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F. PAUL WILSON
— CHARACTERS —
AMY — a precocious nine-year-old with braids and big glasses who is also an amateur astronomer.
ELLIOT — Amy's father; early thirties; a high school math teacher; average build with horn-rimmed glasses; dressed in a white shirt, double-knit slacks, and a cardigan sweater; slightly nerdy and skittish, but fiercely protective of his daughter.
CARL — a young outdoorsman; nineteen, tall, broad-shouldered, dressed in a flannel shirt with a hunting knife strapped to his belt; his machismo is not just a facade—he is a genuinely touched cookie.
GLIM-GLIM — a seven-foot, green, telepathic alien, conical in shape with a base four feet across. A ring of four tentacles encircles his body two-thirds the way up. The silent mouth is a vertical slit which we never see open. There are no eyes—at least no human type eyes—but rather a ring of opalescent studs encircling the upper end of the cone. We never get a good look at his base but it is fringed with countless tiny brush-like legs.
— SETS —
SET 1 — THE LIBRARY BASEMENT
This is a drab room with bare cinderblock walls. Mostly a simple storage area lit by naked bulbs hanging from the unfinished ceiling. The concrete floor is cluttered with wooden CRATES, storage BINS, and filing CABINETS. This is where the members of the library staff took their coffee breaks and ate their lunches.
A rickety TABLE is surrounded by four mismatched CHAIRS. On the table sit PAPER PLATES, a bowl of SUGAR, and a jar of DRY CREAMER. To the left there's a half-REFRIGERATOR on top of which is a MR. COFFEE and some SPOONS. To the right is a battered TV. Surplus LIBRARY POSTERS ("Reading is FUNdamental" and "You've Seen The Movie — Now Read The Book!" and so on) have been taped to the block walls in an attempt to brighten up the place a bit. On one wall there's a CALENDAR that says "December."
At right rear is a hinged window at ground level up near the basement ceiling, covered with a blanket. At center rear is a FIRE DOOR that opens inward; it's blocked with filing cabinets. Right front is a heating duct, open at the lower end, that runs upward out of sight.
SET 2 — THE MAIN FLOOR OF THE LIBRARY
A typical small-town single room library, divided into two sections — the front to the right, the rear to the left. These are divided by a wall and a pair of SWINGING DOORS.
THE FRONT SECTION: This is where the children's books and desks are kept. The area is dominated by the CHARGE DESK near the front doors, which are on the right; books are everywhere. Two small round children's TABLES are situated near the charge desk where the librarian can keep an eye on them. A large CALENDAR tells us it is December. (We have to be fair with the viewer, don't we?) At the rear of the set, behind the charge desk, is a door opening on the stairs to the basement.
THE REAR SECTION: On the other side of the wall and doors are the MAIN STACKS and large heavy oak READING TABLES.
––––––––
(ACT I)
FADE IN:
INT: THE LIBRARY CELLAR — DUSK
As the MAIN TITLE appears over a wide-angle FULL PAN of the basement, we hear GLIM-GLIM'S VOICE (a high-pitched warble, like a turkey recorded at 33 and played backward at 78) sounding faintly in the background. The PAN STOPS at the cellar window as we see CARL, ELLIOT, and AMY slide in feet first and drop to the floor. CARL carries a sack. They are obviously hurrying, but they are just as obviously trying to make as little noise as possible. They appear chilled, hugging themselves and rubbing their hands together.
ELLIOT
(blowing into his hands)
Warmth! The only warm place in town!
CARL unloads bread, peanut butter, and canned soda from the sack.
CARL
Except that that thing's upstairs!
It almost saw us this time!
(nodding toward Amy)
I thought the squirt there was going to say hello to it!
AMY is oblivious to the remark.
CAMERA FOLLOWS as she moves toward the open duct against the wall. GLIM-GLIM'S VOICE becomes louder as she nears the duct.
AMY
Glim-Glim's talking again.
