FRIGHT NIGHT
Written by
Tom Holland
FINAL DRAFT
Sep 6th, 1984
1.
FADE IN:
EXT. FULL MOON - NIGHT (AND CREDITS. ROLL)
Clouds obscure the starless heavens for a moment, heavy and
ominous in the black firmament. Then suddenly they clear,
exposing a full moon streaked with red like a killer's
face, a stalking moon staring down at man's evil on the
earth below.
A HOWL breaks the night, a wolf pursuing its prey perhaps,
or perhaps something much, much worse. VOICES break the
perfect stillness.
JONATHAN (V.0.)
What was that?
MISS NINA (V.0.)
Just a child of night, Jonathan.
Come, sit here beside me on the
veranda.
JONATHAN (V.0.)
It's chilly out here.
MISS NINA (V.0.)
Oh, no, it isn't. It's beautiful. I
love the night so.
2 EXT. RANCHO CORVALLIS - NIGHT
A middling size town lost somewhere in the Southwest, the
lights of its sixty some thousand residents twinkling like
so many Christmas lights in the night.
JONATHAN (V.0.)
I've never seen you so beautiful
before, Nina. So pale, so
luminescent, so
He suddenly stops. There is a moment. Then:
MISS NINA (V.0. )
Yes?
JONATHAN (V.0.)
Your lips are so red.
MISS NINA (V.O.)
Are they? Would you like to kiss
them?
The CAMERA STARTS TO PUSH IN CLOSER AND CLOSER on the town
as though searching for the source of the voices.
2.
3 EXT. CHARLEY'S STREET - NIGHT
It's a typical middle class suburban street, full of pre-
1 World War II houses, the substantial places they built
then, two and three story homes with attics and basements.,
porches and detached garages.
There is the SOUND OF A LONG DRAWN OUT KISS as Jonathan and
Miss Nina's lips meet. The CAMERA. MOVES DOWN the street,
still looking for the voices.
4 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT
V
The CAMERA PAUSES TO STARE AT the Dandrige house, so dif-
ferent in look and feel from all the other houses on the
street. It's huge, almost forboding, its windows dark and
vacant, its lawn overgrown and weed-infested, a home that
has obviously been untended for a long time, unlived in and
uncared for. However the "For Sale" on the lawn has a
"Sold" sign just beneath it.
The CAMERA PANS to the Brewster house next door, still
SEARCHING for those voices. It's in sharp contrast to the
Dandrige house, newly painted, its lawn neatly shorn, a
house almost dwarfed in comparison to the Dandrige house,
but a happy home, its windows lit and smiling out warmly at
the night.
The voices seem to be coming from the Brewster house, spe-
cifically from a dark second-story window that is open to
the night breeze.
JONATHAN (V.0.)
Why are you looking at me so
strangely, Nina?
MISS NINA (V.0.)
Not you, Jonathan. Your neck. Has
anyone ever told you it was
beautiful?
JONATHAN (V.O. )
(UNCERTAINLY)
No.
MISS NINA (V.0.)
Come, lay your head on my breast.
The CAMERA SLOWLY STARTS TO PUSH IN on the second-.story
window.
5 OMITTED
6 INT. BREWSTER HOUSE - CHARLEY'S BEDROOM - NIGHT
The CAMERA MOVES THROUGH the window, past the billowing
drapes to find itself staring at a TV, the flickering
screen the only light in the room.
(CONTINUED)
3.
6 CONTINUED:
One of those terrible AIP/Hammer horror films is on the
tube, a woman, obviously a vampire, talking to one of those
vapid juveniles used so much in these types of films, the
two of them standing on a veranda to some huge, old house.
The young man rests his head against her breast, incredibly
enough, unaware that she is bending toward his neck with
these huge fangs.
Just as. she is about to sink them into his jugular, a tall,
saturnine man steps out of the darkness., wearing a rather
daffy Victorian suit and carrying a stake and mallet in his
hand. His name is PETER VINCENT.
PETER (V.0.)
Stop, you creature of the Night!
The vampiress leaps to her feet, her hapless, intended
victim forgotten. She faces Peter with a, hiss, her fangs
sparkling in the moonlight.
MISS NINA (V.O.)
Who are you who interrupts my nightly
feeding?
PETER (V.O.)
(drawing himself up to
his full height)
Peter Vincent, vampire killer!
He rushes her, the stake held high to plunge into her
breast and the CAMERA TURNS AWAY from the TV as the sounds
of the movie CROSS FADE with the SOUNDS OF HEAVY BREATHING,
LIPS MEETING, TONGUES INTERTWINING in the room itself.
Only the room, a typical teenager's lair, seems devoid of
life, the bed empty, schoolbooks untouched sitting on the
desk. The CAMERA BEGINS TO SEARCH the room, looking for
the source of this new sound, much more interesting than
the old flick on the tube.
And then it finds them, CHARLEY BREWSTER and AMY PETERSEN,
two sixteen-year olds, on the floor to the far side of the
bed, wedged between the bed and the window. They are both
as American as their jeans and making out like crazy. They
twis.t and turn on the floor, Amy alternating between enjoy-
ing it and fighting Charley off, both of them white hot
with their mutual need. As he tries to slip his hand under
her blouse, she catches-a glimpse of the TV.
The horror movie has faded out to be replaced by the
interior of a local TV studio, a tacky graveyard set the
centerpiece, the visage of Peter Vincent, much older now,
rising out of a papier mache coffin and filling the screen
as CREDITS END.
(CONTINUED)
Rev. 11/16/84 4.
6 CONTINUED: (2)
PETER (V.0.)
This is Peter Vincent, bringing you'
Fright Night Theatre. Tonight's
journey into horror is "Blood Castle,"
one of my favorites. And for a very
good season. I star -in it.
He does this booming laugh that goes through about ten echo
chambers as Charley, totally oblivious to the TV, works on
Amy's bra, trying to get it undone, obviously something she
doesn't want. She tries to distract him.
AMY
Charley, Peter Vincent's on.
CHARLEY
(fumbling with the bra)
Forget Peter Vincent.
AMY
But you love him.
CHARLEY
I love you more --
Behind them, the station break segues into a commercial, a
bunch of kids singing and dancing joyfully to a Coca-Cola
commercial. On the floor, Charley finally gets Amy's bra
undone. That's it for her; she twists away.
AMY
Charley, stop it.
Be doesn't listen, going for her again, their finger fight-
ing behind her back, hers trying to get the bra resnapped,
his trying to keep it undone and get her blouse off at the
same time. She suddenly pushes him away, really hard this
time.
AMY
Charley, I said stop it.
Charley rolls over, leaping to his feet, frustrated as
hell.
CHARLEY
Jesus, give me a break, Amy. We've
been going together almost a year and
all I hear is "Charley, stop it!"'
They stare at each other angrily, both of them breathing
hard, their young hormones roiling inside them. Then they
look away, not wanting to see the other's anger, staring at
the TV for lack of any better place to look.
(CONTINUED)
5.
CONTINUED: (3)
The horror movie is on again, Peter Vincent and Jonathan
now carrying a coffin across a fog swept cemetery.
Charley looks back at Amy, his features softening.
CHARLEY
I'm sorry, Amy.
She rises, both of them standing by the open window,
staring at each other.
AMY
Me, too.
(she puts a hand out,
touching his arm)
I'm just scared, that's all.
He nods understandingly, touched by her honesty and inno-
cence, his basic decency winning out over his lust. Sud-
denly she steps into his arms, kissing him as she never has
before. She breaks, staring up into his face nervously.
AMY
(SOFTLY)
Let's get into bed.:.
CHARLEY
(staring at her, stunned)
You mean it?
She nods, stepping into his arms again, kissing him like
he's never been kissed before, the two of them slowly turn-
ing, Charley seeing the TV first with its grave digger
scene, then the wall, and finally out the window over Amy's
shoulder.
And he freezes. There, below in the side yard, he sees two
shadowy figures carrying what looks very much like a coffin
toward the storm doors to the Dandrige house next door.
His mouth drops open as Amy•slips out of his arms and onto
the bed, completely unaware of what he's seeing. She
starts to take off her blouse, Charley no longer looking at
her, his gaze glued to the weird scene he's seeing out his
window.
As her blouse comes off, she lays back in the bed, looking
up at him, waiting for him to join her.
AMY
Charley, I'm ready.
He ignores her, grabbing his binoculars from his desk,
whipping.them to his eyes and focusing in-on-the figures
below.
(CONTINUED)
J
6.
6 CONTINUED: (4)
They're too dark to make out clearly, but they are JERRY
DANDRIGE and BILLY COLE. An errant beam of moonlight hits
the large, oblong box, and Charley gasps. It's a beautiful
piece of work, huge, ornate, obviously incredibly old, and
bound in brass.
Amy stares at Charley with rising confusion and irritation.
AMY
Charley, I said I'm ready.
CHARLEY
(still glued to his
BINOCULARS)
Amy, you're not going to believe this,
but there are two guys in the yard
below. And I think they're carrying a
coffin.
AMY
(glancing at the TV and
seeing the very same scene)
Sure, and they're on the moors,
right.
CHARLEY
Amy, I'm serious.
AMY
So am I. Do you want to make love or
not?
Charley is still peering through the binoculars, the two
figures below having gotten the storm doors open and now
carrying the coffin into the basement of the house next
door.
CHARLEY
Amy, quick, come-here, you've got to
see this.
All he hears is his bedroom door slamming shut. He whirls
to find Amy gone. Tossing the binoculars on the bed,, he
dives after her.
CHARLEY
AMY --
7 INT. PORTICO - STAIRWAY - LIVING ROOM - NIGHT
Charley hurries down the stairs after her.
CHARLEY
Okay, maybe it wasn't a coffin, but I
did see two guys carrying something
into that house --
(CONTINUED)
I
ch Rev'. 12/4/84 7.
7 CONTINUED:
AMY
(HARDLY LISTENING)
I don't understand you. First you
want to make love, then you don't --
They reach the bottom of the stairs only to have a voice
from the living room stop them.
JUDY (O.S.)
Amy, Charley, what's wrong?
They stop, turning to stare through the doorway at
Charley's mom, JUDY BREWSTER, sitting in the living room,
watching the ten o'clock news on the downstairs TV. She's
a young forty, pleasant looking and warm.
T I
Amy steps into the living room, Charley following, the
two of them trying to pull themselves together so
Charley's mother won't notice what they've been doing
upstairs.
8 INT. LIVING ROOM - NIGHT
JUDY
Have you two been having a lovers'
spat?
CHARLEY
(embarrassed as hell)
No, Mom, nothing like that.
JUDY
Well, there's nothing wrong with
that.
(pointing at the maga-
zine in her lap)
Right here it says the divorce rate
is 76% higher among couples who
don't argue before marriage.
CHARLEY
Mom, we're in high school.
JUDY
Oh, yes, that's right. Well it
never hurts to-plan ahead.
(TO AMY)
Tell your mother I said hello, will
you, Amy. And remind her we're
playing bridge at her house this
week. I'm bringing the cheesepuffs,
she's making the dessert.
(CONTINUED)
ch Rev. 12/4/84 7A.
8 CONTINUED:
AMY
Yes, Mrs. Brewster.
(TO CHARLEY)
Good night, Charley.
CHARLEY-
(ABSENTLY)
Yeah, goodnight.
But he's no longer listening; he's moving toward the window
that stares out at the house next door. There are lights
on in the first floor.now. Behind him Amy turns back to
his mother.
AMY
Well, good night, Mrs. Brewster.
JUDY
Good night, Amy. And thanks for
helping Charley.
AMY
Anytime. See you tomorrow, Charley.
Be hardly hears her, staring out the window. Miffed again,
Amy turns and stomps out of the room, the front DOOR heard
SLAMMING behind her a moment later.
(CONTINUED)
I
8.
8 CONTINUED:
Judy turns to her son to see what's wrong with him. He's
glued to the window, staring at the house next door.
JUDY
Charley, that wasn't very nice, not
walking Amy to the front door.
CHARLEY
(hardly hearing her)
Mom, there are people. next door.
JUDY
Oh, the new owner must.be moving in.
CHARLEY
What new owner?
JUDY I
Didn't I tell you? Bob Hopkins told
me he finally sold the place.
I
CHARLEY
To who?
JUDY
I.d.on't know. Some fellow who fikes
up houses, he said. Supposed to be
attractive, too. Anyway I just hope
whoever he is, he knows what he's
getting into with that house. It's
going to take a lot of work just to
make it liveable --
And the CAMERA leaves them behind, SLOWLY PUSHING IN
TIGHTER AND TIGHTER on the TV Judy was watching, their
VOICES FADING out to be taken over by the newscaster dron-
ing away on the screen.
NEWSCASTER (V.0.)
And now for the local news. A man
was found murdered tonight behind the
railroad yards. Details are pending
waiting notification of next of
KIN --
FADE TO BLACK.
FADE IN. ON :
9 INT. HIGH SCHOOL - HALL - DAY
Kids are flooding out-of the classrooms, the BELL having
just RUNG. Charley comes out of one of them, holding a
test paper and looking none too happy about it.
(CONTINUED)
9.
9 CONTINUED:
CHARLEY
The bastard. Why didn't he tell us he
was going to spring a pop quiz?
Another kid comes out right behind him, holding a test
paper with- a big A+ on it. Eis :name is EVIL ED THOMPSON
and he's tall and thin with a terrible complexion and a
personality to match.
EVIL ED
That's the point to a pop quiz,
Brewster. To surprise you.
Charley glances up at that moment to see Amy walking by,
her head held high, and looking in every direction but his.
CHARLEY
Hey, Amy --
She keeps right on going, disappearing into the crowd.
Evil Ed throws a look at Charley and cackles.
EVIL ED
What's wrong? She finally found out
what you're really like?
CHARLEY
Buzz off, Evil.
EVIL ED
Call me anything you want. Only
you're the one failing Algebra, not
me.
With another high pitched laugh, he walks off, leaving
Charley staring after Amy miserably.
DISSOLVE TO:
10 EXT. BREWSTER AND DANDRIGE SOUSE - DAY
Charley pulls his red beater '68 Mustang into the driveway.
He gets out carrying his schoolbooks and heads for the
front door. Just as he bends down to pick up the evening
paper on the walk, a cab pulls up and a YOUNG WOMAN gets
out.
Charley stops cold; she is definitely one of the most spec-
tacular girls he's ever seen, obviously sexy, cheap around
the edges, but no less spectacular for it. She looks at
him like a little girl lost.
GIRL
Is this ninety-nine Oak?
(CONTINUED)
10.
10 CONTINUED:
CHARLEY
(pointing to the
DANDRIG'E HOUSE)
No, next door.
She nods her head in thanks and walks toward the next door
house, the one. where he saw the two men carrying what
looked to be a coffin into the basement. It's a three
story house like Charley's but there any similarity ends.
The Brewster house is newly painted and well lived in; the
Dandrige house has long-been abandoned, the lawn overgrown,
paint flecking from its side, the entire--place rundown and
forlorn.
Charley watches the girl disappear into the Dandrige house,
whistling appreciatively under his breath. He turns for
his own front door.
11 INT. BREWSTER HOUSE - KITCHEN - DAY
Charley enters the kitchen to find his mother preparing
dinner. He hands her the evening paper.
JUDY
.Thanks.
Charley stops by the kitchen sink, staring out at the
Dandrige house. as his mother goes back to fixing dinner.
CHARLEY
Mom, you seen the new guy next door
yet?
JUDY
No, but I did hear he's got a live-in
carpenter. With my luck, he's
probably gay.
CHARLEY
(SMILING SECRETLY)
No, i don't think so.
JUDY
Why, what do you know that I- don't?
CHARLEY
Ah, nothing. Got to study. See you
later.
He cuts a beeline for the door, his mother staring after
him disbelievingly as he disappears out the door.
JUDY
Study? You?
DISSOLVE TO:
11.
12 INT. CHARLEY'S BEDROOM - NIGHT
He's hard at work at his desk, really into his Algebra,
when over his shoulder a light comes on behind the drawn
shade of the bedroom window of the house next door. It is
directly on a sightline with his own room, but he doesn't
see it, staring intently at his books.
Suddenly a WOMAN'S SCREAM, high-=pitched and terrified,
shatters the night. Charley whirls, sending his books
crashing to the floor, staring out his window at the lit
window in-the house next.door. The light snaps out, dark-
ness blanking the entire wall of the Dandrige house. '
Charley just stares at it, trying to repress a shiver, all
thoughts of studying Algebra suddenly gone.
DISSOLVE TO:
13 INT. MALL - FAST FOOD JOINT - DAY
It's the after school hangout, a bunch of tables before a
fast food joint on the fourth floor of a shopping mall.
Kids mill about, nearby video game machines going full
blast, a TV playing the "Young and the Restless" on the
counter.
Charley sits at one of the tables, almost falling asleep
face down in his cheeseburger and fries as he tries to
study. Suddenly Amy slips in beside.him.
AMY
Hi.
CHARLEY
(looking up at her,
STARTLED)
Hi.
(RECOVERING)
Look, I'm really sorry about the other
NIGHT --
AMY
It was my fault, not yours.
CHARLEY
(REALLY STARTLED)
It was?
(she nods;.he recovers,
taking her hand)
Look, Amy, I. love you. I never.. want to
fight with you again, okay?
AMY
(breaking into a big smile)
God, I'm so glad we're getting this
straightened out.
(MORE)
(CONTINUED)
12.
13 CONTINUED:
AMY (CONT' D)
I've been miserable the last two
days. You don't know what it's been
LIKE --
Over her shoulder he suddenly sees that the TV has gone to
the local news, a picture of a girl who looks very much
like the one he saw going into the Dandrige house the
afternoon before on the screen. He is suddenly no longer
listening or looking at Amy, his complete attention on the
TV. She trails-off as she realizes she's lost his atten-
tion, staring at him.
AMY
Charley, are-you listening to me?
He gets up abruptly and walks away, leaving her sitting
there staring after him. He stops'below the TV, staring up
at it as the newscaster's voice runs over the picture of
the girl.
NEWSCASTER (V.0.)
(CAUGHT MID-SENTENCE)
Cheryl Lane, a known prostitute, was
found murdered this morning --
Evil Ed steps up beside him, staring up at the 'screen along
with him.
EVIL ED
Know what I heard on the police band
.last night?
CHARLEY
What?
EVIL ED
(nodding at the TV)
That wasn't the only murder. It's
the second in two days.
(GLEEFULLY)
And get this. Both of 'em had their
heads cut off. Can you believe it?
CHARLEY'
(staring at him)
You're sick.
A voice suddenly comes from behind him.
AMY (O.S.)
Charley.
(CONTINUED)
14.
16 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT
tD The two houses sit there side by side,.only the Dandrige
house has changed although it's hard to say exactly how.
It just seems worse than before, more abandoned, more-hulk-
ing, more... dead.
17 INT. CHARLEY'S ROOM - NIGHT
Charley has the house next door staked out. He sits in a
chair before his window, all the lights off in his room,
only the flickering TV to keep him company. It's Peter
Vincent on Fright Night, another one of his films on, this
time the volume turned off. Charley holds his binoculars
in his hand, staring at the dark window of the house next
door, waiting.
DISSOLVE TO:
18 ZNT. CHARLEY'S ROOM - MUCH LATER THAT NIGHT
The TV is just flickering snow now, the channel having
signed off hours before. Charley still sits in front of
his window, but he's sound asleep, breathing deeply, lost
in his dreams. Soft, sensual MUSIC snakes through his open
window, enveloping him slowly and dragging him awake.
