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Главная>Киносценарии>Годзилла/ Godzilla

Сценарий фильма Годзилла/ Godzilla на английском языке бесплатно (часть 2)

Здесь вы можете найти продолжение сценария к фильму: Годзилла/ Godzilla.

Годзилла/ Godzilla

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 "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 French Secret Service.

NICK Oh.

RAYMOND We have learned that your American friends have decided not to look for the creature's nest.

NICK (alarmed) Are you sure? How do you know?

RAYMOND We know.

NICK Why are you telling this to me?

RAYMOND I need you to trust me.

NICK Why do you need that?

RAYMOND I need your trust if you're to help me find the nest.

NICK Oh, my bags. I've checked them in.

RAYMOND We, have already taken care of them.

Nick realizes Raymond is serious. The waiter hands Raymond his drink. Raymond toasts Nick.

RAYMOND Bon Chance!

CUT TO:

126 EXT. TENT CITY - AFTERNOON 126

A makeshift tent city has been set up in the park. Animal video tapes an interview with a displaced person.

DISPLACED PERSON No one tells us a Goddamned thing. My family is getting soaked out here. We have no place else to go. We just want to go back to our home.

Animal begins to PAN his camera around the tent city when he SEES a SEDAN in the distance. He focus in on it and SEES...

ANIMAL'S P.O.V. - SEDAN - NICK AND RAYMOND

Coming to stop at a light. Animal quickly lowers his camera and hands it off to the Reporter he's working with.

ANIMAL I'll be right back.

Animal rushes over to the news van and takes off after them, following.

127 EXT. WAREHOUSE - MOMENTS LATER - AFTERNOON 127

Pulling up in front of a warehouse, Nick and Raymond step out of the sedan. Staying hidden from view, Animal pulls over. Intrigued, he watches them enter the building.

128 INT. WAREHOUSE - RAYMOND'S MEN - AFTERNOON 128

Raymond enters with Nick. The room is filled with equipment; radios, guns, explosives and armored vehicles. We notice that more of Raymond's support team are here.

NICK How did you get all of this stuff into the country?

RAYMOND This is America. There is nothing you can not buy.

Raymond gives Nick a tour.

NICK So why all the secrecy? Why aren't you guys working with the US military?

RAYMOND I am not permitted to speak of such things.

Nick stops and confronts Raymond.

NICK You said you wanted my trust, then I need yours.

Raymond considers this. Finally...

RAYMOND I am a patriot. I love my country. Can you understand that?

NICK Sure.

RAYMOND It is my job to protect my country. Sometimes I must even protect it from itself. From mistakes we have made. Mistakes that we do not want the world to know about.

NICK Your talking about the nuclear testing in the Pacific.

RAYMOND Yes. This testing done by my country left a terrible mess. We are here to clean it up.

129 EXT. WAREHOUSE - ANIMAL - SAME - RAIN - AFTERNOON 129

Moving down alongside the building, Animal walks down the side alley. He climbs up onto a garbage hamper and peers into a cracked opened window.

ANIMAL'S P.O.V. - WAREHOUSE

Animal sees Nick and Raymond with all the hardware. Several of the men are repainting the vehicles to resemble those of the US Army.

130 INT. WAREHOUSE - SAME 130

Nick walks past the myriad of warfare tools. Jean-Claude turns from the radios.

JEAN-CLAUDE They will set the trap at thirty minutes to ten.

RAYMOND That is when we will go in.

Raymond leads Nick over to a large map.

RAYMOND We know how to get into the city. We just do not know where to start looking.

Nick moves closer to the map, putting his finger on the Flat Iron square subway station.

NICK Here. 23rd street subway station. Where we first found the fish. With a little luck, this will lead us right to it.

RAYMOND So you're in?

NICK Are you kidding? I always wanted to join the French Foreign Legion.

CUT TO:

131 INT. LUCY'S APARTMENT BUILDING - LATER - LATE AFTERNOON 131

Animal quickly climbs the stairs. People are everywhere. He has to step over them to get to his apartment. AS he opens the door to his apartment he SEES...

132 INT. APARTMENT - CONTINUOUS - LATE AFTERNOON 132

Filled with people, Lucy is serving coffee. She smiles at Animal as he enters.

ANIMAL Who the hell are all these people?

LUCY What? I just couldn't just let them sleep in the street.

ANIMAL Where's Audrey?

LUCY In the bedroom. Crying her eyes out because of you.

ANIMAL What?

LUCY All that "you gotta be vicious" stuff you filled her head with.

ANIMAL Me!? You where the one...

LUCY Go in there. Talk to her.

Lucy pushes Animal towards the back bedroom.

133 INT. BEDROOM - SAME - LATE AFTERNOON 133

Audrey has been crying. Crumpled Kleenex wads piled up all around her. A television plays a news broadcast, boasting the headline: THEY CALL HIM GODZILLA! On the t.v. we SEE a news conference with General Anderson addressing some reporters.

REPORTERS (simultaneously) Can you comment on the nest? How many more of these things will there be?

GENERAL ANDERSON (filtered) That's why I'm holding this conference. To try and avoid a needless panic.

Animal enters and watches from the back of the room.

GENERAL ANDERSON Contrary to some frivolous reports, we have no information to lead us to believe that there are any eggs of the creature in the city.

AUDREY Stupid idiots!

ANIMAL You okay?

AUDREY It's all my fault. What have I done, Animal? What have I become? Look at me. This isn't me. I don't do things like this.

ANIMAL You made a mistake.

