EXT – HAMA RIKYU GARDEN, TOKYO BAY, AT THE CRACK OF DAWN.
WE HEAR MUSIC: a big hazy ominous drone, with Bansuri flute coloring
the sonority. Slow aerial tracking shot through to the urban
environs, EG: Tokyo. Accelerating and ASCENDING SHOT
(GODZILLA’S POV) to a SHIODOME SKYSCRAPER. INTO a PENTHOUSE
WINDOW, AS THE SUN RISES:
INT – A ROOM INSIDE THE PENTHOUSE.
WE SEE: a 30-ish MILITARY OFFICER, in Dress Pink uniform; a
man of power, WITH a YOUNG Eurasian GIRL, could be 18, but
could be 12. She is BOUND and GAGGED, white lace stockings
and garters, sheer bikini panties ’round her ankles, white
lacy demi-bra.
The OFFICER still has his tailored business jacket on; now TAKES
his canvas BELT with steel tip buckle OFF, now wielding it
LIKE A WHIP. (She has a rather blank look on her face,
considering.)
WE HEAR THE MUSIC SWELL – now the gong and cymbals CRASH;
and WE SEE a GIANT DRAGON ARM, all green and scaly, SMASHING
THROUGH the WINDOW. SHARDS CAREEN IN EVERY DIRECTION.
The LIZARD HAND GRABS the OFFICER by the tail of his jacket. He
is held up by the MUTANT MAMMALIAN HALF-REPTILE MONSTER who
EXAMINES HER CATCH bemusedly. The OFFICER MUTTERS his
OUTRAGED OBJECTION to this treatment.
GODZ GRINZ. She extends her middle finger up and impales the man,
SITS HIM right DOWN ON the GIANT CLAWNAIL. WE HEAR MUTTERING
TURN INTO SCREAMING. GODZ EMITS ATOMIC BREATH, ROASTS and
MAKES A NICE SNACK OF the OFFICER.
WE HEAR STUPID TOMTOM FILL.
(Godz Eatz title song)
I’m Ill-LEGAL A-MORAL
I am Un-Repentant
(Not Your Fugitive Kind)
Lock UP your Dotters
Instruct your Sons
Prepare All Your Defense
TITLE SONG CONT.
I’m Crossing That Line
Your Worlds are Crumbling
Pants Falling Down
You Will Not Escape Me
It’s FEEDING TIME
Screen Virtually Explodes. LURID. BLOOD-SPATTERED. CHAOS REIGNS.
GODZILLA RULES, OK! BEGIN TITLES.
INT – THE WATERGATE HOTEL, NIGHT.
SHANE BROLIN, a young-looking 40-ish man, of mixed Irish and Hispañic
descent, quite handsome and trim, in a satin bathrobe,
RECLINES in bed. He watches an old WAR MOVIE ON the
wall-mounted TV STARRING an actor who we’ll see will greatly
resemble the character LLOYD in this picture, in action in
‘WWII’, PHILLIPINES. ECU ON TV. Pixellated DISSOLVE TO:
EXT – A VILLAGE, SE ASIA, “1970′S”, DUSK.
A MASSACRE. WE SEE GODZILLA‚Ñ¢ ENTER THE FRAME. Unimpressed with
the efficiency of the carnage, ‘it’ shows how it’s done by a
master. IMMOLATES MOST, SAVES SOME, enough FOR a SNACK
later.
As GODZILLA digests ‘its’ meal – ENTER LT. TERRI HEDAKA WITH a
small SQUADRON, by PT Boat.
TERRI
(to her second-in-command)
If we go in now, we stand a good
chance of catching the monster with
his pants down.
WE SEE A GUNNER on one of the PT boats FIRING SEVERAL ROUNDS OF
WHITE PHOSPHOROUS INTO GODZILLA’s FACE and blinds the
surprised creature. LT TERRI HEDAKA takes a rocket launcher
from an assistant and FIRES OFF A ROUND OF WILLY P INTO
GODZILLA’S FACE. THE ASSISTANT HOLDS UP another rocket
LAUNCHER and TERRI LOADS it with THIS MISSILE that looks
like a large phallus. TERRI WAITS for ONE SECOND while the
other PT BOATS FOLLOW UP the White Phosphorous WITH A ROUND
OF ARMOR-PIERCING SHELLS AT GODZILLA’S THROAT AND FACE.
TERRI FIRES. FINS POP OUT of the missile. IT’S A HIT! The
FINS snap forward and BECOME CLAWS that hold it in place
while the DIAMOND HEAD DRILLS in, almost 2 feet into the
creature’s flesh. ECU: the DEVICE INJECTS ITS PAYLOAD; NOW
WE SEE IT GRABBING DNA VIA VACUUM ACTION in a side chamber,
NOW it POPS OUT, it’s spent. A 2ND MISSILE STRIKES, within
several feet of the first one, REPEAT AND RINSE. A third
missile misses and is lost in the jungle. WE SEE THE PT
BOATS have already changed direction and RACE OFF out of the
lagoon. GODZILLA, injured and disoriented, RETREATS TO THE
SEA. Its cap is lost forever. DISSOLVE: SAME SCENE, NIGHT.
WE SEE ANOTHER, Reconnaisance, SQUADRON ARRIVE on the scene.
The five MEN GATHER CHUNKS OF GODZILLA for DNA research & development.
WE SEE THIS THROUGH INFRARED VIDEOGRAPHY. TERRI MAKES SURE.
CUT TO: GODZILLA AT THE SEA BOTTOM. WE HEAR
UNDERWATER-SOUNDING DRONE MUSIC. Now crescendo – SHOCK CUT:
INT – CLUB C’EST BONBON, KABUKICHO DISTRICT, NIGHT.
In this neon-heavy garish surreal joint, WE HEAR WHO WEARS SHORT
SHORTS? Bill Crandall’s version. WE FOCUS ON HEATHER
MEADOWS. She is petite and just about perfectly formed. A
half-Korean, half-Japanese girl, appears to be around 24
years of age.
She is sporting little-girl pigtails tonite, with a skimpy halter
top and the titular short shorts of the soundtrack. SHE
SPOTS TERRI standing with arms folded looking p.o.’d. At
first, she’s taken aback, appears shamed; now recovers,
BECKONS TERRI to front of stage with the crooked index finger
gesture.
HEATHER
Hello, sailor. New in town?
(beat)
Wanchoo to meet new friend.
Over to SHANE’s table, Heather and Shane are clearly familiar.
PALPABLY GREAT TENSION WITH TERRI. TO TERRI:
HEATHER
You verry handsome when you get
mad, sailor! You wanna Private
Dance or what?
TERRI
(sotto voce into Heather’s
ear)
Just wait til I get you
TERRI GIVES A VIGOROUS SPANK TO, and a Lusty Grab of HEATHER’S
ASS. HEATHER GOES back TO BOYS’ TABLE. TERRI EXITS. TO
ADMIRAL LLOYD YOUNG (an older, fair, sandy-haired
gentleman):
HEATHER
(fingers her little-girl
pigtails)
Hi, Daddy. You boys wanna private
showing?!
ADMIRAL YOUNG raises an eyebrow at this.
SHANE
C’mon Lloyd. Live a little.
HEATHER approaches Lloyd. Shane hits the toggle that closes the
partition for privacy. She begins to wiggle out of the short
shorts. SLOW DISSOLVE TO:
INT – AN AUSTERE CONFERENCE ROOM.
DR. TERRI HEDAKA, scientist; meeting administrative types regarding
funding. Interest is high, as there are many potential
applications for this research, if anticipated breakthroughs
are forthcoming. Dr. Hedaka is confident that her work will
have positive results.
All are white men, but for one MR MITSURU, a distinguished-looking
Japanese gentleman, & a mature white female, a handsome,
maintained specimen, MRS. YOUNG (who is married to the
Commander of the United States Forces of Japan, ADMIRAL
LLOYD YOUNG).
MR. WELLS
So, you’re the famous Lieutenant
Tedaka, eh? Greetings! You have
done some amazing work. Just
amazing.
TERRI
Thank you. You’re very kind. Now,
where would you all like to start?
MR. WELLS
Please begin by telling us why you
used human DNA in your attack on
Godzilla.
TERRI
My reasons for having introduced
the monster known as ‘Godzilla’ to
human DNA, is that we were
attempting to bring the creature
down, once and for all. The
military finally got it, that raw
force was just not working. My team
came up with a plan to introduce an
adenovirus into its system.
Reptiles are very susceptible to
this virus, and it results in a
very high mortality rate for them.
We needed to use genetic material
we knew would not be killed by the
virus. I chose to use human cells,
as humans are perhaps the most
immune to this sort of exposure. I
used that opportunity to collect samples
of Godzilla’s DNA, to study how to
effectively launch a new attack, if the
adenovirus did not work.
MR. WELLS
That was a neat trick, I might add.
With the same weapon, as I
understand it. Remarkable work,
Lieutenant. Er, Doctor.
TERRI
almost smiles, or smirks) All in a
day’s work, I assure you. As I was
saying, the thought behind this is
that we may study this creature on a
genetic level and determine what
accounts for its facilities of
healing. “Godzilla”, as you know,
is basically a… prehistoric, for
lack of a better term, creature -
in its genetic structure – a
structure unlike any other living animal
on the planet.
NAMELESS WHITEMAN
How could any animal survive such a
beating as it’s received from our
military over the years? It defies
all logic.
TERRI
Our thinking on this is its native
environment must have been extremely
brutal. This animal’s species, we
have no idea if it’s one of a kind or
not, had to evolve in a miserable
climate and possibly survive meteor showers
and small asteroids that were
pelting the Earth at that time. Who knows?
Volcanic activity may have played a
part in it.
MR. WELLS
We have heard that your research
may produce extremely valuable
medical advances. Can you tell us a
little bit about this?
TERRI
Well, we have been doing VERY well
in our stem cell research.
(a cheesy ‘friendly’ smile she
imagines is commercial)
The advances are amazing! The
possibilities… endless! (resumes
her didactic tone) We are able to
modify the way that cells undergo
what is called ‘apoptosis’, or cell
death… We also believe that organ
replenishment is possible.
MR. WELLS
Could you be more specific?
TERRI
We hope to grow replacement limbs
and organs from a person’s own stem
cells, and to turn cancer into a
mere inconvenience along the lines
of the common cold. Murmurs,
ahem-ing, and ahhs among these
five. CUT TO:
INT – LOBBY OF THE PARIS HILTON.
SHANE BROLIN awaits, perusing a magazine. ENTER MRS.
MRS. YOUNG
Hello there, Shane! I haven’t seen
you since that Bernoldt Lecter
fundraiser. How the hell have you
been.
SHANE rises; they grasp each other’s hand and do that Hollywood
fake kissy nonsense. They proceed to restaurant. Shane
bribes the Maitre d’, and they get a primo table.
MRS. YOUNG
So. Here we are. I understand the
live lobster is excellent here.
Let’s bring you up to speed on
things, Shane. How familiar are you
with this – I feel funny even
saying it – Godzilla research, this
Dr. Hedaka is working on.
SHANE
As far as I understand it, it’s
mythical. I mean, there are stories
around… this woman – Japanese
naval officer – in a PT Boat, no
less – had a close encounter with
some prehistoric mutant which
resembled the movie monster
Godzilla. Some sort of bizarre
experiments with its genetic code.
MRS. YOUNG
Yes, it’s bizarre, no doubt. But I
assure you there is something going
on. The quarters I represent, and
these are not insubstantial players,
would not have brought us together
if there weren’t something potentially
earth-shaking going on here.
SHANE
Go on.
MRS. YOUNG
(beat)
As I understand it – and I am of
course not by any means versed in
the lingo of science – what she has
so far, works to retard, or somehow
modify, the way cells die, and/or
become cancerous. The intel reads:
“re-mutating the P53 protein”… Et
cetera et cetera.
(beat)
More interesting, to me is: ‘lizard
v mammal, genetic mutation…’
SHANE
That would explain Big Pharma
interest, but from what I gather
from your implication: “potentially
earth-shaking”, there would be interest
coming from the military quadrant
as well – wait – genetic mutation? lizard
versus mammal? What does that
indicate, do you think?
MRS. YOUNG
This, science, has other
implications, right.. If it works
in the way my -
(coughs)
investigative team believes it
does… there may be applications,
which could revolutionize the way -
personnel might be deployed in,
policing… the sort of situations
our side is certain we must prevail
in.
An unctuous, overly solicitous waiter approaches and
solicits their order.
MRS. YOUNG
Waiter, we’re not ready yet.
Refresh our drinks and give us a moment.
Si vous plait?
(to Shane)
My husband should be here any
minute. Lloyd, as you know, is
right-down-the-middle, ‘old-school’
as they say. Follow my lead, as to
what he needs to know, understand?
It is of the essence that he not be
brought into the light, as to what
extent that those whom I…
represent in these matters – that I
– will be driving this bus.
LLOYD YOUNG, as if on cue, ENTERS the restaurant, looks around.
MRS YOUNG sees him and waves him over.
MONTAGE SEQ: CHUNKS OF GODZILLA being tagged for ANALYSIS, something
is extracted via some MONSTROUS APPARATUS, now filed away.
Younger TERRI OVERSEES; MR MITSURU (a distinguished, slim
officious-looking man of indeterminate ‘middle’ age) LOOKS
ON, inscrutable, probably skeptical.
INT – A CONFERENCE ROOM. CHYRON AT BOTTOM READS: THE
PRESENT.
MONTAGE – WE SPAN THE PARTIES PERTINENT TO TERRI’S GODZILLA PROJECT
(MR. WELLS, N. WHITEMAN et al; MRS. Y and MORE Corporate
WHITE MEN – ADM. YOUNG chief among US military – and MR.
MITSURU. Shane not seen). Finally, a conclusion is reached;
consensus. CHYRON AT BOTTOM READS:
GODZ PROJECT A GO
EXT – A SEASIDE, DAY.
Commercial set for the Ocean Mist Body Spritz series of spots.
Despite the beautiful natural seaside scene, there is an
artificial backdrop. “Very bright early morning”. Lots of
highlights from the Rising Sun. (note: Casting Director has
a deep voice, eg., Mr. Sulu. She has a high voice, but it
has range. Typical Japanese-accented English)
CASTING DIRECTOR
Next is “Heather Ono”. Step
forward, please.
(beat)
Miss Ono.
The Casting Director looks aside to the resident hipster/Beatles
fanatic, LINDSAY (a not-tall Eurasian man in his late 20′s, sporting
a bandana and a neat, slight goatee, casually,
professionally-enough, dressed) who is on tap do the
actress’s hair and makeup once she’s chosen.
CD
(w. the slightest of grins)
Any relation to Yoko?
HEATHER
Yoko who?
General laughter on set.
CD
Why, Yoko Ono, of course!
LINDSAY
The anti-muse.
HEATHER
I donno, I guess, maybe. Who cares.
(smirks)
The ‘Anti-Muse’. I like that!
CD
Ok. Says here, you’re a ‘dancer’.
What is your background? Classical,
jazz, tap?
HEATHER
(throaty low tones now)
I’m a stripper, OK?
(makes quote signs with
fingers)
“Exotic Dancer”
CD
(ironic disdain)
Ok. Tell me, are you a *good*
dancer, Miss Ono, in your
estimation?
HEATHER
(with a wiggle)
Oh, please. Honey, I’m the BEST! I think.
No. I AM *The Best*.
LINDSAY
“I think, therefore I am”
HEATHER
(laughing raucously)
Oh, Dez Cartz. What a crock! I’m SO
SHER!
(beat)
‘I think, therefore I think I am, I
think’, more like. I mean, turn it
around: ‘I think I am, therefore I
think’. Look around sometime,
plen’y evidence to the contrary,
doncha think?
(beat)
Or don’t you.
CD is taken aback somewhat, now maintaining crucial inscrutability;
dryly:
CD
Uh huh. Ms. Ono, do you have,
‘acting experience’?
HEATHER
Baby, *I am*, always acting.
(beat)
Isn’t everyone?
ECU: A TV set somewhere in the relative future.
WE SEE the OCEAN MIST SPOT. HEATHER pulls open her bikini bottoms
and SPRITZES FORTH from the dainty little missile. She looks
at the camera, as if she’s been seen doing something
private, and makes a ‘coy’ gesture, index finger to mouth.
A small too-cute dog yaps and makes a beeline for ,
having caught her scent regardless – Is it just her or is it the
Ocean Mist that’s the attraction? It’s the Combo!
INT – A MILITARY COMPOUND, IN JAPAN.
There is a PANEL OF seven ADVISORS present here, seated in two
rows flanking TERRI. Chief among them is MR. MITSURU.
MR. MITSURU
Doctor Hedaka. What we are here to
try and find out from you, is,
number one, your overall progress,
in terms of the healing potential -
in general terms, we aren’t here
for a detailed analysis at this
time – and number two, what sort of
concrete applications have you
experimented with.
TERRI
Initially, my work was primarily a
radical track, to see if there was
something in this mutated monster’s
DNA structure, that might have -
(scans the uniforms present)
advanced curative properties. I
have had some success with less
complex life forms, such as are similar
to Godzilla’s. Our work with more
complex animals – is, accordingly,
a more complex set of processes.
INT – TERRI’S HOME, NIGHT.
