FRIGHT NIGHT
Written by
Marti Noxon
EXT. SUBURBAN NEIGHBORHOOD -- NIGHT
FADE UP:
Moving through a tract development. The houses are like
Mexican food -- the basic elements are all the same, just
mixed differently.
A gloomy night, no moon. And a slightly ominous pattern
emerges...
Green, thriving lawns and meticulously tended homes abut
brown yards and porches littered with old newspapers and
pizza joint flyers.
Each third or fourth house is FOR SALE or, worse, seemingly
abandoned. This area is in danger of becoming a ghost town.
A deep, commanding voice pierces the silence:
VOICE (O.S.)
Defy reason. Defy everything you
know.
Now we move in on one of the homes. Not the nicest on the
block, but inhabited. Lights on in the windows.
INT. SUBURBAN HOME/VARIOUS -- NIGHT
Inside the house. A middle-class family lives here. The
living room is empty, but the TV's on.
ON THE TELEVISION
A commercial for PETER VINCENT. A Las Vegas institution,
he's a magician whose show is all Gothic, horror-movie
imagery.
Peter's wiry, hot -- a rock and roll bad boy. He's cutting a
girl up with a chain saw. And grinning like a mad man.
TELEVISION ANNOUNCER
Peter Vincent's "FRIGHT NIGHT."
The family DOG is up on the coffee table eating what's left
of a fast food burger and fries, still in the box.
TELEVISION ANNOUNCER (CONT'D)
Something's moving in the dark.
2.
Also on the table -- a role-playing game in progress.
"Magic, the Gathering"... Elves and Wizards.
TELEVISION ANNOUNCER (CONT'D)
Only at The Hard Rock. Nightly
Wednesday Through Sunday.
Now we hear what at first sounds like a MUFFLED ARGUMENT
coming from another room.
DISTANT VOICE
Get off her!!
More voices yelling, something being thrown. An ugly
domestic scene.
We creep down a dark hall toward a cracked door, light seeps
through the opening -- it SLAMS OPEN and ADAM, 17, crashes
toward us.
He's nice-looking, a little nerdy -- and he's in a blind
terror.
We get a glimpse of the horrible scene behind the door. A
teen girl's room -- the sound of flesh ripping.
We see a pale arm on the ground, shaking violently, as if
something is tearing and tugging at the body attached to it.
We bolt away with ADAM, who we now see is blood splattered,
as he races UPSTAIRS. A PHONE CRADLE is ripped out of the
wall, which Adam nearly falls over.
INT. SUBURBAN HOME -- UPPER LANDING/BEDROOM -- NIGHT
ADAM RACES INTO HIS PARENTS' ROOM. Another horrible glimpse -
- his mother's body splayed across her frilly bed.
Blood on pale pink sheets.
ADAM goes to his FATHER'S SIDE OF THE BED and now we see
Adam's father's body. His father was reaching for A GUN he'd
hidden under the bed.
ADAM gets down under the bed, desperately reaches for the
gun. It's just beyond his grasp.
ADAM
Come on, come on, come on...
He gets it. But the GUN HAS A GUN LOCK. Adam has to dig in
his dead father's pockets for his keys. Adam starts to cry.
3.
ADAM (CONT'D)
Come on, come on!
He finds them, struggles to unlock the gun with shaking
hands.
THE BED IS TURNED OVER in one violent throw. Adam is
exposed. We see only a hint of the creature that looms over
HIM --
Brutally strong, veins dark and visible under the skin...
Human but not quite.
Adam reacts in horror. He knows he's dead.
HE's RIPPED OUT OF FRAME as we hear:
DISC JOCKEY (O.S.)
.we're looking at a nice day here
in Clark County, hitting a season
low of only 89 degrees...
EXT. SHADOW HILLS - DAY
MUSIC starts under the DISC JOCKEY as we LOOK DOWN FROM HIGH
ABOVE at the SAME suburban neighborhood as before.
In the daylight it seems nice. Charming, even.
Pocket parks decorate almost every corner and kids ride bikes
in the street. Mothers unload groceries. Neighbors chat.
DISC JOCKEY (O.S.)
.so get out there and enjoy this
beautiful Wednesday, people.
We SWOOP CLOSER and find that RADIO comes from a passing
MINIVAN with those cutesy stick figure family decals on the
rear window.
The FOR SALE SIGNS and brown lawns don't seem nearly so
foreboding now.
We SWOOP UP AGAIN and see beyond Shadow Hills, past the WALL
that encompasses it -- and become aware for the first time
that the community is SURROUNDED BY FLAT, ARID DESERT.
In the distance, we can just make out the glow of Las Vegas
proper. It looks like a distant fantasy, a land-locked
Pleasure Island.
4.
EXT. STREET - DAY
CLOSE ON:
The wheels of a DIRT BIKE as it zooms down the street.
WIDEN to see CHARLIE BREWSTER, who is PUSHING the bike as
fast as he can. It STARTS, sputters -- then craps out.
CHARLIE
(to the bike/pissed)
You want me to take you apart, huh?
Charlie's 17 and has the slightly awkward feel of someone who
just recently came into his body and good looks.
He's a wry, thoughtful kid who's enjoying -- but not quite
trusting -- a sudden surge in popularity.
CHARLIE (CONT'D)
(still talking to bike)
I will. I'll sell you for parts.
Don't think I won't--
Charlie stops, embarrassed. DORIS -- a neighbor -- watches
him talk to his bike. Paused as she hauls her trash cans to
the curb.
She's super pretty in a wholesome way -- except for her
ridiculous body. Stripper city. She nods to the bike,
amused.
DORIS
Nothing doing, huh?
CHARLIE
The thing's got no ambition.
(re: trash cans)
Can I -- uh, give you a hand?
DORIS
I got it. Thanks.
She walks away -- her sweatpants have the word "LUCKY" across
the butt. He watches her go appreciatively. Doesn't notice
his mom, JANE, struggling to pull their own cans to the curb.
JANE
Don't leer at the neighbors, kid.
Jane, 40's, attractive and frazzled, wears a REAL ESTATE
brokers blazer. Charlie wheels his bike back to the curb.
5.
He and his mom have had an affectionate, teasing relationship
which has only recently started to have more edge.
CHARLIE
She's the one who put a word on her
butt. I'm just reading it.
Jane eyes a LARGE DUMPSTER FULL OF CONCRETE that sits in
front of their NEXT DOOR NEIGHBOR'S YARD.
JANE
Is he ever going to move that
thing?
CHARLIE
You need to get over it, Mom.
JANE
(WATCH IT)
Attitude.
(observes him/then)
You've been tense or something.
School?
CHARLIE
School's great, actually.
JANE
Amy?
CHARLIE
Good. Hasn't dumped me yet.
He says this like he's surprised. Jane nods. Getting it.
JANE
That'll teach you to get so tall
and handsome.
(THEN)
Getting what you want is stressful.
Especially when you're not used to
it. More to lose.
CHARLIE
Are you reading those books again?
The Power of Whatever the Hell?
She laughs. He glances at the DUMPSTER.
CHARLIE (CONT'D)
They're not working. You're still
flipping out about a big box.
6.
Now Jane moves to the open garage and starts loading OPEN
HOUSE SIGNS into her trunk. Charlie stands there. She
shoots him a look -- then he helps her load.
JANE
It's an eyesore. I'm trying to
convince people to move in, not
join the legions leaving town--
CHARLIE
If you say "mortgage crisis" again
I'm getting a new mom.
JANE
The guy moves in and puts a giant
trash can in his yard! When the
Perry's lived there--
Charlie has heard this before. It's a common refrain.
CHARLIE
The Perry's were the greatest
neighbors ever. But they moved. I
thought you were happy their place
finally sold.
JANE
(back on the neighbor)
He's not digging a pool. Where do
you think all that concrete's
coming from?
CHARLIE
You're spying on the guy now?
JANE
He's thirteen feet from our house.
That's not spying, that's
observing.
A BEETLE CONVERTIBLE pulls up. AMY drives and her two hot
friends, CARA and BEE, sit in the back.
AMY
Hi, Mrs. Brewster.
JANE
Hi honey. Hi girls.
ANY, 16, is a stunner. And she's as cool as she is beautiful
-- the girl every other guy in school would die to be with.
7.
But Charlie is. And he can't believe his luck. Which puts
him off his game. She makes him feel like he's always
playing catch up.
Charlie moves toward the VW. Jane calls after him.
JANE (CONT'D)
Oh hey -- Ed called. Again.
CHARLIE
Okay.
JANE
I'm tired of making excuses,
Charlie. If you don't want to talk
to him, would you please tell him?
CHARLIE
Kinda defeats the purpose.
He gets to AMY and the girls. Amy glances at the dirt bike.
AMY
Still can't get the bike started,
huh?
CHARLIE
Wow. No faith.
AMY
So you don't need a ride.
Amy calls his bluff and starts to drive off. Charlie grabs
his backpack and RACES after her.
CHARLIE
No, hey, stop--
She laughs, stops the car. Charlie tries to jump in and she
drives again.
CHARLIE (CONT'D)
Come on! Hey!--
Charlie runs and finally dives into the back headfirst. The
girls are laughing.
ON JANE
Watching them drive off, gone in a cloud of teen spirit.
8.
INT/EXT. AMY'S CAR -- DAY
The Beetle zips through a commercial strip. More suburban
paradise.
Charlie's in the front seat now. Amy drives, one hand on the
wheel. Casually drops one on Charlie's leg. Charlie tries
to act casual, but he's stoked and... amazed.
Cara half-sleeps in the back while BEE leans forward, flirty,
and eyes Charlie's COLORFUL PUMA SNEAKERS. Charlie's a
sneakerhead, a serious collector.
BEE
Takes a man to wear purple, Chuck.
AMY
Charlie.
BEE
Chuck likes it when I call him
Chuck, right Chuck?
Intimidated by these girls, he tries to form a witty retort.
CHARLIE
It's -- they're not -- that's,
like, puce? That's a macho puce.
CARA
Can you stop someplace? I'm
severely under-caffeinated.
AMY
(ignores her/to Bee)
Did you see the poster for the
formal? The theme is "Hope"?
BEE
I know. They asked me to be on the
committee again but I was like --
hope is completely 2008. Grow up.
CHARLIE
Did you suggest "Despair?" Nobody
would see that coming. Or --
global warming? Everybody has to
wear tin foil.
AMY
(laughs/to Charlie)
Did you go last year? We basically
did the whole thing, Bee and me.
9.
CHARLIE
(LIES)
Me? I, ah, was in training that
week. This big triatha--
BEE
(cutting him off)
Chuck was still under his rock.
We're so glad you crawled out.
CARA
Caffeine!? Hello!
CHARLIE
I have Econ first period.
Amy takes her hand off his leg. Charlie notices.
CARA
Charrrliiieeeee.
CHARLIE
(KILLING HIM)
Okay. Yeah. It's no big deal.
Amy PULLS into a coffee place. Parks. The girls climb out.
CARA
Thank you, Jesus.
Amy catches Charlie looking at his watch, fidgeting.
AMY
You're not going to flunk for
missing Econ, Brain.
CHARLIE
Brain? I -- what? No, I'm--
But she's already walking away.
AMY
Five minutes.
He watches her move off, anxious and smitten.
EXT. CLARK COUNTY HIGH -- COURTYARD -- DAY
Charlie arrives with Amy, Cara and Bee -- all the girls now
sport coffee drinks. Charlie has one too, with whipped cream
and the works.
10.
Kids stream into a nice, modern-looking high school. Amy
takes Charlie's arm.
AMY
On time. You stress too much.
CHARLIE
I wasn't worried.
AMY
You were doing your worried thing.
CHARLIE
I was? I have a -- what's my--
MARK (O.S.)
Ladies!
A couple of handsome jock-type guys, MARK and BEN, roll up
along side Charlie and the girls. They draw looks from other
students as they move through the courtyard.
The cool kids.
BEE
Doods. Looking massive.
MARK
(to Charlie/re: drink)
Seriously? A Mochachino? You
can't ride with the girls anymore.
You let them brush your hair, My
Pretty Pony?
Mark grabs the cup away from him. Starts drinking it.
BEE
(takes his arm)
Chuck's secure, aren't you?
We see that Ben is also wearing PUMA's. Different design.
It's a thing. Charlie shows his off -- he's secure.
CHARLIE
Puce.
BEN
Fuck yeah.
AMY
(TO CHARLIE)
I have track after school, maybe we
can hook up later?
11.
CHARLIE
Yeah. Hey. Come here.
(pulls her aside/awkward)
You know, the formal. Don't think
I wasn't going to ask you, because
I thought it was an obvious go.
Together. Hope, puppies, kittens,
the whole deal. You and me.
AMY
(NOT UNKIND)
Oh, no. Please. Nobody goes to
the dance senior year.
She smiles, moves off. He watches her, lets out a breath.
CHARLIE
Right. I knew that.
MARK and BEN enjoy the view as the girls move off. Wow.
Mark, incredulous, says to Charlie:
MARK
Did you find a frickin' Genie lamp
man? Make a sacrifice to the hot
ass Gods? How do you get that?
CHARLIE
Game, my friend. Rock solid.
Charlie moves off. And even though he's playing it off, we
see that Mark's hit a nerve. This hot girlfriend thing is a
bitch. Mark calls after him--
MARK
You don't even have a car!
INT. CLARK COUNTY HIGH SCHOOL -- DAY
Later. Charlie's in Econ class. Seated in a back row near
MARK and BEN. A number of seats in class are EMPTY.
TEACHER
Ben Wegner?
BEN
Here.
TEACHER
Adam Noris?
Nothing. Teacher looks around.
12.
TEACHER (CONT'D)
Adam?
(marks chart/then)
Courtney Heuer?
A girl raises her hand.
Charlie, bored, idly checks out the class. Stops when he
sees a tweaked-looking kid, ED, staring at him.
EVIL ED is a slight, faintly punk-looking kid who's been
picked on by bullies his whole life.
He's hyper-intelligent, hyper-critical and... just hyper. And
his binder is covered with COMIC BOOK STICKERS.
TEACHER (CONT'D)
Nick Straley?
(NOTHING)
Nick?
Ed sees that he's caught Charlie's eye. Nods significantly
at him. Like -- "you know and I know..."
Charlie looks away. As if he didn't see him.
INT. CLARK COUNTY HIGH SCHOOL -- DAY
Charlie, Mark and Ben move down the hall. Mark shows Charlie
a picture on his phone. A woman posing seductively.
MARK
Miss Granada. Geometry.
CHARLIE
Holy crap. Where did you get that?
MARK
She's hard up, man. Equations
don't keep you warm at night.
They stop, see EVIL ED approaching. This amuses Mark and
Ben. But Charlie's uncomfortable -- wants to bolt.
BEN
I think "it's" going to talk to us.
ED
(TO CHARLIE)
I need a minute.
MARK
"It's" going to talk to Brewster.
13.
BEN
(TO ED)
When are you going to get the
message? We don't know you--
ED
(RE: CHARLIE)
He does. Or did. Before the
summer and his Jock Lobotomy.
CHARLIE
(to Ed/uncomfortable)
What's the deal, man?
ED
Alone.
Ed stares Charlie down. A beat. Ben and Mark bust out
laughing. Mark looks at Charlie.
MARK
Just the two of you. That's sweet.
He can school you in the ways of
geek-douchery.
ED
It's important. "Brewster."
The way Ed says his name is enough to propel Charlie into
action. He grabs Ed and pulls him aside. Mark and Ben watch
with interest -- out of earshot.
Ed's tone is dire, serious as a heart attack.
ED (CONT'D)
Adam's missing.
Charlie's looking around, self-conscious.
CHARLIE
What do you mean, he's missing?
ED
I keep trying him -- nothing. No
texts, no phone. And he's not the
only one who's gone. You heard
roll call.
CHARLIE
So kids aren't coming to school.
What do you want me to do about it?
14.
ED
Meet me at his house after school.
We'll check around. See what's up,
if he's okay.
CHARLIE
I can't after school. I'm busy.
ED
I don't think you get what I'm
TELLING YOU--
CHARLIE
Look, do we have to do this here?
Ed can't believe it. Charlie's totally blowing him off. He
starts to lose it, raises his voice--
ED
What, am I not even suppose to
speak to you now?--
CHARLIE
Keep it down. Don't spaz--
ED
It's so horrible! Crossing the
streams! Will High School as we
know it cease to exist?!