Suddenly someone exits the bathroom and crosses out of the room. Animal looks at the stranger as he leaves.

AUDREY Yeah, I just screwed up with the only man who ever really cared about me.

ANIMAL Didn't you tell me he left for the airport?

AUDREY Yeah. Why are you asking?

ANIMAL I just saw him. He's with a bunch of guys who want to sneak into the city tonight.

Audrey tries to make sense of this. Suddenly she realizes.

AUDREY My God. He's going after the nest.

ANIMAL Perfect! You wanted a story, well, baby, you got one.

Excitedly Animal goes to the closet and retrieves a big overcoat.

AUDREY Animal, I can't.

ANIMAL Look, you want to make it up to your friend? Well if he's right, this is your chance.

He starts going through his drawers, taking out battery packs, tapes, etc, and putting it in his pockets.

AUDREY (misgivings) I don't know. I've already made such a mess of things...

Animal walks up to the door, ready to exit.

ANIMAL (smiling) Audrey, I'm going after them. You can come with me or not.

Conflicted, Audrey is not sure what to do. Animal opens the bedroom window and begins to climb out.

AUDREY What are you doing?

ANIMAL Lucy'd kill me if she knew.

CUT TO:

134 INT. WAREHOUSE - LATER - SUNSET 134

Nick marches out of a changing room dressed in a military uniform. As he moves into the room we SEE all of Raymond's men dressed similarly.

As they climb into their vehicles, Raymond hands each a stick of chewing gum. Nick gets in the passenger seat of one of the vehicles, Raymond climbs in behind the wheel.

NICK What's with the chewing gum?

RAYMOND Makes us look more American.

Nick looks over at the faux Americans. It's a tough sell, gum or not.

NICK Just let me do all the talking.

With that the vehicles pull out of the warehouse and out into the rainy night.

135 EXT. LINCOLN TUNNEL - ENTRANCE - RAIN - SUNSET 135

An armed blockage seals the Jersey entrance to the Lincoln tunnel. We widen to reveal Audrey and Animal by a small side entrance. Animal works the lock.

AUDREY What are you doing?

ANIMAL It's the maintenance entrance. Runs along the side of the tunnel. When they repaired it last year I worked on a piece about it.

Just then the lock TURNS and the door opens. They enter.

136 EXT. GEORGE WASHINGTON BRIDGE - JERSEY SIDE - SUNSET 136

A line of military vehicles approaches and slowly passes through a guarded entrance, each vehicle checked. Nick and Raymond's Humvee nears.

ANGLE - GUARDED BLOCKADE - CONTINUOUS

Raymond's Humvee rolls up and a GUARD walks up to the window.

GUARD (checking clipboard) Who you boys with?

NICK Oh, we're with the three two.

GUARD I didn't ask you, soldier.

NICK Sergeant O'Neal just called down for us to join in.

Now he's suspicious. The guard approaches Raymond, checks him out.

GUARD You got a problem talkin'?

RAYMOND (perfect southern accent) Why no sir, I'm fine.

The Guard is suspicious but on a tight schedule. Finally he waves him through.

GUARD All right, keep it moving.

RAYMOND (ala Presley) Thank you very much.

They drive off. Nick is stunned by the act.

RAYMOND Elvis Presley movies. (by way of explanation) He was the King!

137 INT. LINCOLN TUNNEL - MAINTENANCE DOOR - SAME - NIGHT 137

The door creeps open. Animal leans out to find the tunnel deserted. He and Audrey step out and into the tunnel. We FOLLOW them as they are headed for the exit of the tunnel into Manhattan.

138 INT. RAYMOND'S HUMVEE - NIGHT 138

Raymond and Nick drive through Central Park. We can SEE dozens of military people and vehicles in a large meadow.

139 EXT. CENTRAL PARK - LARGE MEADOW - NIGHT 139

The enormous pile of fish is getting dumped in the center of the field as many others are planting land mines. Tanks, rockets and soldiers align the area.

The convoy of vehicles turn onto the meadow but Raymond and his men keep going straight. They drive slowly right past the trap sight and out of the park.

TIRES SQUEALING TO A STOP

Doors slam and immediately boots march past. We WIDEN to reveal Raymond's team quickly gathering their gear and heading down the subway entrance.

Raymond grabs a heavy bag and tosses it to Nick who nearly topples from the weight.

RAYMOND Be careful with that.

Nick looks into the bag and sees a bag marked EXPLOSIVES. Shocked he looks back at Raymond, but he's gone. Nick regains his breath and follows.

THE FISH

Older and nastier, but the same fish we saw in the tunnel before. We FOLLOW the beam to its owner and find Nick. We WIDEN to reveal that we're....

140 INT. SUBWAY TUNNEL - MOMENTS LATER - NIGHT 140

The crisscrossing beams from the assault team's flashlights nearly blind us as Nick leads the team cautiously into the depth of this tunnel. Periodic fish are found along the way. Suddenly the faint HUMMING sound in the tunnel STOPS.

Everyone freezes as the wind shifts direction. A familiar SMELL passes over them as they sniff the air.

NICK They've turned off the ventilation system. They're calling him to dinner.

RAYMOND Let's hope we are not the hors d'oeuvres.

Nervously they continue onward.

141 EXT. 23RD STREET SUBWAY STATION - SAME - NIGHT 141

Animal and Audrey arrive, spotting the assault team's vehicles. They head carefully down the stairs.

