"GREMLINS 2 THE NEW BATCH" (1990)

(Tan) Rev.07/17/89 (Salmon) Rev.07/7/89 R~.OS/ll/89(ran) (Buff) 06/22/89 Rev. (&,lmon} 10/89 05/ Rev.

(Goldenrod) (But!) 05/05/89 Rev. 06/16/89 Rev. 05/3/89(Goldenrod) Rev.

(Green) 06/00/89 Rev. (Green) 2W89 04/ Rev. (Yellow) 06/02/89 Rev. (Yellow) //!19 03/31 Rev. (Blue) 05/31/89 Rev. (Blue) 03/!S/89 Rev. (Pini.) 05/16/89 Rev. (Pink) 03/06/89 Rev.

989 l 6, l February - Draft Third

Mr: by Produced Din!tledbyJ~-•

Haas Charlie by GREMLINS II

bajldin~ huge office a of grandiose~ •

shows the RENDERtffii that an architect's Cla~~olding beside easelan incit)ie IMAGE widens to the TV, On the big-screen

money here. But I'm not just talking about Fine. ah, little things. sell, you and New York, buildings in develop the biggest I business. own my attached to I'm that. appreciate I your business, to you're attached Wing, Mister Now, (beat) substantially. offer my I'm prepared to increase okay? issues, key cut through to Let's Wing. Mister Good morning, TV) (ON CLAMP

most successful real estate developer. York's

New he's 40, young a At CLAMP. DANIEL with the face of fills TV screen and the some buttons, and hits tape a men puts in the * One of VCR. TV set and up the big-screen men quickly set The *

you. to like to Clamp would w;.~~!~iel Mister • • '-' into the store.

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

4 ~ STORE WING'S MR. INT. 4

VCR out of the car. a and TV a big-screen men take big

* The three in suits. also beefy~N, three by followed limo,*

gets out of the business suit, a in man sour-faced a FORSTER,

and boarded-up windows. BUSINESS signs OF OUT GOING -- the block have closed on most of the stores ANGLE reveals that

up short. it pulls as LIMOUSINE long black a dodge PEDESTRIANS

3 STREET EXT. 3

commotion upstairs. a HEARS he he lights his pipe, As beginning his day. the door, opens night of carnage, Gremlins'

the home after Gizmo took who the storekeeper WING, MR.

2 STORE WING'S MR. INT. 2

basement curiosity shop. the stairs to the

FAVORS ANGLE LOCALS bustle past, As Mogwai. Gizmo the found

Rand Peltzer first where Chinatown street same crowded The •

1 •

3/6/89 - *Revised

•

answers Forster .

he subsides, coughing When the sounds deeply unhealthy. spasm that a rattling -- COUGHS Wing Mr. He's interrupted as

* -- you mean Does that *

image. Clamp's replacing 1.£1;,een., d;g '~i

* the fills -- "C" stylized a --·- LOGO Clamp Corporation's The f

two people can reach, an area of agreement that always believe that there's I know, You Wing. Mister a decision, made

* when you've know us Please let *

(CONT,) TV) (ON ~CLAMP

* image impassively. video C~'' regards Wing Mr.*

• a ghost tor look like m building P make the here is going to th~ traffic The foot . under the at· right here on, cone souvenir tand and a~sj -- you for to do I/J11,.willing what you show me Let you. except for -- block on the everyone understanding with we've been able to reach an Now, TV) (ON CLAMP

Tee vee! GIZMO (0.S,)

of the store. from the rear alcove Gizmo is heard TWITTERING of The soft o.s.

-- this building into get killing each other to be to going People are the best. it's -- newest it's the -- biggest the put ups building, it's I When Where Business Gets Oriented." -- Center Chinatown Clamp "The (reads) -- Wing Mister look, a Take • (CONT.) TV) (ON CLAMP

4 CONTINUED,4

3/6/89 *Revised -

TO: DISSOLVE

MUSIC covers the CHINESE solemn of STING A • wait, can We ninety, maybe -- ei1hty be must auy The oouah? that hear You FORSTER

TV, he'd like the thouiht I sir, work out, sorry that didn't I'a BODYGUARD

store.

Wini's Mr. from away drim, are bodyiusrds Forster and the

·-

5A

DAY - (~ING) STREET CHINATOWN LIMO/EXT, INT.5A

CUT TO: 0

siain, COUGHING he starts As

-- ~ invention for fools. An Ai_-,J.lll! aaain! Television \f\ WING MR,

Gizmo. the unseen addressina TV set OFF, turns the anarily back and comes Wini Mr, the helicopter starts to burn, as But•

Neat! (O,S,) GIZMO

FLAMES, which bursts into HELICOPTER,

a arrow hits The bow. a fro■ SHOOTS the arrow and arrow, onto an ARROWHEAD he screws an explosive-filled metal Then

war. become

to iot war ••• you've a To survive STALLONE

CAMERA:

movie STALLONE addresses the SYLVESTER picture, Raabo a from SCENE a with TV screen fills the of stations, chanae With the

CHANNEL. TV the chanie

FRAME to PAW that reaches into furry small, a and -- TV set HOLD on the b,i,, the door in to men walks Clamp's Wini Mr. As

TV. Keep the FORSTER

no. Clamp that the answer is Please tell Mister sorry, I'm WING MR, •

CONTINUED,4

J,

J/31/89 *Revised

there ... down community a great deal to the mean will something that with ahead go can we the bright side is that but sad occasion, a ,,,obviously TV) (ON CLAMP

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

6/:!o V PRODUCER

'UOn project... ~o/'f.hinatown long- Clamp's eveloper Daniel obstacl(f/J last the removes Wing'~$th Mister TV) (ON REPORTER

boarded-up block. Wing's

Mr, on tape is of the reporter doing his standup in Chinatown, The MONITORS, on see we REPORTER are editing videotape that

PRODUCER and NEWS a NETWORK, CABLE CLAMP SIGN reading a Near

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

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

MORNING - CEMETERY EXT, 6 •

1989 May 31, - *REVISED

.., under 1toina I keep from How It makes me wonder • sometimes, jungle It's like a (V.O,) GRANDMASTER FLASH

Messajfe." "The such as Grandmaster Flash's

sonit l."ap a -- MUSIC is On the cut, there 01."iented." Where Bueiness Gets -

CHINATOWN CENTER -CLAMP SOON "COMING reads copy The store. Win1t'e Mr.

ot icrave on the buildinlt ie the ostentatious structure Daniel Clamp showing

1 1 A BILLBOARD11

CUT TO: SMASH

we

- scared and startled he looks up, now But heaving. ell.eat. hie ' ' ASHCAN, behind an safety behind the etore, and scampers to alley the into... '• lOC lOC • STORE BEHIND EXT. ALLEY • • • ... away runs '• him, he around falls and plaeter DEBRIS wood of rain a Ae behind him, riitht • • the crane arm with escapee, narrowly ~ cace, leaps down from the Gizmo • • • the crane CICiING into the etore. showe ANGLE WIDER • • A him. toward crane arm advances =i:=the in fear reactinc CLOSE on Gizmo, • * OB 1 • • • INT. STORElOB

** • us, fast toward movinc • * lOA

OF A CONSTRUCTION ARM THE10A

TO: CUT

song. version of hie familiar

minor-key sad, a SINGS black armband, and a wears He open. the door with in there site and has climbed into hie old CAGE, Molfwai mourninc The

on Gizmo's alcove. settles and stol"e, the deserted throu(Ch CAMERA movea

• 10 STORE WING'S MR, INT,10

• 9 OMIT 9

down. tear it conna just they'l."e I hear ... Naah PRODUCER

? ..• or You think they'll auction it off, store. hi• aome neat atuff In had py That old • REPORTER

8 CONTINUED,8

1989 10, Kay *REVISED

• the airport? You goin' a' DRIVER TAXI

TAXI, a a~ails He steps to the corner

12 <:::> STREET 45TH EXT.

be late. gonna We're wat~ (checks his '~ Risht, ('.::) BILLY

k~ed. got He almost you, to that of~, room could kind livins Lour through snow plow a drive bunch of monsters a having guess I KATE

rattled. -- He's just been better. gettins His wife says he's BILLY

better, if he can travel. setting Mister Futterman must be KATE • town. to coming when the Futtermans are tomorrow's no, -- tomorrow could do it we Maybe close. be to goins It's BILLY

movies, Special at the the Early Bird make we can work, from straight go we If tonight. six by should be finished I KATE

of Billy's sportscoat and Kate's blazer. CODES on the chest BAR SPOT Universal Price Code-type blazer,

and uniform-type skirt a in and Kate is business clothes, wears Billy the sidewalk crowd. by elbowed aside getting keep who Billy and Kate are still small-town types, now, years older few a they're Though of Kingston Falls. siege of the Gremlin heroes KATE, PELTZER and his girlfriend BILLY on CAMERA settles

ARTISTS, etc. MONTE 3-CARD HOOKERS, VENDORS, push past

WORKERS Herds of York at rush hour. New madness of outright The

MORNING - AREA) SQUARE (TIMES STREETS YORK NEW EXT,

to DOWN PAN begin, TITLES MAIN As •

11 CONTINUEDt11

there. know you're Let people deserve it, you you have to act like but you want to, promoted and stuff if you can get Billy, heard about it. just I you the job, didn't~ I KATE

job me the got you enough that It's bad now. I'm making money married on the getting right, It wouldn't feel do, we Yeah BILLY

wait, We don't have to okay, That's KATE

year. I'm getting that promotion this don't think ! no kidding, .• Yeah, BILLY

Billy, you are, that kind of thing as by !ll!fthered A lot of people aren't as 6J:t KATE

VUO , bigger. • looks o~J'")~ilding Center T~ade World off the ies twentf'/~ take me making right,b&.they're just whole thing had the I know, You head) his (shakes Chinatown building ••• the have to finish that drawing of I tonight. early out get I'll try and BILLY

videotape earlier, editing guys saw we where building,

office Clamp they approach the FOLLOW Billy and Kate as

* lJA MORNING - CENTRE CLAMP NEAR STREET EXT, 13A

13 OMIT 13

York. New of hang the getting don't think we're ! Billy ••• KATE

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

the No, BILLY •

12 CONTINUED,12 7,

1989 31, May - *REVISED

(CONTIHUED)

to you. get things Don't let KATE

at the newsstand ••• on sale Took Manhattan, are I book, Clamp's best-selling Mr, copies of forget, Don't office building. most modern automated the world's ••• hope you've enjoyed your tour of DOREEN

building. HAT in the shape of the a matching plus Kate's,

uniform like a Doreen wears lobby. GROUP through the TOUR

a guidina who's (DOREEN) WOMAN thirtyish a waves hello to Kate

on the chests of several of the workers. Kate's, like Billy's and SPOT bar-codes, spilled briefcases, etc.

their gathering dizzily to their feet, getting workers are The WORKERS sprawled in front °"1the revolving doors. several through way avOiit!-thread their enter,,they As Billy and Kate

RES. CLOTH and PARLOR, BEAUTY a •

STAND, YOGURT FROZEN a including'1f~~~ESTAURANTS, BUSINESSES,

lobby includes several retail mN/ulflll>tal-style The ultra-modern,

* 15 LOBBY CENTRE CLAMP INT. 15

regular door instead, a They use

Uh-uh, KATE

Aagghhh! 0. S . ) ( WORKER

HEAR we and inside,

him WHOOSHES too fast, going The power-assisted door, doors. revolvina one of the WORKER enters a answer, Before Kate can

today? revolving doors Want to try the BILLY

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

• 14 CENTRE CLAMP EXT,

•

8 •

1989 31, May - *REVISED

•

~

< •

C) C) C) \() LI")

won't, I BILLY

kiss, They

CONTINUED: 1.5 •

8A, )/15/89 *Revised

• snaps the cabinet shut. Forster

-- a I just need FRED GRANDPA

We're busy. FORSTER

a -- for you with speak I could Clamp, Mister me. Excuse FRED GRANDPA

TV hookup. the

Clamp over and tries to address comes over to the cabinet FRED) (GRANDPA COSTUME A DRACULA IN MAN aging an He's interrupted as

and -- search, random drug a doing I'm Tonight morning. compliance check this decor a I'm doing Yes sir. FORSTER

people,~verything. the the systems, cloc~ a like place running wand:>,,.."l:Ris I So TV) (ON ~Ar,P • • <::) sir. Yes FOR~lf

('\V okay. an close to We're\~ building? Chrysler of~ on top build, want to I Those condos today. coming in here commission people the planning got I've Forster, TV) (ON CLAMP

_..--.-=w~ on top. CAMERA

videQ__ a and on it, face impatient SCREEN with Clamp's TV big a 'to--reveai opens it cabin~and a unlocks where he lobby, the ALCO~~ a~ heading for Forster changes course, At the sound,*

As up Daniel Clamp's lieutenant Forster. CAMERA picks Nearby,

soon. be here The elevator will pushing the button. you for Thank (V .o.) VOICE

speaks. VOICE "soothing• electronic•

a and button, a pushes He bank of elevators. a Billy to FOLLOW

15 CONTINUED,15

9, 3/6/89 - *Revised

•

•

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

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

:bJ.u.;i,.y. we'rell.i.si I FORSTER •

15 ( 2) CONTINUED:15

9A,

*Revised 3/6/89

• number. floor new desired Please state your (CONT,) (V,O,) VOICE ELEVATOR

everybody around. tossing SHORT, STOPS The elevator violently

thirty-two. You have cancelled floor (V.O.J VOICE ELEVATOR

too late. But it's

-- Don't (to worker) BILLY

not thirty-- no, No, (to elevator) WORKER

on the elevator's display. NUMBERS flash past Digital

request is floor thirty-two. Your (V.O.) VOICE ELEVA~

Sixt-- ~ -- for me screaming at • elevator) --..;;;;- two people (to / .::::,... thirty- got I've • WORKER C) MARLA

C) number. floor des~d your Please state (V .O.) VOI')O ELEVATOR

17 V') ELEVATOR INT.17

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

to have just I Yeah, BILLY

-- us killing The printers are emergency. panic a crisis It's have it. to have We Chinatown drawing. Your MARLA

-- how Marla, Hi, BILLY

-- Billy MARLA •

16 CONTINUED:

6 1

l CXNI'INUED(

• there? Are they going to plant trees BILLY

trees. the with nicer be That'll looks cold. That courtyard MARLA

-- some make to have just I It's almost finished. BILLY

the drawing. at Billy's shoulder over looks Marla

dragon kites, etc. kids flying in the street, peopll with ·rt,

into life some to breathe tried But Billy has pagoda touches. i~s~~ ~ith m..9..':!~trosity glass building---~ Chinatown projected

Clamp's illustration of an board is drawing On Billy's

Kingston Falls. of street main DRAWING of the pinned to the cubicle wall, Billy's and, PLANT,

POTTED small, struggling a SPOT SCREEN. VIDEO a with equipped PHONE is The drawers. and several board dr~ a consists of * * station" "work whose at Billy's cubicle, _.1//;,,.~e and Marla Billy

surges. ·--•· ·~•··-······· • when the fountain SPLASHED ~~ ... drink a get_ to The worker contorts himself '.J;.a,'tJ'llff-~ SPLASHING onto inches,

by several ~t'-'f:IVERSHOOTS the pushes the button, he When WATEfL~IA,iti, r · d from the drink a

ing to get tr who's WORKER a ass t walk, As Billy and Marla*

'. story. h~ attack disaster i. complete heart a It's miserable. / you make to have I miserable so / me making They're my fault.

It's not Listen, this deadline. MARLA

conversations. low-volume static to insulate -- NOISE" "WHITE in pipe Unseen speakers "ergonomic" furniture. of CUBICLES full tiny

form "open-plan" offices -- endless beige partitions modern,

Clamp's empire occupies Daniel The advertising department of

18 ~~-.,,- OFFICE ___. INT.______ ..._ <_18

out into M,iJl_i:::l_a follows

Billy open. and the doors The elevator stops at their floor,

I hate this thing. Billy> Cto Sixteen. .* (to elevator>

* MARLA

CCNI'INUED:17

3/6/89 - •Revised

•

•

(CXNrINUED)

them. draw going to you're but No, • MARLA

a:NI'INUED: 18

ll.A.

3/6/89 - *Revised

• wall. nearby a on art" ~bank piece of anonymous a He points to

recognized artists at this facility? by art With provide its employees the Clamp organization has spent to much how know you do Peltzer, Mister FORSTER

town. home My BILLY

this? ill What FORSTER

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

infestation. aphid possible potted plant - Unauthorized FORSTER

Uh, what's BILLY

Peltzer. {CONT. ) FORSTER • folder.

the in display LCD on Billy's chest, and reads from an bar-code over the

He runs the wand cable. curly by to the folder attached WAND readinii folder and takes out a bar-code i\:therette Forster opens a speaks, he As

-- ldialr <\.T\)~it, ...manual employee hasn't().~\lji.\-1 It looks like somebody (\£..') FORSTER

cubicle. Bill.r's runs an eye over Marla, Forster nods at

Mister Forster. Hi, MARLA

around, cubicles, lookinii of row ASSISTANT come down the clipboard-carryinii his Daniel Clamp's lieutenant Forster and when to work, down He's about to sit

Right. BILLY

Elms. MARLA

But, Marla BILLY •

12 •

1989 20, *REVISED April

•

• through the lobby TOURISTS of group a Kate leads

Marla. Sorry, BILLY

mean it, I meltdown disaster, nuclear a is This three weeks? department review in got we've realize you Do now. right need I don't what .iwLt, Billy, this is MARLA

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

right? "z," a With ASSISTANT

move on, He turns to •

·, market.

