"GREMLINS 2 THE NEW BATCH" (1990)

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.

MR. WING, the storekeeper who took Gizmo home after the Gremlins’ night of carnage, Opens the door, beginning his day. As he lights hig pipe, he HEARS a commotion upstairs.

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 and a VCR out of the car.

Mr. Wing looks up from fp hess game as the four men sweep

into the store.

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 cut 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 incltide an easel beside Clamp, holding an architect*s RENDER that shows the grandiose -LOBBY of a huge office building. .

*«

4 CONTINUED:

*Revised - 3/6/89

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 0O.S. TWITTERING of Gizmo is heard from the rear alcove of the store.

x Mr. Wing regards C % video image impassively. *

Snancapetnentinee

* ¢The Clamp

Corporation" 8 LOGO - ~~ a stylized "C" -- fills the *

“video screen, replacing Clamp’ 3 image.

sounds deeply unhealthy. When the coughing subsides, he answers Forster.

PO a ee oe oe

5A

aceon ‘ scm cence: ran ones (6B NN NS our ia es nbn

*Revised 3/31/89

CONTINUED; 4

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 acreen fills with a SCENE from a Rambo picture. SYLVESTER STALLONE addresses the movie

CAMERA:

become war.

Then he screwa an explosive-filled metal ARROWHEAD onto an arrow, and SHOOTS the arrow from a bow. The arrow hits a HELICOPTER, which bursts into FLAMES.

But as the helicopter starts to burn, Mr. Wing comes back and angrily turns the TV set OFF, addressing the unseen Gizmo.

MR. WING Ln

Television again! Ai- ! An invention for fools. ~- As he starts COUGHING again, © Cc? Cc) CUT TO: OMITTED 5 ie

Forster and the bodyguards are drip away from Mr. Wing's atore.

A STING of solemn CHINESE MUSIC covers the

*REVISED - May 31, 1989

Seen through distance and morning MIST, a burial ceremony is taking place, to the accompaniment of the continuing MUSIC.

A huge office tower whose sign reads CLAMP PREMIERE REGENCY OFFICE CENTRE.

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.

é hinatown project... ~ On

The video IMAGE SWITCHES to Clamp being interviewed behind his spotless, high-tech desk.

10A

10B

10C

*REVISED May 10, 1989

Pr CONTINUED: 8 REPORTER That old guy had some neat stuff in his store. You think they’ll auction it off, OFr...? PRODUCER Naah...I hear they’re just gonna tear it down.

OMIT 9 +

CAMERA moves through the deserted store, and settles on Gizmo’s alcove. The mourning Mogwai hag climbed into his old CAGE, and sits in there with the door open. He wears a black armband, and SINGS a sad, minor-key version of his familiar song.

af CUT TO:

~O THE ARM OF A CONSTRUCTION CRAQE) 10A moving toward us, fast. O

CLOSE on Gizmo, reacting in fear “‘Se- the crane arm advances toward him. A WIDER ANGLE shows the crane CRASHING into the store.

Gizmo leapa down from the cage, and narrowly escapes, with the crane arm right behind him. Ags a rain of wood and plaster DEBRIS falla around him, he runs AWAY...

«into the alley behind the store, and scampers to safety behind an ASHCAN, his chest heaving. But now he looks up, startled and scared —

-- an & pair of human HANDS reach down into FRAME and capture him...and we

A BILLBOARD 11

showing the ostentatious structure Danie] Clamp is building on the grave of

Mr. Wing’s etore. The copy reads "COMING SOON ~CLAMP CHINATOWN CENTER ~ Where Business Gete Oriented.” On the cut, there is MUSIC -- a rap song such as Grandmaster Flash's “The Message.”

ii eee ee eee ee eee ee ee

*®REVISED - MAY 3, 1989

CONTINUED: 11 As MAIN TITLES begin, PAN DOWN to

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.

living room could kind of that

to you. He almost got kitied. * BILLY a)

Right. S

{checks his watch) We're gonna be late.

. eecen” Se, =e

Nd He steps to the corner an@hails @ TAXI.

13A

*REVISED - May 31, 1989

Ze CONTINUED: 12

The taxi ROARS away ~~ Billy lets go of the door handle just in time.

OMIT 13

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 If they’re making me take twent Byes off the World Trade Center

40; ilding looks bigger.

KATE ° 6a A lot of people sren’t as thered by that kind of thing as you are, Billy.

year. . KATE That’s okay. We don’t have to 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 ~-

there.

*REVISED - May 31, 1989

They arrive at the DOORS to the building’s lobby. In addition to regular glass doors, there are a couple of REVOLVING DOORS.

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 -- ;

KATE

They use a regular door instead.

BUSINESSES, including S,7RESTAURANTS, a FROZEN YOGURT STAND, a BEAUTY PARLOR, and CLOTH RES.

The ultra-modern, Map ns-sty lobby includes several retail

As Billy and Kate enter, they au Ou thread their way through several WORKERS sprawled in front the 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.

book, J]_ Took Manhattan, are on sale

at the newsstand...

AON na EER Mi i Gin ats

15 CONTINUED:

They kiss.

I won't.

BILLY

in \O OS O © ©

*Revised 3/15/89 8A.

*Revised - 3/6/89

CONTINUED: 15

FOLLOW Billy to a bank of elevators. He pushes a button, and a “goothing” electronic VOICE speaks.

VOICE (V.0.) 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 off the lobby, where he unl sa cabine and opens it eveal & big TV SCREEN with Clamp’s impatient face on it, and a—video_ CAMERA on top.

ee er | CLAMP {ON TV) Forster, I’ve got the planning commission people coming in here today. Those condos I want to

build, on top of e Chrysler , building? rerres close to an

okay. FOR 2) Yes sir. Y

& (ON TV) So I aaron is place running like a clocks the systems, the people, Wverything.

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 snaps the cabinet shut.

CONTINUED: (2)

FORSTER

I said -- we’re busy.

ANGLE - BILLY AT ELEVATORS

As the elevator doors open, Billy is joined by MARLA,

*Revised 3/6/89

9A.

the

chain-smoking, New Yorked-out head of his department.

@ 16 CONTINUED: 16

They get on the elevator, with other WORKERS. The doors close.

number. DS oO

euEVATOE VOICE ({V.0O.) Your request is floor thirty-two.

Digital NUMBERS flash past on the elevator’s display.

But it’s too late.

The elevator violently STOPS SHORT, tossing everybody around. “ ELEVATOR VOICE (V.0.) {CONT.) © Please state your new desired

floor number.

*Revised - 3/6/89 ll.

Aye . gs 7 CONTINUED: re Lm

MARLA is (to elevator) Sixteen. (ta Billy?) I hate this thing.

The elevator stops at their floor, and the doors open. Billy follows Marla out into

a mnt —

18 “INT. OFFICE arEa——~ 18 nee —_—nenmenn 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,

attack disaster horgor story. OA. As Billy and Marla walk, rn a WORKER who’s tr#ing to get

a drink from the d

surges. ~

Billy and Marla ee at Billy’s cubicle, whose "work station" consists of a dra Q@ hoard 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 toard is an illustration af Clamp ‘s Projected Chinatown building ~-_a glass monstrosity with insane

Pagoda touches. But Billy has tried to breathe some Life into fe Nth -peusTe—th the street, kids flying dragon kites, etc. Marla looks over Billy‘s shoulder at the drawing.

*Revised ~ 3/6/89

llA.

aS) s

| % ‘o S

*REVISED April 20, 1989

CONTINUED: 18 BILLY MARLA Elma. 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.

Forster nods at Marla, runs an eye over Billy’s cubicle.

FORSTER Qo? It looks like somebody NE r@yWu

employee manual...d

As he speaks, Forster opens AW 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 folder.

BILLY

As Forster’s asgistant jots on his clipboard, Billy puts the plant in a desk drawer, and Forster spots Billy’s drawing on his partition.

He points to a piece of anonymous “bank art” on a nearby wall.

*Revised 3/15/89

Authorized. BILLY

Yes sir. It was just a ~- FORSTER

A little touch, yes. Maybe everybody here would like to do gome 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 all.