142 INT. 23RD STREET SUBWAY STATION - SAME - NIGHT 142

Audrey and Animal, camera in hand shooting everything, climb down into the station. Animal rushes to the end of the platform and searches down into the tunnels.

VIDEO P.O.V. - DARK TUNNEL - DISTANT LIGHTS

Through the camera we SEE the lights in the distance of the tunnel.

ANIMAL (whispering) They're down there. Let's go.

Animal jumps off the platform, down onto what's left of the tracks. Audrey squeamishly follows.

143 INT. TUNNELS - NICK & TEAM - SAME - NIGHT 143

Nick kneels down to inspect some debris. An old SCREECHING SOUND is heard in the distance. Suddenly the ground begins to quake. Dust falling. The SCREECHING gets louder and louder.

Raymond moves up to Nick and points ahead. Nick nods in nervous agreement. Just as they move towards the sounds the ENTIRE WALL OF THE TUNNEL COLLAPSES next to them.

Bursting through the tunnel wall GODZILLA appears. His enormous claws burrowing, he makes his way through and into the tunnel. Quickly he moves past the team.

The team DIVES into a cross tunnel just as the colossal beast BLASTS past them, barely missing them.

144 INT. 23RD STREET SUBWAY STATION - TUNNEL ENTRANCE 144

Audrey and Animal have just gotten into the tunnel entrance. The entire place is shaking. Audrey is in a panic.

AUDREY Animal, let's get out of here.

But Animal hoists his camera and starts filming as SOMETHING is moving TOWARDS them. Audrey is tugging at him as the shaking gets more violent. With all her strength, she finally gets Animal to start moving backwards.

Just as they're out of the tunnel, the CREATURE BLASTS outward. Audrey and Animal DIVE into the maintenance ducks along side the tracks to avoid collision.

ANGLE - AUDREY AND ANIMAL

Animal is shielding Audrey with his body. She looks up just in time to SEE Godzilla CRAWLING UP and out through the ceiling. An amazing site.

AUDREY Shoot! Shoot it!

Animal grabs his camera and gets the last moment of it disappearing from view. Once gone, they both break into enormous sighs of relief and nervous laughter.

145 INT. TUNNEL - SAME 145

Recovering, Raymond and the team walk back into the main tunnel. They near the hole Godzilla just created, examining it. Nick climbs into the hole.

NICK I guess we go this way.

Raymond and his men follow.

146 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 146

Major Hicks is at the radio as the Generals sit behind him.

MAJOR HICKS (into radio) Sergeant, status?

147 INT. CENTRAL PARK - SAME - NIGHT 147

The park is bathed in light. Armed troops surround the area. Tanks and missile launchers are in place. Sergeant O'Neal kneels down by a sandbag fortification.

SERGEANT O'NEAL (into radio) Any sign of it?

148 EXT. ROOFTOP - SPOTTERS - SAME - NIGHT 148

From the rooftop of one of the central park south high rises, a team of SPOTTERS scan the area.

SPOTTER P.O.V. - THROUGH BINOCULARS - GODZILLA

Moving steadily towards central park, Godzilla makes his way up seventh avenue.

SPOTTER Got him. Section 5, heading north to target.

149 EXT. CENTRAL PARK - SERGEANT O'NEAL - SAME 149

The Sergeant gives the nod and several teams of shooters take off running, taking positions. The tanks turn their gun turrets towards downtown, expectantly. Missile launchers turn, arming devices locked.

150 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 150

Major Hicks stands near a computerized schematic of Manhattan. A large RED FLASHING BLIP nears Central Park.

151 EXT. SEVENTH AVENUE - GODZILLA - SAME 151

Godzilla moves up 7th Ave. He reaches Central Park South and STOPS. He glances over to the park where bright lights are glaring.

Something is making Godzilla more cautious this time. Unsure he vacillates between moving forward and staying within the shelter of the tall buildings.

ANGLE - O'NEAL - CENTRAL PARK

SERGEANT O'NEAL (into radio) Don't fire until he's cleared the buildings and has moved into the park.

ANGLE - GODZILLA

Still unsure, he ROARS out, frustrated with his own indecision.

SERGEANT O'NEAL Come on, come on!

152 INT. TUNNELS - SAME - NIGHT 152

Nick leads the team through the cross town tunnel created by Godzilla. Climbing over the debris, they make their way to another opening. We FOLLOW them as they clamber through the hole and into...

153 INT. PENN STATION - CONTINUOUS - NIGHT 153

The largest subway/rail station in New York. Godzilla has torn it to shreds. We get the feeling this is where Godzilla has spent most of his time. Scattered fish abound.

High above, there is a immense black hole in the tall ceiling. Wherever it leads to is very dark. Nick and Raymond stare at the hole together.

RAYMOND What is up there?

154 EXT. 34TH STREET - MOMENTS LATER - SUBWAY ENTRANCE - 154 NIGHT

Climbing the stairs out from the subway, Nick et all walk up onto the street to SEE...

MADISON SQUARE GARDEN

The team cautiously approaches the building.

155 EXT. CENTRAL PARK - SAME - NIGHT 155

Carefully moving out from between the buildings Godzilla takes a step into Central Park.

SERGEANT O'NEAL (into radio) Prepare to fire!

Guns are cocked, locked on and hoisted. Suddenly Godzilla gets cold feet and starts to turn around.

156 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 156

The RED BLIP suddenly begins to move away from the park.

MAJOR HICKS (into radio) Damn it! Fire! Shoot it before it gets away!

157 EXT. CENTRAL PARK - SAME - NIGHT 157

SERGEANT O'NEAL Fire at will! Fire at will!