Ed glances at Mark and Ben, who still watch from a distance.
ED (CONT'D)
You want me to tell your pals how
well we know each other? The Lego
contests, the Farscape conventions,
THE COSTUMES--
CHARLIE
UIET--
ED
Or how your first sexual experience
was with an Electra figurine--
CHARLIE
No. No.
ED
Then be my backup.
CHARLIE
(DEFEATED)
Fine. Adam's after school.
15.
ED
Don't be late.
Moves off. Charlie sees the guys watching him. A beat. He
shrugs like "I have no idea what that was about..."
FADE TO:
EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK
The sun has set behind the mountains. It's gloomy gray out,
right before dark.
Charlie and AMY park, climb out of her car with drinks from
PLANET SMOOTHIE in hand. She's still in her track and field
clothes. Looks tough.
AMY
You know what I want? For dinner?
CHARLIE
You're eating right now, you know.
As you speak. You literally just
forced me to get you a smoothie so
large they named a planet after it--
AMY
(LAUGHS)
I ran six miles. What did you do?
CHARLIE
I -- watched you. But not in a
creepy way.
Charlie winces a little. It sounds creepy.
AMY
So don't judge. You don't want me
to burn my big ole' booty off, do
you?
Charlie, on impulse, stops her -- kisses her.
AMY (CONT'D)
What was that for?
CHARLIE
I don't know you're just...
AMY
What?
16.
CHARLIE
(PERFECT)
Nothing.
A sweet moment. These two have a definite thing. It's real.
They're about to kiss again when JANE'S GIRLISH LAUGH stops
them. They both turn and REACT AS THEY SEE...
A MUSCLED MALE, SQUATTING AND HUNCHED-OVER -- clad only in a
white wife-beater and jeans. We can't make out his face.
Jane stands over him, laughing at something he's said as he
FIXES their sprinkler.
PUSH IN as the guy looks up. This is JERRY. 30's. Handsome
to the point of devastating. An all-American Adonis.
AMY
Wow.
CHARLIE
Look at Mom. She's—
AMY
Damn right. If he followed her
home, you have to let her keep him.
Amy laughs -- almost skips toward them, milking the moment.
EXT. ADAM'S HOUSE -- DUSK
ED paces anxiously in front of ADAM'S HOUSE. He has a duffle
bag over his shoulder. Keeps checking his phone.
He finally dials in a number. Talks--
ADAM
Charlie. I'm in front of Adam's.
Remember the videos we all made
back when? You and me and Adam,
bro? In tights. Want your pals to
get a load of that?
EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK
Amy and Charlie approach Jane and Jerry. They overhear--
JANE
.so not a pool, what's the work
you're doing?
17.
Jerry has an easy-going way about him. An inviting charm.
JERRY
Foundation problems. I had to rip
up half the basement.
JANE
These houses were built practically
overnight. I'm never surprised
when they come apart.
JERRY
(RE: SPRINKLER)
Done. Just needed a new stem.
Jane sees Charlie and Amy approaching. And gaping.
JANE
Jerry, this is my son Charlie. And
his -- do we say girlfriend now?
CHARLIE
(EMBARRASSED)
I guess. I mean -- only if she's--
Amy's amused at Charlie's squirming, finally saves him.
AMY
(shakes Jerry's hand)
Hi. I'm Amy.
He can't help but give Amy an appreciative once-over. She
enjoys it, but pulls away and moves closer to Charlie.
Charlie notices the exchange -- the way this dude oozes
manliness. Doesn't like it one bit. He shakes Jerry's hand
a little too firmly. Lowers his voice a bit.
CHARLIE
Hey.
JANE
Jerry's our new neighbor. The
Perry place. He's "handy."
AMY
(looks to Charlie, smiles)
No kidding.
JERRY
Sorry about the mess, man. I was
just telling your mom I'll have the
dumpster gone next week.
18.
CHARLIE
Doesn't bother me.
JANE
Jerry does night construction on
the strip.
JERRY
(noticing Charlie's shoes)
You play ball? I'm always looking
for a pick up game.
CHARLIE
(BLUFFING)
Now and then, you know.
JANE
It's more of a collector thing.
The shoes. He's obsessed.
(to Jerry/"those teens")
They sleep on sidewalks to get
them.
Charlie looks at Jane, thanks for embarrassing me.
JERRY
Well -- they're bold. I like them.
Jerry looks back at Jane. A little flirtatious.
JERRY (CONT'D)
So... I'd ask you guys inside, but
it's a mess. I've been meaning to.
JANE
Be neighborly.
JERRY
A drink, something.
It hangs there, waiting for an invitation. Jane just smiles.
JERRY (CONT'D)
Soon, okay?
JANE
You bet. And thank you so much.
For the help.
JERRY
Least I could do.
Jane, Amy and Charlie walk toward the house. Jerry moves
off. Amy looks at Jane, amazed.
19.
AMY
Why did you blow him off? Oh my
God!
JANE
A guy that good-looking, still
single? Bad bet. He's a player.
CHARLIE
(IMPRESSED)
Mom. Breaking it down.
JANE
I've had enough man trouble. I'm
not getting suckered again.
Amy and Charlie meet eyes. That was loaded. Jane notices.
JANE (CONT'D)
Don't listen to me. Jaded old
BROAD--
CHARLIE
MOM--
Charlie's PHONE buzzes. He checks it.
ON THE PHONE
A VIDEO CLIP from ED. TITLED "KID COMEBACK and SUPER SQUID!"
It shows Charlie, Ed and Adam when they were younger,
prancing around in homemade costumes and, indeed, tights.
The text message says "10 MINUTES -- OR THIS IS GOING WIDE!"
ON CHARLIE
CHARLIE (CONT'D)
(alarmed/to Amy)
Wow. Okay. I gotta go. Sorry.
Call you later.
AMY
Now?
JANE
I have dinner on--
CHARLIE
I gotta go. I'll eat later.
JANE
Charlie!
20.
But Charlie's already off and running.
EXT. ADAM'S HOUSE -- DUSK
Charlie approaches, sees ED pacing in front of the house.
He's flipping out.
ED
Where the hell have you been?
CHARLIE
You said after school, chill out!
Ed is already lugging his big duffle to Adam's front door.
ED
Right after! It's dusk, dude, you
know what that means!?
CHARLIE
That the sun's gone down. What's
THE BIG--
Over him, Ed knocks loudly. Rings the bell.
ED
Hey! Anybody home?
A long pause. Nothing.
CHARLIE
Not here. Let's go--
But Ed's already heading around the house with the duffle.
INT. ADAM'S HOUSE -- KITCHEN -- DUSK
Ed wriggles in through the DOG DOOR. He turns, lets Charlie
in. Charlie looks around.
CHARLIE
This is nuts.
It's the SAME HOUSE we saw in the opening, but completely
righted. TV is off, the walls are clean. Furniture in it's
proper place. It's perfect.
They move into the house. Ed is wired, scared.
21
ED
Hello? Ed and Charlie here!
(TO CHARLIE)
Come on.
Charlie follows him in. Resigned and placating.
CHARLIE
Okay. Fine.
Ed opens his duffle bag. Inside are CROSSES, STAKES, HOLY
WATER, even a small AX.
ED
Take this.
Ed hands Charlie a STAKE. Charlie eyes it, incredulous.
CHARLIE
You've got to be kidding me.
Ed stops. This is it.
ED
I hate to tell you this but that
guy, your neighbor.
(DEAD SERIOUS)
He's a vampire. One of the undead.
CHARLIE
My neighbor. Next door.
ED
Yeah.
CHARLIE
I just met him. Jerry.
ED
Jerry.
A beat.
CHARLIE
That's a terrible vampire name.
"Jerry." Seriously--
ED
I didn't name him, man, I'm just
reporting the facts!
Ed moves UP THE STAIRS. Charlie reluctantly follows. It's
darker up here. Lights off.
22.
CHARLIE
Come on, this is a gag -- right?
Ed's barely listening -- cautious. Every shadow is potential
death. Total shmuck bait...
ED
Hey! Anybody here?
They pass the empty MASTER BEDROOM -- where we saw ADAM's
parents slaughtered. Now its clean and empty.
Then Ed turns into ADAM's room. It's full of geekery.
Action figures, the like. Charlie sticks behind him.
The guys don't register the mostly obscured form of SOMEBODY
HIDING BEHIND the door. A LARGE MALE figure.
Ed catches sight of the guy, and SPINS toward it, freaked.
Charlie also reacts, scared.
ED (CONT'D)
Get back, demon!
Ed thrusts his cross forward which knocks the door open,
toppling A MOVIE CHARACTER STANDEE.
A beat. Then Ed lets out a slightly manic laugh.
ED (CONT'D)
Ha! I killed that sucker dead!
CHARLIE
(ANGRY)
They're not here, okay? They left
town. His dad was a deadbeat--
Ed pulls a MAP out of his pocket. It has lots of red and
black DOTS marked on it. He thrusts it at Charlie.
ED
No, see, it's not just them. It
started -- there was this thing on
Channel 13, a lady escaped an
attacker who tried to bite her.
Ed points to the RED DOTS on his chart. They form a loose
circle around CHARLIE'S house.
ED (CONT'D)
Adam and me, we graphed the attack,
the disappearances. Whole
families, gone.
(MORE)
23
ED (CONT'D)
And that's you guys at the center,
see? His windows are totally
BLACKED OUT--
CHARLIE
There's a ton of houses like that.
People work nights on the strip--
ED
But every window? No. I've been
watching him. It all fits--
CHARLIE
That Jerry's a Dracula.
ED
No. Dracula is a specific vampire.
I'M SAYING--
CHARLIE
I know what you're saying! I'm
mocking you. You've been reading
too much Twilight--
ED
Fiction, okay? This is real. A
real monster. And he's not
brooding. Or lovesick. Or noble.
He's the fucking shark from JAWS.
He feeds, he kills, and he doesn't
move on until everyone around him
is dead.
(MOST EMPHATIC)
And that book SUCKS.
Charlie can't help but pause. Ed's conviction is so real.
But he shakes it off.
CHARLIE
COME ON--
ED
What about your neighbors, the
Perrys? He moved into their house.
Haven't seen them around, have you?
CHARLIE
Yeah, in San Diego like a month
ago!
ED
Exception, proves the rule. You
haven't asked him in, have you? He
can't get in without an invitation.
24
CHARLIE
No, but--
ED
Your mom? Lonely divorcee...
CHARLIE
You're on drugs.
ED
No! Well, yeah... I thought you'd
take my word, but I have evidence
at home. Hard evidence.
Charlie stops fighting it and humors him. Ed's lost it.
CHARLIE
Yeah. Okay.
ED
(INTENSE)
We have to stake him in his nest.
You and me. Not now, it's dark.
CHARLIE
Right. Cause he's nocturnal.
ED
Just for -- okay -- for a minute
pretend you're not a douche now--
CHARLIE
Look, Ed, this stuff, it was fun
when we were eight--
ED
SIXTEEN--
CHARLIE
(LOSING IT)
Whatever! I grew up, okay? You
don't want to, fine. But don't get
an attitude because I'd rather have
a life than make shit up!
Ed stops. Stung.
ED
Right. Got it. You're soooo cool
"Brewster." Go ahead, join the
Clark High early-peakers. This is
the pinnacle for them. And that
includes your girl--
25.
CHARLIE
Shut up.
ED
Undeniably doable, but we used to
make fun of her and her pals,
remember? They're bimbos--
CHARLIE
Shut up!
Charlie barely refrains from hitting Ed. Instead he shoves
him away. Ed stumbles. Falls.
He looks up at Charlie, genuinely hurt and desperate.
ED
Adam's gone -- you act like it has
nothing to do with you.
(THEN/PAINED)
We were inseparable, man.
CHARLIE
Yeah. And you know when I got
popular? The minute I stopped
hanging out with you.
Charlie takes off. Ed watches him go.
FADE TO:
EXT. NEIGHBORHOOD STREETS/VARIOUS -- NIGHT
A while later. It's REALLY DARK now.
Ed, gripping his duffle bag nervously, skates down a
residential street. Houses here are spaced far apart and the
lights in many of them are off.
Ed is anxious, watchful. He knows it's not safe. Every dark
corner is potentially the end of him.
A few cars pass. Something moves behind him. Footsteps
GAINING. Ed abandons his skateboard and BOLTS.
A hand SLAMS on his shoulder, spins him around. IT's MARK,
Charlie's pal from school.
MARK
You crossed my yard. Tracked your
nerdjuice all over it.
26.
ED
Sorry. Sorry--
MARK
My mom works hard on that shit,
MORON--
Ed glances around nervously, it's dark and anything... else
could be out there.
ED
Can you just hit me? I don't have
time for the build up.
(he steels himself)
Go.
MARK
Seriously?
ED
Jesus, man! Just do it!
Fine. Mark winds up and SWINGS -- a brutal blow.
Ed DUCKS and runs. Mark's immediately on his heels.
The guys dodge and dart through the neighborhood. But Ed has
experience in the art of losing bullies and he manages to
shake Mark for a moment.
Ed scrambles over a wooden fence, but his DUFFLE BAG GETS
CAUGHT ON TOP. Most of his vamp hunting stuff SPILLS over on
the OTHER SIDE OF THE FENCE.
ED (CONT'D)
Crap. Crap!
There's not time to get the stuff. He can hear Mark
approaching in the dark.
He drops into a neighbor's backyard.
EXT. BACKYARD -- NIGHT
ED spins and slams right into MARK -- no, it's JERRY.
Ed falls back and scrambles away, terrified.
ED (CONT'D)
Get away! I'm armed mother fucker!
Jerry moves after Ed, angry but controlled. More like a man
than a monster.
27.
EXT. FENCE -- NIGHT
Mark pulls up on the other side of the wood fence. Sees Ed's
VAMP HUNTING STUFF on the ground, laughs.
MARK
Unbelievable.
A beat, Mark glances at the high fence. Decides he's done.
He kicks some of Ed's stuff as he moves off.
EXT. BACKYARD -- NIGHT
Ed trips over kid's toys and bikes as he runs to the house.
There's a porch light on over the back door.
ED
(pounding on door)
Hey! Let me in! Please!
But there's no answer. Ed is desperate, Sees Jerry closing
in, walking across the backyard.
Ed takes a ROCK and smashes the window over the kitchen sink.
INT. HOUSE -- KITCHEN -- NIGHT
Ed falls through the window into the kitchen. Looks out.
JERRY stalks toward him. All hulking menace.
But Ed's safe now. Calls out--
ED
Forget it sucker! No invite!
BAM! Jerry kicks in the kitchen door. Ed, terrified, falls
back.
JERRY
Abandoned. I thought you did your
homework.
ED
-- what?
JERRY
You've been watching me. I've been
watching you. Seems fair.
Ed BOLTS into the house.
28.
INT. HOUSE -- VARIOUS -- NIGHT
As he races through the empty rooms he pulls a stake from his
pocket. We see he's wearing a cross around his neck on a
long chain.
JERRY's following, but barely breaking a sweat.
Ed sees A SLIDING GLASS DOOR to the back. He fumbles with
the lock, gets it open and runs into the backyard.
EXT. BACKYARD -- NIGHT
Ed races for the back gate--
AND SUDDENLY JERKS TO A STOP.
Jerry has him by the back of the CROSS he's wearing.
Ed's lifted WAY off his feet by the CHAIN, until he's choking
on it, the cross directly under his neck.
JERRY looks away as he SNAPS the chain off Ed and HURLS the
cross into the neighbor's POOL.
Ed falls to the ground, watches the cross sink in despair.
Jerry's standing over him. Smiles a little. We get just a
flash -- he suddenly has MORE TEETH, sharper, in rows. It's
chilling.
JERRY
Bit off more than you can chew.
Shaking, terrified, Ed brandishes the STAKE.
ED
We'll see, man. I know my shit.
But Jerry doesn't appear to be afraid. He looks at Ed with
actual sympathy.
JERRY
Really? Who's going to believe
you? You see the truth, but what
good is it when you're alone?
Ed's shaken -- but still grips the stake. Holding on.
ED
Don't play that stuff. That mind
crap. Come on -- try me. Try me!
29.
JERRY
You say you're glad you're
different. But how can you be in a
place like this? These people...
Even your best friend. You're
nothing to him now.
Ed's listening despite himself, hurting now. Jerry moves a
step in. Ed raises his stake again -- but with slightly less
conviction.
ED
Get back!