CARL and ELLIOT move toward her.
CARL
(to Elliot, exasperated)
You got one weird kid there, man. I mean where'd she get such a cutesy name for that monster, anyway? That thing's the reason her mother's—
ELLIOT
(with a warning look)
Carl!
(to Amy)
Why don't you go over to the window, honey, and see if Venus has risen yet?
AMY
But it's cloudy.
ELLIOT
Maybe it's cleared. Go see.
ELLIOT watches fondly as she runs to the near wall, climbs on a crate, and looks out the small rectangular window near the ceiling.
A STAR MAP is taped to the wall next to the window.
AMY
Daddy! It's starting to snow!
ELLIOT
(with forced enthusiasm)
Great, honey!
CUT TO:
ELLIOT and CARL square off against each other. It is obvious they are mismatched by more than age. They are poles apart in intellect and temperament, as well. Under normal circumstances it is unlikely they would even speak to each other. Chance has thrown them together and they are trying to make the best of it. But it isn't easy.
ELLIOT
(grimly, in a low voice)
She doesn't know about her mother yet. And besides, I told you—
CARL
(anger flaring)
I know what you told me, Mr. High School Teacher! But her mother's dead! As dead as my father! So she'd better get used to it!
ELLIOT
Pretty tough, aren't you?
CARL
Yeah. I was raised that way. My father—
(he breaks off with a catch in his voice— almost a sob.)
Aw, what's the use!
GLIM-GLIM'S WARBLE is louder. CARL glares at the duct.
CARL
Damn thing! It's gonna pay!
ELLIOT
Maybe it was an accident. It came down more like a crash than a controlled landing.
CARL
Accident my butt! How much proof do you need? It sealed off the whole town like an ant farm, then infected us all with some sort of plague and watched us die! Everybody I ever knew in my whole life died in one weekend and I couldn't do anything!
ELLIOT turns to the duct as the WARBLE GETS LOUDER.
––––––––
ELLIOT
Wish I knew what it was saying.
CARL
Right! Like you've got a chance. A couple more notches up and only dogs could hear its voice.
THE CAMERA CLOSES IN on the duct. GLIM-GLIM'S VOICE gets louder as we...
DISSOLVE TO:
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION — DUSK
The lighting is dim and moody. The light source is a banker's lamp on the charge desk (off-camera at first) casting weird shadows over everything. GLIM-GLIM'S WARBLE is very loud now. As the camera TRACKS IN C.U. across the countless open books that litter the floor and children's tables in the front part of the library, a VOICE-OVER TRANSLATION of Glim-Glim's warble rises in the sound track. We pass anatomy atlases, biochemistry texts, a PDR, a Home Medical Guide, humor, Shakespeare, and so on. The camera CONTINUES TRACKING up to the charge desk to an angle overlooking GLIM-GLIM's shoulder (although he really doesn't have one) onto the top of the charge desk which is illuminated by the banker's lamp. This desk also is cluttered with books. We see a tentacle curled around a crystal cube that pulsates with light. The CAMERA CLOSES IN on the cube.
GLIM-GLIM (v.o. with echo)
Continuing ship's log for Scout 4-2-6-cube-3. Fourth local cycle since landfall. Am learning much about these primitive aliens from their books and from my autopsies of some of their dead. Had thought all in this locale wiped out but have recently sighted one or two survivors. They are in hiding and will not be easy to reach. But must find them. Must learn why—
CUT TO:
(NOTE: A quick cut here that overlaps Glim-Glim's last word and Carl's first word—both "why".)
INT: THE LIBRARY CELLAR — DUSK
CARL
Why us? How come we didn't get sick?
ELLIOT
(shrugging)
I don't know. Something in our systems must have been able to resist the plague. But can we be the only ones left?
CARL
You've seen the town. You know—
ELLIOT
(covering his eyes)
Yes! Bodies everywhere!