TERRI enters to find HEATHER admiring herself in the full-length
mirror, which functions as a sliding door to a walk-in
closet. Above is a shelf for hats, which is supported by
chrome poles. FULL SHOT ON HEATHER – she is wearing black
fishnets tights with an open crotch. is only
covered by a tiny sheer bikini pant. The coverage is made of
cotton, but the rest of the garment appears to be made of
nylon. She has put her boobs up on a shelf via a black
whalebone corset/bustier. She has on Terri’s black
Russian-style navy cap. She leans toward her reflection and polishes
her swelled cherry-stained lips.
TERRI ENTERS the frame.
TERRI
Well! Look at you. Damn, girl.
(beat)
Ya know, if I were you right now,
I’d SO wanna do me.
HEATHER stands straight now and puts the cap back on the lipstick.
She turns her head toward Terri with a downturned attitude.
She adjusts the sailor’s cap.
HEATHER
(pouting insolently)
Oh yeah?
HEATHER is holding onto the pole with her right hand. Now, she
slowly, suggestively strokes it. TERRI’s breathing grows
hard. Now, Heather turns and pooches her butt at Terri. She
sways her hips to and fro.
HEATHER
“Nice piece”, huh?
She grips the pole now with her left hand.
TERRI
You’re going to get it now!
TERRI grabs that butt, and in a single maneuver tears the pant
off – WE HEAR A RIPPING SOUND – kneels and BITES HEATHER’S
ASS like she would an apple. Now she TAKES HEATHER’S WRIST
away from the pole and leads her to the futon and sits her
down.
TERRI
Don’t go nowhere.
HEATHER makes a coy gesture of biting her knuckles. She
sits, legs akimbo; now she spreads them and reaches down to
touch herself. TERRI grabs her hand and pulls it to her own
face to savor the scent.
TERRI now opens a drawer in a chamber supporting the futon, which
elevates the bed about a foot. She brings out a large green
dildo which features prominent veins and a monstrous head.
This does have straps attached, with a belt fastener. Now,
she hands the business part of the apparatus to HEATHER.
TERRI
Hold onto this pole for a minute.
(smirks, now assumes a stern
attitude)
Thank you.
Now, she takes the naval cap off Heather and replaces it on her
own crown. She grins at Heather. HEATHER smiles naughtily,
index finger to her bottom front teeth. Now, Terri sits down
on the bed and removes her fatigues. She has on these dark
red briefs which are designed to resemble a boy’s
underpants. They have that stitching tighty whities have,
but no opening in the front.
She removes those, leaving on her olive green tank top and sox.
Now, SHE STRAPS the terrible thing ON, and pulls the belt
fastener to. As TERRI MOUNTS HEATHER, WE HEAR:
SINATRA
You can’t get cherry soda ‘Cause
they’ve got to fill that quota And
the way things are I’ll bet they
never will They’ve got a zillion tons
of coffee in Brazil
FADE OUT, AND FADE BACK IN TO:
AFTER HEATHER HAS COME SOME, TERRI ROLLS OFF her, and now lies
on her stomach.
HEATHER
(sighs)
You went away.
TERRI
I’m right here.
HEATHER
Not really. You there, me here.
What now, you gon’ take a nap?
TERRI now lies on her side facing HEATHER.
TERRI
It’s late, I’m tired.
HEATHER
I know… I just want -
(beat)
Sometimes you so like a man, you
know?
TERRI
Well, is that not what you want, a
man?
(beat)
Big, strong man, big stuff, give
you big horsie ride, like you like?
(beat)
I try to give you…
TERRI wants to cry, but stifles herself.
HEATHER
No, no no no. You got it wrong,
Terri. You got it all wrong.
HEATHER CONT.
(sighs)
Big dick, long dicking, is fine, is
good. But – When a man is done, he
goes; back to… some place, some
world, I donno about. I can’t live
there, you know? I just visit, I
just a guest there.
(beat)
You not really a man, Terri. You
have same stuff as me, same…
(She knows what to do now)
You roll back on stomach now. I
take care of you, you need a massage I
think. Poor baby, I know, I
understand.
She leans in and kisses Terri gently on the mouth. TERRI ROLLS
OVER, now HEATHER STRADDLES HER, supporting herself on her
knees. Now, she leans over to the side of the bed and gets
out some massage oil. She begins working on Terri.
We can see that Heather has very supple hands. She massages Terri’s
shoulder blades for a time, then to the shoulders and neck.
HEATHER
You pretty tight. You got a lotta
stress. Lot on you mind. I take
care of you now.
HEATHER eventually WORKS down to TERRI’S LOWER BACK. TERRI
is making appreciative noises all through this. Now HEATHER
WORKS TERRI’S BUTT. She gets some oil in the crack
accidentally on purpose. Now she decides to take care of
Terri another way. She crawls backwards a little bit; now
SHE MASSAGES TERRI’S BUTT vigorously, kneading the flesh.
HEATHER GRABS TERRI’S CHEEKS AND PULLS THEM APART. NOW puts
her face all in there and GETS BUSY. TERRI is MOANING.
CUT TO:
INT – LLOYD AT HIS SUBURBAN HOME OUTSIDE TOKYO, DAY. VERY
FENG SHUI; BEAUTIFUL AND BALANCED/AT PEACE.
SHANE ON SPEAKERPHONE
Let’s go have some sake and sushi,
whaddaya say buddy?
CUT TO:
INT – A SAKE BAR, NIGHT.
LLOYD and SHANE, at a quite surreal Sake bar and grill. LIT entirely
VIA NEON and TV. The TV has on some ridiculous Japanese game
show with girls competing for the male judges. Right now
they’re wrestling in one of those cheap portable backyard
swimming pools filled with Pork ‘n Beans. One girl tries to
climb out via a faux chromium ladder at the side. The bigger
girl pulls her back in by her hair, which is matted in
sauce, navy beans dripping. SHANE loves it. LLOYD appears
nonplussed. The proprietor, a woman, switches the channel
and gets CNN.
LLOYD
(seeing Ann Bolton on giant
screen)
I think she’s so hot, though I do
think she’s a real nutjob.
SHANE
You know she used to be a guy,
doncha? LOOK! see that Adam’s Apple?
(laughs)
This is a lawyer, an educated
person -
WE HEAR FROM THE TV:¬† BOLTON on GLENDA BECKER’S show:
TRANS ANN
… and he secretly agrees with
this stuff? Or is he being the
Manchurian candidate to the traitor
wing of the Party? So I guess now
he has to go with: “No, I was just
trying to hoodwink the traitor
wing.”
(beat)
Kind of a hard road to hoe.
Shot On SHANE:
SHANE
Or so you’d think. You know she
laughs her ass off at this shit,
all the way to the bank.
LLOYD
(rolls eyes)
Gawd. She’s obviously never seen
the movie.
SHANE FIRES UP a joint. They do the TRADITIONAL pouring of each
other’s SAKE BIT. Some SUSHI, of course.
WE SEE ANOTHER HEATHER SPOT, this time for a major line
SHANE
Speak of the devil…
LLOYD
She’s a Goddess.
SHANE
Heh. Watch yourself, Lloyd. Yer a
married man, remember.
LLOYD
(huskily)
That’s – really a – farcical
situation, Mister Brolin.
(eyes narrowing)
Like I’m telling you something you
don’t already know.
SHANE
That Heather is, as they say in the
trade, A Real Daemon.
LLOYD
You mean ‘demon’, don’t you?
SHANE
Actually, I’m talking about – a
chthonic spirit. An underworld ah,
entity – like, a demigoddess; which
roams about the earth…
(beat, he looks at Lloyd)
You don’t know what the devil I’m
talking about do you.
LLOYD
(laughs)
You’re saying basically, she’s like
pure Yin.
SHANE
Ha, I guess you could put it like
that.
LLOYD
Do continue.
SHANE
This kind of – being – functions…
seemingly randomly, or without
cause; without any known – agenda,
or consciousness of any purpose in particular
– existing only as pure expression
of her being.
(beat)
You follow me?
LLOYD
(thoughtful; softly speaks)
I – think I understand. You’re
saying she’s – trouble – among
other things. Whether she intends
to… disrupt, or make trouble,
or…
SHANE
Among other things, yes.
(beat)
Another sake, Lloyd?
CUT TO:
INT – THE WAR ROOM.
Not exactly that War Room. Brighter lit. More accessible. Very
similar though. Players – MRS. YOUNG. GENERAL H. BALZAC, a
brutal looking little man, thickly muscular, bald, a totally
shaved head. ABE SHIKO, Chief of Staff of the Joint Staff
Office who represents the Japanese Ministry of Defense. He
would be young Mr. Sulu’s granddad. The Governor of Japan,
MR. ISHIMURA. COLONEL R. FUERBERGER, who is basically George
C. Scott with a lazy eye; one BIG HARRY DIEL, a leaner
meaner Abe Vigoda, and a younger, Douglas Niedermeyer sort,
LT. COL. JON BOERMAN presiding. LLOYD is conspicuously
absent.
They sit at a large oval, mahogany table. Boermann at one head,
Balzac at the opposite.
LT. COL. JON BOERMANN
We all know why we’re here.
BALZAC
(speaking through a stogie)
We gotta knock the shit out of
China before they knock the shit
out of us.
CHIEF OF STAFF ABE
I’d like to know why are we here?
We are not at war with China. There
is no sign of China starting a war.
LT. COL. JON BOERMANN
Okay. I’ll explain it for everyone.
Industrial China is growing and is
dipping their hands into other
territories in search of resources.
Several governments in agreement
with the U.S. government believe something’s
got to be done.
CHIEF OF STAFF ABE
Where’s Lloyd?
LT. COL. JON BOERMANN
Whatever course of action we take,
will call for deniability. The
Admiral will be our mouthpiece. He
won’t know anything about what we discuss
here today. This will allow him to
sound entirely sincere when talking to
the press.
MRS. YOUNG
He would resist any action. He
loves Japan too much.
CHIEF OF STAFF ABE
I’d like to know why we’re even
meeting. China has made no aggressive
move toward Japan.
BALZAC
They will. Just you wait. Those
bastards are always coming up with
some underhanded plan. They’re
worse than the Japanese.
(looks at Abe)
No offense there, Abe. But you
gotta admit you people have enjoyed
your share of sneak attacks.
CHIEF OF STAFF ABE
(irritated)
That’s ancient history and you know
it, Balzac!
Balzac and Abe look like they’re gearing up for a fight.
JON BOERMANN
Okay. If you two don’t mind, I’d
like to get on with this meeting.
Around the table: general consensus.
BALZAC
The only thing sneakier than a Jap
is a Russkie. If you ask me, they
just pretended to break up the
Soviet Union so they can catch us
with our pants down.
FUERBERGER
(now bored; absently)
Why are we here?
ABE
That’s what I’d like to know.
BOERMANN
(raising his voice)
We’re HERE because we’ve been asked
to take action, to keep China
preoccupied in order to prevent
them from focusing on their new
mission of aggression.
ABE
What mission of aggression?
ISHIMURA
Be realistic, Abe. ISHIMURA stands.
ISHIMURA
The Chinese have, for 15 years,
been working, through espionage, to
obtain the most classified secrets
of your best weapons. This successful
penetration by their intelligence
has now left the U.S. defenseless against
air, land, sea and space attack.
ISHIMURA CONT.
(beat)
China holds no value at all for
human life. They can start a war
with no problem. We are now in a
state of tension far worse than
during the Cold War. This continues
to get worse, the two sides could
pull the trigger on each other.
Because the United States has a
civil society that values life, it
would not win.
BALZAC
(gone completely ballistic)
DEFENSELESS!!
Now, Look here, Mr – Ishamuri – If
you’re saying the US of A can’t
stomp China – Any day of the week -
(his face popping veins)
Now you guys might be defenseless,
but that’s because we cut your
balls off! We had to! you might pull
one of your little sneak attacks
again!
MRS. YOUNG
Keep it in your pants, Balzac. This
is serious.
ABE
I want to know what mission of
aggression?
JON BOERMANN
I’m sorry, Abe, I can’t tell you
that. All I can say is that this is
important for the security of Japan
and the other nations of the Pacific
rim. Washington has evidence
showing that the Chinese are
becoming a menace to world order.
Mr. Diel, would like to expound on
that?
BIG HARRY DIEL
As a matter of fact, I would. You
see, for the past few years, my
people have seen a steady decline
in the amount of profits they make. The
problem is China.
MRS. YOUNG
China is threatening the very
fabric of our society by stealing
jobs and bargaining for the same
materials we need to keep our
economy humming. This is
unacceptable and a threat to our
way of life.
ISHIMURA
When did this become a forum for
your particular lobbies? Last time
I looked, this is the WAR ROOM.
This is about national security issues.
You people seem to be really only
concerned with economics! How in
the world are YOUR PROFITS – I
quote you: imperative to the
security of Japan and the other
nations of the Pacific rim.
(beat)
People: We are talking about human
life here. While I understand the
economic argument about China’s
consumption of resources outstripping
the rest of the world’s, being a
real concern, I have heard nothing
here that addresses my concerns
about Japan. And it is particularly alarming
to me, as is the omission of the
actual commander of the USFJ in
this discussion. Something is
horribly amiss here.
ISHIMURA CONT.
(beat)
If China were to fire a nuclear
weapon, the initial target will
likely be either Tokyo or Okinawa.
I assure you, there is a very real
possibility of this today. As
General Balzac has so colorfully
stated, we are essentially
castrated by the AMPO Treaty. Maybe
it is time for Japan to take back
control over her destiny.
BALZAC
All I got to say is, we gotta knock
the shit out of China before they
knock the shit out of us.
JON BOERMANN
Balzac thinks we should make a
pre-emptive strike of some kind.
BALZAC
Absolutely Goddamn right, Jon. Send
some ships loaded with missiles,
warm up some ICBM’s and send some
troops over there. Those checker-playing
bastards will never know what hit
‘em!
BALZAC STANDS up and starts pacing around the room.
BALZAC
(Practically bellowing)
We’ll pulverize ‘em so hard, they
won’t find two twigs large enough
to make a pair of chop sticks.
JON BOERMANN
(shouts)
GENERAL! Please take your seat.
(calm)
Our orders are to use Doctor
Hedaka’s Godzilla clones. And this
entire operation is on the QT.
There is to be NO connection
between the clones and us. This…
is imperative!
BALZAC
(screaming)
CLONES!
Are you kidding me? Let’s shove
some missiles down their throats.
MacArthur wouldn’t be caught dead
using clones. Are you telling me, that
we aren’t going to use good old
American missiles and soldiers?
Just give me a week. We’ll make
those sons of bitches rue the day
they invented gunpowder!
BALZAC RISES out of his chair and starts roaming around the conference
table
BALZAC
Look.
(beat)
Boermann.
(beat)
I say we just give them a call,
tell them what we’re going to do.
Then do it! Who the hell is in
charge over there anyway? Let’s get
‘em on the phone right now!
BIG HARRY DIEL
General. I can understand how you
feel but it’s been decided. We’re
going with the clones.
BALZAC
Oh yeah? Well who the hell are you
to dictate to me how to run a
military operation?
BIG HARRY DIEL
I’m the senior member of the U.S.
Senate Committee of the Armed
Services. I also represent Exxon
and R.J. Reynolds.
BALZAC
The only thing worse than a
Russkie, is a politician. All right,
we’ll use your damned clones. And
when this is over, those Chinese sonsabitches
will know not to fuck with me!
BOERMANN
General. Sir. This mission is
secret.¬† No one will know we’re
involved.
BALZAC
Oh, they’ll know all right. I’ll
make sure they know.
(beat)
Okay. We’re using clones. I say we
just go in with these clone
sonsabitches and knock out any
capability the cocksuckers have, in
advance.
MINISTER OF DEFENSE
General. Preemptive first strike is
not official government policy, for
either of our nations.
BALZAC
No, it’s not official policy – but
it’s MY policy.
MONTAGE SEQUENCE: FLASHBACK – The younger Terri, younger
even than in the SE Asia scene in Act I, in the classroom
and in the lab. She has headphones on, ‘relaxation tapes’
(which the administration of her program has “suggested” she
use)… now, she studies: texts on viral disease in lizards, genetic
mutation, comparative biology; she meets with the School of
Defensive Capabilities Development; wearing headphones in
her bed at night/intercut with the previous footage with the
weapon, hitting Godzilla…
EXT – OFF THE SOUTH COAST OF BURMA, DAY.
AT THE OCEAN FLOOR, GODZILLA is EXTREMELY DISTRESSED, at CERTAIN
physiological CHANGES. MAMMARIES in an amphibious lizard,
FOR ONE thing. FEMALE TROUBLES! GODZILLA THRASHES ABOUT
VIOLENTLY. AN ENERGY VORTEX IS CREATED AS SHE SWIMS TOWARD
THE SURFACE, CAUSING A CYCLONE OF DEVASTATING PROPORTIONS.
WE SEE: OFF THE COAST OF BURMA, THE CYCLONIC RESULT OF THE MONSTER’S
ACTIONS.
INT – US EMBASSY, AN AUSTERE CONFERENCE ROOM; THE PANEL HEADED
BY MR. MITSURU RECONVENED AT THE REQUEST OF ADMIRAL YOUNG.
