Godzilla (Pokemon Version)

by JBJB1029

During a nuclear test, the Kalos Region inadvertently mutates an Unnamed Water-type Sea Iguana Pokemon's nest; years later, a giant lizard makes its way to Unova, leaving destruction in its wake. To stop the creature, dubbed "Godzilla" by news outlets, (and its babies), Ash Ketchum, his friends, and other unlikely heroes (from both The UAF & The KSS) team up to save the world.

GODZILLA

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

Kalos Region 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 clould-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...Kalosian.

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

(Kalosian 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-abox 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 Tork 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 Unova military try to keep them at bay.

40 EXT. NEW JERSEY SHORE - CLIFF SIDE - DAY 40

The guards let the convoy pass. The Unova 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

(Kalosian 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 Unova 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 TORK 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. Unova 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

(Kalosian 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 Unova 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 familier 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 Major'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 Tork 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 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 Kalos Secret Service.

NICK

Oh.

RAYMOND

We have learned that your Unova

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 region?

RAYMOND

This is Unova. 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 Unova 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 region. Can

you understand that?

NICK

Sure.

RAYMOND

It is my job to protect my region.

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 region

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 Unova 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, they 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-Clude 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 allover 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, Serena and Ash 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 Ash sits up and turns to Serena. They're both

shaken up. Ash touches her cheek gently.

ASH

Are you okay?

SERENA

Somehow I never thought your life was

this exciting.

ASH

You'd be surprised.

SERENA

Really? I'd like to find out.

She hugs him tightly. ASH 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.

ASH

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 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.

SERENA

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.

SERENA

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.

SERENA

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!

SERENA & 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 Kalosian!

252 EXT. MEADOW - SAME 252

The Unova 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.

SERENA

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.

Ash turns and SEES...

ELECTRIC CABLES - SPARKS

Sparking as they hit against the supports of the sign,

Ash's 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! Ash

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.

Ash jumps out first, staring back at Godzilla. Serena

comes up from behind.

ASH'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.

ASH AND SERENA

Oddly, Ash 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 Kalosian guy, anyway?

NICK

Oh, just some insurance guy.

Off Audrey's confused expressions we PULL BACK, farther

and farther. We see the mob, the Unova 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