The Internet Movie Script Database (IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical
# A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z

Genre
Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western

Sponsor

TV Transcripts
Futurama
Seinfeld
South Park
Stargate SG-1
Lost
The 4400

International
French scripts

Movie Software
DVD ripper software offer
Rip from DVD
Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The Force Awakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat



ALL SCRIPTS



 

                                  FRIGHT NIGHT


                                   Written by

                                   Tom Holland
                         

                         

                                                          FINAL DRAFT
                                                        Sep 6th, 1984
                         

          1.

                         FADE IN:

          EXT. FULL MOON - NIGHT (AND CREDITS. ROLL)

          Clouds obscure the starless heavens for a moment, heavy and
          ominous in the black firmament. Then suddenly they clear,
          exposing a full moon streaked with red like a killer's
          face, a stalking moon staring down at man's evil on the
          earth below.
          A HOWL breaks the night, a wolf pursuing its prey perhaps,
          or perhaps something much, much worse. VOICES break the
          perfect stillness.

          JONATHAN (V.0.)
          What was that?

          MISS NINA (V.0.)
          Just a child of night, Jonathan.
          Come, sit here beside me on the
          veranda.

          JONATHAN (V.0.)
          It's chilly out here.

          MISS NINA (V.0.)
          Oh, no, it isn't. It's beautiful. I
          love the night so.

          2 EXT. RANCHO CORVALLIS - NIGHT

          A middling size town lost somewhere in the Southwest, the
          lights of its sixty some thousand residents twinkling like
          so many Christmas lights in the night.

          JONATHAN (V.0.)
          I've never seen you so beautiful
          before, Nina. So pale, so
          luminescent, so
          He suddenly stops. There is a moment. Then:

          MISS NINA (V.0. )
          Yes?

          JONATHAN (V.0.)
          Your lips are so red.

          MISS NINA (V.O.)
          Are they? Would you like to kiss
          them?
          The CAMERA STARTS TO PUSH IN CLOSER AND CLOSER on the town
          as though searching for the source of the voices.

                         

                         

                         

                         

          2.

          3 EXT. CHARLEY'S STREET - NIGHT

          It's a typical middle class suburban street, full of pre-
          1 World War II houses, the substantial places they built
          then, two and three story homes with attics and basements.,
          porches and detached garages.
          There is the SOUND OF A LONG DRAWN OUT KISS as Jonathan and
          Miss Nina's lips meet. The CAMERA. MOVES DOWN the street,
          still looking for the voices.

          4 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT


                         V
          The CAMERA PAUSES TO STARE AT the Dandrige house, so dif-
          ferent in look and feel from all the other houses on the
          street. It's huge, almost forboding, its windows dark and
          vacant, its lawn overgrown and weed-infested, a home that
          has obviously been untended for a long time, unlived in and
          uncared for. However the "For Sale" on the lawn has a
          "Sold" sign just beneath it.
          The CAMERA PANS to the Brewster house next door, still
          SEARCHING for those voices. It's in sharp contrast to the
          Dandrige house, newly painted, its lawn neatly shorn, a
          house almost dwarfed in comparison to the Dandrige house,
          but a happy home, its windows lit and smiling out warmly at
          the night.
          The voices seem to be coming from the Brewster house, spe-
          cifically from a dark second-story window that is open to
          the night breeze.

          JONATHAN (V.0.)
          Why are you looking at me so
          strangely, Nina?

          MISS NINA (V.0.)
          Not you, Jonathan. Your neck. Has
          anyone ever told you it was
          beautiful?

           JONATHAN (V.O. )

                          (UNCERTAINLY)
           No.

           MISS NINA (V.0.)
           Come, lay your head on my breast.
           The CAMERA SLOWLY STARTS TO PUSH IN on the second-.story
           window.

                         5 OMITTED

          6 INT. BREWSTER HOUSE - CHARLEY'S BEDROOM - NIGHT

          The CAMERA MOVES THROUGH the window, past the billowing
          drapes to find itself staring at a TV, the flickering
          screen the only light in the room.

                         (CONTINUED)

                         

                         

                         

                         

          3.

                         6 CONTINUED:
          One of those terrible AIP/Hammer horror films is on the
          tube, a woman, obviously a vampire, talking to one of those
          vapid juveniles used so much in these types of films, the
          two of them standing on a veranda to some huge, old house.
          The young man rests his head against her breast, incredibly
          enough, unaware that she is bending toward his neck with
          these huge fangs.
          Just as. she is about to sink them into his jugular, a tall,
          saturnine man steps out of the darkness., wearing a rather
          daffy Victorian suit and carrying a stake and mallet in his
          hand. His name is PETER VINCENT.

          PETER (V.0.)
          Stop, you creature of the Night!
          The vampiress leaps to her feet, her hapless, intended
          victim forgotten. She faces Peter with a, hiss, her fangs
          sparkling in the moonlight.

          MISS NINA (V.O.)
          Who are you who interrupts my nightly
          feeding?

          PETER (V.O.)
          (drawing himself up to
          his full height)
          Peter Vincent, vampire killer!
          He rushes her, the stake held high to plunge into her
          breast and the CAMERA TURNS AWAY from the TV as the sounds
          of the movie CROSS FADE with the SOUNDS OF HEAVY BREATHING,
          LIPS MEETING, TONGUES INTERTWINING in the room itself.
          Only the room, a typical teenager's lair, seems devoid of
          life, the bed empty, schoolbooks untouched sitting on the
          desk. The CAMERA BEGINS TO SEARCH the room, looking for
          the source of this new sound, much more interesting than
          the old flick on the tube.
          And then it finds them, CHARLEY BREWSTER and AMY PETERSEN,
          two sixteen-year olds, on the floor to the far side of the
          bed, wedged between the bed and the window. They are both
          as American as their jeans and making out like crazy. They
          twis.t and turn on the floor, Amy alternating between enjoy-
          ing it and fighting Charley off, both of them white hot
          with their mutual need. As he tries to slip his hand under
          her blouse, she catches-a glimpse of the TV.
          The horror movie has faded out to be replaced by the
          interior of a local TV studio, a tacky graveyard set the
          centerpiece, the visage of Peter Vincent, much older now,
          rising out of a papier mache coffin and filling the screen
          as CREDITS END.

                         (CONTINUED)

                         

                         

                         

                         
           Rev. 11/16/84 4.

                         6 CONTINUED: (2)

           PETER (V.0.)
          This is Peter Vincent, bringing you'
          Fright Night Theatre. Tonight's
          journey into horror is "Blood Castle,"
          one of my favorites. And for a very
          good season. I star -in it.
          He does this booming laugh that goes through about ten echo
          chambers as Charley, totally oblivious to the TV, works on
          Amy's bra, trying to get it undone, obviously something she
          doesn't want. She tries to distract him.

                         AMY
          Charley, Peter Vincent's on.

                         CHARLEY
          (fumbling with the bra)
          Forget Peter Vincent.

                         AMY
          But you love him.

                         CHARLEY
          I love you more --
          Behind them, the station break segues into a commercial, a
          bunch of kids singing and dancing joyfully to a Coca-Cola
          commercial. On the floor, Charley finally gets Amy's bra
          undone. That's it for her; she twists away.

                         AMY
          Charley, stop it.
          Be doesn't listen, going for her again, their finger fight-
          ing behind her back, hers trying to get the bra resnapped,
          his trying to keep it undone and get her blouse off at the
          same time. She suddenly pushes him away, really hard this
          time.

                         AMY
          Charley, I said stop it.
          Charley rolls over, leaping to his feet, frustrated as
          hell.

                         CHARLEY
          Jesus, give me a break, Amy. We've
          been going together almost a year and
          all I hear is "Charley, stop it!"'
          They stare at each other angrily, both of them breathing
          hard, their young hormones roiling inside them. Then they
          look away, not wanting to see the other's anger, staring at
          the TV for lack of any better place to look.

                         (CONTINUED)

                         

                         

                         

                         

          5.

                         CONTINUED: (3)
          The horror movie is on again, Peter Vincent and Jonathan
          now carrying a coffin across a fog swept cemetery.
          Charley looks back at Amy, his features softening.

                         CHARLEY
          I'm sorry, Amy.
          She rises, both of them standing by the open window,
          staring at each other.

                         AMY
          Me, too.
          (she puts a hand out,
          touching his arm)
          I'm just scared, that's all.
          He nods understandingly, touched by her honesty and inno-
          cence, his basic decency winning out over his lust. Sud-
          denly she steps into his arms, kissing him as she never has
          before. She breaks, staring up into his face nervously.

                         AMY

                         (SOFTLY)
          Let's get into bed.:.

                         CHARLEY
          (staring at her, stunned)
          You mean it?
          She nods, stepping into his arms again, kissing him like
          he's never been kissed before, the two of them slowly turn-
          ing, Charley seeing the TV first with its grave digger
          scene, then the wall, and finally out the window over Amy's
          shoulder.
          And he freezes. There, below in the side yard, he sees two
          shadowy figures carrying what looks very much like a coffin
          toward the storm doors to the Dandrige house next door.
          His mouth drops open as Amy•slips out of his arms and onto
          the bed, completely unaware of what he's seeing. She
          starts to take off her blouse, Charley no longer looking at
          her, his gaze glued to the weird scene he's seeing out his
          window.
          As her blouse comes off, she lays back in the bed, looking
          up at him, waiting for him to join her.

