GREMLINS 2
Written by
Charlie Haas
Revised - 3/6/89
1 EXT. CHINATOWN STREET - MORNING 1
The same crowded Chinatown street where Rand Peltzer first
found Gizmo the Mogwai. As LOCALS bustle past, ANGLE FAVORS
the stairs to the basement curiosity shop.
2 INT. MR. WING'S STORE
MR. WING, the storekeeper who took Gizmo home after the
Gremlins' night of carnage, opens the door, beginning his day.
As he lights his pipe, he HEARS a commotion upstairs.
3 EXT. STREET 3
PEDESTRIANS dodge a long black LIMOUSINE as it pulls up short.
ANGLE reveals that most of the stores on the block have closed
-- GOING OUT OF BUSINESS signs and boarded-up windows.
FORSTER, a sour-faced man in a business suit, gets out of the
limo, followed by three beefy MEN, also in suits. The three
big men take a big-screen TV VT and a VCR out of the car.
INT. MR. WING'S STORE tj.
Mr. Wing looks up from ' hers game as the four men sweep
into the store.
Mister Wi Daniel Clamp would
like to see you.
The men quickly set up the big-screen TV set and VCR. One of
the men puts in a tape and hits some buttons, and the TV screen
fills with the face of DANIEL CLAMP. At a young 40, he's New
York's most successful real estate developer.
CLAMP (ON TV)
Good morning, Mister Wing. Let's
out through to key issues, okay?
I'm prepared to increase my offer
substantially.
(BEAT)
Now, Mister Wing, you're attached
to your business. I appreciate
that. I'm attached to my own
business. I develop the biggest
buildings in New York, and you
sell, ah, little things. Fine.
But I'm not just talking about
money here.
On the big-screen TV, the IMAGE widens to incim a an easel
beside Clam , holding an architect's RENDER that shows the
grandiose of a huge office building,..
4 CONTINUED: 4
CLAMP (ON TV) (CONT.)
Take a look, Mister Wing --
(READS)
"The Clamp Chinatown Center --
Where Business Gets Oriented."
When I put up a building, it's the
biggest -- it's the newest -- it's
the best. People are going to be
killing each other to get into
this building --
The soft O.S. TWITTERING of Gizmo is heard from the rear alcove
of the store.
GIZMO (O.S.)
Tee vee!
CLAMP (ON TV)
Now,'we've been able to reach an
understanding with everyone on the
block -- except for you. Let me
show you what I willing to do
for you -- a s tand and
souvenir cone on, right here
under the at The foot
traffic thrr here is going to
make the building look like
a ghost town.
Mr. Wing regards the video image impassively.
CLAMP (ON TV) (CONT.)
Please IF us know when you've
made a decision, Mister Wing. You
know, I believe that there's
always an area of agreement that
two people can reach.
The Clamp Corporation's LOGO a stylized "C" -- fills the
wereen, replacing Clamp's image.
MR. WING
Yes -- a man can always agree with
others. It is more difficult to
agree with oneself.
FORSTER
Does that mean you --
He's interrupted as Mr. Wing COUGHS -- a rattling spasm that
sounds deeply unhealthy. When the coughing subsides, he
answers Forster.
MR. WING
I'm sorry. Please tell Mister
Clamp that the answer is no.
FORSTER
Keep the TV.
As Mr. Wing walks Clamp's men to the door in b.g., HOLD on the
TV set -- and a small, furry PAW that reaches into FRAME to
change the TV CHANNEL.
With the change of stations, the TV screen fills with a SCENE
from a Rambo picture. SYLVESTER STALLONE addresses the movie
CAMERA:
STALLONE
To survive a war... you've got to
become war.
Then he screws an explosive-filled metal ARROWHEAD onto an
arrow, and SHOOTS the arrow from a bow. The arrow hits a
HELICOPTER, which bursts into FLAMES.
GIZMO (0.3.)
Neat!
But as the helicopter starts to burn, Mr. Wing comes back and
angrily turns the TV set OFF, addressing the unseen Gizmo.
MR. WING
Television again! Ai-vuh !. An -
invention for fools.
CD
As he starts COUGHING again,
5A INT. LIMO/EXT. CHINATOWN STREET (MOING) - DAY 5A
Forster and the bodyguards are dri away from Mr. Wing's
store.
BODYGUARD
I'm sorry that didn't work out,
sir. I thought he'd like the TV.
FORSTER
You hear that cough? The guy must
be eighty -- maybe ninety. We can
wait.
A STING of solemn CHINESE MUSIC covers the
DISSOLVE TOt
6 EXT. CEMETERY - MORNING 6
Seen through distance and morning MIST, a burial ceremony is
taking place, to the accompaniment of the continuing MUSIC.
7 EXT. CLAMP CENTRE - DAY 7
A huge office tower whose sign reads CLAMP PREMIERE REGENCY
OFFICE CENTRE.
8 INT. CLAMP CENTRE - CABLE TV EDITING ROOM 8
Near a SIGN reading CLAMP CABLE NETWORK, a NEWS PRODUCER and
REPORTER are editing videotape that we see on MONITORS. The
tape is of the reporter doing his standup in Chinatown, on Mr.
Wing's boarded-up block.
REPORTER (ON TV)
Mister Wing' ath removes the
last obstacl eveloper Daniel
Clamp's long- ehinatown
project...
PRODUCER
"is Then we go to the boss --
The video IMAGE SWITCHES to Clamp being interviewed behind his
spotless, high-tech desk.
CLAMP (ON TV)
.obviously a sad occasion, but
the bright side is that we can go
ahead with something that will mean
a great deal to the community down
there...
REPORTER
That old guy had some neat stuff in his
store. You think they'll auction it off,
or...?
PRODUCER
Nash...I hear they're just gonna tear it
down.
CUT TO:
9 OMIT 9
10 INT. MR. WING'S STORE 10
CAMERA moves through the deserted store, and settles on Gizmo's alcove.
The mourning Mogwai has climbed into his old CAGE, and site in there with
the door open. He wears a black armband, and SINGS a sad, minor-key
version of his familiar song.
LN
CUT TO:
10A THE ARM OF A CONSTRUCTION CRA ") I OA
moving toward us, fast. C)
10B INT. STORE
CLOSE on Gizmo, reacting in fear Cthe crane arm advances toward him. A
WIDER ANGLE shows the crane C iING into the store.
Gizmo leaps down from the cage, and narrowly escapes, with the crane arm
right behind him. As a rain of wood and planter DEBRIS falls around him, he
runs away...
10C EXT. ALLEY BEHIND STORE 10C
...into the alley behind the store, and scampers to safety behind an ASHCAN,
his chest heaving. But now he looks up, startled and scared
;a pair of human HANDS reach down Into FRAME and capture him...and
SMASH CUT TO:
11 A BILLBOARD 11
showing the ostentatious structure Daniel Clamp is building on the grave of
Mr. Wing's stare. The copy reads "COMING SOON -CLAMP CHINATOWN CENTER
- Where Business Gets Oriented." On the cut, there is MUSIC -- a rap song
such as Grandmaster Flash's "The Message."
GRANDMASTER FLASH (V.0.)
It's like a jungle sometimes,
It makes me wonder
How I keep from going under...
(CONTINUED)
REVISED - MAY 3, 1989
6.
0 11 CONTINUEDS 11
As MAIN TITLES begin, PAN DOWN to
EXT. NEW YORK STREETS (TIMES SQUARE AREA) - MORNING
The outright madness of New York at rush hour. Herds of WORKERS
push past VENDORS, HOOKERS, 3-CARD MONTE ARTISTS, etc.
CAMERA settles on BILLY PELTZER and his girlfriend KATE, heroes
of the Gremlin siege of Kingston Falls. Though they're a few
years older now, Billy and Kate are still small-town types, who
keep getting elbowed aside by the sidewalk crowd. Billy wears
business clothes, and Kate is in a uniform-type skirt and
blazer. SPOT Universal Price Code-type BAR CODES on the chest
of Billy's sportscoat and Kate's blazer.
KATE
I should be finished by six
tonight. If we go straight from
work, we can make the Early Bird
Special at the movies.
BILLY
It's going to be close. Maybe we
could do it tomorrow -- no,
tomorrow's when the Futtermans are
S
coming to town.
KATE
Mister Futterman must be getting
better, if he can travel.
BILLY
His wife says he's getting better.
He's just been -- rattled.
KATE
I guess having a bunch of monsters
drive a snow plow through jour
living room could kind of that
to you. He almost got kied.
BILLY
Right.
(checks his watc4LI
We're gonna be late,
12 EXT. 45TH STREET 12
He steps to the corner snails a TAXI.
TAXI DRIVER
You goin' a' the airport?
(CONTINUED)
REVISED - May 31, 1989
7.
12 CONTINUEDE 12
BILLY
No, the --
The taxi ROARS away -- Billy lets go of the door handle just in
time.
KATE
Billy...I don't think we're getting
the hang of New York.
13 OMIT
13
13A EXT. STREET NEAR CLAMP CENTRE - MORNING
13A
FOLLOW Billy and Kate as they approach the Clamp office
building, where we saw guys editing videotape earlier.
BILLY
I'll try and get out early tonight.
I have to finish that drawing of
the Chinatown building...
(shakes his head)
You know, I -had the whole thing
just right they're making we
take twent p ies off the World
Trade Center ofjbVilding looks
bigger. Z? F
KATE
A lot of people aren't as thered
by that kind of thing as you are,
Billy.
BILLY
Yeah, no kidding...I don't think
I'm getting that promotion this
year.
KATE
That's okay. We don't have to
wait.
BILLY
Yeah we do. It wouldn't feel
right, getting married on the money
I'm making now. It's bad
enough that you got me the job --
KATE
I didn't get you the job, I just
heard about it. Billy, you can get
promoted and stuff if you want to,
but you have to act like you
deserve it. Let people know you're
there.
14 EXT. CLAMP CENTRE 14
They arrive at the DOORS to the building's lobby. In addition
to regular glass doors, there are a couple of REVOLVING DOORS,
BILLY
Want to try the revolving doors
today?
Before Kate can answer, a WORKER enters one of the revolving
doors. The power-assisted door, going too fast, WHOOSHES him
inside, and we HEAR --
WORKER (O.S.)
Aagghhh!
KATE
Uh-uh.
They use a regular door instead.
15 INT. CLAMP CENTRE LOBBY 15
The ultra-modern, m j �tal-style lobby includes several retail
BUSINESSES, including�'1"�sS, ESTAURANTS, a FROZEN YOGURT STAND,
a BEAUTY PARLOR, and CLOTH RES.
As Billy and Kate enter, they av i6l$ thread their way through
several WORKERS sprawled in front othe revolving doors. The
workers are getting dizzily to their feet, gathering their
spilled briefcases, etc. SPOT bar-codes, like Billy's and
Kate's, on the chests of several of the workers.
Kate waves hello to a thirtyish WOMAN (DOREEN) who's guiding a
TOUR GROUP through the lobby. Doreen wears a uniform like
Kate's, plus a matching HAT in the shape of the building.
DOREEN
.hope you've enjoyed your tour of
the world's most modern automated
office building. Don't forget,
copies of Mr. Clamp's best-selling
book, I Took Manhattan, are on sale
at the newsstand...
KATE
Don't let things get to you.
(CONTINUED)
They kiss.
BILLY
I Won't.
9.
15 CONTINUED: 15
FOLLOW Billy to a bank of elevators. He pushes a button, and a
"soothing" electronic VOICE speaks.
VOICE (V.O.)
Thank you for pushing the button.
The elevator will be here soon.
Nearby, CAMERA picks up Daniel Clamp's lieutenant Forster. As
Forster walks hurriedly through the lobby, his belt pager
BEEPS.
At the sound, Forster changes course, heading for an ALCOVE offer
the lobby, where he unlks_ a cabinet and opens it ' -�"eveal it
big TV SCREEN with Clamp's impatient face on it, and a i&e _
CAMERA on top.
CLAMP (ON TV)
Forster, I've got the planning
commission people coming in here
today. Those condos I want to
build, on top of the Chrysler
building? We'rea a close to an
okay.
FOR
Yes sir.
J (ON TV)
So I wan A is place running like
a clock the systems, the
people, verything.
FORSTER
Yes sir. I'm doing a decor
compliance check this morning.
Tonight I'm doing a random drug
search, and --
He's interrupted as an aging MAN IN A DRACULA COSTUME (GRANDPA
FRED) comes over to the cabinet and tries to address Clamp over
the TV hookup.
GRANDPA FRED
Excuse me. Mister Clamp, could I
speak with you for a --
FORSTER
We're busy.
GRANDPA FRED
I just need a --
Forster snaps the cabinet shut.
FORSTER
I said -- we're busy.
16 ANGLE - BILLY AT ELEVATORS 16
As the elevator doors open, Billy is joined by MARLA, the
chain-smoking, New Yorked-out head of his department.
MARLA
Billy --
BILLY
Hi, Marla, how --
MARLA
Your Chinatown drawing. We have
to have it. It's a crisis panic
emergency. The printers are
killing us --
BILLY
Yeah, I just have to --
They get on the elevator, with other WORKERS. The doors close.
17 INT. ELEVATOR (C) 17
ELEVATOR VOO(V.O.)
Please state your desired floor
number.
CIN
MARLA WORKER
I've got thirty- (to
two people ' elevator)
screaming at me for -- Sixt--
ELEVATOR VOICE (V.0.)
Your request is floor thirty-two.
Digital NUMBERS flash past on the elevator's display.
WORKER
(to elevator)
No, no, not thirty--
BILLY
(to worker)
Don't --
But it's too late.
ELEVATOR VOICE (V.0.)
You have cancelled floor
thirty-two.
The elevator violently STOPS SHORT, tossing everybody around.
ELEVATOR VOICE (V.0.) (CONT.)
Please state your new desired
floor number.
(CONTINUED)
Revised - 3/6/89
11.
17 ALLRINUM:
MARLA
0 (to elevator)
Sixteen.
(to BiIIy)
I hate this thing.
The elevator stops at their floor, and the doors open. Billy
follows Marla out into
18 INT. OFFICE AREA.----''s 18
The advertising department of Daniel Clamp's empire occupies
modern, "open-plan" offices -- endless beige partitions form
tiny CUBICLES full of "ergonomic" furniture. Unseen speakers
pipe in "WHITE NOISE" -- low-volume static to insulate
conversations.
MARLA
Listen, this deadline. Its not
my fault. They're making me
miserable so I have to make you
miserable. It's a complete heart
attack disaster horgor story.
As Billy and Marla walk, t ass a WORKER who's -t4ing to get
a drink from the d ar ygr WATER_ When he
pushes the button, the f ain'ss ,got' VERSHOOTS by several
inches, SPLASHING onto The worker contorts himself
to get, a drink,,b is face SPLASHED when the fountain
surges.
Billy and Marla a4lie at Billy's cubicle, whose "work station"
consists of a dra g board and several drawers. The PHONE is
equipped with a VIDEO SCREEN. SPOT a small, struggling POTTED
PLANT, and, pinned to the cubicle wall, Billy's DRAWING of the
main street of Kingston Falls.
On Billy's drawing board is an illustration of Clamp's
projected Chinatown building -- _a l s monstrosity with insane
pagoda touches. But Billy has tried to breathe some' 3 e into
it, wit r T the street, kids flying dragon kites, etc.
Marla looks over Billy's shoulder at the drawing.
BILLY
It's almost finished. I just have
to make some --
MARLA
That courtyard looks cold.
That'd be nicer with the trees.
BILLY
Are they going to plant trees
40 there?
(COMINUED)
Revised - 3/6/89
I1A.
18 CX INu : 18
0 MARLA
No, but you're going to draw them.
(CONTINUED)
REVISED April 20, 1989
12.
18 CONTINUED: 18
BILLY
But, Maria ----
MARLA
Elms.
BILLY
Right.
He's about to sit down to work, when Daniel Clamp's lieutenant Forster and
his clipboard-carrying ASSISTANT come down the row of cubicles, looking
around.
MARLA
Hi, Mister Forster.
Forster nods at Marla, runs an eye over Billy's cubicle.
FORSTER
It looks like somebody hasn't( i
employee manual...d ' 1 it, r
As he speaks, Forster opens a �therette folder and takes out a bar-code
reading WAND attached to the folder by curly cable. He runs the wand
over the bar-code on Billy's chest, and reads from an LCD display in the
0 folder.
FORSTER (CONT.)
-- Peltzer.
BILLY
Uh, what's --
FORSTER
Unauthorized potted plant -- possible
aphid infestation.
As Forster's assistant jots on his clipboard, Billy puts the plant in a desk
drawer, and Forster spots Billy's drawing on his partition.
FORSTER
What ig this?
BILLY
My home town.
FORSTER
Mister Peltier, do you know how much
the Clamp organization has spent to
provide its employees with art by
recognized artists at this facility?
0
He points to a piece of anonymous "bank art" on a nearby wall.
(CONTINUED)
'REVISED 3/15/89
13.
0 8 CONTINUED: (2) 18
FORSTER (CONT.)
Eye-resting. Color-coordinated.
Authorized,
BILLY
Yes air. It was just a --
FORSTER
A little touch, yes. Maybe
eyerybods here would like to do
some little touches. Coffee mugs
that say "World's Greatest Lover."
The cute little hula doll they
bought in Hawaii. The "Snoopy"
comic that just says it JJ1.
You'd like that, wouldn't qu,
Mister Peltzer? d 1
BILLY
Q)
i don t see any --
Q>
FORSTER
Coming to work every day in a Jy_Q
hundred million dollar flea
marks XZZ
He turns to move on. 0
ASSISTANT
With a "z," right?
As the assistant follows Forster away, Billy puts his drawing
of Kingston Falls in a pocket. Marla stews.
MARLA
Billy, this is Just what I don't
need right now. Do you realize
we've got department review in
three weeks? This is a nuclear
meltdown disaster, I mean it.
BILLY
Sorry, Marla.
CUT TO:
19 INT. LOBBY 19
Kate leads a group of TOURISTS through the lobby.
(CONTINUED)
I
REVISED - May 31, 1989
14.
0
19 CONTINUED: 19
KATE
The Clamp Centre is the most
advanced "smart building" in
America, with the latest, in
security, communications, and
climate control. If you'll follow
me over here...
Still talking, she takes them toward a STAIRCASE.
KATE (CONT.)
The Clamp Centre is just one part
of Mister Clamp's round-the-world
business network, which includes
construction, sports, finance, and
a popular line of jams and
jellies...and, of course, as those
of you who have cable TV at home
know, the Clamp Cable Network.
20 INT. CABLE STUDIOS 4,t1iOL ROOM 20
CLOSE on a VIDEO IMAGE oft v With Marge show. MARGE
0 takes a dish from one of many ' r ovens on her set.
MARGE
.some people have written in to
say that, if they're serving these
dishes in a dark room, maybe for
those romantic occasions, they
notice a glow coming from some of
the meat courses. Now, that's
perfectly normal...
REVEAL that this image is on a control-room monitor at the Clamp
Cable studios. Billy, carrying a shopping bag, passes the
control roomand turns down a narrow hallway.
21 INT. GRANDPA FRED'S STUDIO 21
The run-down set of grandpa Fred's House of Horrors, a hosted-
horror-movie show. Billy comes in and stands behind the
CAMERAMAN. GRANDPA FRED, the guy who tried to talk to Daniel
Clamp on the lobby TV hookup earlier, is an old trouper in a
moth-eaten Dracula outfit. He's giving the show his demoralized
best shot.
(CONTINUED)
15.
0 21 CONTINUED: 21
GRANDPA FRED
.tonight's movie is so scary
-- the people who saw it when it
came out in the theaters twelve
years ago are just learning how
to speak simple phrases and eat
solid food again! That's right'.
Talk about scary' It's a good
thing your Grandpa Fred is here
with you --
He waits for something he expected to hear, but it doesn't
happen. He breaks character.
