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
French government held in this tropical region.
Explosion after explosion devastates the locale. One
building after the next, accelerating in momentum,
culminating in one final EXPLOSION.
The 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 "e;NICK"e; 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 "e;no trespass"e; and "e;nuclear radiation."e;
NICK
..."e;What a glorious feeling. I'm happy
again..."e;
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
..."e;I'm laughing at clouds, so dark up
above..."e;
Nick rushes over to a small patch of land and begins to
SHOVE the spikes into the muddy earth.
NICK
..."e;The sun's in my heart and I'm
ready for love..."e;
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
..."e;Let the cloudy skies chase..."e;
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
..."e;I'm singin' in the mud, just
scooping up my worms..."e;
Unable to hear over his Walkman, he is oblivious as an
enormous RUSSIAN MILITARY HELICOPTER lands right behind
him.
From the intense wind kicked up by the helicopter,
Tatopoulos finally turns in time to see several RUSSIAN
OFFICERS coming toward him. Nick scrambles to his feet.
NICK
(broken Russian)
Good day. I am here with
permission...I have a, a...
(in English)
Permit. How do you say permit?
He goes through his pockets looking for his permits.
MALE VOICE (O.S.)
Dr. Nick Topopolosis?
Tatopoulos looks up as the Russian soldiers move past
him and over towards his cases of equipment. A man in a
long raincoat comes forward.
NICK
It's Tatopoulos.
TERRINGTON
The worm guy, right?
(extending his hand as he
approaches)
Kyle Terrington, U.S. State
Department.
The Russian soldiers close up his equipment and take it
off to the Helicopter.
NICK
What are they doing?
TERRINGTON
You've been reassigned.
NICK
You can't shut me down now! My
research here's not finished!
TERRINGTON
It is now.
CUT TO:
12 EXT. PAPEETE - TAHITI - STREET - DAY 12
Coastal town of Papeete, Tahiti. With the ocean in the
distance, through the heat waves we SEE a row of
official looking black sedans coming toward us.
13 EXT. PAPEETE HOSPITAL - CONTINUOUS - DAY 13
The doors to the sedans open as a group of very official
looking Government types. Stopping to light his
cigarette is PHILLIP RAYMOND, 40's, intense, dangerous
and worst of all...French.
14 INT. HOSPITAL HALLWAY - MOMENTS LATER - DAY 14
Raymond leads the official looking group down the hall.
A BRIEFING OFFICER rushes over. (The following dialog is
entirely in French with subtitles)
BRIEFING OFFICER
The Japanese consulate has been
calling and we've been getting
pressure from the Americans.
RAYMOND
What did you tell them?
BRIEFING OFFICER
Nothing yet.
RAYMOND
Are there any other survivors?
BRIEFING OFFICER
Only one, Sir. He was very lucky.
The group arrives at a door at the end of the hall. The
Briefing Officer opens the door.
RAYMOND'S P.O.V. - THROUGH OPEN DOOR
In the corner of the large room we see the old Cook from
the tanker curled up in the fetal position. The doctors
and a few nurses are attending to him.
RAYMOND
Get them out of there.
Two of the Officials move in and escort the Doctors and
Nurses out of the room. Raymond nods to two other
Officials who begin to unpack some recording equipment,
including a video camera.
15 INT. HOSPITAL ROOM - SAME 15
Raymond enters and moves close to the old Cook, kneeling
down in front of him, inspecting his distant glare. The
old Cook seems to be in a world of his own, rocking back
and forth. Raymond nods to another Official who comes
forward.
RAYMOND
(in French)
Ask him what happened.
The Second Official ask him in Japanese, but the old
Cook does not respond. He asks again but the old Cook
seems to be in a world of his own.
BRIEFING OFFICER
(in English)
It's no use. He's been like this since
we fished him out of the ocean.
Whatever happened to that tanker put
him in a complete state of shock.
Raymond takes out his lighter and ignites it on high.
The old Cook's eyes slowly come back to life, transfixed
by the fire. Slowly he brings the flame close to the old
Cook's face.
RAYMOND
(in English)
What did you see, old man?
Drawn out of himself by the flame...
OLD COOK
(weakly)
Gojira...Gojira...
Raymond shoots a look at the Second Official for an
explanation.
SECOND OFFICIAL
(in English)
I have no idea what he is saying.
OLD COOK
(stronger)
...Gojira!...Gojira!...GOJIRA!!
CUT TO:
16 EXT. GULF OF DEN SAN MIGUEL, PANAMA - DAY 16
A small sea plane flies over this jungle region of
Panama, darting up the Gulf into the lush greenery of
the countryside.
Super: Guilfo de San Miguel, Panama - 45 km outside
of La Paz
Slowly the plane begins to descend, landing by a small
village.
17 EXT. VILLAGE FISHING DOCK - MOMENTS LATER - DAY 17
Several soldiers unload Nick's cargo as he steps out of
the plane onto the dock. As he walks towards shore he
SEES...
NICK'S P.O.V. - POLICE BARRICADE
Dozens of citizens as well as the press are gathered at
a police barricade; their access to the village denied.
Panamanian Police and U.S. military working together to
keep people out.
Marching up the shore to greet Nick is MAJOR TONY HICKS,
30's, efficient, who is spearheading this operation.
MAJOR HICKS
Dr. Niko Topopolosis?
NICK
(correcting)
It's Tatopoulos.
MAJOR HICKS
Right. The worm guy.
(to guards at blockade)
Can someone get those people off the
beach?
NICK
Excuse me, would you mind telling me
what the hell I'm doing here?
MAJOR HICKS
Follow me.
The Major leads Nick up the beach away from the crowds.
NICK
You didn't answer my question. In
fact, for the last 18 hours no one has
answered any of my questions.
MAJOR HICKS
We have a situation on our hands that
requires your particular expertise.
ANGLE - DESTROYED VILLAGE HUT
Several soldiers and researchers are investigating the
site when Nick and the Major walk past.
NICK
Look, I may work for the Nuclear
Regulatory Commission but accidents
and spills are not my field.
MAJOR HICKS
We know.