                         AMY
          Charley, I'm ready.
          He ignores her, grabbing his binoculars from his desk,
          whipping.them to his eyes and focusing in-on-the figures
          below.

                         (CONTINUED)

                         J

                         

                         

                         

                         

          6.

                         6 CONTINUED: (4)
          They're too dark to make out clearly, but they are JERRY
          DANDRIGE and BILLY COLE. An errant beam of moonlight hits
          the large, oblong box, and Charley gasps. It's a beautiful
          piece of work, huge, ornate, obviously incredibly old, and
          bound in brass.
          Amy stares at Charley with rising confusion and irritation.

                         AMY
          Charley, I said I'm ready.

                         CHARLEY
          (still glued to his

                         BINOCULARS)
          Amy, you're not going to believe this,
          but there are two guys in the yard
          below. And I think they're carrying a
          coffin.

                         AMY
          (glancing at the TV and
          seeing the very same scene)
          Sure, and they're on the moors,
          right.

                         CHARLEY
          Amy, I'm serious.

                         AMY
          So am I. Do you want to make love or
          not?
          Charley is still peering through the binoculars, the two
          figures below having gotten the storm doors open and now
          carrying the coffin into the basement of the house next
          door.

                         CHARLEY
          Amy, quick, come-here, you've got to
          see this.
          All he hears is his bedroom door slamming shut. He whirls
          to find Amy gone. Tossing the binoculars on the bed,, he
          dives after her.

                         CHARLEY

                         AMY --

          7 INT. PORTICO - STAIRWAY - LIVING ROOM - NIGHT

          Charley hurries down the stairs after her.

                         CHARLEY
          Okay, maybe it wasn't a coffin, but I
          did see two guys carrying something
          into that house --

                         (CONTINUED)

                         

                         

                         

                         

                         I
          ch Rev'. 12/4/84 7.

                          7 CONTINUED:

                         AMY

                         (HARDLY LISTENING)
          I don't understand you. First you
          want to make love, then you don't --
          They reach the bottom of the stairs only to have a voice
          from the living room stop them.

          JUDY (O.S.)
          Amy, Charley, what's wrong?
          They stop, turning to stare through the doorway at
          Charley's mom, JUDY BREWSTER, sitting in the living room,
          watching the ten o'clock news on the downstairs TV. She's
          a young forty, pleasant looking and warm.

                         T I
          Amy steps into the living room, Charley following, the
          two of them trying to pull themselves together so
          Charley's mother won't notice what they've been doing
          upstairs.

          8 INT. LIVING ROOM - NIGHT


                          JUDY
           Have you two been having a lovers'
           spat?

                          CHARLEY

                          
          (embarrassed as hell)
          No, Mom, nothing like that.

                         JUDY
          Well, there's nothing wrong with
          that.
          (pointing at the maga-
          zine in her lap)
          Right here it says the divorce rate
          is 76% higher among couples who
          don't argue before marriage.

                         CHARLEY 

                          
          Mom, we're in high school.

                         JUDY
          Oh, yes, that's right. Well it
          never hurts to-plan ahead.

                         (TO AMY)
          Tell your mother I said hello, will
          you, Amy. And remind her we're
          playing bridge at her house this
          week. I'm bringing the cheesepuffs,
          she's making the dessert.

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 7A.

                          8 CONTINUED:

                          AMY
           Yes, Mrs. Brewster.

                          (TO CHARLEY)
           Good night, Charley.

                          

                          CHARLEY-

                          

                          (ABSENTLY)

                          
          Yeah, goodnight.
          But he's no longer listening; he's moving toward the window
          that stares out at the house next door. There are lights
          on in the first floor.now. Behind him Amy turns back to
          his mother.

                         AMY

                          
          Well, good night, Mrs. Brewster.

                         JUDY
          Good night, Amy. And thanks for
          helping Charley.

                         AMY
          Anytime. See you tomorrow, Charley.
          Be hardly hears her, staring out the window. Miffed again,
          Amy turns and stomps out of the room, the front DOOR heard
          SLAMMING behind her a moment later.

                         (CONTINUED)

                         I

                         

                         

                         

                         

          8.

                         8 CONTINUED:
          Judy turns to her son to see what's wrong with him. He's
          glued to the window, staring at the house next door.

                         JUDY
          Charley, that wasn't very nice, not
          walking Amy to the front door.

                         CHARLEY
          (hardly hearing her)
          Mom, there are people. next door.

                         JUDY
          Oh, the new owner must.be moving in.

                         CHARLEY
          What new owner?

                         JUDY I
          Didn't I tell you? Bob Hopkins told
          me he finally sold the place.

                         I

                         CHARLEY
          To who?

                         JUDY
          I.d.on't know. Some fellow who fikes
          up houses, he said. Supposed to be
          attractive, too. Anyway I just hope
          whoever he is, he knows what he's
          getting into with that house. It's
          going to take a lot of work just to
          make it liveable --
          And the CAMERA leaves them behind, SLOWLY PUSHING IN
          TIGHTER AND TIGHTER on the TV Judy was watching, their
          VOICES FADING out to be taken over by the newscaster dron-
          ing away on the screen.

          NEWSCASTER (V.0.)
          And now for the local news. A man
          was found murdered tonight behind the
          railroad yards. Details are pending
          waiting notification of next of

                          KIN --

           FADE TO BLACK.

           FADE IN. ON :

          9 INT. HIGH SCHOOL - HALL - DAY

          Kids are flooding out-of the classrooms, the BELL having
          just RUNG. Charley comes out of one of them, holding a
          test paper and looking none too happy about it.

                         (CONTINUED)

                         

                         

                         

                         

          9.

                         9 CONTINUED:

                         CHARLEY
          The bastard. Why didn't he tell us he
          was going to spring a pop quiz?
          Another kid comes out right behind him, holding a test
          paper with- a big A+ on it. Eis :name is EVIL ED THOMPSON
          and he's tall and thin with a terrible complexion and a
          personality to match.

                         EVIL ED
          That's the point to a pop quiz,
          Brewster. To surprise you.
          Charley glances up at that moment to see Amy walking by,
          her head held high, and looking in every direction but his.

                         CHARLEY
          Hey, Amy --
          She keeps right on going, disappearing into the crowd.
          Evil Ed throws a look at Charley and cackles.

                         EVIL ED
          What's wrong? She finally found out
          what you're really like?

                         CHARLEY
          Buzz off, Evil.

                         EVIL ED
          Call me anything you want. Only
          you're the one failing Algebra, not
          me.
          With another high pitched laugh, he walks off, leaving
          Charley staring after Amy miserably.

                         DISSOLVE TO:

          10 EXT. BREWSTER AND DANDRIGE SOUSE - DAY

          Charley pulls his red beater '68 Mustang into the driveway.
          He gets out carrying his schoolbooks and heads for the
          front door. Just as he bends down to pick up the evening
          paper on the walk, a cab pulls up and a YOUNG WOMAN gets
          out.
          Charley stops cold; she is definitely one of the most spec-
          tacular girls he's ever seen, obviously sexy, cheap around
          the edges, but no less spectacular for it. She looks at
          him like a little girl lost.

                         GIRL
          Is this ninety-nine Oak?

                         (CONTINUED)

                         

                         

                         

                         

          10.

                         10 CONTINUED:

                         CHARLEY
          (pointing to the

                         DANDRIG'E HOUSE)
          No, next door.
          She nods her head in thanks and walks toward the next door
          house, the one. where he saw the two men carrying what
          looked to be a coffin into the basement. It's a three
          story house like Charley's but there any similarity ends.
          The Brewster house is newly painted and well lived in; the
          Dandrige house has long-been abandoned, the lawn overgrown,
          paint flecking from its side, the entire--place rundown and
          forlorn.
          Charley watches the girl disappear into the Dandrige house,
          whistling appreciatively under his breath. He turns for
          his own front door.

          11 INT. BREWSTER HOUSE - KITCHEN - DAY

          Charley enters the kitchen to find his mother preparing
          dinner. He hands her the evening paper.

                         JUDY
          .Thanks.
          Charley stops by the kitchen sink, staring out at the
          Dandrige house. as his mother goes back to fixing dinner.

                         CHARLEY
          Mom, you seen the new guy next door
          yet?

                         JUDY
          No, but I did hear he's got a live-in
          carpenter. With my luck, he's
          probably gay.

                         CHARLEY

                         (SMILING SECRETLY)
          No, i don't think so.

                         JUDY
          Why, what do you know that I- don't?

                         CHARLEY
          Ah, nothing. Got to study. See you
          later.
          He cuts a beeline for the door, his mother staring after
          him disbelievingly as he disappears out the door.

                         JUDY
          Study? You?

                         DISSOLVE TO:

                         

                         

                         

                         

          11.