GRANDPA FRED (C0 )
Where's the moan?
DIRECTOR (0.
(on P.A. from boo
The what?
GRANDPA FA
The moan. There's posed to
be a moan, from t ck, and I
say, "Oh, Renfield, y a o u want some
more flies, don't you," and I go
back there and open the door --
DIRECTOR (O.S.)
Oh. Sorry, Fred. Can somebody
find the tape with the moan?
Grandpa Fred sits down, disgusted. Billy goes over to him.
BILLY
Hi, Fred. Hey, I was sorry to
hear about your new time slot.
I think they're making a big
mistake.
GRANDPA FRED
A mistake? Kid. it's a disaster.
People that watch TV at
three-thirty in the morning are
not scared of the Wolfman. The
only thing that scares those
people is getting sober and
finding work.
BILLY
Yeah. I brought you something.
(CONTINUED)
REVISED 3/31/89
16.
21 CONTINUED: (2) 21
Billy reaches into his shopping bag, and pulls out a mechanized
BAT that flaps its wings as Billy pulls the trigger. Grandpa
Fred recoils.
GRANDPA FRED
Watch it with that thing.
Billy puts the bat on top of a cobwebbed TV SET that's part of
Grandpa Fred's set.
BILLY
I thought it would look good over
here.
GRANDPA FRED
Frankly, kid, this was not what I
had in mind. I went Into
broadcasting, I wanted to do news.
Public affairs. Something
meaningful.
BILLY
Horror movies can be meaningful,
Fred. You should run some of the
classics -- Frankenstein,
m a cula...
S
GRANDPA FRED
All the great horror movies are in
black and white. Mister Clamp
only likes color. I donky ven
have a gimmick. No species
effects. A puppet that c s out
of a box -- whoopee.
DIRECTOR (O.S.) O
We've got the moan, Fred.
A listless, anemic MOAN is heard through the P.A.
GRANDPA FRED
That's the moan?
DIRECTOR (O.S.)
That's what we've got, Fred.
And... rolling...
Grandpa Fred gamely goes back into character.
GRANDPA FRED
Oh, Renfield, you want some --
DIRECTOR (0.$.)
E
Lunch, everybody. Sorry, Fred.
We'll pick it up right there.
(CONTINUED)
REVISED - July 7, 1989
17.
0
22 INT. LOBBY - BILLY AND GRANDPA FRED
22
FOLLOW Billy and Fred as they walk through the lobby.
BILLY
You should run some of the
classics, Fred -- FFAnkenstein,
Dracula ...
GRANDPA FRED
All the great horror movies are in
black and white. Mister Clamp only
likes color. That guy is
str___._. ange.
BILLY
You've seen him?
GRANDPA FRED
Well, of in person, but --
just to this building. You
know wha V t nd f tenants they have
here? There' esearch
laboratory upat t2 -- tenet,] c
research. Foolin d with
animals, cutting thl .last
3 F
week, they took out a patent on a
new kind of gerbil. People think
Ia creepy.
BILLY
Well -- I wanted to get away from
Kingston Falls. I guess I did.
GRANDPA FRED
You. got that right, kid. Have you
heard these voices they have here
now? Don't look at me like that.
You know that white noise they play
all the time? The static?
BILLY
Yeah. That's so they can put
people close together and they
won't overhear each other. You're
not supposed to notice it.
GRANDPA FRED
Sure. But if you listen to it --
there are little voices in there.
0
You can almost hear what they're
saying, but not really. That's a
horror movie -- The Building That
Wuldn't Shut tln.
(CONTINUED )
REVISED - July 7, 1989
17A.
22 CONTINUED: 22
0
What would do that for?
GRAND FRED
That's what th Id's coming to,
kid. You can't talk to
yourself without ebody
interrupting.
CUT TO:
0
0
REVISED - May 31, 1989
18.
Z3 INT. SYSTEMS CONTROL CENTER 23
The Clamp Centre's "nerve center" looks like an air traffic
control tower: TECHNICIANS hunch over meters, monitors, and
switches, tracking the building's systems.
Forster comes in and walks past several technicians, looking
over their shoulders. One computer monitor tracks the
elevators' movements, while others give spy-camera views of
EMPLOYEES in corridors, bathrooms, etc.
Forster talks to a TECHNICIAN who mans controls labelled "WHITE
NOISE" and "VOICE."
FORSTER
Let me hear the voices.
The technician brings up VOICES on a speaker. They sound like
voice-overs on slick TV commercials.
ANNOUNCERS' VOICES
(dynamic many
.I'm an honest kind of guy -- and
not stealing office supplies works
for me, and e way I live today...
0 (SEXY 4
When I save m ' the Clamp
organization, I fe go4 about
myself all over...
(brainy man)
You know, I've been thinkin
Mister Clamp would make a great
president...
FORSTER
That's fine --
A TECHNICIAN
to Forster)
It's for you, sir.
Forster turns to see a technician pointing at a MONITOR showing
CLAMP'S FACE. Forster greets the screen.
FORSTER
Yes, Mister Clamp.
CLAMP (ON TV)
I'm going to a meeting about the
Vermont thing. It looks like that
takeover is going to happen.
FORSTER
That's terrific, sir.
(CONTINUED)
Revised - 3/6/89
19.
23 O C NTINUED
23
CLAMP (ON TV)
No kidding. How many guys do you
know that have their own state?
Did I show you that picture of the
mountains?
FORSTER
Yes sir. Tall!
CLAMP (ON TV)
While I'm in there, get that
revolving door fixed downstairs.
It shorted out last night while I
had some money people here. Mrs.
Tanaka is still spinning.
FORSTER
I'll --
But a Camp LOGO ;ills the monitor screen, and Clamp's face
disappe rs behipo- it.
Forster turns and looks over a technician's shoulder at a
MONITOR. A spy CAMERA shows a stressed-out EMPLOYEE lighting a
cigarette in a STOREROOM.
TV)
0 Forster punches button on the cinsole, picks up a microphone
and talks into it:
FORSTER. 5NT.)
That's an unaut iz,pd break
period, pal. a don't work here
anymore.
On the monitor, the startled employee looks around for the
source of the voice.
FORSTER (CONT.)
We have a problem communicating
here? You're gone. Clean out the
desk. One hour. Thanks so much.
He puts down the mike, and moves on to lczg�..�aatier°`t4`S'"sioul"d?r
p switch marked OXYGEN. '
FORSTER (CC3NT. )
What are you doing?
TECHNICIAN
(indicates meters)
There's not much air in the
building, sir.
0
(GON'PIN[JED )
REVISED 34 1 /89
20.
23 CONTINUED: (2) 23
0
FORSTER
At four o'clock, people go into a
slump. Then we give them oxygen,
TECHNICIAN
Yes air.
CUT TO:
24 INT. GENETICS LAB - RECEPTION AREA 24
With its cheerful wall sign reading SPLICE-O-LIFE INC., this
reception area seems normal, except for the ANIMAL NOISES that
drift in from the back rooms.
A MESSENGER with a package, finding no one at the rception
desk, goes past it, into an inner corridor...
24A INT. CORRIDOR/GENETICS LAB 24A
.to the fringe of a laboratory so high-tech it makes the rest
of the building look down-home. As he looks into the lab,
peering curiously at SCIENTISTS, GADGETS, potted PLANTS and
caged ANIMALS, his attention is captured by a SOUND from the
0 back -- Gizmo's song, in that sad minor key.
Half-consciously, the messenger picks up the melody, and starts
WHISTLING it to himself -- until PEGGY, the lab's receptionist,
comes over to his.
LCN
PEGGY 11.0
Can I help you?
C )
MESSENGER
Yeah, got a delivery here..
He follows her back to
24B INT.RECEPTION AREA 24B
MESSENGER
What kind of stuff do they do-ft
there, anyway?
PEGGY
We're not supposed to talk about
it.
MESSENGER
Huh. This is for Doctor Catheter.
0
PEGGY
I can sign for it.
(CONTINUED)
REVISED 3/15/89
21.
24B CONTINUED: 24B
0
Peggy's got a bad case of the sniffles -- she blows her nose as
she signs the paperwork and hands it back.
MESSENGER
Okay. This copy's yours. Thanks.
Whistling Gizmo's tune again, the messenger leaves the office
-- almost running into DR. CATHETER, Splice-o-Life's chief
scientist, who's on his way in.
PEGGY
Doctor Catheter, this just came
for you.
DR. CATHETER
(taking package)
Oh, good. This might be my
malaria...
(opening package)
No, this is just rabies. I have
rabies. And I was supposed to get
the flu this week.
LR
PEGGY
I think the flu is on b;Eo -order.
She takes out a Kleenex, blows he(;Z>nose again. Dr. Catheter
holds his hand out. Q
DR. CATHETE
May I have that, Peg
PEGGY Q)
Oh, uh -- sure...
Dr. Catheter takes the Kleenex, and heads for the inner office.
DR. CATHETER
(shakes his head)
Back order. All a man wants is
some fresh germs...
FOLLOW Catheter back to
25 INT. GENETICS LAB
25
In this closer look, we SEE that many of the plants and animals
in the lab are hooked up to mysterious gadgets.
Catheter goes over to WALLY, a white-coated scientist. The
fluorescent LIGHTS over Wally's area are flickering.
0
DR. CATHETER
Hello, Wally. Your lights are
flickering again.
(CONTINUED)
REVISED - July 7, 1989
21A.
0 25 CONTINUEDI 25
Wally's eyes are BLINKING in precise synch with the flickering
of the fluorescent bulbs.
WALLY
Are they?
Dr. Catheter turns to a table where several different potted
vegetable PLANTS are att ed to collecting tubes that feed into
a central glass VIAL.
DR. CAfTER
How are we doing on a vegetable
medley plant, Wally talked to
the Bird's-Eye peopl ain.
They're very excited .
Wally nods, sighing -- the long-sgff ring researcher.
WALLY
We came close yesterday, Doctor.
But it rejected the pimento.
DR. CATHETER
You'll get it, Wally.
0
WALLY
I'm very pleased about this bat
project, though...
He leads Catheter toward a group of ANIMAL CAGES,
WALLY (CONT.)
You know, in some parts of the
world, there are millions of bats.
They could make terrific
messengers, like pigeons...
DR. CATHETER
Yes, but they only come out at
night.
WALLY
That's what we're working on, sir.
They arrive at a cage where a resting BAT hangs upside down. An
intravenous TUBE, sticking out of the bat's flesh, is connected
to a drip bottle whose label bears a shining SUN logo.
WALLY (CONT.)
This is a formula of vitamins,
0
hormones, and French sunblock.
Soon, he'll be totally desensitized
to bright light. Watch --
(CONTINUED)
REVISED - July 7, 1989
21B.
0 CONTINUEDI
25
Wally flips a switch, and a bright SUNLAMP shines on the bat.
The little creature stretches luxuriously, warming itself in the
rays, like a basking cat.
DR. CATHETER
Very nice.
Catheter draws closer to Wally, and speaks with creepy
FASCINATION:
DR. THETER (CONT.}
I believe sow them feed
on...�g�. %
WALLY
Oh, uh -- that's fferent bat,
Doctor. South Amen.
DR. CATHBTF "
(DISAPPOINTED)
Ah. Well, good work, lly...
Catheter moves on. Another SCIENTIST approaches Wally in b.g.
(CONTINUED)
REVISED May I1, 1989
22.
25 CONTINUED: 25
SCIENTIST
0 Wally, could you let me have some
growth hormone? I'm a little
short.
FOLLOW Catheter to another side of the lab, where two more
SCIENTISTS are at work. One of them (LEWIS) greets Catheter,
while the other (MARTIN) has his back to us at the moment.
DR. CATHETER (CONT.)
Hello, Lewis.
LEWIS
Hi, Doctor.
DR. CATHETER
How's that cloning work coming?
Martin turns around. He is Lewis's IDENTICAL TWIN.
MARTIN
R R e l_ well, Doctor.
The twins talk in rapid e nation, as if they share a brain.
LEWIS t A
Say, Doctor, look at
0
MARTIN
.I think you'll find it
interesting.
Following the SOUND of the crooning that caught the messenger's
attention, they take Catheter over to a lab table where the
LIGHTS ARE LOWERED above a covered cage. Martin pulls back the
cloth to reveal GIZMO, who stops singing and looks up at them.
LEWIS
Some sort of rodent, apparently...
MARTIN
.and it can't take bright light.
LEWIS
Watch this, Doctor.
He opens the side door of Gizmo's cage and turns on a TAPE
PLAYER. Hearing the bouncy ROCK MUSIC, Gizmo playfully DANCES
out of the cage as the scientists talk.
DR. CATHETER
Hmp! Qu-te, isn't he?
MARTIN
That may be genetic...
(CONTINUED)
23.
CONTINUED: ( 2) 25
LEWIS
.we're not sure yet.
But as he amuses his captors, Gizmo is slyly looking around for
a way out of here. He edges farther away from the cage...
DR. CATHETER
Not so fast, pal.
He abruptly switches the MUSIC off, and GRABS Gizmo just before
the Mogwai can make good his escape. Dr. Catheter sticks the
frightened Gizmo back in the cage, and shuts the side door
firmly.
DR. CATHETER (CONT.)
What's wrong with you two? He
almost made a break for it.
MARTIN
Sorry, sir
DR. CATHETER
How are you going to pro, with
him? (vim
LEWIS 113
Cell samples tomorr
MARTIN
.tissue culture hursday.
DR. CATHETER
And then there's body structure.
And for that, my little friend...
The three scientists LOOM over the terrified Gizmo. Dr.
Catheter reaches into the cage to give Gizmo a POKE.
DR. CATHETER (CONT.)
.we'll just have to cut you.
CUT TO:
26 INT. BILLY'S 0 26
Billy, in his cubicle, stares at his Chinatown drawing. Just
as he lowers pencil to paper, the LIGHTS overhead go out.
BILLY
Hell.
The WORKER in the next cubicle speaks up.
(CONTINUED)
24,
0 26 CONTINUED: 26
CUBICLE NEIGHBOR
Jump around.
BILLY
What?
CUBICLE NEIGHBOR
You sat still for too long. The
building thinks you left. It's
saving energy. Jump around.
Billy jumps around, and the LIGHTS come back on, as the
messenger who visited the genetics lab comes to the Cubicle
Neighbor's desk with a package.
MESSENGER
Package for you.
CUBICLE NEIGHBOR
Oh. Thanks.
But as the Cubicle Neighbor signs the�(P erwork, the messenger
whistles to himself -- Gizmo's song min, in that sad minor.
For a moment, Billy doesn't regis t -- and then CAMERA
catches the realization dawningQ� s face, as he looks over
the cubicle partition and asks ijr'lntly:
BILLY
Where did you heaA-11; at?
MESSENGER
Huh?
BILLY
That music. Where did you hear
it?
MESSENGER
Oh, uh --
(HUMS)
Dah dah, dah dah dah dah -- isn't
that by Sting?
BILLY
No. It's not by Sting. Think.
Where did you --
MESSENGER
Oh, hey -- I know. I was up in
that laboratory, you know, on
eighteen, and somebody was, like,
humming it --
(CONTINUED)
REVISED 3/15/89
25.
0 26 CONTINUED: (2) 26
BILLY
Did you see who it was?
MESSENGER
Nuh-uh, it was in the back --
Billy takes off.
27 INT. SPLICE-O-LIFE - RECEPTION AREA 27
Peggy is sitting at the reception desk as Billy comes in,
carrying a red TOOLBOX.
BILLY
How you doin'? I bear your
copier's down.
PEGGY
Oh. Hi. It's back in ther4.
28 INT. GENETICS LAB 28
As the scientists work, ANIMALS makb-restless noises in their
cages, most of which are hidden by covering cloths.
Billy strolls in and starts "fixing the copying machine,
0
removing parts at random as he WHISTLES Gizmo's song.
A moment later, the melody comes b&ek to him, in Gizmo's croon,
from a corner where there are several covered cages.
Billy looks around -- the scientists are absorbed in their
work.
29 ANGLE - SCIENTISTS 29
Martin and Lewis have clipped ELECTRODES to the EARS of a
nervous-looking RAT. They're preparing to throw the toggle
switch of a strange-looking DEVICE connected to the electrodes,
as Dr. Catheter looks on.
MARTIN
This is the most interesting bio-
electrical work I've ever been
involved in. Here you go, boy...
He FEEDS the rat some liquid from a VIAL with a LIGHTNING-BOLT
insignia on its label.
LEWIS
Think of it...millions of rats in
New York, and everyone hates
them...
(CONTINUED)
REVISED 3/15 /89
26.
29 CONTINUED: 29
MARTIN
But if one of them could power a
portable radio for a month...
He throws the switch. The rat's eyes WIDEN, then calm down as
the current goes off.
Dr. Catheter touches the rat, and quickly pulls his hand back
from the electric SHOCK.
DR. CATHETER
Definite progress, fellows. if we
could just make it safe to touch
them...
MARTIN AND LEWIS
Hmm...
30 30
ANGLE - BILLY
He wanders back to the corner zmo's voice is coming from.
Two caged MONKEYS chatter at lm as he passes.
F
Billy, whistling, lifts the cTiver on the wrong cage. He drops
it in shock as he gets a GLIMPSE of a growth-hormone
experiment: a hairy SPIDEbout twelve inches across.
Then, as Gizmo's singin news, Billy's eyes fall on the right
covered cage -- and theeaming SCALPELS arranged next to it.
Billy heads back to the copying machine. On the way, he flips
the latch on the monkeys' cage --
-- and is back at the copier in time to look up, "surprised,"
as the excited monkeys scamper past his into the center of the
lab, distracting the scientists --
LEWIS
Theodore! What are you doing out?
MARTIN
Alvin! Put down that DNA!
As the scientists chase the monkeys, Billy hurries to Gizmo's
cage. He opens the cage, and HIS EYES MEET GIZMO'S -- it's
hard to say which of then is more excited.
But the gala reunion will have to wait. Billy scoops Gizmo
into his toolbox. He walks out of the lab, leaving the copier
a mess.
0
REVISED 3/15 /89
26A.
31 INT. CORRIDOR 31
Walking faster now, Billy ducks into a men's bathroom, whose
wordless SIGN shows a little emblematic man holding a
briefcase.
32 INT. BATHROOM 32
Billy goes through a small anteroom and a second door, into the
bathroom, where he leans against the door, catching his breath.
(CONTINUED)
0
REVISED May 16, 1963
27.
E
INT. BATHROOM
32 32
Billy goes through a small anteroom and a second door, into the
bathroom, where he leans against the door, catching his breath.
He starts to lift the cover on the cage, then remembers to turn
the LIGHTS down. He lifts the cover --
A boy and his Mogwai! EMOTIONS flood over their faces --
recognition, relief, shared secrets and memories. Billy props
the cage on a sink, takes Gizmo out.
BILLY
Hey, guy...did you miss me?
Gizmo does EYE MOVEMENTS -- shyly hedging, then admitting it.
BILLY (CONT.)
Yeah, me too. Let's put you up
here. We don't want to get any
water on you.
GIZMO
(Twitterpg of strong agreement.)
0
s doing
Gizmo shrinks back, terrified.
BILLY (CONT.)
That bad, huh? How did you get in
there? What happened to Mister
Wing?
Gizmo looks sad -- indicates his armband.
BILLY (CONT.)
Oh. I'm sorry. But then --
He stops at a sudden SOUND -- VOICES in the anteroom between the
bathroom and the hail.
BILLY (CONT.)
Quick -- get in here.
He slips Gizmo into the tool box, above his protesting TWITTERS.
BILLY (CONT.)
Sshh -- just wait a minute --
(CONTINUED)
REVISED May 16, 1989
28.