Major Hicks motions to some guards who clear a blockade
away from a jungle pathway. Major Hicks takes the
pathway.
NICK
Do you know that you just interrupted
a three year study of the Chernobyl
earthworm?
MAJOR HICKS
Yeah, you're the worm guy.
NICK
The radioactive contamination in that
area altered the earthworm's DNA! You
have any idea what that means?
MAJOR HICKS
No, but I have the feeling I'm about
to find out.
NICK
It means that due to a man made
accident the Chernobyl earthworms are
now over seventeen percent larger than
they were before. Mutated by seventeen
percent?
Major Hicks stops, turns to Nick.
MAJOR HICKS
(bemused)
Seventeen percent, huh? Sounds big.
NICK
They're enormous! A new species
created by man's recklessness. That's
what I've been trying to tell you, I'm
only a biologist. I take radioactive
samples and study them.
MAJOR HICKS
Then you're perfect.
(pointing to the ground)
Here's your radioactive sample. Study
it.
With that Major Hicks walks away.
NICK
What sample?
MAJOR HICKS
You're standing on it.
Nick looks down, sees nothing.
NICK
I don't see it.
(no response)
Where is it?
We CRANE UP above him, pulling back farther and farther,
until we SEE he's standing inside of a 15 YARD LONG
GIGANTIC FOOTPRINT in the sand.
NICK (CONT'D)
I don't see it!
Two scientists have spread out a tape measure to
document its length as two others inspect it with Geiger
counters. Nick sees them and realizes he's standing in a
remarkable discovery. He looks up ahead and SEES...
OVERHEAD TITLT SHOT - Foot steps...-
Five gigantic footsteps in front of him. Other
researchers examining the prints with all kinds of
equipment. Geiger counters, CLICK, CLICKING away. Nick
is stunned.
18 EXT. TATTERED VILLAGE REMAINS - MOMENTS LATER 18
Nick rushes to catch up with Major Hicks who walks
towards a command tent in the distance.
NICK
(flabbergasted)
That was a footprint. I was standing
inside a footprint.
MAJOR HICKS
That's right.
NICK
But there's no animal in the world
that can make prints like that? Is
there?
MAJOR HICKS
We're hoping you're going to help us
figure that out.
The Major gestures to the many villagers who are being
attended to. Some are injured, others are being examined
for radiation. The village has been decimated.
NICK
Somebody must have seen it.
MAJOR HICKS
It happened so fast no one knew what
hit them 'til is was over.
A jeep pulls up and PETERS, a young researcher, comes
rushing over with a video tape in his hands. As he passes
Major Hicks...
PETERS
(on the run)
Tape's in. The French finally released
it.
Peters takes off for the command' tent. Nick and the
Major follow.
COMMAND TENT - CONTINUOUS - DAY
Part military, part scientific command post. Lots of
activity. Peters waves the tape as he rushes over to a
television. Major Hicks and Nick follow.
MAJOR HICKS
A tanker was attacked and sunk
yesterday near the French Polynesians.
We think there's a connection.
WOMAN SCIENTIST (ELSIE)
Is that the tape of the witness?
Excitedly, ELSIE CHAPMAN, heavy set, early 30's,
paleontologist and head of the research team, leads
several of her colleagues over to the t.v.
NICK
Hi. Nick Tatopoulos...
ELSIE
Ah, Elsie Chapman, paleontologist.
She's clearly attracted to him. This doesn't escape
Nick, who's not too comfortable with her flirtatious
glare. She turns to a scientist standing next to her,
DR. CLIVE CRAVEN.
ELSIE (CONT'D)
Dr. Craven, have you met the worm
guy?
DR. CRAVEN
Nice to meet you.
The t.v. turns on and we SEE the old Cook, rocking on
his bed, repeating over and over the same word...
OLD COOK
(filtered through t.v.)
...Gojira...Gojira...Gojira...
This is all too overwhelming for him. He turns from the
t.v. and looks out into the jungle.
Slowly he walks away, staring at something in the
distance with total awe. Elsie walks up next to him.
ELSIE
What could have possibly done all
that?
We REVERSE ANGLE and SEE what they are staring at.
A gigantic path cut through the jungle.
Something of immense size has trampled and cut a deep
and wide path right through the jungle forest that goes
on for miles on end. Over the stunned face of Nick we
HEAR...
OLD COOK (O.S.)
(filtered)
...Gojira...Gojira...Gojira...
CUT TO:
T.V. MONITOR - JUNGLE FOOTAGE
The same beach scene we saw when Nick arrived. Over
it...
REPORTER
(filtered)
...American and Panamanian troops
quarantined off a section of the
Panamanian jungle today amid
unconfirmed reports of a crashed Air
Force jet...
WIDEN TO REVEAL:
19 INT. WNEW T.V. STATION - DAY 19
As we WIDEN we see this is one of several wall mounted
monitors all showing channel WNEW. Through the glass
doorway nearby we see CHARLES CAIMAN, 40's, handsome,
entering the office.
AUDREY (O.S.)
Murray wants these copied to each
field producer...
ANGLE - SECRETARY DESK
Standing in front of the desk is AUDREY TIMMONDS, early
thirties, attractive, small town girl who still hasn't
toughened in the big city and talking with her
co-worker, LUCY, sitting.
AUDREY
And I'm supposed to remind you to call
him on all of Caiman's expense
p.o.'s.
LUCY
Speak of the devil.
Just then Caiman passes behind them.
AUDREY
(nervous)
Think I should ask him? I'm going to
ask him. You think I should? I will.
Audrey makes the decision and bolts after Caiman. Lucy
rolls her eyes.
LUCY
Oh girl...
ANGLE - CAIMAN
As he walks towards his office Audrey races up to him.
Seeing her, he walks faster hoping to avoid her. He
can't.
AUDREY
Did you talk with Humphries?
CAIMAN
This is not the place...
AUDREY
Just tell me, did you talk with him?
CAIMAN
He said he'd consider it. It's between
you and Rodriguez.
AUDREY
Are you serious? He's going to
consider me for he job? What else did
he say?
They arrive at his office. An enormous standee of
himself with the ACTION NEWS CREW is there.
