a gigantic BITE out of the highway, some high
tension wires and the support structure over the bridge,
Godzilla CHOMPS DOWN on the cab.
The large cement SIGN SLAMS into the roof of the
creature's mouth, preventing him from crushing the cab
with his teeth.
265 INT. GODZILLA'S MOUTH 265
The sign supports will not hold much longer as it
crumbles just above the cab. The torn electric cables
DANGLING dangerous close to the cab.
Godzilla PUSHES his TONGUE towards the back of the car,
trying to draw it into his throat!
266 INT. CAB 266
They're freaking out as the jaws are closing in on
them.
AUDREY
Gun it! Gun it!
RAYMOND
I'm trying!
C.U. CAB'S WHEELS
Spinning in vain against the gigantic tongue that pushes
against it, LIFTING the REAR of the vehicle.
267 EXT. HIGHWAY - GODZILLA - SAME 267
Like a dog with a bone, Godzilla SHAKES his head trying
to rip the rest of the highway free. The portion of
highway in front of the cab TEARS FREE, lifting.
268 INT. GODZILLA'S MOUTH 268
From the cab we SEE the horizon LIFT as the road begins
to give way. The sign above CRUMBLING FURTHER.
Nick turns and SEES...
ELECTRIC CABLES - SPARKS
Sparking as they hit against the supports of the sign,
Nicks sees the cables dangling close to the cab. He
takes off his jacket, wraps it around his hand and opens
the cab door.
Grabbing the cable with his wrapped hand, he JAMS THE
CABLE DOWN into Godzilla's TONGUE. SPARKS FLY! Nick
leans back inside, slamming the door shut.
269 EXT. HIGHWAY - GODZILLA 265
He temporarily opens his mouth wider with a scream just
before he is about to SLAM his jaws shut again...
C.U. TIRES - SUDDENLY CATCHING
As the tongue momentarily retreats from the SHOCK, the
wheels CATCH and the CAB LURCHES FORWARD.
270 EXT. GODZILLA - CONTINUOUS 270
As the sign CRUMBLES and the JAWS CRUSH DOWN, the cab
SAILS OUT OF HIS MOUTH as the beast SWALLOWS the piece
of highway.
Landing, hard, onto the pavement, the cab PEELS OUT,
burning rubber as it enters the George Washington
Bridge.
Godzilla SWALLOWS only to realize he didn't get them.
Seeing the cab on the bridge Godzilla gives chase.
271 EXT. GEORGE WASHINGTON BRIDGE 271
The cab races towards us when Godzilla STEPS ONTO THE
BRIDGE. His enormous weight makes the entire bridge
WOBBLE.
The Cab goes airborne then bottoms out as it returns to
the asphalt as the bridge undulates beneath them. It's
as though they were driving during an earthquake.
With each stride Godzilla takes, the bridge becomes more
unstable.
272 EXT. SKIES ABOVE THE HUDSON - F-18'S - SAME 272
Swooping down the F-18's head directly towards the
bridge. We see Godzilla about to overtake the Cab.
273 INT. COCKPIT 273
The HUD begins to FLASH, LOCKED ON!
PILOT #2
We are red and free. Stallion 10, Fox
2.
274 EXT. BRIDGE - CAB AND GODZILLA 274
Only a stride away from being overtaken.
275 INT. OTHER COCKPIT - SAME 275
PILOT #3
Stallion 12, Fox 2.
ANGLE - F-18 SQUADRON
All at once they FIRE. Missiles heading right at
camera.
GODZILLA
opens his mighty jaw about to CLAMP DOWN on them.
The missiles CONNECT, SLAMMING INTO HIS CHEST,
EXPLODING. His torso, rips apart. He SCREAMS OUT. His
WAIL a painful death cry.
His foot STOMPS DOWN as he tries to retain balance. The
impact of the stomp acts like a shockwave that KNOCKS
the Cab into a SPIN.
SLAMMING into the guard rail, the cab bounces back into
the road and keeps going.
The injured Godzilla bites the bullet and continues
pursuing, his gait slowing. The cab is able to make some
distance.