All the weapons surround the area FIRE AT ONCE. Several more Cobra Helicopters ZOOM DOWN out of nowhere. Plunging downward, they FIRE at Godzilla.

The firepower ripping up everything around him, Godzilla ROARS and deftly DIVES out of the park and back between the buildings.

But as he bounds over to 57th street, there is a contingency of MOBILE ROCKET LAUNCHERS waiting. They FIRE. Godzilla DODGES and the rockets DESTROY PLANET HOLLYWOOD as Godzilla races by.

With the helicopters right on his tail, Godzilla makes a westward run across 57th street. Smashing parked vehicles and his tail SWIPING buildings as it DASHES.

WEST SIDE HIGHWAY

Godzilla is heading straight for it, the helicopters SHOOTING from the air. Suddenly Godzilla LEAPS higher than we've seen before. He hurls himself OVER the West Side Highway and SPLASHES DOWN into the Hudson River, vanishing beneath the water's surface.

158 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 158

Furious, Major Hicks throws his headset against the console violently. ADMIRAL JOHNSTON leans down into frame.

ADMIRAL JOHNSTON Don't worry. The Navy has a little something there waiting for him.

THREE NUCLEAR SUBMARINES

In the murky waters of the Hudson river.

159 INT. NUCLEAR SUBMARINE - THE ARIZONA - SAME - NIGHT 159

The alarm KLAXONS are RINGING OUT as everyone rushes to battle stations. The CAPTAIN moves over to a sonar screen; a large MASS nearby blips on the screen.

CAPTAIN (into radio) We've got him on sonar. Arizona closing in.

160 INT. COMMAND TENT - SAME - NIGHT 160

Different monitors have put up a three dimensional schematic of the Hudson river. We SEE outlines of the three nuclear subs approaching their target.

RADIO VOICES (filtered) ...Indiana, closing in...Calvin Coolidge, closing in...

161 INT. LOBBY - MADISON SQUARE GARDEN - SAME - NIGHT 161

The doors are pried open. It's very dark in here, only the assault team's flashlights illuminate. As they enter the lobby, the team splits up into different search groups.

Nick, Raymond and Jean-Claude move down the large front lobby and turn down one of the many hallways surrounding the main auditorium.

ANGLE - HALLWAY - ENTRY LEVEL - CONTINUOUS

Cautiously they move towards us. In the distance we see the rest of the team moving the other direction. Raymond and Nick arrive at a door leading to the main auditorium. Nick is about to push the door open when Raymond stops him.

RAYMOND Jean-Claude.

On command, Jean-Claude snaps together his automatic rifle as Raymond pulls out his semi-automatic pistol. He nods "okay" to Nick who slowly opens the door.

As the door opens a small pile of FISH tumbles down over their feet. They step over the fish and enter.

162 INT. AUDITORIUM - ENTRY LEVEL - CONTINUOUS - NIGHT 162

Total darkness. Nick, Raymond and Jean-Claude cautiously step over the fish inside. Only their flashlight beams can be seen.

NICK'S P.O.V. - TRASHED AUDITORIUM

His beam cruises over the area nearby. It's been gutted. Fish lay strewed on the floor everywhere. Suddenly Nick spots a strange cluster of OBJECTS. He moves closer.

Raymond follows. With their combined light we can SEE...

THREE ENORMOUS EGGS

A pile of reptile eggs nearly twice as tall as they are. Raymond walks behind the egg, illuminating it from the other side, making it partially translucent. We can SEE THE EMBRYO inside the egg and IT'S MOVING!

NICK Three eggs. I thought there would be more.

RAYMOND You were right.

Slowly Nick turns and SEES what Jean-Claude is staring at open jawed...

DOZENS OF EGGS

Together their beams of light scan across the main auditorium floor surrounding the gaping hole to discover DOZENS OF EGGS piled in clumps everywhere.

NICK That can't be. That's got to be over twenty eggs.

163 INT. OTHER HALLWAY - SAME - NIGHT 163

Another of Raymond's men (R-MAN #2) has found a switchboard, he examines the switches.

164 INT. PENN STATION - SAME - NIGHT 164

Animal and Audrey are wandering through the debris.

AUDREY Okay, where'd they go from here?

165 INT. OTHER HALLWAY - SAME - NIGHT 165

R-MAN #2 locates the switch he's looking for and hits it.

166 INT. AUDITORIUM - SAME - NIGHT 166

Nick, Raymond and Jean-Claude are stunned as the work lights suddenly TURN ON illuminating the room, revealing...

HUNDREDS OF EGGS

All over the main auditorium floor. A stunning tableau. Nick is speechless. Raymond turns to him.

RAYMOND Start counting.

167 INT. PENN STATION - SAME 167

The light filters down from the gaping hole in the ceiling.

ANIMAL They must have climbed all the way up into there.

Together they notice some large metal piping that has fallen from the auditorium. They move over to it and begin to climb.

168 EXT. UNDERWATER - HUDSON RIVER - NUCLEAR SUB - NIGHT 168

The Arizona races past us.

169 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 169

We follow a runner who hands a report to the Admiral who is conferring with the General and Major Hicks by the schematic. The Admiral reads the report.

ADMIRAL JOHNSTON They've surrounded the target just at the mouth of the Hudson river.

170 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 170

He swims at enormous speed heading directly at the Arizona.

171 INT. SUBMARINE - ARIZONA - SAME - NIGHT 171

The lights dim as they prepare for battle.