Groggily he opens his eyes to find himself staring into the
lit window of the bedroom next door. He sits up with a
start.
There is no drawn shade now. Be can see clearly into the
room and a beautiful teenage girl with long blonde hair
stands there, framed in the window, slowly taking her
blouse off. Charley rubs his eyes., hardly able to believe
what he's seeing. As he watches she drops the blouse to
the floor and stands there, bare breasted. Charley gulps,
fumbling for his binoculars.
He gets them to his eyes just as Jerry Dandrige steps out
of the shadows behind the girl, gliding across the room
toward her with incredible grace. To Charley the whole
thing has.a dreamlike quality, Jerry more an impression
than a reality. He's thirty maybe, almost beautiful with
alabaster skin and chestnut hair. He stops behind the
girl, sweeping her hair back, exposing her tender, young
neck. He slowly leans down as though to kiss her.
As Charley watches through his binoculars, unable to tear
his eyes away, Jerry Dandrige's upper lip slowly begins to
pull back,. revealing just the hint of fangs, long, razor
sharp, and sparkling pearly white in the moonlight.
Suddenly, Jerry Dandrige stops, the fangs poised an inch
above the girl's throat. He slowly raises his head, star-
ing out the window across the side yard and into Charley's
bedroom.
(CONTINUED)
pk Rev. 11/16/84 15.
18 CONTINUED:
It's almost as though he can see the boy watching him. -
With an involuntary gasp of terror, Charley steps back into
the deeper darkness of his room, his hand instinctively
reaching up to-protect his own throat.
Jerry Dandrige•slowly reaches up and pulls down the shade,
cutting off all view into the room.
Charley stands there for a moment, unable to believe what
he just saw. The binoculars slip from his hand, crashing
to the floor, and. he whirls, racing out of the room.
19 INT. HIS MOTHER'S ROOM - NIGHT
He bursts through the door to find his mother sound asleep
in bed. He grabs her, shaking her awake.
CHARLEY
Morn, you've yot to get up. I can't
believe what s happening next door.
JUDY
(staring up as her son
SLEEPILY)
What, what are you talking about?
CHARLEY
He has fangs. The man who bought the
house has fanas!
JUDY
Oh, Charley, I have to be at work at
SEVEN TOMORROW
He hears a CAR DOOR SLAM in the yard next door. He jumps
to the window, peering out into the back of the Dandrige
house just in time to see Billy Cole walking away from a
shiny new black Cherokee Jeep, its back door left open.
Charley whirls and dashes out of the room, leaving his
mother staring after him.
JT1DT
CHARLEY --
20 EXT. SECOND FLOOR HALL - NIGHT
He races down the corridor for the stairway landing.
21 INT. STAIRWAY - PORTICO-- NIGHT
He pounds down the stairs, taking'them two at a time, whips
around the newel post and flies down the hall toward the
kitchen.
22 EXT. BACK YARD - DANDRIGE HOUSE - NIGHT
Charley slips out his back door and through. the darkness
into the adjoining yard.
(CONTINUED)
16.
22 CONTINUED:
.There, among a clump of bushes, he crouches down, watching
the black Jeep. The rear door is open as though to receive
some burden, the yard empty, Billy Cole no longer'there.
Suddenly the back door to the Dandrige house opens again
and Billy comes out carrying a large bundle in a plastic
trash bag over his shoulder. 'Charley's mouth falls open as
he realizes the bundle could'easily be a woman's dead body.
Billy dumps it in the back of the Jeep and slams the door,
crossing. in front of the vehicle for the driver's door.
Suddenly there is a terrific WHOOSH'through the air over
Charley's head, the moonlight momentarily blotted out, the
BEATING OF LARGE WINGS above causing the bushes around him
to bend and sway. It's almost as though a huge bird, a bat
perhaps, just swooped over his head from the top floor of-
the Dandrige house. And then silence returns.
Charley lifts his head, peering about in the darkness just
in time to see a shape, more a shadow than a man, step out
of the darkness no more than ten feet away. It's Jerry
Dandrige.
He glides toward the Jeep, tossing Billy a woman's purse.
JERRY
Here, you forgot this.
Billy one-hands it out of the air, turning back for the
Jeep. Just then the back door to Charley's house bangs
open, sending a shaft of light into the darkness. Judy
Brewster stands there in the doorway, calling to her son.
JUDY
Charley!
Dandrig.e and Billy Cole freeze, both of them turning to
look at the back door to the Brewster house, inadvertently
staring right at the clump of bushes where Charley.is hid
.ing.
Dandrige takes a step forward, his eyes probing the dark-
ness as though he can actually see through the murky black-
ness right to where Charley hides.
Terrified, Charley suddenly leaps to his feet and races
back into his own yard, disappearing through the back door
with his mother. Billy steps forward as though to follow
the boy. Jerry puts out a restraining hand, stopping him.
DISSOLVE TO:
23 INT. CHARLEY'S HOUSE - KITCHEN - NIGHT
Charley sits at the kitchen table, his mother putting a cup
of hot cocoa into his hand.
(CONTINUED)
yl Rev. 11/23/84 17.
23 CONTINUED:
JUDY
Here, drink this..
CHARLEY-,
(ALREADY FRUSTRATED
AS HELL)
Mom, I don't need hot cocoa. I didn't
have a nightmare. They did kill a girl
over there.
JUDY
(feeling his forehead
for a fever)
Charley, how late did you stay up
studying?
CHARLEY
(shoving her hand away)
iMom, I'm not sick. The guy did have
`fangs and a bat did fly over my head
.and then Jerry Dandrige stepped out of
the shadows. You know what that means,
don't you?
JUDY
(staring at him worriedly)
What?.
CHARLEY
He's a vam_re!
JUDY
(.staring at him
INCREDULOUSLY)
A what?
MATCH CUT TO:
24 INT. AMY'S HOUSE - KITCHEN - DAY
Amy's staring at him much as his mother did, with a look of
shock and total disbelief on her face.
AMY
A what?
CHARLEY
(frustrated as hell
AGAIN)
A vampire, damnit! Haven't you
listened to anything I've said?
(CONTINUED)
Rev. 11/23/84 18.
24 CONTINUED:
AMY
Charley, is this some kind of trick
to get me 'back?
CHARLEY
(turning toward the door
in disgust) i
Forget it, L'm going to the police.
AMY
(blocking his path)
Charley, you can't go to the police
with a story like that. They'll lock
you up.
CHARLEY
All right, then I won't tell them it's
a vampire. But I sure as hell am going
to tell them about the two women --
AMY
CHARLEY --
Be slams out the back door, leaving her staring after him,
) T worried sick.
DISSOLVE TO:
24A EXT. DANDRIGE HOUSE - DAY
A police car pulls up, Charley in a red Mustang behind him.
He gets out, walking to meet LIEUTENANT DETECTIVE LENNOX,
a tall man in his early.forties. He hitches his pants,
staring at the teenager hard.
LENNOX
You sure about this now?
Charley nods emphatically and the cop turns toward the
house, Charley following.
25 OMITTED
26
27 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - DAY
The KNOCK reverberates through the silent house. Nothing
for several seconds; then the sound of someone walking down
the hall from the kitchen. Billy Cole appears, stopping
before the door, staring through the curtain at the dim
outline of Charley and the Detective standing on the porch.
He opens the door, staring at the boy and the cop.
BILLY
Yes.
(CONTINUED)
Rev. 11/26/84
27 CONTINUED:
LT. LENNOX
Mr. Dandrige?
BILLY '
No, I'm his roommate,•Billy Cole.
LT. LENNOX
(flashing his badge)
Lieutenant Lennox, homicide. Mind if
we come in?
BILLY
No, not at all.
He steps back from the door, allowing them to enter. The
house is a mess of cardboard moving boxes and heavy
Victorian furniture scattered everywhere, a number of the
pieces still under white dust covers. Clocks line one
wall, none of them working, all set at 6 p.m.
BILLY
Is there anything I can help you
with?
LIEUT. .LENNOX
There was a murder last night.
Charley lives'next door and thinks he
saw the victim in this house.
BILLY
(SEEMINGLY SHOCKED)
That's impossible. I was here with
Jerry all last night. There was
nobody else in the house.
CHARLEY
That's a lie.
(nodding at Billy)
I saw him carry her body out in a
plastic bag.
LIEUT. LENNOX
What do you say to that, Mr. Cole?
BILLY
(RELIEVED)
The kid's crazy, officer. I did take
some bags out last night, but they
were full of trash. Here, let me
show you --
28 INT. LIVING ROOM - DAY
He leads them into the living room which is'a mess of pack-
ing crates, boxes, and furniture. He holds up a plastic
trash bag stuffed with wrapping paper and cardboard boxes.
(CONTINUED)
ch Rev. 12/4/84 20.
28 CONTINUED: 28
BILLY
See. We're just in the process of
moving in --
CHARLEY,
The bag I saw had a body in it, not
trash.
I
BILLY
Did you actually see the body,
Charley?
CHARLEY
No, but --.
BILLY
(TO LENNOX)
Look, let me take you out back. I'.11
show you the bags I"put in the
garbage.
LT. LENNOX
Okay, let's see 'em --
He takes a step to follow Billy out of the'room when
Charley, increasingly desperate, stops him.
CHARLEY
Look, I can prove he's lying. Let's
look in the basement instead.
LT. LENNOX
What's down there?
BILLY
(turning and staring
AT CHARLEY)_
Yes, Charley, what's down there?
Charley meets the big man's gaze and finds his tongue stuck
to the roof of his mouth. The seconds, tick past. Still
nothing from Charley. Billy turns to the Lieutenant with a
smile.
BILLY
Obviously the boy's made a mistake,
OFFICER --
CHARLEY
(bursting out with it)
A coffin, that's what's down there, a
coffin. I saw them carry it in!
LT. LENNOX
(TAKEN ABACK)
What?
(CONTINUED)
A
22.
30 CONTINUED:
LT. LENNOX (CONT'D)
(almost slamming Charley
up against the car)
Now you listen to me, kid. If I ever
see your ass down at the station
house again, I'm throwing it in
jail. Forever!
He hops in his-car, slamming the door behind him as Charley
hovers by the window.
CHARLEY
Lieutenant Lennox, please, listen to
ME --
Lennox ignores him, ROARING away in a cloud of burning
rubber. Charley stares after him, not knowing what to do
now.
He hears the PORCH DOOR of the Dandrige house OPEN behind
him and whirls to find himself staring at Billy Cole,
standing on the porch looking back at him, a toothpick in
his mouth. There's something very unpleasant in the big
man's eyes:- like murder.
Charley slowly backs away from him toward his car, Cole's
eyes following him.. Charley glances down at his wrist-
watch.' It's four in the afternoon. He glances up at the
sun overhead. It's beginning to sink, late afternoon and
all that implies drawing nigh. He looks back at Billy
Cole. The man is smiling at him now, reading his thoughts.
Charley leaps into his car and takes off down the street.
CUT TO:
31 INT. EVIL ED'S HOUSE - PORTICO - STAIRWAY - DAY
Charley bursts through the front door and pounds up the
stairs, yelling as he comes.
CHARLEY
Evil!
32 ZNT. EVIL ED'S BEDROOM - DAY
Evil Ed sits at his desk,. hand painting a monster model of
a ghoul as Charley bursts through the door and skids to a
halt before him, breathing hard. Evil's room is a
veritable museum of horror, movie posters of Frankenstein
and the Wolfman dotting the wall, the shelves full of
monsters', models, the floor littered with horror comics.
Evil glances up at Charley., obviously not happy about being
disturbed.
(CONTINUED )
23.
32 CONTINUED:
EVIL ED
And to what do I owe this dubious
pleasure?
CHARLEY
The vampire knows that I know about
him. Or at least he will when he wakes
up tonight.
EVIL ED
What are you talking about?
-CHARLEY
I've got a vampire living next door and
he's going to kill me if I don't
protect myself.
EVIL ED
(looking at him like
HE'S CRAZY)
What?
CHARLEY
Look, Evil, I haven't got time to
explain. Just tell me what to do to
.protect myself.
EVIL ED
(going back to his
PAINTING)
Very funny, Brewster.
CHARLEY
I'm not kidding. Evil, please, just
tell me what to do.
EVIL ED
Why should I help you? And don't
call me that.
CHARLEY
(digging money out of
HIS POCKET)
Look, I've got eight bucks. Tell me
what' to do and it s yours.
Evil Ed stares at the money for a moment and then sweeps it
into his. pocket.
EVIL ED
Far be it from me to turn down a
fool's money. Where and when do you
expect this vampire to attack?
(CONTINUED)
pk Rev. 11/6/84 24.
32 CONTINUED: (2)
CHARLEY
In my bedroom. Tonight.
Evil Ed puts down his brush and pulls a dime store cross
from his desk. He hands it to-Charley.
EVIL ED
Start with this. Of course, you have
to have faith for it to work. Then
get some wolfbane --
CHARLEY
What?
EVIL ED
Forget it. Get some garlic, links of
the stuff you can wear around your
neck and hang from your window. If
he comes for you,, that'll be the
way. Then, of course, there's holy
water. But you need a priest to say
a blessing over it first.
He goes back to his painting. Charley stares at him.
CHARLEY
That's all?
EVIL ED
'I'm afraid so. Of course, they can
change into wolves and bats at will
and I don't know what you do about
that. But your best protection right
now is that a vampire can't enter
your house without being invited by
the rightful owner first.
CHARLEY
You sure about that?
EVIL ED
Positive.
SMASH CUT TO:
33 OMITTED
THRU
35
36 INT. CHARLEY'S BEDROOM - NIGHT
Charley steps back to stare at his window, finished at
last. Be's done the best he can, nailing-it shut, strewing
it with garlic, his chest of drawers shoved in front of it,
partially blocking. it.
(CONTINUED)
A
25.
36 CONTINUED:
The cross Evil Ed gave him sits on his desk. He tests the
window. It's secure. His mother calls up to him from the
portico below.
JUDY (O.S.)
Charley, come down here, please.
There's someone I want you to meet.
He turns and walks out of the room, feeling better now.
37 • INT. PORTICO - STAIRWAY - NIGHT
He bounces down the stairs and turns toward the door to the
living room.
38 INT. LIVING ROOM - NIGHT
He walks into the living room to find his mother standing
there, a drink in her hand.
CHARLEY
Yeah, Mom --
JUDY
Charley, this is.our next door
neighbor, Jerry Dandrige.
Charley freezes. Jerry Dandrige sits in the best chair, a
drink in his hand, smiling at Charley. He's even better
looking close up, almost blindingly beautiful, too much so
actually.
There's something disturbing about it, as though such good
looks have to cover up an inner putrefaction, some sort of
hidden, sweet, sickly rot just beneath the perfect pale
skin.
He rises, the smile widening as he sees the terror in
Charley's eyes. He holds his hand out as Judy watches her
son for his reaction.
JERRY
Hello, Charley.
Charley just stares at him.
JUDY
Well, shake hands, Charley. There's
no reason to be rude.
Charley slowly crosses to Jerry and takes his hand, shaking
it as one would the hand of a recently disinterred corpse.
Judy.smiles, pleased with herself.
(CONTINUED)
4
26.
38 CONTINUED:
CHARLEY
What's he doing here?
JUDY
(rising and smiling
AT JERRY)
I invited him over for a drink.
CHARLEY
(stone cold horrified)
You what?
JUDY
(a bit taken aback by
the intensity of her
SON'S REACTION)
Invited him over. Why?
Charley turns back to stare at Jerry. Jerry smiles, speak-
ing in a voice that flows like honey, charm and nascent
sensuality oozing from his every pore.
JERRY
What's wrong, Charley? Afraid I'd
never come over without being invited
first? You're quite right. But, of
course, now that I've been made
welcome, I'll probably drop by quite
a bit.
His voice changes, suddenly charged with double meaning,
his eyes burning into Charley.
JERRY
In fact, anytime I feel like it.
(changing tack, turn-
ing back to Judy)
With your mother's kind permission,
of course.
JUDY
(TOTALLY ENRAPTURED
WITH HIM)
Of course, Jerry. You're welcome
anytime. It's so nice someone
interesting has finally moved into
the neighborhood. It's so dull
around here. I mean how many nights
can you play Trivial Pursuit? Right,
Jerry?
JERRY
Right, Judy.
Charley watches this scene, backing across the room, terri-
fied. He suddenly hits an end table, knocking it with a
crash to the floor. Judy looks at him. He's ghost white.
(CONTINUED)
ch Rev.. 12/4/84 27.
38 CONTINUED: (2)
JUDY
Charley,. are you all right?
CHARLEY
(his eyes on Jerry as
he backs for the door)
Yeah, fine. I've just got to get back
to my trigonometry, that's. all.
JERRY
Nice meeting you, Charley.
(his voice suddenly
dripping with double
ENTENDRE)
See you soon.
And unseen by Judy, he looks directly at Charley and winks
at him. Charley whirls, bolting out of room and pounding
up the stairway out of sight. Judy turns to Jerry.
JUDY
You know, our town really isn't'as
boring as I make it sound. For
instance, there's a dance at the
church the first Friday of every month.
JERRY
Really?
JUDY
(BIG SMILE)
Really.
Jerry smiles a secret smile and takes a sip of his drink.
39 INT. CHARLEY'S BEDROOM - NIGHT
Be bursts through the door and scoops up the phone, punch-
ing out a number frantically.
CUT TO:
40 INT. EVIL ED'S BEDROOM - NIGHT
He is still at work, painting the monster model of the
Ghoul. The PHONE RINGS. He picks it up.
EVIL ED
Yeah.
CHARLEY (V.O.)
The vampire is in the house. My
idiot mother just invited him over
for a drink.
(CONTINUED)
Rev. 12/4/84 27k.
40 CONTINUED:
EVIL ED
(starting to laugh)
No shit?
CUT BACK TO:
41 INT. CHARLEY'S ROOM - NIGHT
CHARLEY
Ed, this is serious!
(CONTINUED)
Rev. 12/4/84 28.
41 CONTINUED:
EVIL ED (V.0.)
You still have my'cross?
CHARLEY
Yeah, and I nailed my.window shut.
EVIL ED ' (V .0 . )
Then relax. There's no way he can
get to you.
CHARLEY
You sure?
CUT BACK TO:
42 INT. EVIL ED'S BEDROOM - NIGHT
EVIL ED
Positive. Now good night. I've got
some studying to do.
He hangs up, returning to painting his monster model of the
Ghoul, mumbling to himself.
EVIL ED
Fucking idiot.
CUT BACK TQ:
43. INT. CHARLEY'S BEDROOM - NIGHT
Charley-grabs the cross off his desk and nervously fingers
it, turning to stare out his window at Jerry's window next
door. The shade is pulled, but there's a light on behind
it. It doesn't make Charley any less nervous.
DISSOLVE:
44 EXT...DANDRIGE AND BREWSTER HOUSE - NIGHT
Both houses sit quietly on the street, wrapped in the dark-
ness of the night air. An ordinary enough image, two
houses, sitting there, but there's something disturbing
about it. After.a few seconds one realizes what it-is:
the Dandrige house almost looks like it's about to pounce
on its next door neighbor, the Brewster house.
45 INT. MASTER BEDROOM - NIGHT
Judy is sound asleep, a light breeze wafting the curtains.
of her partially open window, sleeping mask over her eyes.