* 9ea hundred million dollar * .1fil2 a to work every day in Coming

0 FORSTER C) any I don't see C) BILLY '-0 l '-' Mister Peltzer? IZQ.U, wouldn't You'd like that, All, it says comic that just "Snoopy" The in Hawaii, bought they The cute little hula doll "World's Greatest Lover," say that mugs Coffee little touches. some would like to do here eyerYbodY Maybe yes, touch, little A FORSTER

-- a was just It Yes sir, BILLY

Authorized. Color-coordinated, Eye-resting, (CONT, ) FORSTER •

18 ( 2) CONTINUED:3

J/15/89 *Revised

CONTINUED)

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

a hookup earlier, is an old trouper in TV lobby Clamp on the

tried to talk to Daniel who guy the FRED, GRANDPA CAMERAMAN. Billy comes in and stands behind the show. horror-movie

hosted- a House of Horrors. Grandpa Fred's run-down set of The

21 STUDIO FRED'S GRANDPA INT. 21

hallway. narrow a down room and turns control

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

perfectly normal ••• that's Now, meat courses. the some of from coming g.l.su,t a notice they romantic occasions, those maybe for room, dark a dishes in say that, if they're serving these ..• some people have written in to MARGE • on her set. ovens :!/' many~r one of from a dish takes

MARGE show . Marge With ot:._tO/i)JT)rove IMAGE VIDEO a on CLOSE

20 ROOM ~~L STUDIOS CABLE INT. 20

Network. Clamp Cable the know, home TV at have cable who you of those as of course, jellies.,.and, jams and popular line of a and finance, sports, construction, which includes network, business of Mister Clamp's round-the-world

.. Clamp Centre is just one part The

(CONT.) KATE

STAIRCASE. a toward them she takes Still talking,

me over here ..• follow If you'll climate control. and communications, security, the latest.in with America, in advanced "smart building" the most is Clamp Centre The KATE

19 CONTINUED: 19 •

14 •

1989 31, May - *REVISED

•

you something, brought I Yeah. BILLY

work. finding and people is getting sober those only thing that scares The Wolfman. the not scared of morning are three-thirty in the TV at watch People that a disaster. Kid. it's A mistake? FRED GRANDPA

mistake. big a making they're think I time slot. new your hear about was sorry to I Hey, Fred. Hi, BILLY

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

moan? the tape with the find somebody CanFred. Sorry, Oh. (O,S.) DIRECTOR

• and open the door back there go I and you," don't more flies, some want you Renfield, "Oh, say, I and ack, t from moan, a be to There'~posed moan. The

• what? The boo from P.A. (on (O.&<;::) DIRECTOR

'<) moan? the Where's (CO~) FRED GRANDPA

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

-- you with here Grandpa Fred is your thing good a It's scary! Talk about That's right! again! food solid and eat simple phrases speak to how are just learning ago years twelve the theaters in out came when it saw it who the people -- so scary movie is . , .tonight's FRED GRANDPA •

there, riaht up We'll pick it • Fred, Sorry, everybody, Lunch, (O,S,) DIRECTOR

-- some want you Renfield, Oh, FRBD GRANDPA

into character, back aoes aamely Grandpa Fred

•• ,rollin,, •• And Fred. aot, That's what we've (O,S,) DIRECTOR

aoan? the That's FRED GRANDPA ,.,'.,:...-

P,A, the throuah heard is MOAN aneaio A listless,

O Fred, ■ oan, the 6ot We've (O,S,)0 DIRECTOR

0 box -- whoopee, of a out o~s puppet that A effects. specia).... No •i-iok, a have donU":-Pven I only likes color,

Cl&111p Mister black and white,

.. in are movies horror great All the •

Frankenstein, -- classics

of the some You should run Fred. aeaniniful, can be aovies Horror BILLY

meaningful. Soaethin• affairs. Public newa. wanted to do I broadcastin,, into went I •ind. in had I not what was kid, this Frankly, FRED GRANDPA

here. over ,ood it would look thouiht I BILLY

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

thine. Watch it with that FRED GRANDPA

Fred recoils. •

Grandpa tri,,er. the Billy pulls as winis BAT that flaps its mechanized a and pulls out bai, shoppini his Billy reaches into

(2) C0N':'INUED,21

/89 3/31 *Revised

CON'rINUED) (

Up. Wouldn't Shut That movie -- The Building horror a That's but not really. saying, • You can almost hear what they're there are little voices in there. -- listen to it you if But Sure. FRED GRANDPA

supposed to notice it. not You're won't overhear each other, they and together close people can put they so That's Yeah. BILLY

The static? time? all the know that white noise they play You me like that. look at Don't now? have here they heard these voices you Have kid. riaht, that cot You FRED GRANDPA

I did. guess I Falls. Kinaaton fro ■ away get to wanted I -- Well BILLY

creepy. l.Jt People think &erbil. new kind of a on a patent took out they week, thdJ..3P••·last cuttin& animals, • with w,~d Foolin research. -- genetic laboratory upst esearch There' here?

.. they have n~~tenants know what

You this building. l~~ just

"

but in person, n4'~t Well,

.. FRED GRANDPA

him? seen You've

.. BILLY .. * •. • stranae * is auy Ib.n likes color.

Clamp only Mister black and white.

in are movies horror great the All

FRED GRANDPA

* Dracula.•• * Frankenstein. Fred classics,

some of the run You should

FRED GRANDPA AND BILLY - LOBBY lNT.22 •

17 •

1989 7, July - *REVISED

•

•

TO: CUT 'S'

6" interrupting. ebody yourself without talk to You can't kid, to, coming ld's what th That's GRAN~FRED • for? do that would~ What

•

22 CONTINUED1 22

17A,

1989 7, July - *REVISED

sir. terrific, That's • FORSTER

happen, to going is takeover looks like that It Vermont thing. meeting about the a to going I'm TV) (ON CLAMP

Clamp. Mister Yes, FORSTER

Forster greets the screen. FACE. CLAMP'S

showing MONITOR a technician pointing at a Forster turns to see

sir. you, It's for Forster) (to A TECHNICIAN

That's fine FORSTER

president ••. great a make Clamp would Mister thinkinl"'-- been I've know, You /:;' man) (brainy \JU .•. all over myself [ezy~gout I organization, • Clamp the •:i;o,: m\!o/~ save I When U,'R,1} sexy ( live today .•• I way andl,fh;e me, for not stealing office supplies works -- and guy ,,.I'm an honest kind of man) (dynamic VOICES ANNOUNCERS'

TV commercials, on slick voice-overs

sound like They speaker, a on VOICES up The technician brings

me hear the voices. Let FORSTER

"VOICE," and NOISE"

"WHITE mans controls labelled who TECHNICIAN a Forster talks to

etc, bathrooms, in corridors, EMPLOYEES

views of spy-camera give while others movements, elevators'

One computer monitor tracks the over their shoulders.

looking comes in and walks past several technicians, Forster

systems, tracking the building's switches,

and monitors, TECHNICIANS hunch over meters, tower: control * looks like an air traffic "nerve center" Clamp Centre's The

2J

CENTER CONTROL SYSTEMS INT,

18,

1989 31, May - REVISED *

CCNI'INUED)( •

• sir building, in the air much not There's meters) (indicates TECHNICIAN

you doing? are What (CONT. ) FORSTER

·"' OXYGEN. marked switch a_ turning.Alp who's another technician, of der-. ~fll!fsnou.l moves on to and the mike, down He puts

much. so Thanks hour. One desk. Clean out the gone. You're here? problem communicating a We have (CONT.) FORSTER

source of the voice.

the for employee looks around startled the On the monitor,

· ~ anymore. here work ~~don't period, pal. break unaut~iZJ'd That's an FORSTER.~NT.) • () and talks into it:

microphone a up picks the~nsole,on punches""'a- button Forster

X) STOREROOM. a cigarette in

a EMPLOYEE lighting str~ed-outa CAMERA shows spy A MONITOR. a technician's shoulder ata and looks over Forster turns

·it. behi rs and Clamp's face ills the monitor screen,LOGO ampa But ~ -- 1·11 FORSTER

spinning. Tanaka is still Mrs. here. money people some had l It shorted out last night while downstairs. fixed door revolving get that in there, r·m While TV) <ON CLAMP

Tall! Yes sir. FORSTER

mountains? the of picture you that show I Did own state? have their know that • you do guys many How kidding. No TV) <ON CLAMP

CCNI'INUED23

3/6/89 - *Revised

for it. si&n can I • PEGGY

for Doctor Catheter, is This Huh.

.. MESSENGER

* it. * about talk not supposed to We're * PEGGY

* anyway? there, * do~ they What kind of stuff do * MESSENGER * 21./.B * AREA RECEPTION INT.24B

to back her follows He

'O here,, delivery a aot Yeah,

* 0

• ..a

him. comes over to

* the lab's receptionist, PEGGY, WHISTLING it to himself -- until • and starts melody, up the picks messenaer the Half-consciously, * •

key. in that sad minor sona, back -- Gizmo's

from the SOUND a by his attention is captured ANIMALS, caaed

and PLANTS potted GADGETS, SCIENTISTS, curiously at peerina

he looks into the lab, As down-home. look buildini of the

the rest makes it bi&h-tech laboratory so a of fringe .•• to the

24A LAB CORRIDOR/GENETICS INT.

24A

into an inner corridor ••• it, past ,oes desk, no one at the rception findini package, a with MESSENGER A

NOISES that ANIMAL the for except nor■al, see ■ a area reception this INC., SPLICB-0-LIFE readini si&n With its cheerful wall

TO: CUT

Yes sir. TECHNICIAN

oxyaen. them &ive we Dutn slump. a into io people four o'clock, At FORSTER •

2) ( 2)

CONTINUED:23 20, /89 J/.31 *Revised

again. flickering Your lights are Wally, Hello, • CATHETER DR,

flickering, area are Wally's LIGHTS over fluorescent

The white-coated scientist. a WALLY, over to goes Catheter

up to mysterious gadgets. hooked in the lab are

and animals of the plants many that SEE we In this closer look,

LAB GENETICS INT, 25

FOLLOW Catheter back to

••. germs fresh some wants is man a All Back order. head} his (shakes CATHETER DR,

and heads for the inner office, Catheter takes the Kleenex, Dr.

~ sure •.. uh --Oh, PEGGY ~

Peg~ have that, IMay CATHETE:IL DR.

C) hand out. holds his •

Catheter Dr. again. he~ose blows Kleenex, a She takes out

• ~-order on think the flu is I '<) PEGGY

Lr) week. the flu this get to supposed was I And rabies, I~ this is just rabies. No, (opening package) malaria •.. my be mi&ht This good. Oh, package) (taking CATHETER DR.

you. for this just came Doctor Catheter, PEGGY

in. way on his who's scientist, Splice-o-Life's chief CATHETER, DR, into running almost -- messenger leaves the office the again, tune Whistling Gizmo's

Thanks, yours. copy's This Okay. MESSENGER

snd hands it back, paperwork the signs she

* blows her nose as bad case of the sniffles -- she a got Peggy's •

24B CONTINUED,24B

3/~5/89 *Revised

\CONTINUED)

-- Watch to bright light.

be totally desensitized Soon, he'll •

and French sunblock, hormones,

formula of vitamins, a This is

(CONT,) WALLY

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

on, sir. working we're what That's

WALLY

• night. * at come out only but they Yes,

CATHETER DR,

* like pigeons,,, messengers, * terrific make could They * there are millions of bats, world, * some parts of the in know, You * (CONT,) WALLY .. • CAGES, ANIMAL of group a toward He leads Catheter

* though,,, project, .. very pleased about this bat I'• .. WALLY •

Wally. it, get You'll CATHETER DR,

But it rejected the pimento, Doctor, came close yesterday, We WALLY

researcher. long-s~ring the -- sighing nods, Wally

excited.(./ They're very the Bird's-Eye peoplV,.afain, talked to Wall,V....-J medley plant, vegetable on/tjle doing we are How CA~TER DR,

'~ VIAL, a central glass

into feed tubes that collectina att!Ullb.ed to PLANTS are vegetable

where several different potted table a Catheter turns to Dr.

they? Are WALLY

bulbs, the fluorescent of

the flickering with synch BLINKING in precise eyes are Wally's

•

21A,

1989 7, July - *REVISED

•

• {CONTINUED)

b.g . in Wally SCIENTIST approaches Another moves on, Catheter

~<'\ (disappointed) CAT!IBT~ DR.

Ame~n. South Doctor. bat, ~~!ferent that's -- uh Oh, ,/') WALLY • ?' on .•• blood. feed them som~ believe r (CONT.) DR."6T!IETBR

fascination: creepy with speaks a~d Wally, closer to draws Catheter

Very nice. CAT!IETBR DR.

cat. basking a like rays,

• itself in the warming The little creature stretches luxuriously, the bat. on SUNLAMP shines bright a and switch, a flips Wally

•

CONTINUED,:)

21B •

1989 7, July - *REVISED

• may be genetic ••• That MARTIN

he? isn't kll.1.~, Hmp! CATHETER DR.

the scientists talk. out of the cage as

DANCES Gizmo playfully MUSIC, ROCK bouncy Hearing the PLAYER, TAPE a on cage and turns opens the side door of Gizmo's He

Doctor. Watch this, LEWIS

take bright light. ••• and it can't MARTIN

apparently,., rodent, Some sort of LEWIS

them. up at and looks who stops singing GIZMO, cloth to reveal the back Martin pulls covered cage. a LOWERED above ARE LIGHTS the where lab table a to over they take Catheter attention, the messenger's crooning that caught SOUND of the Following the

interesting. s find it think you'll ••. I 6 • MARTIN

bcain. • shace ,hey if •• ••::~~~ i• ••lk <win• The

Doctor. well. !ll!J~J_lY MARTIN

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

coming? work How's that cloning CATHETER DR.

Doctor. Hi, LEWIS

Lewis. Hello, (CONT.) CATHETER DR.

moment. the us at to back has his (MARTIN) the other while

greets Catheter, (LEWIS) them One of work. SCIENTISTS are at

more two where to another side of the lab, FOLLOW Catheter

short. a little I'm hormone? growth • some have me you let could Wally, SCIENTIST

1989 11, May *REVISED

up. in the next cubicle speaks WORKER The •

Hell. BILLY

out. go LIGHTS overhead the lowers pencil to paper, he as

Just Chinatown drawing. stares at his in his cubicle, Billy,

26 O~ B!J:,LY'S INT.26

TO: CUT

you. to cut .•. we'll just have (CONT.) CATHETER DR.

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

my little friend ... And for that, body structure. then there's And CATHETER DR.

culture~Thursday. ... tissue MARTIN.§:::, • tomorr~.'. samples Cell '-...J• LEWIS

r-,.\J him? with pro~ to you going How are 'o CATHETER DR.

~ Sorry, sir. MARTIN

break for it. a made almost He two? you with wrong What's (CONT.) CATHETER DR.

firmly.

door the side and shuts cage, in the back Gizmo frightened the Catheter sticks Dr. good his escape. make can Mogwai the

Gizmo just before GRABS and MUSIC off, the He abruptly switches

pal. so fast, Not CATHETER DR.

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

sure yet. ... we're not • LEWIS

25 ( 2) CONTINUED:

5 ,,

2 3.

• -- humming it like, was, somebody and eighteen, on know, you laboratory, that up in was I know. I -- hey Oh, MESSENGER

-- you Where did Think. by Sting. It's not No. BILLY

by Sting? that isn't -- dah dah dah dah Dah dah, (hums) -- uh Oh, MESSENGER

it? hear you Where did music. That BILLY

Huh? MESSENGER

he~~at? you Where did / ~~ BILLY •

vr'll-'ntly: and asks the cubicle partition

over looks he as face, ~"ti'i.s dawning the realization catches

CAMERA and then -- regis~""!t Billy doesn't moment, a For sad minor. in that song(ll,r'Yin, Gizmo's to himself -- whistles messenger the the~erwork, Neighbor signs the Cubicle But as

Thanks, Oh, NEIGHBOR CUBICLE

you. for Package MESSENGER

package, a desk with Neighbor's the Cubicle to comes lab the genetics who visited messenger the as on, back come LIGHTS and the around, jumps Billy

around. Jump saving energy. It's you left. building thinks The long. too for You sat still NEIGHBOR CUBICLE

What? BILLY

Jump around. • NEIGHBOR CUBICLE

•

* them •••

and everyone hates York, New

* Think of it,.,millions of rats in

LEWIS

* on its label, insignia * LIGHTNING-BOLT a VIAL with a from some liquid FEEDS the rat He

••• boy go, you Here in, involved

l...'..,n ever been work electrical

most interesting bio- the This is

MARTIN

* Catheter looks on. Dr. as

DEVICE connected to the electrodes,* switch of a strange-looking

* toggle They're preparing to throw the RAT. nervous-looking * a BARS of ELECTRODES to the have clipped Lewis Martin and

work. around -- the scientists are absorbed in their Billy looks

where there are several covered cages, corner a from in Gizmo's croon, him, to back melody comes the A moment later, •

song, Gizmo's WH~LES random as he removing parts at machine, copying the "fixing-I! Billy strolls in and starts

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

28 LAB GENETICS INT, 28

::) theri!i/-_, back in It's Hi. Oh, ... / PEGGY

down, copier's your hear I you doin'? How BILLY

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

off, takes Billy

in the back -- was Nub-uh, it MESSENGER

was? who it Did you see • BILLY

26 (2) CONTINUED,26

J/15/89 Revised *

•

• mess a leaving the copier the lab, of He walks out into his toolbox.

Gizmo Billy scoops have to wait. reunion will gala But the

more excited. them is hard to say which of GIZMO'S -- it's MEET BYES HIS and cage, He opens the cage. monkeys, Billy hurries to Gizmo's the scientists chase the As

DNA! down that Put Alvin! MARTIN

you doing out? What are Theodore! LEWIS

lab, distracting the scientists into the center of the him scamper past as the excited monkeys

"surprised," to look up, time -- and is back at the copier in

-- cage on the monkeys' the latch

he flips way, On the back to the copying machine. Billy heads

SCALPELS arranged next to it. the~eaming covered cage -- and

right on the Billy's eyes fall singin~news, Gizmo's as Then, •

a hairy SPIDE!lqtbout twelve inches across. experiment: growth-hormone a of Gl,IMPSE a he gets it in shock as

He drops cage. wrong on the ~ver whistling, lifts the Billy,

he passes. MONKEYS chatter at Q!jm as Two caged

from. coming voice is corner~zmo's He wanders back to the

'O

ll)

* ••• Hmm * LEWIS AND MARTIN

* them ••• * could just make it safe to touch * we If fellows. Definite progress, * CATHETER DR,

* SHOCK, the electric from * hand back and quickly pulls his Catheter touches the rat, Dr,

* off, goes the current * then calm down as WIDEN, eyes The rat's throws the switch. He

* month .•• a portable radio for * a them could power But if one of

•

* MARTIN

3/1s /89 *Revised

•

•

catching his breath. the door, against he leans where bathroom,

into the second door, a anteroom and small a through goes Billy

32 BATHROOM INT.J2

briefcase.