CAIMAN
Why don't I tell you over dinner
tonight? Your place.
He stops at his door. Audrey is startled.
AUDREY
Mr. Caiman, you're married.
CAIMAN
And you're beautiful...
AUDREY
Mr. Caiman...
CAIMAN
Call me Charlie.
AUDREY
(stubbornly)
Mr. Caiman, I've been doing extra
research for you after hours and
weekends for nearly a year. And I've
never asked for anything but this job
is really important to me. I'm too old
to be an assistant anymore. I need to
know this job is going someplace.
CAIMAN
So have dinner with me tonight.
AUDREY
I can't.
CAIMAN
It's your choice.
Caiman shuts the door on her. She turns and is face to
face with the standee of Caiman. She takes out her
chewing gum and plasters it on his nose.
CUT TO:
20 EXT. JAMAICAN HIGHWAY - AERIAL SHOT - DAY 20
Over the bumpy Jamaican highway we FOLLOW from above
several military jeeps racing in convoy.
Super: Great Pedro Bluff, Jamaica
21 INT. JEEP - SAME 21
Elsie, Nick and Clive are cramped together along with
Nick's equipment in the back of the jeep. Nick looks
very uncomfortable. Elsie looks at Nick...lasciviously.
ELSIE
Three years digging up worms in
Chernobyl? How did Mrs. Tatopoulos
handle it?
NICK
Oh, I'm not married.
ELSIE
Really? A girlfriend then?
NICK
No. Perhaps I work too much.
ELSIE
(filtered)
You mean to tell me that there is no
one who holds a special place in your
heart?
Nick seems to get lost in thought.
NICK
Not for a long time, now.
ELSIE
Well, I think you're cute.
NICK
(awkward)
Oh, thank you.
(whispered to Clive)
Is she always like this?
CLIVE
(conspiratorially)
I had to beat her off with a stick.
The sound of a HELICOPTER ZOOMS overhead.
AERIAL SHOT - HELICOPTER - SAME - DAY
A helicopter ZOOMS past our convoy. As we FOLLOW the
helicopter we REVEAL...
JAMAICAN BEACH WITH A BEACHED CARGO SHIP - DAY
Taking up nearly the entire beach, an enormous cargo
ship lays on its side in the sand. Two gigantic holes,
ripped into its hull.
MILITARY JEEPS
Nick hops out and joins Major Hicks et al as they push
past the gathered crowd of onlookers. The group gives a
collective gasp as they see the ship for the first
time.
Three men (who we'll recognize from the Tahiti hospital)
take measurements of the holes in the ship.
MAJOR HICKS
Who are they? Lieutenant, get those
people away from there.
RAYMOND
(French accent)
They are with me!
Everyone in the group turns to find Mr. Phillip
Raymond.
MAJOR HICKS
And who are you?
Raymond hands him, as well as anyone who wants one, his
business card.
RAYMOND
CHARGEURES, property and casualty
insurance. We are preparing a report.
MAJOR HICKS
You're fast.
RAYMOND
That is our job.
MAJOR HICKS
Well your people are getting in the
way of my job.
RAYMOND
Major, what do you think could have
done this?
MAJOR HICKS
Get your people out of there or I
will.
The Major walks away. Raymond studies him as he does.
ANGLE - SHIP
Nick can't take his eyes off the enormous holes in the
hull. He steps closer and turns to Peters, who's taking
radiation counts of the ship.
NICK
Mind if I borrow this?
Peter hands him his Geiger counter and walks into the
cracked hull of the ship.
22 INT. CARGO HULL - CONTINUOUS - DAY 22
Inside is eerily dark and creepy. The guts of the ship
are tangled inside. Holding a Geiger counter, he gets
readings from all over the area. One particular spot,
above him, seems slightly stronger.
Nick SEES something there. He opens his knapsack and
puts on some rubber gloves, removing a glass jar (like
the ones from Chernobyl)
Carefully he climbs the debris until he reaches a sharp
shard of metal. Clinging to it he finds a MEATY CHUNK OF
REPTILE FLESH.
He tries remove it but he only gets half. He places it
into his jar. Just as he reaches for the other half,
SOMETHING GIVES WAY.
With a JOLT, the section above him collapses. A rush of
water falls and a HUMAN BODY swings down, just in front
of him.
Nick tumbles backwards, his heart pounding. The body
swings lifelessly as it hangs from above.
The others rush to his side, checking to see if he's all
right.
PETERS
You okay, Nick?
NICK
Yeah, I'm...wait...I lost...
Nick looks around frantically when the glass sample jar
is suddenly handed to him.
RAYMOND
Are you looking for this?
NICK
Thanks.
Raymond studies Nick as he joins the rest outside.
DISSOLVE TO:
UNDERWATER - NETS - MOVING P.O.V.
We are moving very quickly underwater. Ahead of us are
some large FISHING NETS with a catch of fish carried in
the bunt. Quickly we are heading for a collision.
23 EXT. ATLANTIC OCEAN - OFF NEW ENGLAND COAST - DAY 23
A great day for fishing. Slicing through the water we
SEE three New England Fishing TRAWLERS, the HARPO, the
CHICO, and the GROUCHO.
24 EXT. THE HARPO - SAME - DAY 24
ARTHUR is at the wheel. Suddenly the engines WHINE as
the ship begins to slow down. Surprised, Arthur checks
his throttle.
25 EXT. THE CHICO - SAME - DAY 25
LEONARD and his 1st MATE are puzzled by the engine WHINE
of their own ship.
LEONARD
Jerry, why are we slowing down?
JERRY (O.S.)
She's heavy in the bunt.
LEONARD
That was fast.
26 EXT. THE GROUCHO - SAME - DAY 26
The captain, JULES, hasn't noticed a thing as he lays on
his deck tanning himself, a boom-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 York City
day.
Some in the crowd laugh as others applaud. Lost in the
sounds of the crowd we HEAR a soft THUMPING in the
distance.
MAYOR
When I came into office four years
ago, people didn't think we could
reduce crime and I did.
ANGLE - COP IN BACK OF CROWD
leaning to the cop next to him.
