GREMLINS 2


                                  Written by

                                 Charlie Haas          

          

          

          
           Revised - 3/6/89

          1 EXT. CHINATOWN STREET - MORNING 1

          The same crowded Chinatown street where Rand Peltzer first
          found Gizmo the Mogwai. As LOCALS bustle past, ANGLE FAVORS
          the stairs to the basement curiosity shop.

          2 INT. MR. WING'S STORE

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

          3 EXT. STREET 3

           PEDESTRIANS dodge a long black LIMOUSINE as it pulls up short.
           ANGLE reveals that most of the stores on the block have closed
           -- GOING OUT OF BUSINESS signs and boarded-up windows.
           FORSTER, a sour-faced man in a business suit, gets out of the 
           limo, followed by three beefy MEN, also in suits. The three
           big men take a big-screen TV VT and a VCR out of the car.
           INT. MR. WING'S STORE tj.
           Mr. Wing looks up from ' hers game as the four men sweep
           into the store.

           Mister Wi Daniel Clamp would
           like to see you.

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

          CLAMP (ON TV)
          Good morning, Mister Wing. Let's
          out through to key issues, okay?
          I'm prepared to increase my offer
          substantially.

          (BEAT)
          Now, Mister Wing, you're attached
          to your business. I appreciate
          that. I'm attached to my own
          business. I develop the biggest
          buildings in New York, and you
          sell, ah, little things. Fine.
          But I'm not just talking about
          money here.
          On the big-screen TV, the IMAGE widens to incim a an easel
          beside Clam , holding an architect's RENDER that shows the
          grandiose of a huge office building,..

     
          4 CONTINUED: 4

           CLAMP (ON TV) (CONT.)
           Take a look, Mister Wing --

          (READS)
          "The Clamp Chinatown Center --
          Where Business Gets Oriented."
          When I put up a building, it's the
          biggest -- it's the newest -- it's
          the best. People are going to be
          killing each other to get into
          this building --
          The soft O.S. TWITTERING of Gizmo is heard from the rear alcove
          of the store.

           GIZMO (O.S.)
           Tee vee!

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

           Mr. Wing regards the video image impassively. 


           CLAMP (ON TV) (CONT.)
           Please IF us know when you've 
          made a decision, Mister Wing. You
          know, I believe that there's
          always an area of agreement that
          two people can reach.
           The Clamp Corporation's LOGO a stylized "C" -- fills the 
          wereen, replacing Clamp's image.

          MR. WING
          Yes -- a man can always agree with
          others. It is more difficult to
          agree with oneself.

          FORSTER
           Does that mean you -- 
          He's interrupted as Mr. Wing COUGHS -- a rattling spasm that
          sounds deeply unhealthy. When the coughing subsides, he
          answers Forster.

      

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

          FORSTER
          Keep the TV.
          As Mr. Wing walks Clamp's men to the door in b.g., HOLD on the
          TV set -- and a small, furry PAW that reaches into FRAME to
          change the TV CHANNEL.
          With the change of stations, the TV screen fills with a SCENE
          from a Rambo picture. SYLVESTER STALLONE addresses the movie

          CAMERA:

          STALLONE
          To survive a war... you've got to
          become war.
          Then he screws an explosive-filled metal ARROWHEAD onto an
          arrow, and SHOOTS the arrow from a bow. The arrow hits a
          HELICOPTER, which bursts into FLAMES.

          GIZMO (0.3.)
          Neat!

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

          MR. WING
          Television again! Ai-vuh !. An -
           invention for fools.

           CD
           As he starts COUGHING again,

    

          5A INT. LIMO/EXT. CHINATOWN STREET (MOING) - DAY 5A

           Forster and the bodyguards are dri away from Mr. Wing's
          store.

          BODYGUARD
          I'm sorry that didn't work out,
          sir. I thought he'd like the TV.

          FORSTER
          You hear that cough? The guy must
          be eighty -- maybe ninety. We can
          wait.

          A STING of solemn CHINESE MUSIC covers the
          DISSOLVE TOt

          

          6 EXT. CEMETERY - MORNING 6

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

          7 EXT. CLAMP CENTRE - DAY 7

          A huge office tower whose sign reads CLAMP PREMIERE REGENCY

          OFFICE CENTRE.

          8 INT. CLAMP CENTRE - CABLE TV EDITING ROOM 8

          Near a SIGN reading CLAMP CABLE NETWORK, a NEWS PRODUCER and
          REPORTER are editing videotape that we see on MONITORS. The
          tape is of the reporter doing his standup in Chinatown, on Mr.
          Wing's boarded-up block.

          REPORTER (ON TV)
          Mister Wing' ath removes the
          last obstacl eveloper Daniel
          Clamp's long- ehinatown
          project...

          PRODUCER
          "is Then we go to the boss --
          The video IMAGE SWITCHES to Clamp being interviewed behind his
          spotless, high-tech desk.

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

          REPORTER
          That old guy had some neat stuff in his
          store. You think they'll auction it off,
          or...?

          PRODUCER
          Nash...I hear they're just gonna tear it
          down.

          CUT TO:

          9 OMIT 9

          10 INT. MR. WING'S STORE 10


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

          LN

          CUT TO:

          10A THE ARM OF A CONSTRUCTION CRA ") I OA
           moving toward us, fast. C)

          10B INT. STORE

          CLOSE on Gizmo, reacting in fear Cthe crane arm advances toward him. A
          WIDER ANGLE shows the crane C iING into the store.
          Gizmo leaps down from the cage, and narrowly escapes, with the crane arm
          right behind him. As a rain of wood and planter DEBRIS falls around him, he
          runs away...

          10C EXT. ALLEY BEHIND STORE 10C

          ...into the alley behind the store, and scampers to safety behind an ASHCAN,
          his chest heaving. But now he looks up, startled and scared
          ;a pair of human HANDS reach down Into FRAME and capture him...and

          SMASH CUT TO:

          11 A BILLBOARD 11
          showing the ostentatious structure Daniel Clamp is building on the grave of
          Mr. Wing's stare. The copy reads "COMING SOON -CLAMP CHINATOWN CENTER
          - Where Business Gets Oriented." On the cut, there is MUSIC -- a rap song
          such as Grandmaster Flash's "The Message."

          GRANDMASTER FLASH (V.0.)
          It's like a jungle sometimes,
          It makes me wonder
          How I keep from going under...

          (CONTINUED)

          

          

          

          

           REVISED - MAY 3, 1989

          6.

          0 11 CONTINUEDS 11
          As MAIN TITLES begin, PAN DOWN to

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

          The outright madness of New York at rush hour. Herds of WORKERS
          push past VENDORS, HOOKERS, 3-CARD MONTE ARTISTS, etc.
          CAMERA settles on BILLY PELTZER and his girlfriend KATE, heroes
          of the Gremlin siege of Kingston Falls. Though they're a few
          years older now, Billy and Kate are still small-town types, who
          keep getting elbowed aside by the sidewalk crowd. Billy wears
          business clothes, and Kate is in a uniform-type skirt and
          blazer. SPOT Universal Price Code-type BAR CODES on the chest
          of Billy's sportscoat and Kate's blazer.

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

          BILLY
           It's going to be close. Maybe we
           could do it tomorrow -- no,
           tomorrow's when the Futtermans are

          S
          coming to town.

          KATE
          Mister Futterman must be getting
          better, if he can travel.

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

          KATE
          I guess having a bunch of monsters
          drive a snow plow through jour
          living room could kind of that
          to you. He almost got kied.

          BILLY
          Right.
          (checks his watc4LI
          We're gonna be late,

          12 EXT. 45TH STREET 12

          He steps to the corner snails a TAXI.

          TAXI DRIVER
          You goin' a' the airport?

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          7.

          12 CONTINUEDE 12

          

          BILLY
          No, the --
          The taxi ROARS away -- Billy lets go of the door handle just in
          time.

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

          13 OMIT

          13

          13A EXT. STREET NEAR CLAMP CENTRE - MORNING


          13A
          FOLLOW Billy and Kate as they approach the Clamp office
          building, where we saw guys editing videotape earlier.

          BILLY
          I'll try and get out early tonight.
          I have to finish that drawing of
          the Chinatown building...
          (shakes his head)
          You know, I -had the whole thing
          just right they're making we
          take twent p ies off the World
           Trade Center ofjbVilding looks
          bigger. Z? F

          KATE
          A lot of people aren't as thered
          by that kind of thing as you are,
          Billy.

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

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

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

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

          


          14 EXT. CLAMP CENTRE 14 

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

          BILLY
          Want to try the revolving doors
          today?
          Before Kate can answer, a WORKER enters one of the revolving
          doors. The power-assisted door, going too fast, WHOOSHES him
          inside, and we HEAR --

           WORKER (O.S.)
          Aagghhh!

          KATE
          Uh-uh.
          They use a regular door instead.

          15 INT. CLAMP CENTRE LOBBY 15 

           The ultra-modern, m j ï¿½tal-style lobby includes several retail
          BUSINESSES, includingï¿½'1"ï¿½sS, ESTAURANTS, a FROZEN YOGURT STAND,
          a BEAUTY PARLOR, and CLOTH RES.
          As Billy and Kate enter, they av i6l$ thread their way through
          several WORKERS sprawled in front othe revolving doors. The
          workers are getting dizzily to their feet, gathering their
          spilled briefcases, etc. SPOT bar-codes, like Billy's and
          Kate's, on the chests of several of the workers.
          Kate waves hello to a thirtyish WOMAN (DOREEN) who's guiding a
          TOUR GROUP through the lobby. Doreen wears a uniform like
          Kate's, plus a matching HAT in the shape of the building.

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

          KATE
          Don't let things get to you.

          (CONTINUED)

          They kiss.

          BILLY
          I Won't.

    
          9.

          15 CONTINUED: 15
          FOLLOW Billy to a bank of elevators. He pushes a button, and a
          "soothing" electronic VOICE speaks.

          VOICE (V.O.)
          Thank you for pushing the button.
          The elevator will be here soon.
          Nearby, CAMERA picks up Daniel Clamp's lieutenant Forster. As
          Forster walks hurriedly through the lobby, his belt pager

          BEEPS.
          At the sound, Forster changes course, heading for an ALCOVE offer
          the lobby, where he unlks_ a cabinet and opens it ' -ï¿½"eveal it
          big TV SCREEN with Clamp's impatient face on it, and a i&e _
          CAMERA on top.

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

           FOR
           Yes sir.

           J (ON TV)
           So I wan A is place running like
          a clock the systems, the
          people, verything.

          FORSTER
          Yes sir. I'm doing a decor
          compliance check this morning.
          Tonight I'm doing a random drug
          search, and --
          He's interrupted as an aging MAN IN A DRACULA COSTUME (GRANDPA
          FRED) comes over to the cabinet and tries to address Clamp over
          the TV hookup.

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

           FORSTER
           We're busy.

           GRANDPA FRED
           I just need a --
          Forster snaps the cabinet shut.

     
           FORSTER
           I said -- we're busy.

           16 ANGLE - BILLY AT ELEVATORS 16
          As the elevator doors open, Billy is joined by MARLA, the
          chain-smoking, New Yorked-out head of his department.

      
          MARLA
          Billy --

          BILLY
          Hi, Marla, how --

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

          BILLY
          Yeah, I just have to --
          They get on the elevator, with other WORKERS. The doors close.

          17 INT. ELEVATOR (C) 17


           ELEVATOR VOO(V.O.)
           Please state your desired floor
          number.

           CIN

          MARLA WORKER
          I've got thirty- (to
          two people ' elevator)
          screaming at me for -- Sixt--

           ELEVATOR VOICE (V.0.)
          Your request is floor thirty-two.
          Digital NUMBERS flash past on the elevator's display.

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

          BILLY
          (to worker)
          Don't --
          But it's too late.

           ELEVATOR VOICE (V.0.)
           You have cancelled floor
           thirty-two.
          The elevator violently STOPS SHORT, tossing everybody around.

          ELEVATOR VOICE (V.0.) (CONT.)
          Please state your new desired
          floor number.

          (CONTINUED)

          

          

          

          
           Revised - 3/6/89

          11.

          17 ALLRINUM:

          MARLA
          0 (to elevator)
          Sixteen.
          (to BiIIy)
          I hate this thing.
          The elevator stops at their floor, and the doors open. Billy
          follows Marla out into
          18 INT. OFFICE AREA.----''s 18
          The advertising department of Daniel Clamp's empire occupies
          modern, "open-plan" offices -- endless beige partitions form
          tiny CUBICLES full of "ergonomic" furniture. Unseen speakers
          pipe in "WHITE NOISE" -- low-volume static to insulate
          conversations.

          MARLA
          Listen, this deadline. Its not
          my fault. They're making me
          miserable so I have to make you
          miserable. It's a complete heart
          attack disaster horgor story.
           As Billy and Marla walk, t ass a WORKER who's -t4ing to get
           a drink from the d ar ygr WATER_ When he
           pushes the button, the f ain'ss ,got' VERSHOOTS by several
           inches, SPLASHING onto The worker contorts himself
           to get, a drink,,b is face SPLASHED when the fountain
           surges.
           Billy and Marla a4lie at Billy's cubicle, whose "work station" 
           consists of a dra g board and several drawers. The PHONE is
          equipped with a VIDEO SCREEN. SPOT a small, struggling POTTED
          PLANT, and, pinned to the cubicle wall, Billy's DRAWING of the
          main street of Kingston Falls.
          On Billy's drawing board is an illustration of Clamp's
          projected Chinatown building -- _a l s monstrosity with insane
          pagoda touches. But Billy has tried to breathe some' 3 e into
          it, wit r T the street, kids flying dragon kites, etc.
          Marla looks over Billy's shoulder at the drawing.

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

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

          BILLY
          Are they going to plant trees
          40 there?

          (COMINUED)

          

          

          

          
           Revised - 3/6/89

           I1A.
           18 CX INu : 18

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

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          12.

          18 CONTINUED: 18

          BILLY
          But, Maria ----

          MARLA
          Elms.

          BILLY
          Right.
          He's about to sit down to work, when Daniel Clamp's lieutenant Forster and
          his clipboard-carrying ASSISTANT come down the row of cubicles, looking
          around.

          MARLA
          Hi, Mister Forster.
          Forster nods at Marla, runs an eye over Billy's cubicle.

          FORSTER
           It looks like somebody hasn't( i
           employee manual...d ' 1 it, r
           As he speaks, Forster opens a ï¿½therette folder and takes out a bar-code
           reading WAND attached to the folder by curly cable. He runs the wand
           over the bar-code on Billy's chest, and reads from an LCD display in the
          0 folder.

           FORSTER (CONT.)
          -- Peltzer.

          BILLY
          Uh, what's --

          FORSTER
          Unauthorized potted plant -- possible
          aphid infestation.
          As Forster's assistant jots on his clipboard, Billy puts the plant in a desk
          drawer, and Forster spots Billy's drawing on his partition.

          FORSTER
          What ig this?

          BILLY
          My home town.

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

          0
          He points to a piece of anonymous "bank art" on a nearby wall.

          (CONTINUED)

          

          

          

          

          'REVISED 3/15/89

           13.

          0 8 CONTINUED: (2) 18

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

          BILLY
          Yes air. It was just a --

          FORSTER
          A little touch, yes. Maybe
          eyerybods here would like to do
          some little touches. Coffee mugs
          that say "World's Greatest Lover."
          The cute little hula doll they
          bought in Hawaii. The "Snoopy"
          comic that just says it JJ1.
          You'd like that, wouldn't qu,
          Mister Peltzer? d 1

          BILLY

          Q)
          i don t see any --

          Q>

          FORSTER
          Coming to work every day in a Jy_Q
          hundred million dollar flea
          marks XZZ
          He turns to move on. 0

          ASSISTANT
          With a "z," right?
          As the assistant follows Forster away, Billy puts his drawing
          of Kingston Falls in a pocket. Marla stews.

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

          BILLY
           Sorry, Marla.

           CUT TO:

          19 INT. LOBBY 19

          Kate leads a group of TOURISTS through the lobby.

          (CONTINUED)

          I

          

          

          

          
           REVISED - May 31, 1989

          14.

          0

          19 CONTINUED: 19

          KATE
          The Clamp Centre is the most
          advanced "smart building" in
          America, with the latest, in
          security, communications, and
          climate control. If you'll follow
          me over here...
          Still talking, she takes them toward a STAIRCASE.

          KATE (CONT.)
          The Clamp Centre is just one part
          of Mister Clamp's round-the-world
          business network, which includes
          construction, sports, finance, and
          a popular line of jams and
          jellies...and, of course, as those
          of you who have cable TV at home
          know, the Clamp Cable Network.
          20 INT. CABLE STUDIOS 4,t1iOL ROOM 20
           CLOSE on a VIDEO IMAGE oft v With Marge show. MARGE
          0 takes a dish from one of many ' r ovens on her set.

          MARGE
          .some people have written in to
          say that, if they're serving these
          dishes in a dark room, maybe for
          those romantic occasions, they
          notice a glow coming from some of
          the meat courses. Now, that's
          perfectly normal...
          REVEAL that this image is on a control-room monitor at the Clamp
          Cable studios. Billy, carrying a shopping bag, passes the
          control roomand turns down a narrow hallway.

          21 INT. GRANDPA FRED'S STUDIO 21

          The run-down set of grandpa Fred's House of Horrors, a hosted-
          horror-movie show. Billy comes in and stands behind the
          CAMERAMAN. GRANDPA FRED, the guy who tried to talk to Daniel
          Clamp on the lobby TV hookup earlier, is an old trouper in a
          moth-eaten Dracula outfit. He's giving the show his demoralized
          best shot.

          (CONTINUED)

          

          

          

          

          15.

          0 21 CONTINUED: 21

          GRANDPA FRED
          .tonight's movie is so scary
          -- the people who saw it when it
          came out in the theaters twelve
          years ago are just learning how
          to speak simple phrases and eat
          solid food again! That's right'.
          Talk about scary' It's a good
          thing your Grandpa Fred is here
          with you --
          He waits for something he expected to hear, but it doesn't
          happen. He breaks character.

           GRANDPA FRED (C0 )
           Where's the moan?

           DIRECTOR (0.
           (on P.A. from boo
          The what?

           GRANDPA FA
           The moan. There's posed to
           be a moan, from t ck, and I
           say, "Oh, Renfield, y a o u want some
           more flies, don't you," and I go
           back there and open the door --

           DIRECTOR (O.S.)
          Oh. Sorry, Fred. Can somebody
          find the tape with the moan?
          Grandpa Fred sits down, disgusted. Billy goes over to him.

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

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

          BILLY
          Yeah. I brought you something.

          (CONTINUED)

          

          

          

          

           REVISED 3/31/89

           16.

          21 CONTINUED: (2) 21
           Billy reaches into his shopping bag, and pulls out a mechanized
          BAT that flaps its wings as Billy pulls the trigger. Grandpa
          Fred recoils.

          GRANDPA FRED
          Watch it with that thing.
          Billy puts the bat on top of a cobwebbed TV SET that's part of
          Grandpa Fred's set.

          BILLY
          I thought it would look good over
          here.