MR. MITSURU
– and you thought that adding your
own DNA to the mix
(scans the panel)
– was somehow a good idea?!
TERRI
Yes -
(clears throat)
in that – Look. Godzilla, we once believed
had been, ah – put to rest. No
more. Kaput. Then, in the 1970′s,
the monster reappeared. And, then
again. (beat; now somewhat
condescendingly) Now, this tells me
something, considering the history.
Many people choose to ignore the
reality of a continued Godzilla
presence in Asia. I do not. I
believed – still believe, that the
combination of -
She pauses to take a drink of water.
TERRI
originally I considered that any
advanced primate, the chimpanzee
for instance, would suffice – but,
I proceeded to the idea, that application
of human DNA to that of the monster
would prove advantageous… This
would enable, potentially at any
rate, the development of
understanding in this mutated
creature.
MR. MITSURU
(slyly)
Forgive me Doctor, but this all
sounds… just a little crazy to
me.
TERRI
Perhaps.
(beat)
If you will allow me to continue.
MR. MITSURU
One moment, Dr Hedaka.
(consults with his primary
advisor)
Now. There have been some
difficulties, have there not? As
far as the application of the ‘lizard’
DNA on mammal subjects.
(beat)
Is this correct?
TERRI
Yes, and – I was getting to that.
We had seen some progress. but in
many cases, this – Delta
Chromosome, as we have been calling
it, tends to result in DNA that is
too damaged, to modify or repair,
or do anything with really at this
point. The idea was to monitor and
– guide this damage; control it,
‘remutate’ it so-to-speak, and,
again, we saw some, limited,
progress here – but you see, the
natural thing that occurs, is that
the cycle of cellular reproduction,
in such a case, is completely
blocked, and a cascading effect often
occurs.
(beat)
Resulting in a horrible breakdown,
which is quite rapid. And complete.
MR. MITSURU consults, some back and forth including the rest of
the panel.
TERRI
(resumes)
So, I am no longer as confident
about
TERRI CONT.
(clears throat, looks Mr.
Mitsuru right in the eye)
ESPECIALLY the sort of advances the
military quadrant on this has been
proposing, and actually pushing very
hard for. I still plan to push
forward with the laboratory research,
in absolutely controlled settings,
using what we have, but it is not a
good idea to use it on any
subjects. Much less – Human
subjects, as the military is
pushing for.
CU: MR. MITSURU with raised eyebrows. Whether or not he is shocked,
is Inscrutable to us.
INT – AN OFFICE ADJUNCT TO TERRI’S LAB.
LLOYD sits in a chair opposite TERRI.
TERRI
I was thinking the other day,
Lloyd. This has got to be one hell
of an expensive operation. I never
really thought a lot about where
the money comes from, you know? I
just work here.
(beat)
I was watching some thing on TV the
other night, trying to get to sleep
and I got to thinking about it. My
research, I think of it as medical
research, tied into a thing which
has… many implications for the
military. And all of this, I
thought, WAS provided by the military.
(beat)
I asked around. There isn’t much of
a trail, as far as actual requistioning
of materials. Or so they tell me.
(beat) Seems funny somehow. What
would there be to hide?
TERRI CONT.
(beat)
I have learned something – which,
with hindsight, we should have
foreseen – which is most disturbing
to me, Lloyd.
LLOYD
Yes?
TERRI
What do you know about Mrs. Young’s
work, Lloyd?
LLOYD
You know, I never could put my
finger on – what it is she’s actually
involved with… the past several
years. It sure seems very complicated.
She does ask a lot of questions
about what I do, but -
ANIMATION: A lightbulb appears above Lloyd’s, followed by af a
thought ballon which contains the line “How could I have
been so stupid?”
TERRI
I couldn’t sleep at all last night.
I have had – some reservations,
anyway, just… the whole thing is
rather bizarre, isn’t it?!
(LONG beat)
Look, Lloyd, this – This – process,
is unstable. At first, I had some
success with some animal subject
but there were marked failures in
others.
LLOYD
What kinds of things are we talking
about, Terri?
TERRI
(great sigh)
We had really hoped to – learn
something about evolution, examine
the differences in genetic
structure, versus, what are the
links – between our prehistoric
tissue samples and humans.  Our thinking
was that we could advance, maybe
even trigger, the evolutionary process
in living animals. I was – We were,
embarking on this really as pure research.
Certainly, this was not intended
for – anything outside a completely controlled
laboratory situation.
LLOYD
(baffled; gruffly)
This all sounds like some crazy science-fiction
to me.
TERRI
Please, Lloyd, bear with me.
(beat)
We did see some things that
indicated that this – ‘evolvement’
was occurring. In some cases. BUT,
there are a couple of BIG problems.
It can’t be predicted. As we talked
about before, it all works on the
simple level of repairing
illnesses, but when you get to the
part of entirely – mutating an
animal to have
(LONG beat)
special abilities, it has a 60 to
70% fuckup rate.
LLOYD
Special ABILITIES! My dear God,
what are we talking about here?
Lloyd takes a breath and thinks hard about all the factors presented
here.
LLOYD
Holy Christ, are we talking about
some kind of Super Soldier -
experiments here?!
TERRI
Yes, that is exactly what the
implication is, all factors taken
into consideration. Here’s what
happens, in the laboratory mammal:
The subject may change the way it
is designed to do, or, it may
de-evolve, or: it may get stuck
somewhere between no effect, and
the desired effect, in which case
the subject is stuck forever. You
can’t push them the rest of the
way, and you can’t return them to
normal.
LLOYD
Terri, I, we can’t just allow this
to go forward!
TERRI
I have already stopped everything
but -
(beat)
the stem cell work – I’ve scuttled
plans to keep on with, the -
Lizard-to-mammal applications. I’m
trusting that you will take
whatever steps you can, to secure
the lab – from any kind of -
(sighs)
I suspect there are sinister forces
at work, even as we speak, working
for -
LLOYD
I understand completely. Consider
it done, Terri.
INT – MRS YOUNG’S ‘OFFICE’, EXECUTIVE LOUNGE, THE HILTON.
MRS. YOUNG is ON THE PHONE with a PERSON UNKNOWN TO US.
MRS. YOUNG
From what I know of this research,
you will have an extraordinary
capability available to you.
SHE LISTENS to THE VOICE AT THE OTHER END.
MRS. YOUNG
That’s right. Complete deniability.
No one other than I will know we
ever spoke. No one will trace it to
you. Obtaining the samples will take
only a few days.
SHE LISTENS some more.
MRS. YOUNG
I’ll be going to Paris soon. After
that, I can come by. It’ll be good
to see you again.
LISTENS BRIEFLY.
MRS. YOUNG
No. I haven’t forgotten. Bye now.
MRS. YOUNG PRESSES an INTERCOM BUTTON.
MRS. YOUNG
Shane. Come on in.
SHANE ENTERS.
MRS. YOUNG
Help yourself to a drink. It’s been
a long day.
SHANE KNOWS where the OFFICE MINI-BAR is and goes over to
it. MRS. YOUNG MEETS HIM there and MAKES A DRINK for
herself.
MRS. YOUNG
Tell me what you did today.
SHANE
I went over to the lab and got to
know my ‘friends’ there a little
better. The guards and the research
assistants are used to me now. I bought
lunch for some of them again.
Someone really should pay them
more.
MRS. YOUNG
Do you have a time frame lined up?
I’m thinking a couple of days at
the most.
SHANE
I agree. Possibly even tomorrow.
People are eager to show me the
work. They’re giddy for the funding
I’m supposed to provide. Most
everyone trusts me.
MRS. YOUNG
What do you mean “most everyone”?
SHANE
That bitch, Dr. Hedaka, doesn’t
seem to like me around. She looks
at me like she wants to say
something. I don’t know what the
issue is. Maybe she just hates men.
(he laughs)
Sometimes it’s difficult for me to
get around on my own when she’s
there. She’s my one concern.
MRS. YOUNG
I see.
(beat)
Don’t worry about it. Let me know
when you’re ready. I’ll arrange an
impromptu funding meeting for the
Doctor. It’ll tie her up for most
of the day. In fact, I’ll tell her
the time is an hour before the actual
meeting. You don’t expect any
problems do you?
SHANE
I can’t guarantee it, but with her
out of there, the odds are good.
(beat)
I already have a forged key card
and a copy of the security codes.
MRS. YOUNG
How did you manage that?
SHANE
(smirking)
Sleeping around has it’s
advantages.
MRS. YOUNG
Well great. Just stay on your toes.
We can’t afford any foul-ups. Let
me know when the goods are secured.
SHANE
You got it.
MRS. YOUNG
I’ll be contacting our backers
after you leave here.
SHANE
The Pharma people or the weapons
manufacturers?
MRS. YOUNG
Both. And to be honest, I think
Pharma and weapons manufacturing
are virtually the same thing.
(laughs)
SHANE
(laughs)
I’ll be seeing you soon.
MRS. YOUNG
Definitely.
SHANE FINISHES HIS DRINK.
MRS. YOUNG
When you pass through the lobby,
send in the two gentlemen waiting
out there, will you? Thank you.
MRS YOUNG WALKS BACK TO HER DESK. SHANE LEAVES.
TWO MEN IN SUITS ENTER. MRS. YOUNG gestures: HAVE A SEAT.
MRS Y PLAYS THE PHONES the way she played tennis back in college
days at Wellesley. SHE already HAS THREE LINES ON HOLD on
one phone, ANOTHER PHONE IN HER HAND which SHE’S SPEAKING
INTO and ONE MORE CALL SHE’S now DIALING on the first phone.
SHE HOLDS A BLACKBERRY and TEXTS while on phone # 2.
The television is on, CNN Financial News, volume low, as background.
THE TWO MEN SIT across from her desk AWAITING THEIR TURN
with the Maestro Mrs. Y.
INT – TERRI’S LAB.
The lab is spacious. MR. MITSURU is GOING OVER some DATA at one
of the WORK BENCHES where there is a computer terminal.
There others in the lab doing research, having
conversations, coming and going to and from the other rooms.
WE SEE SHANE in the background TALKING to a young female RESEARCHER
in her mid-twenties. When their conversation is finished,
MR. MITSURU calls over to SHANE.
MR. MITSURU
Mr. Brolin. Please come see me if
you have the time.
SHANE crosses the room to speak with MR. MITSURU.
SHANE
Hi. What’s on your mind, Mr.
Mitsuru?
MR. MITSURU
I have some new data that your
employers may be interested in. Dr.
Hedaka has made even more progress
than we had expected.
MR. MITSURU shows SHANE a report he’s holding.
MR. MITSURU
We’ve seen some real improvement in
one of our test subjects.
SHANE
That’s great! It’ll be easier to
coax funding with this example.
(beat)
Is this the reason for the upgraded
security? I had to exchange my old
pass for a new one today, and I saw
a few of the staff had to do the
same.
MR. MITSURU
Admiral Young’s idea. He is very
concerned over the cloning
experiment. He is right. The
subjects in that experiment MUST be
secure.
SHANE
(thoughtful, as though he is
weighing his words)
I understand. To be honest, I’m not
certain that project is a good
idea.
He now speaks in a calculatedly childlike tone.
SHANE
It’s awful dangerous.
MR. MITSURU
I agree. But, it is out of our
hands. I would have preferred that
the project did not receive
approval to begin with.
SHANE
I had a feeling you felt this way.
I tend to agree with your assessment.
It’s too late now I guess.
MR. MITSURU
(beat)
Don’t repeat this, but if I could
find someone to take the samples
and destroy them; I might find it a
good idea to help.
(beat)
I don’t know anyone like that,
however.
SHANE
I’d do it myself if I could, but I
can’t get to them anymore. That
room is closed off to me.
MR. MITSURU
Are you sure you would do such a
thing?
(beat)
If given the opportunity, could you
go through with it?
SHANE
I have thought about this a lot. As
you said, those creatures will be
much too dangerous. If they escape,
or fall into the wrong hands…
MR. MITSURU
In my opinion, they are in the
wrong hands. There are no hands so
pure as to be the correct hands in
this case.
SHANE
Are we on the same wavelength?
MR. MITSURU
Yes.
SHANE
What should we do?
MR. MITSURU
I can arrange it so that you can
take the proper action. They MUST
be destroyed. Do you believe you
can do this?
SHANE
Yes, Sir. I can do this.
MR. MITSURU
In that case, I can get them to
you. I shall contact you later and
we will make arrangements.
SHANE
Okay. I better get moving. I’m
supposed to arrange yet another
meeting.
(Solemnly & with a small bow)
Sayonara.
MR. MITSURU
Sayonara.
INT – THE LAB. LATE AFTERNOON.
WE SEE two assistants and MR. MITSURU.
ASSISTANT 1 is holding an armful of charts in folders, which he
shows to MR MITSURU Now she is discussing something with
him.
ASSISTANT 2 is on a telephone. She finishes the call and hangs
up. ASSISTANT 2 calls out to an assistant that we hadn’t
seen in the next room.
ASSISTANT 3 enters.
ASSISTANT 2
(to the other two)
Dr. Hedaka just called. She has to go
way out to Katsushika for a
meeting. She’s just going to head
straight home afterwards. She said
to say ‘have a good night and see
you in the morning’.
ASSISTANT 2 and ASSISTANT 3 chatter for a moment in
Japanese.
ASSISTANT 2 turns to ASSISTANT 1 (who is European and speaks English
to the others).
ASSISTANT 2
It’s about time for my lunch now,
and since I can’t really finish
what I am doing without Dr. Hedaka,
I’m going home, alright?
She goes.
MR. MITSURU looks thoughtful. He looks around the room. Only Assistants
1 & 3 are left.
He checks the clock. ECU: DIGITAL CLOCK (in Japanese)
ASSISTANT 1
I need to get a soda or something
from the cafeteria. You know this
water around here.
He starts to leave.
ASSISTANT 3
I’ll go with you.
Mr. Mitsuru sits down. He does some breathing exercises,
After just under a minute, he looks at the clock again.
At 5:03:15 he gets up from his chair.
Mr. Mitsuru now picks up his notebook carrying case and
walks down a corridor.
He arrives at another, enclosed section of the lab. He now reaches
into his pocket, takes out his wallet containing a plastic
card. Now he swipes his key card. WE HEAR THREE BEEPS.
He punches in a series of numbers. WE HEAR A SINGLE BUZZ and a
CLICK.
Now Mr. Mitsuru enters the chamber.
WE SEE an APPLIANCE that resembles a small refrigerator,
WITH A GLASS DOOR. He places his carrying case on a bench to
his left. He now removes a small briefcase and opens it.
ECU ON THE GLASS DOOR. WE SEE several WIRE frame SHELVES.
One has A TRAY on it. WE can SEE a number of small, ROUND OR
OVAL brown leathery OBJECTS, beginning to RISE from it.
He opens the appliance. WE SEE A PUFF OF STEAM come out. He SNAPS
ON a pair of plastic surgeon’s GLOVES and REMOVES a TRAY
that contains 25 large leathery looking EGGS. He FLIPS the
TRAY quickly so that the CONTENTS SPILL into the BRIEFCASE.
WE CAN SEE that 2 EGGS MISS. MR. MITSURU FAILS TO NOTICE
THIS because the TRAY OBSCURES HIS VIEW.
HE REACHES INTO his notebook CARRY CASE, and REMOVES a BAG. HE
POURS the CONTENTS of the BAG INTO the TRAY TO REPLACE THE
EGGS. Now he SPREADS THEM with his gloved hand making sure
there’s exactly 25 of the phony eggs, and that they are
placed precisely according to the previous arrangement.
MR. MITSURU REPLACES the TRAY in the appliance, SHUTS the GLASS
DOOR and REMOVES HIS GLOVES.
HE CHECKS the CLOCK. He moves OVER TO the BRIEFCASE to close it.
HE SEES ONE EGG. NOW PLACING THAT EGG IN the BRIEFCASE he
COUNTS the EGGS to be certain there’re 25. NOTICING ONE MORE
MISSING, he LOOKS BEHIND the BRIEFCASE, FINDING THAT EGG. HE
PUTS THAT ONE IN the briefcase. Now STUFFING the EMPTIED BAG
IN along with the eggs, he CLOSES the BRIEFCASE, and TURNS
the TUMBLE LOCK. He PUTS the BRIEFCASE BACK into HIS
CARRYING BAG, PICKS IT UP and LEAVES THE ROOM.
In the next room, he places the bag back where it was. He stops,
to correct his breathing and to listen hard. He hears voices
and footsteps in the hall and goes back to looking busy.
INT – A QUIET LITTLE MACROBIOTIC DINER.
SHANE is sitting at a table in the rear. He’s having some wine.
His eyes are upon the doorway which he can see from where he
is seated.
In the doorway, WE SEE MR. MITSURU, carrying a rather large notebook
bag slung across his shoulder. As he scans the diner, WE SEE
one empty table. SHANE WAVES. MR.MITSURU sees him and takes
a seat.
SHANE
Did it go alright?
MR. MITSURU
I did fine.
SHANE
I want you to know that I have you
covered.
MR. MITSURU
Thank you.
Waitress approaches.
WAITRESS
Would like to order?
MR. MITSURU
Thank you. I will have a sake.
Nothing to eat.
Waitress leaves.
SHANE
I’m glad we had this opportunity to
work together. I am honored to be
of assistance in such a serious
circumstance.