JERRY
It can be over. I can make all
that pain go away.
Ed's fighting tears. Life as he knows it is gone.
ED
No...
JERRY
You were born for this and you know
it. Your "life", what you had?
That's the illusion.
(off Ed's silence)
I can take you somewhere great.
Somewhere you'll belong.
Ed takes this in. His eyes clear a bit. Is it...hope?
JERRY (CONT'D)
It's a gift.
And Jerry moves closer, blocking our view.
CUT TO BLACK:
FADE UP ON:
EXT. BREWSTER HOUSE -- DAY
A new day. Sunny and hot. A truck moves the DUMPSTER from
Jerry's house.
INT. BREWSTER HOUSE -- KITCHEN -- DAY
Through the kitchen window, Jane watches the DUMPSTER drive
away. She's pleased, a little surprised. Says to herself...
30.
JANE
Good on his word.
A knock at the door. It's Amy. She lets herself in.
AMY
Morning. Charlie?
JANE
You try. My voice seems to be on
some frequency he can't hear.
AMY
CHARLIE!
CHARLIE (O.S.)
Coming!
Amy looks at Jane, who shakes her head. Amy moves to the
island. Grins a little.
AMY
Talk to Hot Neighbor again? You
should facebook him.
JANE
(shakes her head)
Temptress. I'm resolved.
Charlie runs down. Wet from the shower, discombobulated.
pecks Amy, grabs food off a plate. He's out of sorts.
AMY
Oversleep?
CHARLIE
Didn't.
(off her look)
Weird dreams.
Charlie gives Jane a quick peck and follows Amy out.
EXT. BREWSTER HOUSE -- FRONT YARD -- DAY
Amy and Charlie head to the car. Charlie turns -- looks back
at JERRY'S HOUSE. The blacked out windows...
AMY
What?
Charlie snaps out of it. It's crazy to even entertain Ed's
theories.
31
CHARLIE
Nothing. That guy was such a tool.
AMY
(HUMORING HIM)
Totally. Poser.
She gets in the car. Smiles a little.
FADE TO:
INT. CLARK COUNTY HIGH SCHOOL -- DAY
Charlie's in class. He's restless, agitated. On his pad, he
absently draws VAMPIRE images, blood...
TEACHER
Sally Cabella?
SALLY
Here.
TEACHER
Ed Lee?
Nothing. Charlie looks up.
TEACHER (CONT'D)
Edward Lee?
Charlie looks around. No Ed. And just like he said -- quite
a few other kids are missing. Charlie takes this in, looks
around.
ABOVE CHARLIE
SEATS ALL AROUND HIM ARE EMPTY. This time it makes an
impact.
EXT. BASEBALL FIELD -- DAY
Charlie, Mark, Ben and the rest of the guys get ready for
practice. Mark's in the middle of a story, but Charlie is
distracted -- barely listening.
MARK
.she's wearing a jumpsuit, dude.
Like -- one zip and POP!
CHARLIE
Huh.
32
MARK
What's up with you? Dreaming about
your little boyfriend?
Charlie takes this in, worried.
CHARLIE
You see him around today? Ed?
BEN
I don't track "it's" whereabouts.
What did he want, anyway?
CHARLIE
Nothing. Homework stuff.
But Charlie's clearly distracted.
CHARLIE (CONT'D)
Look, I have to go.
MARK
Now? You're ditching? I'll bail
with you.
CHARLIE
No -- I'm -- I don't feel so well.
He takes off. Ben and Mark watch him, perplexed.
EXT. ED'S HOUSE -- DAY
Another suburban development. Rows and rows of red tile
roofs, houses stacked right on top of one another...
Charlie rings the bell of a modest place. Not as big as
where Charlie and Jane live. But nice, well-tended for.
ED's mom, VICTORIA, answers. She's surprised to see him.
VICTORIA
Charlie!
CHARLIE
Yeah, Hi Mrs. Lee.
Victoria breaks into a wide smile.
VICTORIA
God you're a sight for sore eyes.
33.
INT. ED'S HOUSE -- CONTINUOUS
Victoria pulls Charlie in and hugs him, happy. Calls out--
VICTORIA
Rick! Charlie's here!
(TO CHARLIE)
Look at you. So handsome!
CHARLIE
Oh, I -- you don't have to--
Now RICK, Ed's dad comes into the room. Shakes his hand.
RICK
Ed said you'd sprouted. And
you're, the--
Rick awkwardly gestures around his face.
CHARLIE
Cleared up. Yes sir--
VICTORIA
Ed will be so sorry he missed you,
But -- you should both be in school
now, shouldn't you?
CHARLIE
He's not here? Did you see him
today?
RICK
He's usually up and out early.
Everything okay?
CHARLIE
No, sure. We're working on a class
project. I guess we crossed paths.
VICTORIA
I'm so glad you're doing that. Ed,
he'd be mad that I said so, but he
talks about you all the time.
This lands hard on Charlie. How remiss he's been.
CHARLIE
Yeah. That's... He's great.
(THEN)
Would it be okay if I went
upstairs? Ed has a book we need.
34.
VICTORIA
Of course. Make yourself at home.
Charlie goes upstairs. Victoria makes a face at Rick --
"that's good!" They're both pleased.
INT. ED'S ROOM -- DAY
Ed's room is a shrine to comic books, horror and fantasy
movies.
There's an art table where Ed has been working on some
illustrations for a noir-style graphic novel. Charlie stops
and looks at them. They're fantastic.
He looks at the photos on the wall -- including a few
pictures of Ed, Charlie and Adam when they were friends.
CLOSE ON A PHOTO
Charlie and Ed, arms around each other. Charlie is shorter
and thinner -- with really bad acne. Not cute. WAY not.
ON CHARLIE
Ouch. Best not to dwell. He turns and sees--
PETER VINCENT'S "FRIGHT NIGHT" POSTER on a wall. Charlie
takes it in, laughs a little.
Then Charlie examines a WHOLE WALL devoted to Ed's
investigation of Jerry. Maps, news reports, vampire lore
printed off the internet, books, etc.
If you didn't know the difference, you'd say it's just more
of Ed's fictional world.
Charlie stares at it all for a beat. Then shakes his head.
It's all a fantasy -- nothing more.
CHARLIE
This is crazy.
He starts to take off. But sees that Ed's computer is on --
and one file stands out. "THE JERRY DIARIES."
Charlie gives in to his curiosity -- clicks it open -- finds
a bunch of Quicktime files.
He opens one. Stops.
CLOSE ON COMPUTER
35.
As BLURRY short clips play:
Jerry's truck, in motion but it looks like NOBODY'S DRIVING
IT.
DORIS the neighbor chatting on Jerry's lawn -- with nobody.
Over and over, it's appears that JERRY DOESN'T SHOW UP on
video.
OFF CHARLIE
Taking this in. Chilled.
EXT. BREWSTER HOUSE -- NIGHT
It's dark as Charlie comes home. He looks warily at Jerry's
house as he searches for his keys.
BAM -- he walks right into JERRY.
JERRY
Hey guy.
Charlie tries to maintain his cool. What if Jerry is what Ed
thought? Impossible, but...
CHARLIE
Hey. Guy.
JERRY
You could really do me a solid.
CHARLIE
Yeah? What kind.
JERRY
I have a girl on her way over for a
beer, and I'm totally out of beer.
They're at Charlie's back door, the one that leads to the
kitchen.
CHARLIE
Bummer.
JERRY
Set me up, I'll pay you back two
times. A sixer for your mom, and
one for you.
CHARLIE
Uh, yeah, sure.
36.
Jerry watches Charlie as he unlocks the door.
This is when Charlie should invite him in.
CHARLIE (CONT'D)
Let me see what Mom's got. She's
kind of a "light domestic".. .mom.
Charlie steps inside. Pointedly DOESN'T ask Jerry to enter.
Charlie intentionally leaves the door open, moves to the
refrigerator. But keeps his eyes on Jerry. If he steps in,
uninvited, Ed's theory is blown.
JERRY
Nice kitchen. Same floor plan as
my place, huh?
Jerry leans against the door jamb -- BUT DOES NOT CROSS THE
THRESHOLD. Charlie observes this. Holy shit.
Charlie and Jerry MEET EYES. Then a cold smile creeps over
Jerry's face.
Charlie fumbles, lets one of the wet beers slide from his
hand -- it hits the ground, explodes.
CHARLIE
Fuck!
JERRY
Can I help you with that?
CHARLIE
No! No. Thanks. I'll get it.
Jerry takes in Charlie's frantic refusal. Now he's darkly
certain. He's been made.
Charlie tosses the broken bottle into the sink. Moves to the
doorway with the remaining beers.
Charlie hands them over the threshold. But doesn't cross.
CHARLIE (CONT'D)
There you go. Uh...party down.
Jerry watches him, intense. His tone shifts -- cocky and
intimidating. A threat disguised as "guy talk."
JERRY
This girl tonight -- she's a
handful. You know.
(MORE)
37.
JERRY (CONT'D)
Women who look a certain way, they
need to be managed.
CHARLIE
Yeah.
JERRY
You don't mind my saying, you got a
lot on your shoulders for a kid.
Your pal, Amy? She's ripe. Must
be a line of guys dying to pluck
that. Your mom too -- you don't
see it, maybe you do -- she's
giving it off. It's on you to
watch out for them. You up for
that?
Charlie's burning. But holds himself in check.
CHARLIE
I think I can manage.
JERRY
Good. Cause there are bad people
out there, man. Better keep an eye
on your women.
Jerry backs away, intimidating even as he retreats.
JERRY (CONT'D)
Thanks for the beers.
Charlie watches him move into the dark.
INT. BREWSTER HOUSE - CHARLIE'S ROOM -- NIGHT
Charlie bursts into his room, freaked out -- races to the
window.
His room is free of all geekery. Now it's all sports and
sneakerhead stuff.
AMY's there -- on his bed and surrounded by school books.
She's reading Wuthering Heights.
AMY
Where've you been? You told me to
meet you here an hour ago.
CHARLIE'S POV
Jerry's nowhere to be seen and his house is quiet. Lights on
behind BLACKED OUT WINDOWS.
38.
AMY (CONT'D)
Hello?
Charlie breaks away from the window. It's an effort. His
focus is still half there, even as he tries to talk to Amy.
CHARLIE
Sorry. You okay? Everything okay?
He checks his phone. Checks for anything from ED. Nothing.
AMY
Yeah. Why shouldn't it be?
CHARLIE
No, it should. Nothing.
AMY
(re: her book)
You ever read this? It's good.
Sexy, actually.
Amy moves to Charlie. Puts her arms around him.
AMY (CONT'D)
In a frustrated, unconsummated sort
of way.
CHARLIE
Like us, you mean.
Amy laughs, pulls him onto the bed. She's feeling frisky.
AMY
Kinda makes it hotter.
CHARLIE
Yeah, so you keep saying.
He smiles a little. She kisses him. But feels his distance.
AMY
Am I boring you? What's up?
CHARLIE
What? No. I'm kind of wiped out,
that's all.
AMY
I can fix that.
She kisses him again. Despite himself, Charlie gets drawn in
and turned on. She pulls back, serious.
39.
AMY (CONT'D)
Want to get under the covers?
CHARLIE
-- now? Seriously?
AMY
Calm down. Let's just... see how it
goes.
Charlie's dying inside. Now?! Could not be a worse time.
CHARLIE
Believeme when I say--thereis
nothing in the worldI'dratherdo
BUT--
AMY
Charlie. Don't be nervous.
She kisses him again. It's intense, passionate. Charlie
weakens a little. Maybe death and mayhem can wait...
Amy moves to take off her top. Oh. My. God--
DING DONG. Somebody is ringing the bell at Jerry's. Charlie
stops. Practically tosses Amy off him.
CHARLIE
You hear that?
He rushes to the window. Looks outside.
CHARLIE'S POV
DORIS is at Jerry's front door. Holding a bottle of wine.
CHARLIE (CONT'D)
Shit.
AMY
What?
JERRY comes to the door. He and Doris start chatting. She's
flirting up a storm.
CHARLIE
Shit, shit, shit--
Amy sees what Charlie sees. Shrugs.
AMY
He's hot. She's a stripper. They
were bound to find each other.
40.
CHARLIE
GO-GO DANCER--
AMY
Take away two tiny pieces of cloth,
stripper.
(LIGHTLY)
You jealous?
CHARLIE
What? No--
Jerry is showing Doris in when he stops-and looks DIRECTLY AT
CHARLIE. It's chilling.
Charlie DIVES away from the window, grabbing Amy and pulling
her down too.
CHARLIE (CONT'D)
He looked right at us.
AMY
Maybe. Not a big deal--
Charlie's freaked now. Doris is IN THERE.
CHARLIE
No, it is a big. A very big. He
saw us and he was pissed.
AMY
Okay...
Amy moves away. Looking at him skeptically.
AMY (CONT'D)
If you're not into this, say so.
Don't do me any favors.
CHARLIE
What? No! I am, I totally am.
just -- I don't trust that guy.
He glances out the window again. Amy's irritated, not used
to having her passes rejected. She gathers her stuff.
AMY
I'm going.
CHARLIE
Amy. Don't--
41.
AMY
No. You've got your neighborhood
watch thing.
CHARLIE
Come on, don't be that way--
But she's gone.
CHARLIE (CONT'D)
Crap!
A beat. Charlie's torn -- he should go after her. But
Doris's muted LAUGH from the other house draws his attention.
He looks again at Jerry's house. He can see faint shadows
moving behind the windows in the house, like ghosts.
Charlie's conflicted, freaked -- what can he do? He picks up
the phone. Dials 911. Then thinks better of it. Hangs up.
Finally -- he stops at the window, eyes on JERRY'S PLACE.
Listening and watching intently. Keeping sentry.
FADE TO:
INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- NIGHT
Later. Charlie's fallen asleep in a chair by the window.
He's startled awake by a woman's SCREAMS. They sound like
they are coming from Jerry's.
But are they screams of pleasure or pain?
Charlie looks out the window. Jerry's house is dark. It's
all quiet. Charlie looks at the clock. tam.
Charlie sits back on his bed. Was it a dream? Then Charlie
hears A MOTOR START. Charlie goes back to the window.
Jerry's TRUCK starts and Jerry drives off.
Off Charlie, unsettled.
CUT TO:
EXT. JERRY'S HOUSE -- BACKYARD -- NIGHT
A short while later. Charlie moves cautiously into Jerry's
backyard. He's wearing ALL BLACK and his dad's old winter
gloves. He looks at his iPhone.
ON THE PHONE -- a diagram. "How to pick a lock."
42.
Charlie steels his nerves. At Jerry's back door, he clumsily
tries to pick the lock. After a moment or two, he realizes
he has no idea what he's doing.
CHARLIE (CONT'D)
Crap.
He walks away from the door, frustrated. Then turns and
impulsively tries to KICK IN the DOOR with his foot. Nothing
happens.
Then something occurs to Charlie. He goes into the garden.
CHARLIE (CONT'D)
The Perrys...
Charlie finds a FAKE ROCK. Turns it over. It has a KEY in
it. Charlie's like -- duh.
He puts the key in the back door lock. It opens.
INT. JERRY'S HOUSE - NIGHT
Charlie moves through the first story of the house. He's
cautious, on edge.
At first the place seems totally unremarkable. A typical
"guy pad". Lots of inexpensive furniture, bad art, a salt
water fish tank...
At every turn, Charlie expects something or someone to jump
out at him. It's unbearably tense.
INT. JERRY'S HOUSE -- UPSTAIRS -- NIGHT
Charlie looks upstairs. Moves through a plain white hallway,
finds an open door that leads to Jerry's office, where he
keeps an EXTENSIVE LIBRARY.
On one wall hangs a TAPESTRY that looks very old, decorated
with a strange INSIGNIA. Charlie takes a picture of it with
his phone.
INT. JERRY'S BEDROOM -- NIGHT
Charlie goes into Jerry's bedroom - opens his closet. Sees a
variety of UNIFORMS. Cop, gas man, UPS, etc. Charlie
reacts, chilled.
Charlie stops. JERRY'S TRUCK is pulling into the driveway.
Charlie's in a panic. Jerry will be inside any moment.
43.
There's no time to get out so Charlie ducks into the CLOSET.
INT. JERRY'S HOUSE -- CLOSET -- NIGHT
Charlie pushes as far back into the closet as he can go.
Leans against the back wall.