You'd like that, wouldn’t BAY Mister Peltzer?

BILLY =

I don’t see any -- CO ) FORSTER a)

Coming to work every day in a two

hundred million dollar flea

market. = He turns to move on. O

As the assistant follows Forster away, Billy puts his drawing of Kingston Falls in a pocket. Marla stews.

Kate leads a group of TOURISTS through the lobby.

*REVISED ~ May 31, 1989

i4,

CONTINUED: 19

Still talking, she takes them toward a STAIRCASE.

With arge show. MARGE

CLOSE on a VIDEO IMAGE ot tly Proyave a ovens on her set.

takes a dish from one of many @ a

REVEAL that this image is on a control-room monitor at the Clamp Cable studios. Billy, carrying a shopping bag, passes the control room and turns down a narrow hallway.

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 ina moth-eaten Dracula outfit. He’s giving the show his demoralized best shot.

{ CONTINUED}

© 21

He waits for something he expected to hear, but it doesn’t happen. He breaks character.

more flies, don’t you,” and I go back there and open the door --

Grandpa Fred sits down, disgusted. Billy goes over to him.

*Revised 3/31 /89

Billy reaches into his shopping bag, and pulls out a mechanized BAT that flaps ita wings as Billy pulls the trigger. Grandpa Fred recoils.

Billy puts the bat on top of a cobwebbed TV SET that’s part of Grandpa Fred’s set.

meaningful. BILLY Horror movies can be meaningful, Fred. You should run some of the classics -~ Frankenstein, * Dracula... * GRANDPA FRED All the great horror movies are in + black and white. Mister Clamp % only likes color. I don ven

have a gimmick. No epee effects. A puppet that c 8 out of a box -~ whoopee. Oo

A listless, anemio MOAN is heard through the P.A. GRANDPA FRED _ That’s the moan? ae

es

Grandpa Fred gamely goes back into character.

*REVISED - July 7, 1989

1?.

FOLLOW Billy and Fred as they walk through the lobby.

classics, Fred -- Frankenstein,

know what nd-of tenants they have

here? There’ esearch laboratory upst ~~ research. Foolin d with animals, cutting th ++elast

week, they took out a patent on a new kind of gerbil. People think Il'g creepy.

ee ee Ok OK OK EF Rk OR OK OR HOR Re OR

*REVISED - July 7, 1989

1?7A.

Y What would do that for? GRAND FRED

That’s what th Iid’s coming to,

kid. You can’t talk to

yourself without ebody

interrupting. On

* REVISED - May 31, 1989

The Clamp Centre’s “nerve center" looks like an air traffic bad 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."

The technician brings up VOICES on a speaker. They sound like voice-overs on slick TV commercials.

ANNOUNCERS’ VOICES (dynamic man) -».I’m an honest kind of guy -- and not stealing office supplies works for me, and e way I live today...

(sexy When I save m bt the Clamp organization, I ted! about myself g])] over...

{brainy man) You know, I’ve been thinkin?”-- Mister Clamp would make a great president...

Forster turns to see a technician pointing at a MONITOR showing CLAMP’S FACE. Forster greets the screen.

*Revised - 3/6/89 19,

CONTINUED 23

ills the monitor screen, and Clamp’s face “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. So)

Forster punches<@ button on the@pnsole, picks up a microphone

and talks into it: YY eoRSTER. Wouirj

That ’s an UnaUE Regi zed break period, pal. SS don’t work here anymore.

On the monitor, the startled employee looks around for the source of the voice.

He puts down the mike, and moves on to l te” Shaul der--~__ of another technician, who’s turnin p a Switch marked OXYGEN. >

ee ——

building, sir.

2)

24A

24B

*Revised 3/1 /89

CONTINUED: (2) 23

With its cheerful wall sign reading SPLICE-0-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...

»«eto the fringe of a laboratory so high-tech it makes the rest of the building look down-home. Ags he looks into the lab, peering curiously at SCIENTISTS, GADGETS, potted PLANTS and caged ANIMALS, his attention is captured by a SOUND from the 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’a receptionist, comes over to hig.

Can I help you?

“iy What kind of atuff do they do-fr there, anyway?

MESSENGER

Huh. This is for Doctor Catheter.

Niet then ata

eR Re KER EEK KE RR Ke RR eRe ek

24uB

*Revised 3/15/89

CONTINUED: 24B

Peggy’s got a bad case of the sniffles -~ she blows her nose as She signs the paperwork and hands it back.

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.

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. Ley

She takes out a Kleenex, blows he® nose again. Dr. Catheter holds his hand out.

PEGGY ©

Oh, uh -- sure... = Dr. Catheter takes the Kleenex, and heads for the inner office.

FOLLOW Catheter back to

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.

*REVISED - July 7, 1989 2ia,

CONTINUED: 25

Wally’s eyes are BLINKING in precise synch with the flickering of the fluorescent bulbs.

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. O

Wally nods, sighing -- the long-a Ste ring researcher.

Re 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...

eek KOK RB ee OR OR ROR KR HR ROE OK

They arrive at a cage where a resting BAT hangs upside down. An intravenous TUBE, sticking out of the bat’sa flesh, is connected *# to a drip bottle whose label bears a shining SUN logo.

xe eK

(CONTINUED }

*REVISED - July 7, 1989

21B.

CONTINUED: 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.

Catheter draws closer to Wally, and speaks with creepy fascination:

on... blood. Ee

Doctor. South Ame Ne

ro a Co” ne Se cre

*REVISED May il, 1989

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.

Martin turns around. He is Lewis’s IDENTICAL TWIN.

The twins talk in rapid Wwe as if they share a brain. &

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.

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.

ue OH

ae)

CONTINUED: (2) 25

But as he amuses his captors, Gizmo is slyly looking around for a way out of here. He edges farther away from the cage...

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.

MARTIN

Sorry, sir. (

him? DQ LEWIS S&S

Cell samples Fomor r Qe:

».«,tissue cultur hursday.

The three scientists LOOM over the terrified Gizmo. Dr. Catheter reaches into the cage to give Gizmo a POKE.

Billy, in his cubicle, stares at his Chinatown drawing. Just as he lowers pencil to paper, the LIGHTS overhead go out.

The WORKER in the next cubicle speaks up.

{CONTINUED }

@ 26

24,

CONTINUED: 26

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.

But as the Cubicle Neighbor signs the So ecork. the messenger whistles to himself -- Gizmo’s song in, in that sad minor. For a moment, Billy doesn’t posites t -- and then CAMERA catches the realization dawning s face, as he looks over the cubicle partition and asks veedntly:

BILLY ~ - Where did you hearer:

( CONTINUED}

+ etiam amanannanansinnn ere Fo

@ 26

* Revised 3/15/89

CONTINUED: (2) 26 BILLY Did you see who it was? MESSENGER Nuh-uh, it was in the back -~ Billy takes off.

Peggy is sitting at the reception desk as Billy comes in, carrying a red TOOLBOX.

<a) PEGGY on Oh. Hi. It’s back in there:

Samat

As the scientists work, ANIMALS make restless noises in their cages, most of which are hidden by covering cloths.

Billy strolls in and starts “fixing” the copying machine, removing parts at random as he WHISTLES Gizmo’s song.

A moment later, the melody comes back 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.

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.

He FEEDS the rat some liquid from a VIAL with a LIGHTNING~BOLT insignia on its label.

ee eR ee KR KK kK kK Kk wk ROK we we OF

*Revised 3/15 /89

CONTINUED: . 29

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,

them... MARTIN AND LEWIS Hmm... lr ANGLE - BILLY _ ‘9 30

He wanders back to the corner Gizmo’s voice is coming fron. Two caged MONKEYS chatter at @jm as he passes,

Billy, whistling, lifts the Cdver on the wrong cage. He drops it in shock as he gets a GLIMPSE of a growth-hormone experiment: a hairy SPIDER=Bbout twelve inches across.