COP
(sarcastic)
Yeah, he did.
MAYOR
People didn't think I could restore
order...
This time the THUMPING is HEARD, growing much louder.
MAYOR
...and I did. The city is a safer
place today...
Before he can continue the crowd begins to murmur with
fear as the THUMPING grows LOUDER and CLOSER. Suddenly
with a large CRASHING SOUND a building nearby begins to
CRUMBLE.
MAYOR
(to his aides)
What the hell....
People SCRAMBLE to get out of the way as DEBRIS from the
falling BUILDING litters the area. The Mayor is pulled
inside by his security men.
Bursting out of the crumbling corner of the building we
SEE the enormous LEG of the reptile as it KICKS debris
out of its way.
SIDE ANGLE - WALL STREET - FAST TRAVELING SHOT
Several cars are SQUASHED quickly as the enormous FEET
of the beast STOMPS through the street. Cars FLATTEN and
SCATTER, flipping toward us, from the weight of the
beast. We try to keep up with it, but it's too fast.
After it passes, the Mayor sticks his head out of the
doorway to see the demolished street scene.
MAYOR
What was that?
34 INT. WNEW - CAIMAN'S OFFICE - SAME - DAY 34
Caiman's on the phone as his SECRETARY enters with some
files. Rain and thunder continue outside.
CAIMAN
(into phone)
I don't give a crap about some war in
a country I can't pronounce. That's
not a lead story. Find me a damned
story, will ya!
Just then his Secretary notices a desk lamp, the shade
SHAKING and the light FLICKERING. She hears the THUMPING
approaching. She turns and SEES...
GIGANTIC TEETH
The enormous head of GODZILLA growls as it passes by
Caiman's office window.
SECRETARY
Mr. Caiman. I think your story just
walked by the window.
Caiman turns but there's nothing there. He's confused,
she's dazed.
CAIMAN
What?
Just then the TAIL WHIRLS past with a THUNDERS whip.
35 INT. DINER - SAME - DAY 35
Animal, Lucy and Audrey are at the cashier paying.
LUCY
Did Romeo have a name?
AUDREY
Nick Tatopoulos.
ANIMAL
That why you dumped him?
AUDREY
No! I just couldn't see myself with
some boring egg head who spends his
summer picking apart cockroaches. I
wanted to have some adventure, some
fun...
LUCY
And now you live the glamorous life of
Caiman's assistant. Life's a bitch,
ain't it?
In the distance we can HEAR the THUMPING approaching.
ANIMAL
How long where you and dis guy goin'
steady?
AUDREY
Nearly four years...
LUCY
Four years. Girl, I'm surprised he
didn't ask you to marry him.
AUDREY
That's the problem. He did.
Suddenly the THUMPING gets LOUDER very quickly. Everyone
in the diner reacts.
LUCY
Tell me that's not another goddamned
parade.
The next THUMP RATTLES the entire diner. Things begin to
fall. Through the window we see people RUNNING in
PANIC.
ANIMAL
That's ain't no parade...
Before anyone can speak the entire building is SHAKING.
Through the front window we SEE...
GODZILLA'S FOOT
Smashing down directly outside the window. Cars are
SMASHED. One car SAILS directly INTO THE WINDOW,
shattering it.
Animal uses his size to COVER the girls from the falling
debris. As the danger passes, Animal charges for the
door.
LUCY
Victor, wait!
36 EXT. STREET - CONTINUOUS - RAIN - DAY 36
Animal comes rushing out. Water sprays from displaced
fire hydrants, debris still falls, cars burn. Animal
goes over to his NEWS VAN that has been partially
crushed.
He pries open the rear door and takes out his video
camera and takes off running. Audrey and Lucy arrive too
late to stop him.
LUCY
Victor, don't!
ANIMAL RUNNING
Turning the corner Animal runs full speed through the
debris, trying to jam a video cassette into his camera.
It won't fit. He SEES up ahead...
P.O.V. THE TAIL
Just as it disappears around the corner a few blocks
ahead. Thinking quickly, Animal bolts down a small
alleyway.
37 EXT. OTHER STREET - CONTINUOUS 37
His camera damaged, Animal struggles to get the tape
inside as he exits the other side of the alley. He darts
out into the street to get his shot.
The THUMPING is OVERPOWERINGLY LOUD. He looks up to see,
CARS FLIPPING, PEOPLE SCATTERING.
Then, for the first time, we can clearly see the entire
massive creature that is...
GODZILLA
as he comes barreling towards us. The titanic lizard is
ferocious and agile. Swiftly he moves closer.
Animal's hands fumble with the tape. He JAMS it in,
sweating. He fingers the POWER BUTTON, the red light
goes on. Quickly he shoulders the camera.
P.O.V. THROUGH CAMERA - GODZILLA
Nearly on top of him, Godzilla's own image is suddenly
covered by his own immense foot as it's lifted and about
to come down directly on us.
ANIMAL
Oh shit!
Before he can do anything about it...
GODZILLA'S FOOT
Towering above him. He has no time to flinch as the
gargantuan foot SMASHES DOWN.
In terrifying amazement, Animal remains standing IN
BETWEEN THE BEAST'S TOES. Abruptly the foot LIFTS
again. Animal is unscathed and frozen with fear.
ANGLE - ANIMAL
Close on Animal as the endless TAIL of the creature
DRAGS just past him. It seems to go on forever. Finally
it disappears.
WIDE ANGLE - TABLEAU OF A DEMOLISHED STREET
Deserted and demolished. Cars burn, debris falls.
Animal, the lone figure, just stands there, his chest
heaving, hyper ventilating.
CUT TO:
38 EXT. NEW JERSEY STREETS - LOW ANGLE - AFTERNOON 38
A military CONVOY with Police escort RACES past us.
ABOVE - HELICOPTER SHOT - CONVOY
Sirens BLARING, the convoy and escort speed onward.
39 INT. MILITARY SEDAN - THROUGH WINDSHIELD - SAME 39
Just as they arrive at a military roadblock. Crowds have
gathered as the military try to keep them at bay.