          12 INT. CHARLEY'S BEDROOM - NIGHT

          He's hard at work at his desk, really into his Algebra,
          when over his shoulder a light comes on behind the drawn
          shade of the bedroom window of the house next door. It is
          directly on a sightline with his own room, but he doesn't
          see it, staring intently at his books.
          Suddenly a WOMAN'S SCREAM, high-=pitched and terrified,
          shatters the night. Charley whirls, sending his books
          crashing to the floor, staring out his window at the lit
          window in-the house next.door. The light snaps out, dark-
          ness blanking the entire wall of the Dandrige house. '
          Charley just stares at it, trying to repress a shiver, all
          thoughts of studying Algebra suddenly gone.

                         DISSOLVE TO:

          13 INT. MALL - FAST FOOD JOINT - DAY

          It's the after school hangout, a bunch of tables before a
          fast food joint on the fourth floor of a shopping mall.
          Kids mill about, nearby video game machines going full
          blast, a TV playing the "Young and the Restless" on the
          counter.
          Charley sits at one of the tables, almost falling asleep
          face down in his cheeseburger and fries as he tries to
          study. Suddenly Amy slips in beside.him.

                         AMY
          Hi.

                         CHARLEY
          (looking up at her,

                         STARTLED)
          Hi.

                         (RECOVERING)
          Look, I'm really sorry about the other

                         NIGHT --

                         AMY
          It was my fault, not yours.

                         CHARLEY

                         (REALLY STARTLED)
          It was?
          (she nods;.he recovers,
          taking her hand)
          Look, Amy, I. love you. I never.. want to
          fight with you again, okay?

                         AMY
          (breaking into a big smile)
          God, I'm so glad we're getting this
          straightened out.

                         (MORE)

                         (CONTINUED)

                         

                         

                         

                         

          12.

                         13 CONTINUED:

           AMY (CONT' D)
          I've been miserable the last two
          days. You don't know what it's been

                         LIKE --
          Over her shoulder he suddenly sees that the TV has gone to
          the local news, a picture of a girl who looks very much
          like the one he saw going into the Dandrige house the
          afternoon before on the screen. He is suddenly no longer
          listening or looking at Amy, his complete attention on the
          TV. She trails-off as she realizes she's lost his atten-
          tion, staring at him.

                         AMY
          Charley, are-you listening to me?
          He gets up abruptly and walks away, leaving her sitting
          there staring after him. He stops'below the TV, staring up
          at it as the newscaster's voice runs over the picture of
          the girl.

          NEWSCASTER (V.0.)

                         (CAUGHT MID-SENTENCE)
          Cheryl Lane, a known prostitute, was
          found murdered this morning --
          Evil Ed steps up beside him, staring up at the 'screen along
          with him.

                         EVIL ED
          Know what I heard on the police band
          .last night?

                         CHARLEY
          What?

                         EVIL ED
          (nodding at the TV)
          That wasn't the only murder. It's
          the second in two days.

                         (GLEEFULLY)
          And get this. Both of 'em had their
          heads cut off. Can you believe it?

                         CHARLEY'
          (staring at him)
          You're sick.
          A voice suddenly comes from behind him.

          AMY (O.S.)
          Charley.

                         (CONTINUED)

                         

                         

                         

                         

          14.

          16 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT

          tD The two houses sit there side by side,.only the Dandrige
          house has changed although it's hard to say exactly how.
          It just seems worse than before, more abandoned, more-hulk-
          ing, more... dead.

          17 INT. CHARLEY'S ROOM - NIGHT

          Charley has the house next door staked out. He sits in a
          chair before his window, all the lights off in his room,
          only the flickering TV to keep him company. It's Peter
          Vincent on Fright Night, another one of his films on, this
          time the volume turned off. Charley holds his binoculars
          in his hand, staring at the dark window of the house next
          door, waiting.

                         DISSOLVE TO:

          18 ZNT. CHARLEY'S ROOM - MUCH LATER THAT NIGHT
          The TV is just flickering snow now, the channel having
          signed off hours before. Charley still sits in front of
          his window, but he's sound asleep, breathing deeply, lost
          in his dreams. Soft, sensual MUSIC snakes through his open
          window, enveloping him slowly and dragging him awake.
          Groggily he opens his eyes to find himself staring into the
          lit window of the bedroom next door. He sits up with a
          start.
          There is no drawn shade now. Be can see clearly into the
          room and a beautiful teenage girl with long blonde hair
          stands there, framed in the window, slowly taking her
          blouse off. Charley rubs his eyes., hardly able to believe
          what he's seeing. As he watches she drops the blouse to
          the floor and stands there, bare breasted. Charley gulps,
          fumbling for his binoculars.
          He gets them to his eyes just as Jerry Dandrige steps out
          of the shadows behind the girl, gliding across the room
          toward her with incredible grace. To Charley the whole
          thing has.a dreamlike quality, Jerry more an impression
          than a reality. He's thirty maybe, almost beautiful with
          alabaster skin and chestnut hair. He stops behind the
          girl, sweeping her hair back, exposing her tender, young
          neck. He slowly leans down as though to kiss her.
          As Charley watches through his binoculars, unable to tear
          his eyes away, Jerry Dandrige's upper lip slowly begins to
          pull back,. revealing just the hint of fangs, long, razor
          sharp, and sparkling pearly white in the moonlight.
          Suddenly, Jerry Dandrige stops, the fangs poised an inch
          above the girl's throat. He slowly raises his head, star-
          ing out the window across the side yard and into Charley's
          bedroom.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 15.

                          18 CONTINUED:
          It's almost as though he can see the boy watching him. -
          With an involuntary gasp of terror, Charley steps back into
          the deeper darkness of his room, his hand instinctively
          reaching up to-protect his own throat.
          Jerry Dandrige•slowly reaches up and pulls down the shade,
          cutting off all view into the room.
          Charley stands there for a moment, unable to believe what
          he just saw. The binoculars slip from his hand, crashing
          to the floor, and. he whirls, racing out of the room.

          19 INT. HIS MOTHER'S ROOM - NIGHT

          He bursts through the door to find his mother sound asleep
          in bed. He grabs her, shaking her awake.

                         CHARLEY
          Morn, you've yot to get up. I can't
          believe what s happening next door.

                         JUDY
          (staring up as her son

                         SLEEPILY)
          What, what are you talking about?

                         CHARLEY
          He has fangs. The man who bought the
          house has fanas!

                         JUDY
          Oh, Charley, I have to be at work at

                         SEVEN TOMORROW
          He hears a CAR DOOR SLAM in the yard next door. He jumps
          to the window, peering out into the back of the Dandrige
          house just in time to see Billy Cole walking away from a
          shiny new black Cherokee Jeep, its back door left open.
          Charley whirls and dashes out of the room, leaving his
          mother staring after him.

                         JT1DT

                         CHARLEY --

          20 EXT. SECOND FLOOR HALL - NIGHT

          He races down the corridor for the stairway landing.

          21 INT. STAIRWAY - PORTICO-- NIGHT

          He pounds down the stairs, taking'them two at a time, whips
          around the newel post and flies down the hall toward the
          kitchen.

          22 EXT. BACK YARD - DANDRIGE HOUSE - NIGHT

          Charley slips out his back door and through. the darkness
          into the adjoining yard.

                         (CONTINUED)

                         

                         

                         

                         

          16.

                         22 CONTINUED:
          .There, among a clump of bushes, he crouches down, watching
          the black Jeep. The rear door is open as though to receive
          some burden, the yard empty, Billy Cole no longer'there.
          Suddenly the back door to the Dandrige house opens again
          and Billy comes out carrying a large bundle in a plastic
          trash bag over his shoulder. 'Charley's mouth falls open as
          he realizes the bundle could'easily be a woman's dead body.
          Billy dumps it in the back of the Jeep and slams the door,
          crossing. in front of the vehicle for the driver's door.
          Suddenly there is a terrific WHOOSH'through the air over
          Charley's head, the moonlight momentarily blotted out, the
          BEATING OF LARGE WINGS above causing the bushes around him
          to bend and sway. It's almost as though a huge bird, a bat
          perhaps, just swooped over his head from the top floor of-
          the Dandrige house. And then silence returns.
          Charley lifts his head, peering about in the darkness just
          in time to see a shape, more a shadow than a man, step out
          of the darkness no more than ten feet away. It's Jerry
          Dandrige.
          He glides toward the Jeep, tossing Billy a woman's purse.

                         JERRY
          Here, you forgot this.
          Billy one-hands it out of the air, turning back for the
          Jeep. Just then the back door to Charley's house bangs
          open, sending a shaft of light into the darkness. Judy
          Brewster stands there in the doorway, calling to her son.

                         JUDY
          Charley!
          Dandrig.e and Billy Cole freeze, both of them turning to
          look at the back door to the Brewster house, inadvertently
          staring right at the clump of bushes where Charley.is hid
          .ing.
          Dandrige takes a step forward, his eyes probing the dark-
          ness as though he can actually see through the murky black-
          ness right to where Charley hides.
          Terrified, Charley suddenly leaps to his feet and races
          back into his own yard, disappearing through the back door
          with his mother. Billy steps forward as though to follow
          the boy. Jerry puts out a restraining hand, stopping him.