          GRANDPA FRED
          Frankly, kid, this was not what I
          had in mind. I went Into
          broadcasting, I wanted to do news.
          Public affairs. Something
          meaningful.

          BILLY
          Horror movies can be meaningful,
          Fred. You should run some of the
          classics -- Frankenstein,
          m a cula...

          S

          GRANDPA FRED
          All the great horror movies are in
          black and white. Mister Clamp
          only likes color. I donky ven
          have a gimmick. No species
          effects. A puppet that c s out
          of a box -- whoopee.

          DIRECTOR (O.S.) O
          We've got the moan, Fred.
          A listless, anemic MOAN is heard through the P.A.

          GRANDPA FRED
          That's the moan?

          DIRECTOR (O.S.)
          That's what we've got, Fred.
          And... rolling...
          Grandpa Fred gamely goes back into character.

          GRANDPA FRED
           Oh, Renfield, you want some --

           DIRECTOR (0.$.)

          E
           Lunch, everybody. Sorry, Fred.
           We'll pick it up right there.

           (CONTINUED)

          

          

          

          
           REVISED - July 7, 1989

          17.

          0

          22 INT. LOBBY - BILLY AND GRANDPA FRED


          22
          FOLLOW Billy and Fred as they walk through the lobby.

          BILLY
          You should run some of the
          classics, Fred -- FFAnkenstein,
          Dracula ...

          GRANDPA FRED
          All the great horror movies are in
          black and white. Mister Clamp only
          likes color. That guy is
          str___._. ange.

          BILLY
          You've seen him?

          GRANDPA FRED
          Well, of in person, but --
          just to this building. You
          know wha V t nd f tenants they have
           here? There' esearch
           laboratory upat t2 -- tenet,] c
           research. Foolin d with
           animals, cutting thl .last

          3 F
          week, they took out a patent on a
          new kind of gerbil. People think
          Ia creepy.

          BILLY
          Well -- I wanted to get away from
          Kingston Falls. I guess I did.

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

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

          GRANDPA FRED
          Sure. But if you listen to it --
          there are little voices in there.

          0
          You can almost hear what they're
          saying, but not really. That's a
          horror movie -- The Building That
          Wuldn't Shut tln.

          (CONTINUED )

          

          

          

          
           REVISED - July 7, 1989

          17A.

          22 CONTINUED: 22

          0
           What would do that for?

           GRAND FRED
           That's what th Id's coming to,
           kid. You can't talk to
           yourself without ebody
           interrupting.

           CUT TO:

          0

          0

          

          

          

          
           REVISED - May 31, 1989

          18.

          Z3 INT. SYSTEMS CONTROL CENTER 23

          The Clamp Centre's "nerve center" looks like an air traffic
          control tower: TECHNICIANS hunch over meters, monitors, and
          switches, tracking the building's systems.
          Forster comes in and walks past several technicians, looking
          over their shoulders. One computer monitor tracks the
          elevators' movements, while others give spy-camera views of
          EMPLOYEES in corridors, bathrooms, etc.
          Forster talks to a TECHNICIAN who mans controls labelled "WHITE
          NOISE" and "VOICE."

          FORSTER
          Let me hear the voices.
          The technician brings up VOICES on a speaker. They sound like
          voice-overs on slick TV commercials.

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

          0 (SEXY 4
           When I save m ' the Clamp
           organization, I fe go4 about
          myself all over...
          (brainy man)
          You know, I've been thinkin
          Mister Clamp would make a great
          president...

          FORSTER
          That's fine --

          A TECHNICIAN
          to Forster)
          It's for you, sir.
          Forster turns to see a technician pointing at a MONITOR showing
          CLAMP'S FACE. Forster greets the screen.

          FORSTER
          Yes, Mister Clamp.

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

          FORSTER
          That's terrific, sir.

          (CONTINUED)

          

          

          

          
           Revised - 3/6/89

          19.

          23 O C NTINUED

          23

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

          FORSTER
          Yes sir. Tall!

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

          FORSTER
          I'll --
          But a Camp LOGO ;ills the monitor screen, and Clamp's face
          disappe rs behipo- it.
          Forster turns and looks over a technician's shoulder at a
          MONITOR. A spy CAMERA shows a stressed-out EMPLOYEE lighting a
          cigarette in a STOREROOM.

          TV)
          0 Forster punches button on the cinsole, picks up a microphone
           and talks into it:

           FORSTER. 5NT.)
           That's an unaut iz,pd break
           period, pal. a don't work here
          anymore.
          On the monitor, the startled employee looks around for the
          source of the voice.

          FORSTER (CONT.)
          We have a problem communicating
          here? You're gone. Clean out the
          desk. One hour. Thanks so much.
          He puts down the mike, and moves on to lczgï¿½..ï¿½aatierÂ°`t4`S'"sioul"d?r
          p switch marked OXYGEN. '

          FORSTER (CC3NT. )
          What are you doing?

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

          0

          (GON'PIN[JED )

          

          

          

          

           REVISED 34 1 /89

          20.

          23 CONTINUED: (2) 23

          0

          FORSTER
          At four o'clock, people go into a
          slump. Then we give them oxygen,

          TECHNICIAN
          Yes air.

           CUT TO:

          24 INT. GENETICS LAB - RECEPTION AREA 24

          With its cheerful wall sign reading SPLICE-O-LIFE INC., this
          reception area seems normal, except for the ANIMAL NOISES that
          drift in from the back rooms.
          A MESSENGER with a package, finding no one at the rception
          desk, goes past it, into an inner corridor...

          24A INT. CORRIDOR/GENETICS LAB 24A

          .to the fringe of a laboratory so high-tech it makes the rest
          of the building look down-home. As he looks into the lab,
          peering curiously at SCIENTISTS, GADGETS, potted PLANTS and
          caged ANIMALS, his attention is captured by a SOUND from the
          0 back -- Gizmo's song, in that sad minor key.
          Half-consciously, the messenger picks up the melody, and starts
          WHISTLING it to himself -- until PEGGY, the lab's receptionist,
          comes over to his.

          LCN

          PEGGY 11.0
          Can I help you?

          C )

          MESSENGER
          Yeah, got a delivery here..
          He follows her back to

          24B INT.RECEPTION AREA 24B


          MESSENGER
          What kind of stuff do they do-ft
          there, anyway?

          PEGGY
          We're not supposed to talk about
          it.

          MESSENGER
          Huh. This is for Doctor Catheter.

          0

          PEGGY
          I can sign for it.

          (CONTINUED)

          

          

          

          

          REVISED 3/15/89

          21.

          24B CONTINUED: 24B

          0
          Peggy's got a bad case of the sniffles -- she blows her nose as
          she signs the paperwork and hands it back.

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

          PEGGY
          Doctor Catheter, this just came
          for you.

          DR. CATHETER
          (taking package)
          Oh, good. This might be my
          malaria...
          (opening package)
          No, this is just rabies. I have
          rabies. And I was supposed to get
          the flu this week.

          LR

          PEGGY
           I think the flu is on b;Eo -order.
           She takes out a Kleenex, blows he(;Z>nose again. Dr. Catheter
          holds his hand out. Q

           DR. CATHETE 
           May I have that, Peg

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

          DR. CATHETER
          (shakes his head)
          Back order. All a man wants is
          some fresh germs...
          FOLLOW Catheter back to

          25 INT. GENETICS LAB


          25
          In this closer look, we SEE that many of the plants and animals
          in the lab are hooked up to mysterious gadgets.
          Catheter goes over to WALLY, a white-coated scientist. The
          fluorescent LIGHTS over Wally's area are flickering.

          0

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

          (CONTINUED)

          

          

          

          
           REVISED - July 7, 1989

          21A.

          0 25 CONTINUEDI 25
          Wally's eyes are BLINKING in precise synch with the flickering
          of the fluorescent bulbs.

          WALLY
          Are they?
          Dr. Catheter turns to a table where several different potted
          vegetable PLANTS are att ed to collecting tubes that feed into
          a central glass VIAL.
          DR. CAfTER
          How are we doing on a vegetable
          medley plant, Wally talked to
          the Bird's-Eye peopl ain.
          They're very excited .
          Wally nods, sighing -- the long-sgff ring researcher.

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

          DR. CATHETER
          You'll get it, Wally.

          0

          WALLY
          I'm very pleased about this bat
          project, though...
          He leads Catheter toward a group of ANIMAL CAGES,

          WALLY (CONT.)
          You know, in some parts of the 
          world, there are millions of bats. 
          They could make terrific 
          messengers, like pigeons...

          DR. CATHETER 
          Yes, but they only come out at 
          night. 

          WALLY 
          That's what we're working on, sir. 
           They arrive at a cage where a resting BAT hangs upside down. An
           intravenous TUBE, sticking out of the bat's flesh, is connected 
          to a drip bottle whose label bears a shining SUN logo. 

          WALLY (CONT.)
          This is a formula of vitamins,

          0
          hormones, and French sunblock. 
          Soon, he'll be totally desensitized 
          to bright light. Watch --

          (CONTINUED)

          

          

          

          
           REVISED - July 7, 1989

          21B.

          0 CONTINUEDI

          25
          Wally flips a switch, and a bright SUNLAMP shines on the bat.
          The little creature stretches luxuriously, warming itself in the
          rays, like a basking cat.

          DR. CATHETER
          Very nice.
          Catheter draws closer to Wally, and speaks with creepy

          FASCINATION:

          DR. THETER (CONT.}
          I believe sow them feed
          on...ï¿½gï¿½. %

          WALLY
          Oh, uh -- that's fferent bat,
          Doctor. South Amen.

          DR. CATHBTF "

          (DISAPPOINTED)
          Ah. Well, good work, lly...
          Catheter moves on. Another SCIENTIST approaches Wally in b.g.

          (CONTINUED)

          

          

          

          
           REVISED May I1, 1989

          22.

          25 CONTINUED: 25

          SCIENTIST
          0 Wally, could you let me have some
          growth hormone? I'm a little
          short.
          FOLLOW Catheter to another side of the lab, where two more
          SCIENTISTS are at work. One of them (LEWIS) greets Catheter,
          while the other (MARTIN) has his back to us at the moment.

          DR. CATHETER (CONT.)
          Hello, Lewis.

          LEWIS
          Hi, Doctor.

          DR. CATHETER
          How's that cloning work coming?
          Martin turns around. He is Lewis's IDENTICAL TWIN.

          MARTIN
          R R e l_ well, Doctor.
          The twins talk in rapid e nation, as if they share a brain.
          LEWIS t A
          Say, Doctor, look at

          0

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

          LEWIS
          Some sort of rodent, apparently...

          MARTIN
          .and it can't take bright light.

          LEWIS
          Watch this, Doctor.
          He opens the side door of Gizmo's cage and turns on a TAPE
          PLAYER. Hearing the bouncy ROCK MUSIC, Gizmo playfully DANCES
          out of the cage as the scientists talk.

          DR. CATHETER
          Hmp! Qu-te, isn't he?

          MARTIN
          That may be genetic...

          (CONTINUED)

          

          

          

          

          23.

          CONTINUED: ( 2) 25

          LEWIS
          .we're not sure yet.
          But as he amuses his captors, Gizmo is slyly looking around for
          a way out of here. He edges farther away from the cage...

          DR. CATHETER
          Not so fast, pal.
          He abruptly switches the MUSIC off, and GRABS Gizmo just before
          the Mogwai can make good his escape. Dr. Catheter sticks the
          frightened Gizmo back in the cage, and shuts the side door
          firmly.

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

          MARTIN
          Sorry, sir

          DR. CATHETER
          How are you going to pro, with
          him? (vim

          LEWIS 113
          Cell samples tomorr

          MARTIN
          .tissue culture hursday.

          DR. CATHETER
          And then there's body structure.
          And for that, my little friend...
          The three scientists LOOM over the terrified Gizmo. Dr.
          Catheter reaches into the cage to give Gizmo a POKE.

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

          CUT TO:

          26 INT. BILLY'S 0 26

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

          BILLY
          Hell.
          The WORKER in the next cubicle speaks up.

          (CONTINUED)

          

          

          

          

          24,

          0 26 CONTINUED: 26

          CUBICLE NEIGHBOR
          Jump around.

          BILLY
          What?

          CUBICLE NEIGHBOR
          You sat still for too long. The
          building thinks you left. It's
          saving energy. Jump around.
          Billy jumps around, and the LIGHTS come back on, as the
          messenger who visited the genetics lab comes to the Cubicle
          Neighbor's desk with a package.

          MESSENGER
          Package for you.

          CUBICLE NEIGHBOR
          Oh. Thanks.
          But as the Cubicle Neighbor signs theï¿½(P erwork, the messenger
          whistles to himself -- Gizmo's song min, in that sad minor.
          For a moment, Billy doesn't regis t -- and then CAMERA
          catches the realization dawningQï¿½ s face, as he looks over
          the cubicle partition and asks ijr'lntly:

          BILLY
          Where did you heaA-11; at?

          MESSENGER
          Huh?

          BILLY
          That music. Where did you hear
          it?

          MESSENGER
          Oh, uh --

           (HUMS)
           Dah dah, dah dah dah dah -- isn't
          that by Sting?

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

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

          (CONTINUED)

          

          

          

          

           REVISED 3/15/89

          25.

          0 26 CONTINUED: (2) 26

           BILLY
           Did you see who it was?

           MESSENGER
           Nuh-uh, it was in the back --
           Billy takes off.

           27 INT. SPLICE-O-LIFE - RECEPTION AREA 27

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

          BILLY
          How you doin'? I bear your
          copier's down.

          PEGGY
          Oh. Hi. It's back in ther4.

          28 INT. GENETICS LAB 28

          As the scientists work, ANIMALS makb-restless noises in their
          cages, most of which are hidden by covering cloths.
          Billy strolls in and starts "fixing the copying machine,

          0
          removing parts at random as he WHISTLES Gizmo's song.
          A moment later, the melody comes b&ek to him, in Gizmo's croon,
          from a corner where there are several covered cages.
          Billy looks around -- the scientists are absorbed in their
          work.

          29 ANGLE - SCIENTISTS 29
          Martin and Lewis have clipped ELECTRODES to the EARS of a
          nervous-looking RAT. They're preparing to throw the toggle
          switch of a strange-looking DEVICE connected to the electrodes,
          as Dr. Catheter looks on.

          MARTIN
          This is the most interesting bio-
          electrical work I've ever been
          involved in. Here you go, boy...
          He FEEDS the rat some liquid from a VIAL with a LIGHTNING-BOLT
          insignia on its label.

          LEWIS
          Think of it...millions of rats in
          New York, and everyone hates
           them...

          (CONTINUED)

          

          

          

          

           REVISED 3/15 /89

          26.

          29 CONTINUED: 29

          MARTIN
          But if one of them could power a
          portable radio for a month...
          He throws the switch. The rat's eyes WIDEN, then calm down as
          the current goes off.
          Dr. Catheter touches the rat, and quickly pulls his hand back
          from the electric SHOCK.

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

          MARTIN AND LEWIS
          Hmm...

          30 30

          ANGLE - BILLY
          He wanders back to the corner zmo's voice is coming from.
          Two caged MONKEYS chatter at lm as he passes.

          F
          Billy, whistling, lifts the cTiver on the wrong cage. He drops
          it in shock as he gets a GLIMPSE of a growth-hormone
          experiment: a hairy SPIDEbout twelve inches across.
          Then, as Gizmo's singin news, Billy's eyes fall on the right
          covered cage -- and theeaming SCALPELS arranged next to it.
          Billy heads back to the copying machine. On the way, he flips
          the latch on the monkeys' cage --
          -- and is back at the copier in time to look up, "surprised,"
          as the excited monkeys scamper past his into the center of the
          lab, distracting the scientists --

          LEWIS
          Theodore! What are you doing out?

          MARTIN
          Alvin! Put down that DNA!
          As the scientists chase the monkeys, Billy hurries to Gizmo's
          cage. He opens the cage, and HIS EYES MEET GIZMO'S -- it's
          hard to say which of then is more excited.
          But the gala reunion will have to wait. Billy scoops Gizmo
          into his toolbox. He walks out of the lab, leaving the copier
          a mess.

          0

          

          

          

          

           REVISED 3/15 /89

          26A.

          31 INT. CORRIDOR 31

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

          32 INT. BATHROOM 32

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

          (CONTINUED)

          0

          

          

          

          
           REVISED May 16, 1963

          27.

          E

          INT. BATHROOM


          32 32
          Billy goes through a small anteroom and a second door, into the
          bathroom, where he leans against the door, catching his breath.
          He starts to lift the cover on the cage, then remembers to turn
          the LIGHTS down. He lifts the cover --
          A boy and his Mogwai! EMOTIONS flood over their faces --
          recognition, relief, shared secrets and memories. Billy props
          the cage on a sink, takes Gizmo out.

          BILLY
          Hey, guy...did you miss me?
          Gizmo does EYE MOVEMENTS -- shyly hedging, then admitting it.

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

          GIZMO
          (Twitterpg of strong agreement.)

          0
          s doing
          Gizmo shrinks back, terrified.

           BILLY (CONT.)
           That bad, huh? How did you get in
           there? What happened to Mister
          Wing?
          Gizmo looks sad -- indicates his armband.

           BILLY (CONT.)
          Oh. I'm sorry. But then --
           He stops at a sudden SOUND -- VOICES in the anteroom between the
          bathroom and the hail.

           BILLY (CONT.)
          Quick -- get in here.
           He slips Gizmo into the tool box, above his protesting TWITTERS.

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

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

          28.

          32 CONTINUED; 32

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

          FORSTER
          You're wetting my shoes, Peltzer.
          Billy sees Forster, sees the shoes, grabs a paper towel and is
          about to drop to his knees.

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

          FORSTER
          Stand up, Peltzer. Come with me.
          Billy grabs the tool box and follows Forster out the door. As
          they go into the anteroom, Forster's clipboard-carrying
           ASSISTANT joins them. #

           33-41 OMIT 33--41 #

           42 INT. CORRIDOR 42

           With his assistant ar )fï¿½lly watching, Forster points to the
           sign on the bathroom d r.

          FORSTER
          Do you know what that eans,
          Peltzer?

          BILLY
          It means "men's bathroom."

          FORSTER
          What is the man holding?

          BILLY
          In the bathroom?

          FORSTER
          On the sign, Peltzer.

          BILLY
          Oh. A little briefcase, sir.

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

          0

          BILLY
          Oh. Well. My mistake --

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

          29.

          0 42 CONTINUED: 42
          Forster whips the bar-code reader wand out of his leatherette
          folder, runs it over Billy's chest insignia again, and pushes a
          BUTTON in the folder. A calculator-type PRINTOUT churns out of
          the gadget, and Forster looks it over.

          FORSTER

          (READING)
          Lateness infractions... and these
          SAT scores --

          BILLY
          (tries to see)
          That's in there?
          Forster snaps the folder shut. Gizmo, restless, RATTLES the
          tool box.

          FORSTER
          What's in the box, Peltzer?

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

          0
           He backs down the hall, th /j ns and speeds up. HOLD on
           Forster and his assistant, w ing Billy leave.