46 INT. SECOND FLOOR HALL - NIGHT
Darkness and silence, and nothing else but moonlight spill-
ing through the window at the far end.
29.
47 INT.. CHARLEY' S BEDROOM - NIGHT
He sleeps fitfully in his chair, his door locked behind
him, his window barricaded with his desk.
48 INT. SECOND FLOOR HALL - NIGHT
Suddenly the shadowy outline of.what might be a huge bat
swoops past the window outside followed by the BEATING OF
MIGHTY WINGS. A second later something is heard landing on
the roof with a heavy THUD.
49 INT. CHARLEY'S ROOM - NIGHT
Charley sits bolt upright in his bed as he hears it, lis-
tening hard. But now there's nothing but silence. He
stares up at the ceiling, listening and waiting.
Then he hears what SOUNDS LIRE FOOTSTEPS walking across the
roof. And then silence again. Grabbing the cross and
holding on to it tightly, he walks toward his door.
50 INT. HALLWAY - NIGHT
He unlocks the door and pokes his head out, looking up and
down the hall. Nothing. Then he hears it, a NOISE from
the floor below. It sounds like fingernails scratching-.
across glass. He tiptoes to the landing, staring down at
the shadow enshrouded portico below. The NOISE IS LOUDER
now, spookier, more insistent. Clutching his cross, he
starts down the stairs.
51 INT. MASTER BEDROOM - NIGHT'
Jerry Dandrige stands above Judy, staring down at her
sleeping peacefully in her bed. The window behind him is
now fully open. He glides across the room past Judy's
bureau with her wigs sitting on it, past the wall mirror
without leaving a reflection to mark his passing, and out
the door with unnatural silence.
52 INT. HALLWAY -.NIGHT
Jerry closes the door behind him, giving it a sharp tug
that slightly dislodges it-from it hinges, wedging it..tight
against the frame. It's something no man of ordinary
strength could accomplish that easily. He turns away,
gliding across the hall toward the open door to Charley's
bedroom.
53 INT. STAIRWAY - PORTICO - NIGHT
Charley stands on the stairs, staring through the doorway
into the living room. There is nothing but shadows in
there. And then he sees it, the source of the scratching
sound.
(CONTINUED)
ch Rev. 12/4/84 30.
53 CONTINUED:
A tree branch, caressed by the wind, is slowly.moving back
and forth across a pane of glass in one of the french doors
to the patio. Relieved, Charley slips the cross into his
pants pocket and turns, walking back up the stairs.
54 INT. HALLWAY - NIGHT
He walks down the hall past his mother's bedroom, hardly
giving it • glance as he disappears into his own room.
55 INT. CHAARLEY'S ROOM - NIGHT
Be shuts the door softly behind him, locking it, sits,
turns on the TV, rising again nervously and... turns to
find himself facing Jerry Dandrige. Be opens his mouth to
scream. The vampire's hand whips out with blinding speed
and seizes him by the throat, choking off all sound.
JERRY
Now we wouldn't want to wake your
mother, would we, Charley?
(SMILING)
Then I'd have to kill her, too.
Right?
Charley nods and Jerry flings the boy the length of the
room with inhuman strength, slamming him into the far
wail. Charley slips to the floor, all the air knocked
out of him. Jerry advances on'him as Charley fights to
get his breath back.
- JERRY
Do you realize the trouble you've
caused me? Spying on me, almost
disturbing my sleep this afternoon,
telling policemen about me
He reaches down and grabs the boy, jerking him erect, and
slamming him against the wall again, Charley's legs
dangling several feet above the floor. Jerry leans in,
pressing his face close to Charley.
JERRY
You deserve to die, boy
And he. begins to slowly choke Charley, suddenly stopping,
staring into the boy's face.
JERRY
Of course, I could give you something
I've never had... a choice. You
forget abotrt me and I'll forget about
you. What do you say, Charley?
(CONTINUED)
32.
55 CONTINUED: (2)
Judy can be heard RATTLING HER BEDROOM DOOR in its frame,
trying to get it open. Jerry's head whips back and forth
between the door to the hall and Charley, the SOUNDS of
Judy struggling to get her bedroom door open becoming
louder all the time.
The door across the hall starts-to give with a groan. With
a hiss of frustrated fury, the vampire whirls, throws open
Charley's door, and dashes out into the hail.
Charley throws off his shock at still being alive and
plunges after him.
56 INT. HALL - NIGHT
Charley skids to a halt in the hall, sees the window at the
far end is flung open wide, and dashes to it, sticking his
head out and staring up at the night sky. Suddenly on the
roof above him, there is the SOUND OF POWERFUL WINGS, beat-
ing away into the night. air. And then nothing.
He slowly pulls his head back in and closes the window
behind him, locking it. He turns to find Judy stumbling
out to her room at last and looking at him.
JUDY
Charley, what happened?
CHARLEY
(THINKING FAST)
I, I just had a nightmare.
JUDY
(INSTANTLY CONCERNED)
Oh, no. You know, I had one last
night. I was at this White Sale and
there I was, standing at the counter,
and I reached for my credit cards
only to realize I was naked as the
day I was born --
Suddenly they both hear a dull THUD as if metal is bending,
.then nothing. Judy stops, turning back toward the closed
window as Charley peers through the glass, seeing the sha-
dowy form of Jerry Dandrige slipping out of their garage
and crossing into the.back yard of his own house.
JUDY
Now what's that?
She takes a step for the window only to have Charley grab
her, gently guiding her back toward her bedroom.
CHARLEY
Nothing, Mom. Just the raccoons in the
garbage again. Why don't you go back
to sleep. ,
JUDY
But what about your nightmare? Do
you want a valium?
(CONTINUED)
ch Rev. 12/4/84 33.
56 CONTINUED:
CHARLEY
I'm fine now, honest. Night.
JUDY
Well, I do needy sleep. I start
the night shift tomorrow, you know.
CBARLEY
Yes, Nom, I know. Now, good night.
He pushes her through her door into her bedroom, closing
the door behind her and turning for his own room.
57 INT. BEDROOM - NIGHT
Charley closes the door behind him, clicking on the TV
for company, hardly looking at it as he paces. the room,
lost in thought. It's Fright Night again, another hor-
ror film on. It's the last thing he needs to see, and
he's about to lean over and turn.it off when the PHONE
suddenly RINGS by his side, raking him jump.
Be picks it up, but doesn't say anything, just listening
at the receiver. Suddenly he bears Jerry's sibilant
whisper.
JERRY (V.O.)
I know you're there, Charley, I can
see you.
Charley slowly turns, staring out his window. There, in
the window of the house next door,. stands Jerry Dandrige,
the phone to his ear, staring at Charley.
S8 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT
Jerry stands at his window, staring back at the horror
struck visage of the boy it the. window of the house next
door while Billy kneels at his side, solicitously bandag-
ing his injured hand.
JERRY
I just destroyed your car, Charley.
But-it's nothing compared to what I'm
going to do to you tomorrow night.
Be hangs up, slowly reaching out and drawing the shade.
59 INT. BREWSTER HOUSE - CHARLEY'S.ROOM - NIGHT
Charley watches the shade blank the lit window out.
(CONTINUED)
4
33A.
y1 Rev. 11/23/84
1 59 CONTINUED:
He slowly hangs up the phone, sinking onto the bed,
thinking hard and coming up with no answers. On the TV,
the horror'flick dissolves as Peter Vincent comes on doing
a station break rap.
PETER (V.O.)
Hello, horror fans. I hope you're
enjoying "I, A Vampire Part Two."
It's one of my best. Did you know
a lot of people don't believe in
vampires?
(CONTINUED)
ch Rev. 12/4/84 34.
59 CONTINUED:
Charley straightens up, his gaze suddenly riveted to the
screen.
PETER (V.0.)
But I do. Because I know they exist.
I have faced them inn. all their
guises, men, wolves, bats. And I
have always won. That's why they
call me The Great Vampire Killer.
(DRAMATIC PAUSE)
Now, watch me do it --
The horror flick comes back up on the screen, a much
younger Peter stalking Dracula through a drafty castle,
stake and mallet in hand. Charley watches the movie
with renewed, if not fervent interest, whispering to
himself as he watches.
CHARLEY
Get him, Peter,. get him --
DISSOLVE TO:
60 OMITTED
61 EXT. STUDIO PARKING LOT - DAY
Peter comes out of the studio dressed in his street
clothes, moping toward his car, taking a cigarette from
his cigarette case as he goes. Eels in his fifties, tall,
saturnine, by nature very theatrical, but at this
particular moment in time, also very depressed. Charley
jumps out from hiding and hurries toward him.
CHARLEY
Hey, Mr. Vincent --
Peter ignores him, continuing to walk-toward his car as.
Charley falls in beside him.
CHARLEY
Could I talk to you a minute?
(nothing from Peter)
Please, Mr. Vincent, it's terribly
important.
Peter, abruptly stopped, resigned to the fact that boy is
not going to let him alone. He whips out a fountain pen.
PETER
All right, what do you want me to
sign?
CHARLEY
(CONFUSED)
Pardon me?
PETER
Well, you want my autograph, don't
you?
(CONTINUED)
._ ..
35.
61 CONTINUED:
CHARLEY
No, sir. I was curious about what you
said last night on TV. You know, about
believing in vampires.
PETER
What about it?
CHARLEY
Were you serious?
PETER
Absolutely. Unfortunately none of
your generation seems to be.
CHARLEY
What do you mean?
PETER
(venting his frustra-
tion on Charley)
That I have been fired because no one
wants to see vampire killers anymore.
Or vampires either. Apparently all
they want are demented madmen running
around in ski masks hacking up young
virgins. Now if'you'll excuse me --
Be starts for his car again, Charley falling in beside him.
CHARLEY
i believe in vampires.
PETER
(HARDLY LISTENING)
That's nice. If only there had been
more of you perhaps my rating would
have been higher.,
CHARLEY
In fact I have one living next door.
Would you help me kill him ?
That stops Peter cold. He turns and stares at the boy.
PETER
Pardon me?
CHARLEY
You know the murder of that girl that
happened yesterday?
PETER
Yes.
(CONTINUED)
36.
61 CONTINUED: (2)
CHARLEY
Well, the'guy who lives next door did
it and he's a vampire.
A moment. Then Peter turns away angrily.
PETER
If this is your idea of a joke, I am
not amused.
CHARLEY
(GRABBING HIM)
Mr. Vincent, I'm not joking. I'm
deadly serious.
Peter stares at him, sees he means it, and decides
Charley's crazy. It makes him decidedly nervous.
PETER -
I'm sorry, you'll have to excuse me --
CHARLEY
(hurrying after him)
But, Mr. Vincent, I'm telling the
TRUTH --
Peter stops before his car, on outrageous old clunker, and
fishes out his keys.
CHARLEY
You just said you believe in
VAMPIRES --
PETER
(SHARPLY)
I' lied. Now leave me alone.
He opens the door only to have Charley slam it shut, star-
ing at Peter desperately. •
CHARLEY
Please, you have to listen to me. The
vampire tried to kill me last night-and
trashed mv car when he didn't
succeed. He'll be coming back for me
tonight and if I don't get help, he's
going to kill me --
Peter shoves him aside,•hopping into his car, quickly lock-
ing the door behind him, obviously terrified of Charley.
As he starts the engine, Charley beats on the window.
CHARLEY
Mr. Vincent, you've got to believe
INC --
(CONTINUED)
37.
61 CONTINUED: (3)
Peter backs up, hauling ass out of the lot, Charley running
after him.'
CHARLEY
Mr. Vincent
He comes to a halt, realizing its useless, standing there
.watching as Peter disappears out of the lot and down the
street.
CUT TO:
62 OMITTED
63 EXT. BREWSTER HOUSE - DAY
Amy rides up on her moped just as Evil Ed starts.up the
front walk toward Charley's house. She dismounts, looking
at him.
AMY
What are you doing here?
EVIL ED
Me? What about you? I thought you
just dumped him.
AMY
(hurrying up the walk)
What I'm doing here is-none of your
business.
EVIL ED
(hurrying after her)
Aha, you do like him!
He disappears into the house right behind her.
64 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - DAY
Amy and Evil Ed push open the door and step inside,'Amy
yelling up the steps.
AMY
Anybody home?
No answer, nothing but silence. She and'Evil Ed exchange
glances, then start up the steps.
65 INT. CHARLEY'S ROOM - DAY '
Amy and Evil Ed walk through the door and stop, gasping at
what they see.
(CONTINUED)
Rev. 11/16/84 38.
65 CONTINUED:
The room has been transformed from a normal, happy kid's
room into a armament camp for a vampire assault.
The window is nailed shut,. strands of garlic, a dozen at
least, hung from the curtains. Dime store crosses and cru-
cifixes are everywhere,, in every imaginable shape and size.
Charley sits. in' the middle of the floor, whittling a stake
from a slat of grape fence, a hammer by his side.
EVIL ED
(STARING AROUND)
What's all this for?
CHARLEY
Self-defense. Not that I think
I'll need it. He'll be dead before
nightfall.
AMY
(exchanging.: worried
glances with Evil. Ed)
Who will be?
CHARLEY
Dandrige. I'm waiting for the guy he
lives with to leave, then I'm doing
to go next door, find his coffin, and
pound this through his heart.
He holds up the stake. Evil Ed and Amy look at it, hor-
rified.
AMY
That's murder, Charley.
CHARLEY
(looking back at her
with total seriousness)
You can't murder a vampire, Amy.
They're already dead, remember.
AMY
Charley, you're acting crazy.
CHARLEY
I don't have any choice, Amy. The
police won't listen to me,.my mother
thinks I'm crazy, you two, even Peter
Vincent thinks I'm nuts.
AMY
(SHOCKED AGAIN)
You actually went to Peter Vincent?
(CONTINUED)
39.
Rev. 11/16/84
65 CONTINUED: (2)
CHARLEY
(NODDING)
Yeah. Dandrige has got to be stopped.
Listen. I just taped this.
He hits the play button on his stereo Dolby TAPE DECK and a
local RADIO NEWSCAST PLAYS back. over the speakers.
NEWSCASTER (V..0. )
And now for the two o'clock news.
Another body of a young woman was
discovered early this morning in back
of the Sheraton Mall --
He hits the stop button and turns back to them.
CEARLEY
See. After he attacked me last night
he went out and had his dinner.
(turning to stare out
the window at the
Dandrige house again)
No, I- don't have any choice. Somebody
has to stop him. Hold.on, I need
ANOTHER STAKE
He rises and disappears out the door into the hall. Evil
Ed turns to Amy, truly frightened for the first time. He
whispers to her.
EVIL ED
What are we going to do? if we don't
stop him he's actually going to try
to kill this guy.
(REALLY HORRIFIED)
With a stake through the heart!
AMY
I know, I know --
EVIL ED
I don't believe this. It's like
Fright Night.
AMY
(her eyes lighting up)
That's it!
-EVIL ED
What?
AMY
We get Peter Vincent to prove to him
that this Dandrige guy isn't a
vampire.
EVIL ED
(shocked by the
SUGGESTION)
How are we going to do that?
(CONTINUED)
bi Rev. 10/9/84 40.
65 CONTINUED: (3)
AMY
I don't-know, but we better figure
out a way if we don't want to be
visiting Charley in jail.
Charley enters from the hall, carrying another slat of wood
to be sharpened. Evil Ed and Amy fall silent as he takes
his seat by the window and goes back to his whittling.
AMY
(nervously clearing her
THROAT)
Charley, .it's going to be dangerous
doing into that house alone, isn't
it?
(CHARLEY NODS)
You're going to need all the help
you can get, right? Somebody like
Peter Vincent for instance.
CHARLEY
I told you, I already tried him.
AMY
Why not let us try before you do
anything?
CHARLEY
Why should he believe you anymore than
he did me?
AMY
Maybe we're better talkers.
CHARLEY
Fat chance.
AMY
What happens if you go into that
house alone and he gets you? Who's
going to stop him then?
EVIL ED
(JOINING IN)
Yeah, then he'll be able to suck his
way through this entire town. Not
that it would-be much of a loss.
CHARLEY
(SLOWLY)
I don't know --
(CONTINUED)
bl Rev. 10/9/84 41.
65 CONTINUED: (4)
AMY
(pushing him hard)
Charley, it'll be dark soon. You
don't want to go into-"that house
then, do you?
CHARLEY
No, you're right there.
(ANOTHER MOMENT;
FINALLY)
All right, try him again..
AMY
(RISING)
Great. Now, you promise you won't do
anything till .you hear from us?
(as Charley nods;
she turns to Evil Ed)
Come. on --
Evil Ed hurries out of the room, Amy following him.
Charley calls after her.
CHARLEY
AMY --
(she stops, turning
BACK)
You don't believe me, do you?
AMY
(SLOWLY)
I love you., Charley.
She turns and hurries out of the room.
66 OMITTED
67 INT. DANDRIGE HOUSE - PORTICO - DAY
Billy stands at the window, peering through the curtain at
Amy and Evil Ed as they hurry out of Charley's house and
start down the street. He glances at his watch. It's four
o'clock, another good two hours before dusk begins to fall.
.He turns and stares thoughtfully up the stairway in the di-
rection. of the attic.
CUT TO:
68 OMITTED
69 INT. APARTMENT - DAY
Peter lets himself into his efficency apartment carrying a
handful of mail.
(CONTINUED)
bl Rev. 10/9/64 41A.
69 CONTINUED: 69
The place is small, but neat, the walls dotted with posters
of his various movies, all in the horror genre, stretching
back at least three decades.
The bookshelves' and table are dotted with memorabilia,
props and awards, from his various roles.
He stops by the. table, going through the mail. They're
bills and more bills, many marked "Last Notice", one of
them an order to vacate this apartment within three days
for failure to pay rent. Suddenly there is a KNOCK at his
door and he goes wearily to answer it. He opens it to find
Amy and Evil Ed standing there.
(CONTINUED)
pk Rev. 11/16/84 42.
69 CONTINUED: (2)
PETER
Yes.
AMY
Could we talk to you for a moment,
Mr. Vincent?
� PETER
(his gaze sliding to
the unpaid bills)
I'm afraid now isn't the best time --
AMY
Please. It's terribly important.
He stares at her and. sees the desperation in her eyes. He
steps back, closing the door behind him, and following them
into the room.
PETER
Now what' can I do for you? An
autograph or an interview for your
school newspaper?
AMY
I'm afraid this is much more.
important.
PETER
(FROWNING)
Oh, really?
AMY
I know you're a very busy man, Mr.
Vincent, but we're trying to save a
boy's life.
PETER
(HURUMPHING)
Well, yes, I see, where that could be
more important. Would you care to
explain yourself?
EVIL ED
(STEPPING IN)
You remember a fruitcake kid named
Charley Brewster. He said he came to
see you?
PETER'
(shaking his head)
No.
AMY
He's the one who thinks a vampire is
living next door.
(CONTINUED)
yl Rev. 11/23/84 43.
69 CONTINUED: (2)
1 PETER
(SMILING)
Oh, yes. He's insane.
(looking at Amy)
Dear me, I hope he's not a friend of
yours?
EVIL ED .
(MALICIOUSLY)
She's got the hots for the creep.
She flushes and smacks Evil Ed, making him yelp. She turns
back to Peter.
AMY
We need your help' to stop him, Mr.
Vincent. You see, he really does
believe his next 'door neighbor is a
vampire. Re's planning to kill him.
EVIL ED
(GLEEFULLY)
Yeah, with a stake through the heart.