                         DISSOLVE TO:

          23 INT. CHARLEY'S HOUSE - KITCHEN - NIGHT

          Charley sits at the kitchen table, his mother putting a cup
          of hot cocoa into his hand.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 17.

                          23 CONTINUED:

                         JUDY
          Here, drink this..

          CHARLEY-,

                         (ALREADY FRUSTRATED

                         AS HELL)
          Mom, I don't need hot cocoa. I didn't
          have a nightmare. They did kill a girl
          over there.

                         JUDY
          (feeling his forehead
          for a fever)
          Charley, how late did you stay up
          studying?

                         CHARLEY
          (shoving her hand away)
          iMom, I'm not sick. The guy did have
          `fangs and a bat did fly over my head
          .and then Jerry Dandrige stepped out of
          the shadows. You know what that means,
          don't you?

                         JUDY
          (staring at him worriedly)
          What?.

                         CHARLEY
          He's a vam_re!

                         JUDY
          (.staring at him

                         INCREDULOUSLY)
          A what?

          MATCH CUT TO:

          24 INT. AMY'S HOUSE - KITCHEN - DAY

          Amy's staring at him much as his mother did, with a look of
          shock and total disbelief on her face.

                         AMY
          A what?

                         CHARLEY
          (frustrated as hell

                         AGAIN)
          A vampire, damnit! Haven't you
          listened to anything I've said?

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/23/84 18.

                         24 CONTINUED:

                         AMY
          Charley, is this some kind of trick
          to get me 'back?

                         CHARLEY
          (turning toward the door
          in disgust) i
          Forget it, L'm going to the police.

                         AMY
          (blocking his path)
          Charley, you can't go to the police
          with a story like that. They'll lock
          you up.

                         CHARLEY
          All right, then I won't tell them it's
          a vampire. But I sure as hell am going
          to tell them about the two women --

                         AMY

                          CHARLEY --
           Be slams out the back door, leaving her staring after him,
          ) T worried sick.

                         DISSOLVE TO:

          24A EXT. DANDRIGE HOUSE - DAY

          A police car pulls up, Charley in a red Mustang behind him.
          He gets out, walking to meet LIEUTENANT DETECTIVE LENNOX,
          a tall man in his early.forties. He hitches his pants,
          staring at the teenager hard.

                         LENNOX
          You sure about this now?
          Charley nods emphatically and the cop turns toward the
          house, Charley following.

                         25 OMITTED

                         26

          27 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - DAY

          The KNOCK reverberates through the silent house. Nothing
          for several seconds; then the sound of someone walking down
          the hall from the kitchen. Billy Cole appears, stopping
          before the door, staring through the curtain at the dim
          outline of Charley and the Detective standing on the porch.
          He opens the door, staring at the boy and the cop.

                         BILLY
          Yes.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/26/84

                         27 CONTINUED:

           LT. LENNOX
           Mr. Dandrige?

                         BILLY '
          No, I'm his roommate,•Billy Cole.

          LT. LENNOX
          (flashing his badge)
          Lieutenant Lennox, homicide. Mind if
          we come in?

                         BILLY
          No, not at all.
          He steps back from the door, allowing them to enter. The
          house is a mess of cardboard moving boxes and heavy
          Victorian furniture scattered everywhere, a number of the
          pieces still under white dust covers. Clocks line one
          wall, none of them working, all set at 6 p.m. 

                         BILLY
          Is there anything I can help you
          with?

          LIEUT. .LENNOX
          There was a murder last night.
          Charley lives'next door and thinks he
          saw the victim in this house.

                         BILLY

                         (SEEMINGLY SHOCKED)
          That's impossible. I was here with
          Jerry all last night. There was
          nobody else in the house.

                         CHARLEY
          That's a lie.
          (nodding at Billy)
          I saw him carry her body out in a
          plastic bag.

          LIEUT. LENNOX
          What do you say to that, Mr. Cole?

                         BILLY

                         (RELIEVED)
          The kid's crazy, officer. I did take
          some bags out last night, but they
          were full of trash. Here, let me
          show you --

          28 INT. LIVING ROOM - DAY

          He leads them into the living room which is'a mess of pack-
          ing crates, boxes, and furniture. He holds up a plastic
          trash bag stuffed with wrapping paper and cardboard boxes.

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 20.

                          28 CONTINUED: 28

                         BILLY
          See. We're just in the process of
          moving in --

          CHARLEY,
          The bag I saw had a body in it, not
          trash.

                         I

                         BILLY
          Did you actually see the body,
          Charley?

                         CHARLEY
          No, but --.

                         BILLY

                         (TO LENNOX)
          Look, let me take you out back. I'.11
          show you the bags I"put in the
          garbage.

          LT. LENNOX
          Okay, let's see 'em --
          He takes a step to follow Billy out of the'room when
          Charley, increasingly desperate, stops him.

                         CHARLEY
          Look, I can prove he's lying. Let's
          look in the basement instead.

          LT. LENNOX
          What's down there?

                         BILLY
          (turning and staring

                         AT CHARLEY)_
          Yes, Charley, what's down there?
          Charley meets the big man's gaze and finds his tongue stuck
          to the roof of his mouth. The seconds, tick past. Still
          nothing from Charley. Billy turns to the Lieutenant with a
          smile.

                         BILLY
          Obviously the boy's made a mistake,

                         OFFICER --

                         CHARLEY
          (bursting out with it)
          A coffin, that's what's down there, a
          coffin. I saw them carry it in!

          LT. LENNOX

                         (TAKEN ABACK)
          What?

                         (CONTINUED)

                         A

                         

                         

                         

                         

          22.

                         30 CONTINUED:

           LT. LENNOX (CONT'D)
          (almost slamming Charley
          up against the car)
          Now you listen to me, kid. If I ever
          see your ass down at the station
          house again, I'm throwing it in
          jail. Forever!
          He hops in his-car, slamming the door behind him as Charley
          hovers by the window.

                         CHARLEY
          Lieutenant Lennox, please, listen to

                         ME --
          Lennox ignores him, ROARING away in a cloud of burning
          rubber. Charley stares after him, not knowing what to do
          now.
          He hears the PORCH DOOR of the Dandrige house OPEN behind
          him and whirls to find himself staring at Billy Cole,
          standing on the porch looking back at him, a toothpick in
          his mouth. There's something very unpleasant in the big
          man's eyes:- like murder.
          Charley slowly backs away from him toward his car, Cole's
          eyes following him.. Charley glances down at his wrist-
          watch.' It's four in the afternoon. He glances up at the
          sun overhead. It's beginning to sink, late afternoon and
          all that implies drawing nigh. He looks back at Billy
          Cole. The man is smiling at him now, reading his thoughts.
          Charley leaps into his car and takes off down the street.

                         CUT TO:

          31 INT. EVIL ED'S HOUSE - PORTICO - STAIRWAY - DAY

          Charley bursts through the front door and pounds up the
          stairs, yelling as he comes.

                         CHARLEY
          Evil!

          32 ZNT. EVIL ED'S BEDROOM - DAY
          Evil Ed sits at his desk,. hand painting a monster model of
          a ghoul as Charley bursts through the door and skids to a
          halt before him, breathing hard. Evil's room is a
          veritable museum of horror, movie posters of Frankenstein
          and the Wolfman dotting the wall, the shelves full of
          monsters', models, the floor littered with horror comics.
          Evil glances up at Charley., obviously not happy about being
          disturbed.

                         (CONTINUED )

                         

                         

                         

                         

          23.

                         32 CONTINUED:

                         EVIL ED
          And to what do I owe this dubious
          pleasure?

                         CHARLEY
          The vampire knows that I know about
          him. Or at least he will when he wakes
          up tonight.

                         EVIL ED
          What are you talking about?

                         -CHARLEY
          I've got a vampire living next door and
          he's going to kill me if I don't
          protect myself.

                         EVIL ED
          (looking at him like

                         HE'S CRAZY)
          What?

                         CHARLEY
          Look, Evil, I haven't got time to
          explain. Just tell me what to do to
          .protect myself.

                         EVIL ED
          (going back to his

                         PAINTING)
          Very funny, Brewster.

                         CHARLEY
          I'm not kidding. Evil, please, just
          tell me what to do.

                         EVIL ED
          Why should I help you? And don't
          call me that.

                         CHARLEY
          (digging money out of

                         HIS POCKET)
          Look, I've got eight bucks. Tell me
          what' to do and it s yours.
          Evil Ed stares at the money for a moment and then sweeps it
          into his. pocket.

                         EVIL ED
          Far be it from me to turn down a
          fool's money. Where and when do you
          expect this vampire to attack?

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/6/84 24.

                          32 CONTINUED: (2)

                         CHARLEY
          In my bedroom. Tonight.
          Evil Ed puts down his brush and pulls a dime store cross
          from his desk. He hands it to-Charley.

                         EVIL ED
          Start with this. Of course, you have
          to have faith for it to work. Then
          get some wolfbane --

                         CHARLEY
          What?

                         EVIL ED
          Forget it. Get some garlic, links of
          the stuff you can wear around your
          neck and hang from your window. If
          he comes for you,, that'll be the
          way. Then, of course, there's holy
          water. But you need a priest to say
          a blessing over it first.
          He goes back to his painting. Charley stares at him.