40 EXT. NEW JERSEY SHORE - CLIFF SIDE - DAY 40
The guards let the convoy pass. The military is putting
up a number of large tents. A SERGEANT moves over
quickly to greet the team as they exit their vehicles.
SERGEANT
(quick salute)
Sergeant O'Neal, Sir.
MAJOR HICKS
Any word from the Mayor's office?
Just then dozens of NEWS VANS pull up. Reporters and
camera crews come rushing toward them. The guards rush
to intercept. Stepping out of the next car in the
convoy, Nick and Elise join Major Hicks.
SERGEANT
They've agreed to evacuate the city.
They've called out the National Guard
and riot police are on alert.
As they walk towards the tents the crowd crushes close.
Nick and Elsie are overwhelmed.
ELSIE
(aside to Nick)
Evacuate Manhattan? That's over three
million people. Has that ever been
done before?
NICK
I don't think so.
Several military guards have to clear a path for them as
they enter the tents.
41 INT. COMMAND TENT - CONTINUOUS - DAY 41
Still in construction. The team enters.
MAJOR HICKS
Status report?
SERGEANT
We've lost sight of it, Sir.
MAJOR HICKS
You want to run that by me again?
SERGEANT
(nervous)
After the initial attack he
just...disappeared.
OFFICER
(interrupting)
Major, Secretary of Defense Burk on
the line.
This takes Major Hicks off guard. The last person he
wants to talk to. Nick walks over to the Sergeant.
NICK
I don't understand. How can something
that large just disappear?
SERGEANT
We're not sure. We're scanning the
area now.
ELSIE
He probably returned to the river.
Just like everywhere else we've been,
we're always one step behind.
Nick turns and notices the back of the tent is open
revealing a beautiful view of the Manhattan skyline.
Several soldiers enter, setting up telescopes.
NICK
I don't think so.
Over Manhattan we see several dark plumes of smoke from
the destruction. Military helicopters scan the city.
Staring out at the skyline, Nick is mesmerized.
NICK
I mean, look at it. It's perfect. An
island, water on all sides. But like
no other island in the world, this is
a place where he can easily hide.
(beat)
He's in there someplace.
A SOLDIER comes rushing in.
SOLDIER
Channel eight caught it on film!
He rushes over to a bank of monitors, turns one on. On
the screen we SEE the shaky video Animal took of the
creature just as it was about to step on him.
CAIMAN
(filtered)
...WNEW's exclusive images of the
creature were taken less than a half
hour ago.
Nick and Elsie's jaws nearly hit the floor at the sight
of the immense creature.
CAIMAN
Cameraman Victor "e;Animal"e; 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, "e;How long do we have to shut our
business down? Will the city cover the damages? Etc."e;
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:
"e;YUM YUM DOUGHNUTS"e; BAG - PRE-SUNSET
Carried along with a Styrofoam cup of coffee. We WIDEN
TO REVEAL a MAN carrying the junk food to a GREY VAN
parked not too far from the Command Center Tent across
the way.
The man knocks on the back of the van. The van opens to
reveal...
59 INT. RAYMOND'S VAN - PRE-SUNSET 59
Filled with high tech monitoring equipment, Raymond and
his men are listening in to a conversation. The man with
junk food hands it to Raymond.
RAYMOND
Merci.
He opens the bag and takes out a croissant. He bites
into it and grimaces. To wash away the taste, he drinks
from the coffee. It's worse than the croissant.
RAYMOND
You call this coffee?
MAN
(French accent)
I call this America.
The man takes a seat near Raymond as Raymond turns up
the volume on his headset.
MAYOR (O.S.)
(mid argument)
You're telling me that in an election
month I've evacuated the entire city
for nothing?
60 INT. COMMAND TENT - WAR ROOM (TENT) - PRE-SUNSET 60
From behind the Mayor's head we SEE the monitoring
device attracted to his collar. As he speaks we WIDEN TO
REVEAL...
MAYOR
Do you realize what this evacuation
will cost the people of this city!?
Representatives of all branches of the military,
National Guard and the Mayor's office are here. The room
overflows with people. Nick, Elsie and the scientist
stand near the back of the tent.
ADMIRAL PHELPS
We're been monitoring the waters
around the island. As far as we can
tell it hasn't left the area.
MAYOR
But you don't know for sure.
MAJOR HICKS
We think there's a strong reason to
believe it may be hiding inside one of
the buildings within the sequestered
area.
MAYOR
But you don't know for sure!
Just then Sergeant O'Neal enters hurriedly. He wants to
speak but waits for the opportunity.
MAJOR
(controlling his temper)
Mr. Mayor, if he's not in one of those
buildings then we give the all clear.
But not until we've checked each
building!
SERGEANT O'NEAL
Sir, that may be more difficult than
we originally projected.
MAJOR
More good news?!
SERGEANT O'NEAL
We've run into a problem.
CUT TO:
A SIGN READING: SUBWAY STATION: 23RD STREET - SUNSET
We CRANE DOWN to reveal several military sedans pulling
up into FLAT IRON SQUARE (where Broadway meets 5th).
Sergeant O'Neal leads the team out of the cars and down
a subway entrance.
61 INT. SUBWAY STAIRWELL - CONTINUOUS - SUNSET 61
Marching down the stairs, the team enters into the very
large subway station. For all we see it seems like a
normal subway station except for the fact that every one
of the team members look ASTONISHED.
SERGEANT O'NEAL
Lt. Anderson and his men found this
late this afternoon.
The camera makes a hundred and eighty degree turn as we
suddenly SEE what the team is staring at...
AN ENORMOUS HOLE
The four normal subway tunnels have been CARVED OUT
making one GIGANTIC TUNNEL. Debris and crumbled brick
are everywhere. Several SOLDIERS with flashlights
approach the hole.
Lt. Anderson moves over to the astonished group. Some of
the scientists fan out, examining the area.
LT. ANDERSON
We were checking the office building
above when we discovered the floor was
gone.
LOW ANGLE - REVEALING THE HOLE IN THE CEILING
We SEE that not only is the ceiling gone but the
building above is hollowed and torn to shreds. Another
hole in the building leads to the street.