The BACK OF THE CLOSET SWINGS OPEN and Charlie falls back
into a HIDDEN HALLWAY.
Charlie stands, stunned, see that the hallway is lined by
small rooms on either side.
It's clear that these are additions Jerry's added. Each room
has a small rectangular WINDOW, so you can see in.
Charlie reacts, sick. It looks like a prison. Despite the
danger, he creeps over and looks in one of the rooms--
WHAM!!
A pale HAND slaps against the window. Charlie jumps.
CHARLIE
Fuck! --
DORIS is in the window now. Bruised and so pale she looks
almost BLUE.
DORIS
Help...
CHARLIE
Oh my God. Oh, shit--
Charlie tugs on the door. Locked.
He stands back, what to do? Charlie hears a NOISE. The
FRONT DOOR. And then -- JERRY'S FOOTSTEPS approaching.
DORIS
Oh... Oh no... Get me out of here!
Doris pounds on the door. In a cold panic.
CHARLIE
I'm -- I won't leave you--
But Charlie has no choice. The footsteps are getting CLOSER.
DORIS
Please! No! Don't go!
44.
Charlie ducks inside one of the CELLS across from Doris,
moves behind the door.
JERRY steps into the hallway, walks right by Charlie's hiding
place. Pauses near him.
The door is ajar. Was it that way before? Charlie holds his
breath.
Jerry moves to the CELL and retrieves DORIS's half-alive body
from it.
Charlie cautiously looks through the crack in the door.
DORIS (CONT'D)
.no... . God, no... please...
The door to Doris's cell open. Charlie can see PART of
Doris's body and face.
Jerry is mostly obscured, bent over Doris -- holding her.
Charlie watches helplessly, horrified.
DORIS (CONT'D)
Please, please... don't kill me.
Doris's body TENSES and starts to jerk, as Jerry TUGS AND
RIPS AT IT SAVAGELY. It's clear he's FEEDING ON HER,
although we can't see his face.
Doris screams, then starts to cry. It's stark and REAL and
terrifying.
It seems to go on and on. Doris weakens, her head lolling to
one side, her light fading.
A small stream of blood spreads across the white pavement.
In the position she's in, she is eye to eye with CHARLIE.
She sees him, smiles weakly. Then mouths something -- too
weak to make much sound.
DORIS (CONT'D)
Cha... Cha...
CHARLIE is petrified. Doris gets it -- smiles a little
grimly, puts a finger to her lips. Silence.
After what seems like an eternity, Jerry is satisfied. He
tosses Doris aside and stands away from her.
Charlie DUCKS behind the door as Jerry emerges and casually
wipes a spot of blood from his mouth.
45.
Then Jerry LOCKS DORIS back into her cell. Pockets the key
and moves off toward the stairs. After a moment, he's gone.
The sound of a TV starts in Jerry's living room. Something
banal like "The Real Housewives of Orange County."
Charlie knows this is his moment. With shaking hands, he
retrieves his iPhone and pulls up the "HOW TO PICK A LOCK"
screen.
Charlie looks through the window in Doris's cell. She's
breathing -- alive.
Charlie whispers to himself as he uses a bobby pin and a tiny
screwdriver on the lock.
CHARLIE
Please... Please...
The bobby pin slips. Drops. Charlie's losing it. Steadies
himself. Tries again.
CHARLIE (CONT'D)
Come on.
The tension is unbearable. Charlie can hear JERRY moving
downstairs.
CLICK
The lock slides open. Charlie breathes with relief. Then he
grabs Doris and BOLTS.
Charlie SLIPS in a pool of blood left behind from Jerry's
feeding, but he manages to stay on his feet.
He pushes Doris ahead of him, to a BACK STAIRCASE.
His PHONE drops out of his pocket, he has to double back --
every moment counts. Doris's barely aware of what's
happening, let alone where she is.
INT. JERRY'S HOUSE -- STAIRWELL/ENTRY -- DAWN
A moment later. Charlie and Doris emerge downstairs, near
the entry hall. They can see the front door -- and hear
Jerry moving in another room.
Charlie looks around, trying to get oriented.
JERRY emerges -- almost sees them. Charlie ducks into a
hiding spot and grabs Doris, covering her mouth.
46.
A long beat as Jerry returns to the living room with a beer.
Settles in a chair facing away from the door.
Charlie considers his options. Says almost silently:
CHARLIE
Same floor plan.
He grabs Doris and bolts for the kitchen.
INT. JERRY'S HOUSE -- KITCHEN -- DAWN
A back door. Leading out. Charlie and Doris race for it,
DORIS stumbles and bumps into a chair. Stifles a cry.
INT. JERRY'S HOUSE -- LIVING ROOM -- DAWN
Jerry turns at the noise.
INT. JERRY'S HOUSE -- KITCHEN -- DAWN
Charlie throws the back door open, he and DORIS ESCAPE.
EXT. JERRY HOUSE -- DAWN
The sun is just starting to rise. Charlie races for his
house, with Doris holding on to him tight. She's crying with
gratitude and relief, manages--
DORIS
Thank you, thank you...
Doris looks up at him, her EYES TURNING BLACK, her veins
going gray. A first ray of pure sunlight hits them.
CHARLIE
Doris?
In a flash, DORIS starts to BURN. Charlie is helpless to stop
it as she GOES UP IN FLAMES and explodes.
CHARLIE REACTS
Horrified. In shock.
INT. JERRY'S HOUSE -- KITCHEN -- DAWN
Jerry moves into the kitchen.
47.
The back door is closed now -- but the blinds sway slightly.
And there are BLOODY prints on the floor from Charlie's
sneakers.
Jerry takes this in, coldly furious.
FADE TO:
INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DAWN
Charlie sits on his bed -- still in a state of shock. This
shit is for real.
Jane comes to the door, her knock cursory. She enters.
JANE
You're going to be late.
Jane moves to the windows, throws the curtains open. Charlie
winces at the sun. He got no sleep, looks like hell.
JANE (CONT'D)
The hours you keep. It's like
living with a vampire.
Charlie stops. Looks at her. She has no idea.
CHARLIE
Listen -- promise me -- that guy
next door, Jerry? Under no
circumstances do you invite him
into our house. He's dangerous.
JANE
I think I can handle myself.
CHARLIE
No, no you can't--
JANE CHARLIE
Charlie-- Don't even look in his
direction, understand? And
at night, you stay inside.
JANE
Because he's dangerous. What kind
of dangerous?
Charlie starts gathering his things. Getting ready to bolt.
48.
CHARLIE
Can you trust me? For once, don't
ask a million questions--
JANE
Charlie. Stop. I'm your mom, not
some ridiculous woman--
CHARLIE
(GENUINE)
I'm sorry. Okay? I know... We
just don't have time for a big
thing! I'm telling you--
JANE
That's enough. I'm done with this
conversation.
She moves away.
CHARLIE
Mom! Mom--
But she's gone. Charlie looks after her, worried.
EXT./INT. CLARK COUNTY HIGH SCHOOL -- DAY
Later. Charlie approaches the school. Kids swarm around
him, happy and care-free. Charlie's in another world.
INT. CLARK COUNTY HIGH SCHOOL -- LIBRARY -- DAY
CLOSE ON A COMPUTER SCREEN
As various pages pop up--
VAMPIRE FAQ
True VAMPIRE tales!
VAMPIRE chat city
How to kill a vampire
ON CHARLIE
As he scrolls and frantically scribbles notes.
CLOSE ON CHARLIE'S NOTE PAD/COMPUTER SCREEN
As Charlie notes tons of CONTRADICTORY facts;
49.
Vamps must avoid all daylight. Vamps can walk in fog or
twilight.
Vamps always sleep in the dirt. Vamps never sleep.
Vamps can only die from stake through the heart. Vamps
only die from Fire.
Three bites to turn a victim into a vamp. One bite and the
victim has to feed from the vamp...
Vamps change form -- bats, animals, etc. Vamps absolutely
can NOT shape-shift.
ON CHARLIE
We see now that he's on a computer in the SCHOOL LIBRARY,
isolated behind some stacks.
He clicks a link on one of the sites -- which leads him to
PETER VINCENT'S website. It's an elaborate interactive site.
It says that Vincent is a serious student of all things
occult -- especially VAMPIRES -- and has amassed a vast
collection of books and artifacts.
It also claims that there are different TRIBES of vampires.
ON CHARLIE'S NOTEBOOK
He writes in big letters
TRIBES?
PETER VINCENT -- VAMP EXPERT?
AMY (O.S.)
Hey.
Charlie looks up. Amy stands over him, a little wary.
Charlie covers his writing and closes his computer screen.
He looks like hell. Disheveled, sleep deprived, tense.
CHARLIE
Hey...
AMY
You weren't in class. What are you
working on?
CHARLIE
Porn. Hacked it.
50.
AMY
Oh, good. I thought it was
something creepy.
Charlie nods. Smiles wanly. Then--
CHARLIE
Look, I'd better...
AMY
Get back to your porn. Got it.
She looks away, losing patience. Charlie rallies.
CHARLIE
No. Sorry. I'm just -- I could
use some coffee.
She looks back. Okay.
EXT. CLARK COUNTY HIGH SCHOOL -- QUAD -- DAY
Charlie and Amy sit in the busy quad.
CHARLIE
We can't hang out at my house any
more. My mom's flipping out about
some stuff. I can see you at
school, but for a while --
AMY
Why? What's going on?
CHARLIE
It's hard to explain. Just...
What can he say? He has to protect her, but how?
BEN AND MARK Join them. Notice how tweaked Charlie looks.
BEN
You look like dog shit.
CHARLIE
Thanks.
MARK
Your pal the spaz, his folks were
here earlier. It's a big thing.
CHARLIE
What? Why?
51.
MARK
I don't know. He ran away or
something. They were all upset,
talking to the principal.
BEN
One less tweaker clogging up the
halls.
Charlie stands, upset.
CHARLIE
Shut up.
MARK BEN
Charlie-- Chill out-
CHARLIE (CONT'D)
You don't know what you're talking
about. He could be dead for all
you know.
Mark steps in. Calming, reasonable.
MARK
You're right. Not cool. You're
worried and it's totally
understandable.
(THEN)
But he's better off, man. He'll be
happier with the other trolls on
the shire.
That's it. Charlie DECKS MARK. They go to the ground and
Charlie lets loose on him. A bunch of other guys pull them
apart amid shouts, etc.
Mark is bloodied and freaked.
MARK (CONT'D)
What the fuck man!?
AMY stands back, appalled.
AMY
Charlie!! What the hell is wrong
with you?!
CHARLIE
(TO MARK)
You're an idiot, you know that?
(SUPER EMPHATIC)
And it's HOBBITS on the shire!
52.
Charlie turns to Amy--
CHARLIE (CONT'D)
Come on.
But she shakes her head and moves to MARK and BEN.
CHARLIE (CONT'D)
AMY--
AMY
Just get out of here, Charlie. Go.
He knows it's over. Heartbroken, he takes off.
FADE TO:
EXT. THE STRIP -- DAY
Charlie gets off the bus and walks toward one of the nicer
hotels.
He's looking at another "how to" on his phone. "How to meet
a celebrity."
INT. HOTEL LOBBY -- DAY
CLOSE ON -- A NEWSPAPER STAND
As Charlie grabs a LAS VEGAS SUN from a rack.
INT. HOTEL LOBBY -- ELEVATOR -- DAY
Charlie watches a bunch of CONVENTIONEERS with BADGES in the
FOOD COURT.
A guy about Charlie's size leaves his coat and badge on his
chair -- goes to get his food.
Charlie sweeps in and quietly takes it.
INT. HOTEL SHOWROOM -- DAY
CLOSE ON
PETER VINCENT
40's, but all wiry rock n' roll attitude. Leather pants and
tattoos, Long black hair wrapped in a bandana. Dark painted
nails and heavy eye make-up. HEAVY METAL MUSIC BLARES.
53.
The whole scene is OVER THE TOP GOTH cheesiness. Lots of
stage effects and fire...
PAMELA ANDERSON look-alikes in skimpy outfits prance on stage
as another SEXY GIRL is handcuffed, S&M style, to a CIRCULAR
TORTURE BOARD.
ON THE AUDIENCE
We see that this is a run-through. Tech guys work light
boards, etc. A director and scattered others sit in the
seats.
CHARLIE
Sneaks in one of the back doors. Silently moves close to the
stage.
He's WEARING THE STOLEN COAT.
The badge holder now has the SUN masthead logo inside. It
looks, at first glance, like a legit credential.
ON STAGE
Peter reveals a tray full of SHARP DAGGERS. He raises them
to the audience.
PETER
The knives are real.
He CUTS his OWN PALM with one, bleeds. Doesn't even wince.
Stud.
PETER (CONT'D)
The girl is real.
He GRABS HER, feels her up. She giggles.
SEXY ASSISTANT
Ooooo!
Peter YANKS down on the circular board the assistant's tied
to -- sending her SPINNING.
PETER
And if I miss, she'll really be
dead.
The music switches. It's all TENSION. Peter FLINGS a
dagger. SCHWACK! The assistant DUCKS as the KNIFE embeds in
the board behind her, this close where her head was.
She screams! Breaks character.
54.
SEXY ASSISTANT
Holy Shit! Pete!
Also out of character -- PETER speaks in a thick QUEEN'S
ACCENT.
PETER
You can't say that!
(moves to her)
Stop the-- STOP. CUT!!
The music stops. The spinning board stops.
SEXY ASSISTANT
You almost tore my extensions out!
Why do you have to throw a real
knife!?
PETER
(RE: KNIFE)
It barely cuts! That board is like
butter.
He tears the MAKEUP appliance off his hand that made it look
like he cut himself. The assistant pulls out of her VELCRO
straps.
SEXY ASSISTANT
Everybody else fakes it!
PETER
But this looks authentic--
SEXY ASSISTANT
Then learn how to throw!
She stomps off the stage. Peter can't believe it.
PETER
Screw this.
He starts to stalk off stage. CHARLIE rushes toward him.
CHARLIE
Mr. Vincent! Mr. Vincent--
A tech guy moves in on Charlie.
CHARLIE (CONT'D)
Charles Brewster. From the Sun?
We had an appointment.
PETER
I don't think so. Talk to my guy.
55
CHARLIE
We're doing a piece -- "Vampires.
Separating myth from fact."
PETER
You want a comment? That's a shit
idea for an article.
Peter starts to move off. Charlie, anxious, follows.
CHARLIE
Please. I really -- I need your
expertise. You're the man on this
stuff, right?
Peter sees how desperate Charlie is. Stops.
PETER
What is this, like your first
assignment?
CHARLIE
Actually -- yeah.
PETER
(takes this in/then)
Ten minutes.
INT. PETER VINCENT'S PENTHOUSE - NIGHT
Peter lives in a two story penthouse at the top of one of the
casino hotels that he works in. It's lavish, floor to
ceiling windows, etc.
Still, goth influence reigns. The decor is tacky Haunted
Mansion all the way.
Charlie is shown into the "museum" by Peter's ASSISTANT,
ARTHUR, who looks and sounds A LOT LIKE PETER.
ARTHUR
Don't touch anything, dude.
INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT
Charlie enters -- comes face to face with a SNARLING
WEREWOLF. He starts. Then realizes it's a life-size model.
CHARLIE
Ho -- wow.
56.
Charlie stands back, takes in the place. It's an amazing
combination of FANTASY memorabilia and ACTUAL occult weapons
and objects. It seems to go on and on.
ARTHUR
Got rooms of this crap. Ebay.
Charlie examines a case that holds all kinds of TORTURE
DEVICES and battle axes, as well as SPIKED BALL MACES, etc.
Cases hold ancient texts and scrolls, haunted objects, etc.
CHARLIE
Amazing.
Charlie is genuinely impressed. The geek in him can't help
it. Peter enters, talks to Arthur--
PETER
Midori me.
Arthur pours Peter a green drink as Peter pulls off his black
wig (bandana attached) and peels off a nude body shirt that
has a bunch of TATTOOS printed on it.
He steps out of his boots, with three-inch LIFTS. Collapses
into an arm chair. He's just another balding, middle-aged
guy with bad eyes.
Peter downs his drink. Arthur hands him the bottle. Peter
looks at Charlie.
In truth, Peter's isolated himself to the point that he
actually welcomes a visitor -- though he'd never admit it.
PETER (CONT'D)
(RE: MIDORI)
Looks like pee but I'm hooked. You
want?