                         CHARLEY
          That's all?

                         EVIL ED
          'I'm afraid so. Of course, they can
          change into wolves and bats at will
          and I don't know what you do about
          that. But your best protection right
          now is that a vampire can't enter
          your house without being invited by
          the rightful owner first.

                         CHARLEY
          You sure about that?

                         EVIL ED
          Positive.

          SMASH CUT TO:

                         33 OMITTED

                         THRU

                         35

          36 INT. CHARLEY'S BEDROOM - NIGHT

          Charley steps back to stare at his window, finished at
          last. Be's done the best he can, nailing-it shut, strewing
          it with garlic, his chest of drawers shoved in front of it,
          partially blocking. it.

                         (CONTINUED)

                         A

                         

                         

                         

                         

          25.

                         36 CONTINUED:
          The cross Evil Ed gave him sits on his desk. He tests the
          window. It's secure. His mother calls up to him from the
          portico below.

          JUDY (O.S.)
          Charley, come down here, please.
          There's someone I want you to meet.
          He turns and walks out of the room, feeling better now.

          37 • INT. PORTICO - STAIRWAY - NIGHT

          He bounces down the stairs and turns toward the door to the
          living room.

          38 INT. LIVING ROOM - NIGHT

          He walks into the living room to find his mother standing
          there, a drink in her hand.

                         CHARLEY
          Yeah, Mom --

                         JUDY
          Charley, this is.our next door
          neighbor, Jerry Dandrige.
          Charley freezes. Jerry Dandrige sits in the best chair, a
          drink in his hand, smiling at Charley. He's even better
          looking close up, almost blindingly beautiful, too much so
          actually.
          There's something disturbing about it, as though such good
          looks have to cover up an inner putrefaction, some sort of
          hidden, sweet, sickly rot just beneath the perfect pale
          skin.
          He rises, the smile widening as he sees the terror in
          Charley's eyes. He holds his hand out as Judy watches her
          son for his reaction.

                         JERRY
          Hello, Charley.
          Charley just stares at him.

                         JUDY
          Well, shake hands, Charley. There's
          no reason to be rude.
          Charley slowly crosses to Jerry and takes his hand, shaking
          it as one would the hand of a recently disinterred corpse.
          Judy.smiles, pleased with herself.

                         (CONTINUED)

                         4

                         

                         

                         

                         

          26.

                         38 CONTINUED:

                          CHARLEY

                          
          What's he doing here?

                         JUDY
          (rising and smiling

                         AT JERRY)
          I invited him over for a drink.

                         CHARLEY
          (stone cold horrified)
          You what?

                         JUDY
          (a bit taken aback by
          the intensity of her

                         SON'S REACTION)
          Invited him over. Why?
          Charley turns back to stare at Jerry. Jerry smiles, speak-
          ing in a voice that flows like honey, charm and nascent
          sensuality oozing from his every pore.

                         JERRY
          What's wrong, Charley? Afraid I'd
          never come over without being invited
          first? You're quite right. But, of
          course, now that I've been made
          welcome, I'll probably drop by quite
          a bit.
          His voice changes, suddenly charged with double meaning,
          his eyes burning into Charley.

                         JERRY
          In fact, anytime I feel like it.
          (changing tack, turn-
          ing back to Judy)
          With your mother's kind permission,
          of course.

                         JUDY

                         (TOTALLY ENRAPTURED

                         WITH HIM)
          Of course, Jerry. You're welcome
          anytime. It's so nice someone
          interesting has finally moved into
          the neighborhood. It's so dull
          around here. I mean how many nights
          can you play Trivial Pursuit? Right,
          Jerry?

                         JERRY

                          
          Right, Judy.
          Charley watches this scene, backing across the room, terri-
          fied. He suddenly hits an end table, knocking it with a
          crash to the floor. Judy looks at him. He's ghost white.

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev.. 12/4/84 27.

                          38 CONTINUED: (2)

                         JUDY
          Charley,. are you all right?

                         CHARLEY
          (his eyes on Jerry as
          he backs for the door)
          Yeah, fine. I've just got to get back
          to my trigonometry, that's. all.

                         JERRY
          Nice meeting you, Charley.
          (his voice suddenly
          dripping with double

                         ENTENDRE)
          See you soon.
          And unseen by Judy, he looks directly at Charley and winks
          at him. Charley whirls, bolting out of room and pounding
          up the stairway out of sight. Judy turns to Jerry.

                         JUDY
          You know, our town really isn't'as
          boring as I make it sound. For
          instance, there's a dance at the
          church the first Friday of every month.

                          

                         JERRY

                          
          Really?

                          

                         JUDY 

                         (BIG SMILE)

                          
          Really.
          Jerry smiles a secret smile and takes a sip of his drink.

          39 INT. CHARLEY'S BEDROOM - NIGHT

          Be bursts through the door and scoops up the phone, punch-
          ing out a number frantically.

                         CUT TO:

          40 INT. EVIL ED'S BEDROOM - NIGHT

          He is still at work, painting the monster model of the
          Ghoul. The PHONE RINGS. He picks it up.

                         EVIL ED
          Yeah.

          CHARLEY (V.O.)
          The vampire is in the house. My
          idiot mother just invited him over
          for a drink.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 12/4/84 27k.

                         40 CONTINUED:

                         EVIL ED
          (starting to laugh)
          No shit?

          CUT BACK TO:

          41 INT. CHARLEY'S ROOM - NIGHT


                         CHARLEY
          Ed, this is serious!

                         (CONTINUED)

                         

                         

                         

                         
           Rev. 12/4/84 28.

                         41 CONTINUED:

           EVIL ED (V.0.)
          You still have my'cross?

                         CHARLEY
          Yeah, and I nailed my.window shut.

          EVIL ED ' (V .0 . )
          Then relax. There's no way he can
          get to you.

                         CHARLEY
          You sure?

          CUT BACK TO:

          42 INT. EVIL ED'S BEDROOM - NIGHT


                         EVIL ED
          Positive. Now good night. I've got
          some studying to do.
          He hangs up, returning to painting his monster model of the
          Ghoul, mumbling to himself.

                         EVIL ED
          Fucking idiot.

          CUT BACK TQ:

          43. INT. CHARLEY'S BEDROOM - NIGHT

          Charley-grabs the cross off his desk and nervously fingers
          it, turning to stare out his window at Jerry's window next
          door. The shade is pulled, but there's a light on behind
          it. It doesn't make Charley any less nervous.

                         DISSOLVE:

          44 EXT...DANDRIGE AND BREWSTER HOUSE - NIGHT

          Both houses sit quietly on the street, wrapped in the dark-
          ness of the night air. An ordinary enough image, two
          houses, sitting there, but there's something disturbing
          about it. After.a few seconds one realizes what it-is:
          the Dandrige house almost looks like it's about to pounce
          on its next door neighbor, the Brewster house.

          45 INT. MASTER BEDROOM - NIGHT

          Judy is sound asleep, a light breeze wafting the curtains.
          of her partially open window, sleeping mask over her eyes.

          46 INT. SECOND FLOOR HALL - NIGHT

          Darkness and silence, and nothing else but moonlight spill-
          ing through the window at the far end.

                         

                         

                         

                         

          29.

          47 INT.. CHARLEY' S BEDROOM - NIGHT

          He sleeps fitfully in his chair, his door locked behind
          him, his window barricaded with his desk.

          48 INT. SECOND FLOOR HALL - NIGHT

          Suddenly the shadowy outline of.what might be a huge bat
          swoops past the window outside followed by the BEATING OF
          MIGHTY WINGS. A second later something is heard landing on
          the roof with a heavy THUD.

          49 INT. CHARLEY'S ROOM - NIGHT

          Charley sits bolt upright in his bed as he hears it, lis-
          tening hard. But now there's nothing but silence. He
          stares up at the ceiling, listening and waiting.
          Then he hears what SOUNDS LIRE FOOTSTEPS walking across the
          roof. And then silence again. Grabbing the cross and
          holding on to it tightly, he walks toward his door.

          50 INT. HALLWAY - NIGHT

          He unlocks the door and pokes his head out, looking up and
          down the hall. Nothing. Then he hears it, a NOISE from
          the floor below. It sounds like fingernails scratching-.
          across glass. He tiptoes to the landing, staring down at
          the shadow enshrouded portico below. The NOISE IS LOUDER
          now, spookier, more insistent. Clutching his cross, he
          starts down the stairs.

          51 INT. MASTER BEDROOM - NIGHT'

          Jerry Dandrige stands above Judy, staring down at her
          sleeping peacefully in her bed. The window behind him is
          now fully open. He glides across the room past Judy's
          bureau with her wigs sitting on it, past the wall mirror
          without leaving a reflection to mark his passing, and out
          the door with unnatural silence.

          52 INT. HALLWAY -.NIGHT

          Jerry closes the door behind him, giving it a sharp tug
          that slightly dislodges it-from it hinges, wedging it..tight
          against the frame. It's something no man of ordinary
          strength could accomplish that easily. He turns away,
          gliding across the hall toward the open door to Charley's
          bedroom.