CARL
(angry, determined)
Next time we make a food run, I'm getting us some fire power! We got scores to settle.
ELLIOT
I don't think that's—
CARL
No more 'It might be an accident' speeches. I don't buy that.
ELLIOT
Then try this: If the alien dies while that force field is up, it's just possible we could be sealed in this town forever with 7000 corpses!
CARL glowers and looks away.
––––––––
ELLIOT
Okay. So we've got to sit tight. Maybe help will come. Things could be worse. The power's out in the rest of town, but not here. We'd be frozen stiff by now if we hadn't found this place.
(glances upward)
Now, if only there was something I could do to—
CUT TO:
(NOTE: AS IN PREVIOUS cut, Elliot's last two words should overlap Glim-Glim's first two)
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION — DUSK
GLIM-GLIM still stands at the charge desk, silhouetted against the light from the lamp. Over his WARBLE we hear:
GLIM-GLIM (v.o. with echo)
—do with them once I find them. It is only a matter of time, but time is short. Their armies might find a means to pierce the force field before I am finished. Fortunately, the survivors cannot escape this village. I threw the force field up in time to contain all the inhabitants of this particular village. So I must keep searching. Must stay in this library—
CUT TO:
(NOTE: As in the previous two cuts, the last and first words will overlap.)
INT: THE LIBRARY CELLAR — DUSK
CARL
—library of all places! Never even visited it and now I'm livin' here! And that damn monster's upstairs every day, to boot!
––––––––
ELLIOT
At least we've got heat and light and we've been able to sneak out for food
CARL
Sure! Warm and well-fed! Like lab-rats! Once it finds us it'll want to see why its plague failed on us!
(grins sourly)
Or maybe it just wants to eat us.
AMY (v.o.)
Daddy! Daddy!
CUT TO:
ON AMY AT THE CELLAR window looking over her shoulder
AMY
Come see the snow!
(she turns her face back to the window.)
CUT TO:
CAMERA FOLLOWS ELLIOT and CARL to the window where they all look out.
ELLIOT
It's really beautiful, but let's get some dinner together.
DISSOLVE TO:
INT: THE CELLAR — NIGHT
We PAN across CARL and ELLIOT as they sleep on their cots, but when we come to AMY, she's wide awake. Suddenly we hear GLIM-GLIM'S WARBLE faintly and her expression brightens. She gets out of bed runs to a crate situated by the air duct. She climbs this and squeezes her head and shoulders into the duct.
CUT TO:
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION — DUSK
A CLOSE-UP of a heating vent at FLOOR LEVEL. Through its grate, AMY's curious face is visible as she rises into view.
CUT TO:
INT: MAIN FLOOR OF THE LIBRARY — AMY'S P.O.V.
Through the grate we get a floor-level view of GLIM-GLIM standing at the charge desk, flipping through the pages of a book. This is our first good look at the alien.
REVERSE ANGLE — C.U.
Through the grate, we see AMY react with wide-eyed astonishment.
AMY
(in a hushed whisper)
Glim-Glim!
INT: MAIN FLOOR OF THE LIBRARY—FRONT SECTION — DUSK
GLIM-GLIM freezes, then begins gliding toward the grate with a SHUFFLING sound.
AMY'S P.O.V.
Through the grate we see GLIM-GLIM approaching. The SHUFFLING sound is very loud as the alien draws nearer.
CUT TO:
GLIM-GLIM'S P.O.V.
AMY is looking up through the grate in wonder and awe.
AMY'S P.O.V.
GLIM-GLIM fills the screen. The SHUFFLING STOPS. The upper half of its body bends forward for a closer look.
GLIM-GLIM'S P.O.V.
The light through the grate throws shadows across AMY's face as she gazes up at Glim-Glim. Smiling shyly, she pokes two of her fingers through openings in the grate and wiggles them in the air.
AMY'S P.O.V.
The alien bends even closer to the camera.