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

          ASSISTANT
          (jots on clipboard)
          Got it, sir.

          43 INT. BILLY'S CUBICLE 43

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

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

          GIZMO
          (Muffled twitter of acquiescence.

          E BILLY
           We'll go home soon, and --

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

          30-/31-

          43 CONTINUED: 43

          40
          Billy is interrupted by someone GASPING sharply beside him, and
          he realizes that all noise and conversation around him have
          ceased. He quickly SLAMS his desk drawer shut, almost squashing
          Gizmo's paw --
          -- and looks up to SEF' one staring as Daniel Clamp, with
          two BODYGUARDS, walks do ï¿½e row of cubicles. No one can
          quite believe that the tyc on here in the flesh.

          40

          

          

          

          
          REVISED May 11, 1989

          E

          4? CONTINUED: ( 2) 43
          Maria moves quickly to greet him, and they meet beside Billy's
          cubicle.

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

          CLAMP
          That's okay. Everybody just relax,
          and go back to what you'd be doing
          normally. I know I haven't been
          down here before, but that's going
          to change. I'm going to be a
          little more "hands-on" with these
          operations from now on...
          As he speaks, Clamp glances over Billy's shoulder, and spots the
          Chinatown drawing.

          CLA' ?10 NT. )
          Hey, t.h,s is ex 1A

          BILLY
          This?

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

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

          CLAMP
          That's what we need here. People
          who produce.
          (points to drawing)
          Let's lose these elm trees, though.
          People think "elm," they think
          "Dutch," "disease" --
          Gizmo's drawer rattles open. Billy snaps it shut.

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

          E

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          33.

          43 CONTINUEDT 43

          E

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

          CLAMP
          Huh. I didn't know about that one.
          He moves on, nodding vaguely at Marla -- who goes over to Billy,
          looking at him through completely new eyes.

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

          BILLY
          Well -- he likes the drawing

          BL)

          MARLA
          This is big, Billy. T i.s
          career opportunity,q4 cement
          window.For both

          BILLY

          0
          It is?

          MARLA
          Clearly. We can talk about it at
          dinner.

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

          MARLA
          Tonight.

          BILLY
          No, I can't tonight. I've got --
          an appointment.

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

          E BILLY
           I just don't think I can --

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

           34.

          40 43 CONTINUED: (2) 43
           His desk drawer starts RATTLING again. Billy shoves it firmly
           closed.

          MARLA
          What ,g with that drawer, Billy? I
          know every feature in this
          building. We don't have anything
          that opens itself.

          BILLY
          Oh -- I knocked against it with my
          leg, I was --

          MARLA
          Billy, are you keeping some kind of
          ppI in there? It's a good thing
          Mister Clamp likes you so much,
          because --

          BILLY
          A pet? No, no, I'm alle $,;
          MARLA ,\ \ l
          Let.me see. Come

          BILLY
          You know -- I think if we leave
          right now, I could go to dinner.
          Just a quick one --

          MARLA
          Great. There's this very chic new
          restaurant. It's Canadian. They
          clean the fish right at your table.

          BILLY
          Sounds terrific.

          MARLA
          Let me just grab my coat, and I'll
          be right back.
          As Marla goes O.S., Billy slips Gizmo's drawer open and talks
          into it.

          BILLY
          Gizmo...I have to go now. Just
          wait here, okay? Just stay put for
          a few minutes and --
          He hurriedly closes the drawer as Marla approaches.

          E

          MARLA
          Ready?

          (CONTINUED)

          

          

          

          
           REVISED - June 2, 198

           35.

          4 3 CONTINUED; ( 3) 43

          BILLY
          Yeah.
          He grabs his sportcoat, and follows Maria toward the elevators.
          As they go, CAMERA HOLDS on Gizmo's drawer. It slowly shakes i
          open, and the curious Mogwai's eyes and ears come into view, i
          checking out the world of Billy's office.
          Gizmo ducks back out of sight ...but, a moment later, a CHAIN OF
          LARGE PAPER CLIPS is tossed down from the drawer, making a
          ladder to the floor. As Gizmo starts hoisting himself over the
          edge of the drawer,

          CUT TO:

          43A INT. LOBBY 43A

          As Billy and Marla get off the elevators.

          BILLY
          Uh -- could you excuse me a second?
          I'll be right back.
          Sure.
           Billy heads for an alcove at the

          44 INT. TOUR GUIDES' OFFICE 44

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

          KATE
          Hi! I'm almost ready --

           BILLY
          Iii.. Listen, Xate --

           KATE
          What's wrong?

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

          KATE
          Oh, damn.

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

          (CONTINUED)

          

          

          

          
           REVISED - June 2, 1989

          35A.

          44 CONTINUED: 44

          E

          KATE
          In the middle of the night?

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          36.

          0 44 CONTINUED3 44

          BILLY
          Kate, I need you to do something
          for me. Gizmo's here.

          KATE
          What?

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

          KATE
          Take him ham? Billy, this is
          nuts. If those things start
          running around in New York --

          BILLY
           There won't be any "thin ust
           remember the rules. H a ''.t take
           bright light -- a ec
           sunlight. It, 1 his. And you
           can't get wat him. And the
           most important thing -- never feed

          0
           his after midnight.

           KATE
           Can't he Just -- go back where you
           found his?

          BILLY
          No. I have to go to this --
          meeting. Please -- I'll be home as
          soon as I can,
          A beat.

          KATE

          (SIGHS)
          Okay. Let me take this stuff off
          and punch out, and then I'll go get
          his.

          BILLY
          Great. Thanks.
          He gives her a quick kiss, and leaves the tour guides' office.
          Kate waits a moment, then looks out into the lobby...
          44A INT. LOBBY - KATE'S POV 44A i
          .and sees Billy leaving the building with Marla.

          CUT TO:

          

          

          

          
           REVISED - June 2, 1989

          36A.

          0

          45 OMIT 45

          46 OMIT 46

          47 OMIT 47

          48 OMIT 48

          48A INT. BILLY'S OFFICE AREA 48A

          A JANITOR, pushing a cart of cleaning supplies, comes into the
          office area. Gizmo, on the floor, peeks around a corner to
          watch as the cart's wheels rumble past him.
          As SEEN by Gizmo, the towering janitor stops at the department's
          WATER FOUNTAIN and tries to get a drink. The fountain's spigot
          OVERSHOOTS, giving the janitor a SPLASH in the face.
          Gizmo inches away from the source of the water, and -- seeing a
          puddle on the carpet where the water landed -- carefully avoids
          it. He keeps moving, and evades a second ARC of errant water
          from the fountain.
          The janitor decides t )gx,the fountain. Attacking the spigot
           with a wrench, he sends off 1morq STREAMS of water. To duck
          0 them, Gizmo takes cover, back, isu; under Billy's desk...
          .and doesn't see a big SPLASH F'o }wezï¿½ hit Billy's Chinatown
          picture. While Gizmo, thinking the danger is passed, steps out
          from under the desk, the bright colors of Billy's painting blur,
          and the blob of water ROLLS DOWN the illustration board...
          .down the side of the desk...
          Gizmo looks up, but too late. From his POV, the blob of paint-
          tinted water is huge, and coming down fast. It HITS him --
          -- and, as the janitor's feet and the wheels of his cart pass in
          â¬.g., CAMERA HOLDS on Gizmo on the floor, writhing in pain. The
          janitor leaves, and Gizmo SCREAMS, as -- THWIP! THWIP! -- two
          tiny FURBALLS shoot out of his body and land in the open DRAWER
          of a nearby filing cabinet.
          THWIP! The painful Mogwai replication continues, and a third
          furball caroms off a drafting table and into a wastebasket.
          THWIP! The fourth and final offspring shoots from Gizmo's body,
          and -- as Gizmo watches in horror and pain -- BOUNCES crazily
          around the office area, a little Superball of fur.
          As Gizmo sits up and looks up, we watch with him -- four newborn
          Mogwai HANDS reach out of the filing cabinet drawer, gripping

          S
          the top edge from inside.

          (CONTINUED)

          

          

          

          
           REVISED - June 2, 1989

          36B.

          48A CONTINUED: 48A

          C
          CAMERA MOVES IN on the cabinet drawer, and the first two new
          Mogwais are revealed, standing in the drawer: GEORGE AND LENNY,
          an inseparable pair. Lenny is big, dumb, and loyal, while
          George is small, with a criminal caginess -- he gets Lenny to do
          everything for him.
          Gizmo watches the wastebasket where the third furball landed
          start to ROCK back and forth -- but is distracted as the
          BOUNCING FURBALL hits the floor in front of him, then ricochets
          up onto a DESKTOP.
          To SOUND FX of a bowling ball hitting the pins, the furball
          rolls into a desk corner, and the third Mogwai unfolds --
          upside-down. This is DAFFY, a dizzy, uncontrollably antic
          Mogwai with the demented juvenile Joie de vivre we associate
          with the great Daffy Duck.
          In the first seconds following birth, Daffy goes daffy over the
          very fact of being alive. He sees his little hands and feet
          unfold,. and gives a WHOOP

          DOE)(
          Waco !
          -- as Gizmo watches the ra,k n :,wa t basket TIP OVER. Looking
          into the basket, we (and Gizmo) SE ` umble of office
          wastepaper, which is violently toss e ut...
          .until MOHAWK, the fourth new Mogwai, emerges. This guy is
          pure, malicious evil, a new strain of badness. Even as a furry
          Mogwai, he's about as cuddly as a cockroach.
          While Daffy, up on the desktop, starts playing with everything
          in sight...
          .Mohawk, on the floor, moves in on Gizmo.

          GIZMO
          Uh-oh.
          George and Lenny drop down to the carpet to join Mohawk, as
          Gizmo -- standing now -- backs away. There's a grated VENT
          opening low on the wall behind him.
          Lenny grabs Gizmo with a fast-moving paw, and Mohawk, moving in
          close, SPITS in Gizmo's eyes.

          4 8AA ANGLE - BILLY'S CUBICLE WINDOW 48AA
          Through the glass WINDOW of Billy's cubicle, we HEAR Daffy
          acting up --

          DAFFY
          Wa-hogs !

          (CONTINUED)

          

          

          

          
           REVISED - June 2, 1989

          37,

          48AA CONTINUED: 48AA

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

          4 8B. ANGLE - GIZMO AND MOGWAIS AS BEFORE 48B 1
          George points to the vent opening behind Gizmo, and WHISPERS to
          Lenny. Lenny nods his dumb understanding, and YANKS the force-
          fit GRATE out of the wall. He clumsily bumps George with the
          grate, and George SLAPS him.

          48BB INT. VENT 48BB

          Gizmo is TOSSED into the vent. . .and the grate is slammed back
          into place, imprisoning him. The three Mogwais tease him
          through the grate, and leave. Gizmo tries to push the grate
          back out, but can't do it.

          4 8BBB TNT. HALLWAY - ANGLE ON VENT 48BBB
          Gizmo looks out mi 'jra.bly though the vent...
          .and CAMERA pulls V8 tk'from-,him, to show the FEET of departing
          humans, who are oblivious to-:the strange, imprisoned creature a -,
          few feet away..

          CUT TO:

          0

          

          

          

          
           REVISED - June w, 1989

           38.

          49 OMIT 49

          50 OMIT 50

          50A INT. BILLY'S OFFICE AREA - ELEVATORS 50A

          A few late WORKERS get on the elevator where Billy and Marla got
          off this morning. CAMERA SPOTS George, Lenny, and Mohawk,
          hanging back in the shadow of a'nearby coffee station...
          watching the elevator, scoping it out, as the doors close and
          the electric numbers above the doors start tracking the car's
          descent.

          CUT TO :

          51 INT. LOBBY 51

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

          51A INT. LOBBY ELEVATORS:"-4 ANOTHER ANGLE 51A

           An elevator arrives in,theï¿½'t'obby. As the doors open, LOW ANGLE
           finds the janitor's FEET , at CL.R,NNG CART getting off. After
           they're gone, the HEADS of Georg ; hny, and Mohawk, arranged
           totem-pole-style, peek out of a lt'ic orner of the elevator.

          52 OMIT 52

          52A INT. BILLY'S OFFICE 52A 

          Forster and a SECURITY GUARD come down the rows of deserted
          cubicles. The guard has a mean-looking DOG straining on a
          leash, SNIFFING at everything. As they near Billy's cubicle,
          the dog starts SNIFFING excitedly.

          FORSTER
          Hah! Good boy! I knew we'd find
          something in this guy's desk --
          -- but as they reach Billy's desk, they find Daffy's paint PAW
          PRINTS tracking crazily over every surface. The dog keeps going
          bananas, but it's not drugs he smells -- it's the dander of the
          recently departed Daffy.

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

          GUARD
          Hard to say, sir. A possible

          C
          gerbil.

          (CONTINUED)

          

          

          

          
           REVISED June 16, 1989

          39.

          0

          52A CONTINUED: 52A

          FORSTER
          He's bringing pets to work. I
          don't believe this guy-it's not
          just plants. He's got to have
          1,_. e s t ock .

          CUT TO:

          52B INT. LOBBY 52B

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

          53 INT. BILLY'S OFFICE 53

           Kate, walking toward Bil 's cubicle, stops as she HEARS a
           piercing WOLF-WHISTLE, t her. She turns sharply, looks
           around , sees nobody --
           -- until her eyes light on a nearP J96 3 CABINET, where Daffy
          hangs out of a drawer, ogling her.

          0 KATE
          Gizmo, how'd you get up there?

          53A ANGLE - GIZMO IN VENT 53A
          Gizmo, imprisoned in the vent, SEES Kate mistaking Daffy for
          him. He shakes his head, twitters, points to himself -- but
          he's too far away to get her attention.

          53B ANGLE - KATE AND DAFFY AS BEFORE 53B
          Kate takes Daffy out of the drawer, but she's not happy about
          this -- especially when Daffy LEERS at her.

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

          (CONTINUED)

          

          

          

          
           Revised 3/3V89

          4O.
          53B CONTINUEDi 53B
          She slips his into the purse, puts it over her shoulder. As
          gate heads for the exit, an ANGLE into her purse...

          54 ANGLE - KATE'S PURSE 54
          .finds Daffy smirking.

          DAFFY

          (SOFTLY)
          WahQQ!

          CUT TO:

          55 OMIT 55

          56 INT. CANADIAN RESTAURANT - NIGHT 56

          The restaurant is decorated in a Canadian motif; the salt
          shakers are hollowed-out hockey pucks. CAMERA finds a booth
          where Marla, drinking Jolt Cola from a wine glass, is edging
          closer to Billy, who's nursing a beer.

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

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

          MARLA
          I had crayons too, i y. And
          when I was four years old, I was
          using them to write dos to the
          other children. Even then, I
          knew. C_j

          CD

          BILLY
          Hub. That's somethin

          MARLA
          Isn't this great? We' _Jinally
          getting to know each otdr. You
          can't do that in an office.

          BILLY
          Well, in there, everything's
          business --

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          4OA.

          56 CONTINUED! 56

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

          BILLY
          What does?

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

          BILLY
          Wow.
          I'm being open 4th Billy.-
          haven't talked abQu feelings
          with anyone.

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

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

          BILLY
          Definitely. It's like I was saying
          to Kate, I said, Honey, you know,
          for an artist --
          Maria leans closer to Billy, her tone more intimate than before.

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

          BILLY
          Oh, we should definitely join --
          Billy FEELS something in his lap. He looks down. It is Marla's
          stockinged FOOT.

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

           40B.

          56 CONTINUED: 56

           BILLY (CONT.)
           -- forces.
          Just at that moment --

           CANADIAN WAITER (0.S.)
          Sir?
          -- a WAITER appears at Billy's side, holding a platter
          containing a large MOOSE HEAD sculpted out of CHOCOLATE. Billy
          is so startled to find the moose staring at him that he SPILLS
          his beer in his lap. Maria quickly withdraws her foot, and
          Billy blots at the spill with a napkin.

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

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

           CA AN WAITER
          This is a f Canadian
          dessert, sir. e olate moose.
           Can I out you an an eree?

           BILLY W
           No, thanks, I, uh --I've rea y got
           to get going. I've got that --
          appointment. I'm sorry about your,
          uh --

          MARLA
          Oh, that's okay --

          (CONTINUED)

          

          

          

          
           REVISED - June 9, 1989

          41.

          56 CONTINUED: 56
          As Billy gets up from the booth, Marla -- not giving up without
          a fight -- grabs his tie. The waiter steps back, and Marla
          pulls Billy down close to her, planting a KISS on his cheek,
          leaving a lipstick imprint. When Billy slips loose, he finds
          the chocolate moose staring at him again.

          MARLA (CONT.)
          -- see you tomorrow.

          BILLY
          Good. Right.
           He escapes the r au rant.

          57 EXT. BILLY AND KA BUILDING - NIGHT 57

          Establishing their apa?Wr house -- it's pretty run-down.

          0

          

          

          

          
           Revised - 3/6/89

          42.

          0 58 INT. BILLY AND KATE'S APARTMENT - KITCHEN 58

          Kate has put Daffy on the kitchen counter. Nearby, she unwraps
          some Kentucky Fried Chicken. On the counter, SPOT a few of
          Rand Peltzer's seldom-used kitchen INVENTIONS.

          KATE
          Billy said to make sure and feed
          you before midnight...
          As she arranges chicken and mashed potatoes on a plate, Daffy
          spots a BLENDER next to him. He recoils from it -- then, with
          an evil grin, he shoves it off the counter while Kate's back is
          turned, BREAKING it. When she turns and looks, Daffy has an
          innocent loops" expression on his face.

          KATE
          Oh, God-you have to be careful
          here, okay, Gizmo? We don't have
          the money to replac things.
          Daffy nods contritely. Ka ings him the food.

           KATEDNT. }
           Let's see i f CWu ' l i eat this --
          Daffy grabs a chick liï¿½g, opens his mouth as wide as Joe E.
          Brown's, clamps 0 -11 n the drumstick, and strips all the meat
          off in one fast ion, bringing out a spotless bone.
          With his other paw, Daffy tries the mashed potatoes. He hates
          them, and PITCHES what he's holding, getting half the wad on
          Kate and half on the refrigerator.

          KATE (CONT.)
          I don't know what Billy sees in
          you.
          Daffy WHOOPS, grabs more chicken, and resumes eating.

          CUT TO:

           59 OMIT 59

           60 OMIT 60 

           61 OMIT 61 

           62 OMIT 62 

           62A EXT. BILLY AND KATE'S APARTMENT BUILDING - NIGHT 62A 

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

          

          

          

          
           Revised - 3/6/89

          43./44./45.

          40

          63

          INT. BILLY AND KATE'S APARTMENT (ENTRYWAY) - NIGHT 63

          Kate answers the doorbell.

           BILLY (O.S.)
          Its me.
           She undoes the deadbolts and opens the door. Billy rushes in.

           BILLY (CONT.)
          Hi. I'm sorry I'm late --
          He gives her a fast kiss on the lips -- and, as he lets go of
          her, sees that she's SPATTERED with food.

           BILLY (CONT.)
           What happened to you?
           Kate doesn't answer -- she looking at the LIPSTICK mark on
           Billy's face.