32 CONTINUED; 32
R
Billy sets about furiously washing his hands, just as Forster
comes into the bathroom. Billy doesn't see him standing there,
until he shakes water off his hands --
FORSTER
You're wetting my shoes, Peltzer.
Billy sees Forster, sees the shoes, grabs a paper towel and is
about to drop to his knees.
BILLY
I'm sorry, sir -- let me --
FORSTER
Stand up, Peltzer. Come with me.
Billy grabs the tool box and follows Forster out the door. As
they go into the anteroom, Forster's clipboard-carrying
ASSISTANT joins them. #
33-41 OMIT 33--41 #
42 INT. CORRIDOR 42
With his assistant ar )f�lly watching, Forster points to the
sign on the bathroom d r.
FORSTER
Do you know what that eans,
Peltzer?
BILLY
It means "men's bathroom."
FORSTER
What is the man holding?
BILLY
In the bathroom?
FORSTER
On the sign, Peltzer.
BILLY
Oh. A little briefcase, sir.
FORSTER
That's right. Because this -- is
the executive washroom. I don't
think you belong in there, do you
Peltzer?
0
BILLY
Oh. Well. My mistake --
(CONTINUED)
REVISED May 16, 1989
29.
0 42 CONTINUED: 42
Forster whips the bar-code reader wand out of his leatherette
folder, runs it over Billy's chest insignia again, and pushes a
BUTTON in the folder. A calculator-type PRINTOUT churns out of
the gadget, and Forster looks it over.
FORSTER
(READING)
Lateness infractions... and these
SAT scores --
BILLY
(tries to see)
That's in there?
Forster snaps the folder shut. Gizmo, restless, RATTLES the
tool box.
FORSTER
What's in the box, Peltzer?
BILLY
Oh, uh -- art supplies.
(ratt s box harder)
I'm mixin ' nts. Well, I better
get back t 1 here --
0
He backs down the hall, th /j ns and speeds up. HOLD on
Forster and his assistant, w ing Billy leave.
FORSTER
Hm. I think our "random" drug
search later on should be very
interesting.
ASSISTANT
(jots on clipboard)
Got it, sir.
43 INT. BILLY'S CUBICLE 43
Billy returns to his cubicle, the restless tool box still in
hand. He opens a drawer in his desk, slips Gizmo inside.
BILLY (CONT.)
Gizmo, you've got to be quiet. You
don't want to go back to that
laboratory, do you?
GIZMO
(Muffled twitter of acquiescence.
E BILLY
We'll go home soon, and --
(CONTINUED)
REVISED May 16, 1989
30-/31-
43 CONTINUED: 43
40
Billy is interrupted by someone GASPING sharply beside him, and
he realizes that all noise and conversation around him have
ceased. He quickly SLAMS his desk drawer shut, almost squashing
Gizmo's paw --
-- and looks up to SEF' one staring as Daniel Clamp, with
two BODYGUARDS, walks do �e row of cubicles. No one can
quite believe that the tyc on here in the flesh.
40
REVISED May 11, 1989
E
4? CONTINUED: ( 2) 43
Maria moves quickly to greet him, and they meet beside Billy's
cubicle.
MARLA
Mister Clamp -- sir, I'm Marla
Bloodstone, I'm the department head
here, if there's anything I can --
CLAMP
That's okay. Everybody just relax,
and go back to what you'd be doing
normally. I know I haven't been
down here before, but that's going
to change. I'm going to be a
little more "hands-on" with these
operations from now on...
As he speaks, Clamp glances over Billy's shoulder, and spots the
Chinatown drawing.
CLA' ?10 NT. )
Hey, t.h,s is ex 1A
BILLY
This?
CLAMP
You've captured the whole essence
of the project here. Look at the
kids with the kites. That's
warmth. I like warmth. What's
your name?
BILLY
Peltzer. Billy -- Bill Peltzer.
Marla watches, saucer-eyed, as Clamp shakes hands with Billy.
CLAMP
That's what we need here. People
who produce.
(points to drawing)
Let's lose these elm trees, though.
People think "elm," they think
"Dutch," "disease" --
Gizmo's drawer rattles open. Billy snaps it shut.
CLAMP (CONT.)
What's with that drawer?
E
(CONTINUED)
REVISED April 20, 1989
33.
43 CONTINUEDT 43
E
BILLY
Oh, it's, uh -- it's automatic. It
opens up now and then, in case you
need anything.
CLAMP
Huh. I didn't know about that one.
He moves on, nodding vaguely at Marla -- who goes over to Billy,
looking at him through completely new eyes.
MARLA
Did you hear that? "People who
produce. I've been working here
six years, and I've never even seen
him in person.
BILLY
Well -- he likes the drawing
BL)
MARLA
This is big, Billy. T i.s
career opportunity,q4 cement
window.For both
BILLY
0
It is?
MARLA
Clearly. We can talk about it at
dinner.
BILLY
Oh. That soundsgreat. I could do
it, let's see...
MARLA
Tonight.
BILLY
No, I can't tonight. I've got --
an appointment.
MARLA
I've got something tonight too,
Billy. A brochure for the Clamp
Cable Archery Channel. It's a
total suicide trauma red alert
deadline situation. And you know
what? I'm letting it go to have
dinner with you.
E BILLY
I just don't think I can --
(CONTINUED)
REVISED April 20, 1989
34.
40 43 CONTINUED: (2) 43
His desk drawer starts RATTLING again. Billy shoves it firmly
closed.
MARLA
What ,g with that drawer, Billy? I
know every feature in this
building. We don't have anything
that opens itself.
BILLY
Oh -- I knocked against it with my
leg, I was --
MARLA
Billy, are you keeping some kind of
ppI in there? It's a good thing
Mister Clamp likes you so much,
because --
BILLY
A pet? No, no, I'm alle $,;
MARLA ,\ \ l
Let.me see. Come
BILLY
You know -- I think if we leave
right now, I could go to dinner.
Just a quick one --
MARLA
Great. There's this very chic new
restaurant. It's Canadian. They
clean the fish right at your table.
BILLY
Sounds terrific.
MARLA
Let me just grab my coat, and I'll
be right back.
As Marla goes O.S., Billy slips Gizmo's drawer open and talks
into it.
BILLY
Gizmo...I have to go now. Just
wait here, okay? Just stay put for
a few minutes and --
He hurriedly closes the drawer as Marla approaches.
E
MARLA
Ready?
(CONTINUED)
REVISED - June 2, 198
35.
4 3 CONTINUED; ( 3) 43
BILLY
Yeah.
He grabs his sportcoat, and follows Maria toward the elevators.
As they go, CAMERA HOLDS on Gizmo's drawer. It slowly shakes i
open, and the curious Mogwai's eyes and ears come into view, i
checking out the world of Billy's office.
Gizmo ducks back out of sight ...but, a moment later, a CHAIN OF
LARGE PAPER CLIPS is tossed down from the drawer, making a
ladder to the floor. As Gizmo starts hoisting himself over the
edge of the drawer,
CUT TO:
43A INT. LOBBY 43A
As Billy and Marla get off the elevators.
BILLY
Uh -- could you excuse me a second?
I'll be right back.
Sure.
Billy heads for an alcove at the
44 INT. TOUR GUIDES' OFFICE 44
-- and shows up in the little tour-guide office to find Kate
taking off her microphone rig.
KATE
Hi! I'm almost ready --
BILLY
Iii.. Listen, Xate --
KATE
What's wrong?
BILLY
Nothing. Um, nothing's wrong, but
I can't go out tonight. I have a
--- meeting. With some people.
KATE
Oh, damn.
BILLY
I know. I'm sorry. But it's good
E for -- what we were talking about,
you know? Letting people know I'm
there and everything?
(CONTINUED)
REVISED - June 2, 1989
35A.
44 CONTINUED: 44
E
KATE
In the middle of the night?
(CONTINUED)
REVISED April 20, 1989
36.
0 44 CONTINUED3 44
BILLY
Kate, I need you to do something
for me. Gizmo's here.
KATE
What?
BILLY
It's a long story -- I'll explain
it later. He's up in my desk
drawer. You have to take him home.
KATE
Take him ham? Billy, this is
nuts. If those things start
running around in New York --
BILLY
There won't be any "thin ust
remember the rules. H a ''.t take
bright light -- a ec
sunlight. It, 1 his. And you
can't get wat him. And the
most important thing -- never feed
0
his after midnight.
KATE
Can't he Just -- go back where you
found his?
BILLY
No. I have to go to this --
meeting. Please -- I'll be home as
soon as I can,
A beat.
KATE
(SIGHS)
Okay. Let me take this stuff off
and punch out, and then I'll go get
his.
BILLY
Great. Thanks.
He gives her a quick kiss, and leaves the tour guides' office.
Kate waits a moment, then looks out into the lobby...
44A INT. LOBBY - KATE'S POV 44A i
.and sees Billy leaving the building with Marla.
CUT TO:
REVISED - June 2, 1989
36A.
0
45 OMIT 45
46 OMIT 46
47 OMIT 47
48 OMIT 48
48A INT. BILLY'S OFFICE AREA 48A
A JANITOR, pushing a cart of cleaning supplies, comes into the
office area. Gizmo, on the floor, peeks around a corner to
watch as the cart's wheels rumble past him.
As SEEN by Gizmo, the towering janitor stops at the department's
WATER FOUNTAIN and tries to get a drink. The fountain's spigot
OVERSHOOTS, giving the janitor a SPLASH in the face.
Gizmo inches away from the source of the water, and -- seeing a
puddle on the carpet where the water landed -- carefully avoids
it. He keeps moving, and evades a second ARC of errant water
from the fountain.
The janitor decides t )gx,the fountain. Attacking the spigot
with a wrench, he sends off 1morq STREAMS of water. To duck
0 them, Gizmo takes cover, back, isu; under Billy's desk...
.and doesn't see a big SPLASH F'o }wez� hit Billy's Chinatown
picture. While Gizmo, thinking the danger is passed, steps out
from under the desk, the bright colors of Billy's painting blur,
and the blob of water ROLLS DOWN the illustration board...
.down the side of the desk...
Gizmo looks up, but too late. From his POV, the blob of paint-
tinted water is huge, and coming down fast. It HITS him --
-- and, as the janitor's feet and the wheels of his cart pass in
€.g., CAMERA HOLDS on Gizmo on the floor, writhing in pain. The
janitor leaves, and Gizmo SCREAMS, as -- THWIP! THWIP! -- two
tiny FURBALLS shoot out of his body and land in the open DRAWER
of a nearby filing cabinet.
THWIP! The painful Mogwai replication continues, and a third
furball caroms off a drafting table and into a wastebasket.
THWIP! The fourth and final offspring shoots from Gizmo's body,
and -- as Gizmo watches in horror and pain -- BOUNCES crazily
around the office area, a little Superball of fur.
As Gizmo sits up and looks up, we watch with him -- four newborn
Mogwai HANDS reach out of the filing cabinet drawer, gripping
S
the top edge from inside.
(CONTINUED)
REVISED - June 2, 1989
36B.
48A CONTINUED: 48A
C
CAMERA MOVES IN on the cabinet drawer, and the first two new
Mogwais are revealed, standing in the drawer: GEORGE AND LENNY,
an inseparable pair. Lenny is big, dumb, and loyal, while
George is small, with a criminal caginess -- he gets Lenny to do
everything for him.
Gizmo watches the wastebasket where the third furball landed
start to ROCK back and forth -- but is distracted as the
BOUNCING FURBALL hits the floor in front of him, then ricochets
up onto a DESKTOP.
To SOUND FX of a bowling ball hitting the pins, the furball
rolls into a desk corner, and the third Mogwai unfolds --
upside-down. This is DAFFY, a dizzy, uncontrollably antic
Mogwai with the demented juvenile Joie de vivre we associate
with the great Daffy Duck.
In the first seconds following birth, Daffy goes daffy over the
very fact of being alive. He sees his little hands and feet
unfold,. and gives a WHOOP
DOE)(
Waco !
-- as Gizmo watches the ra,k n :,wa t basket TIP OVER. Looking
into the basket, we (and Gizmo) SE ` umble of office
wastepaper, which is violently toss e ut...
.until MOHAWK, the fourth new Mogwai, emerges. This guy is
pure, malicious evil, a new strain of badness. Even as a furry
Mogwai, he's about as cuddly as a cockroach.
While Daffy, up on the desktop, starts playing with everything
in sight...
.Mohawk, on the floor, moves in on Gizmo.
GIZMO
Uh-oh.
George and Lenny drop down to the carpet to join Mohawk, as
Gizmo -- standing now -- backs away. There's a grated VENT
opening low on the wall behind him.
Lenny grabs Gizmo with a fast-moving paw, and Mohawk, moving in
close, SPITS in Gizmo's eyes.
4 8AA ANGLE - BILLY'S CUBICLE WINDOW 48AA
Through the glass WINDOW of Billy's cubicle, we HEAR Daffy
acting up --
DAFFY
Wa-hogs !
(CONTINUED)
REVISED - June 2, 1989
37,
48AA CONTINUED: 48AA
#
-- and MOVE IN to see him putting wet-paint PAW PRINTS all over
the glass and the desk.
4 8B. ANGLE - GIZMO AND MOGWAIS AS BEFORE 48B 1
George points to the vent opening behind Gizmo, and WHISPERS to
Lenny. Lenny nods his dumb understanding, and YANKS the force-
fit GRATE out of the wall. He clumsily bumps George with the
grate, and George SLAPS him.
48BB INT. VENT 48BB
Gizmo is TOSSED into the vent. . .and the grate is slammed back
into place, imprisoning him. The three Mogwais tease him
through the grate, and leave. Gizmo tries to push the grate
back out, but can't do it.
4 8BBB TNT. HALLWAY - ANGLE ON VENT 48BBB
Gizmo looks out mi 'jra.bly though the vent...
.and CAMERA pulls V8 tk'from-,him, to show the FEET of departing
humans, who are oblivious to-:the strange, imprisoned creature a -,
few feet away..
CUT TO:
0
REVISED - June w, 1989
38.
49 OMIT 49
50 OMIT 50
50A INT. BILLY'S OFFICE AREA - ELEVATORS 50A
A few late WORKERS get on the elevator where Billy and Marla got
off this morning. CAMERA SPOTS George, Lenny, and Mohawk,
hanging back in the shadow of a'nearby coffee station...
watching the elevator, scoping it out, as the doors close and
the electric numbers above the doors start tracking the car's
descent.
CUT TO :
51 INT. LOBBY 51
Kate, her hat off, heads for the elevators. Evening FUN-SEEKERS
are replacing workers in the lobby.
51A INT. LOBBY ELEVATORS:"-4 ANOTHER ANGLE 51A
An elevator arrives in,the�'t'obby. As the doors open, LOW ANGLE
finds the janitor's FEET , at CL.R,NNG CART getting off. After
they're gone, the HEADS of Georg ; hny, and Mohawk, arranged
totem-pole-style, peek out of a lt'ic orner of the elevator.
52 OMIT 52
52A INT. BILLY'S OFFICE 52A
Forster and a SECURITY GUARD come down the rows of deserted
cubicles. The guard has a mean-looking DOG straining on a
leash, SNIFFING at everything. As they near Billy's cubicle,
the dog starts SNIFFING excitedly.
FORSTER
Hah! Good boy! I knew we'd find
something in this guy's desk --
-- but as they reach Billy's desk, they find Daffy's paint PAW
PRINTS tracking crazily over every surface. The dog keeps going
bananas, but it's not drugs he smells -- it's the dander of the
recently departed Daffy.
FORSTER (CONT.)
Look at this mess! What kind of
footprints are these?
GUARD
Hard to say, sir. A possible
C
gerbil.
(CONTINUED)
REVISED June 16, 1989
39.
0
52A CONTINUED: 52A
FORSTER
He's bringing pets to work. I
don't believe this guy-it's not
just plants. He's got to have
1,_. e s t ock .
CUT TO:
52B INT. LOBBY 52B
At the base of a lobby planter, CAMERA spots George, Lenny, and
Mohawk. Unnoticed by passing PEOPLE, they're digging the
nighttime world of the lobby.
53 INT. BILLY'S OFFICE 53
Kate, walking toward Bil 's cubicle, stops as she HEARS a
piercing WOLF-WHISTLE, t her. She turns sharply, looks
around , sees nobody --
-- until her eyes light on a nearP J96 3 CABINET, where Daffy
hangs out of a drawer, ogling her.
0 KATE
Gizmo, how'd you get up there?
53A ANGLE - GIZMO IN VENT 53A
Gizmo, imprisoned in the vent, SEES Kate mistaking Daffy for
him. He shakes his head, twitters, points to himself -- but
he's too far away to get her attention.
53B ANGLE - KATE AND DAFFY AS BEFORE 53B
Kate takes Daffy out of the drawer, but she's not happy about
this -- especially when Daffy LEERS at her.
KATE (CONT.)
Billy said to take you home. You'd
better stay in my purse till we get
out of the building.
(CONTINUED)
Revised 3/3V89
4O.
53B CONTINUEDi 53B
She slips his into the purse, puts it over her shoulder. As
gate heads for the exit, an ANGLE into her purse...
54 ANGLE - KATE'S PURSE 54
.finds Daffy smirking.
DAFFY
(SOFTLY)
WahQQ!
CUT TO:
55 OMIT 55
56 INT. CANADIAN RESTAURANT - NIGHT 56
The restaurant is decorated in a Canadian motif; the salt
shakers are hollowed-out hockey pucks. CAMERA finds a booth
where Marla, drinking Jolt Cola from a wine glass, is edging
closer to Billy, who's nursing a beer.
MARLA
Did you always know you were going
to be an artist?
0 BILLY
Well -- I always liked to draw.
When I was little, with my
crayons, I would do these comic
strips, and drawings of the
teachers and stuff...
MARLA
I had crayons too, i y. And
when I was four years old, I was
using them to write dos to the
other children. Even then, I
knew. C_j
CD
BILLY
Hub. That's somethin
MARLA
Isn't this great? We' _Jinally
getting to know each otdr. You
can't do that in an office.
BILLY
Well, in there, everything's
business --
(CONTINUED)
REVISED - May 31, 1989
4OA.
56 CONTINUED! 56
MARLA
Right. Now, let's talk strategy.
You realize, this changes
everything -- for you, me, the
department...
BILLY
What does?
MARLA
Your relationship to Mister Clamp.
Your access. I can see a future,
Billy. I see more office
space...embossed letterhead...I see
us --
(lowers her voice)
-- swallowing up the publicity
department.
BILLY
Wow.
I'm being open 4th Billy.-
haven't talked abQu feelings
with anyone.
BILLY
See, I usually don't pay too much
attention to office politics and
stuff. I have so much work to do
on the illustrations --
MARLA
You have talent, Billy, and that's
wonderful. It's a God-given
blessing situation. But even an
artist has to have goals.
BILLY
Definitely. It's like I was saying
to Kate, I said, Honey, you know,
for an artist --
Maria leans closer to Billy, her tone more intimate than before.
MARLA
I can help you reach those goals,
Billy. If we join forces...
BILLY
Oh, we should definitely join --
Billy FEELS something in his lap. He looks down. It is Marla's
stockinged FOOT.
(CONTINUED)
REVISED - May 31, 1989
40B.
56 CONTINUED: 56
BILLY (CONT.)
-- forces.
Just at that moment --
CANADIAN WAITER (0.S.)
Sir?
-- a WAITER appears at Billy's side, holding a platter
containing a large MOOSE HEAD sculpted out of CHOCOLATE. Billy
is so startled to find the moose staring at him that he SPILLS
his beer in his lap. Maria quickly withdraws her foot, and
Billy blots at the spill with a napkin.
CANADIAN WAITER (CONT.)
You okay there, sir? Another
Molson there, eh?
BILLY
No, uh, thanks'. Everything's fine.
CA AN WAITER
This is a f Canadian
dessert, sir. e olate moose.
Can I out you an an eree?