ANGLE - F-18 SQUADRON
Again they FIRE. A group of missiles darting out.
GODZILLA
The missiles HIT, ripping into him. Again GODZILLA
SCREAMS out, his forward motion stopped.
276 EXT. OTHER SIDE OF BRIDGE - CONTINUOUS 276
Where the blockade and angry mob still wait and watch in
horror. The Cab SLIDES INTO A SPIN as it comes to a stop
just in front of the crowd.
Nick jumps out first, staring back at Godzilla. Audrey
comes up from behind.
NICK'S P.O.V. - GODZILLA
His eyes rolling back into his head as he SCREAMS OUT.
Slowly he TUMBLES.
ANGLE - BRIDGE
Godzilla's enormous head comes CRASHING DOWN in front of
us. The tremendous impact sends TREMORS across the
bridge.
277 EXT. OTHER SIDE OF THE BRIDGE - CONTINUOUS 277
The gathered crowd is ROCKED from the impact of the
toppled Godzilla.
GODZILLA
His last breath escaping. Defeated and weary, his eyes
blink slowly as we watch his life slip away.
NICK AND AUDREY
Oddly, Nick stares sympathetically at Godzilla's sad and
lifeless face.
The stunned silence melts away as the mob behind them
begins to applaud nervously, then vigorously. The mob
breaks through the blockade and rushes over to our
heroes, surrounding them. Cheering enthusiastically.
278 INT. LUCY'S APARTMENT - BEDROOM - SAME 278
The room is going berserk, everyone slapping hands. Lucy
turns and gives a "high-five" to everyone around her.
279 EXT. JERSEY SIDE OF THE BRIDGE - SAME - NIGHT 279
Cameras flash like mad. Several news crews fight their
way through the crowd.
REPORTERS
(overlapping)
How did you discover the nest? Dr.
Tatopoulis, can you tell us what
happened back there?
NICK
Sorry, guys, I've promised my story as
an exclusive to another reporter.
Nick winks at Audrey. Caiman pushes his way through the
crowd of reporters over to her.
CAIMAN
We did it! We've got the exclusive!
Way to go, Audrey!
AUDREY
We? I don't think so.
CAIMAN
I want that story, Audrey. Remember
you work for me.
AUDREY
Not anymore. Mr. Caiman, I quit.
Audrey waves goodbye as Animal walks over, checking his
camera and his coat pocket.
ANIMAL
Audrey, did you take the tape out of
the camera?
AUDREY
No.
NICK
Where's Raymond?
They look around, but he's gone. Nowhere to be seen.
ANIMAL
I couldn't have just lost it?
A phone begins to RING. Nick checks his pockets and finds
Raymond's cellular phone. Nick answers.
NICK
Hello?
RAYMOND (O.S.)
It's Raymond.
NICK
Where are you?
280 EXT. PAY PHONE - DOWN THE BLOCK - SAME - NIGHT 280
Raymond watches the mob scene from a distance.
RAYMOND
Tell your friends I will send the tape
after I remove a few items from it.
NICK AND AUDREY
Nick nods to Audrey that it's Raymond.
NICK
I understand.
RAYMOND
I just wanted to say, au revoir and
thank you for your help, my friend.
NICK
Wait.
(line goes dead; to
himself)
Au revoir.
AUDREY
Who was that French guy, anyway.
NICK
Oh, just some insurance guy.
Off Audrey's confused expressions we PULL BACK, farther
and farther. We see the mob, the military, the command
tents and finally we pull back far enough to reveal
Godzilla's mighty head laying on the end of the bridge.
CUT TO:
281 INT. PENN STATION - SAME - NIGHT 281
We FLOAT through the demolished station almost as though
we were a moving point of view. We travel thorough the
debris of the station into one of the tunnels.
We travel deeper and deeper into the distance. A shaft
of light up ahead. We move closer to it.
As we get nearer we realize it's one of Godzilla's
gigantic EGGS. WE move closer and closer to the solitary
egg. Just as we are about to collide with it. CRACK. IT
OPENS.
FADE OUT:
THE END