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

31 CORRIDOR INT.Jl •

26A, /89 3/15 *Revised

• minute a wait Sshh -- just (CONT.) BILLY

-- get in here. Quick (CONT.) BILLY

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

But then I'm sorry. Oh. (CONT,) BILLY

armband. indicates his Gizmo looks sad

Wing? happened to Mister What there? in get you did How huh? That bad, (CONT,) BILLY

terrified. back, shrinks Gizmo

-~ you? with

doing 1!!ii7st~s5 were what Gizmo, BILLPon •

• on~lf Gizmo puts Billy

of strong agreement.) (Twitte~g GIZMO

on you. water any get to want don't We here. up you Let's put me too. Yeah, (CONT.) BILLY

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

me? .did you miss guy.; Hey, BILLY

Gizmo out. takes sink, a on cage the

Billy props and memories. shared secrets relief, recognition, -- over their faces flood EMOTIONS Mogwai! A boy and his

He lifts the cover -- down. LIGHTS the

to turn remembers then cage, on the to lift the cover starts He

catching his breath. leans against the door, he where bathroom,

into the second door, a and anteroom small a through Billy goes

BATHROOM INT, •

27,

19u; 16, May *REVISED

My mistake Well, Oh, • BILLY

Peltzer? you, do you belong in there, think don't I washroom. execuj;j~ the is -- Because this right. That's FORSTER

A little briefcase, sir. Oh. BILLY

§.UUl, Peltzer. On the FORSTER

bathroom? In the BILLY

man holding? What is the FORSTER

"men's bathroom." means It BILLY

~--- Peltzer?

v FORSTER • ·· ddl/r:a on the bathroomsign Forster points to the watching, Jfjlly '~ his assistantWith

42 ~ CORRIDORINT. 42

* 33-41 OMIT 33-41

them, ASSISTANT joins

Forster's clipboard-carrying into the anteroom, go they

As Forster out the door. box and follows Billy grabs the tool

me. Come with Peltzer. Stand up, FORSTER

-- me I'm sorry, sir -- let BILLY

knees. to drop to his about

and is towel paper a grabs shoes, sees the Billy sees Forster,

Peltzer, my shoes, You're wetting FORSTER

hands -- he shakes water off his until him standing there, see Billy doesn't bathroom. into the comes just as Forster hands, Billy sets about furiously washing his•

CONTINUED:32

1989 16, May *REVISED

• -- and soon, home go We'll BILLY

(Muffled twitter of acquiescence.) GIZMO

you? do laboratory, back to that go don't want to You be quiet. to g_qj; you've Gizmo, (CONT.) BILLY

Gizmo inside. slips drawer in his desk, a He opens hand,

box still in the restless tool Billy returns to his cubicle,

43 CUBICLE BILLY'S INT. 43

Got it, sir, on clipboard) (jots ASSISTANT

interesting. on should be very search later drug "random" 9ur think I Hm, os FORSTER

Billy leave. wM'(;/i';,I assistant, his and Forster

on HOLD up. and speeds th~~ns down the hall, backs He •

'7/1'.here t. back get I better Well, 'nts. . I'm mixin box harder) s(rat~. art supplies. -- uh Oh, BILLY

Peltzer? in the box, What's FORSTER

box. tool

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

in there? That's (tries to see) BILLY

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

(reading) FORSTER

and Forster looks it over. the gadget, PRINTOUT churns out of A calculator-type in the folder, BUTTON

a and pushes over Billy's chest insignia again, it runs folder,

of his leatherette wand out the bar-code reader Forster whips •

1989 lo, May *REVISED

•

•

'r6oNTINUED)

6~ -0

in the flesh. ,on~-here quite believe that the tyc

one can No row of cubicles. 4e do walks BODYGUARDS, two with Clamp, Daniel one staring asSEK~·· up to looks and --

-- paw Gizmo's

almost squashing desk drawer shut, SLAMS his He quickly ceased. have him and conversation around he realizes that all noise

•

and him, GASPING sharply beside someone Billy is interrupted by

30,/31.

1989 16, May *REVISED

(CONTINUED) •

drawer? What's with that l (CONT. CLAMP

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

''disease" ''Dutch,"

* they think ''elm," People think

though. elm trees, lose these Let's drawing) (points to producft. who People need here. we what That's CLAMP

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

Bill Peltzer. -- Billy Peltzer. BILLY

name? Your What's warmth. like I warmth. That's the kites. with kids Look at the of the project here. whole essence You've captured the CLAMP • Vo6s mLY This?

drawing. Chinatown

the and spots Clamp glances over Billy's shoulder, speaks, he As

on .•. now from operations with these ''hands-on'' more little a be I'm going to change. to going but that's down here before, been haven't I know I normally. you'd be doing what back to go and Everybody just relax, okay. That's CLAMP

-- can I here, if there's anything head I'm the department Bloodstone, I'm Marla sir, -- Clamp Mister MARLA

cubicle.

Billy's beside they meet and him, quickly to greet moves ~arla

43 •

( 2) CONTINUED:

1989 11, May REVISED

-- can I think Just don't I • BILLY

• you dinner with to have go letting it I'm what? know you And deadline situation. total suicide trauma red alert a It's Cable Archery Channel. Clamp A brochure for the Billy. tonight too, something got I've MARLA

appointment. an -- &ot I've toni&ht. I can't No, BILLY

Toni&ht, MARLA

let's see ... it, could do I areat, That sounds Oh, BILLY

dinner. We can talk about it at Clearly, MARLA • is? It BILLY

• both"vu For window. cement opportunit{,'11\~ career b \J ~\l s ri· bi:?~lly. This is

':) -- drawini Well -- he likes the BILLY

him in person, and I've never even seen six years, here workini I've been produce."· who "People Did you hear that? MARLA

eyes. new completely throu.lh him at lookini

over to Billy, aoes who at Marla vaauely noddin.l on, moves He

one. know about that I didn't Huh. CLAMP

anythin.1. need you in case now and then, up opens It uh -- it's automatic, Oh, it's, • BILLY

1989 20, *REVISED April

Ready? • MARLA

Marla approaches • He hurriedly closes the drawer as

few minutes and a for put Just stayokay? wait here, Just now. go have to Gizmo,.,I BILLY

* into it. * open and talks Marla goes O,S., Billy slips Gizmo's drawer As

back, ri&ht be

.. and I'll coat, my arab just me Let

MARLA

.. .. Sounds terrific.

• BILLY " • at your table. riaht clean the fish .. They It's Canadian. restaurant, "

new chic very There's this Great,

"

MARLA

..

-- one quick a Just

.. to dinner. ao could I now, ri&ht • .. we leave think if I -- know You .. BILLY "..

me Let

.. .. • A pet? .. .. .. because .. much, so you Clamp likes Mister • thin& aood a It's in there? J2lll. * of

some kind keepina you are Billy,

* MARLA

.. * -- was I lea,

.. my it with aaainst knocked I -- Oh .. BILLY

• opens itself. that

anythina have We don't buildina.

.. in this know every feature

1 Billy? with that drawer, u What

.. MARLA

• closed.

•

• Billy shoves it firmly aaain, RATTLING His desk drawer starts 43 (2) CONTINUED143

• 34

1989 20, *REVISED April

and everything? there • I'm know Letting people know? you were talking about, we what -- for good But it's I'm sorry. know, I BILLY

damn. Oh, KATE

people.some With meeting. a have I out tonight. go I can't but wrong, nothing's Um, Nothing. BILLY

wrong? What's KATE

Kate Listen, Bi. BILLY

-- ready I'm almost I •1.H KATE

rig. taking off her microphone

Kate to find office tour-guide little the in up shows and --

44 OFFICE GUIDES' TOUR INT. 44

•

-- lobby an alcove for Billy heads

«y Sure. r, ??1 11 1 MA:

back.righNi;,t be I'll second? a meexcuse you could -- Uh BILLY

off the elevators. get As Billy and Marla

4JA LOBBY INT. 43A

TO: CUT

edge of the drawer,

the over Gizmo starts hoisting himself Asladder to the floor. a making from the drawer, down tossedCLJPS is PAPER LARGE OF CHAIN a moment later, a of sight ... but,back out Gizmo ducks

world of Billy's office. the out checking

view, come into and ears eyes Mogwai's and the curious open, shakes It slowly on Gizmo's drawer. HOLDS CAMERA go, they As

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

Yeah, • BILLY

43 3) ( CONTINUED:43

35, 2,198 June - *REVISED

•

•

the night? the middle of In KATE •

44 CONTINUED, 44

35A.

1989 2, June - *REVISED

with Marla. buildina the leavin& Billy .•• and sees •

' 44A POV KATE'S - LOBBY INT.

44A

••• lobby the into then looks out moment, a Kate waits

the tour guides' office. leaves and quick kiss, a her gives He

Thanks. Great. BILLY

hi ■, aet go and then I'll and punch out, me take this stuff off Let Okay. (siahs) KATE

beat. A

can. 1 as soon home as Please -- I'll be ■eetinl, to this -- ao have to I No. BILLY

hi ■ ? found you where back ao Can't he Just -- KATE • ■ idni1ht, hi• after feed -- never thinl important ■oat And the hia. wat~'l.h 1et can't you And hia. It~l:(\~l aunli&ht. e!R~~ -- li&ht bri6ht take '/.t, H~a the rules. remember lust "thi~tf.\"u. any be There won't [_'"' BILLY

-- New York around in runnin& start thin&s If those nuts, this is Billy, h.o.ll? hia Take KATE

home, him You have to take drawer. desk my in up He's it later, story -- I'll explain lona a It's BILLY

What? KATE

Gizmo's here. me. tor somethin& do you to need I Kate, BILLY •

• )6

1989 20, April *REVISED

• from inside. the top edge

gripping reach out of the filing cabinet drawer, HANDS Mogwai newborn four -- him watch with we up, looks and up Gizmo sits As

fur. a little Superball of the office area,around BOUNCES crazilyand pain in horror Gizmo watches as-- and

body, Gizmo's from and final offspring shoots The fourthTHWIP!

wastebasket. a and into a drafting table caroms off furball third a and Mogwai replication continues, The painful THWIP!

nearby filing cabinet. a of

DRAWER open body and land in the shoot out of his FURBALLS tiny two -- THWIP! THWIP! -- as SCREAMS, Gizmo and janitor leaves, The writhing in pain. on the floor, Gizmo on HOLDS CAMERA f.g., in and the wheels of his cart pass as the janitor's feet and, --

him HITS It down fast. and coming huge, tinted water is

the blob of paint- POV, From his too late, but up, looks Gizmo

•.. down the side of the desk,,,

DOWN the illustration board •.. ROLLS and the blob of water the bright colors of Billy's painting blur, under the desk, from

steps out the danger is passed, thinking Gizmo, While picture. Chinatown hit Billy's of"">M&) SPLASH a big see .. . and doesn't •

....~ _;? ; i ~,,,./ ,,. ' under Billy's desk ... backt:iAA;'-!A Gizmo takes cover, them,

duck To of water. m<;)"l:~STREAMS sencili(o,f,t' he wrench, a with

Attacking the spigot the fountain. tl/J1;;x, The janitor decides

from the fountain. ARC of errant water second a and evades moving, keeps He it.

carefully avoids -- landed the water where on the carpet puddle a seeing -- and source of the water, the from away inches Gizmo

face, SPLASH in the a giving the janitor OVERSHOOTS, spigot The fountain's a drink. to get and tries FOUNTAIN WATER the department's towering janitor stops at the Gizmo, by SEEN As

him. rumble past wheels the cart's watch as

corner to aaround peeks on the floor, Gizmo, office area. the comes into a cart of cleaning supplies, pushing A JANITOR,

* 48A AREA OFFICE BILLY'S INT. 48A

48 OMIT 48

47 OMIT 47

46 OMIT 46

•

45 OMIT 45

1989 2, June - *REVISED

Wa-b.QQ! DAFFY •

-- up acting

HEAR Daffy we WINDOW of Billy's cubicle, Through the glass

* 48AA WINDOW CUBICLE BILLY'S - ANGLE 48AA

SPITS in Gizmo's eyes. close,

in moving Mohawk, and paw, fast-moving a Gizmo with grabs Lenny

on the wall behind him. low opening

VENT grated a There's away. backs -- now standing -- Gizmo as Mohawk, down to the carpet to join Lenny drop and George

Uh-oh. GIZMO

Gizmo. on moves in on the floor, •.. Mohawk,

in sight ... on the desktop, starts playing with everything up Daffy, While

cockroach. a about as cuddly as he's Mogwai,

furry a Even as new strain of badness. a malicious evil, pure, guy is This emerges. Mogwai, new the fourth MOHAWK, ••• until

•.. tosse~ut which is violently wastepaper,•

officeof SBEQ~umble Gizmo) (and we into the basket, LookingOVER.TIP roi;;kicnk.,;~~~b~sket the Gizmo watches as --

Wah.QQ!

-- WHOOP a unfold,. and gives

and feet hands He sees his little very fact of being alive.

Daffy goes daffy over the following birth, seconds In the first

Duck. the great Daffy with

we associate vim joie de demented juvenile Mogwai with the

uncontrollably antic a dizzy, DAFFY, This is upside-down.

-- unfolds Mogwai and the third desk corner, a into rolls the furball the pins, bowling ball hitting a FX of SOUND To

DESKTOP. a up onto

then ricochets him, of front in the floor hits FURBALL BOUNCING the but is distracted as -- and forth ROCK back to start landed the third furball where the wastebasket Gizmo watches

him. everything for

do Lenny to he gets -- a criminal caginess with George is small, while and loyal, dumb, big, Lenny is an inseparable pair. LENNY, AND GEORGE the drawer: in standing Mogwais are revealed, new two and the first on the cabinet drawer, IN MOVES CAMERA •

* 48A

CONTINUED:48A

36B. 1989 2, June - *REVISED

•

• TO: CUT

zs:f!/ _,,,.~ ~ ,~'} away. few feet

a imprisoned creature ijK.rJ1.nge, tli~ tQ_ obliviou_s who are humans, FEET of departing show the to 'l1a"k'fro111chim, CAMERA pulls ••. and

vent ••. though the mi!'tfr;ll:bly looks out Gizmo

' 48BBB VENT ON ANGLE - HALLWAY !NT, 48BBB

do it. but can't back out,

grate push the to Gizmo tries and leave. through the grate, him tease Mogwais The three him. imprisoning into place, back slammed TOSSED into the vent ... and the grate is Gizmo is

48BB VENT !NT, 48BB

him. SLAPS and George grate,

the George with bumps He clumsily GRATE out of the wall. fit force- the YANKS and dumb understanding, nods his Lenny Lenny. to WHISPERS and Gizmo, behind the vent opening George points to

* 48B BEFORE AS MOOWAIS AND OIZMO - ANGLE 48B

the desk. and glass the

over PRINTS all PAW him putting wet-paint IN to see MOVE and -- •

* 48AA CONTINUED,48AA

37,

1989 2, June - *REVISED

• gerbil. A possible Hard to say, sir. GUARD

these? footprints are kind of What mess! Look at this (CONT.) FORSTER

recently departed Daffy.

the the dander of it's -- he smells but it's not drugs bananas, going dog keeps The PRINTS tracking crazily over every surface. PAW they find Daffy's paint they reach Billy's desk, but as --

desk guy's this something in we'd find !mru,. I boy! Good Hah! FORSTER

SNIFFING excitedly, dog starts the they near Billy's cubicle, As SNIFFING at everything, leash,

a on DOG straining mean-looking a The guard has cubicles,

rows of deserted down the come GUARD SECURITY a and Forster

* 52A OFFICE BILLY'S INT, 52A

52 OMIT 52

• of the elevator. lo~orner a peek out of totem-pole-style, •? ,J

arranged Mohawk, and Geor~~ny, of HEADS the gone, they're After CART getting off. andi.,JC::'f£~NJ:NG •.FEET the janitor's finds ANGLE LOW open, the doors As /f:obby. the in' An elevator arrives

' ;. 7

51A ANGLE ELEVATO"4L..,.,ANOTHER LOBBY INT.51A

lobby. in the workers are replacing

FUN-SEEKERS Evening the elevators, for heads her hat off, Kate,

51 LOBBY INT, 51

TO: CUT

descent.

the car's the doors start tracking above numbers the electric and the doors close as scoping it out, the elevator, watching

shadow of a'nearby coffee station .• , back in the hanging

Mohawk, and Lenny, George, SPOTS CAMERA morning. off this got and Marla where Billy on the elevator WORKERS get A few late

50 OMIT 50

49 OMIT 49 •

1989 2, Jurie - *REVISED

•

out of the building. get we my purse till better stay in You'd home, you take Billy said to (CONT. ) KATE

LEERS at her. especially when Daffy this

happy about but she's not the drawer, Daffy out of takes Kate

her attention. get away to he's too far

but -- points to himself twitters, head, shakes his He him.