MR. MITSURU
Yes. It is very serious. This is
not something that should become a
military game. The world is already
too dangerous a place.
Waitress returns, places the glass in front of MR. MITSURU.
WAITRESS
Will there be anything else, sir?
MR. MITSURU and SHANE both indicate ‘no’. The waitress bows, then
turns and leaves. MR. MITSURU opens his carrying bag and
removes a briefcase. He places the briefcase on the floor
beneath the table.
MR. MITSURU
I am happy to have met you. I trust
you will destroy the package as we
have discussed.
SHANE
Yes, Sir. Our organization is
determined to stop this madness.
They each have a sip of their drinks.
SHANE
I have a man who is going to add
mystery to the disappearance of the
goods. He will give it the
appearance of a robbery.
MR. MITSURU
That is good. It is fitting that
this all ends in mystery. I must
go.
MR. MITSURU pushes his nearly finished drink back a little and
rises from the table. He directs a bow at SHANE and leaves
with his notebook carrying case. SHANE sits solemnly for a
moment. Then smiles as he moves the briefcase on the floor
closer to him.
INT – A BED IN A HOTEL, CHIYODA WARD, HEART OF DOWNTOWN
TOKYO.
MR. MITSURU RESPONDS TO KNOCK on his door. WE SEE: uniformed boy
with a tray.
A BOY
Room service.
MR. MITSURU arises and opens the door. On a tray, are vials containing
his bitters and his Valerian Root, to help him digest and
sleep. HE empties both into his mouth consecutively and
SWALLOWS. ECU ON MR. MITSURU SEIZING UP and GASPING FOR
BREATH.
WE WATCH MR. MITSURU DIE.
FADE TO BLACK.
INT – THE SHABBY BUILDING BEHIND TV TOKYO, DAY.
In a dull light behind the opaque windows of this backroom, WE
SEE SHANE on the phone.
SHANE
Mrs Y? Shane.
(beat)
Hey, yeah, I’m on a roll. How bout
you? Let’s get together, compare
notes.
(beat)
Yeah, I’m hungry. For Chinese? You
betcha! Blue Sky? Def-nite-ly…
7:15? Works for me. Yes, that’s
right, I’m seeing Lloyd presently.
(listens)
We’ll see.
(beat)
Ciao.
INT – THE GINZA STARBUCKS.
LLOYD looks at his watch. He gets a refill. Finally SHANE shows
up.
SHANE
Sorry I’m late old man. What’s up?
LLOYD
Jeezis, ‘what’s up’?! See here man,
I cannot be left out of the loop,
on any of this Godz Project
business. You have to stop screwing
me around!
SHANE
Hey, hey hey hey! You think it’s ME
screwing you ’round on this?!
LLOYD
Yeah, you and who else then?!
(snorts)
I believe I’m getting the picture
mister. Look. You know the game. We
have the Treaty to worry about, at
all costs. There’s more at stake
than you – fuckers and your – LOOK!
Once the Japanese figure it out,
and they will, presently – you can
trust me on that – the whole thing
blows up in our face.
LLOYD CONT.
(beat)
Goddammit. This could tear apart
the whole fabric of the society
over here. I don’t know if you know
the history, or care, but there was
a lot of resistance to AMPO. Still
is, in fact.
(beat)
You know, “Buddy o’ mine”, it’s
looking like -
(beat)
shit. I’m going to have to take
this to the Chief of the Joint SDF.
In fact, I might have to go to the
Minister of Defense myself. We are
looking at a potential
International Incident here.
(beat)
Yeah, it points to you. So what can
I do?
INT – LLOYD’S HOME, DAY. THE MAIN LIVING AREA.
Light streams in through half-opened jalousies. There are jade
and stone Buddhas and a cherrywood Guan Yin (The Goddess of
Compassion)… Mrs Y is present, as she is in town.
LLOYD
Pat, what’s all this business in
the War Room today, and I’m somehow
left out of the loop. I am the
Commander of the United States
Forces in Japan, goddamnit.
LLOYD CONT.
(heavily sighs)
Now, it’s painfully clear you have next-to-no,
or utterly no, respect for me -
(beat) but, here – in the bigger picture:
there are protocols involved. if
you were ever a soldier, you’d know just
what I’m talking about. And, all
the personal crap aside, you are expected,
as a citizen of a nation-state, as
a representative of a way-of-life -
and like it or no, you are that, as
long as you are functioning in this theater
– to at least respect this much.
And the very fact that you’d fail
to observe this, BASIC fact – sure
suggests that you’re up to
something – Something – (thinks of
the word) Pernicious.
PAT YOUNG
Ha. Nice word, Lloyd.
(beat; sneeringly)
what’s it mean?
LLOYD
Oh screw you with the smug
attitude. You’re busted this time, lady
– I won’t have this.
PAT
(laughing)
Lloyd, Lloyd, Lloyd. You’re so
naïve. I used to love that,
childlike quality really, about you
– but now, I’m… not much enamored
of the whole sound of it. Not
anymore.
CU on LLOYD: a peculiar mix of emotions on his face. Suspicious,
a suspicion he has that this is so predictable it’s funny, modulating
to his heartbreak that this is someone he’s been involved
with for too long, to seething anger.
PAT
Look. Balzac called the meeting. He
outranks you, you know.
ECU on LLOYD: he’s about to blow. His eyes roll, brows furrow,
nostrils flare…
SHOT ON PAT. She looks pleased with herself.
LLOYD sits down and takes a deep breath. He is getting a
headache, he pinches his nose between his eyes and rubs.
PAT
He feels, there are – ramifications
to, The China Problem; that… not
acting on these, sooner rather than
later -
(beat; sighs)
These are problems. There are,
solutions – which, must,
ultimately, supercede some of our,
more – problematic commitments…
AND, I do tend to agree.
LLOYD
Jeezis! Why are you talking to me
in this, lingo, as if you’re -
giving a speech, to one of your
commitees?! I’ve never heard such bullshit
in my life. Who are you, anyway?
You used to be a woman. Not that I
ever really felt I knew you – but,
you were, a flesh and blood woman,
at one time. Or so I thought!
(significant beat)
But, maybe that was all a lie too. All
just a game to you; I was playing
checkers, you were playing chess.
This whole time, I guess.
PAT has no response to this. She sits thoughtfully, conceiving
her next move.
LLOYD
SO, I’ll talk to you man-to-man
then. It’s about time I -
PAT now lubricates a touch, but sticks to her ‘the best defense
is a good offense’ tack.
PAT
It’s ABOUT TIME you grew a pair,
Lloyd!
LLOYD
Screw you, Pat. Listen up, and
listen good. What you and your crowd
is doing is in FLAGRANT violation
of AMPO.
PAT
(laughs)
That’s ‘ANPO’, hon.
LLOYD
(growls)
OVER HERE they pronounce it AMPO.
He goes to the bar, pours a sour-mash whiskey, has a drink. He
turns to her and says:
LLOYD
Pat, have you no sense of ethics,
whatsoever? Good god, woman, you
use me, you manipulate, you bully;
whatever it takes, all just means to
an end, isn’t it. You’re
unbelievable. No. You’re beyond
unbelievable. I am so – damned
lame, having stayed married to you
all this time.
(beat)
I’m weak that way. I just wanted
to, to
(chokes up a bit)
keep something… that I believed,
even if only for a moment,
(beat)
was a good thing. Fuckin hopeless
romantic, ain’t I? You saw that in
me from the start; what might be a
strength, to an artist – shit. I’m
just an old guitar player that
happens to carry decent harmony,
who got caught up in the service.
Hey, that’s me, service-oriented.
(SELF-RUEING LAUGH)
People like you, you see that as a
weakness… a thing you can use,
exploit. The cost be damned.
(beat)
God fucking damn. Costs you,
nothing, you think, right?! Well,
it will cost you the marriage,
that’s a fact, lady.
LLOYD CONT.
(sighs)
Not that I imagine that means a
hell of a lot to ya.
Pat has no immediate reaction to this. She gets up and
scoops some ice into a glass and pours herself a vodka. She
gulps it straight down, and gets another, which she nurses
while she speaks.
PAT
Lloyd, you are a real
disappointment to me. You’ve
spoiled your – natural ability to
lead, by wallowing in
sentimentality. You ARE a hopeless
romantic, with silly ideals – and I
pity you as I would the village idiot.
She drains the glass, sets it down on the bar forcefully as
a man might. She grabs the bottle.
PAT
You just don’t get it do you? We’re
fighting a war, Lloyd, a war that
we’ve got to win.
LLOYD
(laughs a sort of raucously
bitter laugh)
How long you been saving up that
speech? You’ve rehearsed it how
many times? It sounds like some
script out of an old war movie.
Which one, I wonder?
(beat)
I had, of late, come to think of
you as the puppeteer, pulling all
the strings in this thing. Now, the
only response you can muster is as
mechanical as a godamn Pinocchio!
(laughs triumphantly)
Have another drink, it’s on the
house!
PAT is shocked at his audacity; now she drinks straight from the
vodka bottle
PAT
It’s true, you know. Everything I
say is true. You DON’T get it,
because you’re wrapped up in all
this – this bric-a-brac, oh, you
call it objets d’art, I know It’s
all so precious, this, this art,
this ‘way of life’ -
(shrilly)
It’s a LIE, it’s all a lie! the
truth is on MY side.
LLOYD
(more virtually violent
laughter)
You kill me, you know that? YOUR
side. What side is that?! The
fucking, godamighty American Way?!
You think I’m so fucking, ob-la-di,
ob-la-dah, that I fail to see right through
you?! Your ‘America’ serves your
needs, your wants, your ambitions, your
“programme” – or whoever the hell’s
it is – That’s sure not the ‘way of life’
I signed on to, way back when. That
thing doesn’t exist anymore.
(he takes another swig from
his Jack)
For you – you lousy, cynical -
harpy, it never did. That’s the
fucking truth.
(beat)
No use in fighting anymore, I’m
done, finito, over and out. See you
in the funny papers.
PAT throws the nearly emptied bottle at his head, missing by a
mile. It falls impotently on the carpet, hitting nothing.
LLOYD leaves the room, to his bedroom. He does some
breathing yoga to clear his head: now, picks up the house
phone and dials.
EXT – THE CASTLE CARROUSEL, DAY.
HEATHER AND LINDSAY ARE RIDING ON THE CAROUSEL. WE HEAR
ON A CAROUSEL
and it goes: up, down, up down, up
down, too
SPLIT SCREEN: LLOYD on sofa with phone, contrasting with HEATHER
riding the horsie.
LLOYD
Heather? Hey, it’s Lloyd. Do you
remember me?
HEATHER
Oh! Hiiii! I ‘member, you the
handsome ol’ Admiral dude! What is
happening, baybee?
LLOYD
Ha. Hey, would you like to go out,
say to dinner? A nice place. What
do you like to eat?
HEATHER
(gay laughter)
I’m having a hot dog right now!
Doesn’t matter to me, I don’t mind!
What do you like?
LLOYD
Ha! How ’bout some Prime Kobe Beef!
I know a great place.
HEATHER
Sure, we can do that! I’m at
Fantasyland, how bout we meet here?
LLOYD
How about I pick you up in front of
the Ambassador?
HEATHER
Cool!
HEATHER feeds LINDSAY her weeny.
DISSOLVE TO:
INT – A ROOM, HOTEL NEW OTANI.
On a king-size bed, HEATHER & LLOYD IN ACTION. They’re having
a good time. HEATHER is ON TOP and they keep the rhythm -
Up, down …
LLOYD
What do you see in Shane?
HEATHER
(laughs)
I See Nothing, ‘In Shane’
(gasps)
I keep – looking, tho’
LLOYD
You think he can give you what I
give you?
HEATHER HAS TO RAISE HERSELF UP a few notches. Now she
SLIDES DOWN at just the right angle.
HEATHER
(groans)
Maybe no- UHnh!- body can give me -
that!
(sits down hard on that
groove)
AA-annHH! O-O-my-GO-O-ODDD
INT – THE BLUE SKY, DUSK.
A revolving restaurant above the New Otani. MRS Y and SHANE leaving
the buffet line. MRS Y’s tray is very full. SHANE has
selected mostly appetizers. They sit down.
MRS. Y
Well, my friend, we’ve certainly
made some great progress. We’re
about to close the deal of the
millennium.
SHANE
So, who do you think will come up
with the winning bid? America or
China?
MRS. Y
It makes not one jot of difference
to me. Once we make the deal and
receive payment, we’re going to
sell it to the other one. They’ll
be willing to pay even more to not
be left behind on this.
SHANE
(impressed)
You are my guru.
SHANE CONT.
(obviously excited)
I’m going to buy a hundred swimming
pools – and fill them with women
instead of water! I’m going to own
the best ski resorts – and always
have the slopes available only to
me!
(looks like he’s going to jump
up and scream for joy)
MRS. Y
Good for you.
(subtly ominous)
You deserve everything you get.
(cheerfully)
I have to tell you, without your
ability to charm the socks off of people,
this wouldn’t be going so well.
There is only so much brains and
raw ambition can do in a deal as
big as this one.
SHANE
(settling down a bit)
So, what do you think is going to
happen when the tech is put into
use? I mean, what’s so great about
it, really? Stem cell research and
cloning are practically all you
ever hear about these days. I’ve
yet to really see anything.
(beat)
So, what are we providing that is
really so valuable?
MRS. Y
Are you telling me you truly don’t
understand the applications of this
knowledge?
SHANE
I understand the possibilities, but
it seems unlikely that anyone is
going to get it to work.
MRS. Y
Well, Dr. Hedaka’s work is a bit
more advanced than you understand.
The woman has successfully created
clones that are quite hardy. Her lab
results also show success in
genetically altering live animals.
I read where she -
Now AS SHE DESCRIBES, WE SEE these phenomena in another frame,
which expands to cover the screen.
MRS. Y
converted a house cat into a small
tiger. She has had some rodents on
which she grew larger teeth and
even turned their front paws into human
hands. But with fur, if I recall
correctly. The lab had to padlock
the cages, because the rats were
able to grasp the ordinary locks
and latches and open them. So,
imagine, my friend, an army of
enhanced soldiers and what a formidable
force they would make.
SHOT ON SHANE:
SHANE
Wait a minute!
(laughs)
It’s Captain America you’re -
(beat)
The army took the scrawniest and
most sickly soldier they had and pumped
him full of serum, enhancing his
strength, speed, agility, and so
on.
MRS. Y
(dubious)
Where did you hear that?
SHANE
(his tone seems serious,
belying his words)
The comic book. I used to read it
when I was a kid.
MRS. Y
(humoring him)
… a-yes. Just like that.
(beat)
Only, these soldiers will have
protective shells on their
backs.Some may have the eyesight of
a hawk. Others will have incredible
speed and healing. Who knows?
Flying soldiers with no need for
fuel or flight equipment. With
bullet-proof skin. Maybe even extra
limbs.
SHANE
(perfectly serious now)
I see. That would be an advantage. They
could be rigged to withstand
biological weapons, which they
would then use on their victims -
(catches himself)
I mean, enemies.
MRS. Y
That…
(beat)
… is a really good idea. Entire
populations can be held in check
with that hanging over their heads.
We’ll finally be able to seriously
police the world We’ll waltz into
Iraq and seize those oil wells once
and for all. Who’s going to
complain about it? Enhanced troops
can safely handle the insurgents.
Within 5 years there will be peace,
and we will have complete control
over a century’s worth of fuel.
SHANE
What about Iran?
MRS. Y
It will be taken care of. We will
have peace on our own terms. We can
do the same with Korea, just go in
and end their nuclear program. There’s
been quite a ‘people’s movement’
down in Venezuela lately. That’s
got to stop. It’s not good for
business.
SHANE
It’s about time governments get out
of the way of free enterprise. It’s
long overdue.
MRS. Y
The one big unknown is China.
SHANE
Selling to both sides makes sense
to me. The cold war all over again.
The Chinese will do their thing and
we’ll do ours.
(beat)
It’s a perfect balance. U.S. in the
west. China handling the East.
(beat)
However, I still don’t get why we’d
let them have the research.
Wouldn’t it be prudent to just keep
it all ourselves?
MRS. Y
We need at least one worthy
adversary. Nations afraid of a Chinese
military will make a nice market
for conventional weapons. We’ll do very
big business. When it’s time for
war-torn nations to rebuild, we’re
there for that too. Balance of
power, as you said. At a high
level, we aren’t concerned with the
Chinese. And they aren’t concerned
with us.
SHANE
And then, we have the Monos to sic
on China if it gets any ideas.
That’ll keep them busy.
They sit quiet, practically sated, for a moment, having
MRS. Y
Do you know what I don’t get about
all this?
SHANE
What.
MRS. Y
When Godzilla created the cyclone
that devastated Burma, the media
only spoke of the cyclone.
(beat)
No mention of Godzilla.
SHANE
(grinning)
You’re yankin’ me, right?
She catches on that SHANE really doesn’t believe in
Godzilla. She seems amused by this.
INT – A CINEPLEX.
GODZILLA (1955, the original) is playing, the scene where
the natives of Oto Island (where the natives have believed
in the Advent of Godzilla for some time) first see Godzilla
rise out of the water.
HEATHER
Godzilla real, you know.
SHANE
You don’t say.