           K
           Did you har q good meeting?

           '

          40 B B ILLY
           Uh , y it was fine. Where's

          GIZM

          KATE
          It's in the kitchen. Billy --
          She FOLLOWS him to the kitchen.

          BILLY
          Did you feed him?

          KATE
          Yes --

          BILLY
          (calls ahead)
          Hey, Giz, how you --
          They come into the kitchen, which is a mess from Daffy's food,
          throwing. The Mogwai is hidden behind a little BARRICADE of
          Lean Cuisine boxes. As Kate and Billy enter, he THROWS a lump
          of frozen pineapple that nails Billy on the forehead.
          ( C'J IrI: UED )

          C7

          

          

          

          

          46.

          3 CONTINUED: 63

          0,

           BILLY (CONT.)
           Ow! Gizmo, what's --
          Billy leans over the barricade and looks in -- as Daffy tosses a
          GLOP of cherry cobbler, splattering Billy's face.

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

          KATE
          In your office -- near that
          drawer, where you said -- Billy,
          look out!
          Too late -- Daffy LOBS a single-serving PUDDING-PACK at Billy.
          It bursts on impact, staining his shirt.

          1H

          BILLY
          (to Daffy) ï¿½
          Where's Gizmo?
          The Mogwai SPITS, then wings Kate with a piece of Salisbury
          steak. Billy looks at the wall clic: it's 11:15.

          BILLY
          We've got to get over here.

          KATE
          Billy -- you said there weren't
          going to be those --

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

          KATE
          (indicates Daffy)
          What about -- him?

          BILLY
          We'll have to take him with us.
          He snatches a Lean Cuisine box away and grabs Daffy, almost
          getting bitten in the process. Kate follows Billy as he takes
          the flailing Daffy into the living room and stuffs him into his
          leather daypack.

          DAFFY

          (SEMI-INTELLIGIBLE)
          Wahoo! No! Elbow room! Don't
          fence me --

          (CONTINUED)

          

          

          

          
           REVISED May 11, X989

           47.

          63 CONTINUED: 63
           The daypack jumps around wildly as Billy zips it shut.

          BILLY
          You ever want to get out of there,
          you better relax.
          Daffy settles down to a low rumble.

          BILLY (CONT.)
          That's better.
          They grab their coats, start toward the door.

          BILLY (CONT.)
          Mister Wing was right...

          KATE
          About what?

          BILLY
          When he came to take Gizmo back. I
          asked him how come he could
          understand what Gizmo was
           saying... said you just had to
           know how isten. But he said I
           wasn't re cW t. For the
          0 responsibili d I'm not --
           As they reach the door, the
           ï¿½?q x ZZER sounds.

           BILLY (CONT.) 5
           Great.

           KATE
           Who could it be this late?

           64 NEW ANGLE 64
           Billy opens the door, and finds MURRAY FUTTERMAN, the snow plow
          driver from Gremlins, and his wife SHEILA.

          KATE
          Mister Futterman! Mrs.
          Futterman...

          BILLY
          We thought you were coming tomorrow --

          MR. FUTTERMAN
          We thought so too. The guys in my
          old outfit, they changed the date
          for the reunion. We tried to call

          0
          you, but we had to get on the
          Greyhound.
           tCONTI -

          

          

          

          
          REVISED May 11, 1989

          47A.

          40 64 CONTINUED:

          64

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

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

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

          (CONTINUED)

           04, 0
          Â°0o6s

          

          

          

          
           REVISED May 3, 1989

          64 CONTINUED: 64

          MR. FUTTERMAN
          Boy, we tried to get a cab up here
          -- did you know they have RUgsiLan
          guys drivin' cabs in this burg?
          What if somebody gets in one of
          those cabs with a briefcase full of
          atomic secrets? Is anyone thinking
          about that?

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

          MR. FUTTERMAN
          Aah, I'm fine. I was just a little
          jumpy for a while --
          Billy's daypack SQUEAKS. Billy slips the bag under his arm and
          squeezes it, forcibly quieting Daffy.

          40

          MR. FUTTERMAN (CONT.)
          What's that?

          SHEILA
          It's okay, honey. I hear it too.

          MR. FURMAN
          Of course you hea it too. What do
          you mean?

          BIL
          It's, uh -- plumbing here.
          It...makes n e sometimes.
           Sheila, looking at qty, spots something --
           iE I LA
          Oh, Mur I think we
          interrupt these two.

          (CONTINUED)

          0

          

          

          

          
           REVISEE April. 20, 1989

           49.

          64 CONTINUED: (2) 64

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

          BILLY
          Oh, uh...that's from -- my boss. I
          did some stuff that she liked. I
          mean some work --
          He tries to catch Kate's eye, but she avoids his look.

          BILLY (CONT.)
          Uh, the thing is -- I'm afraid you
          guys can't stay here. I mean, we'd
          love it if you could, but the, uh -
          - the building's being --
          fumigated.

          MR. FUTTERMAN ï¿½ï¿½
          Bugs, huh? Yeah, you can't be
          careful these days. All k t
          weird bugs eosin' into +he
          country...

          SHEILA
          Oh. Well, that's okay, Billy --

          MR. FUTTERMAN
          Sure -- we'll just book into a }
          hotel.

          BILLY
          Really sorry ...we'll call you...
          He backs the Futtermans toward the door. AD LIB goodnights as
          Billy opens the door, forcing himself to look relaxed as the
          Futtermans go. He watches through the door for a beat, then
          closes it -- and finds Kate suspiciously eyeing his lipstick
          tattoo.

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

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          50.

          E 64 CONTINUED: (3) 64

          KATE
          I believe you.

          BILLY
          We better get going.

          CUT TO:

          65

          65 INT. CLAMP CENTRE - LOBBY

          The lobby CLOCK is at two minutes to midnight. There's lively
          action at the lobby's BARS, DANCE FLOOR, and FROZEN YOGURT
          STAND, where two teenage YOGURT JERKS serve CUSTOMERS.

          YOGURT JERK I
          .so that's a Kona praline and
          banana-berry swirl with kiwis and
          peanut butter cups?

          CU
          Yeah ...or, wait"rfre j't yep peanut
          butter cups all nuiï¿½(ï¿½/

           6 5

           YOGURT JERK 1
          0 I'm not sure...Alexis, are the
          peanut butter cups all natural?
          As Yogurt Jerk 2 joins the discussion, a new ANGLE finds a furry
          PAW turning on two spigots on the yogurt machine. FOLLOW the
          two streams of goo over the machine's spill grate and down to
          the floor. Hidden from view by the counter, Mohawk, George, and
          Lenny reach for the trickling yogurt...
          .check the lobby CLOCK as the time TICKS past midnight...

          LENNY
          Yum!
          .and sloppily chow down. Up above, Yogurt Jerk I turns to the
          machine, sees the two spigots flowing. She's about to turn them
          off, but a complaining CUSTOMER stops her.

          CUSTOMER 2
          Miss, I asked for Oreo cookies and
          Gummy Bears -- this stuff is, like
          -- hair.

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

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

           51.

          65 CONTINUEDA 65
           But then Customer 2 and Yogurt Jerk 2 SEE it at the same time: a
           furry PAW reaching up to scoop M&M's from a topping bin.

           CUSTOMER 2
           What is it? It's a t.!

           LENNY (O.S.)
          Yum!

          CUSTOMER 3
          What's going on here? Did that
          woman say there are rats?

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

          66 EXT. CLAMP CENTRE 66

           Billy and Kate hurry into the building.

          67 INT. LOBBY - BILLY AND KATE 67

           As Kate and Billy ent the lobby, they HEAR the commotion at
          the frozen yogurt stqWjpnd rush over to see what's going on.
          0 CUS Tt ME
          I'm telling you'-
          thing in the trail

          CUSTOMER 2 '"'
          .I don't just want a different
          yogurt, I want d&akrxes --

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

          CUSTOMER 1
          I don't know, a fa= thing. And
          it's supposed to be health food.
          Billy checks the lobby clock -- 12:10. He Pulls Kate aside.

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

          40 KATE
          Come on.

          (CONTINUED)

          

          

          

          
           REVISED tray 3, 1989

          52.

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

          CUT TO:

          68 INT. BASEMENT 68

          Six stories underground, beneath the building and its parking
          floors. Yellow lamps, set in a concrete wall along a catwalk
          ledge, cast an eerie HALF-LIGHT on Kate and Billy.

          KATE
          It's along here...
           They come to a deep, square RECESS in the wall. Inside is
          massive MACHINERY -- pipes, pumps, meters -- surrounded by a

          CHAIN-LINK CAGE.

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

          (CONTINUED)

          0

          

          

          

          
           REVISED May 5, 1989

          53.

          68 CONTINUEDI 68

          0

          BILLY
          Great. Maybe if we shut it off,
          they'll even close the place
          down...
          Billy goes to a corner of the chain-link cage and starts bending
          links back from the seam, trying to make a big enough opening to
          slip through.

          69 INT. SYSTEMS CONTROL CENTER 69

          One of the technicians gets a BEEP from his terminal. The
          night-time SUPERVISOR comes and looks over his shoulder at the
          monitor, which shows a blinking red diagram of the basement
          water machinery.

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

          SUPERVISOR (CONT.)
          Guards.

          0 70 INT. BASEMENT 70

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

          GUARD
          Back off! Put your hds up.
          Billy backs off the cage and ss a GUARD coming toward him,
          flashlight and gun in hand. As he gets close, Daffy starts
          bouncing around in the daypaelr again. The guard trains his gun
          on the leather bag.

          CZ)

          GUARD
          What's in the bag pal?,

          BILLY
          Nothing.

          GUARD
          Oh yeah? Let's have a look.

          BILLY
          You don't want to --
          The guard ignores him, opens the zipper, and LOOKS DOWN into the
          bag.

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          54.

          0

          70 CONTINUED: 70

          GUARD
          Aagghhh!
          When the guard pulls his head up, Daffy is hanging onto the
          guard's NOSE by his teeth. The guard flails his head furiously
          around, until Daffy finally flies free --

          BILLY
          No!
          -- and as the Mogwai's departing FOOTSTEPS are heard, the guard
          angrily puts Billy up against the wall, starts handcuffing him.

           BILLY (CONT.)
           We have to find him, before he eats
           something --
           GUARD b5
           (indicates his nose)
           He already ate some i
           Billy looks around for Kate then realizes she's hiding in the
          0 shadows of the concrete recess, unnoticed by the guard.

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

          GUARD
          Tell you what, pal -- you can tell
          the cops all about these monsters,
          I'm sure they'll be very
          interested...
          As he takes Billy away, CAMERA holds on a spot over their
          heads...goes into a GAP between the concrete wall and
          ceiling ...and finds three big COCOONS. Their slimy bodies gleam
          dully in the yellow lamplight. As we watch, the cocoons
          silently GROW and change, gathering strength...

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

          CUT TO:

          

          

          

          
           REVISED - May 31, 1989

          55.

          EXT. POLICE STATION - EARLY MORNING 71

          A midtown precinct house. As Billy and Rate hurry out the front
          door, POLICEMEN in b.g. are leading a group of arrested STREET
          MIMES from a paddy wagon toward the station. Though in custody,
          the mimes continue their portrayals of walking against the wind,
          feeling up invisible wall , etc.

          BILLY
          Thanks for getting â e out of
          there.

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

          BILLY
          When we get there -- go to your
          job, like normal, okay? And just
          keep your eyes open. What time
          is it?

          KATE
          Six-thirty.

          4II
          They hit the early-scorning at a run.

          6CUT TO

          UOO

           7 2 INT . CLAMP CENTRE - LOBBY 72
          The early-morning arrivals are here -- PEOPLE opening their
          lobby businesses. In a SERIES of SHOTS, they lift the shiny,
          corrugated-metal security GATES that protect a NEWSSTAND...an

          ESPRESSO CAFE...

          73 INT. BASEMENT CREVICE 73

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

          74 INT. LOBBY 74

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

          PARLOR...

          75 INT. BASEMENT CREVICE 75

          .as more cocoons BURST OPEN...

          76 INT. VENT SPACE 76

          Gizmo edges forward in the dark vent passageway --

          

          

          

          
           REVISED May 3, 1989

          56.

          77 NEW ANGLE 77
          -- and doesn't see the FLOOR disappear from under him until he's
          already FALLING down a tall vertical drop, grasping helplessly
          at the sheer wall that rushes past...

          78 INT. BASEMENT 78

          .until he LANDS on something soft, and rolls off onto a hard
          concrete floor. He looks at what he landed on -- it's one of
          the COCOONS in the basement wall crevice.
          As Gizmo backs away, the cocoon belches SMOKE, opening up.
          Gizmo, wide-eyed, knows who to warn --

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

          CUT TO:

          79 INT. LOBBY 79

          Billy and Kate come breathlessly through the lobby doors. They
          find the businesses mostly open -- and a SEA OF PEOPLE pouring
          through the doors, innocently arriving for work.

          KATE
           Billy, what if they're already --
          Suddenly, the lobby LIGHTS DIM, d Billy looks up.
          BILLY t.0
          They are. Come on..

           Q)
           He starts leading Kate toward e lobby NEWSSTAND. On the way,
          they run into Grandpa Fred.

          GRANDPA ï¿½ ,ED
          Hey, Billy -- the-building's
          completely screwe p today --

          BILLY
          (hurrying on) 
          Fred. I know...

          GRANDPA FRED
          (watching them go)
          Sure. You're young. You know
          everything.
          Billy and Kate arrive at the newsstand, where Billy grabs four
          souvenir FLASHLIGHTS in the shape of the building.

          (CONTINUED)

          

          

          

          
           REVISED May 3, 1989

          56A.
          is ?9 CONTINUED t 79

          NEWSSTAND LADY
          Eighty-six thirty-eight with tax.

          BILLY
          (to Kate)
          I'm going to go up and --
          (to newsstand lady)
          Now much?

          NEWSSTAND LADY
          Four times nineteen ninety-five --

          BILLY
          Put it on my bill.

           (CONTINUED)

          40

          0

          

          

          

          
           REVISED May 16, 1989

          57.

          0

          79 CONTINUED% 79
           He hands Kate a couple of flashlights as they start back across
           the lobby.

           BILLY (CONT.)
           Remember, they can't stand bright
           light. If one of them gets near
           you --
          He's interrupted as Marla comes up to them -- and gives Billy a
          squeeze and a kiss before he has time to think.

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

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

          MAR LA
          Oops, I'd better get going. See
          you ui tairs, Billy.

          ATE)
          Hi.

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

          KATE
          Don't do any explaining right now,
          okay? I'm too mad.
          A guide calls Kate from the guide office.

          GUIDE
          Kate -- you're up, honey.

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

          3

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

          KATE
          0 Billy -- if we all get through
          today alive, you're in h,g, trouble.

          BILLY
          Kate --
          f ('nnT-,TTTT T-Pn)

          

          

          

          
           REVISED May 10. 1989

          58.
          40 79 CONTINU EDi (2) 79
          She's out of earshot.

          BILLY (CONT.)
          Terrific.
          As Billy heads for the elevators, HOLD on a nearby Miller's
          Outpost jeans store that opens onto the lobby. A couple of
          teenage girl SHOPPERS approach the SALES CLERK.

          SHOPPER
          Excuse me...do you have any styles
          that aren't, urn, fringed?
          They hold up several pairs of pants. All of them are "fringed"
          from the knees down -- as if they'd been CLAWED to tatters.
          From the store's back room, we HEAR a whoop. It's familiar, but
          the VOICE has become deep, raspy, and such less innocent.

           DAFFY (O.S.)
           Wa- !

           0 CUT TO:

          80 INT. SYSTEMS CONTROL CENTER 0 80


          0
          Billy comes in, to find Forstez kking his morning rounds among
          the technicians.

          BILLY
          Mister Forster -- ï¿½ï¿½?
          FORSTER Zs:
          Peltzer! What are you doing in
          this building? You got yourself
          arrested here last night, and you
          come back?
          (to a technician)
          Get security up here. He's out.
          He starts to walk away, but Billy follows his.

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

          FORSTER
          Oh, we do? Why's that?

          (CONTINUED)

          0

          

          

          

          
           REVISED - June 9, 1.989

          59.

          CONTINUED: 80

          80

          BILLY
          There are ... creatures in the
          building. They start out as these
          small, furry animals, but then they
          eat, and they go into cocoons, and
          then they become small, green --

          FORSTER
          This is drugs. It's got to be.
          You're on a groovy little trio,
          aren't you, Peltzer? Well, let me
          tell you something, Mister Flower
           Child --

           BILLY
           Just listen to me --

           TECHNICIAN
           Wait a mo. this is good. They
           start out rr d then they have
           the cocoons... V

           065

           BILLY
           First they eat --

           TECHNICIAN 2
           Well, sure. you're going into a
           cocoon, you want to have a little
           something first.

           CUT TO:

          81 OMIT 81

          82 OMIT 82

          83 OMIT 83

          83A INT. CABLE TV STUDIOS 83A

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

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

       

          59A.
          Katsuji responds by ZOOMING in on Kate with the video camera.

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

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

          83B INT. MICROWAVE MARGE'S SET 83B

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

          MARGE
          Now, this week here on "Microwave
          With Marge" is our special "Salute
          to Luncheon Meats" and I'm very ,
          excited about t ecipes, so
          let's just jump k ome hors
          d'oeuvres. You kn t logna
          and bean dip roll-ups-a 
          IS when friends drop over, and f I o
          want to make it a little extra
          special, you can get some of these
          little sword-shaped toothpicks, you
          put that through the bologna, and
          that's your "Viva Zapata"
          appetizer. People are simply crazy
          about these...

          CUT TO:

          84 INT. SYSTEMS CONTROL CENTER 84

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

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

           TECHNICIAN 2
           A caraway seed.

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

          (CONTINUED)

          


          BILLY
          Look I didn't make the rules.
          There are --

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


           TECHNICIAN 2
           Or what about if he's eating in an
           airplane, and they cross the time
          zone --
           But the technician's theory is cut short, as --
          -- TWO GREEN ARMS BURST OUT OF HIS CONSOLE, ripping aside
          control buttons and speaker grilles in a burst of SPARKS AND

          SMOKE.
          Before the technician can move, the arms are going for his
          throat -- and MOHAWK, now a bloodthirsty Gremlin, emerges from
          the wreckage of the console, still CHOKING the technician.

           TECHNICIAN 2 (CONT.)
          Help -- me --
           At the sight of Mohawiï¿½rster jumps back. Technician 1 tries
           to move on the Gremli 34o awk takes a claw from his
           victim's neck and SLASHES a ian 1's arm, driving him back.
           Billy pulls out his building-shag plight and SHINES it at
           the Gremlin. Recoiling, the Gremlin s go of the technician,
           who falls to the floor -- dead.

           CUT TO:

          85 OMIT 85

          86 OMIT 86

          87 INT. CABLE TV STUDIOS 87

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

          MARGE
          This is how we used to cook for big
          groups, before we had our microwave
          ovens and the other modern
          appliances. It would take days to
          plan the menu, and hours over a hot
          stove to do the cooking. But now,
          we can make this same tuna-noodle
          cheez-product chowder surprise in
          just a few minutes, and you can
          feed anything from a high school
          reunion to a complete chain gang
          with this kind of quantity.