SEES Kate mistaking Daffy for imprisoned in the vent, Gizmo,

up there? get you how'd Gizmo, • KATE

0;;;, her. ogling drawer, a out of hangs

where Daffy CABINET, /i)'M!!tfj. riear'a a on light -- until her eyes

•a /f -- nobody sees around,

looks She turns sharply, her. ~Aft WOLF-WHISTLE, piercing a HEARS stops as she cubicle, Bi~'s toward walking Kate,

53 OFFICE BILLY'S INT. 53

, of the lobby. world nighttime the digging they're PEOPLE, Unnoticed by passing Mohawk. and Lenny, George, CAMERA spots lobby planter, a At the base of

52B LOBBY INT. 52B

TO: CUT

J,i,_yestock, have He's got to just plants. guy. ,.it's not don't believe this I work. to Rets He's bringing FORSTER

52A CONTINUED:52A •

39,

1989 16, June *REVISED

•

.. business

ever7thini's in there, Well,

* BILLY

* can't do that in an office. * You ot.lfftr. know each to iettini * We'r£_.finall7 ireat? Isn't this

C') MARLA - ,:;: soaethin&,.,;.- That's Hub. BILLY

knew. I Bveehen, other children. to write 4!Jlaos to the thea usini was I old, years was four I when And lf'W,7• too, crayons bad I \('\ MARLA

••• stuff and teachers the of drawinis and strips, coaic would do these I crayons, my with was little, I When • liked to draw. always I -- Well BILLY

to be an artist? ioini were you know always you Did MARLA

beer. a nursini who's Billy, closer to

ediini is ilass, wine a froa Jolt Cola drinkini Marla, where booth a finds CAMBRA pucks, hockey shakers are hollowed-out the salt aotif; Canadian a The restaurant is decorated in

55 OMIT 55

TO: CUT

Wah.2.o,! (softly) DAFFY

smirkini. Daffy finds •••

• into her purse ••• ANGLE an for the exit, heads Kate

As puts it over her shoulder. She slips hi• into the purse,

5)B CONTINUED15)B

40, 31/89 )/ *Revised

FOOT, stockinged

It is Marla's down. looks He FEELS something in his lap. Billy•

should definitely join we Oh, BILLY

join forces •.• we If Billy. goals, reach those you can help I MARLA

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

artist -- an for know, you Honey, said, I to Kate, saying was I It's like Definitely. BILLY

artist has to have goals. an But even situation. blessing God-given a It's wonderful. and that's Billy, You have talent, MARLA

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

,S 0 with anyone. j.eelings abQu haven't talked

Wow. BILLY

department, up the publicity swallowing (lowers her voice) us see ,! space ••• embossed letterhead •• more office see I Billy, future, a can see I Your access. Clamp. Your relationship to Mister MARLA

does? What BILLY

department ••• the me, you, everything -- for changes You realize, this strategy. let's talk Now, Right, • MARLA

40A,

198S 31, May - *REVISED

Oh, that's okay MARLA

-- uh I'm sorry about your, appointment. I've got that going, to get got rearfy uh --I've I, thanks, No, • 0/:;' BILLY

~nUtf(J1ep? you an cut I Can moose, e•~olate dessert, sir. Canadian f a This is WAITER CA~

fine. Everything' s thanks', uh, No, BILLY

eh? Molson there, Another sir? You okay there, (CONT,) WAITER CANADIAN

napkin. a the spill with at Billy blots

and quickly withdraws her foot, Marla lap, his beer in his SPILLS he him that moose staring at so startled to find the is Billy CHOCOLATE, HEAD sculpted out of MOOSE large a containing platter a holding side, Billy's WAITER appears at a --

Sir? (O,S,) WAITER CANADIAN

moment Just at that

forces. (CONT,) BILLY •

40B,

1989 31, May - *REVISED

•

•

os

run-down. prettyit's -- house 'l:) a.pa Establishing their

~ha_.:1rant. He escapes the

Right. Good. BILLY

tomorrow. you see -- ( CONT • ) MARLA

again. him moose staring at the chocolate

he finds When Billy slips loose, a lipstick imprint. leaving on his cheek, KISS a planting down close to her, pulls Billy and Marla The waiter steps back, grabs his tie. -- a fight up without giving not -- Marla from the booth, up As Billy gets

•

1989 9, June - *REVISED

inside. •

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

* 62 □ HIT *

61 □ HIT *

* 60 OMIT *

59 OMIT *

TO: CUT

resumes eating. and chicken, more grabs WHOOPS, Daffy

you. Billy sees in what know I don't l (CONT. KATE

refrigerator. on the and half Kate

on wad the getting half PITCHES what he's holding, and them, He hates mashed potatoes. Daffy tries the paw, With his other

a spotless bone. bringing out ~Ton, one fast in off

meat the and strips all the drumstick, ~~n clamps Brown's, • E. Joe wide as mouth as opens his chickM..l"9, a Daffy grabs

-- eat this i:~u'll Let's see KAT~NT.l

him the food. Kat~.Jings Daffy nods contritely.

replaci-.things. money to the have We don't Gizmo? okay, here, God ••• you have to be careful Oh, KATE

on his face. expression 11 oops 11 innocent

an Daffy has and looks, When she turns BREAKING it. turned,

he shoves it off the counter while Kate's back is grin, an evil

with then, -- from it He recoils BLENDER next to him. a spots Daffy a plate, mashed potatoes on and she arranges chicken As

you before midnight ••• and feed make sure Billy said to KATE

INVENTIONS. Rand Peltzer's seldom-used kitchen

of few a SPOT On the counter, Kentucky Fried Chicken. some she unwraps Nearby, on the kitchen counter. Daffy Kate has put

•

42 •

3/6/89 - *Revised

•

(<rm'lNUEOJ

on the forehead. frozen pineapple that nails Billy of

lum1 a THROWS he and Billy enter, As Kate Lean Cuisine boxes. BARRICADE of a little Mogwai is hidden behind The throwing. food· mess from Daffy's a which is come into the kitchen, They

you how Giz, Hey, ahead> <calls BILLY

-- Yes KATE

him? you feed Did BILLY

him to the kitchen. FOLLOWSShe

-- Billy the kitchen. in It's KATE

Gizm~ • Where's was fine. y"9ll~it Uh, BILLY , • meeting? ha#-ood you Did

/ X) Billy's face.

on mark LIPSTICK the at she'4J...looking -- answer Kate doesn't

you? happened to What (CONT.) BILLY

food. with SPATTERED she's sees that her,

go of lets he as and, -- on the lips fast kiss a He gives her

I'm late sorry I'm Hi. <CONT.) BILLY

Billy rushes in. and opens the door. She undoes the deadbolts

me. It's

Kate answers the doorbell.

63 •

43./44./45 •

3/6/89 - *Revised

-- me fence Don't room! Elbow No! Wahoo! (semi-intelligible) DAFFY

leather daypack. him into his and stuffs room living Daffy into the the flailing he takes follows Billy as Kate the process. getting bitten in almost Daffy, away and grabs box Lean Cuisine a He snatches

him with us. have to take We'll BILLY

him? -- What about (indicates Daffy) KATE

midnight, eat after Not if they don't There won't be. BILLY

those be to going you said there weren't Billy KATE • ehere. to get over We've got ~ BILLY

it's 11:15, c~: the wall at looks Billy steak. piece of Salisbury wtS?a Kate wings then SPITS, Mogwai The

\:) Gizmo? Where's \J (to Daffy) 'o BILLY

~ staining his shirt. impact, on It bursts PUDDING-PACK at Billy. a single-serving LOBS Daffy -- Too late

look out! Billy, -- you saidwhere drawer, near that your office In KATE

guy? this you find where did Kate.,.Kate, BILLY

face. splattering Billy's GLOP of cherry cobbler,

a Daffy tosses as -- in looks and the barricade over leans Billy

-- what's Gizmo, Ow! (CONT.) BILLY

63 CONTINUED:'3 •

Greyhound. • on the get had to we but you, We tried to call reunion. for the they changed the date old outfit, my in guys The so too. We thought FUTTERMAN MR.

-- tomorrow coming you were We thought BILLY

Futterman •.• ~rs. Futterman! Mister KATE

SHEILA. and his wife from Gremlins. driver

plow snow the FUTTERMAN, MURRAY and finds Billy opens the door,

64 ANGLE NEW 64

Who could it be this late? KATE

Great. S' (CONT.) BILLY

sounds. !J1ZZER ~ the As they reach the door, •

* I'm not -- responsibili{f.•ad

For the <1.:,/,l~t. wasn't re

I But he said ,nisten, how know

* you just had to said ·i •• saying

was Gizmo understand what

I Gizmo back. came to take When he

BILLY

* what? About * KATE

was right, •• Wing Mister ( CONT • ) Y BI LL

toward the door. their coats, start grab They

That's better. (CONT. ) BILLY

rumble. low a down to Daffy settles

you better relax. want to get out of there, You ever BILLY • zips it shut. Billy jumps around wildly as The daypack

1989 11, clay *REVISED

•

•

(CON?INUED)

hon, any trouble, to go you No, don't SHEILA

or some coffee, like you Would okay. that's no, No, KATE

so late come here We're sorry to Thirty-two hours! SHEILA •

64 CONTINUED:

1989 I 1, :.lay *REVISED

•

two. these interrup™

we think I Mur~-- Oh,

CsliBILA

•,, something spots $.ly, at lookini Sheila,

sometimes. e · n It.,,makes here, plumbini uh -- It's, BI~C')

\() mean? you do What you belki-)it too,Of course FUJURMAN MB,

hear it too, I hone7, okay, It's SHEILA

What's that? • (CONT. ) FUTTERMAN MR,

arm and under his baa Billy slips the SQUEAKS. daypack Billy's

while -- a jumpy for little a Just was I fine, I'm Aah, FUTTERMAN MR,

Gremlin) (mimes -- u11 those, what happened with know, you after, little .•. distressed a was Murray (to Billy) -- calm and nice to stay ioini We're Kaplan said, remember what Doctor you Murray, SHEILA

that? about thinkini anyone Is atomic secrets? briefcase full of a with those cabs in one of iets somebody What if burg? in this cabs drivin' iuys they have Russian know you -- did up here cab a iet we tried to Boy, • FUTTERMAN MR,

64 CONTINUEDr64

1989 3, Hay *REVISED

•

me? believe You don't "Great Job." -- like know, You things. those business was Just one of It What -- this? BILLY

tattoo. hia lipstick eyeina Kate auspiciously and finds -- closes it

then beat, a the door for through He watches 10, Futter■ans the as look relaxed to himself forcin& Billy opens the door, as &oodni&hts LIB AD the Futtermans toward the door. He backs

you ••• call aorry,,.we'll Really BILLY

hotel.

.. a book into Sure -- we'll just

~ ~ ~ country,.. into,tke\j comin' bu&s weird k~<.,~ All careful these days, ·) r'\.c/e) be you can• t Yeah, huh? Bu&s, (:.... FUTTERMAN MR,

fumi&ated, -- being building's the - - uh but the, you could, love it if we'd mean, I can't stay here, 1uys you afraid I'm -- is thin& the Uh, (CONT. ) BILLY

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

work some mean I some stuff that she liked. did I boss. my -- from Oh, uh.,,that's BILLY

handkerchief and dabs at the lipstick on his face.

a takes out she as what Sheila is talking about, Billy realizes

• Huh? FUTTERMAN MR.

64 (2) CONTINUED,64

1989 ~0, April *REVISEC

-- that's like anything have don't we Ma'am, 1 JERK YOGURT

h.!u.J:, -- like this stuff is, -- Bears Gummy and Oreo cookies asked for I Miss, 2 CUSTOMER

CUSTOMER stops her. complaining a but off,

them She's about to turn flowing, two spigots sees the machine, 1 turns to the Yogurt Jerk Up above, down, chow .,,and sloppily

Yum! LENNY

••. midniabt past TICKS time the as CLOCK the lobby • ,,check

yogurt ••• tricklina the Lenny reach for

and George, Mohawk, by the counter, view from Hidden the floor. to down and over the machine's spill grate goo streams of two FOLLOW the machine. yoaurt on the two spigots on PAW turning furry a ANGLE finds new a joins the discussion, 2 Yogurt Jerk As

peanut butter cups all natural?• are the I'm not sure ••• Alexis, '5 I JERK YOGURT

na,t.uM'f.1u butter cups all ::::~~.::::;~!fil>-,,,:e••··

and banana-berry swirl with kiwis and Kona praline a .,,so that's 1 JERK YOGURT

CUSTOMERS, serve JERKS YOGURT teenage two where STAND,

YOGURT FROZEN and FLOOR, DANCE BARS, the lobby's action at There's lively midni&bt, two minutes to CLOCK is at lobby The

TO: CUT

aoina. aet We better BILLY

you. believe I KATE •

64 3) ( CONTINUED:64

50 •

1989 31, May - *REVISED

Come on. KATE

-- to water get make their cocoons ... and if they Now they'll and they've eaten. midnight, It's after That's it, BILLY

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

food, supposed to be health it's And thina, furry a know, I don't 1 CUSTOMER

mix? the trail in was thing kind of What 1) (to Customer BILLY

damages want I yogurt, different a ... I don't just want 2 CUSTOMER

0,S ___:_ in the trai thine • a ps you-~ in& tell I'm

on, going over to see what'sst:~~~rush yogurt frozen the commotion at HEAR the they lobby, en:!,i;.the Kate and Billy As

Billy and Kate hurry into the buildin&,

" 66 CENTRE CLAMP EXT, 66

rats here 112 she said there are no, sir, Um, 2 JERK YOGURT

1:1ll.ll.? there are say woman Did that on here? goin& What's 3 CUSTOMER

Yum! ( 0 , S • ) LENNY

nu_! a It's What is it? 2 CUSTOMER

•

bin, toppin& a from M&M's scoop up to reachin& PAW furry a time: same it at the SEE 2 Jerk Yo&urt 2 and But then Customer

1989 31, May *REVISED -

•

•

the building. comes into where the water This is (CONT. ) KATE

CAGE. CHAIN-LINK

a by surrounded -- meters pumps, pipes, MACHINERY massive Inside is wall, the RECESS in squaredeep, a to come They

here ... along It's KATE

and Billy. on Kate HALF-LIGHT an eerie cast ledge,

catwalk a along concrete wall a set in lamps, Yellow floors. parking and its the building beneath underground, Six stories

68 BASEMENT INT,68

TO: CUT

* •

the elevators. to over him quickly She leads

CONTINUED167

1989 3, May *REVISED

• baa.

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

want to You don't BILLY

look. a Let's have yeah? Oh GUARD

Nothing, BILLY

pal? bag, the in What's GUARD~

CJ~ bac, on the leather

gun trains his guard The again. dayp~• around in the bouncing

Daffy starts close, aets he As in hand, aun and flashlight

him, toward coming GUARD a ;~s and cage Billy backs off the

up. h~ds Put your Back off! '0 GUARD

\Q -- hits his eyes

LIGHT bright a but theLfil,de back, clear as Billy tries to pull

Kate stands cage. the sea,_ofa opened have Billy and Kate •

70 BASEMENT INT.70

Guards . (CONT,l SUPERVISOR

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

me video, Give SUPERVISOR

machinery. water of the basement diagram a blinking red shows which monitor,

the and looks over his shoulder at comes SUPERVISOR night-time The from his terminal. BEEP a gets One of the technicians

69 CENTER CONTROL SYSTEMS INT. 69

through. slip

to opening enough big a make to trying seam, the from back links bending and starts cage corner of the chain-link a to goes Billy

... down the place even close they'll we shut it off, Maybe if Great. BILLY •

1989 S, May *REVISED

TO: CUT

me ..• Lis ten to • ... they'll destroy everything. city whole the they'll destroy If they get out of here, people, They kill They wreck things, a lot of danger. to be in going People are I'm not crazy, Listen, BILLY

strength,,, gathering change, GROW and silently the cocoons watch, we As yellow lamplight, dully in the

gleam Their slimy bodies COCOONS, big ceiling ••. and finds three and GAP between the concrete wall a into ,goes heads .•

a spot over their on CAMERA holds he takes Billy away, As

interested, , , very be sure they'll I'• the cops all about these monsters, can tell you -- pal you what, Tell GUARD

-- and monsters, these -- turn into to going they're And okay? thea, more of there are -- you That thing that bit down. we have to shut this building Look, BILLY •

guard. the by unnoticed shadows of the concrete recess,

then realizes she's hiding in the Kate~ looks around for Billy

some~~- He already ate b \) \) \) nose) his indi~~!!~ (

':) something before he eats him, We have to find (CONT,) BILLY

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

No! BILLY

-- free Daffy finally flies until around,

head furiously The guard flails his by his teeth. NOSE guard's onto the hanging Daffy is head up, pulls his guard the When

Aagghhh! GUARD

•

54,

1989 20, *REVISED April

-- passa&eway in the dark vent forward edaes Gizmo

76 SPACE VENT INT.

••• OPEN BURST cocoons more as •••

75 CREVICE BASEMENT INT.75

PARLOR,., KA.IR-CUTTING SALON,,.the TANNING the on up lift &ates The

74 LOBBY INT, 74

the••·• around awirlin1 SMOKE with acrid OPEN,

BURST to be1in COCOONS sliay Ho&wais' the the buildina, Under

73 CREVICE BASEMENT INT.73

, •• CAFE ESPRESSO

... an NEWSSTAND a OATES that protect security corruiated-metal shiny, the lift they SHOTS, of SERIES a In lobby businesses.

their openin1 PEOPLE -- here arrivals are early-mornin& The

* 72 LOBBY - CENTRE CLAMP INT.

• TO:

is it? time What open. eyes your keep just And oka:r? normal, like job, ;your to &o -- there &et we When BILLY

rent. month's next them aave I just -- easy was It KATE

there. out of •e 1ettin1 for Thanks BILLY

etc. walls, up invisible feelin&

the wind, a1ainat walkin1 of portrayals continue their mimes the

in custod7, Thou1h toward the station. wa1on paddy a from MIMES

STREET arrested of 1roup a leadinl are b,,. POLICEMEN in door,

out the front hurr1 and Kate Bill7 As house, midtown precinct A

1989 31, May - *REVISED

FLASHLIGHTS in the shape of the building. souvenir

four where Billy grabs Billy and Kate arrive at the newsstand,

•

* everything. * know You young. You're Sure.

* go) them (watching * FRED GRANDPA

* know .•• I Fred, Hi,

on) (hurrying

BILLY~

* -- today screw~p completely * the 1milding' s -- Hey, Billy

:sili:D0GRANDPA

* '-> into Grandpa Fred. run they * way, On the NEWSSTAND,lobby toward~e Kate leading He starts

·C) on •• Come are, They \0 BILLY

up. Billy looks if'ld DIM, LIGHTS the lobby Suddenly,

-- what if they're already Billy, KATE

work. for arriving innocently through the doors, PEOPLE pouring OF SEA a and -- find the businesses mostly open •

They come breathlessly through the lobby doors. Billy and Kate

79 LOBBY INT,79

TO: CUT

off his feet.

him backward, jerking BEHIND, FROM HIM GRABS CLAW GREEN a but --

lee - Bil GIZMO

-- warn who to knows wide-eyed, Gizmo,

up. opening SMOKE, cocoon belches the away, Gizmo backs As

basement wall crevice. COCOONS in the the

one of it's -- on landed he what looks at He concrete floor, hard a and rolls off onto on something soft, LANDS he ... until

78 BASEMENT INT,78

rushes past, .. at the sheer wall that

helplessly grasping tall vertical drop, a FALLING down already him until he's under from FLOOR disappear and doesn't see the --

77 ANGLE NEW77 •

1989 3, May *REVISED

•

) __ ,c-, -~.i~\.

•

bill, my on Put it BILLY

Four times nineteen ninety-five LADY NEWSSTAND

much? fuu! lady) newsstand (to -- up and ao to &oin& I'm Kate) (to BILLY

tax. with thirty-ei&ht Ei&hty-six LADY NEWSSTAND •

1989 3, May *REVISED

-- Kate BILLY

trouble. Ju.g you're in today alive, • all get through we if Billy KATE

in fifteen minutes down here back I'm not If Systems Control, up to going I'm look, -- But BILLY

now. work go to have to I me. Excuse KATE

honey. up, you're -- Kate GUIDE

the guide office. from guide calls Kate A

mad. I'm too okay? now, do any explaining right Don't KATE

-- better explain I ,.,think listen, -- Kate Uh, s~ BILLY

elev~ the heads for She •

•w.,f'l~t. Hi.