Then, as Gizmo’s singin Rrews, Billy’s eyes fall on the right covered cage -- and the reaming 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 him into the center of the lab, distracting the scientists -~

As the scientists chase the monkeys, Billy hurries to Gizmo’s_ cage. He opens the cage, and HIS EYES MEET GIZMO’S -~ it’g hard to say which of them 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.

Rok OR ROR RK RR ROR KR RR OK KOR

*Revised 3/15 /89 26A,

Walking faster now, Billy ducks into a men’s bathroom, whose wordless SIGN shows a little emblematic man holding a

briefcase.

Billy goes through a small anteroom and a second door, into the bathroom, where he leans against the door, catching his breath.

*REVISED May 16, 1983

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.

Gizmo does EYE MOVEMENTS -- shyly hedging, then admitting it.

Dy, Billy puts Gizmo onCh/pine te.

with you? Gizmo shrinks back, terrified.

Gizmo looks sad -~ indicates his armband.

He stops at a sudden SOUND -- VOICES in the anteroom between the bathroom and the hall.

He slips Gizmo into the tool box, above his protesting TWITTERS.

33-41

CONTINUED;

Billy comes until

Billy about

sets about furiousl into the bathroom,

*REVISED May 16, 1989

y washing his hands, just as Forster Billy doesn’t see him standing there,

he shakes water off his hands --

FORSTER

You're wetting

sees Forster, Sees

my shoes, Peltzer.

the shoes, grabs a paper towel and is

to drop to his knees.

-~ let 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. * OMIT 33-41 *

LA

fey Yi . With his assistant any yliy watching, Forster points to the sign on the bathroom a OW

FORSTER 0) 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.

riefcase, sir.

FORSTER

That's right.

Because this ~~ ig

the executive washroom. I don’t think you belong in there, do you,

Peltzer?

BILLY

Oh. Well. My mistake ~~

*REVISED May 16, 1989

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,

Lateness infractions...and these * SAT scores --

Forster snaps the folder shut. Gizmo, restless, RATTLES the tool box.

BILLY ~ Oh, uh -- i. supplies.

(ratt box harder) I’m mixin ints. Well, I better get back té , here --

He backs down the hall, th ns and speeds up. HOLD on Forster and his assistant,

oye Billy leave. FORSTER

Hm. I think our "random" 3 search later on should be very interesting.

Billy returns to his cubicle, the restless tool box still in hand. He opens a drawer in his desk, slips Gizmo inside.

*REVISED May 16, 1989

30./31. CONTINUED: 43

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 SEE 8 gry one Staring as Daniel Clamp, with two BODYGUARDS, walks doWwgfhe row of cubicles. No one can quite believe that the SreonGpyers in the flesh.

N O

De.

“CCONTINUED)

REVISED May 11, 1989

Nad th

CONTINUED: (2) 43

Maria moves quickiy to greet him, and they meet beside Billy’s cubicle.

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. 4)

NT.) Hey, this is ex 1é iy

Marla watches, saucer-eyed, as Clamp shakes hands with Billy.

aK OE

%

Gizmo’s drawer rattles open. Billy snaps it shut.

*REVISED April 20, 1989

He moves on, nodding vaguely at Marla -~ who goes over to Billy, looking at him through completely new eyes.

six years, and I’ve never even seen him in person.

career opportunit cement window. For both

BILLY

Oh. That sounds great. I could do it, let’s see...

an appointment.

closed.

*REVISED April 20,

(2) 43 His desk drawer starts RATTLING again.

because -- Qo? |

BILLY

A pet? No, no, I’m alleqnie)

LA stay. Let me see. Maem

As Marla goes 0.S., Billy slips Gizmo’s drawer open and talks

into it.

He hurriedly closes the drawer as Marla approaches,

Billy shoves it firmly

1989

a ee |

435A

Ay

*REVISED - June 2,198

CONTINUED: (3) 43

He grabs his sportcoat, and follows Marla toward the elevators.

As they go, CAMERA HOLDS on Gizmo’s drawer. It slowly shakes 4 open, and the curious Mogwai’s eyes and ears come into view, j checking out the world of Billy's office. 3

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,

As Billy and Marla get off the elevators.

MA fy, EF My Billy heads for an alcove at the” rearof, the lobby -- Sag 8

-- and shows up in the little tour-guide office to find Kate taking off her microphone rig.

you know? Letting people know I'm there and everything?

by

*REVISED ~ June

35A.

4y

be

*REVISED April 20, 1989

uy CONTINUED: Tan

A beat. KATE (sighs) Okay. Let me take this stuff off and punch out, and then I’ll go get him.

He gives her a quick kiss, and leaves the tour guides’ office. Kate waits @ moment, then looks out into the iobby...

KA INT. LOBBY - KATE'S POV HOA 4 -.-and sees Billy leaving the building with Marla.

4B8A

*REVISED - June 2, 1989

36A. OMIT 45 OMIT 46 OMIT 4? OMIT 48

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 hin.

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 téjetx the fountain. Attacking the spigot with a wrench, he sends (off more STREAMS of water. To duck them, Gizmo takes cover, backing / hapy Une er Billy’s desk...

...-and doesn’t see a big SPLASH “of wake 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 f.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 the top edge from inside.

4BA

4 BAA

*REVISED - June 2, 1989 36B.

CONTINUED: 4BA #

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 -- .

Wahog!

Stes

~~ as Gizmo watches the rocking, wibtebasket TIP OVER. Looking into the basket, we (and Gizmo) SHE{’@ “qumble of office wastepaper, which is violently tossed*@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.

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 hin.

Lenny grabs Gizmo with a fast-moving paw, and Mohawk, moving in close, SPITS in Gizmo’s eyes.

ANGLE ~- BILLY‘’S CUBICLE WINDOW ASAA *

Through the glass WINDOW of Billy’s cubicle, we HEAR Daffy acting up --

4UBAA

4 8B.

48BB

4 8BBB

*REVISED ~ June 2, 1989

CONTINUED: 48AA

~- and MOVE IN to see him putting wet-paint PAW PRINTS all over the glass and the desk.

ANGLE - GIZMO AND MOGWAIS AS BEFORE 48B

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.

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.

Gizmo looks out miggrably though the vent...

iéf § & % ...and CAMERA pulls Wagk from him, to show the FEET of departing humans, who are oblivious ta the strange, imprisoned creature a few feet away. sat ay

CUT To:

%

50A

S1A

52A

*REVISED - June 2, 1989

OMIT hg OMIT 50

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. .

Kate, her hat off, heads for the elevators. Evening FUN-SEEKERS are replacing workers in the lobby.

An elevator arrives in’the*Iohby. As the doors open, LOW ANGLE finds the janitor’s FEET and CLEANING CART getting off. after

they’re gone, the HEADS of Georges lenny, and Mohawk, arranged totem-pole-style, peek out of a 1dét,eorner of the elevator.

OMIT 52

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.

~~ 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.

GUARD

Hard to say, sir. A possible gerbil.

52B

53A

*REVISED June 16, 1989

CONTINUED: 524 FORSTER

He’s bringing pets to work. I

don’t believe this guy...it'’s not

just plants. He’s got to have

livestock.

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.

Kate, walking toward Bil}y’s cubicle, stops as she HEARS a Piercing WOLF-WHISTLE, N - her. She turns sharply, looks

around, sees nobody -- *

~~ until her eyes light on » neat Og CABINET, where Daffy hangs out of a drawer, ogling her.

ANGLE - GIZMO IN VENT 534

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.

ANGLE - KATE AND DAFFY AS BEFORE 5383

Kate takes Daffy out of the drawer, but she’s not happy about this -- especially when Daffy LEERS at her.

(CONTINUED }

*Revised 3/31/89 ko,

CONTINUED: 53B

She slips him into the purse, puts it over her shoulder. ‘As Kate heads for the exit, an ANGLE into her purse...

ANGLE - KATE'’S PURSE 54

-.efinds Daffy smirking.

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, ia edging closer to Billy, who’s nursing a beer.

MARLA \ I had crayons too, Biwy. And when I was four years old, I was using them to write @@mos to the other children. Even—then, I knew.

fu @

MARLA en Isn't this great? We’rg finally getting to know each other. You

can’t do that in an office.