'Peter stares at them for a moment.
PETER
Are you two serious?
(as Any nods)
My dear, your friend needs a
psychiatrist, not'a vampire killer.
AMY
(BEGGING)
Please, Mr. Vincent.
PETER
I'm afraid not, my dear.
(nodding at an open
suitcase on the bed)
You see, Hollywood beckons. I've
been offered a starring role in a
major movie. I've even had to quit
Fright Night. So you see, I'm
AFRAID --
.AMY
I'll hire you. I'll give you money.
PETER
(quick as a wink)
How much?
(CONTINUED)
or Rev. 11/26/84 44.
69 CONTINUED: (3)
AMY
I have a five hundred dollar savings
BOND --
PETER
I'll take it.
(sitting in a chair
across from her, sud-
denly all charm)
Now how are we going to cure your
little friend of this delusion?
EVIL ED
I got it all figured out. We all go
next door to the neighbor and you run
some kind of vampire test on-him and
pronounce-him human. Like in "Orgy
of the Damned." You know, where you
looked in the mirror and the guy
didn't have a reflection and then you
knew he was a vampire.
PETER
(GETTING MISTY-EYED)
Ah, yes, that was one of my favorite
roles. I still have the prop.
'He pulls out a silver cigarette case and flips it open.
The inside of the lid is a mirror. He suddenly snaps it
shut and slips it back into his pocket, looking up at them.
PETER
It sounds fine to me, but how do we
get this next door neighbor to agree?
EVIL ED
(CONFIDENTLY)
Leave that to me --
Nobody glances out the window as Evil Ed picks up the phone
and dials 411, but if they did, they'd see night has
fallen.
CUT TO:
70 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT
As the CAMERA watches all the clocks on the wall begin to
tick, signaling dusk has fallen and Jerry is awakening.
CAMERA PANS off the clocks to phone on the portico table.
It RINGS. Billy appears down the hall. from the kitchen.
He picks it up.
BILLY
Yes.
(CONTINUED)
45.
7Q CONTINUED:
He listens as what must be the ATTIC DOOR is heard CREAKING
OPEN on the floor above. Billy turns and stares up the
stairway as Jerry appears out of the darkness, slowly walk-
ing down the steps. Billy holds the phone out to him.
BILLY
It's for you.
Jerry takes it.
JERRY
Yes.
(HE LISTENS)
Yes, this is Jerry Dandrige.
(he listens some
more, slowly smiling)
I see. Yes, of course, I'm always
willing to help young people. But
Vm afraid crosses wouldn't do. You
see, I've been reborn recently.
He smiles at Billy; Billy smiles back.
CUT BACK TO:
71 INT. PETER'S APARTMENT - NIGHT
Evil Ed cups his hand over the receiver and turns to Peter
as Amy watches.'
EVIL ED
He's a reborn Christian. He thinks
crosses would be sacrilegious.
PETER
Ask him how he feels-about holy
water?
EVIL ED
(back.into the phone)
How about holy water?
(he listens, then back
TO PETER)
Won't do either.
PETER
Tell him it'll-be just ordinary tap
water and all he has to do is take a
sip.
Evil Ed turns back to the phone.
CUT BACK TO:
46.
71A INT. DANDRIGE HOUSE - PORTICO - NIGHT
Jerry listens into the phone while Billy watches.
JERRY
Yes, that sounds fine. Only don't
come over till six tomorrow.
(PAUSE)
I'll be out until then.
He slowly hangs up and turns to Billy.
JERRY
It seems we won't have to go out
tonight after all. His friends are
bringing him over tomorrow night.
(PAUSE)
To prove to him that I'm not a
vampire.
Billy smiles. So does Jerry.
DISSOLVE TO:
72 OMITTED
73 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT
Evil Ed and Amy drive up in a cab, hopping out, and hurry
up the walk toward Charley's house.
74 INT. CHARLEY'S ROOM - NIGHT
Charley sits in the dark-, a razor sharp wooden stake in one
hand, a hammer in the other. He's dividing his attention
between the window and the door. There is a M40CK at the
door. He raises the stake, ready to defend himself.
CHARLEY
Who is it?
EVIL ED (O . S . )
It's me and Amy, stupid. Open up.
Charley opens the-door and lets them in. Amy throws her-
self into his arms, almost dancing around the room in her
joy.
AMY
Charley, Peter Vincent said he'd
come.
CHARLEY
He did. When?
AMY
Tomorrow at six.
(CONTINUED)
47.
74 CONTINUED%
CHARLEY
(SUDDENLY FRIGHTENED)
But Dandrige will be out of his coffin
by then.
EVIL ED,
Relax, he's Peter Vincent, the Great
Vampire Killer. He must know what
he's doing, right?
CHARLEY
(GETTING PARANOID)
I don't know. Maybe.he didn't take it
SERIOUSLY --
AMY
(LYING MIGHTILY)
Oh, he did, Charley, he did.
CHARLEY
(looking at her)
Honest?
AMY
(NODDING SOLEMNLY)
Honest.
CHARLEY
(SLOWLY)
Then maybe we it really have a chance
to kill Dandrige tomorrow night.
(tears welling up
in his eyes)
You two don't know what it's been like,
knowing there's a vampire living next
door and having no one believe me --
AMY
(SOOTHINGLY)
It's all right, Charley
She takes him in her arms, holding him close as Evil Ed
turns away in disgust, staring out the window at the dark-
ened window next door.
75 INT. DANDRIGE HOUSE - UPSTAIRS BEDROOM - NIGHT
Jerry sits in the dark, rocking back and forth in a chair,
staring out the window into Charley's room, catching just
the dim outlines of the three kids in the house next door.
He smiles; if anybody saw the smile, they'd run screaming
in the opposite direction.
DISSOLVE TO:
Yl Rev. 11/23/84 48.
76 EXT. DANDRIGE HOUSE - DUSK INTO NIGHT
The three teenagers, Charley, Evil Ed, and Amy, stand in
front of the house waiting. Dusk is slowly gathering, the
shadows lengthening as night closes about them. Charley
glances nervously at his watch.
CHARLEY
'It's six ten. He said he'd be here at
six, right?
EVIL ED
Relax. He said he'd be here, he'll
be here.
Peter's old clunker appears around the corner. Amy is the
first to see it.
AMY
Here he comes.
The kids rush the car as Peter pulls up.
CHARLEY
Mr. Vincent, I can't tell you how much
I appreciate this --
Peter slowly gets out of the car, stretching to his full
height. He wears his vampire killer regalia, the Victorian
suit, and carries a small leather satchel. There is some-
thing truly majestic about him.. He looks down at Charley,
laying it on. with a trowel.
PETER
Charley Brewster, I presume?
(as Charley nods; Peter
shakes his hand)
Peter Vincent, vampire killer. And
now down to business. Where is the
lair of this suspected creature of
the night?
CHARLEY
(pointing at the
DANDRIGE HOUSE)
There.
PETER
(STUDYING IT)
Ah, yes, I see what you mean.
There is a distinct possibility.
He opens the satchel, withdraws a small crystal vial of
water, slips it into his jacket pocket, closes the bag, and
replaces it on the front seat of his car. He locks the car
and turns back to the kids., straightening his shoulders.
PETER
Well, shall we?
(CONTINUED)
ch Rev. 12/4/84 49.
76 CONTINUED:
CHARLEY
Where're your stakes and hammer?
PETER.
I left them in my bag-.
CHARLEY
(HORRIFIED)
You're not going in there without them?
PETER
I have to prove he's a vampire before
I kill him, Charley.
CHARLEY
But I know he's a vampire.
PETER
But I am the one that has to know,
Charley. This is holy water. If it
touches him, he'll blister- and in
this case I asked him to drink it
while we all watched. He readily
agreed.
CHARLEY
(SHOCKED)
He did?
PETER
Yes. Which doesn't exactly strengthen
your case, does it? Now, shall we go.
He takes a step up the walk. Charley grabs his arm.
CHARLEY
But, Mr. Vincent, if I'm right and
you prove he's a vampire, he'll kill
us all right then and there.
PETER
No, he won't, Charley. Not with me
here to protect you. After all, I'm
Peter Vincent.. ' -
(CONTINUED)
Rev. 11/26/84 50.
GR
76 CONTINUED: (2)
He starts up the walk, Amy and Evil Ed following him.
Charley runs after him, increasingly desperate.
CHARLEY,
But, Mr. Vincent, you don't know how
powerful he is. He can change into a
bat and fly through the night --
Peter stops on the porch, knocking on the door, listening
to the boy with half an ear.
PETER
Of course, Charley, of course. But
then he's never dealt with me before
either.
CHARLEY
BUT --
Billy Cole opens the door, his face lighting up when he
sees Peter.He shakes his hand warmly.
BILLY
Mr. Vincent, Billy Cole. This is a
pleasure. Won't you all come .in?
He steps back and.Peter, Evil Ed, and Amy enter the
house. Charley has no choice but to follow.
77 INT. DANDRIGE HOUSE - PORTICO - NIGHT
Billy turns and yells up the stairs, all the clocks behind
him ticking madly, the hour 6:30 p.m.
BILLY
Hey, Jerry, they're here.
Several seconds pass. Nothing happens. Peter turns to
Billy.
PETER
Perhaps he didn't hear you.
BILLY
(SMILING)
Oh, he heard me all right.
Suddenly a STEP CREAKS at the top of the staircase where
the shadows are the heaviest. Slowly Jerry Dandrige walks
down the stairs into view, first his elegant shoes, then
his legs with their fashionable pants, and finally the rest
of him, all beautifully turned out. His handsome face
stares down. at them as he makes his entrance. There is
something truly majestic about him, both incredibly attrac-
tive and yet frightening at the same time.
(CONTINUED)
51.
vl Rev. 11/23/84
77 CONTINUED:
Jerry reaches the bottom of the stairs and turns to Peter
with a blinding smile.
JERRY
Ah, Mr. Vincent.
(shaking Peter's hand
WARMLY)
I've seen all your films and I've
.found them very amusing.
PETER
(OBVIOUSLY PLEASED)
Why, thank you --
JERRY
(turning to Amy-and
- Evil Ed)
And who might these two attractive
people be?
PETER
(doing the intros)
This is Ed Thompson and Amy Peterson.
JERRY
(bending low over Amy's
hand and kissing it)
Charmed.
(looking up at Charley
with a wicked smile)
Isn't that what vampires are supposed
to do, Charley?
Charley scowls at him. The others laugh. Jerry turns to
the living room.
JERRY
Please, come in --
Be ushers Peter into the living room, Billy following. Amy
and Evil Ed stare after Jerry, both totally captivated.
AMY
God, he's neat.
She follows him into the living room. Evil Ed shoots
Charley a disgusted glance.
(CONTINUED)
52.
77 CONTINUED: (2)
EVIL ED
Some vampire, Brewster.
He follows the others. Left alone, Charley has no choice
but to join them.
78 INT. LIVING ROOM - NIGHT
Jerry looks around at the packing crates and few pieces of
dusty furniture and turns back to the others.
JERRY
I I
You'll have to excuse the mess. I'm
still unpacking --
CHARLEY
(SOURLY) 1
Where do you keep your coffin? Or do
you have more than one?
PETER
(a warning growl)
CHARLEY --
JERRY
(SMILING)
It's all right, Mr. Vincent. I'm
quite used to it by,now. As you may
or may not know, Charley even brought
the police over a few days ago.
Peter, Amy, and Evil Ed all look at Charley, shocked.
AMY
Charley, you didn't.
CHARLEY
(ANGRILY)
Damn right, I did; Only the cops
.didn't believe me anymore than any of
you.
(back to Jerry)
But you'll believe me in a few
seconds. Mr. Vincent, give him the
holy water.
PETER
(WARNING HIM)
Charley, there's no reason to be rude
about this --
PETER
(raising a placating hand)
It's perfectly all right, Mr.
Vincent. Where is the, ah, holy
water?
(CONTINUED)
4
53.
78 CONTINUED:
Peter withdraws the vial from his pocket. Jerry eyes it
warily, staring at Peter, his voice suddenly heavy with
double meaning.
JERRY
Are you sure that's holy water, Mr.
Vincent?
PETER
(playing it up)
Positive. I saw Father Scanlon bless
it down at Saint Mary's myself.
Jerry takes the vial from his-hand, pulling the stopper,
and sniffing at it, for the first time nervousness creeping
into his manner.. Charley sidles up to Amy, whispering in
her ear as Jerry prepares to drink the water.
CHARLEY
Get ready to run. I'll protect you
with this.
He edges a cross out of his pocket, just giving her a
glimpse of it. He glances up just as Jerry lifts his head
back and. downs the contents of the vial in one swallow. He
1 7 7 turns to Peter triumphantly.
JERRY
There, satisfied?
PETER
Totally.
(TO CHARLEY)
Charley, you saw it. Are you
convinced now that Mr. Dandrige isn't
a vampire?
Charley stares at Jerry and the vial, stunned almost into
speechlessness.
CHARLEY
But, it can't be --
PETER
You just saw it, Charley. You know
as well as I do that no vampire could
drink blessed water.
CHARLEY
Then it wasn't blessed!
PETER
(HUFF ILY)
Are you calling me a liar, young man?
(CONTINUED)
54.
78 CONTINUED: ( 2)
Charley looks at Jerry. Jerry stares back at hire, smiling.
Charley suddenly whips the cross out of his packet and
holds it up.
CHARLEY
If he's not a vampire, then have him
touch this?
Jerry stiffens, his face losing its color, but none of the
others notice. They're all looking askance at Charley.
Peter steps up to the boy.
PETER
Charley, you've already made a fool
of yourself once. There's no reason
to compound the error.
_ JERRY
Yes, Charley, you've already.caused
your friends quite enough pain.
(his eyes burning into
Charley, hammering the
POINT HOME)
You don't want to cause them any
more, do you?
Charley sees.Dandrige•coiling to . spring, Billy sliding into
place blocking the doorway to the portico. The tension
level in the room is suddenly unbearable. Peter, Amy, and
Evil Ed are aware of it although they don't know the
reason. Charley slowly edges the cross back into his
pocket.
CHARLEY
No, no, of course not.,
JERRY
And you're finally-convinced I'm not
a vampire either,-correct?
Their eyes lock; a moment passes. Then finally:
CHARLEY
Yes.
Jerry smiles at him and the tension suddenly flows out of
the room. Billy even smiles. Jerry steps forward, usher-
ing them all toward the portico.
JERRY
Well, I'm glad that's all.settled.
79 INT. PORTICO - NIGHT.
They all stop before the front door, Billy in the back-
ground Jerry turns to Peter.
(CONTINUED)
55.
79 CONTINUED:
JERRY
I can't tell you how much I.
appreciate this, Mr. Vincent. You've
been a great help.
PETER -.
Not at all, Mr. Dandrige. Glad to be
of service.
Jerry ignores Charley, turning to Amy and Evil Ed as Peter
steps back, reaching into his coat pocket for his cigarette
case.
JERRY
It's been very nice meeting both of
you. Please, feel free to drop by
anytime.
(his eyes singling out
Amy and.burning into her)
You'll always be welcome.
AMY
(her eyes beginning
to glaze over)
I'd, I'd like that, Mr. Dandrige.
JERRY
Please, call me Jerry.
Her face is beginning to stiffen, her eyes turning blank.
Charley looks at her in sudden alarm, remembering the girl
he saw through the window that night.
He grabs Amy by the arm, tugging. her toward the door.
CHARLEY
C'mon, let's get out of here --
AMY
(pulling away from
him, her gaze never
LEAVING DANDRIGE)
Just a minute, Charley --
Smiling, Jerry turns to Evil Ed as behind them all Peter
opens his cigarette case, takes out a smoke, about to tamp
it down on a thumbnail when he glances at the mirror on the
inside of the-lid. He sees Amy, Evil Ed, and Charley
grouped around where Jerry Dandrige should be standing, but
he's not there. It's as though the kids are talking to
thin air.
(CONTINUED)
56.
79 CONTINUED: (2)
JERRY
The same goes for you,.Ed I suspect
we have many of the same interests.
You know, in such things as horror
movies and the occult.
Peter's head jerks up and he looks at the doorway. Now he
sees Jerry standing there, talking to the kids. Peter
4
looks back down at the mirror again. No Jerry. His face
goes chalk white, his mouth gasps for air, and he drops the
case from his palsied hands. It smashes to the hardwood
floor with a crash. Everyone turns and looks at him.
JERRY
Something wrong, Mr. Vincent?
Peter hurriedly scoops up the case, trying to hide his
shaking hands and keep the tremor out of his voice.
PETER
No, no, just my clumsiness. Come
along, we must be going. Thank you
again, Mr. Dandrige
He ushers the teenagers out the front door as Jerry
watches, puzzled by his sudden change in attitude.
80 EXT. DANDRIGE HOUSE - NIGHT
Peter plunges down the walk to his ca-r, the kids hurrying
to keep up with him. Charley looks at him.
CHARLEY
What's wrong with you?
PETER
Nothing.
He stops by his car, fumbling his keys-out of his pocket,
hardly able to fit them into the lock with his trembling
hands.
CHARLEY
Then why are your hands shaking?
PETER
(his hands shaking
worse than ever)
They're- not shaking.
Be finally gets the door open, hurriedly sliding in behind
the wheel, slamming the door behind them. Charley leans
down, speaking through the partially open window.
(CONTINUED)
Rev. 12/4/84 57.
80 CONTINUED%
CHARLEY
You saw something in there, didn't
you, something that convinced you he
was a vampire?
PETER
Will you be quiet.
CHARLEY
Is Jerry Dandrige a vampire or not?
4
PETER
(struggling to get
the car started)
No, of course not.
CHARLEY
Please, Mr. Vincent, you have to tell
me. Our lives depend on it.
PETER
All right. He didn't cast a
reflection in my mirror. Satisfied
now?
CHARLEY
Mr. Vincent, you have to call the Polic
e-and tell them --
The-ENGINE finally CATCHES, and he ROARS away in a cloud of
burning rubber, Charley watching him go, half frustrated to
death.
CHARLEY
SHITI
80A INT. DANDRIGE HOUSE - PORTICO - NIGHT
Billy and.Jerry peer out the window, watching the-kids
walk away from the house.
JERRY
(almost to himself)
I could teach her so much --
BILLY
What?
JERRY
Nothing.
Jerry turns away from the window, sits at the foot of
the stairs.
(CONTINUED)
yl Rev. 11/23/84 57A.
BOA CONTINUED:
BILLY
(still at window)
Well, at least they'll never
believe the kid now.
Jerry glances down and sees a sliver of mirror from
Peter's cracked cigarette case at his feet. He picks
it up, examining it. He casts no reflection in it.
He holds it up for Billy to see.
JERRY
No?
(RISING)
Let's go.
He grabs his leather jacket and moves- down the hallway
toward the back door, Billy quickly following.
SOB EXT. DANDRIGE HOUSE - STREET - NIGHT
The kids are walking down the street away from the
Dandrige house, the CAMERA CRANING UP to FOLLOW them
as they recede in the distance, the darkness slowly
swallowing them up.
(CONTINUED)
pk Rev. 11/16/84 58
80B CONTINUED:
CHARLEY
(turning to Amy
and Evil Ed)
Well, at least you two heard him.
EVIL ED
Heard who?-
I
CHARLEY
Peter Vincent. He said Dandrige had
no reflection.
EVIL ED
Probably just a trick of the light.