See going. Oops, I'd better get MARLA

-- my this is Kate, Marla, -- Uh BILLY

-- again do that have to to going We're night. last ~ so was That Billy. Good morning, MARLA

time to think. he has a kiss before and squeeze

a and gives Billy -- them up to comes Marla He's interrupted as

-- you near gets them one of If light. they can't stand bright Remember, (CONT. I BILLY

lobby. the

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

•

57,

1989 16, May *REVISED

•

that? Why's do? we Oh, FORSTER

now. Right building. the have to evacuate we Mister Forster, BILLY

hi ■, but Billy follows away, to walk starts He

He's out. Get security up here. technician) a (to coae wk? you and night, arrested here last yourself aot You this building? in doina you What are Peltzer! FORSTER

-- Mister Forster BILLY • the technicians. •

among rounds morning his Forstez(i).kina to find in, comes Billy

80 CENTER CONTROL SYSTEMS INT, 80

'°0

TO: CUT Lt'\ Wa-11.22! (O,S.) DAFFY

much less innocent. and raspy, become deep, VOICE has the

but It's familiar, whoop. a HEAR we room, From the store's back

CLAWED to tatters. if they'd been as -- down knees from the

"fringed" are the ■ All of up several pairs of pants. They hold

fringed? um, that aren't, styles any have you me, .. do Excuse SHOPPER

CLERK, SALES SHOPPERS approach the girl teenage

A couple of lobby. the jeans store that opens onto Outpost

nearby Miller's a on HOLD the elevators, As Billy heads for

Terrific. ( CONT , ) Y BI LL • She's out of earshot.

79 (2) CONTINUED179

1989 10, May *REVISED

•

group.,. • up with the rest of the keep you have to but I'm sorry, -- Sir KATE

group. and the he falls behind Kate Photographing the hell out of everything,

CAMCORDER. video a and ton of lenses, a with still cameras dozen a EQUIPMENT: half PHOTOGRAPHY amazing arsenal of with an down loaded Katsuji is 20-year-old Japanese tourist. a KATSUJI, today is charges her Among operation. TV Clamp Cable the tour group into leads her Kate around apprehensively, Looking

83A STUDIOS TV CABLE INT. 83A

83 OMIT 83

82 OMIT 82

81 OMIT 81

TO: CU'l'

something first. little a have want to you cocoon, a into going you're sure. Well, 2 TECHNICIAN • -- eat First they is BILLY

6 Vo .-. the cocoons • then they have rr~pd start out They good. is Ji.Ilia ,. f:{4 a Wait Al~HNICIAN

me Just listen to BILLY

-- Child Mister Flower you something, tell me Well, let Peltzer? you, aren't

to be. got It's drugs. This is FORSTER

* -- green become small, they then

and into cocoons, go and they eat,

.. * but then they furry animals, small, * They start out as these buildin•·

There are ••. creatures in the BILLY

CONTINUED:80 •

• 59

1989 9, June - *REVISED

midnight -- that after didn't~ he now, comes out -- twelve o'clock, it • and then after right, Whatever, 1 TECHNICIAN

A caraway seed, 2 TECHNICIAN teeth -- something stuck in his he gets but eats something at eleven o'clock, them if one of what wait -- Okay, 1 TECHNICIAN

as explained by Billy. discussion of the Gremlin ''rules"

amused an have systems control technicians the fumes, As Forster

84 CENTER CONTROL SYSTEMS INT,84

TO: CUT

* about these .•• * People are simply crazy appetizer. * Zapata" "Viva your that's * and through the bologna, put that * you little sword-shaped toothpicks, * some of these can get you special, * a little extra make it want to * ff.:/~ and drop over, when friends

•

* iriYI:" roll-ups--a and bean dip * ~logna t kn You d'oeuvres. * hors •~me jump let's just * so t.cipes, excited about * I'm very and Luncheon Meats," to * "Salute our special Marge" is With * "Microwave on here week this Now,

tray of a where she puts counter, a CAMERAMAN tracks her to Marge's into the studio, and her tourists quietly file Kate As

8JB SET MARGE'S MICROWAVE INT,8JB

videotaped ... being program a watch and in here go can we very quiet, If we're Uh, KATE

speaking! continue you some right profile as me Please give you! Thank Excellent! KATSUJI

camera. video the with Kate on in ZOOMING by responds Katsuji

•

8JA 3JA

CONTINUED,

59A,

1989 22, June *REVISED -

•

•

I can't believe this, ''The rules," FORSTER

are There the rules, make didn't I Look, BILLY •

1989 22, June - *REVISED

soup pot, the on a lid Marge puts •

* kind of quantity. with this

gang complete chain a reunion to

-> high school a from feed anything * you can and few minutes, a just

<- chowder surprise in cheez-product * tuna-noodle same make this we can * now, But the cooking. do stove to * hot a and hours over menu, plan the * to would take days It appliances. * modern and the other ovens * had our microwave we before groups, * big cook for to ~. we how is Thi.§. <- MARGE

kitchen stove. a on POT SOUP institutional-size

-:::- * enormous, stirs an Marge watch, and her tourists Kate As

87 STUDIOS TV CABLE INT. 87

86 OMIT 86

85 OMIT 85

TO: CUT • dead. -- falls to the floor who

the technician, of go Gremlin~~ the Recoiling, the Gremlin. SHINES it at and building-shap00_1:Jilight out his Billy pulls

him back. driving arm, l's ~"0(/ianSLASHES and neck victim's

from his claw a takes ~~~k Gremlilf/(i,/11 on the move to 1 tries e·chnician T. jumps back. MohawlillJ-prster the sight of At

-- me -- Help (CONT.) 2 TECHNICIAN

CHOKING the technician. the console, still of wreckage the

from emerges a bloodthirsty Gremlin, now MOHAWK, and -- throat for his going arms are the move, Before the technician can

SMOKE.

AND SPARKS burst of a in and speaker grilles control buttons

ripping aside CONSOLE, HIS OF OUT BURST ARMS GREEN TWO --

-- as theory is cut short, technician's the But

-- zone time the and they cross airplane, an eating in he's about if what Or 2 TECHNICIAN •

84 CONTINUED, 84

60A,/61.

1989 22, June - *REVISED

TO: CUT •

room. the from runs Kate Gremlin multiplication,

LIGHT of COLORED SMOKE and ominous with the the studio fills As

ready to burst out. getting OFFSPRING, GREMLIN tiny heads of

the CAMERA finds the bubbles, on Close backs. on the Gremlins' BUBBLES appear the water hits, As shower in the spray. tall to standing grin, Lenny and George SPRINKLERS. and set off the --

up toward the ceiling flames lick The

FIRE. ovens catch the the studio, cameraman escape and her Marge As GLASS. showering the set with EXPLODE, OVENS THE and --

Look out! MARGE

-- blue light

ARCS of furious with ovens fill The up. them and start ovens

The Gremlins close the microwaves. into the UTENSILS METAL

several nods obediently and throws who Lenny, whispers to George ovens. the toward savagely turn Gremlins the go, the tourists As

room. out of the backs

he as minute a mile a Gremlins the photographs who Katsuji, is go the last to -- the studio FLEE Kate's tourists turn to

• Mi-cro-wave! 6s GEORGE

s~•Vvo the rear of the OVENS at

MICROWAVE two points to prMIVt!~)"\George Cameraman for the to Marge turns As behind her. ,n,/~;counter in an apron, GREMLIN a GEORGE, see to wheels she GremliJL,LAUGHTER, sound of the At

IT? IS WHAT AAAGGHHH! MARGE

with it. Marge

SQUIRTS and BASTER, TURKEY a whips out He GOO. noodle-casserole

Marge with orange SPLATTERS and a chef's hat, wearing pot,

soup in the up sits -- recognizable face still dopey but his GREMLIN, a now -- LENNY as BACK, JUMPS and -- the lid she lifts

soup pot. Confused, the inside from TAPPING noise a HEARS Marge

something. Brownout or Huh. CAMERAMAN

DIM.

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

* here ... we step over if Now, Whew! * (CONT.) MARGE

•

CONTINUED: 87

1989 22, June - *REVISED

•

•

TO: $r

06 C:r:GMV BRIGHT OF BURSTS by painful WINCING as he's hit again, fga/n)Aidglass over the Gizmo slides

11/0JJ. 100 copies. machine for

the setting controls, MOHAWK at the REWL struggles helplessly, Gizmo As copier.big a document cover of TAPE to the SCOTCH of web a by fastenedhe's -- Gizmo in the flesh finds ANGLE NEW

one before. than the ~ortured more pose is slightly Each pain. in face contorted his down, body pinned his -- Gizmo of are The pictures up. PHOTOCOPIES is piling of a series where room, supply and office copying a of the floor on CLOSE CAMERA is heard O.S., in operation is MACHINE XEROX a SOUND of the As

88 ROOM XEROX INT.88

•

62A,

1989 22, June - *REVISED

• please? there, Peltzer Billy Is PHONE) (ON KAT.I!

~.... .."~~· l...) Control Systems 3 TECHNICJ..~

it. grabs he 3; near Technician RINGS VIDEOPHONE A

not afraid~·• I'm air, No TECHNICI~ ':::::) it? rats, is That'B\O°t that? What is f_rl FORSTER

quickly, around moving and other floors,

out to spreading but they're -- studio Harae's Microwave -- area TV studio cluster in the cable a as The dots started buildina. of the diaar- over the spreading DOTS, proliferation of rapid alarmingly an on the technician's screen, and sees, --

.. The Pest Infestation Monitor •••

(points to screen) (CONT,) 4 TECHNICIAN •

station 4's over to Technician goes Forster

Uh, sir 4 TECHNICIAN

on? going What the hell's FORSTER

sixteen and floors fifteen malfunction, climate control a got I've 3 TECHNICIAN

brownouts in five locations. lighting show I Mister Forster, 1 TECHNICIAN

screens. their monitor at looking them, behind panicked Forster paces

a as at their consoles, urgently work They and rattled. somber the technicians are both Mohawk's attack, of wake the In

89A CENTER CONTROL SYSTEMS INT. 89A

89 OMIT 89

•

• 6J

1989 3, May REVISED *

memos .•• some do Let's Good. CLAMP

Mister Clamp. I'm just finishing,

intercom) (over

(Y.O.) SECRETARY

morning?

from this my mail you shredded HAve

Building, etc. the Chrysler -- LANDMARKS York New pierced by the tips of

CLOUDS bank of a on down WINDOW looks The gadgets. high-tech

and fully outfitted with immaculate, huge, Clamp's office is

90 OFFICE CLAMP'S INT.

TO: CUT

'5 STOP. sudden a •.. before it jerks to

• VlJO ' MOVING,,. the elevator starts s:~s~and but the door button,

OPEN" "DOOR on the jams She 'fOA1.Ft. Kate's face registers

Thir-ty-eig~ (V,O,) VOICE GREMLIN

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

Thirty-eight. KATE

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

89c ELEVATOR INT, 89C

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

89B LOBBY/ELEVATORS CENTRE CLAMP INT,89B

you. Thank KATE

anything about know you do hey, Clamp's office to Mister going was he said he No, • 3 TECHNICIAN

89A CONTINUED,89A

64./64A,

1989 31, May - *REVISED

her chair and typing at her computer. in sweater, sitting wearing the secretary's pink the Gremlin, he finds where --

92A OFFICE OUTER CLAMP'S INT,

92A

-- the outer office

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

92 OFFICE CLAMP'S INT,

-- SCREAM secretary's snap of the mousetrap and the HEAR the we back is to us,

though her and, -- bite a She takes sandwich again. up the pick

from sight just as the secretary turns to withdraw claws The

MOUSETRAP under the top slice of bread. spring-loaded a GREMLIN slip CLAWS of an otherwise o.s.

GREES as the -- on the sandwich CAMERA holds But typing. to her back then goes SANDWICH, a a hurried bite of The secretary takes

... community their ne for I've what appreciation for spontaneous outpouri a as ~tival stiJe a Chinatown give in Let'11--h~J':'t~eople Relations. Public ge/)}'f¾ to one, First • p) ?J/J (over c1M~v.o.)

back of her chair.

* on the hanging SWEATER prim pink SPOT her Clamp's dictation.

down and starts typing turns to her computer, on, the shredder

the secretary leaves As the letter turns into paper spaghetti,

* your generous contribution ... •· for * you "Thank the Vice President of the United States and starting * a letter bearing the seal of it's -- SHREDDER beside her desk * into the SECRETARY pushes the last of his morning's mail Clamp's

91 OFFICE OUTER CLAMP'S INT.

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

drugstore .•. Merry Christmas, house! movie Merry Christmas, TV) (ON STEWART JIMMY

in black and white. It's a Wonderful Life showing these catches Clamp's eye: it's of

One Clamp Cable channels. tuned to are while others building, the around views them display spy-camera Some of wall,• on his VIDEO MONITORS bank of a over to goes Clamp he talks, As

sundown, do it before to got We've • to close the building up. got and we've -- out of the building people get to got We've more. lots maybe -- things more of these are There me. please listen to Sir, Clamp) (to BILLY

-- what God, My (sees shredder) in a situation there's Mister Clamp, FORSTER

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

-- a are There have to talk to you. I Sir, BILLY

machines myself. hfil& using these think so ..• I I CLAMP

...,J you all right? are -- Sir 6J:<,, BILLY • from it. remai.ps~t,ng the tattered Gremlin

and the shredder, He sees in. Billffbur.,A and corridor opens,

the door to the the machine, gaspingOA~ide Clamp stands As /II, · DEATlJ. memo of eyes-only

bloody, black, a bottom like the out of him SPRAYS which --

-- down into the machine Gremlin PUSHES the struggling Clamp using only his fingertips, it,

do Hating to SHREDDER. hopper of the secretary's in the caught foot is so that its Gremlin back, the knocks but his flailing --

-- moth a by kid panicked a like face,

from his away who tries to bat it Clamp, JUMPS at Gremlin The

wall.

the against SMASHES and Clamp, It barely misses empty Silex. THROWS the who toward the Gremlin, move tentative a Clamp makes him. on the wall behind SCALDS the paint as it who ducks it, --

-- Clamp water at FLINGING the boiling and from the nearby coffee station, water POT of boiling-hot SILEX a grabbing by The Gremlin responds

secretary. my You're not • CLAMP

92A CONTINUED,92A

1989 31, May - *REVISED

•

•

6.s

vuo '-- department. from the art is/M's dangerous. was tb.ll -- go min a here in was thing that Dangerou~~J·s ~AMP

dangerous. He's He should be in custody. FORSTER

-- happens If that York. New into out, get they can time, night once it's But them. It'll kill sunlight. can't stand things These -- BILLY

sundown? happens at What Yeah? CLAMP •

92A (2) CONTINUED,92A

66A.

1989 31, May - *REVISED

oainously. LIGHTS blink RED and zones

danger METERS shoot into randomly hits buttons and turns dials,

•

he As indicators, etc. floor-number PANEL with CONTROL ELEVATOR

He's at an DAFFY stitched on the breast, WORKSHIRT with

a HARDHAT and an engineer's wearin&: Gremlin, a now DAFFY is

97 AREA PANEL CONTROL INT. 97

-- the walls against braced her hands into the middle of the floor, Kate shrinks LAUGHTER echoes in the elevator shaft. GREMLIN SOUND of The o.s. inside, way their gouge to trying car,

the corners of the elevator CLAWS tearing at SEES now Kate And

... time not part of the building at this is floor that a You have requested (V,O,) VOICE ELEVATOR

on through the chaos, VOICE talks ELEVATOR The autoaated

scraping at the elevator car. pounding and CLAWS outside, countless that of is she hears

SOUND but the only button, Alar■ t£1 on jams Kate violently. ROCK to begins elevator, still sttioa between floors, Kate's

96 _ ....-::,:,0, 96

* 95 95 •

0 OMIT

• 94 OMIT 94

'°0

• 93 "" OMIT 93

TO: CUT

no ••• But in that space. surgeon plastic a three shrinks and had have could We problem tenant, a that could be you warned I (to Forster) guys, Ibi211e course. Of CLAMP

on down laboratory, know that genetics you umt -- Well BILLY

them? know about you wi. How Bill. question, good a That's CLAMP

thin&:s, green -- about these much so knows he how hi ■ Ask Yeah? • FORSTER

* 92A ( 2) CONTINUED,92A

1989 10, May *REVISED

TO: CUT •

one. the next get We'll elevator) (indicates other 1 LADY

blood-soaked Kate, trembling, suburban ladies are suddenly face-to-face with the that the

so open, elevator doors the THROWS the fall of force and the --

in GUSHES it as BLOOD splatters Kate black Gremlin landin.r, On

102 ELEVATOR INT.

••• buildin,r the in nice shops here so■ e There are l LADY

~ garage. parking O.S.

from the DOORS ELEVATOR bank of awalhC::C)> LADIES suburban Two

<?:

101 VESTIBULE PARKING INT.

• 101 • @FRAME GREMLIN fills SCREAMING

a FACE of the impact, before bottom.a~st to the few floors down the last racing again, '°startQALLING and the elevator --

00C SHAFT ELEVATOR INT.

1O0C

l00B AREA PANEL CONTROL INT.