          53 INT. STAIRWAY - PORTICO - NIGHT

          Charley stands on the stairs, staring through the doorway
          into the living room. There is nothing but shadows in
          there. And then he sees it, the source of the scratching
          sound.

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 30.

                          53 CONTINUED:
          A tree branch, caressed by the wind, is slowly.moving back
          and forth across a pane of glass in one of the french doors
          to the patio. Relieved, Charley slips the cross into his
          pants pocket and turns, walking back up the stairs.

          54 INT. HALLWAY - NIGHT

          He walks down the hall past his mother's bedroom, hardly
          giving it • glance as he disappears into his own room.

          55 INT. CHAARLEY'S ROOM - NIGHT

          Be shuts the door softly behind him, locking it, sits,
          turns on the TV, rising again nervously and... turns to
          find himself facing Jerry Dandrige. Be opens his mouth to
          scream. The vampire's hand whips out with blinding speed
          and seizes him by the throat, choking off all sound.

                         JERRY
          Now we wouldn't want to wake your
          mother, would we, Charley?

                         (SMILING)
          Then I'd have to kill her, too.
          Right?
          Charley nods and Jerry flings the boy the length of the
          room with inhuman strength, slamming him into the far
          wail. Charley slips to the floor, all the air knocked
          out of him. Jerry advances on'him as Charley fights to
          get his breath back.

                         - JERRY
          Do you realize the trouble you've
          caused me? Spying on me, almost
          disturbing my sleep this afternoon,
          telling policemen about me
          He reaches down and grabs the boy, jerking him erect, and
          slamming him against the wall again, Charley's legs
          dangling several feet above the floor. Jerry leans in,
          pressing his face close to Charley.

                         JERRY
          You deserve to die, boy
          And he. begins to slowly choke Charley, suddenly stopping,
          staring into the boy's face.

                         JERRY
          Of course, I could give you something
          I've never had... a choice. You
          forget abotrt me and I'll forget about
          you. What do you say, Charley?

                         (CONTINUED)

                         

                         

                         

                         

          32.

                         55 CONTINUED: (2)
          Judy can be heard RATTLING HER BEDROOM DOOR in its frame,
          trying to get it open. Jerry's head whips back and forth
          between the door to the hall and Charley, the SOUNDS of
          Judy struggling to get her bedroom door open becoming
          louder all the time.
          The door across the hall starts-to give with a groan. With
          a hiss of frustrated fury, the vampire whirls, throws open
          Charley's door, and dashes out into the hail.
          Charley throws off his shock at still being alive and
          plunges after him.

          56 INT. HALL - NIGHT

          Charley skids to a halt in the hall, sees the window at the
          far end is flung open wide, and dashes to it, sticking his
          head out and staring up at the night sky. Suddenly on the
          roof above him, there is the SOUND OF POWERFUL WINGS, beat-
          ing away into the night. air. And then nothing.
          He slowly pulls his head back in and closes the window
          behind him, locking it. He turns to find Judy stumbling
          out to her room at last and looking at him.

                         JUDY
          Charley, what happened?

                         CHARLEY

                         (THINKING FAST)
          I, I just had a nightmare.

                         JUDY

                         (INSTANTLY CONCERNED)
          Oh, no. You know, I had one last
          night. I was at this White Sale and
          there I was, standing at the counter,
          and I reached for my credit cards
          only to realize I was naked as the
          day I was born --
          Suddenly they both hear a dull THUD as if metal is bending,
          .then nothing. Judy stops, turning back toward the closed
          window as Charley peers through the glass, seeing the sha-
          dowy form of Jerry Dandrige slipping out of their garage
          and crossing into the.back yard of his own house.

                         JUDY
          Now what's that?
          She takes a step for the window only to have Charley grab
          her, gently guiding her back toward her bedroom.

                         CHARLEY
          Nothing, Mom. Just the raccoons in the
          garbage again. Why don't you go back
          to sleep. ,

                         JUDY
          But what about your nightmare? Do 
          you want a valium?

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 33.

                          56 CONTINUED:

                         CHARLEY
          I'm fine now, honest. Night.

                         JUDY
          Well, I do needy sleep. I start 
          the night shift tomorrow, you know.

                         CBARLEY
          Yes, Nom, I know. Now, good night. 
          He pushes her through her door into her bedroom, closing
          the door behind her and turning for his own room.

          57 INT. BEDROOM - NIGHT

          Charley closes the door behind him, clicking on the TV
          for company, hardly looking at it as he paces. the room,
          lost in thought. It's Fright Night again, another hor-
          ror film on. It's the last thing he needs to see, and
          he's about to lean over and turn.it off when the PHONE
          suddenly RINGS by his side, raking him jump.
          Be picks it up, but doesn't say anything, just listening
          at the receiver. Suddenly he bears Jerry's sibilant
          whisper.

          JERRY (V.O.)
          I know you're there, Charley, I can
          see you.
          Charley slowly turns, staring out his window. There, in
          the window of the house next door,. stands Jerry Dandrige,
          the phone to his ear, staring at Charley.

          S8 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT

          Jerry stands at his window, staring back at the horror
          struck visage of the boy it the. window of the house next
          door while Billy kneels at his side, solicitously bandag-
          ing his injured hand.

                         JERRY
          I just destroyed your car, Charley.
          But-it's nothing compared to what I'm
          going to do to you tomorrow night.
          Be hangs up, slowly reaching out and drawing the shade.

          59 INT. BREWSTER HOUSE - CHARLEY'S.ROOM - NIGHT

          Charley watches the shade blank the lit window out.

                         (CONTINUED)

                         4

                         

                         

                         

                         

          33A.
          y1 Rev. 11/23/84

                         1 59 CONTINUED:
          He slowly hangs up the phone, sinking onto the bed,
          thinking hard and coming up with no answers. On the TV,
          the horror'flick dissolves as Peter Vincent comes on doing
          a station break rap.

          PETER (V.O.)
          Hello, horror fans. I hope you're
          enjoying "I, A Vampire Part Two."
          It's one of my best. Did you know
          a lot of people don't believe in
          vampires?

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 34.

                          59 CONTINUED:
          Charley straightens up, his gaze suddenly riveted to the
          screen.

          PETER (V.0.)
          But I do. Because I know they exist.
          I have faced them inn. all their
          guises, men, wolves, bats. And I
          have always won. That's why they
          call me The Great Vampire Killer.

                         (DRAMATIC PAUSE)
          Now, watch me do it --
          The horror flick comes back up on the screen, a much
          younger Peter stalking Dracula through a drafty castle,
          stake and mallet in hand. Charley watches the movie
          with renewed, if not fervent interest, whispering to
          himself as he watches.

                         CHARLEY
          Get him, Peter,. get him --

                         DISSOLVE TO:

                         60 OMITTED

          61 EXT. STUDIO PARKING LOT - DAY

          Peter comes out of the studio dressed in his street
          clothes, moping toward his car, taking a cigarette from
          his cigarette case as he goes. Eels in his fifties, tall, 
          saturnine, by nature very theatrical, but at this
          particular moment in time, also very depressed. Charley
          jumps out from hiding and hurries toward him.

                         CHARLEY
          Hey, Mr. Vincent --
          Peter ignores him, continuing to walk-toward his car as.
          Charley falls in beside him.

                         CHARLEY
          Could I talk to you a minute?
          (nothing from Peter)
          Please, Mr. Vincent, it's terribly
          important.
          Peter, abruptly stopped, resigned to the fact that boy is
          not going to let him alone. He whips out a fountain pen.

                         PETER
          All right, what do you want me to
          sign?

                         CHARLEY

                         (CONFUSED)
          Pardon me?

                         PETER
          Well, you want my autograph, don't
          you?

                         (CONTINUED)

          ._ ..

                         

                         

                         

                         

          35.

                         61 CONTINUED:

                         CHARLEY
          No, sir. I was curious about what you
          said last night on TV. You know, about
          believing in vampires.

                         PETER
          What about it?

                         CHARLEY
          Were you serious?

                         PETER
          Absolutely. Unfortunately none of
          your generation seems to be.

                         CHARLEY
          What do you mean?

                         PETER
          (venting his frustra-
          tion on Charley)
          That I have been fired because no one
          wants to see vampire killers anymore.
          Or vampires either. Apparently all
          they want are demented madmen running
          around in ski masks hacking up young
           virgins. Now if'you'll excuse me --
          Be starts for his car again, Charley falling in beside him.

                         CHARLEY
          i believe in vampires.

                         PETER

                         (HARDLY LISTENING)
          That's nice. If only there had been
          more of you perhaps my rating would
          have been higher.,

                         CHARLEY
          In fact I have one living next door.
          Would you help me kill him ?
          That stops Peter cold. He turns and stares at the boy.

                         PETER
          Pardon me?

                         CHARLEY
          You know the murder of that girl that
          happened yesterday?

                         PETER
          Yes.

                         (CONTINUED)

                         

                         

                         

                         

          36.

                         61 CONTINUED: (2)

                         CHARLEY
          Well, the'guy who lives next door did
          it and he's a vampire.
          A moment. Then Peter turns away angrily.