C.U. OF THE HEATING GRATE
We see AMY's two wiggling fingers. Then a TENTACLE enters the frame and gently caresses the fingers. As we MOVE IN to E.C.U. on the human-alien contact, we...
FADE OUT
––––––––
(Act II)
FADE IN:
INT: THE LIBRARY CELLAR — DAWN
A close up of Amy's STAR MAP by the cellar window. AMY's finger traces a line across the stars. ANGLE WIDENS to show AMY.
AMY
Daddy? Do you think Glim-Glim could have come from the Pleiades? ("plee-AY-dees")
ANGLE WIDENS further to reveal ELLIOT and CARL standing nearby.
ELLIOT
(gentle but distracted)
We'll try to figure that out later, okay, honey?
(to Carl)
You sure it's gone?
CARL
I heard it go out and I haven't heard it come back. What else can I say?
ELLIOT
(anxiously)
This could be dangerous.
CARL
We've got to find out what it's doin' up there. In and out, in and out, day after day. It's up to something. I want to know what!
ELLIOT
(to Amy)
Okay, Amy. We're going out for more food but first we're going to sneak a look upstairs in the library. You know what you're supposed to do now, don't you?
AMY
(nodding and rolling her eyes because it's all so simple)
Sure. As soon as I see Glim-Glim coming back, I run over there and call up to you.
ELLIOT
(with a fatherly smile)
Right!
CARL
But you've got to keep a real careful watch. We don't want to get caught upstairs by that monster. We don't want to be its next meal!
––––––––
AMY
(with a sunny smile)
Oh, don't worry. Glim-Glim won't hurt you.
CARL THROWS HIS HANDS up in disgust and turns away.
CARL
I give up!
ELLIOT
(with a conspiratorial wink)
Just be a good lookout, honey.
AMY
I will, Daddy!
The ANGLE WIDENS as CARL and ELLIOT climb onto a crate and slither through the window to the outside. Some SNOW blows in around them.
CUT TO:
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION – DAWN
CARL and ELLIOT enter cautiously through the front doors onto the library's main floor. The charge desk, the children's reading tables, all available surfaces, including the floor, are cluttered with open books.
CARL
God! Looks like a cyclone hit the place!
(wrinkles his nose)
And the stink!
ELLIOT quickly goes from table to table, scanning the titles of the open books.
––––––––
ELLIOT
History! Philosophy! Physiology! Public speaking! Mythology! Anthropology! It's reading everything in the library!
CARL
Yeah. Wants to know all about us I bet. Looking for better ways to kill us. But what's that stink?
ELLIOT
(nervously)
I'm not sure I want to know. Maybe we should get going before it comes back.
CARL
Not so fast. It's learning an awful lot about us. Let's see if we can find out a thing or two about it. My dad always said a good hunter knows his prey.
THE CAMERA FOLLOWS as the two men warily pick their way over the scattered books toward the main stacks at the rear.
CUT TO:
INT: MAIN FLOOR OF THE LIBRARY — REAR SECTION — DAWN
CARL and ELLIOT push through the doors. ELLIOT pauses by the stacks as CARL moves out of frame.
ANOTHER ANGLE
A TIGHT LONG SHOT of ELLIOT slowly WIDENS to reveal the back of someone else's HEAD staring in his direction. As if sensing the scrutiny, ELLIOT turns toward the camera and reacts with horror.
ELLIOT
Oh, Lord! Carl! Carl!
CARL rushes in.
CARL
What—?
ELLIOT
(pointing, his mouth working to keep from retching)
Look!
CUT TO:
INT: SEVERED HEAD — C.U.
A severed head stares into the camera with glazed eyes, the bloody stump of its neck resting on a bookshelf.
Back to CARL and ELLIOT
ELLIOT
Oh, Lord, I know him! That's Doc Spruill!
CARL grabs ELLIOT's arm and begins to drag him toward the rear of the library.
CARL
It gets worse.