BILLY W
No, thanks, I, uh --I've rea y got
to get going. I've got that --
appointment. I'm sorry about your,
uh --
MARLA
Oh, that's okay --
(CONTINUED)
REVISED - June 9, 1989
41.
56 CONTINUED: 56
As Billy gets up from the booth, Marla -- not giving up without
a fight -- grabs his tie. The waiter steps back, and Marla
pulls Billy down close to her, planting a KISS on his cheek,
leaving a lipstick imprint. When Billy slips loose, he finds
the chocolate moose staring at him again.
MARLA (CONT.)
-- see you tomorrow.
BILLY
Good. Right.
He escapes the r au rant.
57 EXT. BILLY AND KA BUILDING - NIGHT 57
Establishing their apa?Wr house -- it's pretty run-down.
0
Revised - 3/6/89
42.
0 58 INT. BILLY AND KATE'S APARTMENT - KITCHEN 58
Kate has put Daffy on the kitchen counter. Nearby, she unwraps
some Kentucky Fried Chicken. On the counter, SPOT a few of
Rand Peltzer's seldom-used kitchen INVENTIONS.
KATE
Billy said to make sure and feed
you before midnight...
As she arranges chicken and mashed potatoes on a plate, Daffy
spots a BLENDER next to him. He recoils from it -- then, with
an evil grin, he shoves it off the counter while Kate's back is
turned, BREAKING it. When she turns and looks, Daffy has an
innocent loops" expression on his face.
KATE
Oh, God-you have to be careful
here, okay, Gizmo? We don't have
the money to replac things.
Daffy nods contritely. Ka ings him the food.
KATEDNT. }
Let's see i f CWu ' l i eat this --
Daffy grabs a chick li�g, opens his mouth as wide as Joe E.
Brown's, clamps 0 -11 n the drumstick, and strips all the meat
off in one fast ion, bringing out a spotless bone.
With his other paw, Daffy tries the mashed potatoes. He hates
them, and PITCHES what he's holding, getting half the wad on
Kate and half on the refrigerator.
KATE (CONT.)
I don't know what Billy sees in
you.
Daffy WHOOPS, grabs more chicken, and resumes eating.
CUT TO:
59 OMIT 59
60 OMIT 60
61 OMIT 61
62 OMIT 62
62A EXT. BILLY AND KATE'S APARTMENT BUILDING - NIGHT 62A
Billy gets out of a taxi in front of the building, and hurries
inside.
Revised - 3/6/89
43./44./45.
40
63
INT. BILLY AND KATE'S APARTMENT (ENTRYWAY) - NIGHT 63
Kate answers the doorbell.
BILLY (O.S.)
Its me.
She undoes the deadbolts and opens the door. Billy rushes in.
BILLY (CONT.)
Hi. I'm sorry I'm late --
He gives her a fast kiss on the lips -- and, as he lets go of
her, sees that she's SPATTERED with food.
BILLY (CONT.)
What happened to you?
Kate doesn't answer -- she looking at the LIPSTICK mark on
Billy's face.
K
Did you har q good meeting?
'
40 B B ILLY
Uh , y it was fine. Where's
GIZM
KATE
It's in the kitchen. Billy --
She FOLLOWS him to the kitchen.
BILLY
Did you feed him?
KATE
Yes --
BILLY
(calls ahead)
Hey, Giz, how you --
They come into the kitchen, which is a mess from Daffy's food,
throwing. The Mogwai is hidden behind a little BARRICADE of
Lean Cuisine boxes. As Kate and Billy enter, he THROWS a lump
of frozen pineapple that nails Billy on the forehead.
( C'J IrI: UED )
C7
46.
3 CONTINUED: 63
0,
BILLY (CONT.)
Ow! Gizmo, what's --
Billy leans over the barricade and looks in -- as Daffy tosses a
GLOP of cherry cobbler, splattering Billy's face.
BILLY
Kate ...Kate, where did you find
this guy?
KATE
In your office -- near that
drawer, where you said -- Billy,
look out!
Too late -- Daffy LOBS a single-serving PUDDING-PACK at Billy.
It bursts on impact, staining his shirt.
1H
BILLY
(to Daffy) �
Where's Gizmo?
The Mogwai SPITS, then wings Kate with a piece of Salisbury
steak. Billy looks at the wall clic: it's 11:15.
BILLY
We've got to get over here.
KATE
Billy -- you said there weren't
going to be those --
BILLY
There won't be. Not if they don't
eat after midnight.
KATE
(indicates Daffy)
What about -- him?
BILLY
We'll have to take him with us.
He snatches a Lean Cuisine box away and grabs Daffy, almost
getting bitten in the process. Kate follows Billy as he takes
the flailing Daffy into the living room and stuffs him into his
leather daypack.
DAFFY
(SEMI-INTELLIGIBLE)
Wahoo! No! Elbow room! Don't
fence me --
(CONTINUED)
REVISED May 11, X989
47.
63 CONTINUED: 63
The daypack jumps around wildly as Billy zips it shut.
BILLY
You ever want to get out of there,
you better relax.
Daffy settles down to a low rumble.
BILLY (CONT.)
That's better.
They grab their coats, start toward the door.
BILLY (CONT.)
Mister Wing was right...
KATE
About what?
BILLY
When he came to take Gizmo back. I
asked him how come he could
understand what Gizmo was
saying... said you just had to
know how isten. But he said I
wasn't re cW t. For the
0 responsibili d I'm not --
As they reach the door, the
�?q x ZZER sounds.
BILLY (CONT.) 5
Great.
KATE
Who could it be this late?
64 NEW ANGLE 64
Billy opens the door, and finds MURRAY FUTTERMAN, the snow plow
driver from Gremlins, and his wife SHEILA.
KATE
Mister Futterman! Mrs.
Futterman...
BILLY
We thought you were coming tomorrow --
MR. FUTTERMAN
We thought so too. The guys in my
old outfit, they changed the date
for the reunion. We tried to call
0
you, but we had to get on the
Greyhound.
tCONTI -
REVISED May 11, 1989
47A.
40 64 CONTINUED:
64
SHEILA
Thirty-two hours'. We're sorry to
come here so late --
KATE
No, no, that's okay. Would you
like some coffee, or --
SHEILA
No, don't you go to any trouble,
hon.
(CONTINUED)
04, 0
°0o6s
REVISED May 3, 1989
64 CONTINUED: 64
MR. FUTTERMAN
Boy, we tried to get a cab up here
-- did you know they have RUgsiLan
guys drivin' cabs in this burg?
What if somebody gets in one of
those cabs with a briefcase full of
atomic secrets? Is anyone thinking
about that?
SHEILA
Murray, you remember what Doctor
Kaplan said. We're going to stay
nice and calm --
(to Billy)
Murray was a little... distressed
after, you know, what happened with
those, um --
(mimes Gremlin)
MR. FUTTERMAN
Aah, I'm fine. I was just a little
jumpy for a while --
Billy's daypack SQUEAKS. Billy slips the bag under his arm and
squeezes it, forcibly quieting Daffy.
40
MR. FUTTERMAN (CONT.)
What's that?
SHEILA
It's okay, honey. I hear it too.
MR. FURMAN
Of course you hea it too. What do
you mean?
BIL
It's, uh -- plumbing here.
It...makes n e sometimes.
Sheila, looking at qty, spots something --
iE I LA
Oh, Mur I think we
interrupt these two.
(CONTINUED)
0
REVISEE April. 20, 1989
49.
64 CONTINUED: (2) 64
MR. FUTTERMAN
Huh?
Billy realizes what Sheila is talking about, as she takes out a
handkerchief and dabs at the lipstick on his face.
BILLY
Oh, uh...that's from -- my boss. I
did some stuff that she liked. I
mean some work --
He tries to catch Kate's eye, but she avoids his look.
BILLY (CONT.)
Uh, the thing is -- I'm afraid you
guys can't stay here. I mean, we'd
love it if you could, but the, uh -
- the building's being --
fumigated.
MR. FUTTERMAN ��
Bugs, huh? Yeah, you can't be
careful these days. All k t
weird bugs eosin' into +he
country...
SHEILA
Oh. Well, that's okay, Billy --
MR. FUTTERMAN
Sure -- we'll just book into a }
hotel.
BILLY
Really sorry ...we'll call you...
He backs the Futtermans toward the door. AD LIB goodnights as
Billy opens the door, forcing himself to look relaxed as the
Futtermans go. He watches through the door for a beat, then
closes it -- and finds Kate suspiciously eyeing his lipstick
tattoo.
BILLY
What -- this? It was just one of
those business things. You know,
like -- "Great job." You don't
believe me?
(CONTINUED)
REVISED - May 31, 1989
50.
E 64 CONTINUED: (3) 64
KATE
I believe you.
BILLY
We better get going.
CUT TO:
65
65 INT. CLAMP CENTRE - LOBBY
The lobby CLOCK is at two minutes to midnight. There's lively
action at the lobby's BARS, DANCE FLOOR, and FROZEN YOGURT
STAND, where two teenage YOGURT JERKS serve CUSTOMERS.
YOGURT JERK I
.so that's a Kona praline and
banana-berry swirl with kiwis and
peanut butter cups?
CU
Yeah ...or, wait"rfre j't yep peanut
butter cups all nui�(�/
6 5
YOGURT JERK 1
0 I'm not sure...Alexis, are the
peanut butter cups all natural?
As Yogurt Jerk 2 joins the discussion, a new ANGLE finds a furry
PAW turning on two spigots on the yogurt machine. FOLLOW the
two streams of goo over the machine's spill grate and down to
the floor. Hidden from view by the counter, Mohawk, George, and
Lenny reach for the trickling yogurt...
.check the lobby CLOCK as the time TICKS past midnight...
LENNY
Yum!
.and sloppily chow down. Up above, Yogurt Jerk I turns to the
machine, sees the two spigots flowing. She's about to turn them
off, but a complaining CUSTOMER stops her.
CUSTOMER 2
Miss, I asked for Oreo cookies and
Gummy Bears -- this stuff is, like
-- hair.
YOGURT JERK 1
Ma'am, we don't have anything
that's like --
(CONTINUED)
REVISED - May 31, 1989
51.
65 CONTINUEDA 65
But then Customer 2 and Yogurt Jerk 2 SEE it at the same time: a
furry PAW reaching up to scoop M&M's from a topping bin.
CUSTOMER 2
What is it? It's a t.!
LENNY (O.S.)
Yum!
CUSTOMER 3
What's going on here? Did that
woman say there are rats?
YOGURT JERK 2
Um, no, sir, she said there are mQ
rats here --
66 EXT. CLAMP CENTRE 66
Billy and Kate hurry into the building.
67 INT. LOBBY - BILLY AND KATE 67
As Kate and Billy ent the lobby, they HEAR the commotion at
the frozen yogurt stqWjpnd rush over to see what's going on.
0 CUS Tt ME
I'm telling you'-
thing in the trail
CUSTOMER 2 '"'
.I don't just want a different
yogurt, I want d&akrxes --
BILLY
(to Customer 1)
What kind of thing was in the trail
mix?
CUSTOMER 1
I don't know, a fa= thing. And
it's supposed to be health food.
Billy checks the lobby clock -- 12:10. He Pulls Kate aside.
BILLY
That's it. It's after midnight,
and they've eaten. Now they'll
make their cocoons...and if they
get to water --
40 KATE
Come on.
(CONTINUED)
REVISED tray 3, 1989
52.
67 CONTINUED: 67
She leads him quickly over to the elevators.
CUT TO:
68 INT. BASEMENT 68
Six stories underground, beneath the building and its parking
floors. Yellow lamps, set in a concrete wall along a catwalk
ledge, cast an eerie HALF-LIGHT on Kate and Billy.
KATE
It's along here...
They come to a deep, square RECESS in the wall. Inside is
massive MACHINERY -- pipes, pumps, meters -- surrounded by a
CHAIN-LINK CAGE.
KATE (CONT.)
This is where the water comes into
the building.
(CONTINUED)
0
REVISED May 5, 1989
53.
68 CONTINUEDI 68
0
BILLY
Great. Maybe if we shut it off,
they'll even close the place
down...
Billy goes to a corner of the chain-link cage and starts bending
links back from the seam, trying to make a big enough opening to
slip through.
69 INT. SYSTEMS CONTROL CENTER 69
One of the technicians gets a BEEP from his terminal. The
night-time SUPERVISOR comes and looks over his shoulder at the
monitor, which shows a blinking red diagram of the basement
water machinery.
SUPERVISOR
Give me video.
The technician types a command, and a video IMAGE of Billy
attacking the cage appears on the screen.
SUPERVISOR (CONT.)
Guards.
0 70 INT. BASEMENT 70
Billy and Kate have opened a sea of the cage. Kate stands
clear as Billy tries to pull the. de back, but a bright LIGHT
hits his eyes -- L
GUARD
Back off! Put your hds up.
Billy backs off the cage and ss a GUARD coming toward him,
flashlight and gun in hand. As he gets close, Daffy starts
bouncing around in the daypaelr again. The guard trains his gun
on the leather bag.
CZ)
GUARD
What's in the bag pal?,
BILLY
Nothing.
GUARD
Oh yeah? Let's have a look.
BILLY
You don't want to --
The guard ignores him, opens the zipper, and LOOKS DOWN into the
bag.
(CONTINUED)
REVISED April 20, 1989
54.
0
70 CONTINUED: 70
GUARD
Aagghhh!
When the guard pulls his head up, Daffy is hanging onto the
guard's NOSE by his teeth. The guard flails his head furiously
around, until Daffy finally flies free --
BILLY
No!
-- and as the Mogwai's departing FOOTSTEPS are heard, the guard
angrily puts Billy up against the wall, starts handcuffing him.
BILLY (CONT.)
We have to find him, before he eats
something --
GUARD b5
(indicates his nose)
He already ate some i
Billy looks around for Kate then realizes she's hiding in the
0 shadows of the concrete recess, unnoticed by the guard.
BILLY
Look, we have to shut this building
down. That thing that bit you --
there are more of them, okay? And
they're going to turn into -- these
Monsters, and --
GUARD
Tell you what, pal -- you can tell
the cops all about these monsters,
I'm sure they'll be very
interested...
As he takes Billy away, CAMERA holds on a spot over their
heads...goes into a GAP between the concrete wall and
ceiling ...and finds three big COCOONS. Their slimy bodies gleam
dully in the yellow lamplight. As we watch, the cocoons
silently GROW and change, gathering strength...
BILLY
Listen, I'm not crazy. People are
going to be in a lot of danger.
They wreck things. They kill
people. If they get out of here,
they'll destroy the whole
city...they'll destroy everything.
Listen to me...
CUT TO:
REVISED - May 31, 1989
55.
EXT. POLICE STATION - EARLY MORNING 71
A midtown precinct house. As Billy and Rate hurry out the front
door, POLICEMEN in b.g. are leading a group of arrested STREET
MIMES from a paddy wagon toward the station. Though in custody,
the mimes continue their portrayals of walking against the wind,
feeling up invisible wall , etc.
BILLY
Thanks for getting â– e out of
there.
KATE
It was easy -- I just gave them a
next month's rent.
BILLY
When we get there -- go to your
job, like normal, okay? And just
keep your eyes open. What time
is it?
KATE
Six-thirty.
4II
They hit the early-scorning at a run.
6CUT TO
UOO
7 2 INT . CLAMP CENTRE - LOBBY 72
The early-morning arrivals are here -- PEOPLE opening their
lobby businesses. In a SERIES of SHOTS, they lift the shiny,
corrugated-metal security GATES that protect a NEWSSTAND...an
ESPRESSO CAFE...
73 INT. BASEMENT CREVICE 73
Under the building, the Mogwais' slimy COCOONS begin to BURST
OPEN, with acrid SMOKE swirling around them...
74 INT. LOBBY 74
The gates lift up on the TANNIN SALON...the HAIR-CUTTING
PARLOR...
75 INT. BASEMENT CREVICE 75
.as more cocoons BURST OPEN...
76 INT. VENT SPACE 76
Gizmo edges forward in the dark vent passageway --
REVISED May 3, 1989
56.
77 NEW ANGLE 77
-- and doesn't see the FLOOR disappear from under him until he's
already FALLING down a tall vertical drop, grasping helplessly
at the sheer wall that rushes past...
78 INT. BASEMENT 78
.until he LANDS on something soft, and rolls off onto a hard
concrete floor. He looks at what he landed on -- it's one of
the COCOONS in the basement wall crevice.
As Gizmo backs away, the cocoon belches SMOKE, opening up.
Gizmo, wide-eyed, knows who to warn --
GIZMO
Bil - lee --
-- but a GREEN CLAW GRABS HIM FROM BEHIND, jerking him backward,
off his feet.
CUT TO:
79 INT. LOBBY 79
Billy and Kate come breathlessly through the lobby doors. They
find the businesses mostly open -- and a SEA OF PEOPLE pouring
through the doors, innocently arriving for work.
KATE
Billy, what if they're already --
Suddenly, the lobby LIGHTS DIM, d Billy looks up.
BILLY t.0
They are. Come on..
Q)
He starts leading Kate toward e lobby NEWSSTAND. On the way,
they run into Grandpa Fred.
GRANDPA � ,ED
Hey, Billy -- the-building's
completely screwe p today --
BILLY
(hurrying on)
Fred. I know...
GRANDPA FRED
(watching them go)
Sure. You're young. You know
everything.
Billy and Kate arrive at the newsstand, where Billy grabs four
souvenir FLASHLIGHTS in the shape of the building.
(CONTINUED)
REVISED May 3, 1989
56A.
is ?9 CONTINUED t 79
NEWSSTAND LADY
Eighty-six thirty-eight with tax.
BILLY
(to Kate)
I'm going to go up and --
(to newsstand lady)
Now much?
NEWSSTAND LADY
Four times nineteen ninety-five --
BILLY
Put it on my bill.
(CONTINUED)
40
0
REVISED May 16, 1989
57.
0
79 CONTINUED% 79
He hands Kate a couple of flashlights as they start back across
the lobby.
BILLY (CONT.)
Remember, they can't stand bright
light. If one of them gets near
you --
He's interrupted as Marla comes up to them -- and gives Billy a
squeeze and a kiss before he has time to think.
MARLA
Good morning, Billy. That was so
aim, last night. We're going to
have to do that again --
BILLY
Uh -- Marla, this is Kate, my --
MAR LA
Oops, I'd better get going. See
you ui tairs, Billy.
ATE)
Hi.
BILLY
Uh, Kate -- listen, think I
better explain --
KATE
Don't do any explaining right now,
okay? I'm too mad.
A guide calls Kate from the guide office.
GUIDE
Kate -- you're up, honey.
KATE
Excuse me. I have to go to work
now.
3
BILLY I
But -- look, I'm going up to
Systems Control. If I'm not back
down here in fifteen minutes --
KATE
0 Billy -- if we all get through
today alive, you're in h,g, trouble.
BILLY
Kate --
f ('nnT-,TTTT T-Pn)
REVISED May 10. 1989
58.
40 79 CONTINU EDi (2) 79
She's out of earshot.
BILLY (CONT.)
Terrific.
As Billy heads for the elevators, HOLD on a nearby Miller's
Outpost jeans store that opens onto the lobby. A couple of
teenage girl SHOPPERS approach the SALES CLERK.
SHOPPER
Excuse me...do you have any styles
that aren't, urn, fringed?
They hold up several pairs of pants. All of them are "fringed"
from the knees down -- as if they'd been CLAWED to tatters.
From the store's back room, we HEAR a whoop. It's familiar, but
the VOICE has become deep, raspy, and such less innocent.
DAFFY (O.S.)
Wa- !
0 CUT TO:
80 INT. SYSTEMS CONTROL CENTER 0 80
0
Billy comes in, to find Forstez kking his morning rounds among
the technicians.
BILLY
Mister Forster -- ��?