CHARLIE
No, thanks. Not...on the job.
Peter scratches avidly at his crotch.
PETER
Leather, it doesn't breath. You
know? Fucking rashes are killing
me... So I'm your expert, huh?
For your vampire thing.
(BITTER)
They're all the rage, huh.
57.
CHARLIE
Yeah. I guess... So -- say I want
to kill one. But really. How how
would you do it?
PETER
Depends. You got fire, beheading.
Or go classic -- stake through the
heart. Bam!
CHARLIE
So all that actually works?
PETER
How the fuck do I know.
CHARLIE
I thought you're--
PETER
I read books, man. You think I'm
hanging out with Dracula and the
Easter Bunny?
CHARLIE
Sorry. No.
Charlie realizes he has no choice. He has to reveal more.
CHARLIE (CONT'D)
I -- I have a personal interest in
this story.
(off Peter's look)
A friend's missing, actually. I
think one of them got him.
PETER
Them, meaning a "vampire."
CHARLIE
Jerry. He lives next door to me.
PETER
"Jerry?"
CHARLIE
I know.
(THEN)
But it's no joke. If you look at
these clips, you'll see. They take
some time to load but...
Charlie moves to Peter, shows him his phone. Digs into his
pocket.
58.
CHARLIE (CONT'D)
And I printed up some photos I
took. In his place. Or lair...
Charlie put the photos in front of Peter on the table.
Peter's expression closes. He stands, pissed.
PETER
Arthur!
CHARLIE
No, come on, I'm--
PETER
You're a nutjob. Arthur!
Charlie deflates -- his desperation showing again.
CHARLIE
Listen to me. I saw it. I saw him
kill a girl. She burned up in my
hands. You have to tell me how to
stop him.
Arthur enters.
PETER
Get this loser out of my sight.
CHARLIE
I know what I saw.
PETER
No you don't. See this guy?
He gestures to ARTHUR.
PETER (CONT'D)
My cousin, Art. He's "me" on
stage. That's how I teleport.
People see what they want to see.
CHARLIE
(URGENT)
This is what you've been looking
for, I promise. I can take you to
him, to his place.
PETER
In Clark County Nevada. A hot bed
of supernatural activity.
59.
CHARLIE
Yes! It's genius. A transient
population. A town where people
work all night, sleep all day...
PETER
A town full of con-artists.
(not buying it)
No. You're working me, or
somebody's working you.
Charlie's getting angry now.
CHARLIE
He already got my friend! I know
how I sound. But I'm not crazy. I
didn't want this. I don't want to
know this. Just tell me what to
do!
Peter feels Charlie's sincerity. For a moment he looks
genuinely conflicted. But his expression hardens.
PETER
Run.
CHARLIE
What?
PETER
You heard me.
He moves away. But Charlie is on his heels. Peter looks to
ARTHUR, nods.
CHARLIE
So I save my own skin so he can
keep killing!? I won't. We have
to kill him! Please!--
Arthur THROWS Charlie out, the door closed firmly behind him.
INT. PETER VINCENT'S PENTHOUSE -- OUTER HALL -- DUSK
Charlie stands, shut out. What the hell is he going to do
now?
FADE TO:
60.
EXT. BREWSTER HOUSE/JERRY'S HOUSE -- DUSK
Moving in on the Brewster home, an odd sight is revealed.
Every window is draped with strings of GARLIC.
Charlie's revealed in his window -- hammering up another long
rope of the stuff.
His gaze falls on JERRY'S HOUSE and we follow it.
INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DUSK
Now we find that Charlie's entire room is decked out in anti-
vamp decor. Not just the garlic but crosses and other
religious pictures, etc.
Charlie LOOKS at the clock -- night coming too quickly. He's
grimly focused as he starts sharpening a STAKE.
A knock. Jane doesn't enter this time. Another knock.
CHARLIE
What?
Jane walks in. Takes in the decor.
JANE
The whole house looks like that
show Dark Shadows.
CHARLIE
It's a gag. For Amy. Long story.
JANE
(takes this in/then)
You like her a lot, don't you?
A moment when they could connect. But Charlie just nods.
Jane's disappointed. Then--
JANE (CONT'D)
Don't use tape on the walls.
(THEN)
Oh. Ed's parents left a few
messages, looking for him.
Charlie looks up at this. Pained.
CHARLIE
Okay.
He goes back to his work. Jane looks at him for a beat, then
she starts to go.
61.
THE DOORBELL RINGS. Before Jane can really react, Charlie
pushes past her.
CHARLIE (CONT'D)
DON'T. Don't open it.
INT. BREWSTER HOUSE -- LIVING ROOM -- DUSK
Charlie races downstairs. Stops. AMY is standing in the
living room.
CHARLIE
How'd you get in?!
AMY
It was unlocked.
CHARLIE
MOM! You have to lock the door!
AMY
Okay, whatever, listen. You're
flipping out. Punching out your
friends and blowing everything off
and is that a stake?
A beat. He forgot he was holding it. He hides it behind his
back.
CHARLIE
No.
Amy sits, upset. Looks around and sees that the living room
is decked in more anti-vamp decor.
AMY
Look. Even if you're losing it --
you don't get to blow me off. You
don't go from something to nothing
overnight.
(EMOTIONAL)
You're not nothing to me, Charlie.
Whatever's happening, just -- talk
to me.
Charlie takes this in, emotional. But--
CHARLIE
I can't let you get hurt. You need
to forget about me for a while.
62.
AMY
What? How am I going to get hurt?
Tell me. Charlie--
Now there's another KNOCK at the door. Jane comes downstairs-
JANE
I got it--
CHARLIE
NO. Don't answer it.
A tense moment. Another knock.
INNERCUT WITH
EXT. BREWSTER HOUSE -- FRONT DOOR -- DUSK
JERRY stands at the door. Quietly enraged.
JANE
This is ridiculous--
JERRY
Jane. It's Jerry from next door--
CHARLIE
I'm telling you, don't answer it!
JANE
This is my house. I'll answer the
door if I want to.
She starts to move to the door again. Charlie blocks her
way, desperate.
CHARLIE
Mom. He murdered Ed and Adam. And
I have proof.
Jane is stunned, at a loss. From the other side of the door--
JERRY (O.S.)
Jane? I need to talk to you.
JANE
Just-- Hold on!
JERRY (O.S.)
Now. Your son is harassing me!
He pounds on the door. Jane examines Charlie closely.
63
JANE
Charlie. What's happening?
CHARLIE
Whatever he says, don't--
JERRY (O.S.)
He broke into my house. I'd rather
not take this to the authorities.
But I will! He's sick, deluded--
CHARLIE
Mom.
A tense beat... Finally--
JANE
(YELLS/ANGRY)
Get the authorities! My son is a
good kid!
Charlie sags with relief. A brief look of appreciation
passes between Charlie and Jane.
ON JERRY
As he backs away from the door. His expression goes cold.
He disappears into the dark.
INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT
Charlie races to a window. SEES JERRY MOVE out of sight.
CHARLIE
Shit, shit...
JANE
What? What is he doing?
CHARLIE
Whatever it is, it's not good.
EXT. BREWSTER HOUSE -- FRONT YARD -- NIGHT
Jerry stands back, intense. He's got to take care of this
problem NOW.
INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT
Charlie's running from window to window now, trying to see
what's going on.
64.
CHARLIE
Just -- if we stay in here -- he
has to give up. He can't get in
without an invitation.
AMY
OH--
(GETTING IT)
Oh... Really? Like a--
CHARLIE
Vampire. Really.
Amy and Jane are blown away. Charlie's going crazy.
EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT
Jerry carries a SHOVEL and A SMALL SAW. He stalks into the
Brewster's backyard, where he's hidden from the street.
INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT
Jane follows Charlie, worried.
JANE
Think about what you're saying--
CHARLIE
I have. I've "processed," believe
me.
Jane takes this in. Then SMILES.
JANE
Ooooh. This is the gag! For Amy.
I can't believe you got Jerry to go
along with it!
Charlie stops. Fuck.
EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT
CLOSE ON JERRY
As he starts to DIG UNDERGROUND -- amazingly strong and
swift.
INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT
Charlie hands Amy and Jane both CROSSES on CHAINS.
65.
CHARLIE
Take these. Put them on. Just do
it.
JANE
(HUMORING HIM)
Okaaaay. Vampire protection!
AMY
I don't think this is funny.
But she puts it on.
EXT. BREWSTER BACKYARD -- NIGHT
Jerry pulls up the NATURAL GAS LINE that leads to the
BREWSTER'S HOUSE. He SAWS IT OPEN AND LIGHTS THE END ON
FIRE.
INT. BREWSTER HOUSE -- LIVING ROOM/VARIOUS -- NIGH
Hisssssssssss. A strange sounds coming from under the floor.
AMY
WHAT'S THA--
BOOM!! The GAS FIREPLACE EXPLODES, the STOVE EXPLODES, THE
WATER HEATER ALL EXPLODE at once!!
WINDOWS BLOW OUT as Charlie JUMPS on Jane and Amy, dragging
them to the ground.
The room starts to BURN.
Charlie, Amy and Jane are in a panic. They try to put the
fire out, but it's no use.
Charlie stops. A CHILLING SIGHT:
Jerry stands on the other side of the blown-out windows. His
expression dark. Through the flames he says--
JERRY
Don't need an invitation if there's
no house.
A beat. Charlie GRABS Amy and Jane and they RUN through the
house.
INT/EXT. BREWSTER GARAGE/STREET - NIGHT
y, Charlie and Jane race into the garage
66.
AMY
I can drive--
JANE
I drive!
They jump into Jane's car. Hit the garage opener--
CHARLIE
Gun it Mom! Go!!!
Jane GUNS IT THROUGH THE OPENING GARAGE DOOR, destroying it.
She CLIPS Charlie's dirt bike -- pushing it onto the sidewalk
as she takes off.
Jane's car swings wide into the street, almost smashing into
an arriving FIRE ENGINE! Charlie, Amy and Jane SCREAM!!
They narrowly avoid a head-on collision with a FIRE TRUCK.
ON JERRY
As he sees the dirt bike in the driveway. He jumps on.
Tries to start it. NO GO. Fuck.
INT. JANE'S CAR -- NIGHT
JANE
What did we do!? What does he
want!?
They are racing away when the DIRT BIKE COMES CRASHING
THROUGH THE BACK WINDOW of the car, nearly taking Amy's head
off.
AMY
HOLY--
Everyone reacts. Then the BIKE STARTS - the wheels spinning
wildly in the back seat.
CHARLIE
Amy!
Amy's hair gets caught in the spokes - it's horrible as it
YANKS part of her hair out.
Charlie grabs her away from the bike -- she falls into his
arms, crying as JERRY's BIG PICKUP appears in the rear
windshield.
67.
JANE
He's coming!
THEY SWERVE OUT THE SHADOW HILLS GATES
EXT. MAJOR STREET -- NIGHT
Jane speeds down the street, which is wide and not heavily
trafficked here.
Unlike the planned community of Shadow Hills -- now we can
see we're surrounded by great expanses of empty DESERT.
JERRY'S TRUCK SMASHES REPEATEDLY into JANE'S.
AMY
My brother has a gun!
CHARLIE
Good to know! Is he here?!
JANE
Call the police! Anybody--
Jane manages to evade Jerry until --
The TRUCK SKIDS in a long arc in front of them and BLOCKS
THEM. Jane screeches to a halt.
JANE (CONT'D)
Oh hell.
In a flash, Jerry is out of the truck and coming for them.
CHARLIE
GO! Go! Don't stop!! Go--
Charlie steps on the accelerator, grabs the wheel and AIMS
THE CAR AT JERRY.
JANE
Charlie!!
They RUN JERRY OVER WITH A TERRIBLE THUDDDD!!! Amy and Jane
scream. Jane is aghast, stops the car.
JANE (CONT'D)
Oh my God!!
Charlie steps on her accelerator foot, the CAR ZOOMS FORWARD.
68.
AMY
Are you nuts!? You can't kill that
guy!
CHARLIE
You have no idea.
(TO JANE)
It's him or us. Mom. MOM.
Jane looks at him -- can feel that he's telling the truth.
Charlie's looking around as they speed down the highway, in
the rearview. NO JERRY anywhere.
CHARLIE (CONT'D)
Where is he? Where'd he go?
Everybody looks UP. The roof of the car.
BAM! Jerry's hand SHOOTS up through the FLOORBOARD under
Jane's feet.
Jane and Amy SCREAM!
CLOSE ON THE FLOOR OF THE CAR
JERRY'S EYE glares through the small hole. It's all BLACK.
No pupil. Freaky.
He's TEARING THROUGH METAL from the undercarriage of the car,
where he's clinging -- face up.
The more he rips away -- the more he reveals his face.
His veins and eyes are BLACK. His nose snout-like. And his
fangs emerge from lethal rows of jagged teeth, like a SHARK.
It's shocking, horrible.
ON THE UNDERSIDE OF THE CAR
As Jerry drags over the highway, the pavement grinding away
at his clothes and flesh.
He reaches through the hole he's made and SLAMS his fist down
on the FLOOR BREAK. The car SCREECHES to a sudden halt.
ON CHARLIE, AMY and JANE
Screaming even after the car has stopped. Then -- BAM!! The
car is REAR-ENDED by another vehicle. It's a MINIVAN.
JANE's car is SLAMMED -- the back is a crush of glass and
metal.
69.
A GRIM MOMENT -- only the sound of hissing air and groaning
steel as everyone assesses the damage.
AMY
Oh... Are you-- Jane?
Jane is woozy. Hurt.
CHARLIE
Mom?
JANE
I'm okay...
Charlie sees that the other car is drivable. The guy inside,
a FAMILY MAN, is stunned and pissed. Gets out of his car--
FAMILY MAN
What the hell do you think you're
doing!--
Charlie gets out of the car too. Yells, urgent--
CHARLIE
NO! Hey man, stay in your--
But it's too late. The guy is met by a HORRIFIC Jerry,
hideously torn and bleeding, who appears from UNDER JANE'S
CAR.
In a flash, Jerry grabs the guy and VAMPS, ripping the family
man's NECK OUT.
CLOSE ON MINIVAN
As those "cute" stick figure family decals are splattered
with BLOOD.
AMY AND JANE
Now out of the car, react. JERRY IS A FUCKING VAMPIRE.
Jerry drops the business man, who's dead as he hits the
ground. He moves toward them.
Charlie looks at Amy and Jane. I told you so.
CHARLIE (CONT'D)
Yeah.
Charlie urgently grabs them. Shoves them down the highway.
CHARLIE (CONT'D)
Get out of here. Run. Run!
70.
AMY
BUT--
CHARLIE
Go! I'll catch up! She's hurt,
get out of here!
They back off.
Charlie pulls a large cross out of his coat and brandishes it
as he walks toward Jerry. Jerry keeps his distance, taunting
HIM--
JERRY
Let them run. Just makes them
easier to kill when I'm done with
you.
Ding, ding, ding -- the family man's CAR DOOR is open and the
warning bell rings over and over...
CHARLIE eyes the car. Keys still in it. He circles Jerry,
backing him off.
CHARLIE
I repel you with the power of
Christ the Lord.
JERRY
Do you? Really? When did you take
your last confession?
CHARLIE
Get back...
JERRY
That's a mighty big cross you have
there. Question is -- do you
actually know how to use it?
Jerry LUNGES for Charlie, but he DIVES for the family man's
open car door.
But Jerry's on him -- hands BURNING as he rips the cross from
Charlie and shatters it with his hand.
Then he TOSSES Charlie, who flies and hits JANE'S CAR, then
crumples to the ground.
Jerry gets Charlie around the neck -- holds a sharp,
splintered end of the broken cross against Charlie's chest.
The wood still burns into Jerry's hand, but Jerry holds on.
71.
JERRY (CONT'D)
Ever take one of these in the
chest? I have.
Charlie struggles, terrified.
JERRY (CONT'D)
But they missed the heart.
Rigggght... . here. Easy
measurement.
Jerry positions the "stake" right over Charlie's heart.
Charlie winces. Terrified and overpowered.
JERRY (CONT'D)
Shouldn't have been so nosey.
Jerry's about to plunge the STAKE through Charlie's heart
when a THICK WOOD STAKE comes through Jerry's SHOULDER.
Jerry HOWLS, falls off Charlie and we see that he's been
staked by the business end of a REAL ESTATE SIGN.