CHARLEY
(whirling on Amy)
You felt how evil Dandrige was, didn't
you, Amy? Remember the way he looked
at you?
AMY
(confused by the
MEMORIES)
Yes, sort of --
EVIL ED
(bored with it all)
Oh, for Christ sake --
He turns, about to duck between two houses.
CHARLEY
Where are you going?
EVIL ED
Rome. It's dinner time.
CHARLEY
Wait a minute. We walk Amy home first.
EVIL ED
Why?
CHARLEY
Because it's after dark, pencil.dick,
and there's a vampire back there!
Be points back at the Dandrige house. Evil Ed just
stares at him.
EVIL ED
Oh, shit, Brewster, you're
certifiable, you know that.
(CONTINUED)
58A.
pk Rev. 11/16/84
80B CONTINUED:
They all start down the street together again; growing
smaller and smaller until they disappear into the
darkness.
81
81 OMITTED
CUT TO:
82 EXT. CITY STREET - NIGHT
The town of Rancho Corvallis is middling size, perhaps a
hundred thousand people.
1
(CONTINUED)
59.
82 CONTINUED:
There are several tall buildings around, not many but
enough. Street lamps cast pools of bright light and deep
shadows everywhere. There are a few pedestrians out, a few
cars passing by, but once again, not many.
The three kids walk down the street. Evil Ed stops before
the open mouth to a shadow encrusted alleyway.
EVIL ED
.Let's cut through here.
CHARLEY
No way. We want people and lights,
the more the better.
EVIL ED
Look, Brewster, vampires don't
exist. Haven't you gotten that
through your thick head yet?
CHARLEY
What if you're wrong, Evil? What if
Dandrige is a vampire and he thinks
you know it. Would you walk down
that alley then?
The hair on the back of Evil Ed's neck starts to stand on
end. Then he denies it.
EVIL ED
Aw, fuck you, Brewster.
He takes a step toward the alley. Charley grabs him.
CHARLEY
Ed, please, just stick with us.
EVIL ED
Forget it. You may be chickenshit,
but I'm not.
He disappears down the alley into the darkness. Amy and
Charley stare after him. She turns to Charley.
AMY
What do we ' do?..
CHARLEY �
Let him go. No vampire's gonna want
hint anyway.. Probably give him blood
poisoning.
They're about to turn away when a blood curdling SCREAM
ECHOES out of the darkness of the alleyway. It's Evil Ed.
Charley and Amy dash headlong into the alley after him.
60.
83 INT. ALLEY - NIGHT
They speed through the darkness, skidding to a halt on the
shadow slick pavement, looking around.
CHARLEY
Where is he?
Amy spots him laying crumpled against a wall.
AMY
Over here.
I
They dash to him, kneeling by his side. Evil Ed's eyes are
closed, his breathing shallow. Charley tries to shake him
awake.
CHARLEY
Ed, Ed, are you all right?
Nothing from Evil Ed. Charley looks at Amy.
CHARLEY
Jesus, I warned him --
Evil Ed's eyes suddenly snap open, staring up wildly at
Charley.
EVIL ED
He got me, Charley. He bit me.
(grabbing him by
THE LAPELS)
You know what you're gonna have
to do, don't you?
(as Charley shakes his
head, really scared)
Kill me, Charley. Kill me before I
turn into a vampire and --
He suddenly heaves himself.at Charley, his mouth opening,
going for his throat as Charley jerks back, terrified.
EVIL ED
Give you a hickey!
He suddenly lets Charley go, rolling on the pavement and
laughing like a maniac, perfectly all tight. Charley
springs to his feet, furious with him.
CHARLEY
You asshole, you fucking asshole!
Evil Ed rolls on the ground in hysterics, pointing at him,
and laughing loudly.
(CONTINUED)
61.
83 CONTINUED:
EVIL ED
Ha, hah, really fooled you.
(climbing to his
feet and dusting
HIMSELF OFF)
You really believed me, you poor
dope!
CHARLEY
(flushed with anger)
You'll get yours someday, Evil.
He grabs Amy's hand and walks back down the alley toward
the street and the lights. Evil Ed yells after him.
EVIL ED
(MOCKINGLY)
Yeah., when? When I'm bit by a
vampire? There are no such things as
vampires, you fruit cake!
Still chuckling to himself, he turns in the opposite direc-
tion and-disappears down the alleyway into the darkness.
A moment passes; nothing but silence.
Then Jerry Dandrige steps out from a shadowy wall where it
would be impossible for any mortal to have concealed
himself. It's almost as though he materializes out of the
night. He stares after Charley and Amy and then slowly
turns to stare in the opposite direction after Evil Ed.
He slowly walks in that direction.
83A EXT. FARTHER DOWN THE ALLEY -.NIGHT
Evil Ed walks along, feeling safe and secure. And then he
hears it, FOOTSTEPS behind him, coming through the dark
slowly toward him. He turns and looks back.
EVIL ED
Charley, Amy, that you?
He hears nothing but those FOOTSTEPS GETTING CLOSER.and
CLOSER. The fear starts to work at him, twisting up his
gut and making his forehead sheen with sweat. He steps
forward, yelling out with false bravery.
EVIL ED
If that's. you, it isn't working. I'm
not scared!
And then Jerry emerges out of the shadows, smiling at him.
With a scream, Evil Ed turns and runs.
bl Rev. 10/9/84 62.
83B EXT. FURTHER DOWN THE ALLEY - NIGHT
Evil Ed runs like he's never run before,•pounding through
the dark, smashing into traffic cans and falling to the
ground, leaping to-his feet, ignoring his skinned hands and
bruised knees, running for his life and knowing it.
83C EXT. DEAD END NIGHT
He suddenly skids to a halt, facing a brick wall. He
whirls, his breath-coming in ragged gasps now, peering down
the alleyway into the dark, listening to those FOOTSTEPS
getting closer and closer. He slowly backs away until he
has no further to go his back against the brick wall, on
the verge of hysteria.
EVIL ED
No, no --
The FOOTSTEPS SUDDENLY STOP. Nothing but silence. The
seconds tick past. He takes a step away from the wall,
peering into the darkness with something like hope, preying
that maybe, just maybe, Dandrige has given up.
A voice suddenly whispers in his ear, no more than an inch
away.
JERRY
Hello, .Edward.
Evil Ed turns with a scream to find Jerry standing right
next to him. Almost insane with fear now, slobbering like
a wounded animal, he backs away from the shadowy figure,
hitting the corner and sliding to the cold pavement, almost
curled up in a fetal ball, tears streaming from his eyes.
Dandrige walks over to him, staring down with something
like pity in his eyes.
JERRY
You have nothing to fear from me.
(in a voice like honey)
I understand what it's like, being
different. Only they won't make fun
of you anymore or beat you up. I'll
see to that. All you have to do is
take my hand.
Evil Ed slowly looks up at him through his tear-stained
eyes to see Jerry staring-down at him, his. hand outstretch-
ed to.him, a slight smile on his face, gentle, seductive,
beguiling.
JERRY
Here, Edward, take my hand.
Evil Ed looks down at the hand outstretched to him.
(CONTINUED)
Rev. 11/16/84 63.
83C CONTINUED:
It's beautiful, perfectly shaped with thin, elegant
fingers, almost womanly, the nails impossibly long,
perfectly shapped, tapering to five gleaming, razor sharp
points.
Evil Ed slowly reaches out and-takes the vampire's hand.
Jerry smiles down at him and slowly leans down, lifting him
up into the last embrace Edward Thompson will ever know.
84 EXT. STREET - NIGHT
Charley and Amy walk rapidly along a street, heading toward
Amy's home. He casts a glance at her.
CHARLEY
How much further?
AMY
About ten minutes --
A DEATH RATTLE, long and-high-pitched, suddenly comes to
them, ECHOING through the city streets, down alleyways and
across apartment buildings, faint yet filled with so much
terror it stops them in their tracks and leaves them
staring fearfully about at the shadows.
CHARLEY
What was that?
AMY
Evil Ed messing around.
(SHOUTING)
Not funny, Evil!
Her voice bounces off the walls down the street and then
dies, leaving them staring at the darkness and the shadows,
fearful. Amy tries to act brave, turning to Charley.
AMY
C'MON --
They start down the street again, Charley glancing
nervously over his. shoulder in the direction of Evil Ed's
scream.
CHARLEY
Amy, what if Evil really was in
trouble?
AMY
Oh, come on, Charley, don't let him
suck you in again --
All the street lights suddenly go out, plunging them into
almost total blackness.
(CONTINUED)
Rev. 12/4/84 64.
84 CONTINUED:
They whirl, looking back down the now totally dark street,
slowly backing away from the darkness.
CHARLEY
(to Army, in a
HOARSE WHISPER)
Don't tell me it's a power outage.
AMY
(EQUALLY SCARED)
What else could it be -- 7
Charley stops, grabbing her, and nods to a light pole oppo-
site them. She follows his gaze to see a power box on the
pole, its front ripped open, the wires inside shredded.-
Before they can even gasp at the sight, they hear the SOUND
{
OF HUGE WINGS beating overhead.. A huge shadow of a bat
flies across the building wall opposite them. That's all
it takes; they whirl, dashing down the street.
85 OMITTED
86
87 EXT. ANOTHER STREET - NIGHT
They come-racing down a street, under a bridge and start
up the incline toward the ROAR above. They turn onto the
bridge, starting to.cross it., slowing to a walk, breathing
hard.
CHARLEY
I think we lost him.
AMY
Yeah.
(stopping and turning
TO CHARLEY)
Charley, you were right about the
holy water. We faked it. I'm just
sorry I didn't believe you.
CHARLEY
It's all right, Amy.
He kisses her, takes her hand, and they start walking up
the bridge.
CHARLEY
We've got it made
And they freeze.' There, high above them on one of the
arches of the bridge, so high up no one could possibly get
there unless they flew, stands Jerry Dandrige, staring down
at them. With a scream, they whirl, racing off the bridge
and down the street.
(CONTINUED)
pk Rev. 11/16/84 64A-.
87 CONTINUED:
They suddenly turn the corner only to find they are facing
Jerry Dandrige, standing on the sidewalk directly in front
of them, amused by the frozen expressions of horror on
their faces.
CHARLEY-
Run?
He grabs Amy's hand, the two of them whirling and dis-
appearing around the street corner.
88 OMITTED
89 EXT.. ANOTHER STREET - NIGHT
I
They race down the street.for the far corner.
90 EXT. ANOTHER STREET - NIGHT
They whip around the corner only to skid to a halt. There
stands. Jerry Dandrige again, smiling at them. He takes a
step toward them and they whirl, diving down a side street.
91 EXT. SIDE STREET - CLUE RADIO - NIGHT
They tear down the street, teeing the Club Radio, a
fashionable disco, across the street. Its entrance is
jammed with people trying to get in, all of them dressed to
the teeth in New Wave and neo-punk.
CHARLEY
Over here --
(CONTINUED)
I
65.
91 CONTINUED:
Charley dives for it, dragging Amy after him just as Jerry
appears. around the corner behind them, walking toward then
with a steady gait, relaxed, in no great hurry, a hunter
sure of his kill.
Charley and Amy fight their way through the crowd until
they reach the front door. A BOUNCER stands there, check-
ing I.D.s and collecting the cover charge. He hardly looks
down as Amy and Charley step up.
BOUNCER
Five bucks apiece.
Charley frantically searches his pockets and comes up with
change and nothing else. Amy pulls out a ten dollar bill
and hands it to him.
AMY
I've got it --
As Charley takes it from her, he glances over her shoulder
and sees Jerry moving through the crowd toward them. He
shoves the money at the Bouncer hurriedly.
CHARLEY
HERE --
The man takes it and Charley grabs Amy, pulling her toward
the door, watching over his shoulder as Jerry keeps coming
closer and closer toward them. Suddenly the Bouncer
reaches out and collars Charley'.
BOUNCER
Hey, just a sec. How old are you
two?
CHARLEY
(lying through his
TEETH)
Eighteen.
BOUNCER
Let me see some I.D.
Charley glances back. Jerry is just an arm's length away
now. A MAN suddenly shoulders him aside just as he's about
to grab Charley and Amy.
MAN
Hey, wait you turn.
Jerry turns and stares at the man. Whatever the man sees
in Jerry's eyes gives him the,cold sweats and.he backs
hurriedly away.
(CONTINUED)
R
66.
91 CONTINUED: (2)
Charley grabs Amy, using the moment to pull her away from
the door and Jerry. The Bouncer shouts after them, holding
up the ten spot.
BOUNCER
Hey, what about your.money?
Charley and Amy come out of the crowd, backing away from
the door just as Jerry emerges, stepping after them. He's
only ten feet away now, smiling as he approaches, both kids
realizing it's hopeless to run at this point. Backing
away, Charley and Amy cross the mouth of an alley. There's
the CRASH OF A GARBAGE PAIL and Charley glances down the
alley to see a dish washer from the club dumping garbage,
the bright lights of the door into the kitchen shining like
a beacon in the night.
Charley grabs Amy's hand and jerks her down the alley after
him as he races for the door.
92 INT. CLUB RADIO KITCHEN - NIGHT
He and Amy race through the mad house of a kitchen, one of
the COOKS glancing up from chopping lettuce as they speed
pass.
COOK
(waving his butcher
knife at them)
Hey, you can't go in there!
93 INT. CLUB RADIO - NIGHT
They burst through the door to find themselves in a packed
VIDEO DISCO, four huge screens overlooking the dance floor,
all of them playing Michael Jackson's "Thriller." Charley
and Amy disappear into the crush of people. A moment later
the cook appears from the kitchen, signaling a bouncer cir-
cling the floor, keeping a wary eye out for trouble.
Charley and Amy fight their way through the sea of dancers,
Charley looking about. He sees what he wants, a sign above
a hallway reading. rest rooms and phone. He drags Amy in
that direction.
At the corner of the dance floor, the cook can be seen ges-
turing to the bouncer, pointing in the direction the two
kids took.
94 INT. HALLWAY - NIGHT
They break through the crowd and down the short hallway to
a bank of pay phones opposite the restrooms. Charley digs
a dime out•of his pocket, drops it, and dials. Amy screams
at him to make herself heard above the din.
(CONTINUED)
67.
94 CONTINUED:
AMY
Who are you calling?
CHARLEY
(SCREAMING BACK)
The police.
(back into the phone)
Yeah, give me Lieutenant Lennox.
CUT TO:
94A INT. PETER'S APARTMENT - NIGHT
There is a KNOCK at Peter's locked and barred door. He
slowly rises from his chair, the cross clenched in his
hand, staring at it, terrified. The KNOCKING COMES.AGAIN,
louder this time. He presses his lips to the door, whis-
pering.
PETER
Who is it?
EVIL ED
Me, Evil Ed.
PETER
What do you want?
EVIL ED
There's a vampire out here. Let me
in.
Peter slips the cross into his pocket and unlocks the door.
Be pulls Evil Ed into the room, hurriedly locking and bar-
ring the door behind him. Evil Ed has changed, and not for
the better. His skin is more sallow, huge dark circles
under his eyes, his lips bloodless, his collar pulled up
tightly around his neck. Peter turns to him.
PETER
What are we going-to do?
EVIL ED
What are you going to do, not me.
Peter stares at him as Evil Ed slowly reaches up and pulls
down the collar of his shirt, revealing two small puncture
marks on his throat. Peter's eyes widen in horror; Evil
Ed's smile only grows wider.
EVIL ED
I used to admire you, you know that.
Of course, that was before I found
out what •a fake you were.
(CONTINUED)
68.
94A CONTINUED:
He advances on Peter, looming over him, Peter staring up at
the boy in growing terror. Evil. Ed smiles at him, reveal-
ing two huge fangs. Peter leaps out of the chair, dashing
for the door, fumbling to undo the locks and bars with
trembling fingers. Evil Ed watches, his rictus grin just
growing wider.
EVIL ED
Peter Vincent, the great vampire
killer, indeed!
He throws himself at Peter, grabbing him from behind and
whirling him about, opening his mouth wide to sink his
fangs into him. Peter straightens, grabbing the cross from
his pocket and thrusting it directly into Evil Ed's face,
slamming it into his forehead between his eyes.
His skin sizzles and cracks, smoke rising, and Evil Ed
backs away, bent over screaming in pain, his hands held to
his face.
He slowly looks up as Peter watches, frozen in horror.
Evil Ed drops his hands from his face, revealing a smoking
sign of the cross branded into his forehead. He stares at
Peter.
EVIL ED
What have you done to me?
He turns to look into the wall mirror, but there's no re-
flection.for him to see. He whirls on Peter, screaming at
him like the spoiled brat he is.
EVIL ED
What have you done to me?
He takes a step toward Peter and Peter thrusts the cross at
him.
PETER
Back.
EVIL ED
The master will kill you for •this.
And not fast, slowly, oh, so slowly --
Peter advances on him, the cross held out in front of him
with shaking hands, backing Evil Ed across the room toward
the window.
PETER
Back, I say, back --
(CONTINUED)
pk Rev.. 11/16/84 69.
94A CONTINUED: (2)
Evil Ed snarls at him. like some trapped feral animal and
suddenly whirls-, throwing himself headlong out the window
in an EXPLOSION OF SHATTERING GLASS.
Peter rushes to the window, staring out at the street
below. Nothing. He cranes his-'neck peering at the heavens
above. Nothing. He draws his head back in, leaning
against.the wall, gasping for breath, on hand on his heart,
feeling it about to leap out of his chest with the horror
of it all.
CUT BACK TO:
94B INT..CLUB RADIO - NIGHT I
Charley slams the phone back into its cradle in frustra-
I tion, Amy looking at him worriedly.
CHARLEY
He doesn't believe me.
AMY
(sinking back against
the wall in defeat)
I'm scared, Charley. I'm real
scared.
CHARLEY
I won't let him get you, Amy. I
promise.
AMY
We haven't got a chance, Charley.
Not the two of us against him! What
about your mother? Call her.
CHARLEY
She can't handle this, Amy.
(SUDDENLY)
You got Peter Vincent's number?
AMY
Oh, Charley, he doesn't care about
us, I paid him to be there today.
CHARLEY
We don't have-any choice, Amy. Now
give me his number.
She reluctantly digs a scrap of paper out of her pocket
as Charley drops another dime.
CUT TO:
70.
94C CONTINUED:
JERRY
(a growl of inhuman
RAGE)
What?
His hand snaps out, grabbing Evil Ed and jerking hin for-
ward into the spill of light from the overhead street lamp. '
The sign of the cross is clearly seen on his forehead.
Jerry stares at it in revulsion.
JERRY
What is that?
EVIL ED
(CRYING PITEOUSLY)
He had a cross --
JERRY
Fool!
He slams him back into the seat with so much force the
crossbar that holds it in'place.bends.
94D EXT.. STREET - JEEP - NIGHT
Jerry leaps out of the Jeep, slamming the door behind him,
Evil Ed and Jerry staring after him as he strides toward
the entrance to the club.
94E INT. CLUB RADIO - NIGHT
Charley stands' at the phone, Amy beside him, watching
anxiously as he listens to the phone ring on the' other end.
CHARLEY
C'mon; Mr, Vincent, answer, please,
answer.
Unseen by either of them, Jerry Dandrige sweeps through the
front door of the club, moving like a god among mere mor-
tals, his eyes, now glowing a faint red, sweeping the crowd
of dancers as he moves toward the dance floor.