FORSTER Zs:
Peltzer! What are you doing in
this building? You got yourself
arrested here last night, and you
come back?
(to a technician)
Get security up here. He's out.
He starts to walk away, but Billy follows his.
BILLY
Mister Forster, we have to evacuate
the building. Right now.
FORSTER
Oh, we do? Why's that?
(CONTINUED)
0
REVISED - June 9, 1.989
59.
CONTINUED: 80
80
BILLY
There are ... creatures in the
building. They start out as these
small, furry animals, but then they
eat, and they go into cocoons, and
then they become small, green --
FORSTER
This is drugs. It's got to be.
You're on a groovy little trio,
aren't you, Peltzer? Well, let me
tell you something, Mister Flower
Child --
BILLY
Just listen to me --
TECHNICIAN
Wait a mo. this is good. They
start out rr d then they have
the cocoons... V
065
BILLY
First they eat --
TECHNICIAN 2
Well, sure. you're going into a
cocoon, you want to have a little
something first.
CUT TO:
81 OMIT 81
82 OMIT 82
83 OMIT 83
83A INT. CABLE TV STUDIOS 83A
Looking around apprehensively, Kate leads her tour group into
the Clamp Cable TV operation. Among her charges today is
KATSUJI, a 20-year-old Japanese tourist. Katsuji is loaded down
with an amazing arsenal of PHOTOGRAPHY EQUIPMENT: half a dozen
still cameras with a ton of lenses, and a video CAMCORDER.
Photographing the hell out of everything, he falls behind Kate
and the group.
KATE
Sir -- I'm sorry, but you have to
keep up with the rest of the
group...
59A.
Katsuji responds by ZOOMING in on Kate with the video camera.
KATSUJI
Excellent! Thank you! Please give
me some right profile as you
continue speaking!
KATE
Uh, If we're very quiet, we can go
in here and watch a program being
videotaped...
83B INT. MICROWAVE MARGE'S SET 83B
As Kate and her tourists quietly file into the studio, Marge's
CAMERAMAN tracks her to a counter, where she puts a tray of
canapes down beside a casserole.
MARGE
Now, this week here on "Microwave
With Marge" is our special "Salute
to Luncheon Meats" and I'm very ,
excited about t ecipes, so
let's just jump k ome hors
d'oeuvres. You kn t logna
and bean dip roll-ups-a
IS when friends drop over, and f I o
want to make it a little extra
special, you can get some of these
little sword-shaped toothpicks, you
put that through the bologna, and
that's your "Viva Zapata"
appetizer. People are simply crazy
about these...
CUT TO:
84 INT. SYSTEMS CONTROL CENTER 84
As Forster fumes, the systems control technicians have an amused
discussion of the Gremlin "rules" as explained by Billy.
TECHNICIAN I
Okay, wait -- what if one of them
eats something at eleven o'clock,
but he gets something stuck in his
teeth --
TECHNICIAN 2
A caraway seed.
TECHNICIAN 1
Whatever, right, and then after
twelve o'clock, it comes out --
now, he didn't eat that after
midnight --
(CONTINUED)
BILLY
Look I didn't make the rules.
There are --
FORSTER
"The rules." I can't believe this.
TECHNICIAN 2
Or what about if he's eating in an
airplane, and they cross the time
zone --
But the technician's theory is cut short, as --
-- TWO GREEN ARMS BURST OUT OF HIS CONSOLE, ripping aside
control buttons and speaker grilles in a burst of SPARKS AND
SMOKE.
Before the technician can move, the arms are going for his
throat -- and MOHAWK, now a bloodthirsty Gremlin, emerges from
the wreckage of the console, still CHOKING the technician.
TECHNICIAN 2 (CONT.)
Help -- me --
At the sight of Mohawi�rster jumps back. Technician 1 tries
to move on the Gremli 34o awk takes a claw from his
victim's neck and SLASHES a ian 1's arm, driving him back.
Billy pulls out his building-shag plight and SHINES it at
the Gremlin. Recoiling, the Gremlin s go of the technician,
who falls to the floor -- dead.
CUT TO:
85 OMIT 85
86 OMIT 86
87 INT. CABLE TV STUDIOS 87
As Kate and her tourists watch, Marge stirs an enormous,
institutional-size SOUP POT on a kitchen stove.
MARGE
This is how we used to cook for big
groups, before we had our microwave
ovens and the other modern
appliances. It would take days to
plan the menu, and hours over a hot
stove to do the cooking. But now,
we can make this same tuna-noodle
cheez-product chowder surprise in
just a few minutes, and you can
feed anything from a high school
reunion to a complete chain gang
with this kind of quantity.
0
Marge puts a lid on the soup pot.
(CONTINUED)
REVISED - June 22, 1989
62.
87 CONTINUED: 87
MARGE (CONT.)
Whew! Now, if we step over here...
But as she starts to turn away, the LIGHTS on the set suddenly
DIM.
CAMERAMAN
Huh. Brownout or something.
Marge HEARS a TAPPING noise from inside the soup pot. Confused,
she lifts the lid -- and JUMPS BACK, as LENNY -- now a GREMLIN,
but his dopey face still recognizable -- sits up in the soup
pot, wearing a chef's hat, and SPLATTERS Marge with orange
noodle-casserole GOO. He whips out a TURKEY EASTER, and SQUIRTS
Marge with it.
MARGE
AAAGGHHH! WHAT IS IT?
At the sound of Gremli LAUGHTER, she wheels to see GEORGE, a
GREMLIN in an apron, counter behind her. As Marge turns
to the Cameraman for pr tl George points to two MICROWAVE
OVENS at the rear of the set.
GEORGE 06
0 .5
Mi-cro-wave!
Kate's tourists turn to FLEE the studio -- the last to go is
Katsuji, who photographs the Gremlins a mile a minute as he
backs out of the room.
As the tourists go, the Gremlins turn savagely toward the ovens.
George whispers to Lenny, who nods obediently and throws several
METAL UTENSILS into the microwaves. The Gremlins close the
ovens and start them up. The ovens fill with furious ARCS of
blue light --
MARGE
Look out!
-- and THE OVENS EXPLODE, showering the set with GLASS. As
Marge and her cameraman escape the studio, the ovens catch FIRE.
The flames lick up toward the ceiling --
-- and set off the SPRINKLERS. George and Lenny grin, standing
tall to shower in the spray. As the water hits, BUBBLES appear
on the Gremlins' backs. Close on the bubbles, CAMERA finds the
tiny heads of GREMLIN OFFSPRING, getting ready to burst out.
As the studio fills with the ominous SMOKE and COLORED LIGHT of
Gremlin multiplication, Kate runs from the room.
0
CUT TO
REVISED - June 22, 1989
62A.
0
88 INT. XEROX ROOM 88
As the SOUND of a XEROX MACHINE in operation is heard O.S.,
CAMERA is CLOSE on the floor of a copying and office supply
room, where a series of PHOTOCOPIES is piling up. The pictures
are of Gizmo -- his body pinned down, his face contorted in
pain. Each pose is slightly more tortured than the one before.
NEW ANGLE finds Gizmo in the flesh --- he's fastened by a web of
SCOTCH TAPE to the document cover of a big copier. As Gizmo
struggles helplessly, RE L MOHAWK at the controls, setting the
machine for 100 copies.
Gizmo slides over the glas s ga 19i d again, WINCING as he's hit
by painful BURSTS OF BRIGHT LAG
T TO:
REVISED May 3. 1989
63.
40
89 OMIT 89
89A INT. SYSTEMS CONTROL CENTER 89A
In the wake of Mohawk's attack, the technicians are both somber
and rattled. They work urgently at their consoles, as a
panicked Forster paces behind them, looking at their monitor
screens.
TECHNICIAN 1
Mister Forster, I show lighting
brownouts in five locations.
TECHNICIAN 3
I've got a climate control
malfunction, floors fifteen and
sixteen --
FORSTER
What the hell's going on?
TECHNICIAN 4
Uh, air --
Forster goes over to Technician 4's station --
TECHNICIAN 4 (CONT.)
(points to screen)
The Peat Infestation Monitor...
-- and sees, on the technician's screen, an alarmingly rapid
proliferation of DOTS, spreading over the diagram of the
building. The dots started as a cluster in the cable TV studio
area -- Microwave Marge's studio -- but they're spreading out to
other floors, and moving around quickly.
FORSTER is',
What is that? That' 01 at rats, is
it?
TECHNICI
No sir, I'm afraid s not --
A VIDEOPHONE RINGS near Technician 3; he grabs it.
Q
TECHNI Aâ–ºN 3
Systems Control
KATE'S FACE fills the videci)hone SCREEN.
KATE (ON PHONE)
0 Is Billy Peltier there, please?
(CONTINUED)
REVISED - May 31, 1989
64./64A.
89A CONTINUEDs 89A
TECHNICIAN 3
No, he said he was going to Mister
Clamp's office -- hey, do you know
anything about --
KATE
Thank you.
89B INT. CLAMP CENTRE LOBBY/ELEVATORS 89B
She hangs up, runs toward the elevator and gets on.
89C INT. ELEVATOR 89C
As the doors close, Kate breathlessly asks the elevator for --
KATE
Thirty-eight.
But the VOICE that croaks back isn't the usual elevator voice.
GREMLIN VOICE (V.O.)
THIR-TY-EIG
Kate's face registers She jams on the "DOOR OPEN"
button, but the door stay And the elevator starts
MOVING...
.before it jerks to a sudden STOP:
CUT TO:
90 INT. CLAMP'S OFFICE 90
Clamp's office is huge, immaculate, and fully outfitted with
high-tech gadgets. The WINDOW looks down on a bank of CLOUDS
pierced by the tips of New York LANDMARKS -- the Chrysler
Building, etc.
Clamp hits the switch on a desk INTERCOM.
CLAMP
HAve you shredded my mail from this
morning?
SECRETARY (V.0.)
(over intercom)
I'm just finishing, Mister Clamp.
CLAMP
Good. Let's do some memos...
(CONTINUED)
REVISED - May 31, 1989
65.
90 CONTINUED
90
As he talks, Clamp goes over to a bank of VIDEO MONITORS on his
wall. Some of them display spy-camera views around the
building, while others are tuned to Clamp Cable channels. One
of these catches Clamp's eye: it's showing It's_a Wonderful Life
in black and white.
JIMMY STEWART (ON TV)
Merry Christmas, movie house!
Merry Christmas, drugstore...
Scowling, Clamp pushes a button. The movie blossoms into
garish, unlifelike COLOR.
91 TNT. CLAMP'S OUTER OFFICE 91
Clamp's SECRETARY pushes the last of his morning's mail into the #
SHREDDER beside her desk -- it's a letter bearing the seal of
the Vice President of the United States and starting "Thank you #
for your generous contribution..." #
As the letter turns into paper spaghetti, the secretary leaves
the shredder on, turns to her computer, and starts typing down
Clamp's dictation. SPOT her prim pink SWEATER hanging on the
back of her chair.
C (V.O.)
0
(over i F)
First one, to gefjQ Public
Relations. Let's.h e people
in Chinatown give a st a tival
as a spontaneous outpouri
appreciation for what I've ne for
their community...
The secretary takes a hurried bite of a SANDWICH, then goes back
to her typing. But CAMERA holds on the sandwich -- as the GREEN
CLAWS of an otherwise O.S. GREMLIN slip a spring-loaded
MOUSETRAP under the top slice of bread.
The claws withdraw from sight just as the secretary turns to
pick up the sandwich again. She takes a bite -- and, though her
back is to us, we HEAR the snap of the mousetrap and the
secretary's SCREAM --
92 INT. CLAMP'S OFFICE 92
-- which Clamp also hears, over the intercom. He rushes into
the outer office --
9 2A INT. CLAMP'S OUTER OFFICE 92A
-- where he finds the Gremlin, wearing the secretary's pink
sweater, sitting in her chair and typing at her computer.
(CONTINUED)
REVISED - May 31, 1989
66.
92A CONTINUED: 92A
CLAMP
You're not my secretary.
The Gremlin responds by grabbing a SILEX POT of boiling-hot
water from the nearby coffee station, and FLINGING the boiling
water at Clamp --
-- who ducks it, as it SCALDS the paint on the wall behind him.
Clamp makes a tentative move toward the Gremlin, who THROWS the
empty Silex. It barely misses Clamp, and SMASHES against the
wall.
The Gremlin JUMPS at Clamp, who tries to bat it away from his
face, like a kid panicked by a moth --
-- but his flailing knocks the Gremlin back, so that its foot is
caught in the hopper of the secretary's SHREDDER. Hating to do
it, using only his fingertips, Clamp PUSHES the struggling
Gremlin down into the machine --
-- which SPRAYS him out of the bottom like a black, bloody,
eyes-only memo of DEATU.
As Clamp stands gasping ®de the machine, the door to the
corridor opens, and Billlybu in. He sees the shredder, and
0 the tattered Gremlin remaips 4 j ng from it.
BILLY
Sir -- are you all right?
CLAMP
I think so..-.I hate using these
machines myself.
BILLY
Sir, I have to talk to you. There
are a --
The door opens again, and a dishevelled Forster bursts in.
FORSTER
Mister Clamp, there's a situation
in --
(sees shredder)
My God, what --
BILLY
(to Clamp)
Sir, please listen to me. There
are more of these things -- maybe
lots more. We've got to get people
out of the building -- and we've
got to close the building up.
We've got to do it before sundown.
(CONTINUED)
REVISED - May 31, 1989
66A.
92A CONTINUED: (2) 92A
IS
CLAMP
Yeah? What happens at sundown?
BILLY
These -- things can't stand
sunlight. It'll kill them. But
once it's night time, they can get
out, into New York. If that
happens --
FORSTER
He should be in custody. He's
dangerous.
AMP
Bangerous' is thing that was in
here a min go -- that was
dangerous. is 's from the art
department. i
0 (CONTINUED)
REVISED May 10, 1989
67.
0 92A CONTINUEDi (2) 92A
FORSTER
Yeah? Ask him how he knows so much
about these -- green things.
CLAMP
That's a good question, Bill. How
dQ you know about them?
BILLY
Well -- um, you know that genetics
laboratory, down on --
CLAMP
Of course. Those guys.
(to Forster)
I warned you that could be a
problem tenant. We could have had
three shrinks and a plastic surgeon
in that space. But no...
CUT TO:
EI
93 OMIT 93
D C
94 OMIT 94
CD
95 OMIT D C 95
96 INT. ELEVATOR - ,,.. 96
Kate's elevator, still str d between floors, begins to ROCK
violently. Kate jams on tEN Alarm button, but the only SOUND
she hears is that of countless CLAWS outside, pounding and
scraping at the elevator car.
The automated ELEVATOR VOICE talks on through the chaos.
ELEVATOR VOICE (V.0.)
You have requested a floor that is
not part of the building at this
time...
And now Kate SEES CLAWS tearing at the corners of the elevator
car, trying to gouge their way inside. The O.S. SOUND of
GREMLIN LAUGHTER echoes in the elevator shaft. Kate shrinks
into the middle of the floor, her hands braced against the walls --
97 INT. CONTROL PANEL AREA 9?
DAFFY is now a Gremlin, wearing an engineer's HARDHAT and a
WORKSHIRT with DAFFY stitched on the breast. He's at an
ELEVATOR CONTROL PANEL with floor-number indicators, etc. As he
randomly hits buttons and turns dials, METERS shoot into danger
zones and RED LIGHTS blink ominously.
REVISED May 10, 1981
68.
0
98 OMIT 98
99 OMIT 99
100 INT. ELEVATOR SHAFT 100
The elevator FALLS FAST TOWARD US. The GREMLINS hanging on the
bottom of the elevator car realize that it's curtains, but it's
too late for them to do anything about it --
-- but then the elevator STOPS MOVING
100A INT. ELEVATOR I OOA
-- and Kate regains her balance inside --
1003 INT. CONTROL PANEL AREA 1008
-- until Daffy pushes one last button, and the control panel
BLOWS OUT --
TX)
1OOC INT. ELEVATOR SHAFT 14.0 100C
-- and the elevator start ALLING again, racing down the last
few floors to the bottom. ust before impact, the FACE of a
0
SCREAMING GREMLIN fills gr FRAME --
10i TNT. PARKING VESTIBULE 101
Two suburban LADIES wall, a bank of ELEVATOR DOORS from the
O.S. parking garage.
LADY I
There are some nice shops here in
the building...
102 INT. ELEVATOR 102
On landing, black Gremlin BLOOD splatters Kate as it GUSHES in
through the SHATTERING floorboards.
103 INT. PARKING VESTIBULE
103
-- and the force of the fall THROWS the elevator doors open, so
that the suburban ladies are suddenly face-to-face with the
trembling, blood-soaked Kate.
LADY 1
(indicates other
ELEVATOR)
We'll get the next one.
40
CUT TO:
REVISED May 10, 1989
69.
40
104 INT. CLAMP'S OUTER OFFICE 104 ;
where the argument is still going on,
BILLY
Sir, we have to make sure that none
of these -- things get wet. If
that happens --
CLAMP
I'll tell you what we have to do.
We have to get a lid on this thing
and keep it on. No cops, no media.
We'll handle it.
(to Forster)
Go down to systems control and
get on top of this thing.
FORSTER
Me? Um, but there might be --
(CONTINUED)
0
0
REVISED April 20, 1989
71.
105 CONTINUED: 105
LEWIS
Not me.
WALLY
Hey! My vegetable medley!
Before Wally can stop him, a GREMLIN goes over to the potted
VEGETABLE PLANTS with TUBES connecting them to a glass vial.
He grabs the vial, EATS it...and stands still for a moment...
.as his EARS turn into leafy clumps of ROMAINE LETTUCE.
Wally tries to move on him, but the Gremlin menaces his with a
claw, and goes on to grab a vial from a CAULIFLOWER PLANT...
CHAOS ensues, as more Gremlins go after more vials and the
scientists' efforts to stop them result mainly in trashed
EQUIPMENT:
ANGLE on a Gremlin trying a vial marked SEX HORMONE. The
Gremlin's face registers big consumer satisfaction -- he downs
the rest of the vial in one gulp.
DR. CATHETER (O. .) �) V
My God!
As the lab's chief researcher stands in the doorway, unable to
0
believe his eyes, another GREMLIN grabs a vial attached to a
BRAIN that site in a tank of saline solution.
MARTIN
Oh no...
LEWIS
.not the brain hormone.
The Gremlin swallows the vial...twitches for a moment. He
painfully croaks out a few WORDS --
BRAIN GREMLIN
I...want...to --
Then, suddenly, the transformation takes hold, in thrashing
Jekyll-and-Hyde HISTRIONICS that send the Gremlin rolling on
the floor. When he stands, he wears a pair of HORN-RIMMED
GLASSES, and SPEAKS FLUENTLY in a new VOICE, similar to that of
GEORGE PLIMPTON.
(CONTINUED)
0
REVISED - July 7, 1989
72.
105 CONTINUED, (2)
105
BRAIN GREMLIN {CONT.)
-- talk a little bit about what's
going on in this room, because I
think there are some fascinating
ramifications here for the future.
When you introduce genetic material
of research quality to a life form
such as ours, which is possessed of
a sort of -- I hesitate'to use the
word "atavism," but let us say a
highly aggressive nature...
The other Gremlins, instantly bored with this guy, grab more
vials and start turning ANIMALS loose from their cages, as the
scientists try in vain to op them.
BRAIN` NLIN (CONT.)
.for example, at fellow over
near the, I believ n ' + a common
bat of the order -- the
only mammals, I mig add, capable
of true flight...
Indeed, a GREMLIN is approaching cage of the BAT who's being
40 desensitized to light for messenge ing purposes. The Gremlin
grabs a collecting VIAL connected by surgical tubing to the
bat's body. The Gremlin swallows the vial, then stands
watching, surprised, as his hands become WEBBED, like bat wings.