JANE stands over them, quaking with fear and adrenaline.
Amy's right behind her with a CROWBAR.
JANE
Leave my kid alone.
Jane collapses, and we see that there's a lot of BLOOD on the
back of her head.
CHARLIE
Mom!
Jerry's in agony as he stumbles away, pulls the sign post out
of his shoulder.
Charlie grabs his mom and drags her into her wreck of a car.
Amy dives into the car with them.
Charlie presses the accelerator. Will it still drive?
CHARLIE (CONT'D)
Come on come on come on...
IT LURCHES forward, then goes. Metal scraping the ground,
raining glass... but it RUNS.
They start to bolt when BAM! JERRY STANDS UP right in front
of the car, LUNGES AT THEM. CHARLIE RUNS OVER JERRY'S BODY
AGAIN. They speed off.
72
Jerry writhes in the middle of the road. But even as he
does, he HEALS. His body knitting itself back together...
INT. HOSPITAL CORRIDOR/JANE'S ROOM -- NIGHT
Charlie's giving a report to a pair of uniformed cops.
COP #1
So a gas leak caused the fire at
your home and...
CHARLIE
My mom didn't feel right, we were
trying to get her to the hospital.
It was stupid to let her drive.
COP #1
Yeah it was. And driver who rear-
ended you, you get the exact make
and name of the van?
CHARLIE
It wasn't there when you got there?
COP #2
Hit and run. Happens all the time.
Charlie stifles his surprise. Nods.
ANGLE ON AMY
On her cell, pacing as she eyes Charlie with the cops.
AMY
We won't stay up all night. Bee
and Cara need help with Trig --
it's not a party. Okay. Okay...
(THEN/EMOTIONAL)
Mom? I love you.
She stops at the open door of a hospital ROOM. Her gaze
FALLING ON--
JANE
Who lies motionless in a bed. A doctor checks her chart.
AMY hangs up. Charlie, finished with the cops, joins her.
They're both pained as they look at Jane.
AMY (CONT'D)
Maybe you should have said
something to the police.
73
CHARLIE
Like what? A vampire moved next
door, borrowed some beer, ate a
stripper and then blew up our house
because we wouldn't invite him in?
Amy looks at him.
AMY
Okay.
The DOCTOR approaches.
DOCTOR
You should get some rest.
CHARLIE
She's going to wake up, right?
DOCTOR
Assuming the swelling is minimal, I
hope so.
CHARLIE
But you don't know.
DOCTOR
Not yet. We need to give it time.
The doctor puts a hand on Charlie's shoulder, leaves.
Charlie turns away, upset. Amy watches, feeling helpless.
INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT
Peter, in a bathrobe, looks out his floor-to-ceiling windows
at the lights of the strip.
The ASSISTANT from the show toddles out on high heels and a
ridiculous mini-dress. Her hair is messy, post sex.
ASSISTANT
Bye babe. Good show tonight.
He's barely paying attention.
PETER
You were late again on "The Devil's
Torture Chamber."
But she's gone.
A beat. He moves back toward the library shelves. As he
does he notices the PHOTOS Charlie took at Jerry's place.
74.
Absently, he sifts through them. Stops.
He picks up the one of the INSIGNIA.
Peter reacts. Stunned. This means something to him.
He goes to a WALL SAFE. Opens it. Hidden inside are a bunch
of personal items. Some from his childhood. Old photos of
his mother and father...
And a hand-drawn sketch, in a youthful scrawl, of THE
INSIGNIA. He puts the two side by side. They MATCH.
Off PETER, looking at the sketches. Haunted.
INT. HOSPITAL -- JANE'S ROOM -- NIGHT
Charlie and Amy sit on a tiny couch. Both are scared and
regretful.
CHARLIE
This is my fault.
AMY
You didn't make any of it happen.
CHARLIE
Ed came to me. I turned my back on
him.
AMY
How were you supposed to believe
him? None of it makes sense.
CHARLIE
He did talk a lot of demented crap.
(but.. )
He was my best friend. He asked
me, begged me, to believe him.
AMY
People change. Everybody--
CHARLIE
Yeah they do. I turned into a
dick. I figured my dweeb past, not
big with the ladies.
AMY
(WRY)
So you're saying this is my fault.
75.
CHARLIE
I wanted you to like me. I tried
to erase Ed -- all of it. I know
how that feels.
AMY
I knew you were a dweeb.
(off his look)
You think I want a "dude" like Mark
or Ben? I like that you're
different... It didn't hurt that
your skin cleared up.
She smiles, takes his hand. A sweet, connected moment. Then
something alarming occurs to Amy:
AMY (CONT'D)
I can't believe we didn't have sex.
CHARLIE
AMY-
AMY
No, seriously. I'm going to die a
virgin? Me? How did this happen?
CHARLIE
We're not going to die--
AMY
But what if we do? Let's do it.
Now. The bathroom. Charlie.
A beat.
CHARLIE
I think we should kill the vampire
first. I'll perform much better.
They laugh -- trying not to cry. Then:
AMY
Oh my God, Charlie. What are we
going to do?
CHARLIE
We're going to fight.
Then Charlie's phone rings. He answers.
CHARLIE (CONT'D)
Hello?
INNERCUT WITH:
76.
INT. PETER'S VINCENT'S PENTHOUSE -- LIBRARY -- NIGHT
Peter stands with the photo of the insignia in hand.
PETER
I can help you. My place. One
hour.
EXT. HOSPITAL HALLWAY -- DAY
A few minutes later. Charlie and Amy move out of Jane's
room.
AMY
The Peter Vincent?
CHARLIE
Under-whelming, believe me. But
he's what we've got.
They close Jane's door and we see that it's COVERED in
CROSSES of every shape and size. It's quite a spectacle.
A nurse passes, looks at Charlie and Amy quizzically.
CHARLIE (CONT'D)
My mom is very religious.
INT. PETER'S "MUSEUM"/LIBRARY - NIGHT
CLOSE ON
A MIDORI cocktail
WIDEN to reveal that PETER is pouring himself a whopper. Amy
and Charlie sit nearby.
PETER
I'll tell you what I know, but
that's it. Don't expect me to join
your Scooby gang.
CHARLIE
Anything. I'll take it.
PETER
I found the origin of that insignia
you showed me. It's a species that
originated in the Mediterranean.
They nest in the earth -- explains
that hole you saw. And they kill
slowly, keep their victims alive
for days.
(MORE)
77.
PETER (CONT'D)
(GRIM)
"Snackers."
CHARLIE
So -- they turn all of them?
(off Amy's look)
Make their victims into vampires.
AMY
I know. I read.
PETER
No. It takes a while before they
complete the change. They usually
finish them off before that.
AMY
So how do you kill these guys, this
"tribe"?
PETER
Usual stuff. But it's a strong
breed. You need a plan--
A VOICE interrupts over an intercom. It's ARTHUR, Peter's
assistant.
ARTHUR (O.S.)
Delivery. Guy says you need to
sign for something.
PETER
Send him in.
(TO CHARLIE)
I order things when I've had a few
cocktails. It's a--
CHARLIE
(ALARMED)
Wait. You get deliveries this
late?
PETER
I don't know. Maybe--
Charlie stands.
CHARLIE
No. You said he could come in.
The delivery guy. That's--
AMY
What? Charlie--
78.
VOICE (O.S.)
An invitation, airhead.
They turn and see EVIL ED, in one of Jerry's "uniforms."
It's clear he's changed. A glint in the eye, more muscular.
Charlie takes Ed in, pained. Ed grins at him.
Ed flips open a cell phone. Dials.
ED
Looking at them now. Yes sir.
(hangs up/then)
He's modern, Jerry, dispensed with
all that "master" stuff.
(TO CHARLIE)
Hey bud.
Charlie steps in front of Amy.
CHARLIE
You've got a problem, keep it with
me.
ED
Problem? You let him get me, man.
CHARLIE
(ANGUISHED)
I KNOW--
Ed is CREEPING TOWARD Charlie.
AMY
CHARLIE--
ED
You let him turn me into this.
At that, ED VAMPS. Black eyes, black veins. Those teeth.
It's terrifying.
SMASH!! One of the cabinets shatters. Ed, Charlie and Amy
spin to see PETER standing by the open collection case. A
SMALL NAIL in his hand. He's shaking like a leaf.
PETER
Stay away, demon.
ED
(amused/queens accent)
"Stay awaaaay, demon!"
Ed closes in on Peter. Peter looks to Charlie. It's real.
79.
ED (CONT'D)
Whatcha got there? Itsy bitsy
little stakey?
PETER
Crucifixion nail. Lethal to you.
ED
Old school. Nice. Got to get
pretty close to use it, though.
Peter looks at the short piece of metal in his hand. Fuck.
HE BOLTS down the nearest hallway.
ED (CONT'D)
Uh uh. No you don't.
ED BOLTS AFTER PETER. Charlie and Amy race the other way.
CHARLIE
The elevator!
INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT
Peter pushes a BUTTON on a doorway, bolts into a PANIC ROOM.
Ed is on his heels, but JUST MISSES grabbing Peter before the
door closes.
The POWERFUL DOOR CLOSES ON ED'S ARM, crushes it. ED HOWLS
as his arm SEVERS. The door LOCKS.
But what doesn't kill him makes him stronger and crazier.
ED
A panic room!? You better panic,
loser! You better watch your neck!
INT. PETER'S PANIC ROOM -- NIGHT
Peter's in shock -- watching Ed's severed arm twitch on the
floor.
ED (0.S.)
Prince of darkness is a little baby
man! I love it! All the fat
chicks in your fan club are gonna
be so bummed!
He hears ED flipping out, but ED DOESN'T SHOW UP ON THE
SECURITY SCREEN.
80.
INT. PETER'S PENTHOUSE -- ENTRY AREA -- NIGHT
Charlie runs with Amy to the ELEVATOR. The CONTROL BOX has
been ripped from the wall. They're trapped.
AMY
Oh my God, oh my God...
Amy's starting to lose it. Charlie grabs her.
CHARLIE
Look at me. Stop.
(SHE DOES)
There's another way out of here.
And there are a million things to
fight with in here. Understand?
We're going to make it.
Amy pulls herself together. Nods. They RUN.
INT. PETER'S "MUSEUM" LIBRARY -- VARIOUS -- NIGHT
CHARLIE AND AMY race through the ROOMS of Peter's extensive
collection.
INNERCUT WITH ED
Tracking them -- not far behind, his stub of an arm bleeding
and HEALING as he goes.
ED
Give it up, Chuck! You're dead.
(THEN)
If you hadn't ended up such a dick,
I might have tricked you out. We
could have rocked this evil shit!
But you blew it. Nothing but the
big dirt nap for you and your lady.
AMY AND CHARLIE
Round a corner -- it's a dead-end. They see a large antique
CONFESSIONAL at one end of the room.
ON ED
As he comes around the same corner a moment later. AMY and
CHARLIE are NOWHERE to be seen.
81.
INT. PETER'S HIGH RISE LOBBY -- NIGHT
Jerry enters, his appearance different. Healing from the car
incident has taken it out of him.
He's pale and weakened -- and still has lots of cuts and
bruises.
He's also changed into new clothes, jeans and a SWEATER.
We see THE SAME GUARD that Charlie spoke to earlier.
GUARD
Sign in, please.
JERRY
I know where I'm going.
GUARD
Sign in. No exceptions.
Jerry ignores him, keeps moving toward the elevator.
GUARD (CONT'D)
Hey! I'm talking to you. Sign in,
or you're not going nowhere.
Jerry turns. Slow and deliberate. Expression cold.
INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT
Ed is MOVING IN ON the CONFESSIONAL. Sees MOVEMENT behind
the curtain.
ED
I expected more of a fight. Girl's
made you lazy in the head.
Pussy'll do that.
ED YANKS the curtain on the confessional open.
ARTHUR hides there, terrified.
ED (CONT'D)
Look at that. Vincent's got a
Vincent.
CLOSE ON
A large cabinet on the other side of the room. AMY AND
CHARLIE are squeezed behind it. They react to HORRIBLE
SCREAMS as Ed rips ARTHUR apart.
82.
CHARLIE holds AMY close, muffling her sobs.
Blood seeps across the floor, under their feet...
ON ED
His face bloodied. Eyes wild. The trembling body of ARTHUR
on the ground at his feet.
Ed turns Arthur over. Arthur's still breathing, reaches for
something around his neck. A cross? No, it's a chain with
PICTURES of sweet-faced children on silver charms.
HE PLEADS--
ARTHUR
.I have ...kids ...
ED
Had.
Ed lifts Arthur off his feet and chokes him with one hand...
ED (CONT'D)
Don't take it personal. I'd eat
you -- but I'm saving my appetite.
Arthur's turning a horrible purple, eyes bulging... Ed
breaks his neck with a HORRIBLE WRENCHING CRUNCH. Drops him.
ED (CONT'D)
Dinner with an old friend.
INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT
A door to a STAIRWELL opens, Jerry steps into a hall. He
looks healthy again. Robust.
He wipes a small smear of blood from his mouth.
INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT
AMY AND CHARLIE hold their breath as ED looks around the
room. Arthur is motionless at his feet now.
ED
I know you're here. I can hear you
breathing. It's totally cool.
He laughs, hyper. Excited.
CHARLIE EYES A CASE WITH A BATTLE AXE
83.
ED (CONT'D)
Sooo, I take out the prom king and
queen? Embarrassment of riches!
CHARLIE SHOVES the case he hides behind with Amy over ONTO
ED. Yells to Amy--
CHARLIE
GO!
Amy bolts from the room as Charlie punches the glass out on
another case that holds the battle axe. He grabs the weapon.
Ed SHOVES the cabinet off him with his good hand, stands.
Charlie and Ed face off.
ED
Mano e...one mano. Piece of cake.
Cause I'm a God Damned killing
machine, and you're like all the
Clark High big shots -- nothing.
(THEN)
You picked the wrong side, man.
Ed lashes out, slicing CHARLIE on the arm with his SHARP
NAILS. Charlie yells, but holds his ground.
CHARLIE
I didn't pick--
ED
You didn't think.
Charlie's wrecked about what he has to do.
CHARLIE
I know. I'm sorry.
Charlie takes a swing with the AXE. Ed starts BOUNDING
around the room, avoiding Charlie's swings as he clings to
walls and, impossibly, THE CEILING.
ED
Steeeerike! Call that a swing,
Slugger?
Charlie swings and swings, but Ed is too fast for him.
Finally, Charlie connects with ED'S NECK. Blood flies,
Charlie can't look -- anguished.
ED (O.S.) (CONT'D)
Come on! You're not even trying.
84.
Charlie looks back, Ed's HEAD is only HALF OFF. He's
grinning even as he bleeds everywhere. It's macabre,
horrible.
Ed SLASHES Charlie again with his claw-like nails. Charlie
cries out.
INT. PETER'S LIBRARY/"MUSEUM" -- NIGHT
Amy can hear Charlie yell.
AMY
Charlie!
She smashes into one GLASS CABINET after another, pulling out
and pocketing everything she can find to fight ED. Finds a
GUN loaded with silver bullets...
JERRY
You are something, aren't you?
Amy spins. Jerry's closing in on her. Beautiful, seductive.
She's shaking, terrorized. BAM, BAM, BAM!!
She empties the GUN into JERRY anyway. It knocks him back,
but he's still standing. He picks a silver bullet out of his
shoulder, unimpressed.
JERRY (CONT'D)
Werewolves.
Amy FLINGS holy water in his face.
JERRY SCREAMS, burns.
AMY
Vampires.
She RUNS.
INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT
ED is already starting to heal as he and Charlie continue to
fight. But his head still flops hideously to one side.
ED
Bone is a motherfucker, Chuckles.
Hard to cut.
Charlie takes another swing with his axe. Ed jumps out of
the way.
85.
Ed manages to get Charlie in a one-arm embrace of sorts,
positions himself so he can BITE HIS NECK.
ED (CONT'D)
Is this weird for you too? I feel
like such a homo--
Charlie FLIPS ED -- they are wrestling when Charlie sees AMY
approaching with A SPIKED MACE. Charlie DUCKS and AMY
smashes ED in the head. Hard.
Charlie grabs a long, sharp piece of the shattered wooden
cabinet.
Ed is on the ground. Moaning, laughing. Charlie has his
shot. But he hesitates.
AMY
Do it. Charlie!
Charlie's frozen.
Ed starts to get up, his head a mess. It's now or never.