** @ e# &@ &

*REVISED ~ May 3l, 1985

(lowers her voice) -- swallowing up the publicity department.

I’m being open nly. Billy. . haven’t talked abgu Bae with anyone.

BILLY : See, I usually don’t pay too much attention to office politics and stuff. I have so puch work to do on the illustrations --

Marla leans closer to Billy, her tone more intimate than before.

Billy FEELS something in his lap. He looks down. It is Marla’s stockinged FOOT.

*REVISED - May 31, 1989

LOB.

CONTINUED: 56

Just at that moment --

-~- 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. Marla quickly withdraws her foot, and Billy blots at the spill with a napkin.

Can I cut you an an

BILLY Os No, thanks, I, uh ~--I’ve rea got to get going. I’ve got that -- appointment. I’m sorry about your, uh --

COS Sa SS ORY SO” SOY SS SO

*REVISED = June 9, 1989

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.

IL Establishing their apa Of ~~ it’s pretty run-down.

Og

62A

*Revised = 3/6/89

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.

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 "oops" expression on his face.

Daffy nods contritely. Kat ings him the food.

KAT NT.) Let’s see if u'll eat this -- FV

Daffy grabs a chick@lea opens his mouth as wide as Joe E. Brown‘s, clamps hn the drumstick, and strips all the meat off in one fast lon, 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.

Daffy WHOOPS, grabs more chicken, and resumes eating.

CUT TQ: OMIT 59 * OMIT 60 * OMIT 61 * OMIT 62 *

Billy gets out of a taxi in front of the building, and hurries inside.

*Revised ~ 3/6/89

43./44./45,

Kate answers the doorbell.

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.

Kate doesn’t answer —- she’A&. looking at the LIPSTICK mark an Billy‘s face. lo . Did you ha ae meeting? “Oo ... BILLY

Uh, yapnrit was fine. Where's Gi 2m

She FOLLOWS him to the kitchen.

BILLY

{calls ahead) Hey, Giz, how you ~——

They come into the kitchen, which is a mess fram Daffy‘s food: throwing. The Mogwai is hidden behind a little BARRICADE of Lean Cuisine boxes. As Kate and Billy enter, he THROWS a lum of frozen pineapple that nails Billy on the forehead.

@ “3 CONTINUED: 63

Billy leans over the barricade and looks in -- as Daffy tosses a GLOP of cherry cobbler, splattering Billy’s face.

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. Ky

The Mogwai SPITS, then wings Kate mo piece of Salisbury steak. Billy looks at the wall cheek: it*s 11:15.

@ BILLY SS

We've got to get over there.

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

ee {(semi-intelligiblie)

( CONTINUED)

*REVISED

47,

May 11, 1989

The daypack jumps around wildly as Billy zips it shut.

Daffy settles down to a low rumble.

They grab their coats, start toward the door.

asked him how come he could understand what Gizmo was saying... said you just had to know hoe My, istéen. But he said I wasn’t re Dap: For the responsibili “OB I’m not --

As they reach the door, the 6a sounds. BILLY (CONT. ) Ss Great. KATE Who could it be this late? NEW ANGLE Billy opens the door, and finds MURRAY FUTTERMAN, driver from Gremlins; and his wife SHEILA. KATE Mister Futterman! Mrs. Futterman... BILLY

We thought you were coming tomorrow ~-

the snow plow

Kk Ok OF

x OK

Re OO Ook ok

AREVISED May Ll, 1989

7A,

Uy y

YO, 5

*REVISED May 3, 1989

SHEILA

Murray, you remember what Doctor Kaplan said. We’re going to stay hice and calm --

(to Billy) Murray was a little...distressed after, you know, what harpened with thoge, um --

(mimes Gremlin)

Billy's daypack SQUEAKS. Billy slips the bag under his arm and squeezes it, forcibly quieting Daffy.

Sheila, looking at Bdily, Bpots something --~

(CONTINUED )

*REVISED April 20, 1989

4g. CONTINUED: (2) 64

Billy realizes what Sheila is talking about, as she takes out a handkerchief and dabs at the lipstick on his face.

He tries to catch Kate's eye, but she avoids his look.

MR. FUTTERMAN % Bugs, huh? Yeah, you can’t be de, careful these days. All kj rr weird bugs comin’ into, the\)

\

country... wo *

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.

*REVISED ~ May 31, 1989

CONTINUED: (3) 64 KATE I believe you. BILLY We better get going.

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.

Yeah...or, “aie eanut butter cups all Maid 0 6. YOGURT JERK 1

1’m not sure...Alexis, are en) 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...

»++,and sloppily chow down. Up above, Yogurt Jerk 1 turns to the machine, sees the two spigots flowing. She’s about to turn then off, but a complaining CUSTOMER stops her.

*REVISED - May 31, 1989

Billy and Kate hurry into the building.

the frozen yogurt st nd rush over to see what’s going on.

yogurt, I want damages --

As Kate and Billy ent “is the lobby, they HEAR the commotion at

Billy checks the lobby clock -- 12:10. He pulls Kate aside.

@ KATE

Come on.

*REVISED May 3, 1989

CONTINUED: 67 She leads him quickly over to the elevators.

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.

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.

Lor,

*REVISED May 5, 1989

CONTINUED: 68

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.

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.

The technician types a command, and a video IMAGE of Billy attacking the cage appears on the screen.

Billy and Kate have opened a seam of the cage. Kate stands clear as Billy tries to pull the de back, but a bright LIGHT hits his eyes -- ne)

GUARD ma Back off! Put your hepds up.

Billy backs off the cage and aes a GUARD coming toward hin, flashlight and gun in hand. As he gets close, Daffy starts bouncing around in the daypael again. The guard trains his gun on the leather bag. *

oe) GUARD What’s in the bag,” pal? BILLY Nothing. GUARD

Oh yeah? Let’s have a look.

The guard ignores him, opens the zipper, and LOOKS DOWN into the bag.

*REVISED April 20, 1989

Su,

CONTINUED: 70

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 ~-

-~ and as the Mogwai’s departing FOOTSTEPS are heard, the guard angrily puts Billy up against the wall, starts handcuffing him.

something -- 569

Billy looks around for Kate then realizes she’s hiding in the Shadows of the concrete recess, unnoticed by the guard.

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...

Listen to me...

wok RO Om

aT2

7$

A midtown precinct house. As Billy door, POLICEMEN in b.g. are leading MIMES from a paddy wagon toward the the mimes continue their portrayals feeling up invisible walls, etc.

*REVISED - May 31, 1989

and Kate hurry out the front & group of arrested STREET

Station. Though in custody, of walking against the wind,

keep your eyes open. What tine

ia it?

They hit the early-morning Upon a@ run.

~

Op 6m TO:

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...

Under the building, the Mogwais’ slimy COCOONS begin to BURST OPEN, with acrid SMOKE swirling around thea...

The gates lift up on the TANNING SALON...the HAIR-CUTTING

ee. 88 More cocoons BURST OPEN...

Gizmo edges forward in the dark vent passageway ~~

*REVISED May 3, 1989

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...

».«e-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 -~-

-~ but a GREEN CLAW GRABS HIM FROM BEHIND, jerking him backward, off his feet.

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.

Suddenly, the lobby LIGHTS DIM, [gud Billy looks up.

BILLY \O They are. Come on...

He starts leading Kate toward ‘the lobby NEWSSTAND. On the way, they run: into Grandpa Fred. ©

BILLY =

(hurrying on) Hi, Fred. I know...

Billy and Kate arrive at the newsstand, where Billy grabs four souvenir FLASHLIGHTS in the shape of the building.

De ee ee ee

*REVISED May 3, 1989

56A.

NEWSSTAND LADY

Eighty-six thirty-eight with tax.

I’m going to go up and -- (to newsstand lady)

How much? NEWSSTAND LADY Four times nineteen ninety-five --

NG

wn ewe h

*REVISED May 16, 1989

CONTINUED: 79

He hands Kate a couple of flashlights as they start back across the lobby.