HEATHER
Yeah, lotta people don’t believe
it.
SHANE
Do you?
HEATHER
I don’t believe – I KNOW.
SHANE
(bemusedly)
Is that right?
VARIOUS MOVIEGOERS SSHH-ing them.
HEATHER
That right!
(beat)
I KNOW she is real. For a fact!
SHANE chuckles.
MAN W DATE, ROW IN FRONT
Will you two PLEASE. SHUT! UP!!
Heather’s cell phone goes off, (WE HEAR cheap MIDI/bell tones,
the organ lick from The Monkee’s I’m A Believer – doot doot
doot doot.)
MAN W DATE, ROW IN FRONT
That’s IT! Do I have to get
SHANE & HEATHER childlike giggling, ‘let’s get out of here!’
EXT – CINEPLEX, DUSK.
SHANE and HEATHER are trying to hail a taxi.
SHANE
(still giddy)
Important call in there?
HEATHER
(clouding a little)
Ah, no, wrong numba.
INT – TERRI AT HOME
waiting for the callback that won’t happen, hands clasped as
if in prayer.
CUT TO:
INT – TAXICAB.
SHANE & HEATHER in back seat. DRIVER in Bruce Lee chauffeur
outfit a la GREEN HORNET tv show ca. 1965.
SHANE
You know, I always wondered about
that name, ‘Godzilla’
HEATHER
Uh-huh.
(giggles)
God’s illin’.
SHANE
Heh. You are delightful, you know
that?
HEATHER
Yeah, don’t I know it.
(beat)
You not – believe in – “God”…
HEATHER opens the window and, gesturing, looks out onto all the
busy-ness, the traffic…
HEATHER
Or – maybe… you think – It all
just a big Emptiness.
( beat)
Know what I mean?
SHANE
(“thoughtfully”)
My thought right now, is that any
‘big emptiness’ tends to find some
way to… be filled. “Know what I
mean?”
HEATHER
(rolls eyes; long beat)
Do you believe: We are… tainted,
I think best word – that we are
‘filled’ with…
SHANE
Ah, You know, I Haven’t given that
much thought, not in many a year.
ECU – HEATHER with lowered attitude of her head, peering up directly
into his eyes.
HEATHER
You never ashamed?
(beat)
You ever feel – trapped… by… I dunno…
Your de-zi-er – like, your drive -
driving you, not the otherwayround?
(even quicker rhythm)
Cos, I know a guylikeyou, wanna lot
in life.
SHANE
(as if he’s sincere)
I know, that I want you.
(beat)
Izzat a lot to ask from
life?
HEATHER
(shrugs)
Yeah, it a lot. It nothing at all.
All how you look at it.
(beat)
All depend, on how you come to me.
(long beat)
You eva hear the term, from French:
La petite morte?
SHANE
(taken aback somewhat)
I believe I am familiar…
(beat)
We’re here. Driver, this is it.
He pays the fare. Driver is very grateful for the generous gratuity.
They exit.
INT – SHANE’S RENTED TOWNHOUSE.
Heather looks around, evaluates the space.
HEATHER
(suddenly)
I got an idea!
(beat)
Lookit. I think: you needing -
Redemption. Big-time. For you Sin.
(A LONG BEAT. She holds his
gaze, intently – resumes)
I – Die-for-you-sins; you saved.
(beat)
All: only, “symbolic”, OK?!
(nervous giggle)
Not. Really. Kill. Sacra-fish-all
Lamb. For you.
She notices the chrome bookshelf that crosses/intersects an I-Beam
at the crux of the structure of the apt.
HEATHER
OMIGOD! LOOK!!
She raises her arms to the cross. Now directing the scene, she
spreads her legs, has him tie her to the cross, incl. her
left leg bound with that arm. Before he ties her right arm,
she caresses her left thigh indicating the most tender
exposure there.
HEATHER
Lookit: Right here, leave mark;
only. Single ‘Stigma’, not more,
not less.
SHANE
Stigmata.
HEATHER
Whatever. What you waiting for,
order from Rome?!
CRUCIFIXION SCOURGING SCENE. WE HEAR: MONKEES’ I’M A
BELIEVER.
When HEATHER is STRUCK, WE SEE [intercuts to & from] GODZILLA’S
PAIN.
INT – TERRI’S HOME – AROUND DAYBREAK.
HEATHER comes in the door to the apartment, notably worse
for wear. Her hair is mussed quite a bit, her mascara
utterly smeared, her eyes look like as in shock. Exhausted,
she stumbles into the bedroom and collapses on the futon.
TERRI
Jesus, Heather. What now? What
happened here?
(staring at her)
Who did this to you?
She goes into the kitchen and gets Heather a glass of water. Heather
takes it and drinks.
HEATHER
As if it matter. What you wanna
know, bout this? Huh?
TERRI
(Great exhalation)
Ah, never mind… you know – I can
only imagine.
(beat)
This is – this character, Shane.
(beat)
Isn’t it. I don’t think I
understand.
Terri sits down on the edge of the bed, looking Heather up and
down, seeing the great wound on the inside of Heather’s
thigh. It’s bruised purple and yellow and is still opening
up, still slightly dripping with blood. Blood has caked
some, down as far as Heather’s knee. Terri goes to the
bathroom to get some dressing for the wound, WE HEAR THE
WATER RUNNING. Off-camera:
TERRI
(voice trembling with upset)
What, do you like this, a man like
that? To do this? Why? What is it,
what? That you get from this shit?
(beat)
What is he to you, that you let him
do this – because -
TERRI comes back and sits by HEATHER.
HEATHER
I can’t stand him, Terri – He’s
nothing. No. He’s next-to-nothing,
which is what – which is all – I
am, a nothing.
TERRI reaches to HEATHER and strokes her hair and caresses her
neck.
HEATHER
This is no one’s doing but my own.
No one’s idea. Forget it, forget
about it. Just -
TERRI
No. There are a lotta things I’ve
been – forgetting, that I just let
go by the boards. Too many.
TERRI now goes to dress the wound that is marking this spot so
tender.
HEATHER
No! Leave it alone, leave open!
TERRI
I need to stanch it. Sit still.
(beat)
To see you, like this, with this -
mark I can’t stand it – it makes me
feel…
HEATHER
(sort of a laugh)
Make you feel -?
TERRI
Yeah. I donno what. I don’t.
(beat)
Wounded myself I guess.
HEATHER
Last thing in world you want, huh.
Too hard to live with, feeling too
deep. I know. But, you can…live
with it, own it, know it.
(beat)
Trust me. Don’t look away from it
Terri, this – My Sign, to you.
Terri dabs the area very gently with a soft, dampened cloth.
TERRI
Christ. “Sign.” Sign of what? What
are you -
HEATHER
Sign of what we are, what we -
made.
(beat)
You know, maybe, I – just this one
time, I finally can – affect you,
move you… mark you…
TERRI
(sighs; with great emotion)
I realized, after you – when I couldn’t
find you… after you were gone all
night: how much you matter to me.
(beat)
I – always have to hold myself
back, apart, at arm’s length…
‘don’t let yourself get close,
Terri, it’s just gonna hurt.’ But
you know what? That just ends up
hurting more.
HEATHER
You miss her, don’t you?
TERRI
What?! I miss who?
(looks perplexed)
What are you -
HEATHER
You lost somebody. Long Time Ago. I
can tell, I know. Since then, you
know: nothing permanent.
HEATHER CONT.
(beat)
Eventually everything vanish. Leaving:
just you.
(beat)
So, why bother? Feel like, just a
lotta nothing inside.
(beat)
I know. So, gotta keep moving,
right?
(beat)
Yeah. Keep moving, keep working.
Keep passing the time, some kind of
way. But, you know, one day you
gotta – one day you realize, the
time come, when it arrive, you have
to – try to… grasp it, hold on to
it…
HEATHER wipes away a tear as it falls from TERRI’S cheekbone and
grasps Terri’s face.
HEATHER
even though you know it slip
through your fingers.
She combs Terri’s hair with her fingers.
HEATHER
When you go, you do your work, all
that time, you busy your self…
You: all in that… you go all out,
for that..
(beat)
I wish you all in me, go all out
for me like that.
HEATHER CONT.
(beat)
I am – always running too… You
Know Me, the Escape Artist, The
Fugitive. Sometimes, you chase me -
almost run me down. I try, to sit
still, I try – for a minute. I want
you, always, to fill me up, I need
you for this. But, always after, I
empty out again. Then I go, I run away.
Like last night. You drive me, you
push me, I go. Like, you all: “When Heather
get home, I punish her. For her
sin”
(beat)
Only, when you do, Heather not
there. You only punishing yourself.
(beat)
You, always: the one, acting, on
me. You the subject, me, only the
object.
(beat)
I don’t mind, doesn’t matter! This
all for you, you know? You just
have to be here, for it. Like now,
you here, for me. Being, staying
right here with me. For me. For right
now.
TERRI
Oh, Heather…
TERRI takes HEATHER’s hand.
TERRI
I think what I want, now – what I
need…
(finally really looks at her
wound)
I -
(begins to sob)
I don’t take very good care of you,
do I? I’m not good, not a good -
HEATHER
Hey, Terri, I not a child, you
know. My choice is my choice. Not
to blame yourself.
TERRI
But you go out and do these things
– you look for – Daddy, you act out
towards Mommy…
(beat)
When you came home, I realized, all
of a sudden, what I – how I’m
failing… with you. I feel – I
felt, so empty, so washed out. I
never could admit… I needed -
anybody. I know you’ll leave, so I
can’t wait for you to go. But, I do
need you.
(long beat)
Like needing light at the end of
the tunnel.
HEATHER
You can – keep going, if you can
see it. But what if nothing at end
of tunnel, you know?
TERRI
I don’t know. If, as long as
there’s some light -
HEATHER
For the time being, you see a path,
you follow.
TERRI
(laughs)
Yeah, for the time being, I guess I
just keep going. Down a path. Dark
as it seems.
The tableaux grows soft gradually, Terri and Heather lie together
peacefully.
INT – A HILTON – THE HOTEL BAR, NIGHT.
SHOT ON Mrs. Y on her cellphone.
MRS. Y
Yes, I assure you I have them. It’s
a done deal.
INTERCUT:
INT – A LAB THAT ISN’T TERRI’S.
WE SEE NEW GODZILLA CLONES AND HATCHLINGS – ‘SLEEPERS
AWAKE’.
EXT – HALONG BAY, QU·∫£NG NINH PROVINCE, VIETNAM, DAY.
It’s very early morning here. The SUN RISES over THREE rocky PEAKS
which are dotted with vegetation and connected by quite
verdant hills.
GODZILLA COMES ASHORE, onto a very narrow beach. SHE INTUITS THE
PRESENCE OF HER OFFSPRING IN THE WORLD. She steadies herself
by the taller peak in the middle, which comes to about her
upper thigh.
ECU ON: GODZILLA’S FACE. WE SEE an anguished sort of
YEARNING.
SHOT ON: THREE OBAKEMONOS IN A TERRARIUM/with a large adjoining
POOL. ONE AWKARDLY SCURRIES INTO THE POOL, FOLLOWED BY THE
OTHERS WE SEE THEIR FIRST ATTEMPTS at SWIMMING. THE ONE that
was first into the water APPEARS to be MATURING more
RAPIDLY. It TRIES TO STAND on its HIND LEGS, but fails.
CU ON: GODZILLA. SHE RAISES HER HEAD TO THE SKIES AND
SCREAMS.
Some BOATS harbored here are already manned; these TURN and HEAD
out INTO BAY.
CUT TO:
EXT – A GOLF COURSE, DAY.
Lloyd proceeds from the ball-washer to the Ladies’ tee,
where Heather is randomly trying swings of the 3-wood, and
tries to teach Heather how to drive; she’s having trouble
hitting the stupid golf ball. They’re having a good time
together.
LLOYD
Heather, when I was a young
lieutenant, during the Big One -
HEATHER
The ‘Big One?!’
(giggles)
LLOYD
(laughing)
That’s what we called Dubbya Dubbya
AyeAye: World War II, “The War to
End All Wars”.
HEATHER
you gottabekiddingme
LLOYD
That’s what we believed, at the
time; as naïve as that sounds now.
(beat, now pensively)
Anyway – I met this girl, Japanese
girl, then – I was stationed here.
Not far from right here, in fact…
Lovely girl. We… got together,
somehow… It wasn’t considered
proper to marry into another race,
in those days.
(beat)
But, she was, my wife.
HEATHER
Uh huh, I see. What about… ah,
neva mind. Not my business.
LLOYD
She died after some years… Very
happy years for me. I was a world
away from here when it happened; I
was duty-bound; I believed I was anyway.
Still do, after a fashion. Bound to
serve. We had children, three wonderful
girls; They were taken away. There
was nothing to do about it, from where
I was standing
(beat)
Which was in the wrong place,
surely.
HEATHER
I’m so sorry, Lloyd, I…
LLOYD
No, don’t be, please.
(shy sad little laugh)
“Shit happens” as you say nowadays
HEATHER
Yeah, Shit Happen alright.
EXT – A PECULIARLY AMERICAN-LOOKING SUBURB IN CHINA.
GODZILLA IS RAMPAGING. BUILDINGS CRUMBLE. PEOPLE DODGING, A FRANTIC
EXODUS by foot and bicycle ensues. ATOMIC BREATH ROASTING
(some eating of) MANY VICTIMS.
SOME GUY IN A SUIT (w. a stethoscope) PERFUNCTORILY LOOKS AT A
VICTIM on a stretcher and says, to the crowd in general:
SOME GUY
I think he’s still alive!!
A YOUNG WOMAN IN A NURSE COSTUME
You THINK he’s alive? What kind of
doctor can’t tell if he’s alive or
dead?! If you even ARE a doctor!
WAIT a minute, who ARE you?!
SOME GUY
There’s no time for that now! There
are people who need attending to!
THE GUY RUNS OFF INTO THE GENERAL CHAOS.
GODZILLA is NOW being DOGGED, now MOUNTED by a Special Weapons
Attack Team.
ONE GUY is very Hot Dog about it. Just as he’s up to about tail
scale #6 or 7, he swings out SHOWING OFF like a daredevil
and GETS HIT BY the BAZOOKA fired by a guy on the ground
team. GODZILLA is merely annoyed, shrugs, swats the burning
man off her back, and TAKES OUT the entire SQUADRON WITH
ATOMIC BREATH.
GODZILLA continues STOMPING and SCORCHING EVERYTHING. She’s too
irritated to eat any of them. TANKS APPROACH. Now she’s
getting pissed. GODZILLA STOMPS on the TANKS. This hurts a
little bit.
WE EXPERIENCE THE ESCALATED GODZILLA STOMP. THE EARTH
QUAKES.
CUT BACK TO:
EXT – GOLF COURSE.
LLOYD is showing HEATHER how to read the green.
LLOYD
You remind me of her, Heather Your
spirit, your… the unpredictable
way you have about you. I know
that’s not the best way to approach
such a – magnificent creature as
yourself – comparing you to someone I’ve
known – but, there it is…
HEATHER
um, so, what are you trying to tell
me, Mista Lloyd?
LLOYD
I – Love You, Heather
Heather rises to practice her putt.
HEATHER
(sighs)
Yeah, well, younohowitis.
‘Everybody love Heather’, whatisnew
Nobody really know Heather, is
whatisthething
LLOYD
No, I am really falling
head-over-heels in love with – with YOU,
Heather. I know I don’t know much
about, your life, your interests,
what you actually do; I don’t care.
What I love, is your essence… You
are like a bird in flight. You
can’t be pinned down. Like, pure
motion…
(beat)
I… would never ask anything,
really, of you, my dear. No
expectations. Whatsoever.
(beat)
I just wanted to tell you this, I
think you are – As you so winningly put
it: *THE BEST*.
HEATHER JUST BEAMS. She hits the ball. The putt, not a
gimmee by any means, lands dead center in the hole.
INT – JAPANESE MINISTRY OF DEFENSE, SHINJURO, ICHIGAWA,
TOKYO.
Seated around a table: ADMIRAL YOUNG at the head, flanking him
are MR. ISHIMURA, MR. ABE, and THE MINISTER OF DEFENSE.
ADMIRAL YOUNG now addresses these men.
ADMIRAL YOUNG
Gentlemen. It is with the heaviest
of hearts that I come to you today.
CAMERA PULLS BACK TO AN OVERVIEW from the ceiling of this vast
structure. All we know is these men are gravely
acknowledging Lloyd’s address. Very little is said in
response. WE HEAR MUSIC of a grave nature, Adagio tempo.
THIS PICTURE GRADUALLY WASHES OUT into near white light.
EXT – TERRI TAKES A DRIVE. DAY:
TERRI out for a drive to clear her head and think. Goes to
seaside pier, a high perch per the water… GODZILLA RISES
OUT OF THE OCEAN.
TERRI
(startled but not as surprised
as you might guess)
There you are. Been wondering when
you’d show up.
GODZILLA groans. The beast thinks about eating Terri and makes
a couple of gestures to that effect. TERRI looks at GODZILLA
with the sort of affectionately impatient look of a mom.
TERRI
Oh, please. You don’t wanna do
anything of the sort.
(beat)
That’s not why you came.
GODZILLA assumes a quizzical look on her face.