ED
Wow. Bimbo has some juice--
AMY
Jerry's here. He's coming!
CHARLIE
(to Ed/pained)
I'm sorry.
WHAP, Charlie stakes ED in the heart. Ed looks at Charlie
with surprise...
Ed's hideous features seem to dissolve. For a brief moment --
he looks like himself again.
ED
I wasn't even a badass vamp. I was
his Renfield. Funny if you--
Ed starts to VIBRATE HORRIBLY, his WHOLE BODY moving so
impossibly fast he's little more than a BLUR...
Then he BURNS UP FROM THE INSIDE OUT.
Charlie's paralyzed -- in a world of hurt.
Amy grabs him. Pulls him out of the room.
86.
AMY
I found the stairs. Come on.
INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT
JERRY, VAMP-FACED and recovering from the holy water, sees
AMY and CHARLIE running up ahead.
He sprints after them. Charlie sees him and TOPPLES A GIANT
FIGURINE in his path, as well as cabinets, etc...
They slow Jerry down enough to get slightly ahead.
AMY
OVER HERE--
She flings the door to the stairwell open and they RACE DOWN
THE STAIRS.
INT. PETER'S PANIC ROOM -- NIGHT
Peter sits huddled in a corner, ashamed and shaking.
The SECURITY CAMERA flicks through different rooms, until it
lands on his dead cousin, ARTHUR.
It's like Peter's looking at his own mutilated corpse.
OFF PETER, terrified.
INT. CASINO -- NIGHT
Amy and Charlie emerge from the stairway.
They find themselves ON THE FLOOR of a HARD ROCK TYPE CASINO,
which is on the bottom of the building where Peter lives.
Amy slows as they fold into the crowds. Relieved.
AMY
Stop. Stop, I need to--
CHARLIE
Not now. He's coming for us.
AMY
He can't kill us, not here--
CHARLIE
Who's going to notice? Who's going
to care? Amy, look around--
87.
Amy takes in the people on the floor. Drunk, oblivious. Two
guys YELL and FIGHT at a craps table. A couple makes out in
a dark corner, etc. It's loud, chaotic.
AMY
Oh, God...
CHARLIE
Keep moving. Come on.
Now Charlie sees JERRY some distance behind them now, moving
toward them in the crowd. They meet eyes.
Charlie grabs Amy, scans for someplace to hide. He spots a
nightclub -- "REFLECTIONS".
The outside walls are all mirrored, like a brightly lit
diamond.
ON JERRY
Behind them in the crowd, he sees them slip into the club.
INT. REFLECTIONS - NIGHT
The inside of the club is made up of MIRRORS AND WINDOWS.
The dance floor is PACKED. All writhing bodies and sweaty
abandon.
It's dizzying, disorienting.
Charlie sees JERRY enter, look around for them. The best bet
to get lost is to dive into the crowd.
Charlie leads Amy through the throngs of people -- the
different levels of the club are like a maze. Glass
staircases lead to mirrored balconies...
A hopped-up DJ climbs up on a balcony, starts throwing t-
shirts into the crowd.
DJ
Tequila Man t-shirts! Yeeeeeahhhh!
The crowd goes nuts, SURGES forward...
Someone bumps Amy and Charlie and they lose hands.
AMY
Charlie!
Charlie turns, a DRUNK CHICK gets in his way -- tries to
dance with him. He pushes past her.
88.
CHARLIE
Amy? Amy!
Charlie can't see Amy, instead sees HIMSELF over and over
again in a series of mirrors -- the infinity effect.
It's dizzying, disorienting.
THEN HE SEES JERRY, a shark, moving in and out of the crowd,
disappearing behind mirrored columns, reemerging...
Charlie also sees that JERRY DOESN'T REFLECT in the mirrors
around them. Instead the crowd parts as if by magic.
Jerry's heading straight toward--
AMY
who's been pushed toward the DJ stand by the crowd. She's
spinning, looking desperately for Charlie.
CHARLIE (CONT'D)
Amy!
Charlie's frantically pushing toward her. But the CRUSH of
people makes it nearly impossible to gain ground.
CLOSE ON AMY
As a HAND slips into hers. She turns, relieved, to find--
JERRY
Holding her with a firm grip.
AMY
No. No!
Amy STRUGGLES and CRIES OUT as JERRY PULLS HER away from
CHARLIE, toward ramp that leads to another dance floor.
Jerry laughs, throws her over his shoulder.
AMY (CONT'D)
Help!!
A GUY in the crowd high-fives him. All part of another crazy
night in Vegas.
GUY
Go get her, man!
AMY sees her fast-moving reflection in the mirror -- she
appears to be FLOATING above the people.
89.
AMY
Help me! Help!!
CHARLIE can SEE HER, but can't get to her. The crowd is
indifferent to her cries.
Charlie grabs his cell -- hits a button. It dials, then--
CHARLIE
(INTO PHONE)
Peter! We're in the casino, the
club! Jerry's got Amy! He's got
HER--
INT. PETER'S PANIC ROOM -- NIGHT
Peter's holding his cell. It's ringing.
He hangs up.
INT. REFLECTIONS -- SECOND STORY -- CONT.
Jerry, hidden away from Charlie now, puts Amy down. She
tries to run, but he holds her tight.
AMY
Charlie's coming, he'll find me--
JERRY
I'm counting on it.
Amy SPITS on him. Jerry reacts -- a flash of RAGE and he
exposes his brutal rows of TEETH for just an instant.
JERRY (CONT'D)
Come on.
He grips her harder, sways with her to the music. Leans
close to her ear, seductive.
His predatory skills in high gear.
JERRY (CONT'D)
You just need a taste. You'll see.
It can be like a dream.
Jerry draws a nail over his wrist, draws a line of blood. He
puts his mouth over the cut, bloodying it.
He forces her into a DEEP KISS. She struggles mightily --
but then her body relaxes, as if she's been sedated.
90.
JERRY (CONT'D)
That's it... Good girl.
JERRY looks up sees CHARLIE coming toward them.
But Amy's altered now. Staring into Jerry's eyes like a
child.
CHARLIE'S GETTING CLOSER when--
CHARLIE
Amy! No!--
BAM! A hand falls on his shoulder.
A DOORMAN
DOORMAN
How'd you get in here?
CHARLIE
You have to help me. That guy,
he's going to kill her, he's a
KILLER--
The doorman glances at JERRY and AMY. Jerry stokes Charlie's
anguish -- running his hands over Amy's ass, kissing her
neck.
DOORMAN
Yeah? Then she's liking it.
Charlie's beside himself, enraged and terrorized.
CHARLIE
You don't understand!--
DOORMAN
ID. Then you can tell me your
whole sad story--
CHARLIE
No! There's no time-- Amy!!
Charlie's increasingly desperate, tries to RUN. But the
doorman has a good grip, pulls him back.
JERRY
Sees that CHARLIE is restrained.
Jerry locks eyes with Charlie and SMILES, his horrible fangs
exposed. He's taking Charlie's woman -- and enjoying it.
91.
CHARLIE (CONT'D)
No! NO!
CHARLIE'S POV
As he's being dragged away -- JERRY BRUTALLY BITES AMY.
It's a nightmare.
Charlie loses it, screaming and flailing. But there is no
helping her.
FADE TO:
INT. PETER'S HIGH RISE -- BEDROOM -- NIGHT
Peter packs a bag, getting out of town.
CHARLIE (O.S.)
I see you got my message.
Peter turns. Sees Charlie standing in the doorway.
PETER
How'd you get in here?
CHARLIE
Security's a little lax. Everybody
got their throat ripped out.
Peter backs away as Charlie moves in.
Charlie is different. Colder, harder. Like he's aged a
decade in one night.
PETER
You too? He change you?
CHARLIE
Look at your monitor.
PETER turns to a security monitor in his closet. Charlie
SHOWS UP ON THE SCREEN.
CHARLIE (CONT'D)
I don't know if Amy's alive or dead
or turned -- but he's got her. My
mom may not make it. And Ed...
(COLD)
I'm going to end him, or he's going
to end me.
(MORE)
92
CHARLIE (CONT'D)
One way or the other, that's how
it's going to be and you're going
with me.
PETER
Don't you get what this is?
There's no fighting. There's only
surviving, if you're lucky--
CHARLIE
You call this surviving? If you
live and we all die, you think
you'll ever be able to get us out
of your head?
PETER
I know I won't. I never could --
not after the first time.
This stops Charlie.
PETER (CONT'D)
I told myself I probably made it
up. I was a kid. Maybe it was
easier to believe in monsters...
CHARLIE
Made what up?
PETER
The vampire who killed my parents,
my brothers. But not me. I hid.
Charlie reacts. Surprised, but now it all makes sense.
Peter continues, haunted--
PETER (CONT'D)
I didn't collect all this stuff for
fun. I thought maybe I could find
the tribe, "avenge" my people.
CHARLIE
So do it. We'll go in at dawn.
He's got to rest sometime--
PETER
(HARD)
It's not like that. When I was a
kid, I hid because I wanted to
live. I still do! This isn't the
comics. You want to be a dead
hero. Good for you. But I'm out.
(THEN)
(MORE)
93.
PETER (CONT'D)
You think I'm a coward. I'm just a
realist.
Moment of hesitation for Charlie. Has he been affected by
Peter's words? Then--
CHARLIE
So you bail on people, erase them.
(THEN)
I don't want to make it to
tomorrow, not if you're the kind of
man I have to be.
A moment. Peter is full of self-loathing, but resolved.
Charlie turns to leave.
PETER
Wait.
Peter takes something from his luggage. A stake carved from
WHITE WOOD. He hands it to Charlie.
PETER (CONT'D)
Blessed by Saint Michael. Kill a
vampire with it -- it's supposed to
turn his victims back. If Amy's
changed, you can still save her.
CHARLIE
(RE: STAKE)
If it's for real.
PETER
Who knows what's for real any more.
Charlie takes the stake. Starts to go. Peter stops him--
PETER (CONT'D)
There's no guarantee he'll be
asleep during the day. He's
housebound, not hibernating.
CHARLIE
I'll figure it out.
PETER
No, you need a plan. To stake him,
you have to get close -- he's
stronger than you.
CHARLIE
Holy water?
94
PETER
Slow him down. Won't stop him.
(THEN)
Torch him, you'll have a few good
minutes before he really goes up.
Believe me, a vampire on fire isn't
thinking clearly.
CHARLIE
But if he's on fire, how do I get
close enough to stake him?
A beat.
PETER
Fuck.
CHARLIE
(POINTED)
You just worry about yourself.
With that, Charlie leaves.
Off PETER. Disgusted with himself.
INT. HOSPITAL - NIGHT/DAY
Charlie sits by Jane's bedside. She's still comatose.
We move closer and see that Charlie's drawing a MAP OF
JERRY'S HOUSE on some scrap paper -- laying it out from
memory as best he can.
He GLANCES at the clock as it ticks toward DA
As Charlie plots, he talks to Jane -- his silent confidante.
CHARLIE (CONT'D)
Those rooms upstairs, that's
probably where he's got Amy.
I get her out, assuming she's--
(NOT DEAD)
Then I have to get him on the
ropes.
He thinks... Then looks up, an idea occurring. Jane lies
there peacefully.
CHARLIE (CONT'D)
I have to go.
More energized, Charlie stands and gathers his things.
He stops, contemplates his mother for a moment -- regretful.
95.
CHARLIE (CONT'D)
I'm coming back for you, Mom.
INT. ARMY/NAVY STORE -- DAY
Charlie buys FIREPROOF CLOTHING, a small open-flame lighter,
and a SPRAY CANISTER like the kind an exterminator uses.
The guy at the counter looks Charlie up and down. Charlie
takes this in. Finally, Charlie's like -- fuck it.
CHARLIE (CONT'D)
Going to kill a vampire.
The guy looks at him. Then--
STORE GUY
Good for you.
The store guy waits. Charlie hands over his money.
EXT. JERRY'S HOUSE - DAY
ON JERRY'S HOUSE
LOOMING, silhouetted against early morning light. Next to
it, Charlie's house stands in charred ruins.
CHARLIE stands on the front lawn, contemplating the houses.
He wears fireproof clothes, has stakes and crosses strapped
to him, holsters made out of duct-tape...
Slung over his shoulder is the spray canister. And he holds
a crowbar in a free hand. He looks like something out of one
of Ed's graphic novels.
Before he enters, Charlie DOUSES HIMSELF IN HOLY WATER.
CHARLIE
Let's do this shit.
He swallows hard, scared but determined.
INT. JERRY'S HOUSE -- FIRST FLOOR -- DAY
CLOSE ON WET FOOTPRINTS
Widen to find Charlie cautiously moving through the house.
The blacked-out windows give the place a gray, stifled air.
Behind Charlie, we see that the front door has been broken
open with the crow bar.
96.
Charlie anxiously looks around for Jerry -- fully expecting
him to jump out and go for his throat...
He takes the stairs up to the second floor, two at a time.
INT. JERRY'S HOUSE -- UPSTAIRS HALLWAY -- DAY
Charlie moves down the hall, stops at some of the small
rooms. Looks in.
NO AMY
Finally, Charlie hears a GROAN. He opens a window in the
door for yet another room.
AMY'S lying on the floor, turned away from him. Charlie's
not sure what he'll see when he gets a better look at her.
CHARLIE
AMY--
Amy slowwwwly gets up, turns...
And aside from a BRUISED BITE MARK on her neck -- she looks
normal. She rushes to Charlie, keeps her voice down.
AMY
CHARLIE--
She reaches through the window. They link hands, emotional.
AMY (CONT'D)
You shouldn't be here--
CHARLIE
Where is he?
AMY
I don't know. He dumped me here.
I'm bait. He said so--
CHARLIE
How do you feel?
AMY
I'll survive. Please get out of
here. He's too strong--
CHARLIE
I'm stronger.
(WAVERING)
In a nerd power way. You know...
97.
He reaches into his jacket, pulls out a CROSS.
CHARLIE (CONT'D)
Take this. It should--
He looks up. AMY IS GONE. Disappeared.
Charlie, reacts. Calls out in a hushed panic--
CHARLIE (CONT'D)
Amy? Amy!?
Nothing. It's like she vaporized.
INT. JERRY'S HOUSE -- HALLWAY -- DAY
Charlie races down a hallway, looking for ANY.
He tries door after door that won't open.
He finally finds one door that's unlocked, rushes through --
almost FALLS through an open floor in an unfinished portion
of the house.
Jerry's building more cells.
Charlie backs out of the doorway, turns a corner and BAM!
He runs into JERRY. No, wait -- it's PETER.
He's not wearing his wig, etc. But he's cleaned up and
standing tall. Dressed all in black.
CHARLIE
Shit! You--
PETER CHARLIE
Sorry-- How'd you--
A beat. Then:
PETER
Guess I don't want to be a man like
me either.
Peter opens his leather coat -- it's loaded with weapons.
And a flask. Peter grins.
PETER (CONT'D)
Let's kill something.
98.
CHARLIE
(RE: FLASK)
You reek. Midori?
PETER
Don't get greedy. I'm here.
(THEN/PROUD)
And I found something else. From
my collection. Powerful shit.
From around his back, he reveals A DOUBLE-BARRELLED SHOTGUN
with a CROSS MOUNTED ON THE BARREL.
CHARLIE
Wooden bullets? Nice.
PETER
No, you think I'm fucking MacGyver?
Bullet, bullets. They'll buy us
some time.
Charlie is grateful, but now's not the time for man hugs.
CHARLIE
We have to find Amy. She was in a
room upstairs, then she just
disappeared. This house--
PETER
What do you mean she "disappeared?"
CHARLIE
She was there. I looked away,
looked back -- she was gone.
Peter takes this in.
PETER
Show me where.
INT. JERRY'S HOUSE -- AMY'S ROOM -- DAY
Peter and Charlie pry open the door to the room where Amy was
held. Peter walks over the floor -- finds a TRAP DOOR.
PETER (CONT'D)
Floor trap. I use it all the time.
CHARLIE
Where does it go?
PETER
Only one way to find out.
99.
Peter lowers himself into the hole under the trap door--
CHARLIE
Wait -- you're going in?
PETER
See that? Like a great date. Get
me drunk and I'll try anything.
Peter lets go and FALLS. Charlie steels himself, goes in
after him.
INT. JERRY'S BASEMENT -- DAY
THUD! Charlie and Peter land painfully on a dirt floor.