          0
          Marge puts a lid on the soup pot.

          (CONTINUED)

          

          

          

          
           REVISED - June 22, 1989

           62.

          87 CONTINUED: 87

          MARGE (CONT.)
          Whew! Now, if we step over here...
          But as she starts to turn away, the LIGHTS on the set suddenly

          DIM.

          CAMERAMAN
          Huh. Brownout or something.
          Marge HEARS a TAPPING noise from inside the soup pot. Confused,
          she lifts the lid -- and JUMPS BACK, as LENNY -- now a GREMLIN,
          but his dopey face still recognizable -- sits up in the soup
          pot, wearing a chef's hat, and SPLATTERS Marge with orange
          noodle-casserole GOO. He whips out a TURKEY EASTER, and SQUIRTS
          Marge with it.

          MARGE

          AAAGGHHH! WHAT IS IT?
          At the sound of Gremli LAUGHTER, she wheels to see GEORGE, a
           GREMLIN in an apron, counter behind her. As Marge turns
           to the Cameraman for pr tl George points to two MICROWAVE
           OVENS at the rear of the set.

           GEORGE 06

          0 .5
          Mi-cro-wave!
          Kate's tourists turn to FLEE the studio -- the last to go is
          Katsuji, who photographs the Gremlins a mile a minute as he
          backs out of the room.
          As the tourists go, the Gremlins turn savagely toward the ovens.
          George whispers to Lenny, who nods obediently and throws several
          METAL UTENSILS into the microwaves. The Gremlins close the
          ovens and start them up. The ovens fill with furious ARCS of
          blue light --

          MARGE
          Look out!
          -- and THE OVENS EXPLODE, showering the set with GLASS. As
          Marge and her cameraman escape the studio, the ovens catch FIRE.
          The flames lick up toward the ceiling --
          -- and set off the SPRINKLERS. George and Lenny grin, standing
          tall to shower in the spray. As the water hits, BUBBLES appear
          on the Gremlins' backs. Close on the bubbles, CAMERA finds the
          tiny heads of GREMLIN OFFSPRING, getting ready to burst out.
          As the studio fills with the ominous SMOKE and COLORED LIGHT of
          Gremlin multiplication, Kate runs from the room.

          0

          CUT TO

          

          

          

          
           REVISED - June 22, 1989

          62A.

          0

          88 INT. XEROX ROOM 88

          As the SOUND of a XEROX MACHINE in operation is heard O.S.,
          CAMERA is CLOSE on the floor of a copying and office supply
          room, where a series of PHOTOCOPIES is piling up. The pictures
          are of Gizmo -- his body pinned down, his face contorted in
          pain. Each pose is slightly more tortured than the one before.
          NEW ANGLE finds Gizmo in the flesh --- he's fastened by a web of
          SCOTCH TAPE to the document cover of a big copier. As Gizmo
           struggles helplessly, RE L MOHAWK at the controls, setting the
          machine for 100 copies.
           Gizmo slides over the glas s ga 19i d again, WINCING as he's hit
          by painful BURSTS OF BRIGHT LAG

          T TO:

          

          

          

          
           REVISED May 3. 1989

           63.

          40

           89 OMIT 89

           89A INT. SYSTEMS CONTROL CENTER 89A

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

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

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

           FORSTER
           What the hell's going on?

           TECHNICIAN 4
          Uh, air --
          Forster goes over to Technician 4's station --

           TECHNICIAN 4 (CONT.)
          (points to screen)
          The Peat Infestation Monitor...
          -- and sees, on the technician's screen, an alarmingly rapid
          proliferation of DOTS, spreading over the diagram of the
          building. The dots started as a cluster in the cable TV studio
          area -- Microwave Marge's studio -- but they're spreading out to
          other floors, and moving around quickly.
          FORSTER is',
          What is that? That' 01 at rats, is
          it?

          TECHNICI
           No sir, I'm afraid s not --
           A VIDEOPHONE RINGS near Technician 3; he grabs it.

           Q

           TECHNI AâºN 3
           Systems Control
           KATE'S FACE fills the videci)hone SCREEN.

           KATE (ON PHONE)
          0 Is Billy Peltier there, please?

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          64./64A.
          89A CONTINUEDs 89A

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

          KATE
          Thank you.

          89B INT. CLAMP CENTRE LOBBY/ELEVATORS 89B

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

          89C INT. ELEVATOR 89C

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

           KATE
           Thirty-eight.
           But the VOICE that croaks back isn't the usual elevator voice.

           GREMLIN VOICE (V.O.)

           THIR-TY-EIG
           Kate's face registers She jams on the "DOOR OPEN"
           button, but the door stay And the elevator starts

          MOVING...
           .before it jerks to a sudden STOP:

           CUT TO:

          90 INT. CLAMP'S OFFICE 90

          Clamp's office is huge, immaculate, and fully outfitted with
          high-tech gadgets. The WINDOW looks down on a bank of CLOUDS
          pierced by the tips of New York LANDMARKS -- the Chrysler
          Building, etc.
          Clamp hits the switch on a desk INTERCOM.

          CLAMP
          HAve you shredded my mail from this
          morning?

          SECRETARY (V.0.)
          (over intercom)
          I'm just finishing, Mister Clamp.

          CLAMP
          Good. Let's do some memos...

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          65.

          90 CONTINUED

          90
          As he talks, Clamp goes over to a bank of VIDEO MONITORS on his
          wall. Some of them display spy-camera views around the
          building, while others are tuned to Clamp Cable channels. One
          of these catches Clamp's eye: it's showing It's_a Wonderful Life
          in black and white.

          JIMMY STEWART (ON TV)
          Merry Christmas, movie house!
          Merry Christmas, drugstore...
          Scowling, Clamp pushes a button. The movie blossoms into
          garish, unlifelike COLOR.

          91 TNT. CLAMP'S OUTER OFFICE 91
           Clamp's SECRETARY pushes the last of his morning's mail into the #
           SHREDDER beside her desk -- it's a letter bearing the seal of
           the Vice President of the United States and starting "Thank you #
           for your generous contribution..." #
          As the letter turns into paper spaghetti, the secretary leaves
          the shredder on, turns to her computer, and starts typing down
          Clamp's dictation. SPOT her prim pink SWEATER hanging on the
          back of her chair.

           C (V.O.)

          0
           (over i F)
           First one, to gefjQ Public
           Relations. Let's.h e people
           in Chinatown give a st a tival
          as a spontaneous outpouri
          appreciation for what I've ne for
          their community...
          The secretary takes a hurried bite of a SANDWICH, then goes back
          to her typing. But CAMERA holds on the sandwich -- as the GREEN
          CLAWS of an otherwise O.S. GREMLIN slip a spring-loaded
          MOUSETRAP under the top slice of bread.
          The claws withdraw from sight just as the secretary turns to
          pick up the sandwich again. She takes a bite -- and, though her
          back is to us, we HEAR the snap of the mousetrap and the
           secretary's SCREAM --

          92 INT. CLAMP'S OFFICE 92

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

          9 2A INT. CLAMP'S OUTER OFFICE 92A

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

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          66.

          92A CONTINUED: 92A

          CLAMP
          You're not my secretary.
          The Gremlin responds by grabbing a SILEX POT of boiling-hot
          water from the nearby coffee station, and FLINGING the boiling
          water at Clamp --
          -- who ducks it, as it SCALDS the paint on the wall behind him.
          Clamp makes a tentative move toward the Gremlin, who THROWS the
          empty Silex. It barely misses Clamp, and SMASHES against the
          wall.
          The Gremlin JUMPS at Clamp, who tries to bat it away from his
          face, like a kid panicked by a moth --
          -- but his flailing knocks the Gremlin back, so that its foot is
          caught in the hopper of the secretary's SHREDDER. Hating to do
          it, using only his fingertips, Clamp PUSHES the struggling
           Gremlin down into the machine --
           -- which SPRAYS him out of the bottom like a black, bloody,
           eyes-only memo of DEATU.
           As Clamp stands gasping Â®de the machine, the door to the
           corridor opens, and Billlybu in. He sees the shredder, and
          0 the tattered Gremlin remaips 4 j ng from it.

          BILLY
          Sir -- are you all right?

          CLAMP
          I think so..-.I hate using these
          machines myself.

          BILLY
          Sir, I have to talk to you. There
          are a --
          The door opens again, and a dishevelled Forster bursts in.

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

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

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

          66A.

          92A CONTINUED: (2) 92A

          IS

          CLAMP
          Yeah? What happens at sundown?

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

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

          AMP
          Bangerous' is thing that was in
          here a min go -- that was
          dangerous. is 's from the art
          department. i

          0 (CONTINUED)

          

          

          

          
           REVISED May 10, 1989

          67.
          0 92A CONTINUEDi (2) 92A 

          FORSTER
          Yeah? Ask him how he knows so much
          about these -- green things.

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

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

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

          CUT TO:

          EI

          93 OMIT 93 

           D C

          94 OMIT 94 

           CD

          95 OMIT D C 95 

          96 INT. ELEVATOR - ,,.. 96

          Kate's elevator, still str d between floors, begins to ROCK
          violently. Kate jams on tEN Alarm button, but the only SOUND
          she hears is that of countless CLAWS outside, pounding and
          scraping at the elevator car.
          The automated ELEVATOR VOICE talks on through the chaos.

          ELEVATOR VOICE (V.0.)
          You have requested a floor that is
          not part of the building at this
          time...
          And now Kate SEES CLAWS tearing at the corners of the elevator
          car, trying to gouge their way inside. The O.S. SOUND of
          GREMLIN LAUGHTER echoes in the elevator shaft. Kate shrinks
          into the middle of the floor, her hands braced against the walls --

          97 INT. CONTROL PANEL AREA 9?

          DAFFY is now a Gremlin, wearing an engineer's HARDHAT and a
          WORKSHIRT with DAFFY stitched on the breast. He's at an
          ELEVATOR CONTROL PANEL with floor-number indicators, etc. As he
          randomly hits buttons and turns dials, METERS shoot into danger
          zones and RED LIGHTS blink ominously.

          

          

          

          
           REVISED May 10, 1981

           68.

          0

          98 OMIT 98

          99 OMIT 99

          100 INT. ELEVATOR SHAFT 100

          The elevator FALLS FAST TOWARD US. The GREMLINS hanging on the
          bottom of the elevator car realize that it's curtains, but it's
          too late for them to do anything about it --
          -- but then the elevator STOPS MOVING

          100A INT. ELEVATOR I OOA

           -- and Kate regains her balance inside --

          1003 INT. CONTROL PANEL AREA 1008

          -- until Daffy pushes one last button, and the control panel

          BLOWS OUT --

          TX)

          1OOC INT. ELEVATOR SHAFT 14.0 100C

           -- and the elevator start ALLING again, racing down the last
           few floors to the bottom. ust before impact, the FACE of a

          0
           SCREAMING GREMLIN fills gr FRAME --
          10i TNT. PARKING VESTIBULE 101
           Two suburban LADIES wall, a bank of ELEVATOR DOORS from the
          O.S. parking garage.

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

          102 INT. ELEVATOR 102

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

          103 INT. PARKING VESTIBULE


          103
          -- and the force of the fall THROWS the elevator doors open, so
          that the suburban ladies are suddenly face-to-face with the
          trembling, blood-soaked Kate.

          LADY 1
          (indicates other

          ELEVATOR)
          We'll get the next one.

          40

          CUT TO:

          

          

          

          
           REVISED May 10, 1989

           69.

          40

           104 INT. CLAMP'S OUTER OFFICE 104 ;

           where the argument is still going on,

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

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

          FORSTER
          Me? Um, but there might be --

          (CONTINUED)

          0

          0

          

          

          

          
           REVISED April 20, 1989

          71.

          105 CONTINUED: 105

          LEWIS
          Not me.

          WALLY
          Hey! My vegetable medley!
          Before Wally can stop him, a GREMLIN goes over to the potted
          VEGETABLE PLANTS with TUBES connecting them to a glass vial.
          He grabs the vial, EATS it...and stands still for a moment...
          .as his EARS turn into leafy clumps of ROMAINE LETTUCE.
          Wally tries to move on him, but the Gremlin menaces his with a
          claw, and goes on to grab a vial from a CAULIFLOWER PLANT...
          CHAOS ensues, as more Gremlins go after more vials and the
          scientists' efforts to stop them result mainly in trashed

          EQUIPMENT:
          ANGLE on a Gremlin trying a vial marked SEX HORMONE. The
          Gremlin's face registers big consumer satisfaction -- he downs
          the rest of the vial in one gulp.

          DR. CATHETER (O. .) ï¿½) V
          My God!
          As the lab's chief researcher stands in the doorway, unable to

          0
          believe his eyes, another GREMLIN grabs a vial attached to a
          BRAIN that site in a tank of saline solution.

          MARTIN
          Oh no...

          LEWIS
          .not the brain hormone.
          The Gremlin swallows the vial...twitches for a moment. He
          painfully croaks out a few WORDS --

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

          GEORGE PLIMPTON.

          (CONTINUED)

          0

          

          

          

          
           REVISED - July 7, 1989

          72.

          105 CONTINUED, (2)

          105

          BRAIN GREMLIN {CONT.)
          -- talk a little bit about what's
          going on in this room, because I
          think there are some fascinating
          ramifications here for the future.
          When you introduce genetic material
          of research quality to a life form
          such as ours, which is possessed of
          a sort of -- I hesitate'to use the
          word "atavism," but let us say a
          highly aggressive nature...
          The other Gremlins, instantly bored with this guy, grab more
          vials and start turning ANIMALS loose from their cages, as the
          scientists try in vain to op them.

          BRAIN` NLIN (CONT.)
           .for example, at fellow over
           near the, I believ n ' + a common
          bat of the order -- the
          only mammals, I mig add, capable
          of true flight...
          Indeed, a GREMLIN is approaching cage of the BAT who's being
          40 desensitized to light for messenge ing purposes. The Gremlin
          grabs a collecting VIAL connected by surgical tubing to the
          bat's body. The Gremlin swallows the vial, then stands
          watching, surprised, as his hands become WEBBED, like bat wings.
          While this: is happening, the Brain Gremlin walks over to the Bat
          Gremlin.

          BRAIN GREMLIN
          Nibs:: Brings ! Might I have a brief
          word' with you?
          The= t QrenLin:looks curiously at him.

           BRAIN GREMLIN (CONT.)
          My friend, you have...potential. I
          want to help you be all that you
          can be...may I?
          As he continues talking, he plucks the intravenous tube from the
          bat's body, and happily JAMS the needle into the. Bat Gremlin's
          skin. The bottle with the sunshine logo on it drains quickly...

          (CONTINUED)

          40

          

          

          

          
           REVISED - July 7, 1989

           105 CONTINUEDR 105

          40

          AIN GREMLIN {CONT.)
          As I'm su ou're aware, sunlight
          poses a prk4Cklks for our...ethnic
          group. We nit tan, we don't burn
          -- frankly, west become a rather
          unappetizing a of photochemical
          leftover. Thus, is
          formula...specia y designed for
          those of the noctu6a
          persuasion...to mak right light
          no problem whatever. That will be
          of crucial usefulness where you'll
          be going...

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

          BRAIN GREMLIN (CONT.)
          You have wings, my friend. Flap
          them.
          The Bat Gremlin does -- and TAKES OFF, soaring near the ceiling
          as the twin scientists chase. him.

          LEW I S AND MARTIN
          Down! Down!

          BRAIN GREMLIN
          (to Bat Gremlin)
          To the window, my friend! A world
          of possibilities opens itself to
          you! Throw off the old
          constraints...
          The Bat Gremlin wings toward one of the polarized glass
          windows...

          BRAIN GREMLIN (CONT.)
          There it is...the Apple...the city
          so nice they named it twice...
          check it out one time -- won't you?
          .and SMASHES THROUGH IT, leaving a jagged bat silhouette in
          the glass behind him. The other Gremlins shrink from the
          invading rays of SUNLIGHT, but the Bat Gremlin flies free...

          106 EXT. BUILDING - THE SKY 106.'

           .soaring into the SKY above New York.

          0 CUT TO:

          

          

          

          

           REVISED 3/31 /89

          73A.

          0

          107 EXT. NEW YORK - PIGEON ON STATUE


           107
           A PIGEON perches on a stone statue with which pigeons have been
           well acquainted. Sunning himself, he's surprised as --
           -- PLOP! -- a glob of GREEN GOO hits him on the head.

           CUT TO:

          108 OMIT

           108 

          109 OMIT

          109

          

          

          

          

           REVISE 3/31/89

           74.

          0

           110 OMIT 110 
           I 1 i OMIT

           112 OMIT

           113 INT. GRANDPA FRED'S SET

          The threadbare horror host is taping again. He blows some prop
          DUST off a reel of film.

          (CONTINUED)

          0

          

          

          

          

          75.

          13 CONTINUED: 1 13

          40-

          GRANDPA FRED
          .tonight we've got a classic
          horror movie, from Grandpa Fred's
          special dungeon --
          Fred is interrupted by a MOAN -- not the normal weak moan on
          the tape, but a genuinely scary GREMLIN moan.
          He turns around, and sees a grinning GREMLIN emerge from behind
          the prop tombstone. As Fred heads back there, two other
          GREMLINS join the first one, and the three of them watch him
          intently.

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

           GRANDPA FRED
          Uh.. .I don't...
          One of the Gremlins takes the reel of film from Fred, unreels
          a little from the loose end and holds it up. A second Gremlin
          looks at a frame -- mimes terrified shock, then CLUTCHES his
          chest and falls back onto the floor. The of e%.Gremlins LAUGH.

          B

           GRANDPA FRED (CONT.)

           NO
          Uh -- that ' s right, it ' s real '
          scary --
           The other two Gremlins put their f alongside Fred's and make
          scary snarls. They like it here

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

          GRANDPA FRED
          Uh -- Grandpa Fred and his Friends
          have something horrible in store
          for you tonight...
           The Gremlins nod in gleeful agreement.

           CUT TO:

          114 INT. LOBBY 1 14


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

          (CONTINUED)

          

          

          

          
           REVISED - May 31, 1989

           76.

          114 CONTINUEDS 114

          40 NEWSCASTER
          .of major mechanical problems
          today at the Clamp Centre office i
          building. Reached by Hotline News,
          a spokesman for developer Daniel
          Clamp says there's nothing to worry
          about, that these are just the
          normal "glitches" that a new
          building goes through in the first
          few months. Turning to sports...

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

           CUSTOMER 4
           My broker a ,g s the strongest things
           in the ecb i f ght now are
           cigarette' a np4s magazines.