95 INT. PETER'S APARTMENT - NIGHT
Peter sits in the dark, clutching a cross, trying not to
shake as he watches the-RINGING PHONE, too terrified to an-
swer. It keeps on RINGING.
CUT BACK TO:
96 INT. CLUB RADIO - HALLWAY - NIGHT
Charley turns his back to the dance floor and Amy, shield-
ing the phone with his body to cut down on some of the din,
swearing to himself as he does so.
(CONTINUED)
pk Rev. 11/16/84 71.
96 CONTINUED:
CHARLEY
Answer me, damnit, answer me --
Behind him Amy stiffens, staring out onto the dance floor
at the sea of people. Moving through the dancers like a
golden god moving amid mere mortals walks Jerry Dandrige.
The hot, colored lights of the dance floor highlight his
hair, accentuating his gracefulness, making him seem even
more beautiful than he is.
He stops just at the edge of the floor and holds his hand
out to Amy, the orgiastic dancing swirling on behind him,
the pounding, SENSUAL BEAT OF THE FUNK ROCK washing over
them both. His eyes burn into hers, willing her to come to
him.
Terrified, she turns back toward Charley. In that moment
Jerry disappears from the mouth of the hallway, Amy turn-
ing back just as she's about to grab Charley only to see
he's gone. She stops, more intrigued than frightened,
the image of that beautiful man holding out his hand to
her sharp in her mind. She takes a step forward down the
hall, continuing down the hall until she has a clear view
of the dancers. Jerry's nowhere to be seen.
Behind her., . Charley is just about to turn and glance. in
her direction when a voice answers on the other end of
the line.
PETER (V.0.)
Yes.
Charley cups one hand over his ear, bending dawn to hear
better. Behind hint Amy slowly disappears down the hall-
way and onto the dance floor.
CHARLEY
Mr. Vincent, this is Charley Brewster.
You gotta help us. Jerry Dandrige has
me and Amy trapped in this club --
CUT BACK TO:
97 INT. PETER'S APARTMENT - NIGHT
Peter moves to the window, the phone in his hand. He
slowly pulls back the curtain, peering down at the street
below.
PETER
I'm sorry, Charley. I-can't do that.
(CONTINUED)
gr Rev. 11/26/84 72.
97 CONTINUED:
CHARLEY (V.0.)
(INCREASINGLY DESPERATE)
But you have to come, Mr. Vincent.
You're the only one who knows what's
going on.
PETER
You have to understand, Charley.
Ed's one of them now. He just tried
to kill me. If I try to go out he'll
kill me for sure.
CUT BACK TO:
I
98 INT. CLUB RADIO - HALLWAY .- NIGHT I
Charley is screaming into the phone, almost in tears.
CHARLEY
If you don'"t, Dandrige'll kill us!
He's so into what he's saying on the phone, he doesn't
even realize Amy's gone.
CUT BACK TO:
99 INT. PETER'S APARTMENT - NIGHT
PETER
(TORTURED)
I'm sorry, Charley, I just can't!
He hangs up the phone, flattening himself back against the
wall, terrified.
CUT BACK TO:
100. INT. CLUB RADIO - HALLWAY - NIGHT
Charley slams the phone down, turning to Amy.
CHARLEY
God damn him. He-won't help us --
-Only Amy is gone, the hallway empty. Charley rushes toward
the dance floor.
101 INT. CLUB RADIO - DANCE FLOOR - NIGHT
Charley emerges from the hall, looking about in the crush
of people for Amy. Nothing; it's as if she's disappeared
into thin air. He plunges out into the crowd.
(CONTINUED)
A
gr Rev. 11/26/84 73.
101 CONTINUED:
In another part of the bar area Charley moves among the
people, desperately searching for Amy. He passes the
drunken teenagers, ignoring them as he suddenly bumps into
a table, a man yelling up at hiXi angrily.
CORE USER
Hey, watch out,.asshole!
Charley glances down to see the table of users grouped
around their mirror of white powder. He moves quickly
away, searching for Amy. He stops by the wall of poseurs
cruising everything that walks by, asking a girl that looks
from behind as though she must be Amy's age.
CHARLEY
Pardon me, have you seen a girl,
LIGHT-HAIRED --
(CONTINUED)
pk Rev. 11/16/84 74.
101 CONTINUED: (2)
The girl turns to him,. revealing herself as a woman well
into her mid-forties, decked out like a teenager, Sylvia
Miles ten years ago, staring at him hungrily.
OLDER WOMAN
Forget her, take me instead
She reaches out to kiss Charley and he flees the crowd of
flesh.watchers laughing at him as he goes.
He moves along a wall of LESBIANS, stopping one, his des-
peration growing.
CHARLEY
I'm looking for a girl --
LESBIAN
So am I.
Before Charley can recover a woman moves into her arms,
Charley, shocked and disconcerted, backing away until he
bumps to a halt against a heavy metal biker, the kind of
guy who's into Twisted Sister. The parody of biker throws
him to the floor for the insult, his friends, walking par-
odies of bikers, laughing at Charley as he leaps to his
feet and backs away into the crowd.
He breaks free of the packed humanity, stopping on the
stairs. It is at that moment that he catches a glimpse of
Amy on the dance floor, dancing with Jerry. He hurries
down the stairs and onto the floor.
On the dance floor, Amy moves.with Jerry, their bodies
locked together, slowly falling. into his eyes, dancing
slower and slower with him until finally she has no will
left of her own. She is "in love" with him. It is at that
moment that she bends her head forward, laying it on his
shoulder, exposing her neck to him, her eyes staring at the
wall as they revolve around and around, Jerry bending down
to kiss her neck, his mouth slowly opening. It is at that
moment Amy sees her reflection in the mirrors mounted
against one wall;.she is dancing alone. Shocked back to
her senses, she goes rigid in Jerry's arms, trying to pull
away from him, screaming as the music and the dancers stop.
'AMY
Charley!
Across the dance floor, Charley hears her SCREAM and pushes
his way through the sea of humanity, fighting his way to
her side where she stands with Jerry, once again caught in
his eyes, slowly losing her will. Charley grabs Jerry by
the shoulder, trying to pull him away from Amy.
(CONTINUED)
pk Rev. 11/16/84 74A.
101 CONTINUED: (2A)
CHARLEY
Let her go!
Jerry looks down at him, smiling, mocking him as Amy sways
in his arms, her eyes locked on. his face.
JERRY
What's wrong, Charley? Jealous?
He grinds his pelvis against.Amy, dry humping her in front
of Charley. She throws her head back, her mouth opening in
.something close to ecstasy, her eyes glazed, staring up at
him with adoration, giving herself to him as she cocks her
head to one side, exposing her tender young throat.
Charley goes crazy.
CHARLEY
You filthy son-of-a-bitch -- !
He swings at him only to have Jerry release Amy, catching
Charley's fist in the palm of his hand easily. Be stares
down at the boy, smiling cruelly.
.JERRY
You shouldn't lose your temper,
Charley. It isn't polite.
He tightens his grip, slowly squeezing Charley's fist. You
can almost hear the knuckle bones grinding as Charley's
face'contorts in agony, driving him to his knees before
Jerry. Charley looks up at him, tears of pain streaming
down his face.
CHARLEY
(gasping with pain)
You can't kill me here --
JERRY
I don't want to kill you, Charley.
I -want you to bring Peter Vincent to
my house, just the two of you. That
is if you ever want to see Amy again.
He casually releases Charley, letting the boy drop to the
floor as he disappears with Amy into the swirling mass of
dancers. Charley leaps to his feet, ignoring the pain in
his hand and plunges after them.
Charley breaks free of the swirl near the bar, looking
everywhere and not seeing either of them. Suddenly he's
grabbed by a strong, pair of arms. He looks up to find
himself staring into the face of a huge, black BOUNCER.
(CONTINUED)
pk Rev. 11/16/84 748.
101 CONTINUED: (28)
CHARLEY
(DESPERATELY)
Let me go --
The man ignores him, calling back over his shoulder.
BOUNCER'
Hey, Donny, this the one?
Another huge bouncer, the one the cook talked to when
Charley and Amy sneaked into the club, steps out of the
whirl staring down at the boy.
DONNY
Yeah, its him.
(TO CHARLEY)
Where's your girlfriend?
Charley suddenly sees Jerry and Amy breaking through the
throng, heading for the entrance. He points to them
wildly.
CHARLEY
That's her, over there with that older
GUYF
DONNY
C' mon .--
He cuts across the floor on a diagonal to intercept Jerry
and Amy, the black bouncer dragging Charley after him in a
steel 'grip. Jerry finally reaches the throng near the
front door, starting to move through it with Amy when sud-
denly the two bouncers and Charley block his way. Donny
jerks Amy out of Jerry's hand, passing her to the black
bouncer, nodding at her and Charley.
(CONTINUED)
75.
101 CONTINUED: (3)
DONNY
Get the two of them out of here.
Jerry steps toward Amy, his face beginning to darken with
rage, the MUSIC pulsating around them, people swirling by
on all sides.
JERRY
She's mine --
Donny puts out his hand, stopping Jerry as the black
bouncer drag's Charley and Amy toward the front door.
DONNY
You want chicken, man, you. go to some
other club.
Jerry snarls, his eyes beginning to glow, his hair slicking
back slightly, the hint of fangs beginning to protrude over
his upper lip as rage overtakes him. He raises his right
hand, holding it out in.front of. the bouncer's face so the
man can clearly see what is happening. The nails on the
four fingers pop out, literally elongating several inches
in front of the man's eyes, growing into razor sharp claws
that sparkle in the overhead lights.
The bouncer, terrified, screams for his'companion.
'DONNY
Hey, Leon, get back here!
Toward the entrance to' the club, Leon releases Charley and
Amy, hustling back toward his buddy. Charley grabs Amy,'
pulling her toward the door.
CHARLEY
C'mon, quick --
But it's. too late already. Donny screams as the talons
whistle through the air, tearing his throat out in one
swipe, scattering blood everywhere, blinding several of the
dancers swirling.by, hitting people drinking at the bar, a
couple necking in a corner, blood flying everywhere.
Jerry steps around the corpse as it topples backward over a
table of coke users, the bouncer's dead eyes staring up at
them. Leon dashes up, - lunging for Jerry. The vampire's
hand snaps out, grabbing`him by the throat, squeezing,
driving those claws deep into the man's neck, holding him
like a chicken, enjoying a second of his death throes and
then casually flinging him into the center of the floor,
bringing the music and all the dancing to a shrieking halt
as this new group of people stare at another dead body.
(CONTINUED)
yl Rev. 11/23/84 76.
101 CONTINUED: ( 4)
Pandemonium erupts throughout the club, people screaming
and rushing for the exit, the fear contagious, all of them
streaming toward the bottleneck of a hallway leading to the
front door, turning it into a battleground of panicked,
terrified people, clawing and screaming to get out of the
club. -
Close to the front door, Charley and Amy fight their way
through the madness, trying to gain the outside and freedom
as behind them a wave of panicked humanity sweeps toward
them.
CHARLEY
Hold on to me --
Suddenly Jerry steps out in front of them and sweeps Amy
away from. him, the crowd flowing around Charley and carry-
ing him off in the opposite direction as he fights and
screams to get back to her.
CHARLEY
AMYL
But the sea of humanity is too much for him; it pushes him
,first away from and then toward the front door, leaving him
no choice but to go with it or be trampled.
102 EXT. CLUB RADIO - NIGHT
Charley bursts through the entrance of the club just in
time to see the black Jeep ROARING away down the street,
Evil Ed peering out the back window, grinning wi.ldly at
him, mocking him with his full set of fangs.
CUT TO:
103 OMITTED
THRU
121
122 INT. PETER VINCENT'S APARTMENT - NIGHT
Peter is hurriedly packing, shoving the bare necessities
into his suitcase, preparing to abandon his mementos of
a lifetime in his rush to get out of town while he's
still alive.
There's a KNOCK at the door. Be looks up, terrified.
PETER
Who is it?
CHARLEY (O.S.)
Charley Brewster. Let me in.
bl Rev. 10/9/84 77.
123 EXT. APARTMENT HALLWAY - NIGHT 123
The door cracks open an inch, a chain across the latch.
Peter peers out at him.
PETER
Are you one of them, too?
CHARLEY
What are you talking about?
Peter thrusts his cross out through the crack.'
PETER
Here, grab this.
Charley does as told. Peter peers at his hand. No smoke.
He hurriedly slips the chain from the door and pulls the
boy inside.
124 INT. APARTMENT - NIGHT
Peter relatches the door and hurries back to his packing.
Charley watches him.
CHARLEY
What are you, doing?
PETER
Leaving.
CHARLEY
You can't.
PETER
Wanna bet? Watch me.
Peter closes the suitcase, hurrying for the door. Charley
steps in front of him, blocking his path.
CHARLEY
Dandrige has Amy. He says he'll kill
her unless we come to his house.
Peter stops, staring at Charley, stunned. The blood drains
from his face.
PETER
Oh, my God.
(SUDDENLY REACHING
for the phone)
The police, I'll call the police --
CHARLEY
(grabbing the phone
away from him)
No, they won't believe you. I've
tried.
(CONTINUED)
ch Rev. 12/4/84 78.
124 CONTINUED:
'Peter collapses in a chair, staring blindly ahead.
CHARLEY
(QUIETLY)
Peter, it's just us. Were going to
have to save Amy.
PETER
I can't. I was paid to be there
today.
CHARLEY
I know.
PETER
And you still want me to help you?
CHARLEY
Yes. You're Peter Vincent, the Great
Vampire Killer.
PETER
(looking up at him,
FURIOUS)
That's a character in a movie,
.Charley. That's not even my real name!
(repressing a sob)
And I'm terrified, I'm sorry, but I am.
CHARLEY
I can't do it alone, Peter. If you
don't help, Amy's going to die. And
me, too, probably.
r (nothing f om Peter)
Please, Peter.
PETER
I'm sorry, Charley.
CHARLEY
(quietly, of ter a
MOMENT)
Yeah, me, too.
He walks to the door, slipping quietly out of the apart-
ment, leaving Peter staring miserable at the floor.
DISSOLVE TO:
125 INT. DANDRIGE HOUSE - BEDROOM - NIGHT
Amy slowly regains consciousness, opening her eyes to find
herself laying on the floor, Jerry Dandrige looming over
her. She cowers back, looking about the bedroom.
(CONTINUED)
bl Rev. 10/9/84 79.
125 CONTINUED:
AMY
Where am I?
JERRY
Where you wanted to be. In
bedroom.
He reaches out a hand to her; she cowers back.
AMY
Liar. Where's Charley?
JERRY
You don't really care.
He hits play on the TAPE DECK. FUNK ROCK, hot and driving,
snakes out of the speakers. He turns back to her, holding
out his hand. She looks away, then glances up only to find
herself trapped in his gaze.
He starts.to weave his way across the floor toward her,.
every move a suggestion, an invitation, all of it somehow
hypnotic. She stares at him, fighting to break free.
Finally she manages to turn her head away, staring at the
floor, screaming at him.
AMY
Liarl I love him...
It doesn't faze him; he just keeps moving to the beat,
slowly, oh, so slowly, coming closer and closer to where
she sits on the floor, his voice stroking her as he comes.
JERRY
Am I lying, Amy?
He stops above her, leaning down, his voice a husky, post-
coital whisper.
JERRY
Am I?
And she's gone, his eyes drawing her in and swallowing her
up, drowning her in their faint red glow. He holds out his
hand to her.
She slowly takes it and-he raises her up into his arms,
moving in place to the MUSIC with her, smiling down as she
stares up at him blindly. He gently pushes her head down
on his shoulder, exposing her tender young neck.
And then he slowly bends down, his mouth opening to expose
those two, razor sharp fangs with their alabaster cast,
slowly, delicately sliding them beneath her skin.
(CONTINUED)
bf Rev. 11/28/84 80.
125 CONTINUED: (2)
Her body arches, both arms pressing him to her, her body
clinging to his. And then she screams, bucking under him
like she's having something like a sexual climax, only
better, much better.
And just underneath her scream.is this horrid, greedy,
SUCKING NOISE, Jerry Dandrige, feeding.
CUT TO:
125A EXT. SIDE YARD OF A HOUSE - NIGHT
Charley walks through the darkness, with cross and stake
held in his hands, slowly approaching the Dandrige house
through a side yard across the street.
The shadows loom up over him, the wind causing the TREE
BRANCHES to RUSTLE, Charley growing more and more nervous
with every passing second.
126 EXT. DANDRIGE HOUSE - NIGHT
-Charley steps out of the darkness of the trees across the
street from the Dandrige house, stopping to stare at it.
The huge, silent, dark.house no longer looks like every
other house on the block.
It seems to have assumed a life of its own and turned into
a hulking, brooding monster, about to leap forward and
pounce on him.
Charley grips his stake and hammer, checks the cross stuck
in his jacket pocket, takes'a deep breath, squares his
shoulders, and starts the slow walk toward the Dandrige
house. Through the trees-he moves, into the shadows and
darkness, across the street, closer and closer,to that
hulking,, evil house.
Suddenly a'hand snaps out of the darkness, grabbing him by
the shoulder.
CHARLEY
(TERRIFIED)
What? :
"PETER (O . S . )
Peter Vincent, ready to do battle
with the undead.
Charley whirls to find himself staring into Peter Vincent's
drawn face. He wears his Victorian suit, his whole
demeanor that of his public persona, the vampire killer.
(CONTINUED)
bf Rev. 11/28/84 80A.
126 CONTINUED:
CEARLEY
(GULPING)
Peter, this is serious
PETER
(pulling himself up to
his full height)
I am serious.
Ee drops to his knees, pulling an assortment of his movie
props out of his leather bag.
(CONTINUED)
bl Rev. 10/9/84 81.
126 CONTINUED:
PETER T
Let's see, stakes, hammer, crosses,
FLASHLIGHT --
CHARLEY.
What about Billy Cole? What's going
to stop him?
Peter rises, holding up a pistol.
PETER
This. From Orgy of the Damned.
CHARLEY
What if he's not human? Bullets
aren't going to stop him then.
PETER
He walks around during the day,
doesn't he?
(CHARLEY NODS)
Then he's human.
(turning toward the
HOUSE)
Let's go.
The two of them cross the street, heading toward the house
which now seems to be staring at them, about to charge
them. Charley glances at Peter.
CHARLEY
PETER --
PETER
(cutting him off)
Not now.
But Peter isn't really paying attention to Charley. His
eyes are on that malevolent looking house, the house
looming larger and larger above him as they get closer and
closer.
Peter begins to slow, his nerve draining away as the true-
evilness of the. place begins to eat at him. He finally
comes to a halt, staring at the house. Charley stops,
looking. back.
CHARLEY
What's wrong?
PETER
(quickly).
Nothing, nothing at all.
(CONTINUED)
pk Rev. 11/16/84 82.
126 CONTINUED: (2)
He joins Charley, the two of them slowly walking toward
the house again, Peter becoming more and more nervous the
closer they get. Charley takes a step for the front door.
Peter grabs him.
PETER
Are you crazy? Not through the front
door. Let's go around to the back
and sneak in
The front door slowly swings open on creaking hinges,
seemingly of its own accord. Peter and Charley turn to
look at it, a dark gaping hole like an open mouth, ready
to swallow them.
CHARLEY
Too late.
Be starts moving up the porch toward the door. Peter moves
with him, his gaze fixed on that gaping mouth of an open
doorway, mumbling to himself as he goes.