While this: is happening, the Brain Gremlin walks over to the Bat
Gremlin.
BRAIN GREMLIN
Nibs:: Brings ! Might I have a brief
word' with you?
The= t QrenLin:looks curiously at him.
BRAIN GREMLIN (CONT.)
My friend, you have...potential. I
want to help you be all that you
can be...may I?
As he continues talking, he plucks the intravenous tube from the
bat's body, and happily JAMS the needle into the. Bat Gremlin's
skin. The bottle with the sunshine logo on it drains quickly...
(CONTINUED)
40
REVISED - July 7, 1989
105 CONTINUEDR 105
40
AIN GREMLIN {CONT.)
As I'm su ou're aware, sunlight
poses a prk4Cklks for our...ethnic
group. We nit tan, we don't burn
-- frankly, west become a rather
unappetizing a of photochemical
leftover. Thus, is
formula...specia y designed for
those of the noctu6a
persuasion...to mak right light
no problem whatever. That will be
of crucial usefulness where you'll
be going...
The Brain Gremlin yanks the IV needle from the Bat Gremlin's
skin. The Bat Gremlin's expression asks: "Where I'll be going?"
BRAIN GREMLIN (CONT.)
You have wings, my friend. Flap
them.
The Bat Gremlin does -- and TAKES OFF, soaring near the ceiling
as the twin scientists chase. him.
LEW I S AND MARTIN
Down! Down!
BRAIN GREMLIN
(to Bat Gremlin)
To the window, my friend! A world
of possibilities opens itself to
you! Throw off the old
constraints...
The Bat Gremlin wings toward one of the polarized glass
windows...
BRAIN GREMLIN (CONT.)
There it is...the Apple...the city
so nice they named it twice...
check it out one time -- won't you?
.and SMASHES THROUGH IT, leaving a jagged bat silhouette in
the glass behind him. The other Gremlins shrink from the
invading rays of SUNLIGHT, but the Bat Gremlin flies free...
106 EXT. BUILDING - THE SKY 106.'
.soaring into the SKY above New York.
0 CUT TO:
REVISED 3/31 /89
73A.
0
107 EXT. NEW YORK - PIGEON ON STATUE
107
A PIGEON perches on a stone statue with which pigeons have been
well acquainted. Sunning himself, he's surprised as --
-- PLOP! -- a glob of GREEN GOO hits him on the head.
CUT TO:
108 OMIT
108
109 OMIT
109
REVISE 3/31/89
74.
0
110 OMIT 110
I 1 i OMIT
112 OMIT
113 INT. GRANDPA FRED'S SET
The threadbare horror host is taping again. He blows some prop
DUST off a reel of film.
(CONTINUED)
0
75.
13 CONTINUED: 1 13
40-
GRANDPA FRED
.tonight we've got a classic
horror movie, from Grandpa Fred's
special dungeon --
Fred is interrupted by a MOAN -- not the normal weak moan on
the tape, but a genuinely scary GREMLIN moan.
He turns around, and sees a grinning GREMLIN emerge from behind
the prop tombstone. As Fred heads back there, two other
GREMLINS join the first one, and the three of them watch him
intently.
DIRECTOR (O.S. )
Fred, what's the story with those
-- things?
GRANDPA FRED
Uh.. .I don't...
One of the Gremlins takes the reel of film from Fred, unreels
a little from the loose end and holds it up. A second Gremlin
looks at a frame -- mimes terrified shock, then CLUTCHES his
chest and falls back onto the floor. The of e%.Gremlins LAUGH.
B
GRANDPA FRED (CONT.)
NO
Uh -- that ' s right, it ' s real '
scary --
The other two Gremlins put their f alongside Fred's and make
scary snarls. They like it here
DIRECTOR (O.S.)
Boy, that's creepy. Okay,
rolling...
GRANDPA FRED
Uh -- Grandpa Fred and his Friends
have something horrible in store
for you tonight...
The Gremlins nod in gleeful agreement.
CUT TO:
114 INT. LOBBY 1 14
ANGLE - BAR
A few PEOPLE are drinking here, but they pay little notice to
the NEWSCASTER on the TV set over the bar.
(CONTINUED)
REVISED - May 31, 1989
76.
114 CONTINUEDS 114
40 NEWSCASTER
.of major mechanical problems
today at the Clamp Centre office i
building. Reached by Hotline News,
a spokesman for developer Daniel
Clamp says there's nothing to worry
about, that these are just the
normal "glitches" that a new
building goes through in the first
few months. Turning to sports...
115 ANGLE - SALAD BAR 115
Salad bar CUSTOMERS are heaping their plates.
CUSTOMER 4
My broker a ,g s the strongest things
in the ecb i f ght now are
cigarette' a np4s magazines.
CUSTOM
Really. IRY00 1-1
CUSTOMER 4
Of course, he's been in jail for a
while now...
Customer 4 reaches under the salad bar's sneeze-guard with the
plastic tongs to pull a clump of lettuce from the bin -- and is
horrified to discover that he is holding an ALL-VEGETABLE MUTANT
GREMLIN by the ear. This horribly smiling thing has RADISHES
for eyes, CORN-row hair, CAULIFLOWER ears, STRINGBEAN lips and -
- as it opens its mouth -- a darting WAX-PEPPER TONGUE.
As other customers recoil, horrified, Customer 4 tries to drop
the Vege-Gremlin, but, baring its sharp ARTICHOKE TEETH, it
reaches out with CARROT fingers to grab his shirt and pull his
THROUGH the sneeze guard.
CUT TO:
116 OMIT 116
116AA INT. CLAMP CABLE STUDIOS
116AA
In a Clamp Cable TV studio, LEONARD MALTIN is taping an "At the
Movies"-type show called "THE MOVIE POLICE."
LEONARD MALTIN
And now for our videocassette
consumer watch --
He gingerly holds up a videocassette of the first Gr,gmlins movie
as if it is a long-dead fish.
(CONTINUED)
REVISED May 31, 1989
76A.
116AA CONTINUED( 116AA
40
LEONARD MALTIN (CONT.)
Here's one that's just been re-
released on video, and if you're
thinking of renting it, I can think
of a lot of better things to do
with three dollars...
Leonard is unaware of the REAL GREMLINS that have snuck into the
studio and are creeping up on him from behind ---
LEONARD MALTIN 1 CONT.1
.such as burning them. In fact,
burning this movie wouldn't be a
bad --
The Gremlins ATTACK, savagely clawing at Leonard, who quickly
goes down out of view -- except for his flailing hands.
NARD MALTIN (CONT.)
Wait ! tea'!'' as kidding'. Look --
two thuuLbs uI3 HHHHHHH !
CUT TO:
166A INT. LOBBY - ANGLE -STOCK BROi{ERA� 116A
48
In the Clamp Centre lobby's small STOCK BROKERAGE office, a
BROKER in a "power tie" is working his phones when --
BROKER
AGGGHHHH'.
-- he finds a GREMLIN on his desk, staring at him.
BROKER (CONT.)
(into phone)
What? Nothing. Think about those
bonds. 'Bye.
(hangs up)-
The Gremlin points an accusing claw at the broker.
GREMLIN
Nice tie!
The broker starts yanking the tie off, but the Gremlin SWIPES at
him, and he beats it, as WIDER ANGLE REVEALS a number of OTHER
GREMLINS also chasing brokers off, and grabbing their phones --
GREMLINS
(variously, on phones)
Buy! Sell! Sell! Buy! Sell!
SPOT the Brain Hormone Gremlin, kicked back in a broker's chair,
talking on a phone.
(CONTINUED)
REVISED May 16, 1989
76B.
116A CONTINUED: 116A
E
BRAIN GREMLIN
.yes, I'd say it's a full-scale
panic. Are you having a run on the
banks there yet? Well, it's rather
brutal here ...we're advising our
clients to put everything they've
got into canned food and
shotguns.. . yes...
The TICKER DISPLAY on the wall speeds up, going NUTS.
117 ANGLE - LOBBY DOORS 117
PEOPLE who've seen the invading Gremlins start fleeing through
the front doors.
118 INT. STAIRWELL 118
Kate, bruised, haggard, (JVsplattered with Gremlin blood, makes
it upstairs to a stairwe or, and opens it ---
REVISED - May 31, 1989
77,
0 119 INT. LOBBY 119
-- to find a scene of building MAYHEM in the lobby. As
panicking PEOPLE try to flee the swarming Gremlins, CAMERA
surveys the carnage from Kate's POV:
GREMLINS at the frozen yogurt stand shoot streams of WHIPPED
CREAM at fleeing WORKERS...
A BARTENDER, his body covered with Gremlins, falls to the floor,
trying to shake them loose...
At the salad bar, the ALL-VEGETABLE GREMLIN terrifies fleeing
people with his freakish face.
A WOMAN SCREAMS AND DUCKS as a GREMLI) SWINGS TOWARD HER on a
sparking electric cable torn from the ceiling...
PEOPLE desperately scramble toward the exit doors, but the lobby
is becoming an obstacle course of rubble as the Gremlins trash
it.
Kate takes momentary cover behind a pillar, gathering her nerve
-- then MAKES A BREAK a ss the lobby, running for a FIRE ALARM
on the back wall. As a 4 ches it, a raincoat --wearing FLASHER
GREMLIN blocks her way, a l'i#ks open his coat to flaunt his
0 reptilian underbelly.
Kate KICKS the flasher Gremlin out%ofbf 6k way, and pulls the
ALARM. In the Clamp Centre, of coot the fire alarm isn't
some old-fashioned bell or siren. Instead, melodramatic MUSIC
builds under a documentary-narrator VOICE --
FIRE VOICE (V.0.)
Fire! The untamed element...
oldest of man's mysteries...
12C INT. AN OFFICE CORRIDOR 120
WORKERS in an upstairs corridor, as yet unreached by the Gremlin
invasion, stop to listen to the P.A. voice.
FIRE VOICE (V.0.)
Giver of warmth, destroyer of
forests ... right now, this bu; i d ing
is on fire...
WORKER
What?
FIRE VOICE $V.O.)
Yes, the building is on fire.
Leave the building... enact the age-
old drama of self- preservation...
(CONTINUED)
78.
> O CONTINUED: 120
0 Y
WORKER 2
Fire! Fire!
PEOPLE from offices'start beating it toward the stairwell exit.
CUT TO:
12 1 EXT. CATHEDRAL - DAY 12 1
Mr. and Mrs. Futterman, dressed for sightseeing, arrive at the
handsome old CATHEDRAL OF SAINT EVA MARIE. In b.g., SPOT a
CONSTRUCTION CREW repairing the sidewalk in front of the
cathedral.
SHEILA
Oh, Murray -- what a beautiful
building!
MR. FUTTERMAN
Beautiful? Looks like somethin'
out of the dark ages.
True, Saint Eva Marie's architecture is on the vy side ...as
CAMERA notices the ornate windows and the cor 'te topped with
spooky stone GARGOYLES -- (�
Wait a minute. That one there...that's �' a`rgoyle...
MR. FUTTERMAN (C _Q�� )
HEY''
SHEILA
What is it, Murray?
It's the FLYING BAT-GREMLIN -- and it leaves its perch to fly
STRAIGHT AT HIM --
MR. FUTTERMAN
Hey'. Help!
He flails at the Gremlin, batting it away from him, but it keeps
coming back -- as Sheila stands back, too terrified to move --
SHEILA
Murray, what is it?
MR. FUTTERMAN
It's them!
(to pedestrians)
Help me! Somebody help me!
But the NEW YORKERS on the sidewalk continue past him, oblivious. Pjr.
(CONTINUED)
REVISED - July 7, 1989
79.
E 121 CONTINUED: 121
Futterman grapples with the Greml trying to get hold of Its slashing claws.
His face is CUT -- and his wrist --. wt he grabs hold of one claw, then the
other, and manages to FLING the struggling Gremlin away from him, so that
it tumbles, off balance, into the constr ion crew's churning CEMENT MIXER --
As Sheila rushes to Murray's side, the F) tng Gremlin emerges from the
cement mixer's thick whirlpool, coated with ray cement. Murray braces for
another attack -- but the cement weighs th emlin down so much that all
it can do is flap its wings slowly, lofting pa ully toward the cathedral, as
the cement starts HARDENING --
-- and as the Gremlin regains his perch, the cement solidifies, so that he is
now a Gargoyle for real -- and for good.
Mr. Futterman catches his breath -and takes off running.
SHEILA
Murray -- where are you going?
MR. FUTTERMAN
We have to tell Billy! Come on!
Sheila follows him.
E
CUT TO:
122 INT. CORRIDOR 122
In b.g., PEOPLE from offices are fleeing the "fire." Billy and Forster,
hurrying toward the Systems Control Center, almost trip over a number of
escaped LAD ANIMALS, who are fleeing down the W.
The animals are: followed by the breathless Dr. Catheter, who is hurrying
even faster. Dr. Catheter's mind has apparently snapped.
DR. CATHETER
The horror! The horror! The eakagg!
BILLY
What? What happened?
DR. CATHETER
What happened? They fought back, that"s
what...things...stuff -
He grabs Billy's shirt.
DR. CATHETER (CONT.)
I swear to God...I will never... hurt
Is anything again... they are all part of the
great chain of being...there are things
that man .was not meant to splice...
(CONTINUED)
REVISED July 7, 1989
80,
0 " ?2 CONTINUED: 122
FORSTER
The hell is he talking about?
BILLY
Try and calm down -- where were
the --
But as Billy tries to understand Dr. Catheter --
123 TRICK SHOT 123
-- our FRAME starts to JITTER, a here's something wrong with the
projector. Then the film FREEZES caught in the gate. A BURN spot
appears, consuming the image of Bill °asd the others. The FRAME fills with
WHITE LIGHT and we HEAR a FLAPPING ND, as if the reel were spinning
uselessly in the projector.
124 INT. OUR THEATER 124
In the stereo surrounds, we begin to hear t.� �OUND of O.S. GREMLIN
LAUGHTER. Gremlin SILHOUETTES appear on a screen, making shadow
bunnies with their claws, competing for space, hitting and shoving each
other.
0
1.25 OMIT 124
126 OUR SCREEN 126
The FRAME is filled by a grainy black and white TITLE CARD reading "SUN
WORSHIPER FILMS PRESENTS VOLLEYBALL HOLIDAY."
127 INT. OUR THEATER 127
A MOTHER shields her pre-teen DAUGHTER'S eyes from the offscreen sun
worshipers as the rest of the audience GASPS. She drags her child from her
seat.
128 INT. LOflY, OUR THEATER 128
The mother-storms out of the auditorium and accosts the beleaguered-looking
MANAGER.
MOTHER
I can't believe it! This is worse than the
first one!
A MAN covered with film, obviously the PROJECTIONIST, staggers up to the
manager. His clothes are in tatters.
PROJECTIONIST
I quitt Cali the union'. can the National
Guard!
A MAN who has been getting popcorn at the nearby candy counter turns and
comes over to the group. He is STEVEN SPIELBERG.
(CONTINUED)
REVISED - July 17, 1989
81.
128 CONTINUED: 128
SPIELBERG
What seems to be the trouble here?
PROJECTIONIST
Those things! They've taken over the
projector! They refuse to run the rest of
the picture! They want to see Snow White
Oral thg._yen Dwarfs!
SPIELBERG
Damn! I knew I should have directed this
one myself!
(beckons across lobby)
Hulk...
HULK HOGAN, in full wrestling regalia and carrying Raisinets, comes over to
join Spielberg. Spielberg points a finger upward -- toward the projection
booth in OUR THEATER.
Hogan, quickly grasping the situation, addresses the Gremlins in the booth.
HULK HOGAN
Okay, you guys listen up! People paid
TUM-
0 good money to movie' When they
go out to a theate ey c Id sodas,
hot popcorn, and _ o m ns
projection. booth. Do I have to %Offil TS
there myself? Do you think the Gre ters
can stand up to the Hulkster? Well, if I
were you, I'd run the rest of the picture
right now.
(to audience)
Sorry, folks. It won't happen again.
129 OMIT
129
130 OMIT 130
131 INT. CABLE TV CONTROL BOOTH 131
...and OUR FILM RESUMES, in a new setting: the Clamp Cable Network control
booth.
Grandpa Fred comes into the control room to find multiple MONITORS showing
the signals of several New York TV STATIONS to a deserted room. As Fred
watches, PAN three monitors showing NEWSPEOPLE in front of. the Clamp
Centre Building. The scene behind the newspeople is chaos -- POLICE
barricades, REFUGEES from the building, a CURIOUS CROWD, etc.
S NEWSPERSON I
...many conflicting reports from people
who've come out of the building...
(CONTINUED)
REVISED 3/15/89
82.
131 CONTINUED: 131
NEWSPERSON 2
.stories about a fire, but also
reports of an attack by some sort
of animals -- again, none of this
is confirmed...
NEWSPERSON 3
.people who are quite
hysterical, talking about some
sort of "green men" --
unfortunately, police are not
permitting any news media into the
building at this time, so we're
unable to bring you first-hand
coverage, but as soon as...
Fred's face registers what he's thinking: this is it. His
break. He runs out into the corridor...
132 INT. CORRIDOR - FOLLOWING FRED LI) 132
.where Katsuji, the camera-happtourist from Kate's tour
group, is fleeing down the hall (om some fresh disaster.
GRANDPA FRED
Hey!
40
KATSUJI
Yes?
GRANDPA FRED
Can you work a TV camera?
Katsuji smiles proudly.
KATSUJI
Work a camera? I master the
camera!
CUT TO:
133 INT. MARLA'S OFFICE 133
Oblivious to the chaos in the rest of the building, Marla is
trying to work in her darkened office, reading paste-up boards
with a match.
MARLA
(MUTTERS)
Terrific...a screaming catastrophe
holocaust murder deadline
emergency rush, and there's no
E lights...
(CONTINUED)
REVISED 3/15 /89
82A®
133 CONTINUED-
133
Angrily, she picks up the receiver of her video-phone. The
little SCREEN fills with a CARD reading "PLEASE STAND BYm"
MARLA (CONT,)
Great.
(CONTINUED)
0
REVISED - JUNE 22, 1989
83.
E
133 CONTINUED: 133
She hangs up, goes back to work.
CUT TO:
134 OMIT 13
135 OMIT 135
135A INT. LOBBY - ENTRANCE TO TOY STORE 135A
From the lobby TOY STORE, we hear the NOISE of Gremlin laughter
and clattering machinery.
135B INT. TOY STORE 135B
On a big MODEL TRAIN DIS phawk and a bunch of his hench-
Gremlins are torturing Gizm 490M D ed in engineer's hats, the
Gremlins have tied the helples.s rh to the tracks. As a
vicious ionel bears down on Gizmo, V A%4 4 L
CUT TO:
136 INT. GENETICS LAB 136
Billy and Forster follow Dr. Catheter in, to find a RIOT of
Gremlins, BINGEING on genetic elixirs and TRASHING lab
equipment.
Forster is quickly waylaid by the Gremlin who drank the sex
hormone earlier, and has become a mutant, amorous GIRL GREMLIN,
with blonde hair and big red LIPS. She develops an instant
crush on Forster, her HEART pounding half-out of her chest.
The Girl Gremlin jumps up onto Forster's chest, embraces his
neck, and moves in for a KISS.
FORSTER
Get it off me --
But Dr. Catheter is rushing to a CABINET at the back of the
lab...
DR. CATHETER
I've got some small assault
weapons...
0 (CONTINUED)
REVISED May 10, 1989
84.
S 136 CONTINUED: 136
.while Billy SEES a GREMLIN eat the LIGHTNING-BOLT VIAL that
was injected into the rat earlier. The Gremlin shudders through
the reaction, but seems not to change...until he spots an
ELECTRIC SOCKET and touches his claw to it. The Gremlin
DISAPPEARS into the socket, as if swallowed by it...