TERRI
C’mon. You know exactly what I’m
talking about.
TERRI stands with hands on her hips, feet apart, in a sort
of readied attitude. GODZILLA cranes her head, now comes in
for a close inspection of this person. Her tongue protrudes
out rudely towards Terri. Suddenly, the beast STICKS the
TONGUE between Terri’s legs, LIFTING TERRI off the ground.
TERRI
What-the-fuck?! PUT ME DOWN!
GODZILLA draws the tongue away slowly enough, and PLACES TERRI
BACK on Terra Firma.
Now, Godzilla TOUCHES HER TONGUE TO what is known as the Jacobson’s
gland INSIDE HER MOUTH (this is a way a lizard, by a sort of advanced
olfactory sense, can innately know or recall other animals
it has encountered.) Though Godzilla has never before
encountered Terri, Terri’s DNA is now affecting Godzilla’s
whole somatic process. IE: They have a certain kinship.
GODZILLA makes a sort of groaning PURR NOISE.
TERRI
Yeah. I know. Weird, isn’t it.
(beat; wistful sort of look on her
face)
You know, if you were to -
(sighs)
have babies… I’d kinda sorta be their
aunt.
(laughs)
GODZILLA makes a noise that modulates from a groan to a kind of
shriek. Now, She raises up, reaches her head way up, and
bellows to the sky.
INT – THE WAR ROOM.
BALZAC has been called in by BOERMANN. He is literally CHAMPING
AT THE BIT. Or the cigar, at least. When he gets the signal,
he’s ready, that’s all he’s interested in. COL. FUERBERGER
HAS MEN READY FOR an OPERATION INVOLVING THE OBAKEMONOS in a
lateral and cascading plan-of-attack.
GENERAL BALZAC
(mutters)
Clones. What the hell has happened
to us?
COLONEL FUERBERGER
Exactly right. Buncha pansy-ass,
clone-relying punk kids we’re
working for here.
(beat)
Well, that’s the deal we’re dealing
in. SO. What’s our plan here?
LT. COL. JONATHAN BOERMANN
We put the clones into a temporary
hypnotic state, through the use of
Ultraviolet rays, which interact
with their own chemistry. Then we use
a trigger mechanism which, you
know, re-activates the sons-o-guns
when we’re ready.
BOERMANN gets on the horn and CALLS in 3-STAR GEN WILLIAM
BIG BILL DUNG
General, Colonel.
(nods to the two men)
Men. This is the plan: We have a
few of these, Obakemonos – Over
here: (his big stick to the BIG BOARD)
in the Pearl River. Right under the
Hong Kong-Zhuhai-Macau Bridge. We have
equipped our men with the UV Ray,
remote control jobs – At the
setting we’re using here, these
lizards just hone right in on the
signal. It’s a beautiful thing to
see.
(strokes his big stick)
Now right here:
DUNG points to the Big Board:
DUNG
at Macau – where the Peoples
Liberation Army maintain a garrison
– little damn thing, too – we have
a couple of these ‘monos’, right now,
sleeping. And, over here:
(sticks it to the Big Board
again)
At Stanley Fort – This, is a Hong
Kong/SAR garrison. Both of course
are technically under the People’s
Republic of China.
(beat)
And, up to Stonecutter’s Island,
there’s one more. We’ve got a
regular port run coming in there
for liberty.
DUNG CONT.
(beat)
Now, this includes the Ronald
Reagan. This is where you come in,
Balzac.
BALZAC
Now that’s more like it!
(cigar’s rolling around in his
mouth now)
We got 80, 90 fighters ready to go
on that baby!
BIG BILL DUNG
That’s right. ALSO, we have four or
five bigger monos over
(beat)
So, we got our boys at all of these
points, with their remote control
boxes. Honed right in to the
obakemonos. Once we activate ‘em,
we just guide them,
He lovingly caresses the map, drawing the big stick over the Pearl
River…
BIG BILL DUNG
through the Pearl River… over
into Hong Kong.
(wiping his now-sweaty hands
on his pants)
And, over here, during high tide,
We bring ‘em over the banks into
Guangdong.
The men are entranced by this hypnotic narrative.
JON BOERMANN
The idea is:
He now stands.
JON BOERMANN
Their communications centers, all
their primary intelligence-gathering
resources, are concentrated in
these garrisons.
BIG BILL DUNG
That’s right. Particularly of
interest in this exercise, is the
one at Shenzhen – Right – over -
here.
Hits the Big Board hard for emphasis. The men
BIG BILL DUNG
SO!
The PLA, stationed on both sides of
the Pearl River will get the call
from their respective SAR command,
at just about the same time, when these
monos start breathing hot on their
boys. Then, when the tide comes in
at Guangdong, a little later,
they’ll have to move on that.
(beat)
THEN, when they start shooting at
these fire-breathers we got on the
move up over Hong Kong Island, to
Stonecutter’s: They’re bound to get
big ol’ Ronnie Raygun in the cross-fire.
This is where Balzac, and his SAC
enter the picture..
BALZAC
(ejaculates -)
Hell yes! So, we’re ready t’ get
moving on this thing?!
(chews on his cigar
ferociously)
Hot damn. It’s about time I got some
action on this thing. So these
‘monos’, already in place? Heh.
(aside to FUERBERGER)
Swimming around in the Pearl River?
Ready to ride the tide into Guangdong?
Shitfire.
BOERMANN
That they are, General. As we
speak, the ‘monos on the ground should
be waking up, scrounging about,
looking for Cheap Eats.
(beat)
Sure hope they like Chinese.
Lusty laughter from the three other men. BRIGADIER GEN. JOE TALONESE,
a huge dim man, under FUERBERGER’S command, gets on the horn
to Operations.
BIG JOE TALONESE
All systems go. Give ‘er a Pearl
Necklace. Sleepers Awake on Terra.
Cut Stones. Over and Out.
FUERBERGER
I wish I were there to see it.
(sighs)
BALZAC
I can’t wait til they take the bait
and start shooting! We’ll make
those sonsabitches rue the day they
invented gunpowder!
BOERMANN
Colonel: I see from the Big Board,
your brigade are in place and ready
with the UV Remote Controls.
 On the horn to his men, COLONEL FUERBERGER has some words
of caution. WE HEAR THIS ON REMOTE LOUDSPEAKER as we see the
men in their state of heightened readiness:
FUERBERGER
Men. We are ready to proceed.
Prepare for the signal. This is no
drill.
SHOT ON FUERBERGER:
FUERBERGER
Now Hear This: Your Godzilla has no
regard for human life, not even of
his own. For this reason men, I
want to impress upon you the need for
extreme watchfulness.
EXT – THE EDGE OF A SUBURBAN LAWN PAST THE OUTSKIRTS OF HONG
KONG. DAY:
WE SEE THE OBAKEMONOS ON THE MOVE.
12-Y.O. BOY IN CAP AND TROUSERS UNIFORM
Hey! Minya! It’s me, Ichiro!
Remember? Monster Island! Hey, you
seem much smaller than last time.
What’s up with that?
(beat)
of course, I was much smaller then,
as wel-
WE SEE MONO 01 STEP ON Li’l ICHIRO like a bug: SMOOSH! CUT TO:
INT – A HOME, TOKYO OUTSKIRTS, DAY.
A fat, slovenly man in a soiled teeshirt is watching television.
WE HEAR THE TV:
TV
– the whole bowl taste treat. Do
not exceed recommended portion at
any one meal. *STATIC* Well,
Cassie’s got that cat-bird seat
grin on her face – let’s see what
she wrote down: What is: I’m a
mushroom-cloud layin’ motherfucker,
motherfucker. That is correct! How
much did you wager, Cass? *STATIC*
That’s right! Not ONLY do you get
the set of four beautiful stainless-steel
steak knives – PLUS the amazing
Professional Boning Kni- *STATIC*
Popeil Pocket Fisherman! *click* I
repeat: do NOT under any circumstances
allow your boy to approach the
monster. These Junior Godzillas might
appear friendly, but they are NOT
pets. They will destroy all…
BEER GUT MAN, gets up to go to bathroom, hits mute button.
BEER GUT MAN
Stupid Godzilla movie. I thought
they quit making those years ago.
Nobody goes for that stuff anymore.
When he returns and unmutes the TV: WE HEAR and SEE ANOTHER HEATHER
SPOT. (For Zebra & Tiger striped tights, Leopard micro
skirts, etc.)
PULLBACK TO REVEAL:
INT – SOUNDSTAGE.
WE HEAR TROGGS WILD THING. Heather is back in the club dancing
to this in her ‘savage’ outfit. AT THE POINT WHERE THE
RHYTHM STOPS: cha-tche-cha-CHAINGG – CUT IN:
HENDRIX BUT I WANNA KNOW FOR SURE…
Here is revealed a FANTASY PRODUCTION DANCE NUMBER of a ballet
– including full chorus line – starring HEATHER, of course.
The Wild Thing Guitar Riff turns into a MARTIAL DRUM
CADENCE. BUILD… CUT TO:
EXT – A JUNGLE, DAY. CHYRON AT BOTTOM OF SCREEN READS:
1 YEAR LATER
MONTAGE SEQUENCE: MUTANT SUPERSOLDIERS TRAINING IN AFRICA. HEAT
LAMPS, REFRIGERATION CHAMBERS; FULL CONTACT COMBAT TRAINING,
eg., with BAYONETS shown UNABLE TO PENETRATE the SHELL-LIKE
SKIN that has manifested on some of the treated troops. Some
others have HARD, RIND-COVERED HEADS with, instead of
regular nappy hair, Coconut Hair. (Buzz cut on the side of
course.)
PULL BACK, WE SEE that MRS Y is WATCHING A VIDEO OF THIS. VIDPHONES
SHANE to congratulate and gloat. She jubilant, he
thoughtful. SHOT ON: SHANE GROWING DEPRESSED.
EXT – A BEACH, DAY.
A BROOD OF OBAKEMONOS having a weenie roast of soldiers they kept
after their latest outing in Hong Kong. Atomic Breath is
pretty neat stuff! LET ME TAKE YOU TO THE BEACH by Frank
Zappa plays.
FZ
Bring the Wee-nies and the Soft
Drinks and the Coo-ookies! EVERYBODY’S
IN LOVE!
INT – A TV STUDIO:
ANOTHER HEATHER SPOT, being shot. Actually a series of
spots: she’s modeling a whole range of Victoria’s Secret or
Bebe type of garments. LINDSAY is fascinated; she indulges
him. Her cell phone rings, Doot doot doot doot.
HEATHER
Who’s this? Shane?! Yeah – hold on
a minute, ok?
HEATHER CONT.
(gives a time-out sign to
LINDSAY)
Uh-huh. Ah Jeeze, uh…
(rolls eyes)
NO CAN DO, Terri picking me up in a
minute.
(She listens a moment)
Uh-huh. What happened?
(listens, a good beat)
Omigosh. That pretty crazy. Ok,
then… Jeeze
(hangs up)
INT – SHANE’S TOWNHOUSE APT.
SAME TABLEAUX AS THE CRUX SCENE. HEATHER ENTERS.
SHANE
Thank you for coming over Heather,
you’re the best. Like I was saying
to you over the phone, I – I’ve
been a very very bad boy.
(self-mocking choking
laughter)
I really, I royally fucked up this
time.
HEATHER
Uh-huh. You wanna tellmeboudit?
SHANE
(huge sigh)
Ah, the specifics of what I did,
this one time, you don’t want to
hear about that. I know you, or -
(beat)
It’s just -
(now in a rush)
Everything I ever tried to be,
everything I set myself to do I succeeded
in doing, because I had the will
to… the Will-to-Power. You know, to
maintain that, that -
SHANE CONT.
(great rapid exhalation)
You can’t really have any – feeling,
any ‘empathy’, for the other guy.
This is why they break you down, in basic
training, in the Military. Turn you
into a uniform, a number, a – a
tool. Not only that – The other
guy, you have to see him as, not a
‘him’ – but an IT.
HEATHER
(wide-eyed)
Uh huh.
SHANE
I didn’t mind, you know. Like you
say, “I don’t mind, doesn’t matter”.
BUT IT DOES. Matter. Everything
matters.
HEATHER
What changed you mind, Mister
Brolin? This – a very big step! What
do you say, Pair-o’ dimes shifting.
SHANE
I saw something recently, that
really shocked me, sobered me…
Something I played a part in
causing. A big part. Something
monstrous.
(long beat)
Remember when we went to the
Godzilla picture? Bigassed Lizard. Lotta
laughs, right? I mean, who gives a
shit about a gigantic Lizard,
Wrecking Tokyo.
(beat)
When we Americans bombed Nagasaki
and Hiroshima, we had convinced ourselves
you people were monsters, savages,
less-than-human, somehow. I mean, who’s
the monster, in this scenario?
(long beat)
I can’t do this shit anymore.
SHANE CONT.
(starts to cry out loud)
And, for crying out loud, And it’s
all I ever really learned how to
do! What-the FUCK!
(Now starting to outright
bawl)
HEATHER puts her arm around his shoulders as they heave. Holds
him for a long moment.
HEATHER
C’mon, there there. Gonna make you
all better, in a minute. You’ll
see.
Heather gets her little handbag, unzips a compartment inside it,
and gets out a small ziplock bag. She removes a
hermetically-sealed package and peels it apart…
HEATHER
This good stuff, take care of
everything.
SHANE
(wide-eyed surprise, dismay)
What the hell is that?
HEATHER
(matter-of-factly)
Dilaudid.
SHANE
That’s like – Heroin, isn’t it?
Holy jeez.
HEATHER
(nods head)
Verry simila. Easier to take. Come
on slower, but take care of you,
your suffering.
SHANE
(heavily sighs)
How do you take it then?
HEATHER
Bend ova. Unbuckle your belt.
Unfasten pant.
Now, she very quickly pulls his trousers down to his ankles. She
gets a little travel-kit size hand moisturizer out of her
bag and lubricates his anus.
HEATHER
I learn this in Rome.
She sticks the suppository in.
DISSOLVE TO: HEATHER AND SHANE IN NAKED EMBRACE AS HE
F
FADE TO BLACK.
INT – A MILITARY COMPOUND.
PRESS CONFERENCE: a leak has been made regarding the African Supersoldiers.
COLONEL JAYNES, who looks like the actor Craig T. Nelson as
if cast as General MacArthur, presides.
REPORTER THE COLONEL HAS POINTED TO
What about these reports of -
chitinous skins, breaking down like
bug shells; shrinking lizardian
outer coats; hard helmet heads that
break like a coconut after a time -
Colonel?
COLONEL JAYNES
SO? As we all know: Ya can’t make a
Pina Colada without breaking some
coconuts.
Other brass laughing mechanically, press contingent now frantic
and jostling for more info. The Colonel’s #1 handler
gestures that the press conference is now over.
COLONEL JAYNES
That’ll be all gentlemen.
(tips hat to female reporters)
Ladies.
His handlers escort him offstage. ALL EXIT, PRESS GRUMBLING.
INT – A WALL-MOUNTED TV SET. ECU ON SET: HEATHER ON CHARLIE
ROSE.
CHARLIE ROSE
Have you always wanted to be a
celebrity?
HEATHER
Part of me did, for sure. The other
part, not so much, like: Leave me
alone, you know? You can never
really know me anyway
CHARLIE ROSE
(laughs)
I think I do, yes.
(beat)
So, you have a poem you’ve written,
you’d like to share with us?
HEATHER
Yes I do, Cholly.
She composes herself, now reads from script.
HEATHER
It must be inexorable, this groove – or well-nigh – Before she’ll
sit down on it A chair of the first order
(to balance ass-gravity)
A polar magnetic
(to counter-act levity)
Before she’ll let it pull her in
(beat)
To a center On the One Zeroed In.
(beat)
The equal-but-apposite attraction – if full-on – Appears
rare as spun silk Hard-as-diamonds to cut
(thru opaqueness-in-noise, hanging)
The true lingua franca
(by way of speaking, softly)
Might now suffice to lull her
(beat)
In too deep Into vortex Zeroed Out.
(beat)
HEATHER CONT.
Erased, Negated Circular, Vacuous Vessel In Sacra Naked,
Holy
(beat)
Pulling, Pulsating Viscous, Electric Word-In-Semina
Compleat, Perfected.
(beat)
*La Petit Morte* case of a little death going a long way
(beat)
Empty/full Blinding in its brilliance In hot black
compulsion Action-painted Jet-injected Coursing thru
channels
(beat)
Subsuming, consummate She’s all-in Sublime, in-all & All-Out
A-U-MMM
EXT – VANDENBERG AIR FORCE BASE, DAY.
SHOT ON: a young woman wearing a classic ARMY AIR FORCE jumpsuit
ca. 1960′s with a Rising Sun patch emblazoned: WENDY HENDRIX
climbing into the cockpit of a P-80 Shooting Star, ca. 1945.
WE HEAR THE SOUND OF HER RADIO:
RADIO
Support … 393rd … (static) FAT
MAN. KXXXXZ. Over.
WENDY takes off into the wild blue yonder.
INT – A space that is somewhat disintegrated, it’s a blur of a
number of similarly nondescript locations that we can really
ascribe no sense of place to.
Some of the following audio is clear, some of it is obscure, some
of it would have originated in a very reverberant space, for
instance a bathroom, and some of it is obviously transmitted
over a walky-talky.