He’s interrupted as Marla comes up to them -- and gives Billy a Squeeze and a kiss before he has time to think.

you u &@irs, Billy. ate} Hi. C Agt. She heads for the elev

BILLY 8

Uh, Kate -~ listen, think I better explain --

A guide calls Kate from the guide office.

BILLY

But -- look, I’m going up to Systems Control. If I’m not back down here in fifteen minutes -~

CCANMTMITRD \

BO

*REVISED May 10, 1989

CONTINUED: (2) 79

She’s out of earshot.

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.

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 much less innocent.

DAFFY (0.8.)

Wa-hoo! Ly ~O CUT To:

©

Billy comes in, to find Forster ghking his morning rounds among

the technicians. .

BILLY — Mister Forster -- CS

e FORSTER = 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 him.

B3A

*REVISED ~ June 9, 1989

CONTINUED: 80

Pa a

BILLY 0 65

First they eat -~

OMIT 81 OMIT 82 OMIT 83

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.

group..:.

*REVISED - June 22, 1989

S9A.

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.

As Forster fumes, the systems control technicians have an amused discussion of the Gremlin “rules” as explained by Billy.

a a ee a ee ae oe ee ee a

*REVISED - June 22, 1989

Uy CONTINUED: 84

404 op 065

*REVISED ~ June 22, 1989

60A./61.

CONTINUED: BY

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 Nohawilg rster jumps back. Technician 1 tries

to move on the Gremli Wy Mohawk takes a claw from his victim’s neck and SLASHES‘ Te ian 1’s arm, driving him back.

ee

Billy pulls out his building~shap OFpricne and SHINES it at the Gremlin. Recoiling, the Gremlin s go of the technician, who falls to the floor -- dead.

OMIT 85 OMIT 86

As Kate and her tourists watch, Marge stirs an enormous, institutional-size SOUP POT on a kitchen stove.

Me ae ok

ae

Ce a a ee a

Marge puts a lid on the soup pot.

bd

( CONTINUED)

*REVISED - June 22, 1989

CONTINUED: 87

But as she starts to turn away, the LIGHTS on the set suddenly DIM.

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 BASTER, and SQUIRTS Marge with it.

At the sound of Gremlig,LAUGHTER, she wheels to see GEORGE, a GREMLIN in an apron, | counter behind her. As Marge turns to the Cameraman for pr t? George points to two MICROWAVE OVENS at the rear of the set Of)

czonce | OOS

Mi-cro~wave!

Kate’s tourists turn to FLEE the studio -- the last to go is Katsuji; who photographs the Gremlins a nile 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 --

-- 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.

*REVISED + June 22, 1989

62A.

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, Wy ) MOHAWK at the controls, setting the

machine for 100 copies. My. 7 again, WINCING as he’s hit

"065. to

Gizmo slides over the glass by painful BURSTS OF BRIGHT Heat

89A

* REVISED May 3, 1989

OMIT 89

In the wake of Mohawk’s attack, the technicians are both somber and rattled. They work urgently at their congoles, as a panicked Forster paces behind them, looking at their monitor screens.

Forster goes over to Technician 4's station ~-

~- and sees, on the technician’s screen, an alarmingly rapid proliferation of DOTS, spreading over the diagram of the building. The dots atarted as a cluster in the cable TV studio area ~~ Microwave Marge’s atudio -~ but they’re spreading out to other floors, and moving around quickly.

FORSTER {ry What is that? That’ a aot rats, is

it? ;

TECHNICI No sir, I’m afraid «€'s not --

A VIDEOPHONE RINGS near Technician 3; he graba it.

cr TECHNICIAN 3 Systems Control <— erie KATE’S FACE fills the videoBhone SCREEN.

89B

89C @

*REVISED - May 31, 1989 64./64A,

CONTINUED: . 89A

She hangs up, runs toward the elevator and gets on.

As the doors close, Kate breathlessly asks the elevator for --

But the VOICE that croaks back isn’t the usual elevator voice.

Kate’s face registers ipo. She jams on the "DOOR OPEN" button, but the door stay Oy) and the elevator starts MOVING... ~

».ebefore it jerks to a sudden stor? 5

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.O.) (over intercom}

I’m just finishing, Mister Clamp.

92A

*REVISED - May 31, 1989

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 [t’s a Wonderful] Life

in black and white.

Scowling, Clamp pushes a button. The movie blossoms into Zarish, unlifelike COLOR,

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.

cbf (V.0,) (over i Be First one, to yo rnes

Relations. Let's nee) eople in Chinatown give a st 04 j

tival as a spontaneous outpouri > appreciation for what I’ve e 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 0.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 -~

~~ which Clamp also hears, over the intercom. He rushes into the outer office --

~~ where he finds the Gremlin, wearing the secretary’s pink Sweater, sitting in her chair and typing at her computer.

mm me OK Om

xm

x

*REVISED - May 31, 1989

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 hin. 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 ey

As Clamp stands gaspil Ap Ade the machine, the door to the corridor opens, and Bill in. He sees the shredder, and the tattered Gremlin rembins Oiaina from it.

BILLY i) Sir -- are you all right?

The door opens again, and a dishevelled Forster bursts in.

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.

*REVISED - May 31, 1989

66A.

here a min go ~~ that was dangerous. is ’s from the art department. “™ O

92A

*REVISED May 10, 1989

CONTINUED: (2) 92A *

BILLY

Well ~~ um, you know that genetics laboratory, down on --

CLAMP

Of course. Thoge 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...

ity CUT TO: Ne) em) ©

OMIT 93 «*

95 *

© ee

OMIT

OMIT

Kate’s elevator, still stucw between floors, begins to ROCK violently. Kate jams on +&® Alarm button, but the only SOUND she hears is that of countlesa CLAWS outside, pounding and scraping at the elevator car.

The automated ELEVATOR VOICE talks on through the chaos.

And now Kate SEES CLAWS tearing at the corners of the elevator car, trying to gouge their way inside. The 0.8. SOUND of

GREMLIN LAUGHTER echoes in the elevator shaft. Kate shrinks

into the middle of the floor, her hands braced against the walls --

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.

100A

1003

100C

*REVISED May 10, 198°

68, OMIT 98 OMIT 99

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 ta do anything about it --

-- but then the elevator STOPS MOVING --

~- and Kate regains her balance inside --

--~ until Daffy pushes one last button, and the control panel BLOWS OUT -- Ley

-~ and the elevator start SPALLING again, racing down the last few floors to the bottom. ust before impact, the FACE of a SCREAMING GREMLIN fills CGE) FRAME --

Two suburban LADIES walk a bank of ELEVATOR DOORS from the O.S. parking garage. =

LADY } There are some nice shops here in the building...

On landing, black Gremlin BLOOD splatters Kate as it GUSHES in through the SHATTERING floorboarda.

~- 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.

*REVISED May 10, 1989

where the argument is still going on.

{to Forster)

Go down to systems control and get on top of this thing.

iny SO Q S S Ss

*REVISED April 20, 1989

@ 105 CONTINUED: 105

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...

»»e-as his BARS turn into leafy clumps of ROMAINE LETTUCE. Wally tries to move on him, but the Gremlin menaces him 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. 69

uy God! DR. = vit” QQ a

The Gremlin swallows the vial...twitches for a moment. He painfully croaks out a few WORDS --

Then, suddenly, the transformation takes hold, in thrashing Jekyll-and-Hyde HISTRIONICS that send the Gremlin rolling on the floor. When he standa, he wears a pair of HORN-RIMMED GLASSES, and SPEAKS FLUENTLY in a new VOICE, similar to that of GEORGE PLIMPTON.

*REVISED - July 7, 1989 vara

CONTINUED: (2) 105

The other Gremlins, instantly bered with this guy, grab more vials and start turning ANIMALS loose from their cages, as the scientista try in vain togftop then.

BRAIN Gomis {CONT. } ...for example, at fellow over

near the, I believ at’s a conmon bat of the order citpopteta -- the

only mammals, I might-4add, capable

of true flight...