.as Forster backs out of the room, the Girl Gremlin now
hanging on fiercely to his leg...
.and Dr. Catheter, in b.g., SCREAMS as he takes his arm out of
the cabinet with a GREMLIN attached by the teeth. Trying to
shake it off, catheter goes TRIPPING through the wrecked lab,
CRASHING into equipment. Now a number of other GREMLINS see the
scientist on the defensive, and pile onto his, sending him
stumbling to the floor... f x)
�
.and Billy's attention is Qught by MOHAWK, who's zeroing in
on the cage containing the LVE-INCH SPIDER that Billy saw
earlier. A surgical tube rtm%s from the hairy spider's body to a
small glass VIAL with a spr logo on it. Billy moves to stop
Mohawk --- � � .}}}}}
-- but now the Gremlin w hrftd isappeared into the electric outlet
EMERGES FROM ANOTHER SOC , across the room. He is different
40 now -- seemingly made of e, crackling ELECTRICITY. He flies
close to Billy, forcing to back away, so that Mohawk can
grab the vial attached to the spider and escape from the lab.
Finished with Billy, the ELECTRIC GREMLIN wafts himself onto a
table full of scientific MACHINERY. He touches his glowing claw
to a cyclotron. It spins crazily, then SHORTS OUT in a shower
of SPARKS and SMOKE...
.while, on the floor below, the Gremlin mob finishes off Dr.
Catheter.
CUT TO:
137 INT. CLAMP'S OFFICE 137
The tycoon is talking on the phone --
CLAMP
.just tell then everything's
under control, we've just had a few
Clamp stops as he SEES a wall monitor with a ''CLAMP NEWS
NETWORK" sign under it. Grandpa Fred stands amid the LOBBY
CARNAGE, covered by Katsuji's slightly jerky hand-held CAMERA
0 Clamp, whitening, flicks the SOUND on.
(CONTINUES)
REVISED May 10, 1989
84A.
1 137 CONTINUED: 137
GRANDPA FRED (ON TV)
.this invasion by strange
creatures, perhaps from another
galaxy...or a dimensional warp...
CLAMP
Dracula...?
As Fred speaks, Katsuji's CAMERA catches a fast GLIMPSE of
GREMLINS in kids' clothes frolicking past in b.g. It's hard for
Fred to shake his horror-movie training --
(CONTINUED)
0
REVISED - May 31, 1989
85.
0
137 CONTINUED: 137
GRANDPA FRED (ON TV)
.and, just a moment ago, in a
spine-t. 1 ing, blood-chilling
incident --
(catches himself --
turns newsy)
-- uh, they continue to plague this
troubled structure throughout what
has been a turbulent and tumultuous
afternoon...
CLAMP
Oh, shit.
CUT TO:
138 EXT. CLAMP CENTRE BUILDING 138
As the CROWD builds outside the building, one of the frustrated
TV newspeople argues with a COP.
NEWSPERSON 2
Look, just let us in there. We'll
take the responsibility --
COP
Forget it, pal. Most of the people
are out of there ow, anyway.
NEWSPE ?.0
Then what's in ther
been in Beirut --
COP
Yeah? I bet they miss you there.
(to crowd)
Let's move back, folks..,
CUT TO:
139 INT. XEROX ROOM 139
In the same Xerox room where he was tormented with the copying
machine and the rubber cement, Gizmo is undergoing his worst
torture yet at the hands of George and Mohawk, who have lit
CENSERS and put on Inquisition-style ROBES for the occasion.
The defenseless Gizmo is TIED with heavy twine to the top of a
paper-cutting TABLE. Above him, George hangs by one arm from a
high SHELF. In his other claw, George holds a PENDULUM rigged
up from a T-square, a protractor, rubber bands...
(CONTINUED)
REVISED - may 31, 1989
M.
139 CONTINUED: 139
.and a gleaming-sharp EX-ACTO KNIFE. As George swings the
pendulum, the knife blade moves closer to Gizmo's chest, a
fraction of an inch each time.
Pacing back and forth on the floor below, Mohawk CACKLES at
Gizmo's dilemma. Like a villain swilling whiskey, he gulps from
the vial he stole in the genetics lab, the one with the spider
logo on it.
The blade moves closer-grazing Gizmo's fur...but as it
SLICES the topmost fibers of the twine that holds him
down --
-- a CHANGE comes over Gizmo's expression. This is one Mogwai
who's had enough. He sets his jaw in angry determination, and
BURSTS the frayed twine, freeing one arm -- then another --
George grabs the T-square like a scythe, and tries to hack at
Gizmo with the knife blade --
-- but Gizmo GRABS the pendulum and PULLS down hard, so that
George TUMBLES from his shelf --
0
-- and LANDS ON MOHAWK. Before the Gremlins can get to their
feet, Gizmo scrambles down from the table --
140 INT. HALLWAY
140
-- and runs into the corrido g Mohawk's grabbing CLAW,
making for freedom.
6
T TO:
141 OMIT 141
142 EXT. CLAMP CENTRE BUILDING 142
Two FIRE ENGINES have pulled up outside the building. As
FIREMEN connect their hoses to hydrants, COPS push the CROWD
back to clear a path to the door for the firemen.
As the breathless FUTTERMANS arrive at the building, they SEE a
TV NEWSPERSON interviewing the nearly hysterical Microwave Marge
beside the door.
(CONTINUED)
REVISED May 3, 1989
8'7 .
0
141 CONTINUED: 141
Forster stumbles backward, but the Electric Gremlin jumps at
him, and at its touch, Forster's body too is covered by
electricity. He WRITHES in the grasp of the power, and finally
throws the Gremlin off.
As the Electric Gremlin disappears into a socket, Forster REELS
backward, dazed, stumbling. His hair is on end, his eyebrows
charred, and he's knocking over furniture. He's alive -- he
just doesn't know what planet he's on.
CUT TO:
142 EXT. CLAMP PLAZA BUILDING 1s2
Two FIRE ENGINES have pulled up outside the building. As
FIREMEN connect their hoses to hydrants, COPS push the CROWD
back to clear a path to the door for the firemen.
As the breathless FUTTERMANS arrive at the building, they SEE a
TV NEWSPERSON interviewing the nearly hysterical Microwave Marge
beside the door.
MARGE
.and, and then these horrible
green things came into the kitchen,
and they, they put all kinds of
metal utensils and cookingware into
the units, the ovens, which you
should never, it's not like your
conventional oven, it produces a, a
reaction, and it explode!d, and the
horrible things were, they were
laughing, and --
Hearing this, Mr. Futterman pushes his way to the entrance and
blocks the firemen's path.
MR. FUTTERMAN q,
Hold it! Wait! No water!
FIREMAN
What?
(CONTINUED)
REVISED - June 8, 1989
88
142 CONTINUED: 142
MR. FUTTERMAN
It's not fire in there -- it's
gremlins. If you get water on 'em,
they just mu1 in1v.
(to cop)
You gotta let me in there. I know
how to deal with it.
SHEILA
Murray --
The cop blocks Mr. Futterman's way.
COP
Uh, sure, pal -- look, why don't
you calm don a little? Just --
TTERMAN
Don't talk t'&Jre Uke I'm crazy --
(realizir;S mself )
I was ner craz ' fine.
CUT TO:
143 OMIT 143
144 INT. CLAMP'S OFFICE 144
Billy comes into Clamp's office to find the tycoon pacing
nervously.
CLAMP
Bill -- how's it going out there?
Any progress? Just tell me there's
progress.
(CONTINUED)
89.
4 CONTINUED: 144
BILLY
I'm afraid it's pretty bad right
now, sir --
CLAMP
Bad? It's horrible. There are
people in this building. Real
lives. You have any idea what
kind of lawsuits we're looking
at here?
BILLY
Yes sir. We'll have to
But as he speaks, the ELECTRIC GREMLIN emerges from a wall
socket behind Clamp...
BILLY (CONT.)
Watch out!
P �
Clamp turns to SEE the Electric Gremlin GLIDE swims y through
the air, coming straight at him --
CLAMP
Help --
Billy grabs the RECEIVER of a VIDEO-PHONE end steps between
Clamp and the Electric Gremlin. At the last possible instant,
he holds the receiver up in the Electric Gremlin's path. The
glowing beast touches the mouthpiece...
.DISAPPEARS inside...and shows up an instant later on the
video-phone's SCREEN -- trapped, writhing in pain, as RECORDED
VOICES bounce around it and issue from the phone's SPEAKER.
RECORDED VOICES (V.O.)
(VARIOUSLY)
If you want to make a call, please
hang up and try again...We're
sorry -- all circuits are busy
now.,.
BILLY
He's in the phone system...on
hold. That should take care of
him for a while.
RECORDED VOICE (V.0.)
While waiting, we invite you to
listen to a brief interlude of
recorded music.
(CONTINUED)
90.
4 CONTINUED: ( 2) 144
The MUSIC begins: a cheery Muzak rendition of "Raindrops Keep
Wallin' on My Head." The Electric Gremlin WRITHES more
fiercely, his pain doubled.
CLAMP
Uh, Bill -- thanks.
BILLY
Sure. Mister Clamp, we have to
stop these things from leaving
the building. If they get out,
that's it for New York -- at least
New York.
Clamp nods gravely, and takes a VIDEOCASSETTE from a drawer.
CLAMP
I thought this would never run,
Bill -- but maybe it will.
BILLY
What is it?
CLAMP
The sign-off. The b sign-off
0
He puts the tape into a VCR head under-,bis wall monitors.
Several MONITORS fill with a MONTAGE t( '`IMAGES -- "beauty shots"
of animals, sunsets, beaches. , '
ANNOUNCER (V.O. )
Because of the end of
civilization, the Clamp Cable
Network now leaves the air. We
hope you have enjoyed our
programming -- but, more
important, we hope you have
enjoyed-life.
As the montage continues, a Tiffany-type POP SINGER sings a
sprightly version of an old hymn:
SINGER (V.O.)
Yet in my dreams I be
Nearer my God to thee...
Clamp, watching, wipes away a tear.
CLAMP
It's beautiful, isn't it?
(CONTINUED)
REVZSED April 20, 1989
91.
144 CONTINUED: ( 33 144
0
BILLY
Yes -- listen, sir, can you set the
clocks in the building ahead three
hours? All of them?
CLAMP
Bill, there's nothing we can't do
in this building. Why?
BILLY
Sunlight kills these things.
That's why they're still in here.
But when it's sundown -- or when
they think it is -- they'll all get
together in one place, so they can
go out. They'll all be in the
lobby.
CLAMP
Right. That's the only way out --
the front doors.
He takes out a pocket computer-scheduler, c-- pushes a few
buttons. `�
0 CLAMP (CONg. 0 0
The sun sets at -
(READS)
-- seven-twenty-five.
BILLY
So around four-twenty -- just
before they try to leave -- that's
when we can make our move.
CLAMP
I like that. They're off balance,
we've got information they don't --
that's when you can really take
someone out. What j. our move?
BILLY
It's just an idea...you'll have to
set it up. From outside the
building, if you can get out there.
CLAMP
Yeah I've got my own entrance.
You should get out too.
0 (CONTINUED)
REVISED May 10, 198
92.
0 144 CONTINUED: 144
BILLY
There's some things I still have to
take care of in here. Things
and. .people.
CLAMP
This idea of yours --
BILLY
Yeah. It's going to be tricky.
But if it works -- you could save
the city.
CLAMP
Save the city. "Developer Saves
City." Good. Shoot.
LX)
CUT TO:
144AA OMIT C) 144AA
144A INT. CORRIDOR - WITH MARLA 144A
Walking down a din corridor% Marla calls out indignantly --
E
MARLA
Isn't anybody around here?
Come on...I nee light in
my --
Suddenly, Marla is startled by a BOOMING AMPLIFIED VOICE -- the
subliminal tapes from the Systems Control Center, jacked up to
more-than-audible volume.
MALE VOICE (V.O.)
-- not stealing office supplies
works for me, and the way I live
today...
MARLA
What?
(CONTINUED)
0
REVISED May 10, 1989
93.
40
147 CONTINUED: 147
NEWSPERSON 1
Mister Clamp, is it true the
building's been evacuated?
4
NE'SPERSON 2
Sir, is the building on fire?
CLAMP
No, no --
(signals firemen)
That's a false alarm. We've just
got some problems --
NEWSPERSON 3
Problems? You've got a guy in a
Dracula costume in there,
broadcasting stuff with little
green monsters. Are you trying to
panic New York City?
CLAMP Ln
Absolutely not. 1.10
0 NEWSPERSON 2 C3
Then the monsters are re
D C
CLAMP
41
I didn't say that...
As the media mob follows Clamp ac s the street, Mr. Futterman
pushes the other way, toward Clam sidewalk elevator. A
couple of people notice --
SHEILA
Murray!
-- but Mr. Futterman pushes the button, and he's below street
level before anyone can catch bin.
CUT TO.
147A INT. SYSTEMS CONTROL CENTER 147A
In the wrecked control center, Lenny browses the console,
looking for buttons that still work, and jamming on them at
random. He hits a few sliders in a bank marked CLIMATE
, CONTROL,
CUT TO :
148 INT. BUILDING - CORRIDOR
148
.and as Billy moves quickly down a corridor, searching.
(CONTINUED)
REVISED May 10, 1989
9 3A.
148 CONTINUEDT 148
40
BILLY
Kate...?
.a WIND STORM comes out of the VENTS. PAPERS from nearby
offices swirl into the corridor. As Billy bats the flying memos
away and struggles against the wind, he hears a NOISE in a
nearby office, and goes inside to investigate.
149 INT. A DENTIST'S OFFICE 149
A dentist's reception area, full of cheery pro-flossing posters.
CAMERA follows Billy's cautiously moving SHADOW on the wall --
where it's suddenly joined by the SHADOW OF A GREMLIN (DAFFY).
Seen in shadows, the Gremlin WHACKS Billy over the head with a
FRYING PAN. As Billy's shadow swoons to the floor,
CUT TO:
150 OMIT 150
40
0
REVISED April 2.3, 1989
94.
0
150A INT. AN OFFICE 150A
A hastily abandoned office, somewhere in the building. Gizmo is
on the desktop, rummaging in the open top drawer. With a quiet,
stern determination we haven't seen in him before, he gathers up
a few things: a rubber band.,,a wooden match.. .and a paper clip,
which he starts to straighten...
As Gizmo works, PAN to a digital DESK CLOCK. Its numbers flash
ahead three hours.
CUT TO:
150B INT. LOBBY/BAR 150B
The big lobby CLOCK is also moving ahead three hours. PAN DOWN
to the BAR, where a number of Gremlins are drinking, and
enjoying the broadcast on the TV SET behind the bar.
The TV screen shows Grandpa Fred, in a cable TV studio with a
Donahue or GeraidQ-type talk show set-up, getting ready to
interview the Brain Hormone Gremlin.
GRANDPA FRED (ON TV 5
("� b
. in an even more bizar t
0 that one of the ores
" creatures," is that I u ate?
The Brain Gremlin nods.
151 INT. CABLE TV STUDIO (CONTINUOUS) 151
Grandpa Fred and the Brain Gremlin in the studio, where Katsuji
is working the big floor-model CAMERA.
GRANDPA FRED
-- who is able to talk, and he's
going to talk with us now.
(to Brain Gremlin)
I think the main question people
have is -- what is it you want?
The Brain Gremlin answers in his usual cultured tones, sounding
lucid.
BRAIN GREMLIN
Fred, what we want is, I think,
what everyone wants, and what you
and your viewers have --
civilization,
REVISED - May 31, 1989
954
E
151A INT. LOBBY BAR - GREMLINS WATCHING AS BEFORE 151A
The drinking Gremlins nod agreement, pound beer mugs on the bar for
emphasis.
BRAIN GREMLIN (ON TV)
The niceties, Fred. The fine points.
Diplomacy. Compassion. Standards,
manners, tradition. That's what we're
reaching toward. Oh, we may stumble
along the way, but -- civilization, yes.
The Geneva Convention. Chamber music.
Susan Sontag. Everything your society
has worked so hard to accomplish over
the centuiries -- that's what we aspire to.
We want to be civilized. I mean, you take
a look at this fellow here...
On TV, a DOPEY-LOOKING GREMLIN wanders into FRAME, grinning stupidly,
waving at Fred's O.S. CAMERA. The Brain Gremlin reaches out of FRAME,
comes back with a GUN, and SHOOTS the dopey Gremlin. The bar Gremlins
love it.
BRAIN GREMLIN (CONT.) (ON TV)
Now, was that civilized? No. Clearly not.
i Fun, but in no sense civilized...
On TV, Fred starts backing nervously away from the armed Gremlin.
GRANDPA FRED (ON TV)
Well ...uh, of course that could be argued
different ways...
As the bar Gremlins live it up 'VA E PANS to the front doors of the
IR%
building. Unnoticed by the Grem in SCENE outside the front doors of
the building has changed. it now apa be RED SQUARE AT NIGHT, in
the 1940s.
151B EXT. BUILDING (CONTINUOUS) 151B
As the CROWD watches, workers with CRANES position a cloth THEATRICAL
BACKDROP -- the Red Square scene -- in front of the doors.
CLAMP
(SUPERVISING)
A little to the left...careful, careful...
A FIRE CHIEF climbs down from an idled hook-and-ladder and comes over to
Clamp.
FIRE CHIEF
What's this thing for?
(CONTINUED)
REVISED April 20, 1989
96.
151B CONTINUEDs 151B
E CLAMP
These things can only come out when it's
dark. We've put all the clocks in the
building ahead three hours. When they
think it's sunset...and they see what a
nice "night" it is outside... they'll all be in
the lobby, getting ready to come out.
When they do, we drop this
backdrop ...and let the sunlight fry 'em.
FIRE CHIEF
(indicates backdrop)
Where'd you find this thing?
CLAMP
It's from a musical I was backing on
Broadway. The one about Stalin. It
closed last week.
FIRE CHIEF
Oh, I saw that. Boy, that guy could
d c e.
1510 INT. LOBBY 151C
� ( ( �
The bar Gremlins are still watching T c hih�remlin is crazily
filibustering.
011
BRAINGREMLIN (ON TV)
We want the essentials, Fred. Dinettes.
Bar stools. Complete bedroom groups.
Convenient credit, even if we've been
turned down in the past. Fred, am I
losing you here...?
CUT TO:
152 INT. DENTIST'S OFFICE 152
Billy is blinking himself groggily to consciousness, seeing the room through
the BLUR of concussion. There's an unpleasant, whining NOISE --
-- as Billy SEES Daffy, now in DENTIST'S WHITES, revving up the high-speed
drill and moving in on him. Daffy's FACE MASK doesn't hide his goofy, eager
EYES --
Billy flails desperately, but it just leaves his mouth unprotected. Daffy
wedges a CLAW in, moves in with the drill ---
MR. FUTTERMA 4
Billy!
S (CONTINUED)
REVISED May 17, 1989
97-
E 152 CONTINUED. 152
Just before the drill can make contact, Billy and Daffy turn to
SEE Mr. Futterman coming quickly toward them from the doorway.
Daffy turns on him with the drill, aiming for his chest --
-- but Mr. Futterman reaches overhead, turns on the bright
Castle LAMP, and aims it at Daffy -- who SHRIEKS, drops the
drill, and runs from the dentist's office.
MR. FUTTERMAN
You okay, Billy?
BILLY
Yeah. Mr. Futterman, what are you
doing here?
MR. FUTTERMAN
I knew you'd need help, kid. I
wasn't gonna let you down. What's
next?
ILLY
I was tr o find Kate.
S
FU un MAN
0 Right. Let's m out.
He leads Billy into the corridorU
-5
CUT TO:
153 INT. CORRIDOR - MARLA IN SPIDER WEB 15-
She is still stuck in the web, struggling -- but suddenly she
SEES --
KATE rounding the corner of the corridor, flashlight in hand.