PETER
Ow, crap...
They look around -- eyes adjusting. There's barely any
light.
They're in a LARGE UNFINISHED BASEMENT. The floor is dirt
and the main story of the house is held up by numerous
SUPPORT POSTS.
At the far end of the basement there is a door that leads to
another room/storage area.
ON CHARLIE
As he sees something. Stops.
A MOUND of dirt. Like a grave.
Charlie indicates to Peter to follow him. They whisper:
CHARLIE
You uncover him. I'll light him
up, then stake him.
Charlie pulls a FABRIC MASK, like a ski mask, over his face.
Peter looks at him.
CHARLIE (CONT'D)
Flame retardant.
They're standing over the grave now. Both nervous.
Charlie nods to Peter. Peter does his best to hold the
shotgun on the grave as he pushes the dirt aside with his
free hand. He's shaking.
100.
After a moment Peter UNCOVERS PART OF THE BODY. Then he
moves up toward the face...
Charlie douses the body with liquid from the canister.
CHARLIE (CONT'D)
(TO PETER)
Gas.
PETER
You should be a magician.
As the face emerges, Charlie readies a match, then reaches
for his STAKE--
PETER (CONT'D)
Stop! No--
CHARLIE stops JUST AS HE'S ABOUT TO TOSS the match.
PETER (CONT'D)
Who is that?
IT'S ADAM, sleeping in a shallow dirt grave.
Charlie reacts. Holy shit. He pushes his mask back.
CHARLIE
Adam. I know him. Knew him.
PETER
Shh. Don't wake him up, for
CHRIST'S--
Peter stops. He's looking over Charlie's shoulder,
horrified.
In the dirt behind CHARLIE are MORE GRAVES. Eight or ten at
least. Charlie turns. Sees the graves.
PETER (CONT'D)
You know them too?
Charlie reacts, stunned.
Peter moves to another grave, uncovers another sleeping face.
And then another. A hulking man, a suburban mom...
Charlie uncovers another body. Stops, chilled.
CHARLIE
Ms. Granada. My geometry teacher.
(RUEFUL)
She was hard up.
101.
PETER
How about we go back to my "run
away" plan?
CHARLIE
(IGNORING HIM)
We can't burn Jerry out. There's
no way we'll get all these people
out if the house goes up.
PETER
I thought you're here for Amy.
(off Charlie's look)
Great. Right. Save the Geometry--
A SCREAM stops him. Amy. Charlie and Peter spin -- it's
coming from behind the door to the other room. A beat.
They're both petrified as they move toward the door.
Peter readies the gun again. Charlie pulls a CROSS out along
with the stake.
They creep toward the door.
CLOSE ON CHARLIE
Charlie puts his hand on the doorknob... Turns it...
WHAMP! -- Charlie's VIOLENTLY SHOVED THROUGH THE DOOR into
the STORAGE AREA
INT. JERRY'S STORAGE AREA -- DAY
Charlie hits the dirt hard.
The door SLAMS SHUT AND LOCKS BEHIND HIM. He's in a smaller
room with a LARGE DIRT GRAVE in the middle. Jerry's grave.
INT. JERRY'S BASEMENT -- DAY
Peter's confronted by JERRY. Who smiles darkly.
JERRY
You look bigger on TV.
Peter fires the shotgun, BLAM!
But he misses Jerry and the power of the blast sends PETER
HURTLING BACKWARD.
102.
INT. STORAGE AREA -- DAY
Charlie reacts to the blast -- but sees that ST. MICHAEL'S
STAKE has fallen from his hand and rolled to the edge of the
grave.
He cautiously moves to retrieve it...
He stops as he sees A FIGURE emerge from the dark. AMY.
Her clothes are torn now, a thin trickle of blood runs down
her neck. She looks impossibly sexy. Her hair, her eyes,
her lips -- all shining and full.
Forgetting himself, he goes to her. Pulls her into his arms.
CHARLIE
Amy, God...
She clings to him, near tears.
AMY
Charlie.
INT. JERRY'S BASEMENT -- DAY
Peter scrambles on the ground, SHOTGUN trained on JERRY --
who moves toward him calmly. The cross on the gun the only
thing holding him back.
BLAM!
Peter fires again -- grazes JERRY.
JERRY
In pain, he TRANSFORMS and VAMPS before our eyes with a blood-
curdling yell. It's chilling.
CLOSE ON GRAVES
One by one, the TRIBE of vampires wake. ADAM, MS. GRANADA...
INT. STORAGE AREA -- DAY
Amy pulls away from Charlie -- says:
AMY
You should have run with me while
we had the chance. You should have
saved me, Charlie.
103.
Charlie takes this in, pained. Then--
CHARLIE
It's not too late.
She brings her lips close to his ear. Rasps...
AMY
It is. He's inside me now.
Her EYES GO DARK -- fingernails grow SHARP and dig into
Charlie. He feels the change.
CHARLIE
AMY--
Charlie shoves her off, hard. But she holds him tight -- and
they TUMBLE INTO THE GRAVE.
INT. JERRY'S BASEMENT -- DAY
JERRY, backed by ADAM, MS. GRANADA and a handful of other
vampires, closes in on PETER.
JERRY
It's over, guy. Charlie -- his
girl's having her way with him.
(THEN)
She's way out of his league anyway.
Peter, trapped, won't be able to keep them at bay much
longer.
PETER
Stop! Stop!
Desperate, he BLASTS them again. Hits one on the shoulder.
But it's not stopping them.
JERRY
And your aim--
PETER
You don't get it! I'm on your
side.
Peter smiles a little. Shows his rows of SHARP FANGS.
Jerry and the others stop. What?
104.
INT. STORAGE AREA -- DAY
Amy and Charlie struggle. He reaches for his cross -- but
she throws him off her with a violent HISS.
Charlie gets his first look at AMY in full VAMPIRE glory.
She's even more freaky looking than Jerry or Ed. Her face is
nearly overtaken by a wide mouth filled with razor-sharp
teeth. Her eyes are crazed and blood-red.
It's gruesome and terrifying.
Charlie sees THE STAKE at the lip of the hole. Dives for it.
Amy's on him in a flash. She throws him to the ground. He's
got the STAKE in hand. Ready to strike.
AMY
You wouldn't.
CHARLIE
Try me.
She STRADDLES HIM, sexual and raw. Charlie's repulsed,
terrified.
AMY
I'll be the best you ever had. The
only you had.
(THEN)
Charlie. We can be together
forever.
She leans in, licks his neck seductively...
AND GASPS.
She sits back, the STAKE IN HER CHEST. She falls away,
shuddering.
Charlie pulls the stake out -- scrambles out of the nest.
He looks back at her, anguished.
A beat. AMY, in terrible pain, LAUGHS. Nothing's happening.
No kablooey.
AMY (CONT'D)
Missed. You missed.
Charlie BREAKS THE DOOR OPEN with his crowbar.
105.
CHARLIE
I know.
He backs away from her. Into--
INT. JERRY'S BASEMENT -- DAY
The basement where Jerry and the THE TRIBE are CIRCLED around
a body as MS. GRANADA feeds.
ON PETER, who's pale and shaking...
Charlie attacks them with THE CROWBAR.
CHARLIE
Get off him!
He hits MS. GRANADA off Peter. Manages to hold off JERRY for
a beat. Spins and HITS ADAM in the head.
ADAM
Dude!
CHARLIE
Sorry.
AMY enters from the other room -- already healing. Jerry
sees her -- holds up a hand and backs the others off.
JERRY
I'll finish this.
Jerry, all swagger, moves in on Charlie.
Charlie sees Peter, barely alive, spit out his FAKE VAMP
teeth. Peter meets his gaze, wry and weak. Done for.
PETER
Worth a shot. "Master of
illusion."
Now Charlie notices SHOTGUN not far from Peter's body. He
dives for it, but Jerry steps on it -- kicks it away.
JERRY
(TO CHARLIE)
You think that's going to stop me?
Time to man up.
Jerry brutally kicks Charlie, sends him sprawling.
106.
JERRY (CONT'D)
Now. I'm going to kill your girl --
make you watch. I'll take my time
with you. And once you're dead,
I'll finish your mother.
(RE: AMY)
Too bad about that one. She sucked
me dry. Like a pro.
Amy smiles a little. Jerry GRABS CHARLIE, lifts him off his
FEET--
Charlie, enraged, SPRAYS JERRY WITH GAS FROM the CANISTER --
right in the eyes.
Jerry recoils, HISSING. Adam and the OTHER VAMPS MOVE IN.
Jerry's over it. He's on CHARLIE in a flash, FANGS BARED.
About to RIP HIS NECK OUT.
BLAM!
PETER has the gun again -- has managed to pull himself up
into a sitting position.
He BLOWS away ONE OF THE SUPPORT BEAMS.
BLAM! And ANOTHER.
BLAM! And ANOTHER.
BLAM -- he misses.
PETER
Fuck.
BLAM! AND ANOTHER.
Charlie DIVES for SAFETY as the CEILING COLLAPSES in part of
the basement. SUNLIGHT STREAMS in -- forcing JERRY, AMY and
the other vamps into a corner.
PETER (CONT'D)
(TO JERRY)
Fuck yeah! Nice sweater, loser!
BLAM!
Another BEAM collapses. BURYING JERRY, AMY and the others
under DEBRIS from the floor above.
A stunned beat.
Peter slumps, exhausted from the effort.
107.
Charlie looks at him -- amazed.
PETER (CONT'D)
(WEAK)
I'm better with stationary targets.
CHARLIE
Yeah you are.
Peter looks at him, sad.
PETER
Get out of here. We don't have
much time before they dig out.
CHARLIE
(RE: STAKE)
I can save you. I have to kill him
with this.
PETER
You're a brave mother, I get it.
And you were right. This is how I
had to go... But we didn't count
on an army.
CHARLIE
He'll kill you both, he said--
PETER
We're already dead.
(THEN)
Go now, you live to fight another
day. Stay -- there won't be one.
Charlie stops. Swayed. Pained.
PETER (CONT'D)
Do it.
CLOSE ON CHARLIE
Accepting it. It's what he has to do.
He starts DIGGING.
PETER (CONT'D)
Charlie!
But Charlie ignores him, determined. Pulls his MASK DOWN
over his face again.
PETER (CONT'D)
Stop!
108.
WHAM! JERRY BURSTS OUT OF THE RUBBLE, attacks Charlie.
Charlie falls back, PULLING JERRY with him into THE LIGHT
Jerry BURSTS INTO FLAME -- but holds Charlie tight
AMY and the other vamps start to claw their way OUT of the
rubble.
Charlie and Jerry fight -- nearly ENGULFED IN FLAMES now
PETER (CONT'D)
Charlie!
Peter gets up, painfully, moves to help.
Raging and desperate -- Charlie and Jerry continue to battle.
Finally, Jerry pulls Charlie down with him --rolls on the
ground as they fight. Trying to put out the flames.
Jerry starts to DISINTEGRATE -- he's about to EXPLODE into
bits. Charlie's stake is now ON FIRE.
CHARLIE
NO!
A last desperate attempt. He can see Jerry's HEART, about to
burn away.
HE STAKES JERRY.
AMY suddenly SCREAMS - she's burning inside, DYING. Or so it
seems. The vampire is being burned out of her.
PETER cries out too, reacting less violently. But in pain.
JERRY
Still burning, looks down as the STAKE OF SAINT MICHAEL in
his CHEST. Right through the heart.
He starts to SHAKE VIOLENTLY -- faster and faster, just like
Ed did -- becoming little more than a macabre BLUR.
For a moment -- Jerry's human form hangs in the air...
JERRY
Blow me.
THEN HE BLOWS INTO A MILLION PIECES.
ON CHARLIE AND PETER
109.
Thinking fast, PETER tackles CHARLIE -- who is still in
flames. They tumble into one of the open graves.
DIRT pours in around them, extinguishing the fire.
ON AMY
Transformed and healed. Herself again. She rushes to the
edge of the open grave.
ABOVE THE OPEN GRAVE
Peter pulls Charlie's mask back. Charlie is burned,
unconscious.
AMY
Charlie!
She crawls into the grave. Cradles Charlie in her arms.
AMY (CONT'D)
Charlie...
Amy starts to cry. Peter looks on, concerned. Finally,
Charlie opens his eyes. Says weakly...
CHARLIE
Blow me? Seriously?
Peter falls back -- exhausted. Laughing.
CHARLIE (CONT'D)
Those are his last words? What a
tool.
We pull away, leaving this tableau...
UNTIL ADAM, MS. GRANADA and the OTHER MEMBERS of the tribe
emerge from the rubble. Disoriented, freaked.
A beat.
MS. GRANADA
Let's agree to never talk about
this.
FADE TO:
INT. PETER'S APARTMENT - NIGHT
Charlie, Amy, Jane and Peter are in Peter's penthouse. It's
a glittering night, a spectacular view.
110.
Jane, released from the hospital, looks healthy and glowing.
She smiles at Peter, who also looks more together.
She has a glass of wine -- he's drinking a COKE.
JANE
Think you'll ever feel the same
about a nighttime sky?
PETER
Same as what? I was always
terrified.
JANE
Right. We're just catching up.
ON AMY AND CHARLIE
Charlie sees the connection between Peter and Jane.
Shudders.
CHARLIE
I'm not seeing that.
AMY
She deserves some fun. Your mom
fully cheated death.
CHARLIE
(SUGGESTIVE)
You too. You deserve fun.
AMY
Oh, I plan on it. Now that you've
killed your first vampire...
CHARLIE
I am so going to perform.
Charlie KISSES her. It's intense, passionate. It's
different, they're different. The childish part of them long
gone.
He runs his hands through her hair, pulls her close.
SOMETHING BEEPS, talks...
VOICE
"Frak!" "Frak!"
AMY
(PULLS BACK)
What is that?
Charlie, a little sheepish, shows her. He's wearing a
BATTLESTAR GALACTICA wrist watch.
CHARLIE
Battlestar.
AMY
Right.
CHARLIE
It was Ed's.
Amy smiles a little, softens.
AMY
Right.
(THEN)
Frak?
PETER is passing. Hears this. Is down with it.
PETER
Frak! Right on.
(TO AMY)
Perfect Woman, can I get you a
drink?
AMY
I'll take another. Thanks.
CHARLIE
(TO PETER)
I'll give you a hand.
Charlie follows PETER into the DINING ROOM, where a BAR CART
is set up. Peter moves to it. Pours himself a Midori.
CHARLIE (CONT'D)
I thought you were on the wagon.
PETER
It's dark.
(off his look)
I'm on the "day" wagon.
CHARLIE
Thanks for inviting us.
PETER
We should celebrate. Being alive.
Your mom's clean bill of health.
CHARLIE
You wanted to put the moves on her.
112
PETER
What? No. What?
CHARLIE
Just -- I'm watching you. I've got
to look out for her.
PETER
Yeah you do. So here's what I'm
thinking. We faced the beast and
we won. Can you imagine the
possibilities if we had got that
shit on film?
CHARLIE
VAMPIRES DON'T--
PETER
Show up on film, yeah. But
werewolves do, bigfoots do. We get
proof, catch something -- we could
build a stage act around that, you
wouldn't believe. We'd blow those
Cirque bitches away!
CHARLIE
An act? Seriously? What about
saving people from evil? What
ABOUT--
A CHILLING LAUGH interrupts them. Distant. Eerie. And
somehow familiar.
Peter nods to his COLLECTION CABINETS.
PETER
It happens. All this stuff...
CHARLIE
Ever think about collecting
something else? Snow globes or--
Charlie stops, catches sight of something MOVING IN THE
REFLECTION ON THE FLOOR-TO-CEILING WINDOW.
Just a wisp, a phantom. The face - is it ED? His features
twisted in a grimace of fear and pain... It's CHILLING.
Charlie's spooked. But he looks again and the face is gone.
CHARLIE (CONT'D)
Yeah, definitely get new stuff.
113.
Peter leads CHARLIE OUT, back to the ladies in the other
room. Still on about his idea...
WE HOLD ON THEIR REFLECTION IN THE WINDOW
PETER (O.S.)
I'm serious, man. Do you know how
much we could make? Think about
how much people pay to see a tiger,
or boobs, right? What if we had a
tiger, boobs -- and a zombie!
After they've gone we linger on the window. Is that Ed's
eerie reflection again?, barely visible...
AS WE GO TO BLACK
ED (0.S.)
You're so coooool Brewster!!
THE END