          CUSTOM
          Really. IRY00 1-1

           CUSTOMER 4
           Of course, he's been in jail for a
           while now...
          Customer 4 reaches under the salad bar's sneeze-guard with the
           plastic tongs to pull a clump of lettuce from the bin -- and is
          horrified to discover that he is holding an ALL-VEGETABLE MUTANT
          GREMLIN by the ear. This horribly smiling thing has RADISHES
          for eyes, CORN-row hair, CAULIFLOWER ears, STRINGBEAN lips and -
          - as it opens its mouth -- a darting WAX-PEPPER TONGUE.
          As other customers recoil, horrified, Customer 4 tries to drop
          the Vege-Gremlin, but, baring its sharp ARTICHOKE TEETH, it
          reaches out with CARROT fingers to grab his shirt and pull his
          THROUGH the sneeze guard.

          CUT TO:

          116 OMIT 116

          116AA INT. CLAMP CABLE STUDIOS


          116AA
          In a Clamp Cable TV studio, LEONARD MALTIN is taping an "At the
          Movies"-type show called "THE MOVIE POLICE."

          LEONARD MALTIN
          And now for our videocassette
          consumer watch --
          He gingerly holds up a videocassette of the first Gr,gmlins movie
          as if it is a long-dead fish.

          (CONTINUED)

          

          

          

          
           REVISED May 31, 1989

          76A.

          116AA CONTINUED( 116AA

          40

          LEONARD MALTIN (CONT.)
          Here's one that's just been re-
          released on video, and if you're
          thinking of renting it, I can think
          of a lot of better things to do
          with three dollars...
          Leonard is unaware of the REAL GREMLINS that have snuck into the
          studio and are creeping up on him from behind ---

          LEONARD MALTIN 1 CONT.1
          .such as burning them. In fact,
          burning this movie wouldn't be a
          bad --
          The Gremlins ATTACK, savagely clawing at Leonard, who quickly
          goes down out of view -- except for his flailing hands.

           NARD MALTIN (CONT.)
          Wait ! tea'!'' as kidding'. Look --
          two thuuLbs uI3 HHHHHHH !

          CUT TO:
          166A INT. LOBBY - ANGLE -STOCK BROi{ERAï¿½ 116A

          48
          In the Clamp Centre lobby's small STOCK BROKERAGE office, a
          BROKER in a "power tie" is working his phones when --

          BROKER

          AGGGHHHH'.
          -- he finds a GREMLIN on his desk, staring at him.

          BROKER (CONT.)
          (into phone)
          What? Nothing. Think about those
          bonds. 'Bye.
          (hangs up)-
          The Gremlin points an accusing claw at the broker.

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

          GREMLINS
          (variously, on phones)
          Buy! Sell! Sell! Buy! Sell!
          SPOT the Brain Hormone Gremlin, kicked back in a broker's chair,
          talking on a phone.

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

          76B.

          116A CONTINUED: 116A

          E

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

          117 ANGLE - LOBBY DOORS 117
           PEOPLE who've seen the invading Gremlins start fleeing through
           the front doors.

          118 INT. STAIRWELL 118

           Kate, bruised, haggard, (JVsplattered with Gremlin blood, makes
           it upstairs to a stairwe or, and opens it ---

          

          

          

          
           REVISED - May 31, 1989

          77,

          0 119 INT. LOBBY 119

          -- to find a scene of building MAYHEM in the lobby. As
          panicking PEOPLE try to flee the swarming Gremlins, CAMERA
          surveys the carnage from Kate's POV:
          GREMLINS at the frozen yogurt stand shoot streams of WHIPPED
          CREAM at fleeing WORKERS...
          A BARTENDER, his body covered with Gremlins, falls to the floor,
          trying to shake them loose...
          At the salad bar, the ALL-VEGETABLE GREMLIN terrifies fleeing
          people with his freakish face.
          A WOMAN SCREAMS AND DUCKS as a GREMLI) SWINGS TOWARD HER on a
          sparking electric cable torn from the ceiling...
          PEOPLE desperately scramble toward the exit doors, but the lobby
          is becoming an obstacle course of rubble as the Gremlins trash
          it.
          Kate takes momentary cover behind a pillar, gathering her nerve
          -- then MAKES A BREAK a ss the lobby, running for a FIRE ALARM
           on the back wall. As a 4 ches it, a raincoat --wearing FLASHER
           GREMLIN blocks her way, a l'i#ks open his coat to flaunt his
          0 reptilian underbelly.
           Kate KICKS the flasher Gremlin out%ofbf 6k way, and pulls the
          ALARM. In the Clamp Centre, of coot the fire alarm isn't
          some old-fashioned bell or siren. Instead, melodramatic MUSIC
          builds under a documentary-narrator VOICE --

          FIRE VOICE (V.0.)
          Fire! The untamed element...
          oldest of man's mysteries...

          12C INT. AN OFFICE CORRIDOR 120

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

          FIRE VOICE (V.0.)
          Giver of warmth, destroyer of
          forests ... right now, this bu; i d ing
          is on fire...

          WORKER
          What?

          FIRE VOICE $V.O.)
          Yes, the building is on fire.
          Leave the building... enact the age-
          old drama of self- preservation...

          (CONTINUED)

          

          

          

          

          78.

           > O CONTINUED: 120

          0 Y

          WORKER 2
          Fire! Fire!
          PEOPLE from offices'start beating it toward the stairwell exit.

          CUT TO:

          12 1 EXT. CATHEDRAL - DAY 12 1

          Mr. and Mrs. Futterman, dressed for sightseeing, arrive at the
          handsome old CATHEDRAL OF SAINT EVA MARIE. In b.g., SPOT a
          CONSTRUCTION CREW repairing the sidewalk in front of the
          cathedral.

          SHEILA
          Oh, Murray -- what a beautiful
          building!

           MR. FUTTERMAN
           Beautiful? Looks like somethin'
           out of the dark ages.
           True, Saint Eva Marie's architecture is on the vy side ...as
           CAMERA notices the ornate windows and the cor 'te topped with
          spooky stone GARGOYLES -- (ï¿½
           Wait a minute. That one there...that's ï¿½' a`rgoyle...

           MR. FUTTERMAN (C _Qï¿½ï¿½ )

          HEY''

           SHEILA
           What is it, Murray?
          It's the FLYING BAT-GREMLIN -- and it leaves its perch to fly

          STRAIGHT AT HIM --

           MR. FUTTERMAN
          Hey'. Help!
           He flails at the Gremlin, batting it away from him, but it keeps
          coming back -- as Sheila stands back, too terrified to move --

          SHEILA
          Murray, what is it?

          MR. FUTTERMAN
          It's them!
          (to pedestrians)
          Help me! Somebody help me!
          But the NEW YORKERS on the sidewalk continue past him, oblivious. Pjr.

          (CONTINUED)

          

          

          

          
           REVISED - July 7, 1989

           79.

          E 121 CONTINUED: 121
           Futterman grapples with the Greml trying to get hold of Its slashing claws.
          His face is CUT -- and his wrist --. wt he grabs hold of one claw, then the
          other, and manages to FLING the struggling Gremlin away from him, so that
          it tumbles, off balance, into the constr ion crew's churning CEMENT MIXER --
          As Sheila rushes to Murray's side, the F) tng Gremlin emerges from the
          cement mixer's thick whirlpool, coated with ray cement. Murray braces for
          another attack -- but the cement weighs th emlin down so much that all
          it can do is flap its wings slowly, lofting pa ully toward the cathedral, as
          the cement starts HARDENING --
          -- and as the Gremlin regains his perch, the cement solidifies, so that he is
          now a Gargoyle for real -- and for good.
          Mr. Futterman catches his breath -and takes off running.

          SHEILA
          Murray -- where are you going?

          MR. FUTTERMAN
          We have to tell Billy! Come on!
          Sheila follows him.

          E

          CUT TO:

          122 INT. CORRIDOR 122

          In b.g., PEOPLE from offices are fleeing the "fire." Billy and Forster,
          hurrying toward the Systems Control Center, almost trip over a number of
          escaped LAD ANIMALS, who are fleeing down the W.
          The animals are: followed by the breathless Dr. Catheter, who is hurrying
          even faster. Dr. Catheter's mind has apparently snapped.

          DR. CATHETER
          The horror! The horror! The eakagg!

          BILLY
          What? What happened?

          DR. CATHETER
           What happened? They fought back, that"s
          what...things...stuff -
          He grabs Billy's shirt.

          DR. CATHETER (CONT.)
          I swear to God...I will never... hurt
          Is anything again... they are all part of the
          great chain of being...there are things
          that man .was not meant to splice...

          (CONTINUED)

          

          

          

          
           REVISED July 7, 1989

          80,

          0 " ?2 CONTINUED: 122

          FORSTER
          The hell is he talking about?

          BILLY
          Try and calm down -- where were
          the --
           But as Billy tries to understand Dr. Catheter --

          123 TRICK SHOT 123
           -- our FRAME starts to JITTER, a here's something wrong with the
           projector. Then the film FREEZES caught in the gate. A BURN spot
           appears, consuming the image of Bill Â°asd the others. The FRAME fills with
           WHITE LIGHT and we HEAR a FLAPPING ND, as if the reel were spinning
          uselessly in the projector.

          124 INT. OUR THEATER 124

          In the stereo surrounds, we begin to hear t.ï¿½ ï¿½OUND of O.S. GREMLIN
          LAUGHTER. Gremlin SILHOUETTES appear on a screen, making shadow
          bunnies with their claws, competing for space, hitting and shoving each
          other.

          0

          1.25 OMIT 124

          126 OUR SCREEN 126
          The FRAME is filled by a grainy black and white TITLE CARD reading "SUN

          WORSHIPER FILMS PRESENTS VOLLEYBALL HOLIDAY."

          127 INT. OUR THEATER 127

          A MOTHER shields her pre-teen DAUGHTER'S eyes from the offscreen sun
          worshipers as the rest of the audience GASPS. She drags her child from her
          seat.
          128 INT. LOflY, OUR THEATER 128
          The mother-storms out of the auditorium and accosts the beleaguered-looking

          MANAGER.

          MOTHER
          I can't believe it! This is worse than the
          first one!
          A MAN covered with film, obviously the PROJECTIONIST, staggers up to the
          manager. His clothes are in tatters.

          PROJECTIONIST
          I quitt Cali the union'. can the National
          Guard!
          A MAN who has been getting popcorn at the nearby candy counter turns and
          comes over to the group. He is STEVEN SPIELBERG.

          (CONTINUED)

          

          

          

          
           REVISED - July 17, 1989

          81.

          128 CONTINUED: 128

          SPIELBERG
          What seems to be the trouble here?

          PROJECTIONIST
          Those things! They've taken over the
          projector! They refuse to run the rest of
          the picture! They want to see Snow White
          Oral thg._yen Dwarfs!

          SPIELBERG
          Damn! I knew I should have directed this
          one myself!
          (beckons across lobby)
          Hulk...
          HULK HOGAN, in full wrestling regalia and carrying Raisinets, comes over to
          join Spielberg. Spielberg points a finger upward -- toward the projection
          booth in OUR THEATER.
          Hogan, quickly grasping the situation, addresses the Gremlins in the booth.

          HULK HOGAN
           Okay, you guys listen up! People paid

           TUM-
          0 good money to movie' When they
           go out to a theate ey c Id sodas,
          hot popcorn, and _ o m ns
          projection. booth. Do I have to %Offil TS
          there myself? Do you think the Gre ters
          can stand up to the Hulkster? Well, if I
          were you, I'd run the rest of the picture
          right now.
          (to audience)
          Sorry, folks. It won't happen again.

          129 OMIT

           129

          130 OMIT 130

          131 INT. CABLE TV CONTROL BOOTH 131

          ...and OUR FILM RESUMES, in a new setting: the Clamp Cable Network control
          booth.
          Grandpa Fred comes into the control room to find multiple MONITORS showing
          the signals of several New York TV STATIONS to a deserted room. As Fred
          watches, PAN three monitors showing NEWSPEOPLE in front of. the Clamp
          Centre Building. The scene behind the newspeople is chaos -- POLICE
          barricades, REFUGEES from the building, a CURIOUS CROWD, etc.

          S NEWSPERSON I
          ...many conflicting reports from people
          who've come out of the building...

          (CONTINUED)

          

          

          

          

           REVISED 3/15/89

          82.

          131 CONTINUED: 131

          NEWSPERSON 2
          .stories about a fire, but also
          reports of an attack by some sort
          of animals -- again, none of this
          is confirmed...

          NEWSPERSON 3
          .people who are quite
          hysterical, talking about some
          sort of "green men" --
          unfortunately, police are not
          permitting any news media into the
          building at this time, so we're
          unable to bring you first-hand
          coverage, but as soon as...
          Fred's face registers what he's thinking: this is it. His
          break. He runs out into the corridor...

          132 INT. CORRIDOR - FOLLOWING FRED LI) 132

          .where Katsuji, the camera-happtourist from Kate's tour
          group, is fleeing down the hall (om some fresh disaster.

          GRANDPA FRED
          Hey!

          40

          KATSUJI
          Yes?

          GRANDPA FRED
          Can you work a TV camera?
          Katsuji smiles proudly.

          KATSUJI
          Work a camera? I master the
          camera!

          CUT TO:

          133 INT. MARLA'S OFFICE 133

          Oblivious to the chaos in the rest of the building, Marla is
          trying to work in her darkened office, reading paste-up boards
          with a match.

          MARLA

          (MUTTERS)
          Terrific...a screaming catastrophe
          holocaust murder deadline
          emergency rush, and there's no
          E lights...

          (CONTINUED)

          

          

          

          

           REVISED 3/15 /89

          82AÂ®

          133 CONTINUED-

          133
          Angrily, she picks up the receiver of her video-phone. The
          little SCREEN fills with a CARD reading "PLEASE STAND BYm"

          MARLA (CONT,)
          Great.

          (CONTINUED)

          0

          

          

          

          

           REVISED - JUNE 22, 1989

           83.

          E

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

           CUT TO:

           134 OMIT 13

           135 OMIT 135

           135A INT. LOBBY - ENTRANCE TO TOY STORE 135A

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

           135B INT. TOY STORE 135B

           On a big MODEL TRAIN DIS phawk and a bunch of his hench-
           Gremlins are torturing Gizm 490M D ed in engineer's hats, the
           Gremlins have tied the helples.s rh to the tracks. As a
          vicious ionel bears down on Gizmo, V A%4 4 L

          CUT TO:

          136 INT. GENETICS LAB 136

          Billy and Forster follow Dr. Catheter in, to find a RIOT of
          Gremlins, BINGEING on genetic elixirs and TRASHING lab
          equipment.
          Forster is quickly waylaid by the Gremlin who drank the sex
          hormone earlier, and has become a mutant, amorous GIRL GREMLIN,
          with blonde hair and big red LIPS. She develops an instant
          crush on Forster, her HEART pounding half-out of her chest.
          The Girl Gremlin jumps up onto Forster's chest, embraces his
          neck, and moves in for a KISS.

          FORSTER
          Get it off me --
          But Dr. Catheter is rushing to a CABINET at the back of the
          lab...

          DR. CATHETER
          I've got some small assault
          weapons...

          0 (CONTINUED)

          

          

          

          
           REVISED May 10, 1989

          84.

          S 136 CONTINUED: 136
          .while Billy SEES a GREMLIN eat the LIGHTNING-BOLT VIAL that
          was injected into the rat earlier. The Gremlin shudders through
          the reaction, but seems not to change...until he spots an
          ELECTRIC SOCKET and touches his claw to it. The Gremlin
          DISAPPEARS into the socket, as if swallowed by it...

           
          .as Forster backs out of the room, the Girl Gremlin now
          hanging on fiercely to his leg...

           
          .and Dr. Catheter, in b.g., SCREAMS as he takes his arm out of

           
          the cabinet with a GREMLIN attached by the teeth. Trying to
           shake it off, catheter goes TRIPPING through the wrecked lab, 
           CRASHING into equipment. Now a number of other GREMLINS see the
           scientist on the defensive, and pile onto his, sending him 
          stumbling to the floor... f x) 

          ï¿½
          .and Billy's attention is Qught by MOHAWK, who's zeroing in
          on the cage containing the LVE-INCH SPIDER that Billy saw
          earlier. A surgical tube rtm%s from the hairy spider's body to a
          small glass VIAL with a spr logo on it. Billy moves to stop
           Mohawk --- ï¿½ ï¿½ .}}}}}
           -- but now the Gremlin w hrftd isappeared into the electric outlet
           EMERGES FROM ANOTHER SOC , across the room. He is different
          40 now -- seemingly made of e, crackling ELECTRICITY. He flies
           close to Billy, forcing to back away, so that Mohawk can
          grab the vial attached to the spider and escape from the lab.
          Finished with Billy, the ELECTRIC GREMLIN wafts himself onto a
          table full of scientific MACHINERY. He touches his glowing claw
          to a cyclotron. It spins crazily, then SHORTS OUT in a shower
          of SPARKS and SMOKE...
          .while, on the floor below, the Gremlin mob finishes off Dr.
          Catheter.

          CUT TO:

          137 INT. CLAMP'S OFFICE 137

           The tycoon is talking on the phone --

          CLAMP
          .just tell then everything's
          under control, we've just had a few
          Clamp stops as he SEES a wall monitor with a ''CLAMP NEWS
          NETWORK" sign under it. Grandpa Fred stands amid the LOBBY
          CARNAGE, covered by Katsuji's slightly jerky hand-held CAMERA
          0 Clamp, whitening, flicks the SOUND on.

          (CONTINUES)

          

          

          

          
           REVISED May 10, 1989

           84A.

          1 137 CONTINUED: 137

           GRANDPA FRED (ON TV)
          .this invasion by strange
          creatures, perhaps from another
          galaxy...or a dimensional warp...

          CLAMP
          Dracula...?
          As Fred speaks, Katsuji's CAMERA catches a fast GLIMPSE of
          GREMLINS in kids' clothes frolicking past in b.g. It's hard for
          Fred to shake his horror-movie training --

          (CONTINUED)

          

          0

          

          

          

          
           REVISED - May 31, 1989

           85.

          0

           137 CONTINUED: 137

           GRANDPA FRED (ON TV)
           .and, just a moment ago, in a
           spine-t. 1 ing, blood-chilling
           incident --
           (catches himself --
          turns newsy)
          -- uh, they continue to plague this
          troubled structure throughout what
          has been a turbulent and tumultuous
          afternoon...

          CLAMP
          Oh, shit.

          CUT TO:

          138 EXT. CLAMP CENTRE BUILDING 138

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

          NEWSPERSON 2
          Look, just let us in there. We'll
          take the responsibility --

          COP
          Forget it, pal. Most of the people
          are out of there ow, anyway.

          NEWSPE ?.0
          Then what's in ther
          been in Beirut --

          COP
          Yeah? I bet they miss you there.
          (to crowd)
          Let's move back, folks..,

          CUT TO:

          139 INT. XEROX ROOM 139

          In the same Xerox room where he was tormented with the copying
          machine and the rubber cement, Gizmo is undergoing his worst
          torture yet at the hands of George and Mohawk, who have lit
          CENSERS and put on Inquisition-style ROBES for the occasion.
          The defenseless Gizmo is TIED with heavy twine to the top of a
          paper-cutting TABLE. Above him, George hangs by one arm from a
          high SHELF. In his other claw, George holds a PENDULUM rigged
          up from a T-square, a protractor, rubber bands...