100B

her balance inside -- regains and Kate --

ODA 1 ELEVATOR INT. 1O0A

MOVING -- STOPS then the elevator -- but

about it anything to do them too late for

but it's bottom of the elevator car realize that it's curtains, on the hanging GREMLINS The US. TOWARD FAST FALLS The elevator

98 OMIT 98 •

198! 10, May *REVlSED

•

•

•

-- be might but there Um, Me? FORSTER

top of this thing. on get and control systems to down Go (to Forster) handle it. We'll no media. No cops, on. and keep it thing lid on this a get have to We to do. have we what you I'll tell CLAMP

-- happens that If wet. get things -- these of none sure that make have to we Sir, BILLY

on. aoina still is araument the where

104 OFFICE OUTER CLAMP'S lNT. 104

•

1989 lO, May *REVISED

•

on rolling HISTRIONICS that send the Gremlin Jekyll-and-Hyde

thrashing in the transformation takes hold, suddenly, Then,

-- •.• to want 1 •.• GREMLIN BRAIN

-- WORDS few a painfully croaks out

He moment. a the vial ••• twitches for Gremlin swallows The

••• not the brain hormone. LEWIS

Oh no ... MARTIN

tank of saline solution, a in sits BRAIN that•

a vial attached to a grabs GREMLIN another eyes, believe his unable to in the doorway, s~nds the lab's chief researcher As

\J \'\ \) God! My (\\ja (O._r,> CATHETER DR.

o'J gulp. the rest of the vial in one

downs be consumer satisfaction big registers face Gremlin's The HORMONE. SEX marked vial a trying Gremlin a on ANGLE

equipment:: them result mainly in trashed scientists' efforts to stop after more vials and the go Gremlins more as CHAOS ensues,

PLANT ••• CAULIFLOWER a from vial a grab on to goes and claw, a him with but the Gremlin menaces him, on move tries to Wally

LETTUCE. ROMAINE turn into leafy clumps of EARS •.• as his

••• moment a for EATS it •.. and stands still the vial, grabs He vial. &lass a them to TUBES connecting PLANTS with VEGETABLE

over to the potted goes GREMLIN a him, can stop Wally Before

medley! vegetable My Hey! WALLY

me, Not • LEWIS

1989 20, iL Ape *REVISED

•

on it drains quickly ... logo The bottle with the sunshineskin. the Bat Gremlin's JAMS the needle into happily and body,bat's

the from tube the intravenous he plucks talkin,;, continueshe As

I? may be ••• can you you be all that to help want I have ••• potential. you friend, Hy (CONT.} GREMLIN BRAIN

him. looka curiously at Or-lin t.~ The

you? with word brief a have I Might wt.nae! Mice GREMLIN BRAIN

Gremlin,

Bat over to the walks Gremlin the Brain happenina, is this While

winas. bat like WEBBED, becoae hands as his surprised, watchini,

then stands the vial, swallows The Gremlin bat's body. •

to the tubing suraical by connected VIAL colleotin• a grabs The Gremlin purposes. messena~fng for li&ht desensitized to beina BAT who's the of caae approachinac:f'bc is GREMLIN a Indeed,

V flicht,.. of true capable ~dd, mia 1 mammals, only the -- Ccim~tera bat of the order common a believiiat's I near the, fellow over ~t example, ... for (CONT. ) ~uLIN BRAIN

them. t~op in vain try scientists

the as cages, from their loose ANIMALS turnini and start vials more arab guy, instantly bored with this The other Gremlins,

nature •.• agaressive hiihly a say but let us "atavism," word the I hesitate'to use -- of sort a which is possessed of ours, as such form life a of research quality to material aenetic introduce you When the future. for ramifications here fascinatina some are think there I because room, this on in coina little bit about what's a talk -- <CONT,) GREMLIN BRAIN •

105 (2) CONTINUED,

72,

1989 7, July - *REVISED

• TO: CUT

York • New SKY above .. ,soaring into the

free •.. flies Gremlin but the Bat SUNLIGHT, of rays invadina the from shrink Gre ■ lins The other him. behind glass the

bat silhouette in Jagged a leavin& IT, THROUGH SMASHES .•. and

you? won't -- time one it out check •. , twice named it nice they so city the .•• the Apple, •• ia it There (CONT,) GREMLIN BRAIN

••• windows

glass the polarized ot toward one win1a Gremlin Bat The

conatrainta.,. old the off Throw you! itself to opens of poaaibilities world A triend! my window, To the Gremlin) Bat (to GREMLIN BRAIN

Down! Down! • MARTIN AND LBWIS

• hi• chase scientists twin the as

ceilini near the soarin& OFF, TAKBS and Gremlin does -- The Bat

them. Flap friend. my wings, have You (CONT,) GREMLIN BRAIN

going?" be "Where I'll Gremlin's expression asks: Bat The skin. * Gremlin's Bat the from IV needle the yanks The Brain Gremlin ~

going,,, be where you'll usefulness of crucial be That will problem whatever. no licht m&K~icht persuasion, ,,to noctu(ja_l those of the for designed formula,,,specia~ Thus,~is leftover. photochemical s~of unappetizina rather a become we~~t frankly, -- don't burn we tan, nit We ,roup. for our •• ,ethnic pr a poses sunli&ht aware, su~~u're I'm As (CONT.I GREMLIN ~AIN •

105 CONTINUED,105

73,

1989 7, - July *REvlSED

•

a

Ir\ •

* 109

OMIT 109

• 108

OMIT 108

on the head, him GOO hits GREEN of alob a -- PLOP! --

-- as himself, he's surprised Sunnina well acquainted, have been piaeona which with atone statue a on A PIGEON perches

107 •

STATUE ON PIGEON - YORK NEW EXT, 107

73A, /89 J/31 *Revised

•

a '° c:,

It'\

•

film. reel of a DUST off

some prop blows Heaaain. tapina is threadbare horror host The

113 SET FRED'S GRANDPA INT. J 11 * 112

OMIT 112

* 111

OMIT 11 1

* 110 110

OMIT •

74,

31/89 3/ *Revise

•

TV set over the bar, on the NEWSCASTER the

to pay little notice they but PEOPLE are drinking here, A few

BAR - ANGLE

114 LOBBY INT, 114

TO: CUT

agreement. nod in gleeful Gremlins The

tonight.,. you for in store something horrible have Friends Fred and his Grandpa -- Uh FRED GRANDPA

rolling, .. Okay, creepy. that's Boy, (O,S,) DIRECTOR

here~"-> They like it scary snarls,

make and alongside Fred's f~~ two Gremlins put their The other

• -- scary real~ that's right, it's -- Uh ~ (CONT,) FRED GRANDPA

LAUGH. ott"fremlins The onto the floor. back and falls chest

CLUTCHES his then shock, mimes terrified -- frame a looks at A second Gremlin up, end and holds it loose the from a little

unreels from Fred, film of the reel takes One of the Gremlins

Uh ... I don't, , . FRED GRANDPA

things? those the story with what's Fred, (O,S.) DIRECTOR

intently.

him watch them three of the and one, the first GREMLINS join

other two back there, Fred heads As tombstone. prop the

behind from emerge GREMLIN grinning a and sees around, turns He

moan. GREMLIN a genuinely scary but tape, the

on moan weak normal the not -- MOAN a by interrupted Fred is

-- dungeon special Grandpa Fred's from movie, horror a classic we've got ... tonight FRED GRANDPA 13 ··•

113 CONTINUED:

5. 7

long-dead fish, a as if it is •

movie GremlinR videocassette of the first a up He gingerly holds

-- watch consumer our videocassette now for And MALTIN LEONARD

POLICE." MOVIE "THE show called Movies"-type

the "At an MALTIN is taping LEONARD TV studio, Clamp Cable a In 116AA

STUDIOS CABLE CLAMP INT. 116AA

THROUGH the sneeze guard.

hi ■ and pull his shirt grab CARROT fingers to with reaches out TEETH, it ARTICHOKE baring its sharp but, Vege-Gremlin, the 4 tries to drop Customer horrified, As other customers recoil,

TONGUE, WAX-PEPPER a darting -- mouth as it opens its - - and STRINGBEAN lips CAULIFLOWER ears, CORN-row hair, eyes, for RADISHES This horribly smiling thing has by the ear. GREMLIN MUTAKT ALL-VEGETABLE he is holding an horrified to discover that is and -- from the bin clump of lettuce a tongs to pull plastic

under the salad bar's sneeze-guard with the 4 reaches Customer•

now, . , while a been in jail for Of course, he's 4 CUSTOMER

~ Really,

C:STO::~boag6azines. cigarettes

now are ight ec6&' in the strongest things J.,,.w.the My broker 4 CUSTOMER

heaping their plates. CUSTOMERS are Salad bar

sports .•. tD Turning months. few in the first through goes building new a "glitches" that normal that these are just the about, worry to nothins Clamp says there's spokesman for developer Daniel a News, by Hotline Reached building, Centre office Clamp today at the mechanical problems major ,,,of • NEWSCASTER

1989 31, May - *REVISED

{CONTINUED) phone. a on talking

broker's chair, a back in kicked Hormone Gremlin, SPOT the Brain

• Sell! Buy! Sell! Sell! Buy! phones) on (variously, GREMLlNS

phones and grabbing their GREMLINS also chasing brokers off, OTHER number of a REVEALS ANGLE WIDER as he beats it, and him, at SWIPES the Gremlin but yanking the tie off, The broker starts

Nice tie! GREMLIN

The Gremlin points an accusing claw at the broker.

I- up hangs ( 'Bye. bonds. Think about those Nothing. What? phone) (into I (CONT. BROKER.

staring at him. desk, on his GREMLIN a be finds --

AOGGHHHH! BROKER

-- 1>hen his phones working is "power tie" a BROKER in a BROKERAGE office, STOCK small Clamp Centre lobby's In the •

TO: CUT 0, 'O

•~HHHHHHH! uiY thumbs two -- Look kidding! 1Jfas/J1 No·(/ Wait! (CONT,) MALTIN ~NARD

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

-- bad a be movie wouldn't burning this In fact, them. ... such as burning ,coNT,) MALTIN LEONARD

behind from him on up and are creeping studio

snuck into the have that GREMLINS REAL the unaware of Leonard is

with three dollars •.. a lot of better things to do of think can I thinking of renting it, and if you're on video, released one that's just been re- Here's (CONT,) MALTIN LEONARD •

116AA a CONTINUED116AA

76A.

1989 31, May - *REVISED

•

•

..._;

-- and opens it stairw~@>or, a it upstairs to

makes splattered with Gremlin blood, haggard,/.)~ bruised, Kate,

118 c?/J,. STAIRWELL INT.118

doors,~ the front

through Gremlins start fleeing invading seen the who've PEOPLE

NUTS. going up, speeds on the wall DISPLAY TICKER The

.. . yes ... shotguns and canned food got into clients to put everything they've our brutal here ... we're advising Well, it's rather banks there yet? on the run a you having Are panic. full-scale a I'd say it's .•• yes, GREMLIN BRAIN •

116A CONTINUED,116A

76B.

1989 16, May *REVISED

• old drama of self- preservation, •. age- Leave the building, .. enact the on fire • is the building Yes, IV.O,l VOICE FIRE

What? WORKER

on fire, .• is this building now, forests,,,right destroyer of warmth, Giver of (V.O.) VOICE FIRE

voice. P.A. the to listen stop to invasion,

Gremlin unreached by the yet as in an upstairs corridor, WORKERS

120 CORRIDOR OFFICE AN INT.

12C

oldest of man's mysteries •.• untamed element ••• The Fire! I (V.O. VOICE FIRE

VOICE documentary-narrator a under builds

MUSIC melodramatic Instead, some old-fashioned bell or siren. * isn't alarm fire cour'r'~the of Clamp Centre, In the ALARM, the and pulls way, ouilar,i'i--, Gremlin the flasher KICKS Kate

• (/a ·. underbelly. reptilian open his coat to flaunt his aWiff,fPi.;f way, GREMLIN blocks her

FLASHER raincoat-wearing a it, sfr//-lt,ches As back wall. on the ALARM FIRE a running for lobby, the ac#i,>ss BREAK A MAKES -- then nerve gathering her pillar, a momentary cover behind takes Kate

it.

trash the Gremlins as rubble of course obstacle an becoming is lobby but the the exit doors, toward PEOPLE desperately scramble

the ceiling ..• from sparking electric cable torn

a on HER TOWARD SWINGS CREMLIN a DUCKS as AND SCREAMS WOMAN A

face. with his freakish people

fleeing terrifies GREMLIN ALL-VEGETABLE the bar, salad the At

loose .•. them shake to trying

floor, falls to the Gremlins, with body covered BARTENDER, his A

WORKERS ••. CREAM at fleeing

WHIPPED stand shoot streams of yogurt frozen GREMLINS at the

POV: Kate's from carnage the surveys

CAMERA Gremlins, swar•ing the to flee try PEOPLE panicking As lobby, in the MAYHEM scene of building a to find --

•

1989 31, l-!ay - *REVtSED

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

me! Somebody help me! Help pedestrians) (to them! It's FUTTERMAN MR.

what is it? Murray, SHEILA

-- move to too terrified back, as Sheila stands -- back coming

but it keeps him, from away batting it the Gremlin, He flails at

Help! Hey! FUTTERMAN MR,

Murray? What is it, SHEILA

'- ~--.::::, Hey! (C,Q_~~) FUTTERMAN MR.

• ..• ~Yargoyle one there ... that's. That minute. a Wait

~ -- GARGOYLES spooky stone topped with cor~el and the windows the ornate notices CAMERA side ... as '8.vy the on Eva Marie's architecture is Saint True,

the dark ages, out of somethin' like Looks Beautiful? FUTTERMAN MR.

building! a beautiful what -- Murray Oh, SHEILA

cathedral. the of in front sidewalk the CREW repairing CONSTRUCTION

a SPOT In b.g., MARIE, EVA SAINT OF CATHEDRAL handsome old the arrive at for sightseeing, dressed Futterman, Mrs. and Mr.

I 2 1 DAY - CATHEDRAL EXT.2 1 l

TO: CUT

toward the stairwell exit. from offices start beating it PEOPLE

Fire! Fire! 2 WORKER ··?o

120 CONTINUED:

not meant to splice... .was man that thing11 are there ••• being chain of great • part of the all are they .•• again anything ... hurt never will !.•• God to swear I (CONT./ CATHETER DR.

shirt. Billy's grabs He

stuft ... what.,.thinl[a that's back, fought They happened? What CATHETER DR.

What happened? What? BILLY

breakaa:e! The horror! 'l'he horror! The CATHETER DR.

apparently snapped, has mind Catheter's Dr. faster. even

hurrying who la Catheter, Dr. breathlesa the by followed are The animal•

hal]. down the fieeina are who ANIMALS, LAB escaped

c:,f number trip over a almoat Center, Control Syatema the toward burryinl{ and Forster, Bill7 "fire." the fleein,lf are offices PEOPLB from b.a., In

122 CORRIDOR INT,122

CUT TO: •

him. follows Sheila

Come on! tell Billy! have to We FUTTERMAN MR.

going? you where are -- Murray SHEILA

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

good. tor and -- real for Gargoyle a now

i.s that he so 110Iidifies, his perch, the cement regains and as the Gremlin --

-- the cement starts HARDENING

as toward the cathedral, pa'lTl'iuU,. lofting slowly, win.IT& ita nap is it can do much that all so down -c\re1111in tlii weighs but the cement -- another attack braces for Murray cement. ay .with coated whirlpool, thick mixer's cement from the emeriies Gremlin ~~ rushes to Murray's side, the Sheila As

('./. churning CEMENT MIXER -- crew's constr~ion balance, into the off it tumbles,

that so hi111, fro111 away Gremlin etrulftlins to FLING the manages other, and

hold of one claw, then the grab• he _...-..,ri,t wrist and hia -- CUT le face His

claws. el.aehinl( hold of ita get to Grem~trying the with grapples Futterman

•

121 ~

1989 7, July - *REVISED

He is STEVEN SPIELBERG, comes over to the group.

and tucns counter candy nearby been getting popcorn at the haa who MAN A

• Guard! Na\.\onal the Call union\ the Call qu\t\ 1 PROJECTIONIST

tatters. clothes are ln His manager. film, obviously the PROJECTIONIST, staggers up to the A MAN covered with one! !irst than the worse This is I can't believe it! MOTHER

128 OUR THEATER LO&l'.• INT,

seat.

her from her child drairs She GASPS, as the rest of the audience worshipers sun ottscreen the from eyes DAlJGHTER's shields her pre-teen MOTHER A

"SUN readini' CARD TITLE white black and &'rainy a by filled is FRAME The

126 OUR SCREEN126

•

12.:5

shadow making screen, 'tffe Gremlin SILHOUETTES appear on LAUGHTER.

GREMLIN of O,S, t~-AOUND begin to hear we In the stereo surrounds,

124 -~ OUR THEATER INT.124

-Q uselessly in the projector,

spinning were the reel if as ~ND, FLAPPING HEAR a we LIGHT and WHITE with fills FRAME The the others. a•d image of Bill the consuming appears, spot BURN A gate. in the caught FREEZES Then the film projector, the with wron1t something a~ere's JITTER, to starts FRAME -- our

12) TRICK SHOT12)

Dr. Catheter -- understand Billy tries to as But

-- the -- where were down calm and Try BILLY

about? talking hell is he The FORSTER

122 CONTINUED:

1989 7, •· July *REVISED

... building the of out who've come • people reports from conflicting many ••• 1 NEWSPERSON

• CROWD, etc CURIOUS a building, the from barricades, REFUGEES POLICE -- The scene behind the newspeople is chaos Centre Building. Clamp front of the in NEWSPEOPLE three monitors showing PAN watches, As Fred room. TV STATIONS to a deserted several New York of the signals

multiple MONITORS showing Grandpa Fred comes into the control room to find

booth. Clamp Cable Network control new setting: the OUR FILM RESUMES, in a ...and

1)1

CABLE TV CONTROL BOOTH INT.131

It won't happen again. Sorry, folks. (to audience) now. rjght were you, I'd run the rest of the picture I if Well, can stand up to the Hulkster? ters you think the Gre Do myself? there to have I Do booth, proiection i m ns o _ hot popcorn, and • Id sodas, c r,:lli't!I, theate/o,'lfey out to a go When they wovie! fllfsll/ money to good People paid up! listen D Okay, you guys HULK HOGAN

booth. quickly grasping the situation, addresses the Gremlins in the Hogan,

booth in OUR THEATER. toward the projection -- finger upward Spielberg points a join Spielberg. HOGAN, in full wrestling regalia and carrying Raisinets, comes over to HULK

... Hulk (beckons across lobby) myself! one I should have directed this knew I Damn! SPIELBERG

Dwarfs! Si;iven tile l!.!ld White Snow They want to see picture! the They refuse to run the rest of projector! They've taken over the thJng_i;! Those PROJECTIONIST

trouble here? to be the seems What SPIELBERG

•

CONTINUED:128

1989 17, July - *REVISED

(CONTINUED) •

lights ••• no and there's emergency rush, holocaust murder deadline catastrophe screaming a •• Terrific, (mutters) MARLA

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

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

133 OFFICE MARLA'S INT, 133

TO: CUT

* camera! * I master the camera? a K21'.k.

KATSUJI

* Katsuji smiles proudly,

camera? TV a work you Can

* •

some fresh disaster. down the hallc!5om is fleeing group,

from Kate's tour camera-happt:)tourist the .•• where Katsuji,

He runs out into the corridor ••• break,

His it, is this thinking: what he's Fred's face registers

soon as ••• but as coverage, first-hand you bring unable to so we're building at this time, media into the news any permitting police are not unfortunately, -- menu "green of sort some talking about hysterical, who are quite •.• people 3 NEWSPERSON

is confirmed •.• none of this again, -- of animals some sort by reports of an attack but also a fire, •.• stories about • 2 NEWSPERSON

131 CONTINUED, 131

3/15/89 *Revised

•

•

Great. CONT. ) ( MARLA

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

82A. /89 J/15 *Revised

•

.. weapons, some small assault I've got CATHETER DR.

lab ...

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

-- me off it Get FORSTER

KISS. a in for moves and neck,

embraces his up onto Forster's chest, jumps Gremlin The Girl

pounding half-out of her chest. HEART her on Forster, crush

an instant She develops LIPS. red and big with blonde hair GREMLIN, GIRL amorous mutant, a become has and hormone earlier, sex the who drank Gremlin by the waylaid Forster is quickly

equipment. TRASHING lab and on genetic elixirs BINGEING Gremlins,

RIOT of a to find Catheter in, Dr. follow and Forster Billy

•

136 LAB GENETICS INT.136

TO: CUT

V65 Gizmo, on down Lionel bears vicious

a As the tracks, to V{g,~ helples.:; have tied the Gremlins the in engineer's hats, DflNed GizmY.Y Gremlins are torturing hench- bunch of his a and DiskQ111~hawk TRAIN MODEL big a On

* 1J5B STORE TOY INT. 135B

machinery. and clattering

laughter Gremlin NOISE of the we hear STORE, TOY lobby From the

* 135A STORE TOY TO ENTRANCE - LOBBY INT,135A

* 135 OMIT 135

* lJ4 OMIT lfa

TO: CUT

work. back to goes up, hangs She

•

BJ.