CAPTAIN Are we locked on?

ENSIGN Locked on, Captain.

CAPTAIN Fire.

172 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 172

The torpedo is FIRED and comes darting directly at Godzilla who abruptly SWERVES. The torpedo, however, FOLLOWS him.

ANGLE - SUBMARINE - CALVIN COOLIDGE

From the other direction, closing in. Godzilla DIVES, skidding close to the bottom. The TORPEDO begins to close the gap.

Suddenly Godzilla SHOOTS UPWARDS heading directly for the underside of the Calvin Coolidge.

173 INT. CALVIN COOLIDGE SUB - BRIDGE - SAME - NIGHT 173

The Calvin's CAPTAIN rushes over to the sonar screens.

ENSIGN #2 He's shifted course. He's heading right at us!

CALVIN'S CAPTAIN Full stern!

174 EXT. UNDERWATER - GODZILLA - SAME 174

Godzilla RAMS the underside of the Calvin Coolidge before she can turn. The entire sub SPINS, TWISTING OVER its side and colliding directly with...

THE TORPEDO

slams into the side of the rolling and dented nuclear submarine. With a CONCUSSION the sub EXPLODES.

175 EXT. HUDSON RIVER - SAME 175

An enormous SPRAY OF WATER erupts from the river, bubbles and debris float to the surface.

176 INT. COMMAND TENT - SAME 176

The computerized representation of the Calvin Coolidge VANISHES off the monitor.

RADIO OPERATOR We've lost the Coolidge, Sir.

The Admiral burns.

177 INT. ARIZONA SUBMARINE - SONAR CONSOLE - SAME - NIGHT 177

The BLIP representing Godzilla turns.

ENSIGN He's shifted course, Sir. He's heading back towards Manhattan.

CAPTAIN Full ahead. Close in and lock on.

178 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 178

Godzilla attempts to make his way back to the shore. The Indiana and Arizona close in on either side.

179 INT. ARIZONA - SAME 179

ENSIGN Locked on, Sir.

CAPTAIN Fire!

180 EXT. UNDERWATER - GODZILLA - SAME - NIGHT 180

Boxed in from either side, Godzilla RACES through the water. At the same moment both submarines FIRE their torpedoes.

Godzilla reaches the underwater shoreline of Manhattan and begins BURROWING FURIOUSLY. As his gigantic claws start DIGGING up earth, an enormous TURBULENCE of clouds and dirt cloud the waters around him, cloaking him.

181 INT. ARIZONA - SAME - NIGHT 181

The Captain and his Ensign are at the Sonar. We TRACK two torpedoes approaching target (Godzilla).

ENSIGN Impact in eight seconds, seven, six...

182 INT. COMMAND TENT - WAR ROOM - SAME - NIGHT 182

Huddled around the schematic and radio, they hear...

ENSIGN (O.S.) (filtered) ...five, four, three...

183 EXT. UNDERWATER - SAME 183

The torpedoes ENTER into frame and disappear into this undersea dust cloud. An enormous EXPLOSION BLASTS from its center, waves of concussion reverberate.

184 EXT. BATTERY PARK - MANHATTAN - SAME - NIGHT 184

With the EXPLOSION and enormous TIDAL WAVE rises and CRASHES DOWN over battery park with tremendous impact. Parked cars and phone booths are washed away.

185 INT. ARIZONA SUBMARINE - SAME - NIGHT 185

The ENSIGN checks the SONAR.

ENSIGN Direct hit!

The crew erupts in cheers.

186 INT. COMMAND TENT - SAME - NIGHT 186

They hear the cheering from the sub over the radio.

SOLDIER They got 'em!

The Generals congratulate each other and Major Hicks.

187 EXT. UNDERWATER - SAME - NIGHT 187

Toppling down out of the murky turbulence, we SEE Godzilla falling away from the shoreline, backwards the ocean floor, drifting down to the bottom of the Hudson river like so many cement shoed gangsters.

188 INT. MADISON SQUARE GARDEN - SAME - NIGHT 188

Raymond and his men are laying out the plastic explosives around the room by the clumps of eggs. Jean-Claude walks up to Raymond.

JEAN-CLAUDE We do not have enough explosives.

Raymond turns and sees Nick, across the room studying a group of eggs. Raymond goes towards him.

ANGLE - AUDITORIUM FLOOR - HOLE - SAME

Crawling out from the hole in the center of the floor, Animal and Audrey appear. They're stunned at what they see. Quickly Animal hoists his camera and begins to film as an amazed Audrey walks through.

ANGLE - NICK AND EGGS - MID-LEVEL DECK

Kneeling down along side the eggs, Nick examines them. Raymond approaches.

RAYMOND Nick, we have a problem.

Nick silences him with a gesture as he moves in to listen to the egg. He leans his ear against the shell. Suddenly we HEAR a loud CRACK. Nick jumps backwards.

The shell RUPTURES and an large FISSURE opens up across the egg. As we hear other CRACKS O.S., Nick turns and SEES more eggs beginning to open all around them.

ANGLE - AUDREY AND ANIMAL - FLOOR LEVEL

Hidden in this forest of tall eggs, Animal leans in close to one getting video footage of it cracking. Audrey nervously watches. What she doesn't see, however, is a BABYZILLA, fish hanging from its jaw, as it approaches from behind.

ANGLE - NICK AND RAYMOND

Stunned, they can only stare as the BABYZILLA BREAKS FREE of his shell and gives a mini version of the famous WAIL.

RAYMOND I think we should leave now.