                         PETER
          If this is your idea of a joke, I am
          not amused.

                         CHARLEY

                         (GRABBING HIM)
          Mr. Vincent, I'm not joking. I'm
          deadly serious.
          Peter stares at him, sees he means it, and decides
          Charley's crazy. It makes him decidedly nervous.

                         PETER -
          I'm sorry, you'll have to excuse me --

                         CHARLEY
          (hurrying after him)
          But, Mr. Vincent, I'm telling the

                         TRUTH --
          Peter stops before his car, on outrageous old clunker, and
          fishes out his keys.

                         CHARLEY
          You just said you believe in

                         VAMPIRES --

                         PETER

                         (SHARPLY)
          I' lied. Now leave me alone.
          He opens the door only to have Charley slam it shut, star-
          ing at Peter desperately. •

                         CHARLEY
          Please, you have to listen to me. The
          vampire tried to kill me last night-and
          trashed mv car when he didn't
          succeed. He'll be coming back for me
          tonight and if I don't get help, he's
          going to kill me --
          Peter shoves him aside,•hopping into his car, quickly lock-
          ing the door behind him, obviously terrified of Charley.
          As he starts the engine, Charley beats on the window.

                         CHARLEY
          Mr. Vincent, you've got to believe

                         INC --

                         (CONTINUED)

                         

                         

                         

                         

          37.

                         61 CONTINUED: (3)
          Peter backs up, hauling ass out of the lot, Charley running
          after him.'

                         CHARLEY
          Mr. Vincent
          He comes to a halt, realizing its useless, standing there
          .watching as Peter disappears out of the lot and down the
          street.

                         CUT TO:

                         62 OMITTED

          63 EXT. BREWSTER HOUSE - DAY

          Amy rides up on her moped just as Evil Ed starts.up the
          front walk toward Charley's house. She dismounts, looking
          at him.

                         AMY
          What are you doing here?

                         EVIL ED
          Me? What about you? I thought you
          just dumped him.

                         AMY
          (hurrying up the walk)
          What I'm doing here is-none of your
          business.

                         EVIL ED
          (hurrying after her)
          Aha, you do like him!
          He disappears into the house right behind her.

          64 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - DAY

          Amy and Evil Ed push open the door and step inside,'Amy
          yelling up the steps.

                         AMY
          Anybody home?
          No answer, nothing but silence. She and'Evil Ed exchange
          glances, then start up the steps.

          65 INT. CHARLEY'S ROOM - DAY '

          Amy and Evil Ed walk through the door and stop, gasping at
          what they see.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/16/84 38.

                         65 CONTINUED:
          The room has been transformed from a normal, happy kid's
          room into a armament camp for a vampire assault.
          The window is nailed shut,. strands of garlic, a dozen at
          least, hung from the curtains. Dime store crosses and cru-
          cifixes are everywhere,, in every imaginable shape and size.
          Charley sits. in' the middle of the floor, whittling a stake
          from a slat of grape fence, a hammer by his side.

                         EVIL ED

                         (STARING AROUND)
          What's all this for?

                         CHARLEY
          Self-defense. Not that I think
          I'll need it. He'll be dead before
          nightfall.

                         AMY
          (exchanging.: worried
          glances with Evil. Ed)
          Who will be?

                         CHARLEY
          Dandrige. I'm waiting for the guy he
          lives with to leave, then I'm doing
          to go next door, find his coffin, and
          pound this through his heart.
          He holds up the stake. Evil Ed and Amy look at it, hor-
          rified.

                         AMY
          That's murder, Charley.

                         CHARLEY
          (looking back at her
          with total seriousness)
          You can't murder a vampire, Amy.
          They're already dead, remember.

                         AMY
          Charley, you're acting crazy.

                         CHARLEY
          I don't have any choice, Amy. The
          police won't listen to me,.my mother
          thinks I'm crazy, you two, even Peter
          Vincent thinks I'm nuts.

                         AMY

                         (SHOCKED AGAIN)
          You actually went to Peter Vincent?

                         (CONTINUED)

                         

                         

                         

                         

          39.
           Rev. 11/16/84

                         65 CONTINUED: (2)

                         CHARLEY

                         (NODDING)
          Yeah. Dandrige has got to be stopped.
          Listen. I just taped this.
          He hits the play button on his stereo Dolby TAPE DECK and a
          local RADIO NEWSCAST PLAYS back. over the speakers.

          NEWSCASTER (V..0. )
          And now for the two o'clock news.
          Another body of a young woman was
          discovered early this morning in back
          of the Sheraton Mall --
          He hits the stop button and turns back to them.

                         CEARLEY
          See. After he attacked me last night
          he went out and had his dinner.
          (turning to stare out
          the window at the
          Dandrige house again)
          No, I- don't have any choice. Somebody
          has to stop him. Hold.on, I need

                         ANOTHER STAKE
          He rises and disappears out the door into the hall. Evil
          Ed turns to Amy, truly frightened for the first time. He
          whispers to her.

                         EVIL ED
          What are we going to do? if we don't
          stop him he's actually going to try
          to kill this guy.

                         (REALLY HORRIFIED)
          With a stake through the heart!

                         AMY
          I know, I know --

                         EVIL ED
          I don't believe this. It's like
          Fright Night.

                         AMY 
          (her eyes lighting up)
          That's it!

                         -EVIL ED
          What?

                         AMY
          We get Peter Vincent to prove to him
          that this Dandrige guy isn't a
          vampire.

                         EVIL ED
          (shocked by the

                         SUGGESTION)
          How are we going to do that?

                         (CONTINUED)

                         

                         

                         

                         
          bi Rev. 10/9/84 40.

                          65 CONTINUED: (3)

                         AMY
          I don't-know, but we better figure
          out a way if we don't want to be
          visiting Charley in jail.
          Charley enters from the hall, carrying another slat of wood
          to be sharpened. Evil Ed and Amy fall silent as he takes
          his seat by the window and goes back to his whittling.

                         AMY
          (nervously clearing her

                         THROAT)
          Charley, .it's going to be dangerous
          doing into that house alone, isn't
          it?

                         (CHARLEY NODS)
          You're going to need all the help
          you can get, right? Somebody like
          Peter Vincent for instance.

                         CHARLEY
          I told you, I already tried him.

                         AMY
          Why not let us try before you do
          anything?

                         CHARLEY
          Why should he believe you anymore than
          he did me?

                         AMY
          Maybe we're better talkers.

                         CHARLEY
          Fat chance.

                         AMY
          What happens if you go into that
          house alone and he gets you? Who's
          going to stop him then?

                         EVIL ED

                         (JOINING IN)
          Yeah, then he'll be able to suck his
          way through this entire town. Not
          that it would-be much of a loss.

                         CHARLEY

                         (SLOWLY)
          I don't know --

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84 41.

                          65 CONTINUED: (4)

                         AMY
          (pushing him hard)
          Charley, it'll be dark soon. You
          don't want to go into-"that house
          then, do you?

                         CHARLEY
          No, you're right there.

                         (ANOTHER MOMENT;

                         FINALLY)
          All right, try him again..

                         AMY

                         (RISING)
          Great. Now, you promise you won't do
          anything till .you hear from us?
          (as Charley nods;
          she turns to Evil Ed)
          Come. on --
          Evil Ed hurries out of the room, Amy following him.
          Charley calls after her.

                         CHARLEY

                         AMY --
          (she stops, turning

                         BACK)
          You don't believe me, do you?

                          AMY 

                          (SLOWLY)
           I love you., Charley.
           She turns and hurries out of the room.

                         66 OMITTED

          67 INT. DANDRIGE HOUSE - PORTICO - DAY

          Billy stands at the window, peering through the curtain at
          Amy and Evil Ed as they hurry out of Charley's house and
          start down the street. He glances at his watch. It's four
          o'clock, another good two hours before dusk begins to fall.
          .He turns and stares thoughtfully up the stairway in the di-
          rection. of the attic.

                         CUT TO:

                         68 OMITTED

          69 INT. APARTMENT - DAY

          Peter lets himself into his efficency apartment carrying a
          handful of mail.

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/64 41A.

                          69 CONTINUED: 69
          The place is small, but neat, the walls dotted with posters
          of his various movies, all in the horror genre, stretching
          back at least three decades.
          The bookshelves' and table are dotted with memorabilia,
          props and awards, from his various roles.
          He stops by the. table, going through the mail. They're
          bills and more bills, many marked "Last Notice", one of
          them an order to vacate this apartment within three days
          for failure to pay rent. Suddenly there is a KNOCK at his
          door and he goes wearily to answer it. He opens it to find
          Amy and Evil Ed standing there.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 42.

                          69 CONTINUED: (2)

                          PETER
           Yes.

                         AMY
          Could we talk to you for a moment,
          Mr. Vincent?

                         € PETER
          (his gaze sliding to
          the unpaid bills)
          I'm afraid now isn't the best time --

                         AMY
          Please. It's terribly important.
          He stares at her and. sees the desperation in her eyes. He
          steps back, closing the door behind him, and following them
          into the room.

                         PETER
          Now what' can I do for you? An
          autograph or an interview for your
          school newspaper?

                         AMY
          I'm afraid this is much more.
          important.