CUT TO:
INT: THE LIBRARY — REAR SECTION — DAWN
A QUICK PAN across one of the big oak reading tables revealing a headless, bloody, dismembered corpse — just enough to give a horrific impression without dwelling on it. The table is red with blood, the chest and abdomen are open, intestines are exposed. The pan is intercut as follows:
QUICK CUT TO:
ELLIOT'S FACE — E.C.U.
ELLIOT reacts with horror and revulsion and begins to turn away.
QUICK CUT TO:
CONTINUATION OF THE PAN
QUICK CUT TO:
CARL'S FACE — E.C.U.
CARL's expression is grim but tougher. He has gutted his own kills before, so this isn't the first time he's seen this sort of thing.
QUICK CUT TO:
FINAL SEGMENT OF THE PAN
QUICK CUT TO:
ELLIOT and CARL: ELLIOT has turned away but Carl still stares at the table.
CARL
(awed)
Looks like my garage after me and my dad dressed a couple of bucks.
REVERSE ANGLE
GLIM-GLIM suddenly appears before them, waving his tentacles and emitting a LOUD WARBLING noise. He looks fearsome and threatening.
TWO-SHOT OF ELLIOT AND CARL
Both men react with terror. They turn and begin running toward the front of the library.
CUT TO:
INT: THE LIBRARY — FRONT SECTION — DAWN
CARL and ELLIOT burst through the swinging doors from the rear, run past the charge desk, and out the front doors. Behind them, GLIM-GLIM slowly SHUFFLES to the charge desk. He picks up the transcribing cube.
GLIM-GLIM (v.o. with echo)
Continuing ship's log for Scout 4-2-6-cube-3. Fifth local cycle since crash landfall. Have identified the lethal pathogen. It is virus 6 square-9, indigenous to our intestinal tracts but obviously extremely deadly to these unfortunate aliens.
(feeling enters voice)
Is so tragic. All my fault. Worse. Force field will fail soon due to dying batteries. Then virus will contaminate entire planet.
(exerts control again)
Note: Made contact late last cycle with a surviving native—a young female who does not fear me. Must pursue that contact. But cannot bring my voice down to level she can understand. Must find other way.
DISSOLVE TO:
INT: THE LIBRARY CELLAR — DAY
AMY is hugging a snow-dusted ELLIOT. Behind them, CARL lowers himself into the cellar through the open window.
AMY
What took you so long?
ELLIOT
We had to wait outside. The alien was just leaving. We didn't want him to spot us.
Next to them, CARL places his bags of groceries down on a table, then opens his jacket and withdraws two .45 automatics and a box of shells.
ELLIOT
Where'd you get those?
CARL
(with evident self-satisfaction)
While you were looking for an extra can-opener, I paid a visit to Murphy's Gun Shop. That was the last time I run from that monster!
As the grinning CARL works the slide on the pistol, the CAMERA MOVES IN on AMY's worried face.
DISSOLVE TO:
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION — NIGHT
GLIM-GLIM stands at the charge desk like a librarian, the pulsing cube in his tentacle. Over his WARBLE we hear,
GLIM-GLIM (v.o. with echo)
Continuing ship's log for Scout 4-2-6-cube-3. Night of fifth local cycle since crash landfall. Trying to find way to overcome the survivors' hate and fear.
As Glim-Glim's words continue, the camera TRACKS across the cluttered charge desk, slows when it reaches a PENMANSHIP BOOK (preferably Palmer Method) where the lesson indicates a series of interconnecting loops. Just a little further on we HOLD ON C.U. of a tentacle grasping a pencil and trying to imitate the lesson—and doing a miserable job of it.
GLIM-GLIM
(continuing without break from above)
Is of the utmost importance that they learn to trust me. The blood systems of these three have successfully produced antibodies to fight the 6-square-9 virus. If they will give me some of their blood, I can duplicate their immunity and save their race. If not...