Indeed, a. GREMLIN is approaching ie case of the BAT who’a being desensitized to light for messenguving purposes. The Gremlin grabs a collecting VIAL connected by aurgical 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.

The Bat Gremlin looks curiously at hin.

BRAIN GREMLIN {CONT. } ‘My friend, you have...potential. I want to help you be all that you can be...may IL?

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...

(CONTINUEL)

*REVISED - July 7, 1989

CONTINUED: 105

Bhin GREMLIN (CONT. }

As I’m su ou’re aware, sunlight poses a préiien for our...ethnic group. We nét tan, we don’t burn -- frankly, we st become a rather unappetizing CPoer photochemical leftover. Thus; is formula...specialt’y designed for those of the noctufha persuasion...to mak ight 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 askea: “Where I’ll be going?”

The Bat Gremlin does -- and TAKES OFF, soaring near the ceiling as the twin scientista chase hin.

The Bat Gremlin wings toward one of the polarized glass windows...

-»-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...

+». So0aring into the SKY above New York.

ee eR OK OK OF

*Revised 341 /89 73A.

A PIGEON perches on a atone 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.

OMIT

OMIT

The threadbare horror host is taping again.

DUST off a reel of film.

*Revise 3/31/89 Pa,

WON 00065

110 * ii *

112 *

He blows some prop

@

CONTINUED: 113

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.

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 mr remlins LAUGH.

GRANDPA FRED (CONT.) Le)

Uh -- that’s right, it’s real scary --

The other two Gremlins put their re alongside Fred’s and make scary snarls. They like it here

GRANDPA FRED

Uh ~~ Grandpa Fred and his Friends

have something horrible in store

for you tonight... The Gremlins nod in gleeful agreement.

ANGLE ~ BAR

A few PEOPLE are drinking here, but they pay little notice to the NEWSCASTER on the TV set over the bar.

(CONTINUED )}

116AA

*REVISED - May 31, 1989

CONTINUED: 114

ANGLE - SALAD BAR 115 Salad bar CUSTOMERS are heaping their plates.

CUSTOME Oy) Really. Og

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 MUTAKT 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.

OMIT 116

In a Clamp Cable TV studio, LEONARD MALTIN is taping an "At the Movies"-type show called “THE MOVIE POLICE.”

He gingerly holds up a videocassette of the first Gremlins movie as if it is a long-dead fish.

116AA

166A

*REVISED - May 31, 1989 76A,.

CONTINUED: LIGAA

Leonard is unaware of the REAL GREMLINS that have snuck into the Studio and are creeping up on him from behind --

The Gremlins ATTACK, savagely clawing at Leonard, who quickly goes down out of view -- except for his flailing hands.

print MALTIN (CONT. )

Wait! Not? yrs kidding! Look -- two thumbs OP Oe :

In the Clamp Centre lobby’s small STOCK BROKERAGE office, a BROKER in a "power tie” is working his phones when --

-~ he finds a GREMLIN on his desk, staring at hin.

The Gremlin points an accusing claw at the broker.

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 --

SPOT the Brain Hormone Gremlin, kicked back in a broker’s chair, talking on a phone.

116A

*REVISED May 16, 1989

CONTINUED: 116A

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. ANGLE - LOBBY DOORS 117

PEOPLE who’ve seen the invading Gremlins start fleeing through the front doors. ¥

f Kate, bruised, haggard, Gog splattered with Gremlin blood, makes it upstairs to a stairwe (dbor , and opens it --

om)

*REVISED - May 31, 1989 77+

-- to find a scene of building MAYHEM in the lobby. Ag 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 GREMLIN 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 the lobby, running for a FIRE ALARY on the back wall. As sa ches it, a raincoat-wearing FLASHER GREMLIN blocks her way, a i open his coat to flaunt his reptilian underbelly, op

Kate KICKS the flasher Gremlin 4 OiGn Way, and pulls the ALARM. In the Clamp Centre, of cour Ae ihe fire alarm isn’t some old-fashioned bell or siren. Instead, melodramatic MUSIC builds under a documentary-narrator VOICE -~

WORKERS in an upstairs corridor, as yet unreached by the Gremlin invasion, stop to listen to the P.A. vaice.

forests..-right now, this building

igs on fire...

e°

CONTINUED: 120

PEOPLE from offices start beating it toward the stairwell exit.

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.

True, Saint Eva Marie’s architecture is on the yyy Side...as CAMERA notices the ornate windows and the corn) topped with spooky stone GARGOYLES -- 1)

Wait a minute. That one there...that’s Ry argoyle...

MR. FUTTERMAN Oe

Hey!

It’s the FLYING BAT-GREMLIN -- and it leaves its perch to fly STRAIGHT AT HIM --

He flails at the Gremlin, batting it away from him, but it keeps coming back -- as Sheila stands back, too terrified to move --

But the NEW YORKERS on the sidewalk continue past him, oblivious. Mr.

*REVISED ~ July 7, 1989

Futterman grapples with the Gremlf) trying to get hold of its slashing claws. His face is CUT -- and his wrist -- t he grabs hold of one claw, then the other, and manages to FLING the atruggling Gremlin away from him, go that

it tumbles, off balance, into the constrachion crew's churning CEMENT MIXER --

C2

As Sheila rushes to Murray’s side, the yr Gremlin emerges from the cement mixer’s thick whirlpool, coated with ay cement. Murray braces for ancther attack -- but the cement weighs th emlin down so much that all

it can do is flap its wings slowly, lofting palfffully toward the cathedral, as the cement starts HARDENING --

~- and as the Gremlin regains his perch, the cement golidifies, so that he is now a Gargoyle for real -~ and for good.

Mr. Futterman catches his breath -~and takes off running.

Sheila follows him.

In b.g., PEOPLE from offices are fleeing the “fire.” Billy and Forster, hurrying toward the Systeme Control] Center, almost trip over a number of escaped LAB ANIMALS, who are fleeing down the hall.

The animals are followed by the breathless Dr. Catheter, who is hurrying even faster. Dr. Catheter’s mind has apparently snapped.

He grabs Billy’s shirt.

DR. CATHETER {(CONT.) I awear to God...[ will never... hurt

anything again...they are all part of the * great Chain of being...there are things * that man was not meant to splice... *

*REVISED ~ July 7, 1989

80, @ “22 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 startea to JITTER, @ here's something wrong with the projector. Then the film FREEZES caught in the gate. A BURN spot

appears, consuming the image of BillY’asd the cthers. The FRAME fills with WHITE LIGHT and we HEAR a FLAPPING ND, as if the ree] were spinning uselessly in the projector,

In the stereo surrounds, we begin to hear ae OUND of 0.5. GREMLIN

LAUGHTER. Gremlin SILHOUETTES appear on ‘Wie screen, making shadow bunnies with their clawe, competing for space, hitting and shoving each

: other. 125 OMIT 125 126 OUR SCREEN 126

The FRAME ia filled by a grainy black and white TITLE CARD reading “SUN WORSHIPER FILMS PRESENTS VOLLEYBALL HOLIDAY."

A MOTHER ghields her pre-teen DAUGHTER’s eyes from the offscreen sun worshipera as the rest of the audience GASPS. She drags her child from her

seat.

The mother storms out of the auditorium and accosts the beleaguered-looking MANAGER.

first one! A MAN covered with film, obviously the PROJECTIONIST, staggers up to the manager. Ais clothes are in tatters.

A MAN who has been getting popcorn at the nearby candy counter turns and comes over to the group. He is STEVEN SPIELBERG.

© 128

*REVISED ~ July 17, 1989

81,

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 and the Seven 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 guy “Mf listen up! People paid

good money to

go out to a theate hot popcorn, and projection booth. Do I have to

ke When they cold sodas,

no_mons

there myself? Do you think the (OS

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.

OMIT

OMIT

«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.

NEWSPERSON i

«many conflicting reports from pecple who’ve come out of the building...

*Revised 3/15/89

CONTINUED: 131

-.-where Katsuji, the camera~happy tourist from Kate’s tour group, is fleeing down the hall fom some fresh disaster.