AURAL MONTAGE:
Mutual Assured Destruction is a
thing of the past, though I, myself,
still prefer it.
AURAL MONTAGE: CONT.
Our new policy strives to combine
nuclear capabilities along with
conventional ones. We can go so far
as to use nuclear strikes against
nations that have NO nuclear
capability.
The missions of US Strategic Command
are: … deter attacks on World
Bank vital interests.
NSPD-17 reaffirms World Bank will
use nuclear weapons against anyone
using weapons of mass destruction
against World Bank, its forces
abroad, and friends and allies.
Ωε ηαϖε οπτιονσ φορ πρε−εμπτιϖε
αχτιον διρεχτεδ αγαινστ ρεγιοναλ
χουντριεσ ωιτ η ωεαπονσ οφ μασσ
δεστρυχτιον προγραμσ. Ονε οφ τηεμ
ισ Νορτη Κορεα.
The missions of US Strategic
Command are: … ensure corporate
freedom of action in space and
cyberspace, … provide integrated surveillance
and reconnaissance on everyone but
myself.
We will no longer use the word
“battlefield”. The term
Space and Global Strike command
will implement and execute the
administration’s preemption policy
including nuclear preemptive
strikes under CONPLAN 8022.
If any rogue nation or group even
attempts to gain WMD, we’ll make
them wish they


… missions of US Strategic
Command are: (static) … deliver
integrated kinetic and non-kinetic
effects to include
AURAL MONTAGE: CONT.






Global Lightning is designed to
test and validate the ability of
USSTRATCOM to deter a military
attack against World Bank and
employ forces as directed.



“New Triad” will wed nuclear
weapons to missile defenses and high-tech
conventional arms to blur the line
between conventional and nuclear war
and degrade crisis stability.







Out of a swirl of faces in “War Rooms” and “backrooms” and “conference
calls”, ONE COMPOSITE FACE, which continuously shifts
between its parts, BECOMES CENTRAL.
COMPOSITE FACE
(looks to the camera)
We got business here, don’t we,
Mrs. Y?
SHOT OF: A SATELLITE ORBITING THE EARTH, red blinking lights up
top.
EXT – TEHRAN, IRAN, DAY. WE SEE GRAINY NEWSREEL FOOTAGE -
FOX MOVIETONE NEWS.
CHYRON MOVING L:R ACROSS THE SCREEN LIKE TICKER TAPE READS:
CAUGHT OFF-GUARD, FORCES DECIMATED BY READIED US AND
MERCENARY FORCES.
But ALL WE HEAR is a 60-CYCLE HUM.
EXT – STREETS OF TEHRAN, DAY.
CHAOTIC TABLEAUX: SMALL BOXY (& occasionally tall) BUILDINGS
LITTER THE FLAT LANDSCAPE. SUN HIGH IN the SKY.
PAN: ROADS JAMMED WITH AUTOMOBILES with PEOPLE NOISILY CROWDING
ALONGSIDE. WE HEAR SIRENS.
THE PICTURE SHARPENS FOCUS DRAMATICALLY – PULL BACK FROM A HIGH-DEFINITION
TV. AS WE SEE HOW THIS IS VIEWED AT HOME, WE HEAR
MEDIA VOICE 1
… the worst it’s ever been in
modern times. Numerous nations
struck with disasters
simultaneously. Help and emergency
units are stretched beyond
endurance.
MEDIA VOICE 1
People across the world today are
suffering in numbers too fantastic
to believe! And we’ll be right back
after these words from
WE SEE (this is LIVE FOOTAGE): 2 OBAKEMONOS coming in from the
south DRAGGING their FEET THRU MILES OF one-level HOUSING…
MEDIA VOICE 2
… appear to be earthquakes in
some locations.
Once in the city, the MONOS GRAB the first tall BUILDING and WORK
TOGETHER TO UPROOT IT.
BUILDING DOWN, THEY CRACK IT IN 2, BEGIN SCOOPING PEOPLE
OUT.
MONO 1 NOW STOMPS through SEVERAL BLOCKS, KICKS OVER TRAIN.
WE HEAR SCREAMS. SEEING FOOD inside, IT SNAPS OFF the FIRST CAR,
OPENS IT WITH ITS TEETH -
CU: MONO 1 GNAWING ON the END OF TRAIN CAR like someone opening
a bottle with their teeth. METAL CRUNCHING. TEETH
PENETRATING. IT OPENS LIKE A CAN OF BEANS. WE SEE PEOPLE IN
A PILE at the lower end of the train.
MEDIA VOICE 2
others appear as if they’ve been
thru a nuclear holocaust. Some
geologists speculate volcanic or
geothermal abnormalities.
MEDIA VOICE 1
Whatever the reason, the number of
casualties keeps rising. The
president of the United…
MONO 1 POURS the OCCUPANTS INTO its MOUTH, SPIKES the
railway CAR INTO the GROUND when finished. Now WAGS TAIL UP
& DOWN, POUNDING a dozen OCCUPIED AUTOS into a crushed mess.
MONO 2 OPENS the NEXT railway CAR: WE HEAR SCREAMS. BABIES CRYING!
More SCREAMS.
MEDIA VOICE 1
…States is being kept in an
undisclosed location. Reports of
terrorist activity…
WIDE SHOT OF CRUSHED AUTOS & RUBBLE. PAN SHOT OF HUMAN LIMBS
& HEADS.
PEOPLE RUN DOWN crowded SIDEWALKS. MONO 2 PURSUES, SNATCHING THEM
UP IN its MOUTH & haphazardly COLLIDING WITH BUILDINGS.
A traffic HELICOPTER APPROACHES MONO 1 for some footage and GETS
ROASTED BY ATOMIC BREATH.
BOTH MONOS SWING AROUND AND head toward each other to
REGROUP.
THEY STOP & OPEN BUSES they see here and there & SELECT
VICTIMS FOR BAR-B-Q-ING WITH ATOMIC BREATH.
MEDIA VOICE 1
…talking to the man in charge of
operations.
BALZAC
We’ll show this goddamned
sonofabitch planet what it means to piss
off the U.S. of A.!
(beat)
When we’re through, it won’t have a
pole to spin around on!
UNIDENTIFIED AIRCRAFT, including HELIPADS DELIVERING PERSONNEL,
ARRIVE to ATTACK; SMALL ARMS FIRE. This is ignored.
Several JETS ARRIVE and TAKE useless SHOTS, DEVASTATING ROWS OF
city BLOCKS AND suburban AREAS.
MEDIA VOICE 3
…are calling this the rapture.
The MONOS FIRE ATOMIC BREATH, ROASTS PILOTS. CU: inside of COCKPIT.
WE SEE A PILOT’S CLOTHING SMOKING; NOW PILOT BURSTS INTO
FLAMES.
The channel changes.
MEDIA VOICE 2
…interview this child. Little
girl, can you tell us what happened
in your own words?
LITTLE GIRL
Mommy spilled blood from her mouth.
(starts crying)
The JETS QUIT, TUMBLING EVERY WHICH WAY AS THEY FALL FROM
the SKY. CU: The OBAKEMONOS. PIECES OF BUSES CLING TO THEIR
TEETH.
The monos go on their way. MONO 1 SEES A TREE and UPROOTS IT TO
PICK ITS TEETH. MONO 2 FOLLOWS SUIT. DEBRIS FALLS FROM THEIR
MOUTHS.
EXT – IRAN 6TH TACTICAL AIR BASE, BUSHEHR, IRAN, DAY.
SUN HIGH IN the SKY – LANDSCAPE SPACIOUS & FLAT: BLDGS LIKE
SMALL BOXES. JETS continuously TAKING OFF AND LANDING.
MEDIA VOICE 1
…Iran, Mr. Secretary?
US S.O.D.
Everyone knows that we may need to
attack Iran. It’s also known that
we are targeting nuclear
facilities. Can’t you people think
of new questions? Would you like me
to masturbate for you?
WE SEE TWO MONOS arise from The Gulf and APPROACH SHORE. NOW ROAMING
AIRFIELD. IRANIAN TROOPS MEET THEM WITH BIG GUNS and ARMORED
VEHICLES.
MONO 1 SWATS AT AIRBORNE JETS.
ECU ON PILOTS KNOCKED AROUND IN COCKPIT STRUGGLING for control.
WE SEE AND HEAR HEAVY ARMS FIRE AT THE TWO MONOS.
MEDIA VOICE 3
When we return: “A Kiss Sparks
Controversy at Mariners’ Ballpark”
Reverend Reeler will tell us why
two women kissing is extremely dangerous
for children.
MONO 1 STEPS AND BLOCKS TWO JETS TAKING OFF to escape. The JETS
HIT MONO 1 and EXPLODE. FIERY FUEL SPLASHES everywhere.
MEDIA VOICE 3
“Turkey and Iran Launch Joint
Strikes in Iraq”: Congressman Frogel
will explain to us why, in this
case, “the enemy of my enemy is NOT
my friend.” Stay tuned.
MONO 2 BAKES GROUND TROOPS as they appear. NOW STEPS ON ARMORED
personnel CARRIER. SHRIEKS AS IT BURNS FOOT ON the RED HOT
VEHICLE.
MONO 1 STOMPS ON EVERY VEHICLE IN REACH, NOW USES TAIL TO
KNOCK AROUND THE REST.
MEDIA VOICE 1
…Cruiseline reports two of its
luxury liners missing in the Caribbean.
We’ll be right back after this
message.
COMMERCIAL VOICE
(cheerfully)
Are you tired of having to hold
yourself while you urinate?
Channel changes.
COMMERCIAL VOICE (FEMALE)
..with prolonged use of Pre-empro,
the following can occur: Increased
risk of breast cancer. Increased
risks of coronary artery disease; strokes;
and pulmonary embolism.
COMMERCIAL VOICE (MALE)
(reasonably)
So if you are already at risk for
any of these, ASK YOUR DOCTOR about
Pre-empro.
BACK TO LIVE COVERAGE: Both MONOS head for the grounded
jets. ATOMIC BLASTING BY THE TWO MONOS IN CONCERT at hangars
and quarters. More JETS COME IN LOW, are HIT BY SWIPING
MONOS & now destabilized.
INT – A U.S. AIRCRAFT CARRIER, DAY.
IN A ROOM, a NAVAL OFFICER – [Next to him, an enlisted woman watches
this scene more clearly on a laptop via Google Earth. 3rd
person sits with portable TV - ECU ON TV: Dancing With The
Stars...] WATCHES this – BLURRED POV: SATELLITE
TRANSMISSION. WE SEE AIRCRAFT HIGH UP MAKE A DROP. SHOT ON: PARACHUTE
DROP OF LIVE COWS, HIPPOS, and ELEPHANTS – LANDING OUTSIDE
THE BASE.
MEDIA VOICE 3
Also coming up: “Across the U.S.,
Severe Tornadoes cause scores of
deaths”
MONOS head OUT FOLLOWING THE SCENT. A slew of MISSILES RAIN DOWN
upon what’s left of the airfield. Joey Heatherton dances for
an audience on the Carrier.
MEDIA VOICE 2
…purpose is to deactivate the
nuclear facility that is
MEDIA VOICE 1
It appears we DO have videos of
these exciting developments AS THEY
HAPPEN! (upbeat) Don’t go away.
We’ll be right back.
We hear the sound of innocuous music leading to the break.
EXT – A FOOTBALL STADIUM, DAY.
The stadium is FILLED WITH FANS WITH POM POMS. BEHIND the HOME
TEAM END ZONE WE SEE: SYNCHRONIZED TURNING OVER of RED (VS
THE WHITE) POM POMS TO REVEAL: OBAKEMONOS # 1!
FAST PAN TO BALZAC IN VIP BALCONY WITH CIGAR EXHORTING
INT – THE PENTAGON, PYONGYANG – NIGHT.
CARTOON MONTAGE: KIM JONG IL is SHOWN FOOTAGE of PLAN OBAKEMONO
DECOY (A cartoon version of the bit: “WE SEE 2 MONOS arise
from the Persian Gulf and approach shore. They roam the
airfield as IRANIAN TROOPS head out to meet them with BIG
GUNS and ARMORED VEHICLES. MONO 1 SWATS AT AIRBORNE JETS.”)
JONG IL IGNORES THE MARGINAL THREAT AND LAUNCHES MISSILES AIMED
AT HAWAII. (Map of Pacific Ocean>Hawaii and animated
missiles indicates this)
Kim Jong Il’s boys fizzle.¬†WE SEE HUNDREDS OF UMBRELLAS OPENING
IN THE SKY which FLOAT DOWN lazily like parachutes. (No need
for POD after all.) MONOS SHRUG AND MOVE IN ANYWAY, now
enjoy some Korean BBQ. A cartoon balloon above their heads
reads: Tastes like chicken!
EXT – GHAWAR, SAUDI ARABIA OIL FIELDS, DAY.
ACTION: THREE MONOS TROOP ONTO THE OIL FIELDS and BURN OIL WELLS
AND WORKERS. THE MONOS SPLIT UP.
TRUCKS FILLED with CRUDE OIL BLOW UP.
One MONO SHOVES ITS FACE OVER A WELL AS IF PERFORMING FELLATIO,
AND SENDS an ATOMIC BLAST STRAIGHT DOWN THE WELL.
EARTHQUAKE. MILES OF GROUND SINK INTO THE EARTH.
EXT – GREGG COUNTY, TEXAS
TWO MONOS come through town STOMPING PEOPLES’ DWELLINGS AND BACKYARD
OIL WELLS. VARIOUS RESIDENTS independently decide to
APPROACH A MONO and TAKE A SHOT AT ‘EM, using a 12 GAUGE
SHOTGUN. The MONOS EAT SOME of the SHOOTERS RAW.
ANNOYED, BOTH MONOS INHALE DEEPLY: let go with
The MONOS LOOK around in confusion: NOTHING LOOKS DIFFERENT.
NOW ANGRY, they STOMP OIL WELLS and BAT BUILDINGS WITH
JETS APPEAR and FIRE MISSILES that DO NO DAMAGE.
The MONOS SLAP ONE JET OUT OF THE SKY and cause SEVERAL MORE to
become UNSTABLE. WE SEE: ONE PILOT STRUGGLING to RETAIN
CONTROL. His JET STARTS TO BREAK APART. HE BAILS.
The RUCKUS BELOW has STOPPED. EVERYTHING is QUIET. The PILOT has
been WATCHING THE TRAJECTORY of HIS JET. The JET CRASHES and
EXPLODES INTO PIECES.
The PILOT LOOKS DOWN TO LAND: SEES a MONO RIGHT BENEATH him, ITS
MOUTH OPEN.
EXT – CANTARELL (ONE OF THE AKAL STATIONS IN THE GULF), MEXICO,
DAY.
WE SEE: SERIES OF CONNECTED OIL RIGS built UPON THE OCEAN. UNDER
THE SEA: 1 MONO TRAVELS ALONG OCEAN BOTTOM, HALF
SWIMMING/HALF WALKING. THE MONO APPROACHES the SUBMERGED
SECTION of the STATION and TEARS THE FOUNDATION OUT.
WE SEE the STATION COLLAPSE; SINKS QUICKLY. OIL RISES TO
ANOTHER MONO WAITS FOR his COMPATRIOT TO EVACUATE from underwater.
FIRST MONO RISES AND SWIMS TO MEET HER BROTHER. NOW HE BLOWS
UPON THE OIL-PATCHED WATERS.
PANORAMIC SHOT: OCEANS ON FIRE. CUT TO:
EXT – SAN FRANCISCO BAY, DAY.
ECU ON WENDY HENDRIX IN an F-22A Raptor FIGHTER JET.
PULL BACK and WE SEE THE JET APPROACHING the GOLDEN GATE BRIDGE.
WENDY’S POV (AERIAL SHOT, FROM HIGH VELOCITY JET):
2 MONOS (couple # 1) HAVE GRABBED and are ABOUT TO BREAK THE BRIDGE
OFF FROM its CABLING. MONOS 3 & 4 (couple # 2) WORK TO
UPROOT the BRIDGE FROM its MOORING.
WENDY FIRES REPEATEDLY. MISSILES LAUNCH FROM THE WING APPARATUSES.
SHE AIMS AT the EYES AND HITS an UNSUSPECTING MONO, WHO
RETREATS. TWO OF THE OTHERS (one from each couple) FIRE AT
WENDY’S FIGHTER.
GROUND POV: WENDY RETREATING.
CAMERA POV: MONO TEAMS OVERTURN BRIDGE FOR POPCORN HUMAN
SNACK TREATS. CU ON: PEOPLE IN CARS FREAKING OUT. ECU ON:
COUPLES IN CONVERTIBLES.
MONO 5 FETCHES the giant DEEP FRYER & the TUB OF BATTER from
the park on the SF side. MONO now accord to hunter-gatherer
TEAMS; MONO COUPLE # 1 PLUCKS HUMAN EDIBLES FROM CARS,
COUPLE # 2 CATCHES and DIPS these INTO BATTER; NOW, TOSSES
them INTO the BUBBLING HOT OIL.