The pencil breaks in Glim-Glim's tentacle with a SNAP. As the tentacle coils and uncoils in frustration, the ANGLE WIDENS. Recording cube in tentacle, GLIM-GLIM moves away from the desk (SHUFFLING sound) toward the library's front window where he stops and looks out. Over his WARBLE we hear:
GLIM-GLIM (v.o. with echo)
Personal note: The local moon is rising and snow is falling again. Reminds me of home. Long to be back with my younglings, but fear I shall never see them again. Am trying to learn to duplicate their markings but with little success. Must search for another way — try to find a symbol that will show them I mean them no harm. I must! How will I bear the guilt of causing the death of an entire species? Would have to destroy myself!
DISSOLVE TO:
INT: THE BASEMENT — NIGHT
All is quiet. AMY is asleep in her cot. When we hear a faint WARBLE from upstairs, her eyes snap open. We follow her as she gets up and slips into the duct.
CUT TO:
INT: MAIN FLOOR OF THE LIBRARY — THE GRATE — NIGHT
We seem AMY's face appear behind the grate. She looks up.
AMY
Hi!
REVERSE ANGLE — AMY'S P.O.V.
GLIM-GLIM shuffles forward and holds piece of paper toward the grate with one tentacle, and the penmanship book in another. The paper is full of indecipherable scrawls.
REVERSE ANGLE — GLIM-GLIM'S P.O.V.
AMY looks at the paper, then up at him through the grate.
AMY
You call that writing?
GLIM-GLIM'S TENTACLE unlatches the grate and it swings open on its hinge. She begins to crawl out.
AMY
Here. I'll show you. I always got A's in penmanship.
DISSOLVE TO:
INT: MAIN FLOOR OF THE LIBRARY — FRONT SECTION — NIGHT
AMY and GLIM-GLIM stand together at the charge desk.
AMY
Hey, this is working great! You keep pointing and I'll keep writing. So far we've got that the you're from somewhere in Orion, the sickness was an accident, and you need our help to make a medicine to save everybody else. Okay. What can we do?
ON THE DESKTOP
A penmanship book lies open. GLIM-GLIM's tentacle tip points to letters on one of the pages.
AMY (v.o.)
B...L...O...O...
(She stops speaking when the tentacle rests on "D")
CLOSE ON AMY
AMY
You need blood? How much?
(looks down at table)
L...I...T...T...L...
(looks up again)
A little. Okay. I... I guess I could help some, but it'll take an awful lot of convincing to get Carl and my Dad to come around.
(looks down at table again)
Tell... them... friend.
(looks up again)
No. They'll never believe. You'll have to show them! But how?
ON GLIM-GLIM as he WARBLES.
ON AMY:
AMY
(excitedly)
Hey! I know! I know! How could I forget! Wait here and I'll get a picture to show you!
As AMY rushes off, the CAMERA LINGERS on the silent GLIM-GLIM.
FADE OUT
––––––––
(ACT III)
FADE IN:
INT: THE BASEMENT — DAY
CARL has been cleaning a pistol and ELLIOT has been tinkering with a short wave radio. Both look up at the ceiling, listening to Glim-Glim's SHUFFLE.
CARL
What d'you suppose he's been up to all day?
ELLIOT
(shrugging)
I don't know, but he's certainly been busy.
––––––––
CARL
Yeah. Must've gone in and out a dozen times already. Almost sounds like he's building something.
ELLIOT
(shuddering)
I'm not going up to look, that's for sure!
CARL LAUGHS.
DISSOLVE TO:
INT: THE BASEMENT — NIGHT
A quick pan of the basement shows CARL and ELLIOT sleeping, but Amy's cot is empty.
CUT TO:
INT: THE LIBRARY — FRONT SECTION — NIGHT
The camera is in the rear section, looking out through the open doors at the front section. AMY and GLIM-GLIM are framed in the doorway, looking toward the camera.
AMY
Awesome! They gotta know you're a friend when they see that!