GRANDPA FRED! Hey! ™s KATSUJI ; Yes? al

“re,

Katsuji smiles proudly.

Oblivious to the chaos in the rest of the building, Marla is.

Pa

a ee

trying to work in her darkened office, reading paste-up boards

with a match.

*Revised 3/15 /89

Angrily, she picks up the receiver of her video-phone. The little SCREEN fills with a CARD reading “PLEASE STAND BY.”

135A

135B

*REVISED - JUNE 22, 1989

CONTINUED: 133 She hangs up, goes back to work.

OMIT 134 OMIT | 135

From the lobby TOY STORE, we hear the NOISE of Gremlin laughter and clattering machinery.

On a big MODEL TRAIN ora ypronant and a bunch of his hench- Gremlins are torturing Gizmo“? D ed in engineer’s hats, the

Gremlins have tied the helpless to the tracks. As a vicious Lionel bears down on Gizmo,

CUT TQ:

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.

But Dr. Catheter is rushing to a CABINET at the back of the lab...

WEAPONS...

*REVISED May 10, 1989

84,

-»- 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 spote an ELECTRIC SOCKET and touches his claw to it. The Gremlin DISAPPEARS into the socket, as if swallowed by it...

+..8a8 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 him, sending him Stumbling to the floor...

-.-and Billy’s attention is Weught by MOHAWK, who’s zeroing in on the cage containing the (W$LVE-INCH SPIDER that Billy saw earlier. A surgical tube s from the hairy spider's body to a small glass VIAL with a eniter logo on it. Billy moves to stop

Mohawk -~

-~- but now the Gremlin w isappeared into the electric outlet EMERGES FROM ANOTHER SOC + across the room. He is different now -- seemingly made of. e,; crackling ELECTRICITY. He flies Close to Billy, forcing to back away, 80 that Mohawk can

grab the vial attached to the spider and escape from the lab.

Finished with Billy, the BLECTRIC 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 eo shower of SPARKS and SMOKE...

».+.while, on the floor below, the Gremlin mob finishes off Dr. Catheter.

The tycoon is talking on the phone --

oe

Clamp stope 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. Clamp, whitening, flicks the SOUND on.

* *

ee eK Re OK OK

od ok ok ew wk OF

*REVISED May 10, 1989

B4A,

GRANDPA FRED {ON TY)

+..this invasion by strange creatures, perhaps from another galaxy...or @ dimensional warp...

CLAMP

Draculs...? As Fred speaks, Katsuji’s CAMERA catches a fast GLIMPSE of It’s hard for

GREMLINS in kids’ clothes frolicking past in b.g. Fred to shake his horror-movie training ~-

iy SO

ep) © a)

*REVISED ~- May 31, 1989

CONTINUED: 137

GRANDPA FRED (ON TV}

»e»and, just & moment ago, in a spine-ting]i . blood=chilli incident --

(catches himself --

turns newsy} -~- uh, they continue to plague this troubled structure throughout what has been a turbulent and tumultuous afternoon...

As the CROWD builds outside the building, one of the frustrated TV newspeople argues with a COP.

NEWSPE G Zo Then what’s in there& Oey, I’ve been in Beirut -- ~ 0 6 CoP Ss Yeah? I bet they miss you there.

{to crowd) Let*s move back, folks...

In the same Xerox room where he was tormented with the copying machine and the rubber cement, Gizmo i8 undergoing his worst torture yet at the hands of George and Mohawk, who have lit CENSERS and put on Inqguisition-style ROBES for the occasion.

The defenseless Gizmo is TIED with heavy twine to the top of 4 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

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 --

~~ and LANDS ON MOHAWK. Before the Gremlins can get to their feet, Gizmo scrambles down from the table ~-

~~ and runs into the corridof, Chas Mohawk’s grabbing CLAW, oN ‘i

making for freedom. 5 ‘sr TO:

OMIT 141

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.

ror

oe

tan

*REVISED May 3, 1989

87, CONTINUED: Los

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 18 on end, his eyebrows charred, and he's knocking over furniture. He's alive -- he Just doesn’t know what planet he’s on.

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 breathlesa FUTTERMANS arrive at the building, they SEE a TV NEWSPERSON interviewing the nearly hysterical Microwave Marge beside the door.

laughing, and --

Hearing this, Mr. Futterman pushes his way to the entrance and blocks the firemen’s path.

MR. FUTTERMAN 5, Hold it! Wait! No water”

ae a

Sa

FIREMAN oy

What? ot

™y { CONTINUED)

f. aly :

x eK KK Rh RR KR KK KK KK H

*®REVISED - June 8, 1989

they just multiply.

(to cop) You gotta let me in there. I know how to deal with it.

The cop blocks Mr. Futterman’s way.

you calm doyn a little? Just -- %: eTeEeAn

Don’t talk 4 ike I’m crazy -- (realizing | ile fine

I was never craz Ox CUT TO: 143 OMIT 143

Billy comes into Clamp’s ort ice to find the tycoon pacing nervously.

o

si,

a

ees Hae, leiwe 7k

B9.

CONTINUED: 144 BILLY I’m afraid it’s pretty pad right how, 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?

But as he speaks, the ELECTRIC GREMLIN emerges from a wal) socket behind Clamp...

i: Clamp turns to SEE the Electric Gremlin GLIDE swikdly through the air, coming straight at him --

CLAMP ~~ Help -- eN 7

Billy grabs the RECEIVER of a VIDEO- PHONE 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.

CONTINUED: (2) 144

The MUSIC begins: a cheery Muzak rendition of “Raindrops Keep Fallin’ on My Head." The Electric Gremlin WRITHES more fiercely, his pain doubled.

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.

BILLY wo What is it? ®

CLAMP ”™ The sign-off. The big ahen= Orne.

He puts the tape into a VCR head undereRis wall monitors. Several MONITORS fill with a MONTAGE COEN MAGES -- "beauty shots” of animals, sunsets, beaches. co ANNOUNCER (V.0.)

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:

Clamp, watching, wipes away a tear.

CLAMP “ It’s beautiful, isn’t it?

{CONTINUED }

He takes out a pocket computer-scheduler, ore" a fer

buttons.

*REVISED April 20, 1989

91, (3)

CLAMP (CONT. ° ae

The sun gets at “™ \ (reads)

~~ seven-twenty~five.

OMIT

*REVISED May 10, 198!

Suddenly,

my --

Marla is startled by a BOOMING AMPLIFIED VOICE -- the

subliminal tapes from the Systems Control Center, jacked up to

more-than-

audible volume.

*REVISED May 10, 1989

@ 93.

NEWSPERSON 1 * Mister Clamp, is it true the building’s been evacuated?

NEWSPERSON 2 * Sir, is the building on fire?

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 if)

Absolutely not. O

@ NEWSPERSON 2 je)

Then the monsters are

As the media mob follows Clamp ac a the street, Mr. Futterman pushea the other way, toward Clamge sidewalk elevator. A couple of people notice -- SHEILA Murray!

~- but Mr. Futterman pushea the button, and he’s below street level before anyone can catch hin.

In the wrecked control center, Lenny browsea the console, looking for buttons that still work, and jamming on them at random. He hits a few sliderg im a bank marked CLIMATE CONTROL... @ CUT TO:

»..and as Billy moves quickly down a corridor, searching...

*REVISED May 10, 1989

93A. CONTINUED: 148

».+& 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.

A dentist’s reception area, full of cheery pro-flossing posters.

CAMERA followa 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,

OMIT 150

MON’ 00065

~~ ee

150B

*REVISED April 29, 1989

94,

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.

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 atudio with a

Donahue or Geraldo-type talk show set-up, getting ready to interview the Brain Hormone Greplin.

GRANDPA FRED (ON qHe° 65

eerin an even more bizar that one of the erent} “creatures,” is exerts i

The Brain Gremlin nods.

Grandpa Fred and the Brain Gremlin in the studio, where Katauji is working the big floor-model CAMERA.

