good morning, mister wing. let's out through to key issues, okay? i'm prepared to increase my offer substantially.
take a look, mister wing --
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.
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.
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.
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.
i'm going to a meeting about the vermont thing. it looks like that takeover is going to happen.
no kidding. how many guys do you know that have their own state? did i show you that picture of the mountains?
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.
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.
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?
that's what we need here. people who produce. let's lose these elm trees, though. people think "elm," they think "dutch," "disease" -- gizmo's drawer rattles open. billy snaps it shut.
what's with that drawer?
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.
have you shredded my mail from this morning?
good. let's do some memos.
you're not my secretary. the gremlin responds by grabbing a silex pot of boiling-hot water from the nearby coffee station, and flinging the boiling water at clamp -- -- who ducks it, as it scalds the paint on the wall behind him. clamp makes a tentative move toward the gremlin, who throws the empty silex. it barely misses clamp, and smashes against the wall. the gremlin jumps at clamp, who tries to bat it away from his face, like a kid panicked by a moth -- -- but his flailing knocks the gremlin back, so that its foot is caught in the hopper of the secretary's shredder. hating to do it, using only his fingertips, clamp pushes the struggling gremlin down into the machine -- -- which sprays him out of the bottom like a black, bloody, eyes-only memo of deatu. as clamp stands gasping ®de the machine, the door to the corridor opens, and billlybu in. he sees the shredder, and 0 the tattered gremlin remaips 4 j ng from it.
i think so-.i hate using these machines myself.
yeah? what happens at sundown?
that's a good question, bill. how dq you know about them?
of course. those guys. i warned you that could be a problem tenant. we could have had three shrinks and a plastic surgeon in that space. but no.
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. go down to systems control and get on top of this thing.
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.
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 --
oh, shit.
bill -- how's it going out there? any progress? just tell me there's progress.
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?
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.
uh, bill -- thanks.
i thought this would never run, bill -- but maybe it will.
the sign-off. the b sign-off
it's beautiful, isn't it?
bill, there's nothing we can't do in this building. why?
right. that's the only way out -- the front doors. he takes out a pocket computer-scheduler, c-- pushes a few buttons. `¿½ 0 clamp (cong. 0 0 the sun sets at -
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?
yeah i've got my own entrance. you should get out too.
this idea of yours --
save the city. "developer saves city." good. shoot.
no, no -- that's a false alarm. we've just got some problems --
it's from a musical i was backing on broadway. the one about stalin. it closed last week.
it's okay, guys. maybe we can use this stuff as land fill.  grandpa fred and katsuji rush over to clamp.
excuse me there, pal. who told you to go on my network with all that coverage today?
right. i'm making you an anchor. six o'clock weeknights.
i want you to go down to barney's and see about some different clothes, though. this -- (indicates dracula
bill, it looks like yob ,fled us out here.
marla. you work for me, don't you?
i'm not.
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.
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?
wait a minute -- what's this?
this is what i'm looking for.
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 -- is this your concept?
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?
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.
we can come to a deal. believe me. are you mrs. peltzer?
a pleasure.
what is it? rand indicates gizmo, who's being held by billy.
how about construction crews?
excuse us a minute.
i f you knew what i was spending on tarps alone.
0 we're talking about quantity here --
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