LT. ANDERSON
When we learned he could burrow his
way through the tunnels we realized he
could be out of the quarantined zone.
MAJOR HICKS
Christ. How many tunnels lead off the
island?
LT. ANDERSON
Only five, Sir. We've checked them
all. He hasn't used any of them.
MAJOR HICKS
Have them sealed off.
LT. ANDERSON
And how should we do that, Sir?
MAJOR HICKS
Fill them with cement, brick them up,
put land mines in them, bombs, I don't
know, just make sure that goddamned
thing doesn't leave the island!
ANGLE - INSIDE DARKENED TUNNEL
As the SOLDIERS slowly move down deeper into the
tunnels, their flashlight beams scan the area. Could
they stumble onto something dangerous?
ANGLE - NICK
as he approaches Major Hicks and Sergeant O'Neal.
NICK
You know, he's not an enemy trying to
evade you. He's just an animal.
MAJOR HICKS
What are you suggesting?
NICK
When I needed to catch earthworms, I
knew the best way to catch them was
not to chase them. I had to draw them
out.
ANGLE - SOLDIERS - DARKNESS
Still moving deeper into the tunnel we get the feeling
these soldiers may just waken a sleeping giant.
BACK TO TEAM
Nick moves to the edge of the platform, looking off into
the dark tunnel.
NICK
All we need to do is find out what it
wants, what it needs, and he'll come
to us.
ANGLE - SOLDIERS - DARKNESS
The lead Soldier SEES something. Cautiously he moves
forward thinking he's onto something. We HEAR something
MOVING in the darkness.
We FOLLOW his beam as the noise grows clearer. The beam
falls onto something on the floor...
A FISH
Flopping on the ground is a large FISH. As the beam
moves farther along we see two, no, three fish ahead.
CUT TO:
62 EXT. NEW YORK CITY STREET - POST-SUNSET (MAGIC HOUR) 62
A battalion of armored TANKS roll down this deserted
city street. A large number of GROUND TROOPS march
behind.
COBRA HELICOPTERS - SAME - MAGIC HOUR
Banking in formation, the helicopters swerve, heading
towards mid-town Manhattan.
SAND BAG FORTIFICATION
Soldiers pile up sand bags, creating a make shift
fortification. SHARP SHOOTERS and a BAZOOKA BRIGADE
settle into place.
63 EXT. FLAT IRON SQUARE - SAME - MAGIC HOUR 63
Major Hicks moves over to a jeep and grabs the radio.
64 INT. COMMAND TENT - SAME - MAGIC HOUR 64
Major Hicks sits by a bank of communications
technicians.
MAJOR HICKS
Where are they now?
RADIO TECHNICIAN
Delta niner, what is convoy position?
65 EXT. BROOKLYN BRIDGE - SAME - MAGIC HOUR 65
Led by armored military vehicles we SEE a convoy of
TWENTY YELLOW DUMP TRUCKS passing over the bridge.
DRIVER (O.S.)
Command, we're just entering the
city.
66 EXT. FLAT IRON SQUARE - SERGEANT O'NEAL - SAME 66
Sergeant O'Neal listens to the response on the radio.
RADIO TECHNICIAN
Convoy ETA, five minutes.
The Sergeant signals several military technicians, who
are mounting several video cameras to hurry.
67 INT. COMMAND TENT - SAME - MAGIC HOUR 67
A buzz of activity. Military Officials and personnel.
The Mayor enters and joins his aides in the back of the
room.
MAYOR
(whispering to Aide)
They find anything yet?
The Aide shakes his head. Monitors come to life with a
live video feed-from several cameras we saw mounted.
A CABLE REPAIRMAN - MAGIC HOUR
In blue overalls, the REPAIRMAN walks up to a large
satellite dish. We WIDEN to REVEAL the dish is parked
next to the Command Tent. He kneels down next to some
cables leading away from the dish toward the Command
Tent.
68 INT. COMMAND TENT - MAGIC HOUR 68
Suddenly all the screens FUZZ OUT. Just as quickly the
monitors return to normal. No one seems to notice.
69 EXT. SATELLITE DISH - SAME - MAGIC HOUR 69
The Repairman finishes affixing a small DEVICE to the
cable. He taps his earpiece and speaks into his own
lapel.
REPAIRMAN
(French accent)
It is good.
70 INT. MOTEL ROOM - SAME - MAGIC HOUR 70
We SEE Raymond and his men have turned this dingy Motel
room into a command central of their own. Raymond is
putting sugar into his coffee when a bank of monitors
turn on. They are seeing THE SAME VIDEO FEED as the
Mayor. Pleased, he takes a sip. It's awful.
RAYMOND
You said this was French Roast!
His aid turns, holding a package labeled FRENCH ROAST.
RAYMOND
(defeated)
More cream.
His associate hands him some milk. He adds it to the
coffee. No use, it still sucks. On the monitors we SEE
the DUMP TRUCKS entering Flat Iron Square.
71 EXT. FLAT IRON SQUARE - SAME - MAGIC HOUR 71
The DUMP TRUCKS arrive and the soldiers guide the
trucks, forming a circle, their tails facing each other.
As the last one passes it REVEALS Nick and Sergeant
O'Neal.
SERGEANT O'NEAL
I sure hope your plan works.
NICK
I'm kind of hoping the same thing.
The twenty of them, in concert, begin to dump their
cargo.
LOW ANGLE - CENTER OF THE DUMP TRUCK CIRCLE
Tons and tons of FISH are DUMPED directly on top of us.
72 INT. RAYMOND'S MOTEL - SAME - MAGIC HOUR 72
On the monitors they watch in astonishment as the fish
get dumped into a large pile in the center of Flat Iron
Square.
AIDE
Tres bizarre.
RAYMOND
No.
(leaning forward)
Very clever.
73 EXT. FLAT IRON SQUARE - FISH PILE - SAME - NIGHT 73
A MOUNTAIN OF FISH have been piled into the center of
Flat Iron Square.
NICK
That's a lot of fish.
A master of the obvious. Sergeant O'Neal shoots him a
glare and moves over to the men. Together they march
into a building at the edge of the square.