NICK Good idea.

The BABYZILLA kneels down and immediately starts GOBBLING UP the dead fish laying nearby. Cautiously Nick and Raymond slowly back away until they are a far enough distance, 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, Audrey and Nick are THROWN several feet forwards, toppling to the ground from the incredible impact.

As the building CRUMBLES in FLAMES we HEAR several of the Babyzillas SCREAMING. Soon they are silenced.

Slowly Nick sits up and turns to Audrey. They're both shaken up. Nick touches her cheek gently.

NICK Are you okay?

AUDREY Somehow I never thought your life was this exciting.

NICK You'd be surprised.

AUDREY Really? I'd like to find out.

She hugs him tightly. Nick smiles. Animal turns to Raymond who has cut above his eye.

ANIMAL Hey Man, you all right?

RAYMOND I could use a coffee.

We begins to pull away from this tableau, slowly lifting upwards when suddenly...

THAT FAMOUS WAIL

Is heard! Then, violently BURSTING up through the ashes, a very angry GODZILLA emerges!

Bleeding from his injuries, Godzilla leans down and nuzzles the burned out remains of his young. For the first time in the film we can SEE a partial expression of Godzilla's face; pain.

But quickly that pain turns to burning anger as he focuses his hatred downwards, staring directly, and accusingly, at our heroes.

NICK Ohhhhhhhh.....shit.

ANIMAL What do we do?

RAYMOND Running would be a good idea.

And they do just as Godzilla POUNCES. Fortunately our team DARTS around a corner just in time.

238 EXT. SIDE STREET - SAME 238

As our heroes come rushing around a corner, Godzilla BURSTS THROUGH the building in front of them, sealing off their exit. Raymond notices a very narrow alley.

ANGLE - ALLEY WAY

Raymond leads them through this slim alley between to large brick buildings. They run for their lives as Godzilla appears behind them.

His claws are too big to reach into the alley so he BULLDOZES his way into it, the building ripping apart as he marches forward.

Bricks go FLYING as debris showers down on our team just they make their way to the other side.

Slowed down by the the position of the alley, Godzilla SWINGS his arms violently to clear a path.

239 EXT. 29TH STREET - CONTINUOUS - NIGHT 239

Racing from the alley Raymond races over to a parked YELLOW CAB.

240 INT. CAB - CONTINUOUS - SAME 240

In one deft move, Raymond draws a screwdriver out of his belt, pops the ignition device off the steering column and hot wires the car in under 15 seconds. It's amazing.

As he does this the others pile into the car. Not even completely all in, Raymond takes off as soon as the engine turns over. Animal nearly falls out.

241 EXT. 29TH STREET - CONTINUOUS - NIGHT 241

Just as GODZILLA bursts out from between the buildings the CAB DARTS away, squealing around the next corner.

242 EXT. 8TH AVENUE - CONTINUOUS - NIGHT 242

Power sliding around the wet street corner, the Yellow Cab FISHTAILS onto 8th Ave. Whipping around the corner behind them Godzilla appears.

As he's MUCH faster, he nearly overtakes the car in a single LEAP but the cab SWERVES AGAIN moving down another street.

243 EXT. 27TH STREET - SAME 243

The cab darts onto 27th street. DEBRIS tumbles down in their path as GODZILLA SMASHES through another building.

244 INT. CAB - SAME 244

The rear window SHATTERS as falling bricks and debris HIT THE CAR. Again, the Cab darts down a small side street.

245 EXT. LEWELLEN DRIVE - SAME 245

Using this small cut-across, the cab quickly exits out onto the next main street (28th). Godzilla rushes down the side street, his TAIL shattering buildings as he does.

246 INT. CAB - SAME 246

Animal fumbles with his camera trying to get it to power up. The light goes ON and Animal quickly holsters it and begins filming out the shattered back window.

AUDREY Cut uptown, take 8th to 57th then cut up Broadway.

ANIMAL You're crazy, go to the east side and take the park avenue to the JFK.

AUDREY The JFK? In the rain!?

247 EXT. STREET - CAB & GODZILLA - NIGHT 247

LEAPING forward, Godzilla BITES down, SNAPPING at the cab as it SWERVES just out of danger, gunning it.

248 INT. CAB - SAME - NIGHT 248

ANIMAL What are you talking about? The east side is always faster.

AUDREY But we can get to the west side faster.

Through the rear window we SEE Godzilla SNAPPING down trying to take a bite. The cab, again, SWERVES wildly, darting down a side street.

RAYMOND Somebody make up your mind!

AUDREY & ANIMAL Take central park!

249 EXT. 8TH AVENUE - SAME 249

Taking her advice, Raymond swerves up 8th Ave. uptown. He GUNS IT and RACES up ahead.

250 EXT. 28TH STREET - SAME 250

The last two turns of the cab have temporarily disoriented Godzilla who looks around to find the cab. He moves up a block and begins to look around.

GODZILLA'S P.O.V. - CAB - SAME - NIGHT

Several blocks ahead, Godzilla spots the cab. He narrows his eyes and WAILS ANGRILY. Suddenly he BOLTS after the cab.

251 INT. CAB - SAME 251

Animal clears away the broken glass and leans out the back window.

ANIMAL'S P.O.V. THROUGH WINDOW - GODZILLA

Gaining on them GODZILLA is in hot pursuit.

ANIMAL Better step on it Frenchie!

252 EXT. MEADOW - SAME 252

The military is cleaning up the trap from before. Sergeant O'Neal SPINS as the cab LEAPS out from behind the trees.