          (CONTINUED)

          

          

          

          
           REVISED - may 31, 1989

          M.

          139 CONTINUED: 139
          .and a gleaming-sharp EX-ACTO KNIFE. As George swings the
          pendulum, the knife blade moves closer to Gizmo's chest, a
          fraction of an inch each time.
          Pacing back and forth on the floor below, Mohawk CACKLES at
          Gizmo's dilemma. Like a villain swilling whiskey, he gulps from
          the vial he stole in the genetics lab, the one with the spider
          logo on it.
          The blade moves closer-grazing Gizmo's fur...but as it
          SLICES the topmost fibers of the twine that holds him
          down --
           -- a CHANGE comes over Gizmo's expression. This is one Mogwai
           who's had enough. He sets his jaw in angry determination, and
           BURSTS the frayed twine, freeing one arm -- then another --
           George grabs the T-square like a scythe, and tries to hack at
          Gizmo with the knife blade --
          -- but Gizmo GRABS the pendulum and PULLS down hard, so that
          George TUMBLES from his shelf --

          0
          -- and LANDS ON MOHAWK. Before the Gremlins can get to their
          feet, Gizmo scrambles down from the table --

          140 INT. HALLWAY


           140
           -- and runs into the corrido g Mohawk's grabbing CLAW,
           making for freedom.

           6

           T TO:

          141 OMIT 141

          142 EXT. CLAMP CENTRE BUILDING 142

          Two FIRE ENGINES have pulled up outside the building. As
          FIREMEN connect their hoses to hydrants, COPS push the CROWD
          back to clear a path to the door for the firemen.
          As the breathless FUTTERMANS arrive at the building, they SEE a
          TV NEWSPERSON interviewing the nearly hysterical Microwave Marge
          beside the door.

          (CONTINUED)

          

          

          

          
           REVISED May 3, 1989

          8'7 .

          0

          141 CONTINUED: 141
          Forster stumbles backward, but the Electric Gremlin jumps at
          him, and at its touch, Forster's body too is covered by
          electricity. He WRITHES in the grasp of the power, and finally
          throws the Gremlin off.
          As the Electric Gremlin disappears into a socket, Forster REELS
          backward, dazed, stumbling. His hair is on end, his eyebrows
          charred, and he's knocking over furniture. He's alive -- he
          just doesn't know what planet he's on.

          CUT TO:
          142 EXT. CLAMP PLAZA BUILDING 1s2
          Two FIRE ENGINES have pulled up outside the building. As
          FIREMEN connect their hoses to hydrants, COPS push the CROWD
          back to clear a path to the door for the firemen.
          As the breathless FUTTERMANS arrive at the building, they SEE a
          TV NEWSPERSON interviewing the nearly hysterical Microwave Marge
          beside the door.

          MARGE
          .and, and then these horrible
          green things came into the kitchen,
          and they, they put all kinds of
          metal utensils and cookingware into
          the units, the ovens, which you
          should never, it's not like your
          conventional oven, it produces a, a
          reaction, and it explode!d, and the
          horrible things were, they were
          laughing, and --
          Hearing this, Mr. Futterman pushes his way to the entrance and
          blocks the firemen's path.
          MR. FUTTERMAN q,
          Hold it! Wait! No water!

          FIREMAN
          What?

          (CONTINUED)

          

          

          

          
           REVISED - June 8, 1989

          88

          142 CONTINUED: 142

           MR. FUTTERMAN
           It's not fire in there -- it's
           gremlins. If you get water on 'em,
           they just mu1 in1v.
          (to cop)
          You gotta let me in there. I know
          how to deal with it.

          SHEILA
          Murray --
          The cop blocks Mr. Futterman's way.

          COP
           Uh, sure, pal -- look, why don't
           you calm don a little? Just --

           TTERMAN
           Don't talk t'&Jre Uke I'm crazy --
           (realizir;S mself )
           I was ner craz ' fine.

           CUT TO:

          143 OMIT 143

          144 INT. CLAMP'S OFFICE 144

          Billy comes into Clamp's office to find the tycoon pacing
          nervously.

          CLAMP
          Bill -- how's it going out there?
          Any progress? Just tell me there's
          progress.

          (CONTINUED)

          

          

          

          

          89.

          4 CONTINUED: 144

          BILLY
          I'm afraid it's pretty bad right
          now, sir --

          CLAMP
          Bad? It's horrible. There are
          people in this building. Real
          lives. You have any idea what
          kind of lawsuits we're looking
          at here?

          BILLY
          Yes sir. We'll have to
          But as he speaks, the ELECTRIC GREMLIN emerges from a wall
          socket behind Clamp...

          BILLY (CONT.)
          Watch out!

          P  ï¿½
          Clamp turns to SEE the Electric Gremlin GLIDE swims y through
          the air, coming straight at him --

          CLAMP
          Help --
          Billy grabs the RECEIVER of a VIDEO-PHONE end steps between
          Clamp and the Electric Gremlin. At the last possible instant,
          he holds the receiver up in the Electric Gremlin's path. The
          glowing beast touches the mouthpiece...
          .DISAPPEARS inside...and shows up an instant later on the
          video-phone's SCREEN -- trapped, writhing in pain, as RECORDED
          VOICES bounce around it and issue from the phone's SPEAKER.

          RECORDED VOICES (V.O.)

          (VARIOUSLY)
          If you want to make a call, please
          hang up and try again...We're
          sorry -- all circuits are busy
          now.,.

          BILLY
          He's in the phone system...on
          hold. That should take care of
          him for a while.

          RECORDED VOICE (V.0.)
          While waiting, we invite you to
          listen to a brief interlude of
          recorded music.

          (CONTINUED)

          

          

          

          

          90.

          4 CONTINUED: ( 2) 144
          The MUSIC begins: a cheery Muzak rendition of "Raindrops Keep
          Wallin' on My Head." The Electric Gremlin WRITHES more
          fiercely, his pain doubled.

          CLAMP
          Uh, Bill -- thanks.

           BILLY
           Sure. Mister Clamp, we have to
           stop these things from leaving
           the building. If they get out,
           that's it for New York -- at least
          New York.
          Clamp nods gravely, and takes a VIDEOCASSETTE from a drawer.

          CLAMP
          I thought this would never run,
          Bill -- but maybe it will.

          BILLY
          What is it?

          CLAMP
           The sign-off. The b sign-off

          0
           He puts the tape into a VCR head under-,bis wall monitors.
           Several MONITORS fill with a MONTAGE t( '`IMAGES -- "beauty shots"
           of animals, sunsets, beaches. , '

           ANNOUNCER (V.O. )
          Because of the end of
          civilization, the Clamp Cable
          Network now leaves the air. We
          hope you have enjoyed our
          programming -- but, more
          important, we hope you have
          enjoyed-life.
          As the montage continues, a Tiffany-type POP SINGER sings a
          sprightly version of an old hymn:

          SINGER (V.O.)
          Yet in my dreams I be
          Nearer my God to thee...
          Clamp, watching, wipes away a tear.

          CLAMP
          It's beautiful, isn't it?

          (CONTINUED)

          

          

          

          
           REVZSED April 20, 1989

          91.

          144 CONTINUED: ( 33 144

          0

          BILLY
          Yes -- listen, sir, can you set the
          clocks in the building ahead three
          hours? All of them?

          CLAMP
          Bill, there's nothing we can't do
          in this building. Why?

          BILLY
          Sunlight kills these things.
          That's why they're still in here.
          But when it's sundown -- or when
          they think it is -- they'll all get
          together in one place, so they can
          go out. They'll all be in the
          lobby.

          CLAMP
           Right. That's the only way out --
           the front doors.
           He takes out a pocket computer-scheduler, c-- pushes a few
           buttons. `ï¿½
          0 CLAMP (CONg. 0 0
           The sun sets at -

          (READS)
          -- seven-twenty-five.

          BILLY
          So around four-twenty -- just
          before they try to leave -- that's
          when we can make our move.

          CLAMP
          I like that. They're off balance,
          we've got information they don't --
          that's when you can really take
          someone out. What j. our move?

          BILLY
          It's just an idea...you'll have to
          set it up. From outside the
          building, if you can get out there.

          CLAMP
          Yeah I've got my own entrance.
          You should get out too.

          0 (CONTINUED)

          

          

          

          
           REVISED May 10, 198

          92.

          0 144 CONTINUED: 144

          BILLY
          There's some things I still have to
          take care of in here. Things
          and. .people.

          CLAMP
          This idea of yours --

          BILLY
          Yeah. It's going to be tricky.
          But if it works -- you could save
          the city.

          CLAMP
          Save the city. "Developer Saves
          City." Good. Shoot.

          LX)

          CUT TO:

          144AA OMIT C) 144AA

          144A INT. CORRIDOR - WITH MARLA 144A

           Walking down a din corridor% Marla calls out indignantly --

          E

           MARLA
           Isn't anybody around here?
           Come on...I nee light in
          my --
          Suddenly, Marla is startled by a BOOMING AMPLIFIED VOICE -- the
          subliminal tapes from the Systems Control Center, jacked up to
          more-than-audible volume.

          MALE VOICE (V.O.)
          -- not stealing office supplies
          works for me, and the way I live
          today...

          MARLA
          What?

          (CONTINUED)

          0

          

          

          

          
           REVISED May 10, 1989

           93.

          40

           147 CONTINUED: 147

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

          4

          NE'SPERSON 2
          Sir, is the building on fire?

          CLAMP
          No, no --
          (signals firemen)
          That's a false alarm. We've just
          got some problems --

          NEWSPERSON 3
          Problems? You've got a guy in a
          Dracula costume in there,
          broadcasting stuff with little
          green monsters. Are you trying to
          panic New York City?
           CLAMP Ln
           Absolutely not. 1.10

          0 NEWSPERSON 2 C3
           Then the monsters are re

           D C

          CLAMP

          41
          I didn't say that...
          As the media mob follows Clamp ac s the street, Mr. Futterman
          pushes the other way, toward Clam sidewalk elevator. A
          couple of people notice --

          SHEILA
          Murray!
          -- but Mr. Futterman pushes the button, and he's below street
          level before anyone can catch bin.

          CUT TO.

          147A INT. SYSTEMS CONTROL CENTER 147A

          In the wrecked control center, Lenny browses the console,
          looking for buttons that still work, and jamming on them at
          random. He hits a few sliders in a bank marked CLIMATE

          , CONTROL,

          CUT TO :

          148 INT. BUILDING - CORRIDOR


          148
          .and as Billy moves quickly down a corridor, searching.

          (CONTINUED)

          

          

          

          
           REVISED May 10, 1989

          9 3A.

          148 CONTINUEDT 148

          40

          BILLY
          Kate...?
          .a WIND STORM comes out of the VENTS. PAPERS from nearby
          offices swirl into the corridor. As Billy bats the flying memos
          away and struggles against the wind, he hears a NOISE in a
          nearby office, and goes inside to investigate.

          149 INT. A DENTIST'S OFFICE 149

          A dentist's reception area, full of cheery pro-flossing posters.
          CAMERA follows Billy's cautiously moving SHADOW on the wall --
          where it's suddenly joined by the SHADOW OF A GREMLIN (DAFFY).
          Seen in shadows, the Gremlin WHACKS Billy over the head with a
          FRYING PAN. As Billy's shadow swoons to the floor,

          CUT TO:

          150 OMIT 150

          40

          0

          

          

          

          
           REVISED April 2.3, 1989

          94.

          0

          150A INT. AN OFFICE 150A

          A hastily abandoned office, somewhere in the building. Gizmo is
          on the desktop, rummaging in the open top drawer. With a quiet,
          stern determination we haven't seen in him before, he gathers up
          a few things: a rubber band.,,a wooden match.. .and a paper clip,
          which he starts to straighten...
          As Gizmo works, PAN to a digital DESK CLOCK. Its numbers flash
          ahead three hours.

          CUT TO:

          150B INT. LOBBY/BAR 150B

          The big lobby CLOCK is also moving ahead three hours. PAN DOWN
          to the BAR, where a number of Gremlins are drinking, and
          enjoying the broadcast on the TV SET behind the bar.
          The TV screen shows Grandpa Fred, in a cable TV studio with a
          Donahue or GeraidQ-type talk show set-up, getting ready to
          interview the Brain Hormone Gremlin.

           GRANDPA FRED (ON TV 5
           ("ï¿½ b
           . in an even more bizar t
          0 that one of the ores
           " creatures," is that I u ate?
          The Brain Gremlin nods.

          151 INT. CABLE TV STUDIO (CONTINUOUS) 151

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

          GRANDPA FRED
          -- who is able to talk, and he's
          going to talk with us now.
          (to Brain Gremlin)
          I think the main question people
          have is -- what is it you want?
          The Brain Gremlin answers in his usual cultured tones, sounding
          lucid.

          BRAIN GREMLIN
          Fred, what we want is, I think,
          what everyone wants, and what you
          and your viewers have --
          civilization,

          

          

          

          
           REVISED - May 31, 1989

          954

          E

          151A INT. LOBBY BAR - GREMLINS WATCHING AS BEFORE 151A

          The drinking Gremlins nod agreement, pound beer mugs on the bar for
          emphasis.

          BRAIN GREMLIN (ON TV)
          The niceties, Fred. The fine points.
          Diplomacy. Compassion. Standards,
          manners, tradition. That's what we're
          reaching toward. Oh, we may stumble
          along the way, but -- civilization, yes.
          The Geneva Convention. Chamber music.
          Susan Sontag. Everything your society
          has worked so hard to accomplish over
          the centuiries -- that's what we aspire to.
          We want to be civilized. I mean, you take
          a look at this fellow here...
          On TV, a DOPEY-LOOKING GREMLIN wanders into FRAME, grinning stupidly,
          waving at Fred's O.S. CAMERA. The Brain Gremlin reaches out of FRAME,
          comes back with a GUN, and SHOOTS the dopey Gremlin. The bar Gremlins
          love it.

          BRAIN GREMLIN (CONT.) (ON TV)
          Now, was that civilized? No. Clearly not.
          i Fun, but in no sense civilized...
          On TV, Fred starts backing nervously away from the armed Gremlin.

          GRANDPA FRED (ON TV)
          Well ...uh, of course that could be argued
          different ways...
          As the bar Gremlins live it up 'VA E PANS to the front doors of the

          IR%
          building. Unnoticed by the Grem in SCENE outside the front doors of
          the building has changed. it now apa be RED SQUARE AT NIGHT, in
          the 1940s.

          151B EXT. BUILDING (CONTINUOUS) 151B

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

          CLAMP

          (SUPERVISING)
          A little to the left...careful, careful...
          A FIRE CHIEF climbs down from an idled hook-and-ladder and comes over to
          Clamp.

          FIRE CHIEF
          What's this thing for?

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

           96.
           151B CONTINUEDs 151B

          E CLAMP
          These things can only come out when it's
          dark. We've put all the clocks in the
          building ahead three hours. When they
          think it's sunset...and they see what a
          nice "night" it is outside... they'll all be in
          the lobby, getting ready to come out.
          When they do, we drop this
          backdrop ...and let the sunlight fry 'em.

          FIRE CHIEF
          (indicates backdrop)
          Where'd you find this thing?

          CLAMP
          It's from a musical I was backing on
          Broadway. The one about Stalin. It
          closed last week.

          FIRE CHIEF
          Oh, I saw that. Boy, that guy could
          d c e.

          1510 INT. LOBBY 151C


           ï¿½ ( ( ï¿½
           The bar Gremlins are still watching T c hihï¿½remlin is crazily
           filibustering.

           011

          BRAINGREMLIN (ON TV)
          We want the essentials, Fred. Dinettes.
          Bar stools. Complete bedroom groups.
          Convenient credit, even if we've been
          turned down in the past. Fred, am I
          losing you here...?

          CUT TO:

          152 INT. DENTIST'S OFFICE 152

          Billy is blinking himself groggily to consciousness, seeing the room through
          the BLUR of concussion. There's an unpleasant, whining NOISE --
          -- as Billy SEES Daffy, now in DENTIST'S WHITES, revving up the high-speed
          drill and moving in on him. Daffy's FACE MASK doesn't hide his goofy, eager

          EYES --
          Billy flails desperately, but it just leaves his mouth unprotected. Daffy
          wedges a CLAW in, moves in with the drill ---

          MR. FUTTERMA 4
          Billy!

          S (CONTINUED)

          

          

          

          
           REVISED May 17, 1989

          97-

          E 152 CONTINUED. 152
          Just before the drill can make contact, Billy and Daffy turn to
          SEE Mr. Futterman coming quickly toward them from the doorway.
          Daffy turns on him with the drill, aiming for his chest --
          -- but Mr. Futterman reaches overhead, turns on the bright
          Castle LAMP, and aims it at Daffy -- who SHRIEKS, drops the
          drill, and runs from the dentist's office.

          MR. FUTTERMAN
          You okay, Billy?

          BILLY
          Yeah. Mr. Futterman, what are you
          doing here?

          MR. FUTTERMAN
          I knew you'd need help, kid. I
          wasn't gonna let you down. What's
          next?

          ILLY
           I was tr o find Kate.

           S
           FU un MAN
          0 Right. Let's m out.
           He leads Billy into the corridorU

           -5

           CUT TO:

           153 INT. CORRIDOR - MARLA IN SPIDER WEB 15-

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

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

          MARLA
          Thank God you're here...

          KATE
          I could just leave you there. It
          seems to be good for your attitude.

          MARLA
          Look -- about Billy. Nothing
          happened. Really. I asked him to
          go out to dinner with me, but it
          was just business.
          40 Kate shakes her head, impatient.

          (CONTINUED)

          

          

          

          
           REVISED May 17, 1989

           98.

          153 CONTINUED% 153

          MARLA (CONT.)
          Okay. Wait. I'm going to be
          honest with you. It'll be a
          cathartic openness thing. It
          wasn't business. I tried to get
          something going with him. But I
          couldn't get to first base. Does
          that help?

          KATE
          It'll do.
          She reaches into her purse, and pulls out a Swiss Army KNIFE.
          But as she starts cutting Marla down, Marla SEES something else,
           and SCREAMS --

          1S3A MARLA'S POV

          153
          The hideous CREATURE that once was Mohawk, coming toward them.
          Mohawk has the same head and torso he did before -- but his
          limbs are now EIGHT FAIRY SPIDER LEGS, stretching as wide and
          high as the corrido

          CUT TO:

          

          154 INT. CORRIDOR - BILLY AND M TTERMAN 1


           00 5L
           They HEAR Kate's SCREAM O.S., an in the direction it came
           from. 615h

           CUT TO:

          155 INT. CORRIDOR - KATE AND MARLA AS BEFORE 15=

           Mohawk moves toward the women with a spider's predatory
           nimbleness, quickly closing the distance. Kate and Marla run
           as fast as they can --
           -- too fast to notice that the corridor before them is strung
           with more WEBS. The sticky filament catches them -- and, as
           they writhe desperately, Mohawk, smiling, clambers toward them
           for the kill -- when, suddenly --
          A VENT in the ceiling clatters open, and GIZMO drops from it,
          falling to a display case on the wall between the spider and its
          prey. He wears a black HEADBAND, and carries a homemade WEAPON
          -- a BOW made from the paper clip and rubber band, and a wooden
          MATCH as an arrow.