SOLDIERS
Loading up rifles, taking positions. GAS MASKS being
handed out down a long line for all the soldiers.
The TANKS move into their final positions. The National
Guardsmen and Soldiers supporting the Tanks take
positions.
74 EXT. TOP OF THE SQUARE - SAME - NIGHT 74
Entering from the stairs out onto the roof, Sergeant
O'Neal and his men take positions, observing from
above.
Everyone is waiting. The silence is deafening.
ANGLE - NICK
As everyone waits, Nick scans the area, thinking.
Suddenly something catches his eye...
STEAM VENT
Through a steam vent in the streets. Nick sees STEAM
lifting into the air. He notices several other vents
doing the same thing around the square. Quickly Nick
rushes over to a YOUNG OFFICER.
NICK
I need your radio.
The Young Officer leads Nick over to his jeep. Nick
grabs the receiver.
NICK
Sergeant O'Neal, the subway vents. We
have to shut them down...
75 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 75
O'Neal listens to Nick on his radio.
NICK (O.S.)
(filtered)
...With the air pressure pushing up,
he'll never smell the bait!
SERGEANT O'NEAL
(turning to soldier)
Get some men down into those air
vents. Shut 'em down!
76 INT. SUBTERRANEAN AIR VENT - MOMENTS LATER - NIGHT 76
With a loud WHINE we HEAR the vents shutting down. The
large whirling FAN BLADES slow to a stop.
77 EXT. FLAT IRON SQUARE - SAME 77
One by one the steam pillars begin to disappear as the
vents are turned off. There is a long tense moment of
waiting. When will it come? Will it come?
Before the Young Officer can stop him, Nick rushes over
to a manhole cover in the center of the street. The
cover is to heavy. He yells back.
NICK
We need to open all the manhole covers
in the area. Let the scent waft down.
The Young Officer signals other soldiers. Nick steps
back and lets the soldiers go to work. As he walks back,
he spots another manhole cover at the next intersection
down a side street. He runs over to it.
ANGLE - SIDE STREET - MANHOLE COVER
A particularly heavy one in the center of this
intersection (a block away from Flat Iron Square), Nick,
alone, wrestles to remove it. With all his might, he
drags it clear.
Suddenly, through the hole he HEARS some STRANGE NOISES
from below. Rattled, he slowly backs away from the hole.
The NOISES grow increasingly louder.
Then with a DEAFENING ROAR, the ground behind Nick
ERUPTS and GODZILLA RISES, ripping up the boulevard as
he does.
Nick SPINS only to find himself face to face with the
gigantic creature. Godzilla's head slopes down,
apparently looking Nick in the eye.
All around foot soldiers appear, guns trained, shoulder
hoisted rocket launchers prepared.
Out of the corner of his eye, Nick sees all this. He
gently signals with his hands that they should NOT fire.
Sensing no danger from Nick, Godzilla simply STEPS OVER
Nick.
NICK'S POV - UNDER GODZILLA
As the gargantuan creature walks over us, making a
beeline for the fish.
Nick turns and RUNS, following him.
78 EXT. FLAT IRON SQUARE - CONTINUOUS - NIGHT 78
Godzilla moves into the square. The military hunkers
down, ready to strike. Cautiously the beast moves over
to the mountain of fish.
79 INT. COMMAND TENT - SAME 79
Major Hicks watches the monitors as Godzilla approaches
the fish.
MAJOR HICKS
Commence phase one. Let's gas it!
80 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 80
Everyone on the rooftop puts on their GAS MASKS.
SERGEANT O'NEAL
Let 'em fly!
ANGLE - STREET LEVEL - SAME
All the soldiers PUT ON their GAS MASKS. A team of
EIGHT, pull out a GAS CANISTERS and yank the releases.
They DROP them down the long barrels of air cannons,
preparing to fire.
SAND BAG FORTIFICATION - SAME
Nick runs past the fortification, trying to get a closer
look. The Young Officer yells after him.
YOUNG OFFICER
Where're you going? Nick!
Nick stops briefly as the Young Officer TOSSES a gas
mask to Nick who quickly puts it on and dashes for a
closer spot. Suddenly SAILING OVER HIS HEAD we SEE...
GAS CANISTERS
Firing from the air cannons, the GAS CANISTERS streak
across the sky landing behind Godzilla. The Yellow gas
forms a wall of smoke that drifts upwards.
ANOTHER ANGLE - OPPOSITE CORNER
Across the way eight MORE CANISTERS are FIRED at the
beast. Quickly Godzilla is surrounded by the gas fumes.
ANGLE - NICK
Frustrated at his inability to see through the smoke, he
DASHES forward over to a large BRONZE STATUE.
GODZILLA
The smoke annoying and distracting him, Godzilla spins,
his tail waving the smoke away. But the smoke returns.
Godzilla YELLS OUT. Frustrated he rears back and
BLASTS!
For the first time we SEE the infamous POWER BREATH of
Godzilla. With amazing FORCE the smoke, canisters, cars
and anything that isn't nailed down SAILS BACKWARDS from
the intense pressure.
Nick is HIT by the WAVE of air pressure and is sent
FLYING BACKWARDS, impossibly high in the air.
An enormous fabric BANNER advertising this season at the
MET, catches Nick who SLIDES down the banner, hitting
the ground, HARD. Just as he looks up he SEES...
A LARGE TRUCK
Tumbling toward him from the power breath. Nick
SCRAMBLES to his feet just in time as the rolling Truck
SMASHES into the building behind where he just sat.
ANGLE - TROOPS - FORTIFICATION
The troops have to SCATTER as the tumbling trucks and
cars are FLUNG AT THEM, disabling their attack forces.
Trucks and rocket launches are CRUSHED by the tumbling
debris.
Godzilla CONTINUES to BLOW at everything around him.
Cars and trucks ROLLING. Soldiers DIVING for cover. It's
chaos.
The glass in all the surrounding buildings SHATTER,
shards of glass raining down. Windows, street lamps, all
blown out by the tremendous gale force winds.
81 INT. COMMAND TENT - MAJOR HICKS - SAME - NIGHT 81
On the monitors we SEE the melee.