(we don't see what she's looking at)
CUT TO:
INT: THE LIBRARY — FRONT SECTION — ANOTHER ANGLE — NIGHT
As AMY shuts the doors, GLIM-GLIM proffers a sheet of paper. AMY takes it and looks at it.
––––––––
AMY
Hey, your writing's getting better but...
(her voice trails off)
ON NOTE OVER AMY'S SHOULDER
Large crude letters form the words: "YOU PLEASE GIVE ME BLOOD NOW?"
ON AMY: her smile falters as she looks up at Glim-Glim.
AMY
Yeah, well, I did promise, didn't I?
ON GLIM-GLIM as he WARBLES
ON AMY
AMY
And it'll save the whole world, huh?
ON GLIM-GLIM — AMY'S P.O.V.
GLIM-GLIM
(another warble)
ON AMY:
AMY
(jittery, with a pained expression)
Ooooh... okay. But don't hurt me!
A tentacle gently caresses her cheek.
DISSOLVE TO:
INT: THE BASEMENT — ELLIOT'S COT — NIGHT
As we hear a faint WARBLE from Glim-Glim, ELLIOT stirs in his sleep.
DISSOLVE TO:
INT: THE LIBRARY — C.U. OF AMY'S ARM — NIGHT
GLIM-GLIM's tentacle places a clear, hollow 2-inch diameter globe over AMY'S ARM, inside the elbow.
AMY
Ouch!
QUICK CUT TO:
INT: THE BASEMENT — ELLIOT ON HIS COT — NIGHT
AMY (v.o. — far away)
Ouch!
ELLIOT's eyes snap open. He sits up and looks around in the dark.
ELLIOT
Amy?
He gets up and stumbles to Amy's cot. When he finds it empty, he becomes worried.
ELLIOT
Amy?
Suddenly he faintly hears GLIM-GLIM'S WARBLE and whirls toward the duct.
ELLIOT
(louder now)
Oh, God! Amy!
He rips the duct away from the wall and leaps to the exposed grate.
CUT TO:
INT: ELLIOT AT THE GRATE — SIDE VIEW
ELLIOT stretches his neck to see through the grate. Light from the library shines on his eyes.
CUT TO:
INT: FRONT LIBRARY — THRU THE GRATE — ELLIOT'S P.O.V. — NIGHT
We see GLIM-GLIM looming over AMY whose back is to us. The globe is attached to her arm. The globe is red now.
CUT TO:
INT: AMY'S ARM — E.C.U.
We see the globe half-filled with blood.
CUT TO:
INT: ELLIOT — THRU THE GRATE — C.U.
ELLIOT reacts with mute horror.
CUT TO:
INT: GLIM-GLIM'S P.O.V.
ELLIOT's horrified face is visible through the grate.
CUT TO:
INT: FRONT LIBRARY — TWO-SHOT
WARBLING as he moves, GLIM-GLIM glides past AMY toward the grate. As he lifts a piece of paper from the charge desk, the blood-filled globe pops off her arm and smashes on the floor.
CUT TO:
INT: FRONT LIBRARY — THRU THE GRATE — ELLIOT'S P.O.V.
GLIM-GLIM is approaching the grate, WARBLING and waving a piece of paper, filling the frame.
CUT TO:
INT: THE BASEMENT — NIGHT
Panicked now, Elliot turns and races across the basement toward the window.
ELLIOT
(near hysteria)
It's got her! Good Lord, it's got her!
CARL awakens and stumbles from his cot.
CARL
Wha—? Who's got—?
ELLIOT
(fumbling with the window catch)
That Thing! That monster! It's got Amy!
CARL pulls ELLIOT away from the window and grabs him by the shoulders.
CARL
Only one thing to do! Blow the ugly bastard away! You still think this was all an accident?
ELLIOT
(still frantic)
No! Give me a gun! I've got to go after her!
CARL picks up a pistol and gives it to ELLIOT.