PETER
I'm Peter Vincent, the great vampire
killer. I'm --
They disappear into the house, Jerry Dandrige suddenly
.stepping INTO FRAME, staring after them.
127 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT
Charley and Peter stop and stare around in the darkness.
Nothing moves, not even a shadow. Charley nods up the
stairs.
CHARLEY
This way.
They start up the stairway.
127A EXT. HOUSE - NIGHT
Outside the house, the SUBJECTIVE CAMERA watches them,
craning past the front..windows onto the side of the house,.
watching Charley and Peter through the windows as they
mount the stairs, the CAMERA SLOWLY heading up the side of
the house.
127B INT. JERRY'S BEDROOM,- NIGHT
Jerry appears outside his bedroom window, floating there.
t He leans forward, opening the window, about to climb in.
8 2A.
pk Rev. ll/I6/84
127C IT. HOUSE.- STAIRWAY - NIGHT
{ _ �? P eter suddenly grabs Charley, freezing as he hears that
second story bedroom window opening.
-PETER
Did you just hear something?
CHARLEY'
(pausing and listening)
No.
They start up the stairway. Peter grabs Charley again,
digging his fingers into the boy's arms, listening hard.
PETER
Let's wait until dawn. He'll be in
his coffin then. We'll have a better
chance of getting Amy.
(CONTINUED)
yl Rev. 11/23/84 83.
127C CONTINUED:
CHARLEY
Amy'll be dead by then, too. Now
COME ON
He turns to start up the stairs- only to have a voice come
out of the darkness on the landing above.
JERRY (o.s.)
(he steps forward into
the light, looking
ABSOLUTELY ENORMOUS)
Welcome to Fright Night. For
Real._
Peter almost turns tail and runs right there. Charley
grabs him, holding him in place on the staircase, staring
up at the vampire looming above them.
CHARLEY
Where's Amy?
JERRY
(SMILING)
Up here. All you have to do is get
BY ME
He starts. down the steps. Peter whips out one of the
crosses, thrusting it at the vampire.
PETER
(in his vampire killer
VOICE)
Back, spawn of Satan.
JERRY
Oh, really?
He reaches out, takes the cross. from Peter's hand and
crumples it, contemptuously tossing. it aside. Be turns
back to Peter.
JERRY
You have to have faith in order for
it to work on me, Mr. Vincent.
He starts down the stairs again, Peter backing away,
terrified, his nerve completely gone now. Charley steps
forward, staring up at Dandrige defiantly. He whips out
his cross, thrusting it at the vampire.
CHARLEY
Stop!
Jerry stops, staring at the cross. Charley starts up the
stairs toward him, the cross held in front of him.
(CONTINUED)
yl Rev. 11/23/84 - 84.
127C CONTINUED: (2)
CHARLEY
BACK --
Jerry backs up the stairs, away from the cross,
disappearing into the darkness at the top of the landing.
Charley glances back at Peter triumphantly.
CHARLEY
We're gonna make.it --
Billy Cole suddenly steps out of the darkness in front of
him, rips the cross from the boy's hand and viciously
backhands him across the face. With a scream, Charley
smashes through the. stairway railing, plunging to the
hallway floor below. He lands with a solid thud, lying
there, groaning.
Jerry steps in front of Billy, staring down at Peter on the
stairway, smiling at him. Then he slowly starts down the
stairs toward Peter. With a scream, the actor whirls,
racing down the steps and out the front door.
128 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - NIGHT
Peter smashes through the front door, yelling up the
stairway.
PETER
Mrs. Brewster!
No answer. He grabs the phone from the table and punches
out a number, speaking hurriedly into it.
PETER
Hello, operator, get me the police.
Operator?
No response, not even a dial tone. He holds the phone up
only to see the cord has been ripped from the wall.
His eyes widen in horror, his gaze snapping back up the
stairs.
PETER (Cont.)
Mrs. Brewster --
He plunges up the stairs.
129 INT. MASTER BEDROOM - NIGHT
He bursts through the door to see Judy in bed, the back of
her head to him, her blond hair lying across the pillow.
He hurries across the room. toward her, relief sweeping his
features.
(CONTINUED)
A
yl Rev. 11/23/84 85..
129 CONTINUED:
PETER
Mrs. Brewster, thank God. All the
phones have been ripped from the
WALLS --
Be reaches out, turning her over on the bed to face him...
only it isn't Judy; it's Evil Ed, wearing one of her wigs.
EVIL ED
I know. I did it.
He grins up at Peter as he.-slowly rises, the wig
slipping from his head, his features already
transformed subtly into those of a vampire, the hair
slicked back on his head, his face elongated, two huge
white fangs slashing over his lower lip.
Peter staggers back, staring at him in horror.
PETER
Where's Charley's mother?
EVIL ED
She's working nights apparently. She
left - a note for Charley.
(holding out the crumpled
note as he takes a step
FOR PETER)
His dinner's in the oven.
With a scream, Peter whirls and plunges out of the room.
130 INT. HALL WAY - NIGHT
Peter races down the hallway only to bit a table in the
dark, crashing to the floor on the landing, the.table
splintering beneath him. He sits up, groaning, holding his
leg.
He suddenly hears a GROWLING, low and deep and vicious,
coming from the other end of the hallway. He looks up,
.staring into the darkness.
Suddenly, a HUGE WOLF, as ugly as Evil Ed, tears out of the
master bedroom, skidding to a halt, staring back at Peter.
It's eyes glow like red-hot coals in the dark, saliva drip-
ping from its huge fangs.
Peter scrambles to his feet, about to plunge down the
stairs when with a terrible SNARL, the huge animal bounds
down the hall toward him.
With a scream, Peter picks up a splintered leg of the table
just as the wolf launches itself into the air toward his
jugular vein.
(CONTINUED)
bl Rev. 10/9/84 86.
130 CONTINUED:
He slams the jagged piece of wood into the animal's chest
as it flies past, its snapping jaws missing his throat by
an inch, the wolf hits the landing railing and plows
through it, almost in slow motion, plunging over the side.
131 INT. PORTICO - STAIRWAY - NIGHT-
The wolf tumbles through the air in a blur of fur and
fangs, down and down until suddenly Evil Ed smashes into
the hardwood floor below with a terrible THUD. He lays
there, the long wooden splinter buried in his heart.
Peter hurries down the stairs, stopping above him and
staring down, watching in fascinated horror as humanity
leaks back into his eyes, his face transforming into that
of a normal teenage boy as he dies.
He looks up at Peter with suddenly soft, brown eyes.
EVIL ED
I'M SORRY
He dies, Peter staring down at him, sorrow struck by the
waste and horridness of it all..
132 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT
Jerry comes through the�door with Charley over his shoulder
and dumps him on the floor a few feet from where Amy lies,
curled up in a fetal ball.
He nods at. Amy as Charley slowly opens his eyes, regaining
his senses.
JERRY
You wanted her, there she is.
Charley glances to his side, sees Amy lying there, and
crawls to her. He gently turns her toward'him.
CHARLEY
AMY --
His words die on his lips. Amy's eyes are clenched shut,
her face drenched with sweat, her entire body trembling.
Jerry .watches his horrified reaction, smiling.
JERRY
You see, you gave me so much trouble,
I thought you deserved a special
punishment.
(CONTINUED)
gr Rev. 11/26/84 87.
132 CONTINUED:
CHARLEY
(staring up at him
WILDLY)
What have you done to her?
JERRY '
Nothing much. I just bit her a
little bit, that's all.
Jerry just stares-at him silently, leaving no room for the
boy to disbelieve him. Charley suddenly leaps for him,
furious with rage.
CHARLEY
You bastard!
.Jerry casually knocks him aside, flinging him through the
air against the far wall with his incredible strength.
Charley crumples to the floor, stunned. Jerry walks over
to him and drops a wooden stake at his feet.
JERRY
Here.
(Charley stares at
IT DUMBLY)
You're going to need it just before
dawn. - -
With a bow he lets himself out of the room, closing the
door behind him. The key can be heard turning in the
lack. Charley stares around for a moment, gathering his
senses. He sees the window has been boarded up with plank
after plank and nail after nail. It would be impossible
for him to rip it apart, just as it would be impossible for
anyone to-hear him through.it were he to scream.
He crawls to Amy, gently turning her over only to see that
she has already begun to change, her upper lip slipping
back as he stares at her, revealing lengthening bicuspids,
the beginnings of fangs. Her eyes are black, like bottom-
less pits. He raises his head and screams, his voice
filled with anguish and despair.
CHARLEY
No!
133 EXT. STAIRWAY - NIGHT
Dandrige pauses halfway down the stairs, listening to the
agony in Charley's voice as the scream dies away. He
smiles, then continues to walk down the stairs.
134 EXT. DANDRIGE HOUSE - NIGHT
Peter faces the brooding, terrible house, his stake and
hammer in either hand, his face set hard with deter-
mination. Throwing his shoulders back, he begins to walk
slowly toward the front door.
bl Rev. 10/9/84 88.
135 INT. PORTICO - HALL - STAIRS - NIGHT
He slips through the front door, pausing to look down the
hall. The basement door is open, the sounds of Jerry and
Billy working down there faintly heard. He hurries up the
stairs.
136 INT. SECOND FLOOR LANDING - NIGHT
He works his way from door to door till he finds the locked
one. He r aps on it lightly, whispering through a crack in
the frame.
PETER
Charley.
137 INT. BEDROOM - NIGHT
Charley hears the whisper and springs to his feet, hurrying
to the door.
CHARLEY
(in a whisper)
Peter?
PETER (o.s.)
I'm going to have to break the door
down. Make as much noise as you can.
Charley turns to the wall, beating on it and yelling for
all he's worth.
CHARLEY
Help, let me out!
138 INT. BASEMENT - NIGHT
Jerry and Billy are preparing a spare coffin for Amy,
dumping dirt into it from the bottom of the huge, ornate
coffin Charley saw them carrying into the house on that
first night so long- ago. They pause in their work as they
hear Charley's SCREAM DYING AWAY. Jerry smiles at Billy.
JERRY
I think she just opened her eyes.
139 INT. ROOM - NIGHT
-Peter hits the door from the outside, snapping the lock,
letting himself in and closing it as quietly as he can
behind them. He looks around, spotting Amy lying in the
corner.
PETER
Quick, grab her and let's get out of
HERE -
(CONTINUED)
gr Rev. 11/25/84' 89.
139 CONTINUED:
CHARLEY
We can't. Look.
He falls to his knees beside Amy and rolls her over for
Peter to see. She is still covered with sweat and
trembling even more violently now. Her upper lip slips
back revealing lengthening fangs, just the beginning of
I
red in the iris. Peter's eyes widen in horror. I
140 INT. BASEMENT - NIGHT
Jerry pauses in his labor to stare up at the ceiling in the
direction of the bedroom two floors above, his ear
cocked. .Billy looks at him.
BILLY
Something wrong? '
JERRY
Yes. We have a visitor.
He puts down his shovel, heading for the stairs, Billy
following him.
141 INT. BEDROOM - NIGHT
Charley glances up from Amy's trembling body to look at
Peter.
CHARLEY
Is it too late to save her?
PETER
Not if we kill Dandrige before dawn.'
141A EXT. SIDE OF DANDRIGE HOUSE - NIGHT
SUBJECTIVE CAMERA CRANES UP'off a basement window, up the
side of the house past the living room window and up and
up, the VOICES in Jerry's bedroom getting LOUDER and
LOUDER as Jerry approaches.
CHARLEY
Are you sure?
PETER
So far everything's just like in the
movies. We'll just have to keep on
hoping.
And the CAMERA STOPS outside the bedroom window, watch-
ing as Charley grabs the stake Dandrige dropped on the
floor, and heads for. the door.
(CONTINUED)
pk Rev. 11/16/84 89A,
141A CONTINUED:
CHARLEY
Let's go --
He and Peter hurry out the door, the CAMERA WATCHING them
go.
142 INT. SECOND FLOOR LANDING - STAIRWAY - NIGHT
I
They come out of the bedroom and start. down the steps only
to find themselves facing Billy Cole coming up the other
way. They freeze. as Billy stops, a slow smile sliding
across his grim features.
(CONTINUED)
gr Rev. 11/26/84 90.
142 CONTINUED:
BILLY
Well, what do we have here?
He starts up the steps. Peter :pulls a pistol, one of the
props from his apartment, from-his pocket.
PETER
Stop or I'll shoot.
Billy stops, still smiling at him,. their eyes locked for
what seems like an eternity. Then Billy starts up the
stairs toward him again. Peter points the gun at Billy
with trembling hands.
PETER
I mean it. Don't force me to
SHOOT --
Billy reaches out his huge hands for Peter's throat. Peter
FIRES, the bullet punching a neat hole through Billy's
forehead. The large man freezes, his eyes rolling back in
his skull.
Be stands there for a moment and then tumbles backward down
the stairs, landing with a CRASH at the bottom.
Suddenly there is the SOUND OF APPROACHING FOOTSTEPS on the
balcony above. Peter and Charley whirl, staring up at the
landing above them. A second later Jerry Dandrige steps
out of the shadows.
With a smile he starts down the stairs toward them.
Charley steps forward, thrusting his cross up at Dandrige.
CHARLEY.
STOPS
Dandrige freezes, his face darkening with fury. Charley
starts up the steps, Peter close behind him.
CHARLEY
Come on, we have him --
Dandrige's gaze snaps past Charley's shoulder, down into
the shadows at the bottom of the stairs where Billy's body
lies, his eyes glowing as they burn into the corpse for a
moment before shifting back to Charley and Peter.
He smiles at the boy.
JERRY
Do you?
He steps back into Amy's room, disappearing from sight.
Peter looks at Charley.
(CONTINUED)
bl Rev. 10/9/84 91.
142 CONTINUED: (2)
CHARLEY
What did he mean?
PETER
Nothing. He's just bluffing.
Charley continues up the stairs-slowly, the cross held out
in front of him, Peter hugging his back. Behind them, down
at the foot of the stairs,,Billy slowly sits up. Peter and
Charley continue climbing, their gazes fixed ahead. Behind
them Billy stands and starts to walk up the stairs toward
them, the first STEP he hits GROANING under his heavy
weight.
Charley and Peter freeze, turning to look back. They see
the huge man coming up the stairs toward them, a thin trail
of blood leaking from the bullet hole in his forehead.
Peter whips his pistol out with trembling hands and UNLOADS
THE ENTIRE REVOLVER into the man, casting a pale of
gunsmoke in front of him and Charley, obscuring their view
of the stairway below.
Suddenly Billy Cole appears through the thick cloud, back-
ing them up the stairs. Peter stumbles, falling backward,
.unable to rise in time. Billy leans down, grabbing him and
jerking him into the air like a ragdoll.,. about to fling him
over the ballustrade to the floor far below.
Charley suddenly leaps forward, slamming his stake into the
creature's heart.
CHARLEY
No!
Billy Cole freezes, his eyes widening. Be drops Peter
crashing to the steps and staggers back, grabbing the rail
for support, hanging there below Peter and Charley for what
seems an eternity, the stake protruding from his heart..
As the two watch in horror, Cole's face slowly begins to
dissolve, skin putrefying and slipping away, revealing the
grinning skull beneath, the process of dissolution acceler-
ating as the seconds tick past.
Suddenly the legs turn to bone and.what remains of the
body, no more than a skeleton in clothes now, tumbles
backward down the stairs with a clatter, to land with a
crash on the floor below, bones rolling in-every direction
across the portico. They stare down the stairs at his
remains.
CHARLEY
(in a hoarse whisper)
Be wasn't human.
(CONTINUED)
gr Rev. 11/26/84 92.
142 CONTINUED: (3)
PETER
No, he, certainly wasn't.
Peter scrambles to his feet, he'and Charley backing
hurriedly up the stairs, terrified by what they've seen.
i 143 INT. AMY'S ROOM - NIGHT
They rush into Amy's room, Peter stopping to stare at the
open window, left that way by Dandrige when he entered and
left. Charley ignores it, hurrying to Amy, and kneeling by
her side. He gently turns her over to expose lengthening
bicuspids as Peter sticks his head out the window. Her
irises are now more red than before, signaling the trans-
ition she is making from the living to the walking dead.
143A EXT. JERRY'S WINDOW - SIDE OF THE HOUSE - NIGHT
Peter glances down, searching for Jerry as above him,
clinging flat to the wall like a fly, is Jerry. The vam-
pire smiles, slowly drawing back his clawed hand to tear
Peter's throat out when the man cranes his neck to look
over his shoulder. He is just about to when Charley calls
to him from the room within.
CHARLEY
Peter!
Peter ducks in just as Jerry's about to strike.
143B INT. JERRY'S ROOM - NIGHT
Charley looks up from Amy's-unconscious body at Peter.
CHARLEY
She's worse. C'mon, we're running
out of time --
The two men rush out of the room.
143C EXT. JERRY'S WINDOW - SIDE OF HOUSE - NIGHT
The SUBJECTIVE CAMERA does a 180 degree turn, staring in
through the window out the open door onto the balcony.
Jerry.sees Peter and Charley standing out there, hears
their voices.
CHARLEY
Where is he?
The CAMERA BEGINS TO DRIFT up the side of the house toward
the attic window above.
Rev. 11/26/84 9 2A.
144 INT. SECOND FLOOR LANDING - NIGHT
Charley and Peter there, staring about. Suddenly they
hear FOOTSTEPS on the floor above. They stare up at the
ceiling.
(CONTINUED)
pk Rev. 11/16/84 93.
144 CONTINUED:
PETER
He's in the attic.
They rush to the attic door, the two men disappearing up
the dark stairs.
145 INT. ATTIC - NIGHT
They come up the staircase to find themselves enclosed in
darkness. Peter pulls out a flashlight and flicks it on,
shining it about the musty, filthy room. He pauses as rats
scatter beneath the unexpected blaze.
He continues to search with the flashlight, picking out the
remains of a--ruined window at the far end, the glass shat-
tered, the window itself flung wide open.
CHARLEY
Well, he was here --
The beam moves on, only to suddenly stop on a large chest
shoved in a corner.
PETER
There, his-coffin.
Both of them approach, staring down at the long chest.
Peter hands the flashlight to Charley, pulling a stake from
his pocket, a hammer from his belt. He raises the stake in
the air, the hammer ready. He nods at the coffin.
PETER
Open i t.
Charley throws his shoulder against the lid, heaving. The
lid opens with a GROAN, Peter about to stab down only to
find it empty.
CHARLEY
(almost in despair)
God' damn him. Where is he?
145A EXT. ATTIC WINDOW - SIDE OF HOUSE - NIGHT
The SUBJECTIVE CAMERA STARES in at them, then SLOWLY BE-
GINS TO DRIFT up the side of the house toward the roof
above.
145B EXT. ROOF - NIGHT
The CAMERA GOES UP onto the roof and down around the
chimney to discover Jerry sitting there as though he's
just alighted.
A
gr Rev. 11/26/84 94.
145C INT. ATTIC - NIGHT
Charley and Peter stare up at the beams overhead as dust
trickles down, the THUD of Jerry landing above them on
the roof still loud in their ears.
PETER
Well, now we know where he is.
CHARLEY
Yeah, but what's he doing up there?
146 EXT. DANDRIGE HOUSE - ROOF - NIGHT
Jerry sits on the roof, squatting there like some huge
nocturnal bird of prey, his eyes closed, his lips moving
in a whisper.