MAJOR HICKS
Fire at will!
82 EXT. ROOFTOP - SERGEANT O'NEAL - SAME - NIGHT 82
SERGEANT O'NEAL
Fire at will. Fire at will.
83 EXT. FLAT IRON SQUARE - SAME - NIGHT 83
From all angles, soldiers rush back to their equipment
and attempt to FIRE. Very few are able to get off
rounds.
84 EXT. ROOFTOP - SAME - NIGHT 84
O'Neal tries to steady himself as the soldiers FIRE down
at the creature below. One HOISTS a MISSILE launcher.
ANGLE - GODZILLA - NIGHT
As the FIREPOWER begins around Godzilla, he takes a hit
in the shoulder and SCREAMS OUT. Suddenly he LEAPS away
just as several MISSLES HIT the Flat Iron Building
behind where Godzilla was standing only moments
earlier.
Dashing down a side street, Godzilla LEAPS over the
waiting tanks who cannot adjust their cannons in time.
WE'VE NEVER SEEM HIM MOVE THIS QUICKLY. Several tanks
are SQUASHED as the beast bull dozes right through the
regiment.
85 INT. COMMAND TENT - SAME - NIGHT 85
We SEE the Flat Iron Building crumbling on one of the
monitors near Major Hicks. In the rear of the room the
Mayor looks sick.
86 EXT. FLAT IRON SQUARE - SAME - NIGHT 86
Soldiers come out from behind the crashed vehicles and
debris. Only the smoldering devastation is left behind.
87 INT. COMMAND TENT - MAJOR HICKS - SAME - NIGHT 87
The monitors only show static or devastation.
MAJOR HICKS
(into radio)
O'Neal, what the hell is going on
there!?
88 EXT. ROOFTOP - SAME 88
Quickly his men are packing up.
SERGEANT O'NEAL
(into radio)
He's gone, Sir. Echo division's in
pursuit.
89 EXT. AVENUE OF THE AMERICAS (6TH AVE.) - SAME - NIGHT 89
Four ARMORED MILITARY VEHICLES come SKIDDING around the
corner in hot pursuit. Each with a team manning enormous
mounted weaponry.
REVERSE ANGLE - 6TH AVE. - GODZILLA
Galloping like a Gisele uptown, Godzilla is SPEEDING up
the boulevard. The armored vehicles OPEN FIRE. Some
shots CLIP into Godzilla's back. Ahead he is running
directly into...
MOBILE MISSILE LAUNCHERS
Blocking off the street in front of him. They FIRE.
Pinned down, the creature SCREAMS and DUCKS away down
another side street. The missiles can't turn fast enough
and SLAM into a building, DEMOLISHING it.
90 EXT. ELECTRONICS STORE - SAME - NIGHT 90
The window is SMASHED in. A small group of LOOTERS are
loading up their mini-van. Finishing up the group is
about to leave.
LOOTER #1
Jimmy, let's go.
LOOTER #2
Wait. I want this. Help me!
The group rejoins Jimmy as they try to pull an enormous
Pin Ball machine from the window. As they carry the
machine back towards the mini-van...
SQUASH! - GIGANTIC FOOT
Godzilla's enormous foot flattens the mini-van like a
pancake. The Looters go pale. As the Military Armored
Vehicles RACE by in hot pursuit.
91 EXT. BROADWAY - SAME - NIGHT 91
Godzilla BOUNDS onto Broadway and FREEZES, looking
around. As he looks downtown he SEES...
GODZILLA'S P.O.V. - MILITARY ARMORED VEHICLES
Skidding around the corner a few blocks back, the
armored vehicles reappear.
Godzilla turns uptown and BOLTS. As he gets up to full
speed...
COBRA HELICOPTERS
A team of FOUR COBRA HELICOPTERS swoops down heading
directly for Godzilla.
92 INT. COMMAND TENT - MAJOR HICKS - NIGHT 92
The Mayor stands over a Radio technician.
HELICOPTER PILOT (O.S.)
(filtered)
We have him, locked on.
MAJOR HICKS
Then FIRE damn it!
93 EXT. TIMES SQUARE - SAME - NIGHT 93
Godzilla runs into the famous lighted square (looking
remarkably like Tokyo) just as the COBRA'S come SWEEPING
DOWN out of the sky.
Godzilla SPOTS them and leaps away just as they FIRE
missiles, which RIP INTO the famous JUMBO TRON VIDEO
BILLBOARD, demolishing the building.
The Cobra's SWERVE quickly, pursuing Godzilla down a
side street.
94 EXT. LEXINGTON AVENUE - SAME - NIGHT 94
Godzilla appears, turning the corner and racing down the
street. From behind, the Cobra helicopters come
SCREAMING down on him, they FIRE ROCKETS at Godzilla
who, again, deftly turns a corner.
The errant rockets BLAST into the CHRYSLER BUILDING, as
they attempt to follow him but fail. Shards of glass come
RAINING DOWN as the building crumbles.
ANGLE - ARMORED VEHICLES
As they race around the corner they SLAM ON THE BREAKS
just as the 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 York City.
WIDEN TO
REVEAL:
104 INT. WNEW NEWS TRUCK - VIDEO FEEDS - SAME - NIGHT 104
We SEE that we've been watching the video on one of MANY
video monitors showing all the news broadcasts. As an
assistant moves away from the monitors we FOLLOW him out
of the truck.
105 EXT. WNEW NEWS TRUCK - CONTINUOUS - SAME - NIGHT 105
We continue to FOLLOW the assistant outside, revealing
the enormous MOB of reporters that have gathered just
outside the military command tents. As we FOLLOW the
assistant he passes several reporters doing "e;stand-up"e;
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
"e;boring"e; 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 "e;stand up."e;
AUDREY
(filtered)
...which is why in this case "e;all the
kings horses and all the kings men"e;
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, "e;Good guys finish
last."e;
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 "e;virgin lizard?"e;
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, "e;Gojira"e; FREEZES and cuts
back to reveal Caiman doing his "e;stand-up."e;
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 "e;Gojira"e; not Godzill