The Brain Gremlin answers in his usual cultured tones, sounding lucid,

1514

151B

*REVISED =~ May 31, 1989

95s

The drinking Gremline nod agreement, pound beer mugs on the bar for emphasia.

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 0.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 nat,

Fun, but in no sense civilized... On TV, Fred starts backing nervously away from the armed Gremlin.

GRANDPA FRED {ON TV}

Well...uh, of courge that could be argued

different My As the bar Gremlins live it oo S to the front doors of the building. Unnoticed by the ite fing SCENE outside the front doors of the building has changed: it now “Bp e 5 RED SQUARE AT NIGHT, in the 1940s.

As the CROWD watches, workers with CRANES position a cloth THEATRICAL BACKDROP -~ the Red Square scene -~ in front of the doors.

Ok OR ok Oe OK OR ok oe oO

A FIRE CHIEF climbs down from an idled hook-and-ladder and comes over to

Clamp.

{CONTINUED)

KREVISED April 20, 1989

56,

1.516

The bar Gremlins are still watching TV, VS BOQ dain is crazily

filibustering. \

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 --

*REVISED May 17, 1989

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.

He leads Billy into the corridor 4

She is still stuck in the web, struggling -- but suddenly she SEES -~

KATE rounding the corner of the corridor, flashlight in hand.

Kate shakes her head, impatient.

153A

*REVISED May 17, 1989

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 --

MARLA’S POV

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 rridow iy, SPIDER LEGS, stretching as wide and

high as the corrido “yj

They HEAR Kate’s SCREAM O.S., anOrgm in the direction it came fron.

CUT TQ:

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 then 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 ~~ & BOW made from the paper clip and rubber band, and a wooden MATCH as an arrow.

{ CONTINUED }

a

xX

15k

15:

*REVISED April 20, 1989

CONTINUED: 155

Gizmo SEES his enemy menacing Kate and Marla. Grim determination shows on his face, as he HEARS in his mind:

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 65 * That’s Gizmo, Mister Fu corey} * He’s on our side. WON ° 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 somebcdy tell me what the hell ig going on here? *

*REVISED April 26, 198

S9A.

yan: 0006?

*Revised - 3/6/89

CONTINUED: (2) 155

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 -~

Let’s go. Q 9d CUT TO: i)

True to Billy‘s predictid), GREMLINS are converging in the lobby ~-- George, Lenny, Baffy, 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.

A CHEER of assent from the Gremlins.

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 harn part behind him.

*REVISED May 3, i989

101,

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 Katsuji aims his camera out of the other. They’re covering the

Gremlins from cover, like Edward R. Murrow broadcasting from a bunker.

blood-curdling rampage of destruction, these creatures are now mounting what appears to be 4 production number...

Billy, Kate, Marla, Gizmo and Mr. Futterman arrive on the mezzanine. They look over the railing, at the Gremlin assembly below.

Billy points at the dark-glasa WINDOWS over the lobby.

€

On the unwelcome SOUND of a THUNDERCLAP, an CUT TO:

Surrounded by COPS, REPORTERS, and an expectant CROWD, Clamp looks up at the darkening SKY, whére the THUNDER is growing louder. oh

‘fe

Clamp turns sadly, and WAVES a signal at the GUYS waiting to drop the Red Square backdrop: Don’t bother.

*REVISED April 20, 1989

THUNDER echoes O.S., as the Brain Gremlin cheerfully leads the assembled Gremlins closer to the doors.

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."

Billy and the others watch.

I know -- MON’ 00065

He points to a coiled canvas FIRE HOSE in a case on the wall nearby.

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...

*REVISED May 16, 1989

CONTINUED: 160

+.-wWhile, on the mezzanine, Kate grabs a box from a nearby store, and Mr. Futterman hauls out the hose. Billy drags a vVideo~phone extension out of a mezzanine office and brings it to Kate...

Kate hurriedly hands Marla the box containing Gizmo.

From the box, Gizmo TWITTE ; aa. 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...

-+-but before he can open it, WATER splashes onto the lobby’s doors, its windows, its floor...

»«e-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...

ok oe

* ook ook

ek ke ok ok ok ok

*REVISED May 16, 1989 103A.

164 ANGLE 164

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 --

On the screen of the video-phone, the ELECTRIC GREMLIN writhes in agony, trying to get off Hold, as the plastic button BLINKS beneath the screen. Yip

Billy grabs the phone OY uaze , lifts the receiver and holds it * out over the mezzanine railif 5" looks down at the happily showering Gremlins -~

-~- PUSHES the blinking button 55

-~ and sees the Electric Gremlin SHOOT OUT OF THE RECEIVER, swooping down into the lobby --

164A

*REVISED May il, 1989 104,

CONTINUED: 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... ANGLE - LOBBY FLOOR 1644

-.-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 --~ W.

“-~ and finding nothing but @ s Cente goo on the Lobby

floor. He waves the SWAT team t

' 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.

Clamp waves Fred and Katsuji to a stop. Fred lowers the mike.

a Se ae

164A

*REVISED May 16, 1989

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.

He turns his camera on Fred, and they start backing out of the building.

Billy and the othe Ld}. g off the stairs from the mezzanine, and go over to join Clamp,:

lOO

Bill, it looks like ye Bites us out here...

Clamp looks at Marla.

promising passes between them...

e+-&43 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.

164A

and hands them to Clamp.

But as Clamp unfolds the paper --

*REVISED April 20,

CONTINUED: (2) 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. 0 65 KATE MON’ OO 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) ».e-things come. BILLY Well, you kept the city safe. CLAMP That’a 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... He rummages -~ comes up with paper and pencil from his pockets

1989

164A ?

*REVISED April 20, 1989

(indicates drawing)

Is this your concept?

It’s -- wait -~ “Where life slows down to a crawl.” What do you think?

*REVISED - July 7, 1989

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.

He slogs over to Billy, Kate, and Clamp.

a

“ip BIL Uh, Miater Cl this is my

dad -- .

RAND wo

(shakes CLamp-S-pand) Rand Peltzer’s the ndme, sir.

Inventor. Solving +t 's problems with tomorrow's techno key. Here's my card,

CLAMP

A pleasure,

He takes out an AEROSOL CAN.

Rand indicates Gizmo, who’s being held by Billy.

Gizmo looks at Rand, and nods somberly, Stallone-atyle. Billy holds him up, and Rand SPRAYS the chemical over his body.

€ oe € ee FH

164A CONTINUED:

*REViSED~ July 7, 198%

(5)

He finishes spraying -- and takes out a WATER PISTOL.

Everyone tenses as Rand aims the squirtgun at Gizmo --

~- but the splash of water hits Gizmo with no effect, and everyone -~ includ: the stolid Mogwai -- relaxes.

«

Clamp leads Rand away, talking businesa...

1644

164A

166A

*REVISED - July 7, 1989 119,

CONTINUED: (6) 164A

.».leaving Billy, Kate and Gizmo standing by themselves near the dcors. Gizmo, from his box, TWITTERS a string of indecipherable Mogwai syllables at Billy.

Billy, surprised, realizes that he does.

- BILLY He said he wants to go home.

Kae Where’s home #) Le

Bry

Gizmo twitters again.

Our place.

Kate, liking the sound of i smiles. Billy pulls her close to him, and, carrying Gizmo, théy go outside...

+.-and walk inte the city, as CAMERA CRANES UP on the dispersing CROWD outside the Clamp Centre...

OMIT 166

Marla is still talking to the reporters -- MARLA «..and then, some of the Mogwaig apparently ate after midnight, and whenever that happens. . ..and Clamp and Rand are in conference -- CLAMP

We’re talking about guantity here --

( CONTINUED)

*REVISED-July 7, 1989 ta

<66A CONTINUED: 166A

-~- when an ASSISTANT slogs over to Clamp, carrying a cellular phone.

CLAMP

In the buildj

{into p Hello?...For What are you --~ okay, okay, get you out of there. Which fl 7..-Wow, way up there...No, it’ ake a while, the elevators are ou nd the lobby is -- I don’t know, co too long...we’ll do what we can,

Forster. Keep you ants on.

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.