          0 (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          99,

          40 55 CONTINUEDT 155
          Gizmo SEES his enemy menacing Kate and Marla. Grim
          determination shows on his face, as he HEARS in his mind:

          SYLVESTER STALLONE (V.0. )
          To survive a war, you've got to
          become war.
          Holding the drawn bow and arrow in front of him, he PIVOTS on
          the display case, so that the match SCRATCHES against the wall,
          and CATCHES FIRE --
          -- and, as Billy and Mr. Futterman round the corner, they SEE
          Gizmo loose the arrow --
          -- which catches Spider-Mohawk in mid-body. The FLAMES spread
          over his body and to his hairy legs as he writhes, tumbles over,
          and DIES.
          Billy rushes to cut the women free with a pocket knife, as Mr.
          Futterman looks at Gizmo, up on the display case.

          MR. FUTTERMAN
          What's that?

          BILLY
          0 That's Gizmo, Mister Fu tprtt
          He's on our side.
          Mr. Futterman gives Gizmo a hand down from the display case.

          MR. FUTTERMAN
          (to Gizmo)
          Uh...thanks.
          Gizmo responds with a quick, Stallone-style nod, as Kate and
          Billy embrace.

          KATE
          Billy --
          (indicates Gizmo)
          What happened to him?

          BILLY
          I guess they -- pushed him too far.

          BILLY
          Thank God you're okay.

          KATE
          I am now.

           

          MARLA

           
          Could somebody tell me what the

           
          1I is going on here?

          (CONTINUED)

          

          

          

          
           REVISED April 20, 198

          99A.

          0 155 CONTINUETH (2) 155

          BILLY
          Well -- Gizmo got wet, and then the
          Mogwais ate after midnight, and
          then some of the Gremlins must have
          mutated, from the genetic material.

          MARLA
           (thinks: huh?)
          Oh.

          BILLY
          And if these things get out of here
          now --

          MR. FUTTERMAN
          We'll stop 'em, Billy. I'll tell
          you something -- ever since these
          guys attacked us, back in Kingston
          Fails, I've been scared it would
          happen again. But now that it
          happened...I'm_not seared.

          BILLY
          How come?

          E

          (CONTINUED)

          M0N'00065

          E

          

          

          

          
           Revised - 3/6/89

          100.
          155 C 7Ti t'ED: (2)

          155

          MR. FUTTERMAN

          (SHRUGS)
          Screwy, huh? But you know, Billy
          -- the most important part of
          "American" is those last four
          letters: "I Can." Washington
          didn't give up...Lincoln didn't
          give up --

          KATE
          (suddenly, sharply)
          Please --

          MR. FUTTERMAN
          What's wrong?

          KATE
          I'm sorry, it's -- Lincoln's
          birthday. Something terrible
          happened on Lincoln's birthday one
          year, and ever since then...

          BILLY
          I don't think we have tliï¿½e Kate.
          Let's no. `ï¿½,ï¿½

          CUT TO:

          156 INT. LOBBY


          156
          True to Billy's predicti.NGREMLINS are converging in the 
          lobby -- George, Lenny,,-taffy, and a host of others. Their
          mood is excited, anticipatory. SPOT tourist paraphernalia on
          several Gremlins -- CAMERAS, and a Fodor GUIDEBOOK.or two.
          The Brain Hormone Gremlin, standing nearest the front doors,
          addresses his charges.

          BRAIN GREMLIN
          Is everybody here?
          A CHEER of assent from the Gremlins.

          BRAIN GREMLIN (CONT.)
          All right then...
          The Brain Gremlin holds a SPORTSCOAT over one shoulder, Frank
          Sinatra--style. As he nears the doors, he starts SINGING "New
          York, New York," with the GREMLINS SINGING the backup horn part
          behind himâ
          (C ONTINuED)

          

          

          

          
           REVISED stay 3, 1989

           101.

           156 CONTINUED: 156

          40

           BRAIN GREMLIN GREMLINS
           Start spreading the news, Dat dat da-da-dat,
           I'm leaving today... Dat dat da-da-dat,
           I want to be a part of it, Dat dat da-da-dat,
           New York, New York... Dat dat da-da-dat...
          As the Gremlins swing into their SONG, an ANGLE on the lobby floor spots
          two TRASH CANS with swinging lids. Grandpa Fred peeks cautiously out of
          one, while Kstsuji aims his camera out of the other. They're covering the
          Gremlins from cover, like Edward R. Murrow broadcasting from a bunker.

          GRANDPA FRED
          ...it seems incredible, but following their
          bl _urdijnif rampage a destruction,
          these creatures are now mounting what
          appears to be a production number...

          157 ANGLE - MEZZANINE 157
          Billy, Kate, Marla, Gizmo and Mr. Futterman arrive on the mezzanine. They
          look over the railing, at the Gremlin assembly below.

          MR. FUTTERMAN
          Hey, these guys aren't bad --

          KATE
          Billy, they're going to the doors...
          Billy points at the dark-glass WINDOWS over the lobby.

          BILLY
          Don't worry. In a few seconds, Mister
          Clamp's going to drop that cloth out
          there. The sunlight will come in, and --

          KATE '4'Â°0
          Sunlight?
          On the: unwelcome SOUND of a` THUNDERCLAP,

          CUT TO:

          15.8 EXT. BUILDING 158

          Surrounded by COPS, REPORTERS, and an expectant CROWD, Clamp looks up
          at the darkening SKY, where the THUNDER is growing louder.
          Clamp turns sadly, and WAVES a signal at the GUYS waiting to drop the Red
          Square backdrop: Don't bother..

          0

          

          

          

          
           REVISED April 20, 1989

           102.

          159 INT. LOBBY/MEZZANINE 159

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

           BRAIN GREMLIN GREMLINS
           I want to wake up Dat dat da da da
           In the city that never sleeps... Dat dat da da da...
          Some Gremlins have formed a Rockettes-style KICK LINE, while
          others load cameras and flip through guidebooks such as "Dining
          After Midnight in New York."

          160 ANGLE - MEZZANINE 160
          Billy and the others watch.

          MR. FUTTERMAN
          If those guys get out there in the
          rain -- this town's going under for
          the third time.

          KATE
          Billy, we've got to do something.

          BILLY
           I know -- 0065

           M 0 N
           He points to a coiled canvas FIRE HOSE in a case on the wall
          nearby.

           BILLY (CONT.)
           Mr. Futterman. Get that hose.
          Aim it into the lobby.

          MR. FUTTERMAN
          Into the lobby? Are you nuts?

          BILLY
          Just do it. Do it fast...Kate, get
          a box, and put Gizmo in it...keep
          him dry...
          Down in the lobby, the happy Gremlins keep moving toward the
          doors...

          BRAIN GREMLIN GREMLINS
          These little-town blues Dat dat da da dat,
          Are melting away Dat dat da da dat,
          I'll make a brand new start of it Dat dat da da dat,
          In old New York... Dat dat da da dat...

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

           103.

           160 CONTINUED: 160
          E .while, on the mezzanine, Kate grabs a box from a nearby
          store, and Mr. Futterman hauls out the hose. Billy drags a
          video-phone extension out of a mezzanine office and brings it to
          Kate -

          BILLY
          Kate, there's a call on hold in
          Mister Clamp's office. Can you
          transfer it down here without going
          up there?

          KATE
          Oh God -- I think so --

          BILLY
          Hurry.
          Kate hurriedly hands Marla the box containing Gizmo.

          KATE
          Here -- Atpn't let him get wet.
           Does it bit
           From the box, Gizmo TWITTEje&entfully.

          0

          161 ANGLE 161
          A knot of Gremlins in the lobby SPOT our group on the mezzanine,
          and start CLIMBING a modernistic SCULPTURE to get at them...

          162 ANGLE 162
          Billy runs to turn on the hose...

          163 ANGLE 163
          The Brain Gremlin reaches for the door...

          BRAIN GREMLIN
          It's up to you,
          New York, New --
          .but before he can open it, WATER splashes onto the lobby's
          doors, its windows, its floor...
          .and the Gremlins, delighted, turn to catch the spray. Their
          SKIN starts to BUBBLE. CAMERA finds miniature GREMLINS in the
          bubbles, as the lobby fills with the rising SMOKE AND LIGHT of
          Gremlin replication...

          0

          

          

          

          
           REVISED May 16, 1989

          103A.

          164 ANGLE 164

          0

          X
          On the mezzanine, Marla keeps Gizmo shielded in the box as Mr.
          Futterman uses the gushing hose to knock the climbing Gremlins
          off the sculpture, then turns it on the lobby floor again.
          Billy stands beside Kate, who furiously punches at the video-
          phone's keypad --

          KATE
          .tap into the PBX. .back through
          the voice mail module ...main
          switchboard... into the
          Ethernet... five-digit code --

          BILLY
          That's it'.
          On the screen of the video-phone, the ELECTRIC GREMLIN writhes
          in agony, trying to gel off Hold, as the plastic button BLINKS
          beneath the screen.
          Billy grabs the phone fr d Kew,. lifts the receiver and holds it
           out over the mezzanine rani He looks down at the happily
          showering Gremlins --
          -- PUSHES the blinking button dow
          -- and sees the Electric Gremlin SHOOT OUT OF THE RECEIVER,
          swooping down into the lobby --

          (CONTINUED)

          

          

          

          
           REVISED May 11, 1989

          104.
          164 C014TIrwUED: 164
          -- touching his crackling wing to the WATER that's rising on the
          floor --
          -- and A JILLION WATTS OF SEARING ELECTRICITY SPREADS ACROSS THE
          LOBBY, nailing the Gremlins where they stand. . .and FRYING
          them...
          On the mezzanine, Billy and company shield their eyes from the
          glaring LIGHT SHOW, and their ears from the Gremlins' DEATH

          SCREAMS...
          .as the threatened invasion of all New York becomes a sodden,
          viscous puddle of green, churning protoplasm that swamps the
          lobby...
          .and our heroes sigh with relief, their bodies untensing...

          164A ANGLE - LOBBY FLOOR 164A
           .as the lobby doors b open, and Clamp comes in, leading a
           SWAT team in full comba , in what he expects to be a last-
           ditch charge -- 
           -- and finding nothing but a s green goo on the lobby
           floor. He waves the SWAT team t st p.

          0

          CLAMP
          It's okay, guys.
          (surveys the goo)
          Maybe we can use this stuff as land
          fill...
          Grandpa Fred and Katsuji rush over to Clamp.

          GRANDPA FRED
          (into mike)
          We're here exclusively with --
          Clamp waves Fred and Katsuji to a stop. Fred lowers the mike.

          CLAMP
          Excuse me there, pal. Who told you
          to go on my network with all that
          coverage today?

          GRANDPA FRED
          Um -- nobody, sir. It just --
          seemed like news, and I.,.

          CLAMP
          Right. I'm making you an anchor.
          Six o'clock weeknights.

          E

          GRANDPA FRED
          You're making me -- ?

          (CONTINUED)

          

          

          

          
           REVISED May 16, 1989

          105.

          164A CONTINUED: 164A

          CLAMP
          I want you to go down to Barney's
          and see about some different
          clothes, though. This --
          (indicates Dracula

          COSTUME)
          This says to me, "Old World."
          Think about sweaters. Think
          avuncular.

          GRANDPA FRED
          Uh -- right.

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

          GRANDPA FRED
          What does a men's wear makeover
          cost in Manhattan today? Join us,
          as we iny,estigate...
          0 Billy and the othefs'c ï¿½ off the stairs from the mezzanine, and
           go over to join Clamp. ,

           CLAMP
           Bill, it looks like yob ,fled us
           out here...

          BILLY
          It wasn't just me, sir. Everybody
          helped. Marla here, and --
          Clamp looks at Marla.

          CLAMP
          Marla. You work for me, don't you?

          MARLA
          Yes, sir. Very, very hard.
          Clamp nods, looks at her -- as if for the first time. Something
          promising passes between them...
          .as the doors to the building open, admitting Sheila Futterman
          and a small crowd of REPORTERS. Sheila sloshes hurriedly
          through the goo to Murray's side.

          SHEILA

          E
          Murray -- what happened?

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          106.

          164A CONTINUED: (2) 164A '

          MR. FUTTERMAN
          They tried it again, Sheila. But
          we were ready for 'em.
          (to Billy and Kate)
          We're going home, guys. See you...
          The Futtermans exchange goodbye WAVES with Billy and Kate, and
          leave. The reporters latch onto Marla...

          REPORTER
          What happened here?

          MARLA
          Oh, it was a complete nightmare
          disaster. We had to stop work
          completely...
          .as Billy and Kate commisserate with Clamp.

          BILLY
          I'm sorry about the building, sir.

          CLAMP
          I'm not.

          40 00065

           KATE MUN
          You're not?

          CLAMP
          For one thing, we're insured for
          the damage. For another...maybe it
          wasn't for people anyway. It was a
          place for things. You make a place
          for things...

          (SHRUGS)
          .things come.

          BILLY
          Well, you kept the city safe.

          CLAMP
          That's right. That's a good point.
          The sacrifice...you know, this
          could be good in my next book. I
          should be taking notes. You have
          any paper?

          BILLY
          Let me see...
          Re rummages -- comes up with paper and pencil from his pockets
          and hands them to Clamp. But as Clamp unfolds the paper --

          CLAMP
          Wait a minute -- what's this?

          (CONTINUED)

          

          

          

          
           REVISED April 20, 1989

          107.

          48 164A CONTINUED: (3) 164A
          It's Billy's drawing of the main street of Kingston Falls.

          RAND
          That's Kingston Falls.

          CLAMP
          This is what I'm looking for.

          BILLY
          You want to move there?

          CLAMP
          I want to bu it. My new
          project, over in Jersey -- this is
          terrific! This is what people want
          now -- the traditional community
          thing. Quiet little towns! Back
          to the earth --
          (indicates drawing)
          Is this your concept?

          KATE
          It's our home town.

          CLAMP
           That's even better! I love M1Q ! F M  00065
          It's -- wait -- Clamp Corners!
          "Where life slows down to a crawl."
          What do you think?

          BILLY
          Uh, that's --

          KATE
          It's terrific.

          CLAMP
          This is the kind of thing people
          need. Not talking elevators, just
          -- Bill, you sell me this design,
          and we'll build the biggest, most
          sensational quiet little town
          you've ever seen.

          KATE
          Of course, for Billy to do a whole

          CLAMP
          We can come to a deal. Believe me.
          Are you Mrs. Peltzer?

          (CONTINUED)

          

          

          

          
           REVISED - July > 1989

          108.
          164A CO 'INUEbi (4) 164A

          KATE

          (SMILING)
          I'm going to be, Yeah.
          Billy squeezes Kate tighter, with Gizmo cuddled between them.
          The door to the building opens again -- and Billy's father, the
          inventor RAND PELTZER, comes in.

          BILLY
          Dad!

          RAND
          Billy.. ,Kate.
          He slogs over to Billy, Kate, and Clamp.

          BIL
          Uh, Mister Cl this is my
          dad -- 

          RAND
          (shakes Clampv and )
          Rand Peltzer's the me, sir.
          Inventor. Solving tge y's problems
          with tomorrow's techn ] gy. Here's
          my card.

          CLAMP
          A pleasure.

          RAND
          I saw on TV what was happening...'
          thought I'd come help you guys out.
          He takes out an AEROSOL CAN.

          RAND (CONT.)
          Wish I'd finished this stuff a
          little sooner.

          CLAMP
          What is it?
          Rand indicates Gizmo, who's being held by Billy.

          RAND
          (holds up can)
          The Peltzer overcoat. in a Can.
          Personal waterproofing, for those
          who can not afford wetness.
          (to Gizmo)
          May I demonstrate?
          Gizmo looks at Rand, and nods somberly, Stallone-style. Billy
          holds him up, and Rand SPRAYS the chemical over his body.

          (CONTINUED)

          

          

          

          
           REVISED- July 7, 193
           log.

          164A CONTINUED 164A

          RAND (CONT.}
          Boy, if I'd have finished this
          stuff a few days sooner, we could
          have saved everyone a lot of
          trouble. Kills you when that
          happens...
          He finishes spraying -- and takes out a WATER PISTOL.

           RAND (CONT.)
          Observe.
           Everyone tenses as Rand aims the squirtgun at Gizmo --

           BILLY
           Dad --
           o -- but the splash f ater hits Gizmo with no effect, and
           everyone -- includ i the stolid Mogwai -- relaxes.

           G 1P
           (to Rand, indicating

           SPRAY-C
           Excuse me -- d e that stuff work

          9
           on construction terials?

          RAND
          Sir, this'll work r k on just
          about anything.

          CLAMP
          How about construction crews?

          RAND
          No reason why not.

          CLAMP
          (to Billy and Kate)
          Excuse us a minute.

          RAND
          (to Billy and Kate)
          I'll call you guys --
          Clamp leads Rand away, talking business...

          CLAMP (CONT.)
          I f you knew what I was spending on
          tarps alone...

          0

          RAND
          Is that right?

          (CONTINUED)

          

          

          

          
           REVISED - July 7, 1989

          113,

          164A CONTINUED: (6)

          164A

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

          BILLY
          Okay.

          KATE
          You understand him?
          Billy, surprised, realizes that he does.

          BILLY
          Yeah...I guess I do, now.

          KATE
          Well, what did he say?

          BILLY
          He said he wants to go home.

          X
          Where's home?'''
           Gizmo twitters again.

          0
           B I LL'fQ
           Our place.

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

           Y

           165 EXT. CLAMP BUILDING - DAY 165

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

           166 OMIT 166
           166A I NT` -. bLAZfP CENTRE - LOBBY 166A
          Mary is still talking to the reporters

          MARLA
          .and then, some of the Mogwais
          apparently ate after midnight, and
          whenever that happens..
          .and Clamp and Rand are in conference

          CLAMP
          0 We're talking about quantity
           here --

          'CONTINUED)

          

          

          

          
           REVISED--July 7, 1989

          ILL

          ::66A CONT.HUED: 166A

          RAND
          Uh, sir, that's no problem --
          -- when an ASSISTANT slogs over to Clamp, carrying a cellular
          phone.

          ASSISTANT
          It's for you, sir. From here in
          the building.

          CLAMP
          In the buildi
          (into p
          Hello? ...For What are you --
          okay, okay, w get you out of
          there. Which fl ?. .Wow, way up
          there...No, it' ke a while, the
          elevators are ou nd the lobby is
          -- I don't know, o too
          long...we'll do wFiat we can,
          Forster. Keep you ants on.
          Q 1k

          CUT TO:

          166B INT. CONFERENCE ROOM 166B

          In a dimmed conference room high up in the building, Forster
          backs fearfully toward a wall...
          .and the GIRL GREMLIN, dressed in a BRIDAL OUTFIT, moves
          slowly across the floor toward him, with what she imagines is
          great seductiveness. The Girl Gremlin saucily undoes a button
          or two...
          .Forster tries to melt into the wall...
          ...and we discreetly BLACK OUT, under END CREDITS.