SERGEANT O'NEAL What the hell....?

The cab POWER SLIDES right past and out of the Meadow again just as GODZILLA STOMPS directly into the clean up crew. Soldiers DIVE for cover as others scramble out of the way.

Godzilla MARCHES after the cab, his tail SWIPING several vehicles which tumble, crashing into the troops.

In a flash, Godzilla disappears back into the forest on the other side. O'Neal grabs his radio.

SERGEANT O'NEAL Command, Command, this Sergeant O'Neal. He's back!

253 INT. COMMAND TENT - SAME - NIGHT 253

Major Hicks moves over towards the radios.

MAJOR HICKS Captain Rogers, do we still have those F-18's in the air?

RODGERS They're heading back to base now, sir.

MAJOR HICKS Turn 'em around.

254 EXT. BROADWAY - UPTOWN - SAME 254

The cab heads up the deserted streets, racing full tilt.

255 INT. CAB - SAME 255

Animal pulls himself back into his seat.

ANIMAL I think we lost him.

256 EXT. BROADWAY - SAME 256

Wrong again! Leaping out several blocks ahead, GODZILLA emerges. He KNEELS DOWN and gives a gigantic POWER BLAST of his BREATH.

Cars, street signs, vending machines SAIL BACKWARDS from the force.

A Newspaper vending machine SLAMS into the hood of the cab as the cab SQUEALS around a corner, avoiding the rest of the onslaught of debris.

257 EXT. SKIES - SAME 257

The F-18's BANK and head back towards Manhattan.

258 EXT. HARLEM - SAME - NIGHT 258

Racing up through the streets of Harlem we SEE the cab.

259 INT. CAB - SAME 259

Everyone is looking around for the creature.

RAYMOND Anyone see him.

Suddenly from behind, Animal spots the creature several blocks behind. Again, he lifts the camera.

ANIMAL'S P.O.V. - GODZILLA

Running full boar directly at them.

260 EXT. HARLEM STREETS - CONTINUOUS 260

Godzilla quickly makes up ground. Running at the cab it's only a matter of seconds before he'll reach them.

261 INT. CAB - RAYMOND - SAME 261

Raymond looks up, spots something.

RAYMOND'S P.O.V. - SIGN

Up ahead is a sign for the exit for the George Washington Bridge. Raymond decides to take it.

262 EXT. HARLEM STREETS - SAME 262

The cab SWERVES heading towards the bridge entrance just as Godzilla BITES DOWN, barely missing the cab as it turns the corner.

Godzilla LEAPS OVER THE ENTIRE BLOCK, landing directly IN FRONT OF THE CAB.

The cab SPINS, pulling a full 180 degree turn, and PEELS OUT just before Godzilla can SNAP DOWN again, just missing the cab.

The cab PEELS around the creature and UP THE ONRAMP.

Just then Godzilla LEAPS AFTER THEM. His jaw open, he BITES DOWN ON THE CAB.

263 INT. CAB - CONTINUOUS 263

Everyone ducks as the enormous JAWS OF THE CREATURE CLAMP DOWN OVER THE CAB.

264 EXT. EXIT RAMP - SAME 264

Taking a gigantic BITE out of the highway, some high tension wires and the support structure over the bridge, Godzilla CHOMPS DOWN on the cab.

The large cement SIGN SLAMS into the roof of the creature's mouth, preventing him from crushing the cab with his teeth.

265 INT. GODZILLA'S MOUTH 265

The sign supports will not hold much longer as it crumbles just above the cab. The torn electric cables DANGLING dangerous close to the cab.

Godzilla PUSHES his TONGUE towards the back of the car, trying to draw it into his throat!

266 INT. CAB 266

They're freaking out as the jaws are closing in on them.

AUDREY Gun it! Gun it!

RAYMOND I'm trying!

C.U. CAB'S WHEELS

Spinning in vain against the gigantic tongue that pushes against it, LIFTING the REAR of the vehicle.

267 EXT. HIGHWAY - GODZILLA - SAME 267

Like a dog with a bone, Godzilla SHAKES his head trying to rip the rest of the highway free. The portion of highway in front of the cab TEARS FREE, lifting.

268 INT. GODZILLA'S MOUTH 268

From the cab we SEE the horizon LIFT as the road begins to give way. The sign above CRUMBLING FURTHER.

Nick turns and SEES...

ELECTRIC CABLES - SPARKS

Sparking as they hit against the supports of the sign, Nicks sees the cables dangling close to the cab. He takes off his jacket, wraps it around his hand and opens the cab door.

Grabbing the cable with his wrapped hand, he JAMS THE CABLE DOWN into Godzilla's TONGUE. SPARKS FLY! Nick leans back inside, slamming the door shut.

269 EXT. HIGHWAY - GODZILLA 265

He temporarily opens his mouth wider with a scream just before he is about to SLAM his jaws shut again...

C.U. TIRES - SUDDENLY CATCHING

As the tongue momentarily retreats from the SHOCK, the wheels CATCH and the CAB LURCHES FORWARD.

270 EXT. GODZILLA - CONTINUOUS 270

As the sign CRUMBLES and the JAWS CRUSH DOWN, the cab SAILS OUT OF HIS MOUTH as the beast SWALLOWS the piece of highway.

Landing, hard, onto the pavement, the cab PEELS OUT, burning rubber as it enters the George Washington Bridge.

Godzilla SWALLOWS only to realize he didn't get them. Seeing the cab on the bridge Godzilla gives chase.