CARL
Here. Now help me move those crates and we'll—
ELLIOT
No! There's no time! It's doing something to her now! Oh, God!
(turning)
Come on!
He starts to climb through the basement window.
CUT TO:
INT: THE LIBRARY FRONT DOORS — NIGHT
The doors SLAM open as CARL and ELLIOT rush in. They skid to a halt.
REVERSE ANGLE — GLIM-GLIM
GLIM-GLIM stands before the charge desk, WARBLING, his tentacles writhing. A piece of PAPER is clutched in one tentacle. Behind him, the doors to the rear section of the library are closed.
REVERSE ANGLE — GLIM-GLIM'S P.O.V. — TWO-SHOT
ELLIOT and CARL raise their pistols.
ELLIOT
(teary and raging)
Where's Amy? What have you done with her?
––––––––
REVERSE ANGLE — ELLIOT & CARL'S P.O.V.
GLIM-GLIM's tentacles wave about frantically in a pathetic attempt to invite them toward the rear of the library.
ELLIOT — MED.SHOT
In a rage, ELLIOT points his pistol into the camera.
ELLIOT
Give her back!
He fires once.
REVERSE ANGLE — GLIM-GLIM
GLIM-GLIM's body jolts with the impact of the bullet.
REVERSE ANGLE — ELLIOT
ELLIOT fires twice more.
REVERSE ANGLE — GLIM-GLIM
GLIM-GLIM jolts and totters back against the charge desk. He sags and his tentacles go limp as green fluid spurts from three holes. Finally he collapses.
REVERSE ANGLE — ELLIOT
A WIDE ANGLE on a horrified ELLIOT as he drops the gun and looks toward the rear of the library.
ELLIOT
Amy!
He runs past the charge desk. With a last look at the dead alien, CARL follows.
CUT TO:
INT: THE LIBRARY MAIN FLOOR — REAR SECTION — NIGHT
The lighting is subdued, with faint reds and greens reflecting off the polished surfaces of the closed doors. ELLIOT and CARL rush in and stop dead in their tracks as the soft red and green lights flash on their faces. They react with silent, open-mouthed awe.
ELLIOT
(hoarsely)
Amy!
CUT TO:
INT: THE LIBRARY — REAR SECTION — ELLIOT'S P.O.V.
A brightly lit Christmas tree, strung with garland and blinking lights, stands between two of the stacks. AMY is before it, her face concerned.
AMY
Daddy, were those shots?
REVERSE ANGLE — ON ELLIOT
ELLIOT
(shocked, stammering)
Amy! You're all right? What—?
REVERSE ANGLE — ELLIOT'S P.O.V.
AMY grins as she stands before the tree.
AMY
I just plugged it in. Glim-Glim made it to show us he's our friend.
REVERSE ANGLE — ON ELLIOT
ELLIOT swallows convulsively and looks at his watch, then back at the tree.
ELLIOT
It's the 24th! Christmas Eve! With all that's happened, I... we... forgot!
REVERSE ANGLE
AMY
(craning her neck to see around them)
Where is he, Daddy? Where's my friend, Glim-Glim?
REVERSE ANGLE ON ELLIOT & CARL
ELLIOT buries his face in his hands. CARL's mouth works but he is still too stunned to speak.
AMY (v.o.)
Daddy? You didn't hurt him, did you?
SLOW DISSOLVE TO:
INT: THE LIBRARY — FRONT SECTION — NIGHT
The camera MOVES IN slowly on GLIM-GLIM's still form lying in a pool of dark green liquid at the base of the charge desk. His green has faded. His tentacle has uncurled from the piece of PAPER which now lays open on the ground.
AMY (v.o. — teary)
Please tell me you didn't hurt Glim-Glim!
We linger a moment on the dead alien, then CLOSE IN on the PAPER, a sheet of child's writing tablet, and the crude letters spelling: "MERRY CHRISTMAS", then we...
FADE OUT.