MONOS POV: WENDY COMES BACK WITH REINFORCEMENTS. A SOLO MONO TORCHES
THE REINFORCEMENTS. WE SEE A PILOT FROM EACH OF THREE
AIRCRAFT BAIL. SOLO MONO SOMEHOW PRODUCES A BASKET AND
CATCHES THESE.
WENDY’S POV: WE SEE ATOMIC BREATH NEARLY SINGE HER WING.
SHE RETREATS AGAIN.
CAMERA POV: COUPLE # 1 LOSES A FEW INTO THE DRINK. ECU ON THEIR
FACES: ALL HAVE MRS. Y’S FACE. WE SEE these VICTIMS
STRUGGLING TO SWIM; failing to even tread water, they DROWN.
SOLO MONO FETCHES The BASKET. NOW DIPS BASKET INTO The DEEP FRYER;
now SHAKES and SORTS excess GREASE FROM the BRIDGE PEOPLE.
COUPLE #1 gets out PAPER PLATES, PLASTIC FORKS and NAPKINS.
SOLO MONO EMPTIES The BASKET ONTO The PAPER PLATES. FIVE
MONOS SNACK. Finger-lickin’ GOOD!
INT – IDF’S AMAN HQ, DAY.
At a podium we find a man addressing the nation, a media event
with camera and lighting crews and a Director.
WE SOON SEE that THIS IS A WAVY-looking BROADCAST such as
you see on a television (if you’re on acid) with an antennae
that isn’t terrifically strong.
THEN WE FIND, half-way in, that it’s A
UNIT 8200 – ELINT UNITS head JOGI SHARONA-BERRA speaks on
the record. (He sounds a lot like Theodore Bikel as Rantz
Muhammitz in 200 Motels.)
SHARONA-BERRA
WE have TARGETED several systems
which ve have NO KNOWN CRITERIA for
DETERMINING what its EMITTERS are,
or where. From our ANALYSES of the
E.M. RADIATION – And, from looking
at some OTHER THINGS: Ve have
DECIDED THESE PHENOMENA must
INDICATE: a type of co-ordinated
PLAN of ATTACK Of vich we have
NEVER seen ze likes of BEFORE! Ve
SINK SUNspots MAY BE effecting some
of zis, SZO, ve could not be
ZCERTAIN. What it is actually. SO,
ve have consulted with ze NU-cl-ear
Measurement and SZystem
Intelligence, as well as ze
Electro-optical and Radar MASINT -
to try and find out what zis is.
COMINT head YITZAK BERNTOFER WEIGHS IN, also on the record.
BERNTOFER
Our team, after carefully
SCRUT-inizing some chatter – which was
LEAKING through the telephones -
has found – something.
(beat)
We continue to ENCOUNTER the words
“GOD/Z’LA”, over and over again, we
are hearing: “GOD/Z’LA”,
“GOD/Z’LA”, “GOD/Z’LA”… It’s very
annoying actually. Which after some
conSIDERATION. We feel STRONGLY,
must Be either: “GAZA, ALLAH”, Or
the other way-round. Somesing like
that.
(beat)
By now we are zcertain there has been
a significant new advancement by
C’H'AMAS with their missile
program. Zis FACT, combined with
our now-confirmed zuspicion that
C’H'amas has been in communication
wiss Iran, regarding armament of
zese missaisles…
ISRAELI PRIME MINISTER COLME ISHMAEL
Ladies and gentleman, I can assure
you: Israel will take whatever
measures are necessary to protect
our nation.
LIVE ACTION SEQUENCE:
EXT – GAZA BORDER WALL, BRIGHT SUNNY DAY.
WE SEE SKY.
IN THE DISTANCE, WE SEE: UNIDENTIFIABLE OBJECTS SILENTLY
MOVE.
SHOT ON: OBAKEMONOS ROAMING the barren land. CALM.
Out of nowhere: WE SEE MISSILES HIT the OBAKEMONOS. ANGRY OBAKEMONOS
PACE BOTH SIDES of the BORDER FENCE, back & forth. THERE IS
NO ONE TO ATTACK, this Frustrates Them. ATOMIC BREATH BLASTS
in EVERY DIRECTION.
WE SEE: Border WALL KICKED OVER.
NOW STOP, count: 1, 2, 3, 4, 5, 6, 7… MORE MISSILES HIT MONOS.
IN EVERY DIRECTION – WE SEE ATOMIC BREATH. WE HEAR
SHRIEKING.
CAMERA POV: DUST-OBSCURED; SHIMMERING with HEAT.
SHIMMERS CLEAR, DUST SETTLES – WE SEE:
ISRAELI SIDE: ISRAELI ARMY ADVANCING IN TANKS. ARMORED PERSONNEL
CARRIERS, HELICOPTERS FOLLOW.
OBAKEMONOS all TURN, WATCH.
WE SEE: OBAKEMONOS FACE the ADVANCING ISRAELIS. INCOMING, BOTH
SIDES! MORTARS AND ROCKETS HIT THE OBAKEMONOS.
OBAKEMONOS TURN. IN MID-TURN:
ISRAELI SIDE: ISRAELI TANK GUNS FIRE, HIT OBAKEMONOS. GAZA SIDE:
HAMAS MISSILES HIT OBAKEMONOS.
TWO OPPOSING ARMIES CLASH. WE SEE: OBAKEMONOS RAGING,
CHARGING BOTH SIDES.
OBAKEMONOS POV: BOTH SIDES of BORDER, SOLDIERS FIGHT ON. GUNS.
HANDS. PICK-AXES. WE SEE OBAKEMONOS STOMP TANKS, APCS.
AERIAL SHOT: 300 FEET UP. WE SEE: SHOOTINGS. STABBINGS. BOMBINGS.
TIP OF OUR TAIL POUNDS GROUND BY TWO SOLDIERS – MURDEROUS
HAND TO HAND COMBAT.
MEN PAY NO ATTENTION! TAIL SLAPS BOTH. MEN STOP FIGHTING & STARE
UP AT US. 
MENS RESUME FIGHTING. OUR TAIL POUNDS GROUND AGAIN, HARDER. MENS
WON’T STOP FIGHTING!
WE USE OUR TAIL, SWAT MENS, they flies to us now.
UNSEEN FROM BEHIND: MISSILE HITS US IN HEAD. POV: JERKING FORWARD,
DOWN. ACTION A BLUR, WE STOP. POV: OUR HEAD LIFTS UP – WE
SEE TANKS ROLLING.
WE TURN, SEE OBAKEMONOS SWAT MENS – mens show no attention! (OBAKEMONO
ALMOST CRY.) Another has mens run around under it, shoot at
each other!
OUR HEAD WHIPS BACK – POV: BACK & FORTH – BLURRED LANDSCAPE MOVING.
OUR HEAD GO DOWN – POV: LOOKING STRAIGHT DOWN, WE UNLEASH
LONG ATOMIC BLAST. POV: MOVES FORWARD, NOW – BLAST THE
HORIZON!
POV: SCANNING HORIZON – WE SEE OBAKEMONOS BLAST
EXT – TIMES SQUARE/42ND STREET, NYC, DAY.
OUTSIDE the SUBWAY STATION, a BIG PROMOTION is UNDERWAY.
WE SEE a GIGANTIC LOAF OF FRENCH BREAD CARTED OUT on wheels. A
OBAKEMONOS GANG AMBLES UP the STAIRS.
OBAKEMONOS GO TO WORK IN TEAMS. TEAM 1 BRINGS handfuls of SPECIMENS
UP THE STEPS from the Broadway Line. TEAM 2 HOLDS these.
TEAM 1 GRABS NEW MEAT AS THEY disembark and COME UP THE
STEPS. TEAM 3 TAKES the HOLDINGS, STARTS COOKING. THEY
select and GATHER the best HUMAN MEATS from the crowd.
USING the INDUSTRIAL-SIZED MACHINES provided, WHITE MEAT is SLICED
thinly, like turkey. What they don’t want is shoo’d away.
LUNCH TIME.
EXT – REICHSBRÓÅúCKE BRIDGE, VIENNA, DAY.
THE BRIDGE BREAKS AND COLLAPSES. PILLARS CRUMBLING INTO
DUST. DUST RISES INTO CLOUDS, MERGE WITH A DARK SKY.
WE SEE: TIME-LAPSE MOTION PICTURES: FRANTIC EFFORTS TO RAISE NEW
BRIDGES REPEATEDLY REPELLED: FIRE EMANATES FROM EDGE OF
FRAME.
WE FOCUS, FIND MECHANICAL FIRE-BREATHING GARGOYLE
APPARATUSES.
MEDIA VOICE
…Venice along with Prague have
suffered earthquakes as well. Paris
is in shambles with fires breaking
out in many locations. Many
EXT – BROOKLYN BRIDGE, NIGHT.
WE SEE PATCHES OF OIL FIRES. THE BRIDGE IS NEARLY VACATED. A FEW
CARS WE SEE ARE DECIMATED WRECKS, THE REST ARE
INTERMITTENTLY EXPLODING. WE HEAR THIS AS IF FROM A GREAT
DISTANCE.
SHOT ON THE WATER: IN FLAMES. ALL THAT WE SEE IS LIT BY
FLAMES. BAT-WINGED SOLDIERS MOVE VEHICLES FROM THE ROAD, FLY
THEM AWAY.
AMBULANCES ARRIVE SPORADICALLY. THE BODIES ARE SHOVELED IN.
MEDIA VOICE
According to a statement released
by the Pentagon, the first shots
were fired by the Chinese military.
The People’s Republic of China has issued
a declaration of war against the
United States.
EXT – DAY: GRAND PALACE ENTRANCE, BANGKOK, THAILAND.
A GANG of ADOLESCENT MUTANTS WITH cases of BEER, which they CONSUME
in the CONEHEAD ‘MASS QUANTITIES’ fashion, MAKING a lot of
NOISE in the post-football game ‘We won!’ manner, URINATE ON
the PILLAR SUPPORTS.
INSIDE, ANOTHER CADRE OF TEENAGE MUTANT NATURAL BORN KILLERS is
CARRYING ON – WE FOCUS ON THREE:
POV: ‘MUTANTS TRES’: AT THE PORTAL, stand the GARUDAS, a row of
GOLD BIRD-LIKE MEN sporting hats shaped like Pagodas and
wings at their waist. CAMERA’S POV: ‘MUTANTS TRES’ take
exception to the Gardudas appearance, and GO ON a RAMPAGE.
FATTY MUTANT
DUDE! We kicked ALL their asses!
SCRAWNY, ONE-EYE-IN-THE-WRONG-SPOT
MUTANT
Yeah HUH. HEH HEH.
(moronic Beavis-tone)
Heh. Right on.
THEY ENTER THE CENTRAL UBOSOTH, the MAIN BUILDING. They
enter via the Central Door where only the King and Queen are
allowed entry. This is the house of The Emerald Buddha.
TALL UGLY-LOOKING TO THE MAX MUTANT DONS PAGODA-looking HAT. POV:
TALL UGLY-LOOKING MUTANT, up at The Emerald Buddha.
TALL UGLY-LOOKING MUTANT
HEY! BUDDHA DUDE.
(imbecilic laugh like the
others)
WHYNCHA COME DOWN HERE AND SAY
THAT! What’s that? Yer CHICKEN?!
WHY am I not surprised, dude.
Al-RIGHT! I’m coming UP THERE,
then. Asshole.
CAMERA POV: He starts CHARGING up the steps. WRONG EYE
MUTANT grabs him.
WRONG EYE MUTANT
Ah, NAW, man, you can’t do that!
TALL UGLY-LOOKING GLARES at Wrong Eye, unsure if he’s going to
hit him or not. He REARS BACK ready to strike.
WRONG EYE
WHOA, Dewd. That’s the Buddha, the
Emerald Buddha, man. He’s been
around, fer like, millions of years
or some shit. NAH, man, leave
FATTY MONO has an APALLED expression. TALL UGLY-LOOKING just LAUGHS.
NOW they are united against ONE EYE showing WRONG respect
for stuff.
FATTY MUTANT
Wrong Eye, man, you’re such a
chump. So WHAT if he’s some old dude.
With a gold coat.
(to the Emerald Buddha)
We can take that coat, man!
TALL UGLY-LOOKING MUTANT
Yeah, HUH.
TALL UGLY-LOOKING MUTANT CONT.
(to Wrong Eye)
Ya know, man, I don’t know if I even
like you anymore.
(drunkenness now more present
in his voice)
You’re a fuckin pussy, man. We came
out here to have some FUN.
WRONG EYE MUTANT
Awww, man! That isn’t right! I love
you guys, man! Yer my BROS! I won’t
wuss out again, I swear it.
FATTY
Heh heh. Heh. He’s right, you are a
fuckin pussy, man. Now let’s kick
this dude’s ASS.
TRACK TO: The NOK TANTIMA (Tantima bird), a relative to the more
famous Garuda, GUARDS the VIHARN YOD. A MUTANT BOXES the
BIRDMAN STATUE.
HUNCHBACK MUTANT
STUPID fucking BIRDMAN! Take THAT!
And THAT! Chump.
Tantima bird TKO’d. TRACK TO:
The middle of WAT PHRA KAEW, on A TERRACE, THE LIBRARY PHRA MONDOP.
THE STATUE GUARDIANS at the top of the steps. HUNCHBACK has
2 COMPADRES. MUTANTS TRES 2, even more drunk than Mutants
Tres 1, TAKE ON THE GUARDS. WE HEAR GRUNTS and MUTTERING
(And a lot of BIFF! BAM!).
STATUES TOPPLED.
TRACK TO: GRAND PALACE – an EXIT.
TALL UGLY-LOOKING POUNDS GIANT DEMON THOTKHIRITHON INTO
RUBBLE.
TALL UGLY-LOOKING MUTANT
I KICKED your ASS, MAN!!
EXT – SYDNEY OPERA HOUSE, SYDNEY AUSTRALIA, DAY.
A HOST OF MUTANTS ENTER THE HOUSE BY KNOCKING DOWN THE DOOR.
MUTANTS EN MASSE
YAAHHHH…. WOO HOOOOO!
PAR-DEEE!Aggggghhhhh!!!! WOOO-OOOO!
EXT – GUGGENHEIM MUSEUM, BILBAO, BASQUE COUNTRY, “SPAIN”,
DAY.
A HOST OF MUTANTS ENTER THE MUSEUM BY KNOCKING DOWN THE
DOOR.
MUTANTS GANG FUEHRER
Party on Dudes!
MUTANTS GANG STAMPEDES IN. A number of them are
EXT РASSISI, ITALY. DAY.  THE BASILICA OF SAINT CLARE.
WIDE SHOT ON The TOWER BURNING.
ZOOM IN ON THE ROSETTA: ON FIRE, A PINWHEEL FIREWORKS, SHOOTING
FLAME and SPARKING.
PAN SHOT ON: SOLDIERS begin MOVING BODIES.
ZOOM IN ON: CEILING. THE STAINED GLASS PICTURES are MELTING. PAN
AWAY FROM THE BASILICA: The ROAD is STREWN WITH BURNT
CORPSES.
FIRST BODY WE SEE is closest to the road out of town. She IS FROZEN
IN an attitude of PRAYER, kneeling. She is wearing a Nun’s
Habit. Scorched, on her head, still sits the hat of a MOTHER
SUPERIOR. WE SEE her FELLOW SISTERS of Clare, charred,
twisted and gnarled corpses now, HAVE FOLLOWED.   SHOT ON
THE ROSETTA. WE HEAR V.O.:
JC
Francis, don’t you see my house is
crumbling apart? Go, then, and
restore it!
EXT – THE BASILICA OF ST FRANCIS: THE NAVE OF THE UPPER
BASILICA.
The GIOTTI FRESCOES are PEELING off in a surreal accelerated process
of decay.
RAPID TRACK FROM THE PORTICUS DOWN THE STEPS. SOLDIERS POINT SURVIVORS
TOWARDS THE ROAD; NOW CLEAR SOME BODIES – MOST BURNED BEYOND RECOGNITION.
THEY TURN OVER THE LAST BODY and WE SEE IT HAS LLOYD’S FACE.
EXT РTHE TAJ MAHAL, AGRA, INDIA, DAY.  A LANGUID, SULTRY
LATE MORNING.
WE HEAR a TAMBOURA DRONE, now some SITAR music. WE SEE a
host of OBAKEMONOS ARISING OUT of POOL. 
CHYRON, COVERING MUCH OF THE SCREEN, READS:
YOUR WORLDS ARE CRUMBLING
INT – A ROOM AT A HILTON, NIGHT.
A QUEEN-SIZE BED, THE COVERS OFF, THE SHEETS IN A TWIST. MRS
Y VIOLENTLY AWAKES IN A COLD SWEAT.
EXT – A GIGANTIC CHILDREN’S PARK, DAY.
GODZILLA THE MOTHER SCRAMBLES TO COLLECT HER YOUNG’UNS,
which are numerous. THREE of these now COMPETE AT HER BOSOM
for FEEDING. ONE HAS HEATHER’S FACE. The OTHERS FROLIC ABOUT
the SWINGS and the ROUNDABOUT.
INT – TERRI’S HOME.
TERRI AND HEATHER AWAKE AT THE SAME MOMENT.
TERRI
What a strange dream!
HEATHER
Yeah, I hadda weird one. I was in
Godzilla movie. You too!
(laughs)
Huh.
CUE: TITLES CRAWL.
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