147 INT. BEDROOM - NIGHT
Amy lies on the floor, hardly moving now. Suddenly she
groans and rolls over, throwing a hand over her face as
though trying to ward off some particularly terrible night-
mare.
.148 EXT. ROOF - NIGHT
Dandrige's face darkens even more in concentration.
JERRY
Amy, awake, I command you to awake!
149 INT. BEDROOM - NIGHT
Amy's eyes slowly open. There's not a vestige of human
life in them. She blinks and her eyes go completely red,
glowing in the dark.
Dandrige's voice fills her. mind like distant thunder.
JERRY'S VOICE
Now show me how much you love me,
Amy, kill them both!
She rises and moves like a zombie messenger of death toward
the door to the hallway and the attic above.
149A INT. ATTIC - NIGHT
Charley and Peter are still staring up at the attic ceil-
ing above, the waiting becoming unendurable for Charley.
CHARLEY
I'm going up there.
He heads for the open window at the far end of the
attic nearest the stairs.
(CONTINUED)
pk Rev. 11/16/84 95.
149A CONTINUED:
PETER
CHARLEY --
He-takes a step after the boy, but he's too late. Charley
is already out the window.
149B EXT. ROOF - NIGHT
Charley climbs onto the roof, a cross in his hand, a stake
in the other. The roof looks deserted, but hidden behind
the chimney stands Jerry, waiting for the boy. Unaware of
the danger., Charley reaches the chimney and stealthily be-
gins to circle it, sensing danger, the cross and stake in
hand. He suddenly reaches the side where last we saw Jerry
only to find no one there. He stands there puzzled,
looking about.
PETER (0.3 . )
(calling up from
the attic below)
Do you see him?
CHARLEY
(SHOUTING BACK)
No.
150 INT.'ATTIC 'MIGHT
Peter stands alone at the far end next to the coffin, ner-
vously talking.to himself.
PETER
Where the hell is he?
And in the window directly behind his back, Jerry rises up
out of the dark, no more than a few feet away, only 'a thin
pane of glass separating Peter from his clawed hand. He
raises it to strike through the glass at Peter just as
.Charley slides in the open window at the far end from the
roof and sees Jerry in the window behind Peter.. He screams
out.
CHARLEY
Peter, behind you!
Peter whirls, holding up his cross and as quickly as he
appeared from the night, Jerry slips back into it, leaving
Peter staring at the window, terrified at the close call as
Charley reaches his' side.
CHARLEY
You okay?
(CONTINUED)
gr Rev. 11/26/84 96.
150 CONTINUED:
Peter nods numbly as a huge shadow rises up along the
staircase wall at the far end of the attic behind them,
a shadow that suggests Jerry is coming up the stairs
from the floor below toward them.
A STAIR CREAKS behind them and Charley and Peter whirl
to see Amy step out of the stairwell. She looks incred-
ibly beautiful as though somehow her moment with Dandrige
has transformed her from virginal girl to a full grown
woman, dripping with sensuality. Charley steps forward,
about to rush into her arms.
CHARLEY
AMY --
PETER
(GRABBING HIM)
No!
Charley looks at Amy as she clears the steps and turns to-
ward them. Peter shines his flashlight into her face. The
eyes glow red, the face lifeless, fangs, larger now than
before, protruding.from her upper lip.
CHARLEY
Oh, my God --
Suddenly they hear Dandrige cruelly laughing at them from
the floor below, laughing like this is the best joke he's
ever heard..
CHARLEY
He's downstairs now --
Amy suddenly launches herself at Charley, seizing.him by
the throat and throwing him to the floor, landing on top of
him. He grabs her by the shoulders, holding her back as
she tries to plunge her fangs into his neck. Peter steps
up behind her, a stake raised in his hands, about to plunge
it into her back.
Charley screams up at him.
CHARLEY
No!
Peter shifts his grip on the stake, holding it like a club,
and brings it slamming down on her back. She collapses un-
conscious on top of Charley. He shoves her off, climbing
to his feet, and turning toward the staircase to the floor
below.
CHARLEY
Come on --
(CONTINUED)
pk Rev. 11/16/84 97.
15'0 CONTINUED: (2)
The two men plunge down the stairs. A second later, Amy
rolls over, her eyes snapping open, perfectly conscious
again. She slowly rises.
151 INT. SECOND-FLOOR LANDING - PORTICO - STAIRS - NIGHT
The two men come out of the stairway, Peter turning back to
lock the attic door behind him. Charley starts for Jerry's
room. Peter grabs him.
PETER
You take downstairs, I'll take up
HERE --
Charley plunges down the stairs to the portico below as
Peter disappears into the bedroom, searching for Dandrige.
151A EXT. HOUSE - JERRY'S BEDROOM WINDOW - NIGHT
The SUBJECTIVE CAMERA WATCHES as Charley heads down the
stairs, Peter turning for Jerry's room, the CAMERA CRANING
OFF the window and DOWN around the side of the house,
PICKING UP Charley up through the front windows as the boy
disappears down the first floor hall in search of Jerry,
Jerry watching him the entire time from outside the front
of the house.
151E INT..HOUSE - PORTICO - NIGHT
The front door slowly begins to open, that strange killing
hand of Jerry holding the doorknob, all that's seen of him
as he obviously prepares to slip inside.
151C INT. JERRY'S BEDROOM - NIGHT
Peter freezes as he hears the front DOOR CREAK and turns,
racing out the bedroom door onto the balcony.
151D INT. SECOND-FLOOR BALCONY - NIGHT_
Peter comes to a halt at the top of the stairs, peering
down at the portico below. No Charley. He calls out,
panic struck.
PETER
Charley!
Charley comes running down the hall, stopping at the bottom
of the stairs, staring up at Peter..
CHARLEY
What is it?
PETER
(sighing in relief)
I thought I heard something.
IS
Rev. 11/26/84 98.
151E EXT. FRONT OF HOUSE - NIGHT
The SUBJECTIVE CAMERA STARES in at them, then starts to
move across the porch and up the side of the house as
Charley speaks to Peter.
CHARLEY
What?
The CAMERA PASSES Jerry's bedroom window, catching a
glimpse of Peter on the balcony just as he replies to
Charley.
PETER
I don't know. Just my nerves, I
guess.
151F INT. HOUSE - SECOND-FLOOR BALCONY - NIGHT
Behind Peter there is suddenly a POUNDING at the attic
door. Its Amy, trying to get out. Peter stares wor-
riedly at the attic door as the POUNDING from within be-
comes more VIOLENT.
Suddenly ALL THE CLOCKS on the wall below GO OFF, signaling
that it's 6 a.m., dawn, time for Jerry to go to bed.
Peter takes his eyes off the clocks as the LAST CHIME DIES,
looking at Charley over the Balustrade.
PETER
Keep searching for him. Se's got to
be close. It's almost dawn.
Charley heads back down the hallway toward the basement as
above on the landing, Peter stares around, about to try
another door when suddenly the huge stained glass window
directly behind and above him bursts apart in an EXPLOSION
OF SHATTERING GLASS and Jerry Dandrige plunges in from the
outside, landing in a crouch before Peter.
He rises as the. older man backs away.
Charley rushes down the hail back into the portico, brought
by the sound of the crash. He's about to start up the
stairs when Dandrige turns and stares down at him.
Charley ignores him, starting up the stairs. Peter speaks
to him, never taking his gaze from Dandrige.
PETER
Stay there, Charley --
Charley freezes, staring up at the vampire and the man
above, watching, waiting. Dandrige's gaze bores into
Peter.
JERRY
So. Just the two of us at last.
(CONTINUED)
gr Rev. 11/26/84 99.
151F CONTINUED:
He-takes a step for Peter. Peter whips out a cross,
thrusting it at him. Dandrige stops, smiling at him.
He starts for him again, Peter holding his ground, the
cross thrust out in front of hiin.
PETER
Back!
JERRY
(SMILING THINLY)
You have to have faith for that
to work, Mr. Vincent. Remember?
Peter continues to hold his ground, the cross held up
higher, staring defiantly back at Dandrige, refusing to
drop his gaze. And then it happens: the vampire jerks to
a halt, staring with slowly dawning fury at Peter, real-
izing by whatever invisible force it is emanating from that
cross that indeed Peter has recovered his faith. He stands
there, stymied, snarling at the man.
Peter peers over his shoulder, out the ruined window. On
the horizon, the first pink tendrils of dawn are breaking.
Now it's Peter's turn to smile as he shifts his gaze back
to Dandrige.
PETER
Look over your shoulder.
Dandrige cranes his neck to see the rising dawn through the
open window, the sun beginning to glint its golden rays
even as he stares at it. He turns back to Peter, roaring
with fury.
JERRY
No!
Peter picks up his stake and dives for the vampire,
Dandrige is too quick for him.
He throws himself off the landing, tucking his body into a
somersault as he hurls through the air toward the portico
floor below, turning into a whirling ball of spinning flesh
only to suddenly emerge- from it no longer a man, but now an
enormous bat.
The' bat straightens in midair above the portico and zooms
down the hallway, smashing into Charley chest high, blowing
him off his feet as his claws rake the boy, sending two
bloody furrows down his chest as the bat whips past him and
disappears down the hallway into the darkness.
(CONTINUED)
pk Rev. 11/16/84 99A.
151F CONTINUED: (2)
Peter recovers above, hurrying down the stairs to the
portico below. He rushes to Charley's side, helping the
badly shaken boy to his feet.
PETER
Are you all right?
CHARLEY
Yes.
Amy begins POUNDING AT THE ATTIC DOOR. above again. The two
men look up as it begins to splinter.
PETER
Quick, he's in the basement.
He helps the boy. down the hall, the two of them disappear-
ing through the basement door. A second later the attic
DOOR above RIPS FROM ITS HINGES, CRASHING to the floor.
Amy steps out of the attic, her eyes sightless, a stake
grasped in her hand.' She walks like an automaton down the
stairway toward the portico below..
152 INT. BASEMENT - DAWN
Charley anaa$ Peter hurry down the stairs into the dark room,
its windows covered with blackout drapes. The floor is a
mass of antiques, row after row of them, many covered with
dust cloths. Peter dives for the first one, ripping the
cloth off only to discover an armoire. He rushes to the
next one.
PETER
Quick, his coffin has to be here
SOMEWHERE --
They race down the aisle continuing to rip dust covers away
only to discover a line of mirrors, several of them
obviously removed from pieces in the house above. They
stop, staring at them.
CHARLEY
Well, now we know what he did with
the mirrors --
The DOOR to the stairway- CREAKS open behind them, lost
somewhere in the dark. Peter whirls, looking back the way
they just came.
PETER
What was that?
(CONTINUED)
Rev. 11/16/84 99B.
152 CONTINUED:
.CHARLEY
(MOVING AWAY)
You keep searching. I'll check it
out.
PETER
CHARLEY
But Charley has disappeared into the darkness before Peter
can stop him.
Charley appears down the row of antiques, stopping at the
foot of the stairs and staring up at.the basement door
above. It is partially open, allowing just a sliver of
light into the darkness. He calls out, clutching his stake
nervously.
CHARLEY
Who's there --
Amy appears out of the darkness behind him, slowly.
approaching; her face deathly white, her lips blood red,
her eyes almost glowing in the dark. He hears her at the
last second, whirling to face her with a gasp. She reads
the fear on his face and smiles sadly, reaching out a hand
to him.
AMY
Don't be frightened, Charley.
She takes a step closer and he steps away. Amy stops,
staring at him; then she slowly begins to advance on him,
unbuttoning her blouse, her voi ce a husky, purring whisper.
AMY
Charley, I love you --
(he backs away; she
keeps coming closer,
exposing more and
more of her body)
What's wrong, Charley, don't you want
me anymore?
He suddenly breaks her spell, coming to his senses and
whip ping out his cross, thrusting it. in her face. She
whirls away with a snarl, burying her face in her hands,
softly beginning to weep.
AMY
It's not my fault, Charley. You
promised you wouldn't let him get
me, you promised.
(CONTINUED)
I
pk Rev. 11/16/84 99C.
152 CONTINUED:
He stares at her, guilt boiling up inside of him. He steps
forward, touching her shoulder, letting the cross drop to
his side.
CHARLEY
AMY --
She whirls, huge fangs flashing, dripping hungry saliva,
and dives for his exposed throat. He whips the cross up,
but'not in time, her forearm smashing into his wrist,
sending the cross whirling away into the darkness. Amy
straightens, smiling at him, the. huge fangs sparkling in
the light from the open doorway above. -
(CONTINUED)
bl Rev. 10/9/84' 100.
152 CONTINUED: '(2)
She begins to walk toward him, her sexual interest in
Charley gone, replaced by mad, driving hunger.
At the other end of the room, Peter desperately weaves his
way among the pieces of furniture dotting the floor,
looking for the coffin. He stops before a huge armoir,
whips it d own to discover it empty, and is about to move on
when he glances down. There, at the corner of the armoir,
is a small hole with rats scurrying in and out. Realizing
something must be behind the huge piece of furniture, he
shoves it aside, toppling it CRASHING to the floor.
A hidden alcove, more a dais than anything else, is
revealed, a huge window at the back covered with a blackout
curtain, and Jerry's ornate brassbound coffin sitting in
the middle, covered with CHATTERING, crawling RATS.
Peter stares at it, horrified, calling out into the
darkness behind him.
PETER
Charley, I found it --
Back at the other end of the room, Charley is backing away
from Amy as she slowly stalks him, the stake she picked up
in the attic-in her hands. Charley yells back at Peter.
CHARLEY
Get it open!
She suddenly leaps for him, .stabbing with the stake only to
miss him by inches, sending it plunging through the back of
a chair with her growing strength, shattering it against
the stone wall behind the chair. She turns on Charley,
empty-handed now, continuing.to stalk him.
Before-the dais, Peter stifles his revulsion of the rats
and leaps forward, rushing to the side of the coffin and
fumbling with the clasps only to discover they're locked.
he cries out again..
PETER
He'_s locked it somehow from the
inside..
He grabs a hammer from his pocket and starts pounding at
the clasps, trying to free them while at the side of the
room Charley continues to back away from Amy, calling back.
CHARLEY
HURRY --
He goes to dodge Amy when she leaps forward, shoving a
bureau across his path, blocking his escape. She smiles at
him, continuing to back him into a corner.
(CONTINUED)
yl Rev. 11/23/84 101.
152 CONTINUED: (3)
Back at the coffin, the clasp finally comes loose beneath
Peter's pounding and he moves to the next one, smashing at
it with the hammer desperately. Back at the side of the
room, Charley dodges Amy, leaping over a pile of refuse in
his desperation to escape, the girl vampire diving after
him, her fingers clawing into his back and shredding his
shirt as he twists out of her grasp.
I
Back at the dais, Peter breaks the last clasp, throws the
coffin lid open, sees Jerry resting beneath him, the king
vampire's eyes closed.
He fumbles a spare stake from his belt, pressing it to
the creature's heart, about to slam it home with the
hammer when suddenly behind him Charley crashes INTO VIEW
on the floor, Amy fixed to his back, rising over his,
struggling to sink her fangs in his neck. Peter whirls at
the NOISE, momentarily distracted.
In the coffin, Jerry's eyes snap open, fixing on Peter.
With a snarl he sits right up in the coffin behind Peter,
the man turning back only to find himself face to face with
the enraged vampire. Jerry opens his mouth, about to kill
him when Peter slams it home, missing his heart and
impaling his shoulder.
The old -actor falls back as the vampire rises out of his
coffin, the stake protruding from his shoulder, Amy
stopping in her struggle to kill Charley, both she and the
boy staring.up at the huge vampire looming over all three.
With superhuman deliberation, Dandrige pulls the stake
from his chest and hurls it away. It smashes into a far
wall, splintering a window, sending a thin ray of light
into the room. Dandrige turns on Peter, his face con-
vulsed with hatred. He leaps for him, smashing him into
a wall, about to sink his fangs into Peter's neck as
Charley watches.
CHARLEY
(SCREAMING}
No!
He desperately leaps around Amy, reaching for the blackout
curtain covering the window at the back of the.dais. - She
jumps after him, grabbing him just as his fingers close
around the curtain. She pulls him to the floor, her mouth
open, about to sink her fangs in him as the drape comes
with him, tearing from the window and sending a huge bolt
of sunlight streaming into the dank room.
(CONTINUED)
0
�
pk Rev. 11/16/84 102.
152. CONTINUED: (4)
it hits Jerry Dandrige squarely in the back, whirling him
away from Peter, picking him up and throwing him across the
room, slamming him into the far wall, pinning him there
several feet above the floor.
He writhes in the golden beam, twisting this way and that,
but unable to escape as his body slowly begins to smoulder,
a million small fires breaking out all over him as begins
to burn.
JERRY
N000000 --- !
As Peter and Charley watch unable to tear their eyes. away,
the vampire's body suddenly EXPLODES in a whooshing ball of
flame that incinerates him instantly, leaving nothing
behind but the ECHOING SCREAM of a soul finally going to
hell.
Amy rolls off of Charley moaning. He turns to her.
CHARLEY
AMY --
She slowly opens her eyes, the girl he knew staring back at
him, her fangs gone. She throws herself in his arms,
weeping softly. He holds her close, staring across the
room at Peter who sits beside the coffin, wiping Dandrige's.
blood from his face and mouth with his handkerchief,
nothing but silence in the room now, the sun shining mer-
rily through the window, only a few wisps of charcoal
floating lazily through the air to remind any of them what
just happened.
DISSOLVE TO:
153 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT
The Dandrige house is dark, a "For Sale" sign prominently
displayed on the front lawn. The house itself now seems
innocuous and ordinary, free forever of the evil that once
dwelt within. The Brewster house-next door is lit and gay,
much as it was on the first night we saw it. The TV can be
heard coming from the house.
ANNOUNCER'S VOICE
And now, Fright Night, starring Peter
Vincent.
154 INT. CHARLEY'S BEDROOM - NIGHT
Charley and Amy lay on his bed, making out like crazy,
the TV tuned in to Fright Night just as it was the first
evening we met them. They break for a moment as Peter
Vincent comes up on the screen.
(CONTINUED)
gr Rev. 11/25/84 103.
154 CONTINUED:
PETER (V.0.)
This is Peter Vincent, once more back
with you as host of Fright Night. I
thought I'd let the vampires rest for
a little while.
(winking into camera)
Right, Charley?
(back into his host
ROLE)
Tonight the threat comes not from
beyond the grave, but from beyond the
stars as alien beings stalk an unwary
summer camp in "MARS WANTS FLESH."
(PAUSE)
I do not star in it.
Amy turns back to Charley, the two of them staring at each
other, obviously deeply in love. Then she slowly begins to
undress. Smiling he rises, inadvertently turning to his
window as he takes his shirt off, much as he did the first
night. He freezes.
There in Jerry's window, looking back at him, are a pair of
red glowing eyes. Charley blinks. He looks at the window
again. The eyes are gone...
Behind him, Amy looks at him questioningly.
AMY
Charley, is something wrong?
With a quizzical shake of his head, Charley slams the
window shut and turns to her.
CHARLEY
No, nothing.
He jumps into bed with her,, the two of them beginning to
make- love as the CAMERA PANS off them to the window,
pushing out through the window closing in on Jerry's window
across the way. A pair of red eyes stand there in the
darkness, staring and staring as the CAMERA MOVES CLOSER
AND CLOSER. They blink; . they're for real; there is another
vampire out there and he is watching Charley.
FADE OUT.
THE END