MARLA
Thank God you're here...
KATE
I could just leave you there. It
seems to be good for your attitude.
MARLA
Look -- about Billy. Nothing
happened. Really. I asked him to
go out to dinner with me, but it
was just business.
40 Kate shakes her head, impatient.
(CONTINUED)
REVISED May 17, 1989
98.
153 CONTINUED% 153
MARLA (CONT.)
Okay. Wait. I'm going to be
honest with you. It'll be a
cathartic openness thing. It
wasn't business. I tried to get
something going with him. But I
couldn't get to first base. Does
that help?
KATE
It'll do.
She reaches into her purse, and pulls out a Swiss Army KNIFE.
But as she starts cutting Marla down, Marla SEES something else,
and SCREAMS --
1S3A MARLA'S POV
153
The hideous CREATURE that once was Mohawk, coming toward them.
Mohawk has the same head and torso he did before -- but his
limbs are now EIGHT FAIRY SPIDER LEGS, stretching as wide and
high as the corrido
CUT TO:
154 INT. CORRIDOR - BILLY AND M TTERMAN 1
00 5L
They HEAR Kate's SCREAM O.S., an in the direction it came
from. 615h
CUT TO:
155 INT. CORRIDOR - KATE AND MARLA AS BEFORE 15=
Mohawk moves toward the women with a spider's predatory
nimbleness, quickly closing the distance. Kate and Marla run
as fast as they can --
-- too fast to notice that the corridor before them is strung
with more WEBS. The sticky filament catches them -- and, as
they writhe desperately, Mohawk, smiling, clambers toward them
for the kill -- when, suddenly --
A VENT in the ceiling clatters open, and GIZMO drops from it,
falling to a display case on the wall between the spider and its
prey. He wears a black HEADBAND, and carries a homemade WEAPON
-- a BOW made from the paper clip and rubber band, and a wooden
MATCH as an arrow.
0 (CONTINUED)
REVISED April 20, 1989
99,
40 55 CONTINUEDT 155
Gizmo SEES his enemy menacing Kate and Marla. Grim
determination shows on his face, as he HEARS in his mind:
SYLVESTER STALLONE (V.0. )
To survive a war, you've got to
become war.
Holding the drawn bow and arrow in front of him, he PIVOTS on
the display case, so that the match SCRATCHES against the wall,
and CATCHES FIRE --
-- and, as Billy and Mr. Futterman round the corner, they SEE
Gizmo loose the arrow --
-- which catches Spider-Mohawk in mid-body. The FLAMES spread
over his body and to his hairy legs as he writhes, tumbles over,
and DIES.
Billy rushes to cut the women free with a pocket knife, as Mr.
Futterman looks at Gizmo, up on the display case.
MR. FUTTERMAN
What's that?
BILLY
0 That's Gizmo, Mister Fu tprtt
He's on our side.
Mr. Futterman gives Gizmo a hand down from the display case.
MR. FUTTERMAN
(to Gizmo)
Uh...thanks.
Gizmo responds with a quick, Stallone-style nod, as Kate and
Billy embrace.
KATE
Billy --
(indicates Gizmo)
What happened to him?
BILLY
I guess they -- pushed him too far.
BILLY
Thank God you're okay.
KATE
I am now.
MARLA
Could somebody tell me what the
1I is going on here?
(CONTINUED)
REVISED April 20, 198
99A.
0 155 CONTINUETH (2) 155
BILLY
Well -- Gizmo got wet, and then the
Mogwais ate after midnight, and
then some of the Gremlins must have
mutated, from the genetic material.
MARLA
(thinks: huh?)
Oh.
BILLY
And if these things get out of here
now --
MR. FUTTERMAN
We'll stop 'em, Billy. I'll tell
you something -- ever since these
guys attacked us, back in Kingston
Fails, I've been scared it would
happen again. But now that it
happened...I'm_not seared.
BILLY
How come?
E
(CONTINUED)
M0N'00065
E
Revised - 3/6/89
100.
155 C 7Ti t'ED: (2)
155
MR. FUTTERMAN
(SHRUGS)
Screwy, huh? But you know, Billy
-- the most important part of
"American" is those last four
letters: "I Can." Washington
didn't give up...Lincoln didn't
give up --
KATE
(suddenly, sharply)
Please --
MR. FUTTERMAN
What's wrong?
KATE
I'm sorry, it's -- Lincoln's
birthday. Something terrible
happened on Lincoln's birthday one
year, and ever since then...
BILLY
I don't think we have tli�e Kate.
Let's no. `�,�
CUT TO:
156 INT. LOBBY
156
True to Billy's predicti.NGREMLINS are converging in the
lobby -- George, Lenny,,-taffy, and a host of others. Their
mood is excited, anticipatory. SPOT tourist paraphernalia on
several Gremlins -- CAMERAS, and a Fodor GUIDEBOOK.or two.
The Brain Hormone Gremlin, standing nearest the front doors,
addresses his charges.
BRAIN GREMLIN
Is everybody here?
A CHEER of assent from the Gremlins.
BRAIN GREMLIN (CONT.)
All right then...
The Brain Gremlin holds a SPORTSCOAT over one shoulder, Frank
Sinatra--style. As he nears the doors, he starts SINGING "New
York, New York," with the GREMLINS SINGING the backup horn part
behind him„
(C ONTINuED)
REVISED stay 3, 1989
101.
156 CONTINUED: 156
40
BRAIN GREMLIN GREMLINS
Start spreading the news, Dat dat da-da-dat,
I'm leaving today... Dat dat da-da-dat,
I want to be a part of it, Dat dat da-da-dat,
New York, New York... Dat dat da-da-dat...
As the Gremlins swing into their SONG, an ANGLE on the lobby floor spots
two TRASH CANS with swinging lids. Grandpa Fred peeks cautiously out of
one, while Kstsuji aims his camera out of the other. They're covering the
Gremlins from cover, like Edward R. Murrow broadcasting from a bunker.
GRANDPA FRED
...it seems incredible, but following their
bl _urdijnif rampage a destruction,
these creatures are now mounting what
appears to be a production number...
157 ANGLE - MEZZANINE 157
Billy, Kate, Marla, Gizmo and Mr. Futterman arrive on the mezzanine. They
look over the railing, at the Gremlin assembly below.
MR. FUTTERMAN
Hey, these guys aren't bad --
KATE
Billy, they're going to the doors...
Billy points at the dark-glass WINDOWS over the lobby.
BILLY
Don't worry. In a few seconds, Mister
Clamp's going to drop that cloth out
there. The sunlight will come in, and --
KATE '4'°0
Sunlight?
On the: unwelcome SOUND of a` THUNDERCLAP,
CUT TO:
15.8 EXT. BUILDING 158
Surrounded by COPS, REPORTERS, and an expectant CROWD, Clamp looks up
at the darkening SKY, where the THUNDER is growing louder.
Clamp turns sadly, and WAVES a signal at the GUYS waiting to drop the Red
Square backdrop: Don't bother..
0
REVISED April 20, 1989
102.
159 INT. LOBBY/MEZZANINE 159
THUNDER echoes O.S., as the Brain Gremlin cheerfully leads the
assembled Gremlins closer to the doors.
BRAIN GREMLIN GREMLINS
I want to wake up Dat dat da da da
In the city that never sleeps... Dat dat da da da...
Some Gremlins have formed a Rockettes-style KICK LINE, while
others load cameras and flip through guidebooks such as "Dining
After Midnight in New York."
160 ANGLE - MEZZANINE 160
Billy and the others watch.
MR. FUTTERMAN
If those guys get out there in the
rain -- this town's going under for
the third time.
KATE
Billy, we've got to do something.
BILLY
I know -- 0065
M 0 N
He points to a coiled canvas FIRE HOSE in a case on the wall
nearby.
BILLY (CONT.)
Mr. Futterman. Get that hose.
Aim it into the lobby.
MR. FUTTERMAN
Into the lobby? Are you nuts?
BILLY
Just do it. Do it fast...Kate, get
a box, and put Gizmo in it...keep
him dry...
Down in the lobby, the happy Gremlins keep moving toward the
doors...
BRAIN GREMLIN GREMLINS
These little-town blues Dat dat da da dat,
Are melting away Dat dat da da dat,
I'll make a brand new start of it Dat dat da da dat,
In old New York... Dat dat da da dat...
(CONTINUED)
REVISED May 16, 1989
103.
160 CONTINUED: 160
E .while, on the mezzanine, Kate grabs a box from a nearby
store, and Mr. Futterman hauls out the hose. Billy drags a
video-phone extension out of a mezzanine office and brings it to
Kate -
BILLY
Kate, there's a call on hold in
Mister Clamp's office. Can you
transfer it down here without going
up there?
KATE
Oh God -- I think so --
BILLY
Hurry.
Kate hurriedly hands Marla the box containing Gizmo.
KATE
Here -- Atpn't let him get wet.
Does it bit
From the box, Gizmo TWITTEje&entfully.
0
161 ANGLE 161
A knot of Gremlins in the lobby SPOT our group on the mezzanine,
and start CLIMBING a modernistic SCULPTURE to get at them...
162 ANGLE 162
Billy runs to turn on the hose...
163 ANGLE 163
The Brain Gremlin reaches for the door...
BRAIN GREMLIN
It's up to you,
New York, New --
.but before he can open it, WATER splashes onto the lobby's
doors, its windows, its floor...
.and the Gremlins, delighted, turn to catch the spray. Their
SKIN starts to BUBBLE. CAMERA finds miniature GREMLINS in the
bubbles, as the lobby fills with the rising SMOKE AND LIGHT of
Gremlin replication...
0
REVISED May 16, 1989
103A.
164 ANGLE 164
0
X
On the mezzanine, Marla keeps Gizmo shielded in the box as Mr.
Futterman uses the gushing hose to knock the climbing Gremlins
off the sculpture, then turns it on the lobby floor again.
Billy stands beside Kate, who furiously punches at the video-
phone's keypad --
KATE
.tap into the PBX. .back through
the voice mail module ...main
switchboard... into the
Ethernet... five-digit code --
BILLY
That's it'.
On the screen of the video-phone, the ELECTRIC GREMLIN writhes
in agony, trying to gel off Hold, as the plastic button BLINKS
beneath the screen.
Billy grabs the phone fr d Kew,. lifts the receiver and holds it
out over the mezzanine rani He looks down at the happily
showering Gremlins --
-- PUSHES the blinking button dow
-- and sees the Electric Gremlin SHOOT OUT OF THE RECEIVER,
swooping down into the lobby --
(CONTINUED)
REVISED May 11, 1989
104.
164 C014TIrwUED: 164
-- touching his crackling wing to the WATER that's rising on the
floor --
-- and A JILLION WATTS OF SEARING ELECTRICITY SPREADS ACROSS THE
LOBBY, nailing the Gremlins where they stand. . .and FRYING
them...
On the mezzanine, Billy and company shield their eyes from the
glaring LIGHT SHOW, and their ears from the Gremlins' DEATH
SCREAMS...
.as the threatened invasion of all New York becomes a sodden,
viscous puddle of green, churning protoplasm that swamps the
lobby...
.and our heroes sigh with relief, their bodies untensing...
164A ANGLE - LOBBY FLOOR 164A
.as the lobby doors b open, and Clamp comes in, leading a
SWAT team in full comba , in what he expects to be a last-
ditch charge --
-- and finding nothing but a s green goo on the lobby
floor. He waves the SWAT team t st p.
0
CLAMP
It's okay, guys.
(surveys the goo)
Maybe we can use this stuff as land
fill...
Grandpa Fred and Katsuji rush over to Clamp.
GRANDPA FRED
(into mike)
We're here exclusively with --
Clamp waves Fred and Katsuji to a stop. Fred lowers the mike.
CLAMP
Excuse me there, pal. Who told you
to go on my network with all that
coverage today?
GRANDPA FRED
Um -- nobody, sir. It just --
seemed like news, and I.,.
CLAMP
Right. I'm making you an anchor.
Six o'clock weeknights.
E
GRANDPA FRED
You're making me -- ?
(CONTINUED)
REVISED May 16, 1989
105.
164A CONTINUED: 164A
CLAMP
I want you to go down to Barney's
and see about some different
clothes, though. This --
(indicates Dracula
COSTUME)
This says to me, "Old World."
Think about sweaters. Think
avuncular.
GRANDPA FRED
Uh -- right.
KATSUJI
Congrats°
He turns his camera on Fred, and they start backing out of the
building.
GRANDPA FRED
What does a men's wear makeover
cost in Manhattan today? Join us,
as we iny,estigate...
0 Billy and the othefs'c � off the stairs from the mezzanine, and
go over to join Clamp. ,
CLAMP
Bill, it looks like yob ,fled us
out here...
BILLY
It wasn't just me, sir. Everybody
helped. Marla here, and --
Clamp looks at Marla.
CLAMP
Marla. You work for me, don't you?
MARLA
Yes, sir. Very, very hard.
Clamp nods, looks at her -- as if for the first time. Something
promising passes between them...
.as the doors to the building open, admitting Sheila Futterman
and a small crowd of REPORTERS. Sheila sloshes hurriedly
through the goo to Murray's side.
SHEILA
E
Murray -- what happened?
(CONTINUED)
REVISED April 20, 1989
106.
164A CONTINUED: (2) 164A '
MR. FUTTERMAN
They tried it again, Sheila. But
we were ready for 'em.
(to Billy and Kate)
We're going home, guys. See you...
The Futtermans exchange goodbye WAVES with Billy and Kate, and
leave. The reporters latch onto Marla...
REPORTER
What happened here?
MARLA
Oh, it was a complete nightmare
disaster. We had to stop work
completely...
.as Billy and Kate commisserate with Clamp.
BILLY
I'm sorry about the building, sir.
CLAMP
I'm not.
40 00065
KATE MUN
You're not?
CLAMP
For one thing, we're insured for
the damage. For another...maybe it
wasn't for people anyway. It was a
place for things. You make a place
for things...
(SHRUGS)
.things come.
BILLY
Well, you kept the city safe.
CLAMP
That's right. That's a good point.
The sacrifice...you know, this
could be good in my next book. I
should be taking notes. You have
any paper?
BILLY
Let me see...
Re rummages -- comes up with paper and pencil from his pockets
and hands them to Clamp. But as Clamp unfolds the paper --
CLAMP
Wait a minute -- what's this?
(CONTINUED)
REVISED April 20, 1989
107.
48 164A CONTINUED: (3) 164A
It's Billy's drawing of the main street of Kingston Falls.
RAND
That's Kingston Falls.
CLAMP
This is what I'm looking for.
BILLY
You want to move there?
CLAMP
I want to bu it. My new
project, over in Jersey -- this is
terrific! This is what people want
now -- the traditional community
thing. Quiet little towns! Back
to the earth --
(indicates drawing)
Is this your concept?
KATE
It's our home town.
CLAMP
That's even better! I love M1Q ! F M 00065
It's -- wait -- Clamp Corners!
"Where life slows down to a crawl."
What do you think?
BILLY
Uh, that's --
KATE
It's terrific.
CLAMP
This is the kind of thing people
need. Not talking elevators, just
-- Bill, you sell me this design,
and we'll build the biggest, most
sensational quiet little town
you've ever seen.
KATE
Of course, for Billy to do a whole
CLAMP
We can come to a deal. Believe me.
Are you Mrs. Peltzer?
(CONTINUED)
REVISED - July > 1989
108.
164A CO 'INUEbi (4) 164A
KATE
(SMILING)
I'm going to be, Yeah.
Billy squeezes Kate tighter, with Gizmo cuddled between them.
The door to the building opens again -- and Billy's father, the
inventor RAND PELTZER, comes in.
BILLY
Dad!
RAND
Billy.. ,Kate.
He slogs over to Billy, Kate, and Clamp.
BIL
Uh, Mister Cl this is my
dad --
RAND
(shakes Clampv and )
Rand Peltzer's the me, sir.
Inventor. Solving tge y's problems
with tomorrow's techn ] gy. Here's
my card.
CLAMP
A pleasure.
RAND
I saw on TV what was happening...'
thought I'd come help you guys out.
He takes out an AEROSOL CAN.
RAND (CONT.)
Wish I'd finished this stuff a
little sooner.
CLAMP
What is it?
Rand indicates Gizmo, who's being held by Billy.
RAND
(holds up can)
The Peltzer overcoat. in a Can.
Personal waterproofing, for those
who can not afford wetness.
(to Gizmo)
May I demonstrate?
Gizmo looks at Rand, and nods somberly, Stallone-style. Billy
holds him up, and Rand SPRAYS the chemical over his body.
(CONTINUED)
REVISED- July 7, 193
log.
164A CONTINUED 164A
RAND (CONT.}
Boy, if I'd have finished this
stuff a few days sooner, we could
have saved everyone a lot of
trouble. Kills you when that
happens...
He finishes spraying -- and takes out a WATER PISTOL.
RAND (CONT.)
Observe.
Everyone tenses as Rand aims the squirtgun at Gizmo --
BILLY
Dad --
o -- but the splash f ater hits Gizmo with no effect, and
everyone -- includ i the stolid Mogwai -- relaxes.
G 1P
(to Rand, indicating
SPRAY-C
Excuse me -- d e that stuff work
9
on construction terials?
RAND
Sir, this'll work r k on just
about anything.
CLAMP
How about construction crews?
RAND
No reason why not.
CLAMP
(to Billy and Kate)
Excuse us a minute.
RAND
(to Billy and Kate)
I'll call you guys --
Clamp leads Rand away, talking business...
CLAMP (CONT.)
I f you knew what I was spending on
tarps alone...
0
RAND
Is that right?
(CONTINUED)
REVISED - July 7, 1989
113,
164A CONTINUED: (6)
164A
.leaving Billy, Kate and Gizmo standing by themselves near the
doors. Gizmo, from his box, TWITTERS a string of indecipherable
Mogwai syllables at Billy,
BILLY
Okay.
KATE
You understand him?
Billy, surprised, realizes that he does.
BILLY
Yeah...I guess I do, now.
KATE
Well, what did he say?
BILLY
He said he wants to go home.
X
Where's home?'''
Gizmo twitters again.
0
B I LL'fQ
Our place.
2 C
Kate, liking the sound of i smiles. Billy pulls her close to
him, and, carrying Gizmo, t go outside...
Y
165 EXT. CLAMP BUILDING - DAY 165
.and walk into the city, as CAMERA CRANES UP on the dispersing
CROWD outside the Clamp Centre...
166 OMIT 166
166A I NT` -. bLAZfP CENTRE - LOBBY 166A
Mary is still talking to the reporters
MARLA
.and then, some of the Mogwais
apparently ate after midnight, and
whenever that happens..
.and Clamp and Rand are in conference
CLAMP
0 We're talking about quantity
here --
'CONTINUED)
REVISED--July 7, 1989
ILL
::66A CONT.HUED: 166A
RAND
Uh, sir, that's no problem --
-- when an ASSISTANT slogs over to Clamp, carrying a cellular
phone.
ASSISTANT
It's for you, sir. From here in
the building.
CLAMP
In the buildi
(into p
Hello? ...For What are you --
okay, okay, w get you out of
there. Which fl ?. .Wow, way up
there...No, it' ke a while, the
elevators are ou nd the lobby is
-- I don't know, o too
long...we'll do wFiat we can,
Forster. Keep you ants on.
Q 1k
CUT TO:
166B INT. CONFERENCE ROOM 166B
In a dimmed conference room high up in the building, Forster
backs fearfully toward a wall...
.and the GIRL GREMLIN, dressed in a BRIDAL OUTFIT, moves
slowly across the floor toward him, with what she imagines is
great seductiveness. The Girl Gremlin saucily undoes a button
or two...
.Forster tries to melt into the wall...
...and we discreetly BLACK OUT, under END CREDITS.
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