CON'rINUED} ( •

on. SOUND the flicks whitenin«, Clamp,

• LOBBY amid the stands Fred Grandpa under it. sian NETWORK" NEWS "CLAMP a with monitor wall a SEES he Clamp stops as • •

few a had we've just under control,

• * everytbina's them tell ... just * CLAMP

* -- phone on the talkina The tycoon is

137 OFFICE CLAMP'S INT.

TO: CUT

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

SMOKE, .• and SPARKS of

shower a in OUT SHORTS then It spins crazily, cyclotron. a to claw alowina He touches his MACHINERY, of scientific table full a GREMLIN wafts himself onto ELECTRIC the Finished with Billy,

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

•

can Mohawk so that away, back to forcing close to Billy, He flies ELECTRICITY. cracklina e, made of seeminaly now -- He is different room. the across , SOC ANOTHER FROM EMERGES

into the electric outlet wiisappeared now the Gremlin but -- • -- Mohawk

to stop moves Billy on it. loao r SP. a VIAL with alass small a body to the hairy spider's fro ■ §s tube A suraical earlier. saw SPIDER that Billy containina the (J!J:LVE-INCH caae the on in zeroina who's MOHAWK, by is~uaht .•. and Billy's attention

4 ~ the floor... stumbling to * him sendina him, and pile onto on the defensive, scientist the! GREMLINS see number of other a Now CRASHING into equipment. * wrecked lab, the throuah TRIPPING ,oes catheter shake it off, * to Trying the teeth. by GREMLIN attached a the cabinet with * out of arm his he takes SCREAMS as , .•. b in Catheter, ... and Dr.

* ... le, on fiercely to his hanaina * now Gremlin the Girl room, of the out backs Forster ... as

by it ... swallowed if as DISAPPEARS into the socket,

Gremlin The touches his claw to it. and SOCKET ELECTRIC an he spots .•. until change seems not to but the reaction, throuah The Gremlin shudders the rat earlier. injected into was VIAL that LIGHTNING-BOLT GREMLIN eat the a SEES ... while Billy

•

84 •

1989 10, May *REVISED

•

•

•

'°0

l.J"\

-- trainini horror-movie shake his to Fred

It's hard for b,i, past in frolickini clothes in kids' GREMLINS GLIMPSE of fast a catches CAMERA Fred speaks, Katsuji's As

? ..• Dracula CLAMP

•.. warp a dimensional .•• or galaxy from another perhaps creatures, stranie by invasion ... this TV) ION FRED GRANDPA •

137 CONTINUED,37 1

84A.

1989 10, May *REVISED

••• bands rubber protractor, a T-square, a from up •

rigged PENDULUM a holds George In his other claw, SHELF. high a from arm one by hangs George him, Above TABLE. paper-cutting a of top to the twine heavy with TIED is Gizmo The defenseless

for the occasion. ROBES Inquisition-style on put and CENSERS who have lit Mohawk, and hands of George torture yet at the

worst his undergoing Gizmo is and the rubber cement, machine the copying with tormented was he where room Xerox same In the

139 ROOM XEROX INT. 139

TO: CUT

folks ••• back, move Let's (to crowd) you there. I bet they miss Yeah? COP

G"Vu been in Beirut •v~e1 ~/l ther~ in Then what's

ofN::::ro;:nyway. are out

people Most of the pal. Forget it, CO)? • -- take the responsibility We'll just let us in there. Look, 2 NEWSPERSON

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

* 138 BUILDING CENTRE CLAMP EXT.138

TO: CUT

Oh, shit. CLAMP

afternoon •.. and tumultuous turbulent a been has what troubled structure throughout this plague they continue to uh, newsy) turns himself -- \catches -- incident blood-chilling spine-tingling, a in ago, moment a just •.. and, TV) !ON FRED GRANDPA

•

1989 31, May - *REVISED

the door. beside

Marge Microwave NEWSPERSON interviewing the nearly hysterical TV a SEE they arrive at the building, FUTTERMANS the breathless As

for the firemen. door path to the a back to clear

CROWD push the COPS FIREMEN connect their hoses to hydrants, As ENGINES have pulled up outside the building. FIRE Two

* 142 BUILDING CENTRE CLAMP EXT.142

V[,TU freedom. making for

O CLAW~ grabbing Mohawk's •~Ag corridot into the runs and --

4 a llf HALLWAY INT.140

-- from the table down Gizmo scrambles feet,•

their to get can Gremlins the Before MOHAWK. ON LANDS and --

-- from his shelf TUMBLES George

so that down hard, PULLS pendulum and GRABS the Gizmo but --

-- Gizmo with the knife blade

hack at and tries to scythe, a George grabs the T-square like

-- then anotherarm one freeing twine, BURSTS the frayed and determination,angry jaw in He sets hishad enough. who's Mogwai one This is over Gizmo's expression.comes CHANGE a --

down

him twine that holds of the topmost fibers the SLICES

Gizmo's fur •.. but as it moves closer ... grazing The blade

on it. logo one with the spider the he stole in the genetics lab, the vial

from he gulps villain swilling whiskey, a Like dilemma. Gizmo's CACKLES at Mohawk below, on the floor back and forth Pacing

time. inch each fraction of an

a the knife blade moves closer to Gizmo's chest, pendulum, swings the George As KNIFE. EX-ACTO gleaming-sharp a ... and

•

86 •

1989 31, May - *REVISED

•

What? FIREMAN

waterr1 No Wait! Hold it! 1, FUTTERMAN MR.

path. firemen's blocks the

* and way to the entrance Futterman pushes his Hr. this, Hearing

and -- laughing,

they were were, thinaa horrible

and the and it exploded. reaction,

... a a, it produces oven, conventional * your should never, it's not like

you which the ovena, the units,

* into cookingware and utensils metal * they put all kinda of and they, * into the kitchen, came things green • * and then these horrible •.• and, * MARGE

beside the door.

Marge Microwave the nearly hysterical interviewing NEWSPERSON TV

a SEE they building, the arrive at FUTTERMANS the breathless As

firemen, path to the door for the a back to clear

CROWD push the COPS FIREMEN connect their hoses to hydrants, As building, the up outside have pulled ENGINES FIRE Two

on, what planet he's know just doesn't

he -- He's alive over furniture. knocking and he's charred, eyebrows his end, on is ha,ir His stumbling. dazed, backward, REELS Forster socket, a the Electric Gremlin disappears into As

Gremlin off. the throws

and finally power, the of grasp in the WRITHES He electricity. by too is covered body Forster's touch, and at its him, jumps at Gremlin the Electric but backward, stumbles Forster

CONTINL'ED:141 •

87,

1989 3, May *REVISED

•

progress. there's me Just tell progress? Any it going out there?how's Bill CLAMP

nervously,

* tycoon pacing the Billy comes into Clamp's office to find

144 OFFICE CLAMP'S INT, 144

•

143 OMIT 14J

CUT TO: 6s

f..iru:., ·-&, was never craz I flj:~elf) · (realizin.( I'm crazy tCJl',e•fJke Don't talk ~JTTERMAN

-- Just little? d~-a you calm don't why look, -- pal sure, Uh, COP

way. Futterman's Mr. cop blocks The

-- Murray SHEILA

it, with to deal how know I there. in me let gotta You (to cop) multipl~. they just 'em, on water get you If gremlins. it's -- in there It's not fire FUTTERMAN MR, •

• 88

1989 8, June - *REVISED

recorded music. of interlude brief a to listen to you invite we waiting, While (V.O,) VOICE RECORDED

while. a for him That should take care of hold. phone system., .on in the He's BILLY

...... now busy circuits are all -- sorry We're up and try again, .. hang please call, a make you want to If (variously/ (V,O.) VOICES RECORDED

SPEAKER, the phone's from issue and bounce around it VOICES RECORDED as in pain, writhing trapped, -- SCREEN video-phone's on the an instant later up shows . . . DISAPPEARS inside ... and

mouthpiece •.. the touches beast glowing

The in the Electric Gremlin's path. up the receiver holds he

the last possible instant, At Gremlin. the Electric and Clamp between steps VIDEO-PHON~d a RECEIVER of the grabs Billy• ,\~ / -~

• CLAMP

him coming straight at the air, through swif.lJ]_y GLIDEGremlin the Electric SEE to Clamp turns X} r ~ out! Watch (CONT.) BILLY

socket behind Clamp •.. wall a from emerges GREMLIN ELECTRIC the speaks, he as But

-- to have We'll Yes sir. BILLY

here? at looking kind of lawsuits we're what idea any have You lives. Real in this building. people There are It's horrible. Bad? CLAMP

sir now, right bad afraid it's pretty I'm BILLY

144 CONTINUED:14 •

•

it? It's beautiful, isn't CLAMP

tear. a away wipes watching, Clamp,

thee ••. God to my Nearer be I dreams my in Yet (V.O.) SINGER

hymn: old an sprightly version of

a SINGER sings POP Tiffany-type a montage continues, the As

enjoyed ••• life. have you hope we important, more but, -- programming have enjoyed our you hope We air. the now leaves Network Clamp Cable the civilization, end of Because of the (V.O.) ANNOUNCER

--~,.J beaches. sunsets, of animals,

shots" "beauty -- MONTAG~~'-1MAGES a with MONITORS fill Sever1;1l

• wall monitors. under~h.is head VCR a into tape the puts He • sign-of~ big The The sign-off. ::::::5 CLAMP <r,'or;::, it? is What BILLY

maybe it will. but -- Bill run, would never thought this I CLAMP

drawer. a from VIDEOCASSETTE a takes and gravely, nods Clamp

York. New at least -- York New for that's it they get out, If the building. leaving from things these stop to have we Clamp, Mister Sure. BILLY

thanks. -- Bill Uh, CLAMP

pain doubled. his fiercely, more WRITHES Gremlin The Electric Head." My on Fallin'

Keep "Raindrops Muzak rendition of cheery a MUSIC begins: The

144 ( 2 ) CONTINUED:

•

entrance, own my got I've -- Yeah CLAMP

out there. get can you building, if From outside the set it up. have to It's just an idea ••• you'll BILLY

move? our u What someone out. when you can really take that's information they don't aot we've They're off balance, I like that. CLAMP

our move. make can we when before they try to leave -- that's

• So around four-twenty -- just

buttons.

few a computer-scheduler~b~ushes pocket a_ outtakes He

the front doors, way out only That's the Right. CLAMP

lobby, They'll all be in the out, go so they can one place, together in get they'll all -- is they think it when or -- sundown when it's But why they're still in here. That's things. kills these Sunlight BILLY

Why? buildina. in this do can't we nothing there's Bill, CLAMP

them? All of hours? ahead three building in theclocks set the you can listen, sir,-- Yes BILLY •

144 J) ( CONTINUED: 144

1989 20, April *REVISED

•

What? MARLA

••. today- live I way and the me, for works office supplies stealin& not -- (V.O,) VOICB MALB

volume, more-than-audible

jacked up to the Systems Control Center, from subliminal tapes the VOICE AMPLIFIED BOOMING a by Marla is startled Suddenly,

-- my in light ne;;;g;; on,.,I Come around here? :a~n• anybody Isn't ,c!: MARLA •

-- indianantly Marla calls out corridor, dim a down Walkin& • 0

44AA '°0 OMIT 144AA

TO: CUT tn Shoot. Good. " City. "Developer Saves Save the city. CLAMP

city. the save could you But if it works -- tricky. to be aoin& It's Yeah, BILLY

yours idea of This CLAMP

and, , . people. Things in here, take care of to have I still thin•s some There's BILLY •

92,

198! 10, May *REVISED

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

CORRIDOR - BUILDING lNT, •

TO: CUT

CONTROL.,. CLIMATE marked bank a insliders few a hits He random,

at them on jamming and work, for buttons that still lookin•

the console, browses Lenny In the wrecked control center,

* 147A

CENTER CONTROL SYSTEMS INT. 147A

TO: CUT

bia. can catch anyone before level

below street and he's Futterman pushes the button, Kr, -- but

Murray! SHEILA

couple of people notice --

A sidewalk elevator, Clam§!" toward way, the other pushes Futterman Mr, the street, ac~s Clamp follows mob media As the

• that ... say I didn't CLAMP

reID Then the monsters are • 0'°2 PERSON NEWS

Absolutely not, Lt'\ CLAMP

City? York New panic to trying you Are monsters, green broadcasting stuff with little in there, costuae Dracula a in guy a got You've Problems? 3 NEWSPBRSON

problems -- some got just We've alarm, a false That's firemen) (signals no -- No, CLAMP

on fire? building the is Sir, Z N"B'WSPERSON

.. * been evacuated? building's * it true the is Clamp, Mister * l NEWSPERSON

CONTINUED: •

93,

1989 10, May *REVISED

•

• •

'°0

150 I.('\ OMIT 150

TO: CUT

to the floor, swoons shadow As Billy's PAN. FRYING

a the head with WHACKS Billy over the Gremlin shadows, Seen in (DAFFY). A GREMLIN OF SHADOW joined by the suddenly where it's -- on the wall SHADOW movina CAMERA follows Billy's cautiously posters. pro-flossina A dentist's reception area, full of cheery

149 OFFICE A DENTIST'S INT.149

investiaate. inside to aoes and nearby office,

a NOISE in a he hears wind, the against struggles and away memos flyina the As Billy bats the corridor. into offices swirl from nearby PAPERS VENTS. comes out of the STORM WIND a ...

? Kate .•. BILLY •

9JA.

1989 lO, May *REVISED

•

• civilization -- have viewers your and you what and wants, everyone what think, I want is, we what Fred, GREMLIN BRAIN

lucid.

sounding The Brain Gremlin answers in his usual cultured tones,

want? you it what is -- have is question people main think the I Brain Gremlin) (to now. us with talk to going and he's talk, to is able who -- FRBD GRANDPA

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

151 (CONTINUOUS) STUDIO TV CABLB INT,151

The Brain Gremlin nods.

ate? "creatures," is that \llde'u• - orea\,Q that one of the \J · bizari~ more .,,in an even ')6 \) T~("\ ( ON FRBD GRANDPA

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

a studio with TV cable a in Grandpa Fred, shows screen TV The

behind the bar. SET TV on the broadcast enjoying the

and number of Gremlins are drinking, a where BAR, the to DOWN PAN CLOCK is also moving ahead three hours. lobby big The

150B LOBBY/BAR INT. 150B

TO: CUT

ahead three hours.

flash numbers Its CLOCK, DESK digital a PAN to works, Gizmo As

he starts to straighten ... which

paper clip, a match ... and wooden rubber band.,,a a few things: a up gathers he before, him we haven't seen in stern determination quiet, a With top drawer. in the open rummaging the desktop, on Gizmo is the building. in somewhere abandoned office, A hastily

150A OFFICE AN INT.150A •

1989 20, April *REVISED

{CONTINUED) •

for? thing this What's CHIEF FIRE

Clamp.

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

careful, careful... ••• A little to the left (supervising) CLAMP

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

'S BUILDING (CONTINUOUS) EXT.

6 1940s. the SQUARE AT NIGHT, in be RED e now iip building has changed: it the SCENE outside the front doors of · Gre':ift~ Unnoticed by the building. to the front doors of the upP,AL.E~ANS Gremlins live it bar As the

be argued that could courz uh, of Well... (ON TV) FRED GRANDPA '

Gremlin. On TV, Fred starts backing nervously away from the armed

•

•• but in no sense civilized, fl!n, not, Clearly No. civilized? that was Now, (ON TV) (CONT,) BRAIN GREMLIN

love it,

The bar Gremlins SHOOTS the dopey Gremlin. GUN, and a with comes back FRAME, The Brain Gremlin reaches out of CAMERA. at Fred's O.S. waving grinning stupidly, FRAME, DOPEY-LOOKING GREMLIN wanders into On TV, a

* ••• look at this fellow here a * take you mean, I We want to be civilized. * to. aspire we what the centuiries -- that's * to accomplish over has worked so hard * Everything your society Susan Sontag, * Chamber music, Convention. Geneva The * yes. civilization, -- but way, the along * may stumble we Oh, reaching toward. * That's what we're manners, tradition. * Standards, Compassion. Diplomacy. * The fine points. The niceties, Fred.

(ON TV) BRAIN GREMLIN

emphasis. The drinking Gremlins nod agreement, pound beer mugs on the bar for •

95,

1989 3l, May - *REVISED

•

Billy! FUTTERMAN MR.

- the drill with in moves in, CLAW a wedges

Daffy Billy flails desperately, but it just leaves his mouth unprotected.

-- EYES

eager 11:oofy, doesn't hide his MASK Daffy's FACE moving in on him. drill and

up the high-speed revvin& in DENTIST'S WHITES, now Daff;r, SEES Billy -- as

- NOISE whining unpleasant, an There's concussion. of the BLUR

the room through seeing to consciousnesa, groggily himself blinkinJr is Billy

152 OFFICE DENTIST'S INT,152

?... you here losing Fred, am I past. turned down in the Convenient credit, even if we've been itroups. Complete bedroom st.ools. Bar Dinettes. Fred. essentials, the want We TV) (ON GREMLIN BRAIN • filibustering.

is crazily watching The bar Gremlins are still

151c LOBBY INT,151c

dance- could guy Boy, that that. saw Oh, I FIRE CHIEF

week. last closed It The one about Stalin. Broadway, backing on was musical l a It's from CLAMP

this thing? find you Where'd backdrop) (indicates CHIEF FIRE

'em, try ..and let the sunlight backdrop, this drop we When they do, ready to come out. getting the lobby, they'll all be in ... outside is it "night" nice

a think it's sunset...and they see what When they three hours, building ahead We've put all the clocks in the dark, it's can only come out when things These• CLAMP

151B CONTINUED, 151B

1989 20, April •~EV[SED

• impatient. Kate shakes her head,

• just business was it but me, with out to dinner go him to asked I Really, happened. Nothing Billy. about -- Look MARLA

your attitude. be good for to seems It you there. could just leave I KATE

God you're here ••. Thank MARLA

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

WEB SPIDER IN MARLA - CORRIDOR INT,153

TO: CUT

corridor65 leads Billy into the He • m~out. Let's Right. MIIYFunJi!AN

find Kate. tr""l'))~. was I ~LY

next? What's down. you let gonna wasn't I kid. knew you'd need help, I FUTTERMAN MR.

here? doing you what are Futterman, Mr. Yeah. BILLY

Billy? You okay, FUTTERMAN MR.

the dentist's office. from and runs drill,

the drops SHRIEKS, who -- Daffy and aims it at LAMP, Castle

on the bright turns overhead, Futterman reaches Mr, but --

for his chest -- aiming the drill, him with on Daffy turns from the doorway. them toward quickly coming Futterman Mr. SEE Billy and Daffy turn to make contact, can Just before the drill •

152 COtlTHIUED,152

1989 17, May *REVISED

•

{CONTINUED)

arrow. an as MATCH

wooden a and band, from the paper clip and rubber made BOW a -- WEAPON homemade a and carries HEADBAND, black a wears He prey.

on the wall between the spider and its a display case falling to

it, from GIZMO drops and VENT in the ceiling clatters open, A

suddenly -- when, -- the kill for

them toward clambers smiling, Mohawk, they writhe desperately, as and, -- them catches The sticky filament WEBS. more with

them is strung the corridor before -- too fast to notice that

they can as fast as

run and Marla Kate quickly closing the distance. nimbleness,

a spider's predatory women with toward the moves Mohawk

BEFORE AS MARLA AND KATE - CORRIDOR INT,155

TO: CUT

::...,-- from.

came in the direction it an6rt1ri. SCREAM O.S., HEAR Kate's They

154 • Mqll,,TTERMAN AND BILLY - CORRIDOR INT.