271 EXT. GEORGE WASHINGTON BRIDGE 271

The cab races towards us when Godzilla STEPS ONTO THE BRIDGE. His enormous weight makes the entire bridge WOBBLE.

The Cab goes airborne then bottoms out as it returns to the asphalt as the bridge undulates beneath them. It's as though they were driving during an earthquake.

With each stride Godzilla takes, the bridge becomes more unstable.

272 EXT. SKIES ABOVE THE HUDSON - F-18'S - SAME 272

Swooping down the F-18's head directly towards the bridge. We see Godzilla about to overtake the Cab.

273 INT. COCKPIT 273

The HUD begins to FLASH, LOCKED ON!

PILOT #2 We are red and free. Stallion 10, Fox 2.

274 EXT. BRIDGE - CAB AND GODZILLA 274

Only a stride away from being overtaken.

275 INT. OTHER COCKPIT - SAME 275

PILOT #3 Stallion 12, Fox 2.

ANGLE - F-18 SQUADRON

All at once they FIRE. Missiles heading right at camera.

GODZILLA

opens his mighty jaw about to CLAMP DOWN on them.

The missiles CONNECT, SLAMMING INTO HIS CHEST, EXPLODING. His torso, rips apart. He SCREAMS OUT. His WAIL a painful death cry.

His foot STOMPS DOWN as he tries to retain balance. The impact of the stomp acts like a shockwave that KNOCKS the Cab into a SPIN.

SLAMMING into the guard rail, the cab bounces back into the road and keeps going.

The injured Godzilla bites the bullet and continues pursuing, his gait slowing. The cab is able to make some distance.

ANGLE - F-18 SQUADRON

Again they FIRE. A group of missiles darting out.

GODZILLA

The missiles HIT, ripping into him. Again GODZILLA SCREAMS out, his forward motion stopped.

276 EXT. OTHER SIDE OF BRIDGE - CONTINUOUS 276

Where the blockade and angry mob still wait and watch in horror. The Cab SLIDES INTO A SPIN as it comes to a stop just in front of the crowd.

Nick jumps out first, staring back at Godzilla. Audrey comes up from behind.

NICK'S P.O.V. - GODZILLA

His eyes rolling back into his head as he SCREAMS OUT. Slowly he TUMBLES.

ANGLE - BRIDGE

Godzilla's enormous head comes CRASHING DOWN in front of us. The tremendous impact sends TREMORS across the bridge.

277 EXT. OTHER SIDE OF THE BRIDGE - CONTINUOUS 277

The gathered crowd is ROCKED from the impact of the toppled Godzilla.

GODZILLA

His last breath escaping. Defeated and weary, his eyes blink slowly as we watch his life slip away.

NICK AND AUDREY

Oddly, Nick stares sympathetically at Godzilla's sad and lifeless face.

The stunned silence melts away as the mob behind them begins to applaud nervously, then vigorously. The mob breaks through the blockade and rushes over to our heroes, surrounding them. Cheering enthusiastically.

278 INT. LUCY'S APARTMENT - BEDROOM - SAME 278

The room is going berserk, everyone slapping hands. Lucy turns and gives a "high-five" to everyone around her.

279 EXT. JERSEY SIDE OF THE BRIDGE - SAME - NIGHT 279

Cameras flash like mad. Several news crews fight their way through the crowd.

REPORTERS (overlapping) How did you discover the nest? Dr. Tatopoulis, can you tell us what happened back there?

NICK Sorry, guys, I've promised my story as an exclusive to another reporter.

Nick winks at Audrey. Caiman pushes his way through the crowd of reporters over to her.

CAIMAN We did it! We've got the exclusive! Way to go, Audrey!

AUDREY We? I don't think so.

CAIMAN I want that story, Audrey. Remember you work for me.

AUDREY Not anymore. Mr. Caiman, I quit.

Audrey waves goodbye as Animal walks over, checking his camera and his coat pocket.

ANIMAL Audrey, did you take the tape out of the camera?

AUDREY No.

NICK Where's Raymond?

They look around, but he's gone. Nowhere to be seen.

ANIMAL I couldn't have just lost it?

A phone begins to RING. Nick checks his pockets and finds Raymond's cellular phone. Nick answers.

NICK Hello?

RAYMOND (O.S.) It's Raymond.

NICK Where are you?

280 EXT. PAY PHONE - DOWN THE BLOCK - SAME - NIGHT 280

Raymond watches the mob scene from a distance.

RAYMOND Tell your friends I will send the tape after I remove a few items from it.

NICK AND AUDREY

Nick nods to Audrey that it's Raymond.

NICK I understand.

RAYMOND I just wanted to say, au revoir and thank you for your help, my friend.

NICK Wait. (line goes dead; to himself) Au revoir.

AUDREY Who was that French guy, anyway.

NICK Oh, just some insurance guy.

Off Audrey's confused expressions we PULL BACK, farther and farther. We see the mob, the military, the command tents and finally we pull back far enough to reveal Godzilla's mighty head laying on the end of the bridge.

CUT TO:

281 INT. PENN STATION - SAME - NIGHT 281

We FLOAT through the demolished station almost as though we were a moving point of view. We travel thorough the debris of the station into one of the tunnels.

We travel deeper and deeper into the distance. A shaft of light up ahead. We move closer to it.

As we get nearer we realize it's one of Godzilla's gigantic EGGS. WE move closer and closer to the solitary egg. Just as we are about to collide with it. CRACK. IT OPENS.

FADE OUT:

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