TO: CUT l'Jt.,

corrido.,,.o high as the

and wide stretching as LEGS, SPIDER ~RY EIGHT now limbs are

he did before -- but his head and torso same the Mohawk has

them. toward coming Mohawk, was once CREATURE that hideous The 153 153A

* something else, SEES Marla down, Marla she starts cutting But as * KNIFE. Army Swiss a out and pulls into her purse, She reaches

It'll do.

Does couldn't get to first base.

I But him. with going something

* to get tried I wasn't business. * It cathartic openness thing. * a be It'll you. honest with * be to going I'm Wait, Okay.

CONT . ) ( MARLA •

153 CONTINUED,153

98,

1989 17, May *REVISED

on here? going is w:.ll the what me somebody tell Could • MARLA

• now am I KATE

God you're okay. Thank BILLY

too far, him they -- pushed guess I BILLY

him? happened to What Gizmo) (indicates -- Billy KATE

* Billy embrace. * as Kate and Stallone-style nod, quick, a Gizmo responds with

* Uh ••• thanks, * (to Gizao) * FUTTERMAN MR.

* the display case. from down hand a Gizmo gives Futteraan Mr,

* V \~ ~\) on our side. He's •

* -) t~rjlhr.~\JFuL Mister Gizao, That's * be:.. (\ BILLY

* What's that? * FUTTERMAN MR.

on the display case. up Gizao, Futterman looks at

Mr. as pocket knife, a with women free Billy rushes to cut the

and DIES,

tumbles over, he writhes, as legs body and to his hairy over his spread FLAMES The Spider-Mohawk in mid-body. which catches --

-- Gizmo loose the arrow

SEE they round the corner, Futterman Mr. Billy and as and, --

FIRE CATCHES and

the wall, SCRATCHES against so that the match the display case, on PIVOTS he him, of bow and arrow in front drawn the Holding

war. become to got you've war, a To survive (V,O.) STALLONE SYLVESTER

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

155 CONTINUED1 155

99,

1989 20, April *REVISED

•

". 0oa6t:>~

(CONTINUED) •

How come? BILLY

happened ••• I'm not scared. now that it But again. happen would I've been scared it Falls, back in Kingston attacked us, guys ever since these -- you something I'll tell Billy. 'em, We'll stop FUTTERMAN MR.

now out of here get things And if these BILLY

Oh.

huh?) (thinks:

have must Gremlins some of the then

and midnight, ate after Mogwais

the then and wet, got Gizmo -- Well BILLY •

155 (2) CONTINUED: 155

99A,

198 20, April *REVISED

• CXlNTINUED)(

• him behind backup horn part SINGING the GREMLINS the with York," New York,

"New SINGING he starts As he nears the doors, Sinatra-style. Frank one shoulder, SPORTSCOAT over a The Brain Gremlin holds

then ••• ~lgbi All (CONT.) GREMLIN BRAIN

from the Gremlins. assent A CHEER of

Is everybody here? GREMLIN BRAIN

addresses his charges. standing nearest the front doors, Hormone Gremlin, The Brain

two. or GUIDEBOOK Fodor a and CAMERAS, Gremlins -- several on SPOT tourist paraphernalia mood is excited, anticipatory. Their of others. host a and '"'''·~ffy, Lenny, lobby -- George, * *

converging in the are GREMLINS QQ>, ..cti predi s · Bi 11 y True to

156 •;~

TO: CUT

Let's go • Kate. we I don't think BILLY

since then ••• ever and year, on Lincoln's birthday one happened Something terrible birthday. sorry, it's -- Lincoln's I'm KATE

wrong? What's FUTTERMAN MR.

Please -- sharply) (suddenly, KATE

up give up ••• Lincoln didn't didn't give Washington Can." "I letters: four is those last 11 American

important part of most -- the Billy know, you But huh? Screwy, • (shrugs) FUTTERMAN MR.

(2) CXlNTINUED:155

3/6/89 - *Revised

•

Don't bother . back.drop: Square

Red to drop the waiting GUYS the at signal a WAVES and sadly, turns Clamp

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

BUILDING EXT,15-:l

TO: CUT rr- THUNDERCLAP, a· of unwelcome SOUND the On

Sunlight? KATE

-- come in, and will eunliitht The there, out drop that cloth to going Clamp's seconds, Mister few In a worry. Don't BILLY

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

••• to the doors goinir Billy, they're • KATE

.. -- aren't bad l[Uys Hey, these

They Futterman arrive on the mezzanine. Billy, Kate, Marla, Gizmo and Mr.

... production number appears to be a what mountinir now these creatures are blood-curdling rampage of destruction. their tollowinl{ it seems incredible, but ... FRED GRANDPA

bunker. a from broadcastin• Murrow R. cover, like Edward from Gremlins the covering They're aims his camera out of the other. Katsuji while one, ot Grandpa Fred peeks cautiously out lids. swinginll'. with TRASH CANS two spots floor lobby on the A.NGLE an SONG, into their swinll'. Gremlins the J>..s

... Dat dat da-da-dat... York New York, New Dat dat da-da-dat,it, ot I want to be a part dat da-da-dat, Dat... today leavinll'. I'm Dat dat da-da-dat,news, the spreading Start GREMLINS GREMLIN BRAIN •

CONTINUED:156

i989 3, May *REVISED

•

... da da dat dat Dat New York ... In old

Dat dat da da dat,start of it new brand a make I'll

dat, da Dat dat da away melting Are dat, da da dat Dat blues These little-town

GREMLINS GREMLIN BRAIN

~ • & doors

toward the moving happy Gremlins keep the lobby, Down in the

him dry •.. Gizmo in it ••• keep and put box, a get Do it fast ••• Kate, do it. Just BILLY

you nuts? Are lobby? Into the FUTTERMAN MR,

lobby. it into the Aim hose. Get that Futterman. Mr, (CONT.)BILLY

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

MON·00065 -- know I BILLY •

somethina. to do aot we've Billy, KATE

the third time, under for aoing town's this -- rain out there in the get guys If those FUTTERMAN MR,

Billy and the others watch.

York," New iri Midnight After

"Dining such as guidebooks through load cameras and flip others while LINE, KICK Rockettes-style a formed have Some Gremlins

da da ... Dat dat da In the city that never sleeps ... da Dat dat da da up wake want to I

GREMLINS GREMLIN BRAIN

assembled Gremlins closer to the doors.

the leads the Brain Gremlin cheerfully as THUNDER echoes o.s.,

159 LOBBY/MEZZANINE INT.159

•

102 •

1989 20, April *REVISED

•

••. Gremlin replication

LIGHT of AND SMOKE rising the with lobby fills the as bubbles, the GREMLINS in CAMERA finds miniature BUBBLE. SKIN starts to Their turn to catch the spray. delighted, .•. and the Gremlins,

its floor •.• windows, its doors, WATER splashes onto the lobby's he can open it, .,.but before

-- New New York, to you, up It's GREMLIN BRAIN

The Brain Gremlin reaches for the door •••

163 ANGLE 163

on the hose .•• Billy runs to turn

162 ANGLE 162

them .•. at get SCULPTURE to modernistic a CLIMBING and start

on the mezzanine, SPOT our group lobby in the A knot of Gremlins

..J ANGLE •

* TWITTE~Q~fully. Gizmo box, From the

* b~•a Does it

* wet. get him let --~n't Here * KATE

<· Gizmo. box containing Marla the Kate hurriedly hands

Hurry. BILLY

-- so think I -- God Oh

* KATE

there? up going down here without transfer it you Can Mister Clamp's office.

* on hold in a call there's Kate,

BILLY

* Kate .•.

mezzanine office and brings it to a video-phone extension out of

a Billy drags hose. Futterman hauls out the Mr. and store,• nearby a from box a grabs Kate on the mezzanine, .. while, .

160 CONTINUED,160

lOJ,

1989 16, May *REVISED

•

-- lobby into the down swooping •

RECEIVER, THE OF OUT SHOOT Gremlin sees the Electric and

down0$ PUSHES the blinking button

··VQ -- showering Gremlins down at the happily looks He railief/l out over the mezzanine

* and holds it lifts the receiver fr'4'Ka;.,e.~ phone Billy grabs the

llf'O beneath the screen.

BLINKS the plastic button as Hold, of.f ge;A to trying agony, in

GREMLIN writhes ELECTRIC the screen of the video-phone, On the

it! That's BILLY

-- code Ethernet ..• five-digit switchboard ... into the module ... main mail voice the through PBX ..• back ..• tap into the

* KATE

-- keypad phone's

* punches at the video- who furiously Billy stands beside Kate, again. lobby floor on the then turns it off the sculpture, Gremlins climbing the knock to hose gushing the uses Futterman * Mr, box as Gizmo shielded in the Marla keeps mezzanine, On the

•

164 ANGLE 164

• lOJA

1989 16, May *REVISED

? -- me making You're FRED GRANDPA •

Six o'clock weeknights. anchor . an you making I'm Right. CLAMP

1 ••. and news, seemed like It just nobody, sir. -- Um FRED GRANDPA

today? coverage network with all that my on go to you Who told pal. me there, Excuse CLAMP

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

-- We're here exclusively with mike) (into FRED GRANDPA

* Clamp. over to rush Grandpa Fred and Katsuji

fill. •. land use this stuff as can we Maybe

* goo) the (surveys * guys. okay, It's • * s CLAMP

tVl,s;,SlP· team SWAT the waves He floor.

lobby on the goo sO~i")green a nothing but and finding --

,,. ditch charge --

a last- be he expects to in what fj~ comba team in full SWAT a leading comes in, Clamp and open,..b lobby doors the ... as

untensing ... their bodies relief, with sigh ... and our heroes

lobby ...

the swamps churning protoplasm that puddle of green, viscous sodden, a becomes York New invasion of all the threatened ••. as

SCREAMS •••

DEATH Gremlins' the from and their ears SHOW, LIGHT glaring the from company shield their eyes Billy and mezzanine, the On

them ..•

FRYING they stand ... and where Gremlins the nailing LOBBY, THE ACROSS SPREADS ELECTRICITY SEARING OF WATTS A JILLION and --

-- floor •

the on rising that's WATER the to wing touching his crackling --

1989 11, clay *REVISED

• happened? what -- Murray SHEILA

• side Murray's to goo the through Sheila sloshes hurriedly REPORTERS. crowd of small a and admitting Sheila Futterman open, ••. as the doors to the building

them •.. between promising passes

Something time. first the as if for -- looks at her Clamp nods,

very hard. Very, Yes, sir. MARLA

you? don't me, work for You Marla. CLAMP

Marla. Clamp looks at

* and Marla here, helped.

Everybody me, sir. It wasn't just BILLY

out here ••. us yo\J~iled looks like Bi 11, it c- A 0 · CLAMP • <7a Clsmp!Y- to join over go

and from the mezzanine, off the stairs otht'/OcAin~ Billy and the

..• in;,;stigate we as Join us, cost in Manhattan today? makeover men's wear a What does FRED GRANDPA

building.

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

Congrats! KATSUJl

right. -- Uh FRED GRANDPA

avuncular. Think about sweaters. Think ''Old World." me, says to This costume) (indicates Dracula -- This though, clothes, some different and see about to Barney's down go you to want I CLAMP •

1989 16, May *REVISED

this? what's -- minute a Wait CLAMP •

-- Clamp unfolds the paper as But Clamp. them to and hands

from his pockets paper and pencil with up comes -- rummages He

BILLY

paper? any You have notes. taking should be I book, my next in could be good this know, The sacrifice ••. you point. good a That's right. That's CLAMP

safe, city you kept the Well, BILLY

come, things ... (shrugs) ... things for place a make You things, place for a was It anyway. wasn't for people it another,,,maybe For damage, the we're insured for thing, For one CLAMP

You're not? • MON·0006S KATE

not. I'm CLAMP

sir. I'm sorry about the building, BILLY

Clamp. .. . as Billy and Kate commisserate with

... completely had to stop work We disaster. nightmare complete a was Oh, it MARLA

happened here? What REPORTER

.. The reporters latch onto Marla, leave.

and Kate, and Billy with WAVES goodbye exchange Futtermans The

... you See guys. home, going We're (to Billy and Kate) 'em. ready for were we But Sheila. aiain, They tried it FUTTERMAN MR. •

• 164A (2) CONTINUED:164A

1989 20, April *REVISED

•

Peltzer? Mrs. you Are me, Believe a deal. come to can We CLAMP

" 0 .. .t..Q.Hn whole a do for Billy to Of course, KATE

ever~. you've town sensational quiet little most biggest, and we'll build the me this design, you sell Bill, -- just Not talking elevators, need. is the kind of thing people Ilu.a CLAMP

It's terrific, KATE

-- that's Uh, BILLY

think? you What do crawl." a to down slows "Where life Corners! Clamp -- wait -- It's • better! even That's CLAMP

town • home It's our KATE

concept? your this Is drawing) (indicates -- the earth to Back towns! Quiet little thing. community the traditional -- now people want what is This terrific! this is over in Jersey -- project, new My it. builg to want I CLAMP

move there? to want You BILLY

I'm looking for. what This is CLAMP

Falls. Kingston That's RAND

main street of Kingston Falls, of the drawing It's Billy's •

164A 3) ( CONTINUED,164A

107 •

1989 20, April *REVISED

over his body. SPRAYS the chemical Rand and up, him holds

Billy Stallone-style, somberly, and nods Rand, looks at Gizmo

• I demonstrate? ~ay Gizmo) (to wetness, can not afford who those for Personal waterproofing, Can. a in Peltzer Overcoat The up can) (holds RAND

Billy, by held being who's Gizmo, indicates Rand

it'? is 'What CLAMP

little sooner. a I'd finished this stuff Wish (CONT. ) RAND

CAN, AEROSOL He takes out an

out. guys you I'd come help thou&ht · happening •.• was TV what on saw I RAND

pleasure. A CLAMP • card. my Here's techn~y. tomorrow's with problems t~•s Solvin& Inventor, me, sir. Rand Peltzer's the· and) Clamp (shakes Q~ RAND

my is this Cl~ MiaterUh, BIL?'.:) ,,~ and Clamp, Kate, to Billy,over slogs lie

Billy, .. Kate. RAND

Dad! BILLY

comes in. PELTZER, RAND inventor

the and Billy's father, again opens to the building door The them. Gizmo cuddled between with Kate tighter, squeezes Billy

Yeah, be, to going f'm (smiling} KATE •

164A {4)

1989 ), July - •REVISED

right'.' Is that • RAND

on spending was I what knew you If (CONT. l CLAMP

business .•. talking away, Rand leads Clamp

-- guys you I'll call (to Billy and Kate) RAND

minute. a us Bxouse {to Billy and Kate) CLAMP

not. why reason No

..

anythin&, about on just work~k Sir, this'll Q, RAND • construction~terials? on work that stuff d@ -- me Excuse spray-ci!n) indicating Rand.♦ (to ~p

relaxes. -- Mogwai stolid includ~the -- everyone

and no effect, Gizmo with hits o~ater but the splash --

-- Dad BILLY

Gizmo -- aims the squirtgun at Rand tenses as Everyone

Observe, ( CONT , ) RAND

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

" happens ...

when that you Kills trouble. lot of a saved everyone have we could few days sooner, a stuff if I'd have finished this Boy, } (CONT, RAND •

164A (5)

1989 7, *REVISED- July

• -- here guantitY We're talking about CLAMP

conference -- in Rand are and C1aJDp .. and •·

•. happens whenever~ and midniaht, apparently ate after Mogwais of the some ... and then, MARLA

-- to the reporters talkina still is Marla

166A

LOBBY - CENTRE CLAMP INT;, 166A

v' outside ••. go tDAi Gizmo, carrying and, him,

to Billy pulls her close it;.,_smiles. sound of the liking Kate,

O Our place, • BILL~

• aaain, twitters zmo Gi ~ . . 't::' home Where's K4_

home. go wants to he He said ·BILLY

he say? what did Well, KATE

now. do, I guess Yeah,.,I BILLY

he does. realizes that surprised, Billy,

him? You understand KATE

Okay. BILLY

syllables at Billy. Mogwai

indecipherable of string a TWITTERS box, from his Gizmo, doors.

•

the by themselves near standing Gizmo and Kate Billy, leavina . ..

164A

6) ( CONTINUED,164A

:J, 11

1989 7, July - •REVISED

•

END CREDITS. discreetly BLACK OUT, under we ...and

... Forster tries to melt into the wall, .•

..... two or

button a undoes Gremlin saucily The Girl great seductiveness. imagines is she with what him, toward the floor slowly across moves OUTFIT, BRIDAL a in dressed GREMLIN, GIRL the ... and

a wall,., toward backs fearfully •

Forster up in the building, high room dimmed conference a In

166B ROOM CONFERENCE INT.166B

TO: CUT

on, ;;§ts you Keep Forster. can, w~e do long .• ,we'll too ,t6l know, I don't -- lobby is nd the ou elevators are the while, a ake there ... No, it' up way Wow, ... f~? Which there. you out of get w okay, okay, -- you What are ! Hello? .. , For ) p" ( into build1•·•? In the CLAMP

the building. in From here you, sir, for It's ASSISTANT

phone.

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

-- problem no Uh, sir, that's • RAND

166A CONT:NUED, l 11 1989 i, *REVISED-July