                         PETER

                         (FROWNING)
          Oh, really?

                         AMY
          I know you're a very busy man, Mr.

                          
          Vincent, but we're trying to save a
          boy's life.

                         PETER

                         (HURUMPHING)
          Well, yes, I see, where that could be
          more important. Would you care to
          explain yourself?

                         EVIL ED

                         (STEPPING IN)
          You remember a fruitcake kid named
          Charley Brewster. He said he came to
          see you?

                         PETER'
          (shaking his head)
          No.

                         AMY
          He's the one who thinks a vampire is
          living next door.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 43.

                          69 CONTINUED: (2)

                         1 PETER

                         (SMILING)
          Oh, yes. He's insane.
          (looking at Amy)
          Dear me, I hope he's not a friend of
          yours?

          EVIL ED .

                         (MALICIOUSLY)
          She's got the hots for the creep.
          She flushes and smacks Evil Ed, making him yelp. She turns
          back to Peter.

                         AMY
          We need your help' to stop him, Mr.
          Vincent. You see, he really does
          believe his next 'door neighbor is a
          vampire. Re's planning to kill him.

                         EVIL ED

                         (GLEEFULLY)
          Yeah, with a stake through the heart.
          'Peter stares at them for a moment.

                         PETER
          Are you two serious?
          (as Any nods)
          My dear, your friend needs a
          psychiatrist, not'a vampire killer.

                         AMY

                         (BEGGING)
          Please, Mr. Vincent.

                         PETER
          I'm afraid not, my dear.
          (nodding at an open
          suitcase on the bed)
          You see, Hollywood beckons. I've
          been offered a starring role in a
          major movie. I've even had to quit
          Fright Night. So you see, I'm

                         AFRAID --

          .AMY
          I'll hire you. I'll give you money.

                         PETER
          (quick as a wink)
          How much?

                         (CONTINUED)

                         

                         

                         

                         
          or Rev. 11/26/84 44.

                          69 CONTINUED: (3)

                         AMY
          I have a five hundred dollar savings

                         BOND --

                         PETER
          I'll take it.
          (sitting in a chair
          across from her, sud-
          denly all charm)
          Now how are we going to cure your
          little friend of this delusion?

                         EVIL ED
          I got it all figured out. We all go
          next door to the neighbor and you run
          some kind of vampire test on-him and
          pronounce-him human. Like in "Orgy
          of the Damned." You know, where you
          looked in the mirror and the guy
          didn't have a reflection and then you
          knew he was a vampire.

                         PETER

                         (GETTING MISTY-EYED)
          Ah, yes, that was one of my favorite
          roles. I still have the prop.
          'He pulls out a silver cigarette case and flips it open.
          The inside of the lid is a mirror. He suddenly snaps it
          shut and slips it back into his pocket, looking up at them.

                         PETER
          It sounds fine to me, but how do we
          get this next door neighbor to agree?

                         EVIL ED

                         (CONFIDENTLY)
          Leave that to me --
           Nobody glances out the window as Evil Ed picks up the phone
          and dials 411, but if they did, they'd see night has
          fallen.

                         CUT TO:

          70 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT

          As the CAMERA watches all the clocks on the wall begin to
          tick, signaling dusk has fallen and Jerry is awakening.
          CAMERA PANS off the clocks to phone on the portico table.
          It RINGS. Billy appears down the hall. from the kitchen.
          He picks it up.

                         BILLY
          Yes.

                         (CONTINUED)

                         

                         

                         

                         

          45.

                         7Q CONTINUED:
          He listens as what must be the ATTIC DOOR is heard CREAKING
          OPEN on the floor above. Billy turns and stares up the
          stairway as Jerry appears out of the darkness, slowly walk-
          ing down the steps. Billy holds the phone out to him.

                         BILLY
          It's for you.
          Jerry takes it.

                         JERRY
          Yes.

                         (HE LISTENS)
          Yes, this is Jerry Dandrige.
          (he listens some
          more, slowly smiling)
          I see. Yes, of course, I'm always
          willing to help young people. But
          Vm afraid crosses wouldn't do. You
          see, I've been reborn recently.
          He smiles at Billy; Billy smiles back.

          CUT BACK TO:

          71 INT. PETER'S APARTMENT - NIGHT

          Evil Ed cups his hand over the receiver and turns to Peter
          as Amy watches.'

                         EVIL ED
          He's a reborn Christian. He thinks
          crosses would be sacrilegious.

                         PETER
          Ask him how he feels-about holy
          water?

                         EVIL ED
          (back.into the phone)
          How about holy water?
          (he listens, then back

                         TO PETER)
          Won't do either.

                         PETER
          Tell him it'll-be just ordinary tap
          water and all he has to do is take a
          sip.
          Evil Ed turns back to the phone.

          CUT BACK TO:

                         

                         

                         

                         

          46.

          71A INT. DANDRIGE HOUSE - PORTICO - NIGHT

          Jerry listens into the phone while Billy watches.

                         JERRY
          Yes, that sounds fine. Only don't
          come over till six tomorrow.

                         (PAUSE)
          I'll be out until then.
          He slowly hangs up and turns to Billy.

                         JERRY
          It seems we won't have to go out
          tonight after all. His friends are
          bringing him over tomorrow night.

                         (PAUSE)
          To prove to him that I'm not a
          vampire.
           Billy smiles. So does Jerry.

                          DISSOLVE TO:

                         72 OMITTED

          73 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT

          Evil Ed and Amy drive up in a cab, hopping out, and hurry
          up the walk toward Charley's house.

          74 INT. CHARLEY'S ROOM - NIGHT

          Charley sits in the dark-, a razor sharp wooden stake in one
          hand, a hammer in the other. He's dividing his attention
          between the window and the door. There is a M40CK at the
          door. He raises the stake, ready to defend himself.

                         CHARLEY
          Who is it?

          EVIL ED (O . S . )
          It's me and Amy, stupid. Open up.
          Charley opens the-door and lets them in. Amy throws her-
          self into his arms, almost dancing around the room in her
          joy.

                         AMY
          Charley, Peter Vincent said he'd
          come.

                         CHARLEY
          He did. When?

                         AMY
          Tomorrow at six.

                         (CONTINUED)

                         

                         

                         

                         

          47.

                         74 CONTINUED%

                         CHARLEY

                         (SUDDENLY FRIGHTENED)
          But Dandrige will be out of his coffin
          by then.

          EVIL ED,
          Relax, he's Peter Vincent, the Great
          Vampire Killer. He must know what
          he's doing, right?

                         CHARLEY

                         (GETTING PARANOID)
          I don't know. Maybe.he didn't take it

                         SERIOUSLY --

                         AMY

                         (LYING MIGHTILY)
          Oh, he did, Charley, he did.

                         CHARLEY
          (looking at her)
          Honest?

                         AMY

                         (NODDING SOLEMNLY)
          Honest.

                         CHARLEY

                         (SLOWLY)
          Then maybe we it really have a chance
          to kill Dandrige tomorrow night.
          (tears welling up
          in his eyes)
          You two don't know what it's been like,
          knowing there's a vampire living next
          door and having no one believe me --

                         AMY

                         (SOOTHINGLY)
          It's all right, Charley
          She takes him in her arms, holding him close as Evil Ed
          turns away in disgust, staring out the window at the dark-
          ened window next door.

          75 INT. DANDRIGE HOUSE - UPSTAIRS BEDROOM - NIGHT

          Jerry sits in the dark, rocking back and forth in a chair,
          staring out the window into Charley's room, catching just
          the dim outlines of the three kids in the house next door.
          He smiles; if anybody saw the smile, they'd run screaming
          in the opposite direction.

                         DISSOLVE TO:

                         

                         

                         

                         
          Yl Rev. 11/23/84 48.

           76 EXT. DANDRIGE HOUSE - DUSK INTO NIGHT

          The three teenagers, Charley, Evil Ed, and Amy, stand in
          front of the house waiting. Dusk is slowly gathering, the
          shadows lengthening as night closes about them. Charley
          glances nervously at his watch.

                         CHARLEY
          'It's six ten. He said he'd be here at
          six, right?

                         EVIL ED
          Relax. He said he'd be here, he'll
          be here.
          Peter's old clunker appears around the corner. Amy is the
          first to see it.

                         AMY
          Here he comes.
          The kids rush the car as Peter pulls up.

                         CHARLEY
          Mr. Vincent, I can't tell you how much
          I appreciate this --
          Peter slowly gets out of the car, stretching to his full
          height. He wears his vampire killer regalia, the Victorian
          suit, and carries a small leather satchel. There is some-
          thing truly majestic about him.. He looks down at Charley,
          laying it on. with a trowel.

                         PETER
          Charley Brewster, I presume?
          (as Charley nods; Peter
          shakes his hand)
          Peter Vincent, vampire killer. And
          now down to business. Where is the
          lair of this suspected creature of
          the night?

                         CHARLEY
          (pointing at the

                         DANDRIGE HOUSE)
          There.

                         PETER

                         (STUDYING IT)
          Ah, yes, I see what you mean.
          There is a distinct possibility.
          He opens the satchel, withdraws a small crystal vial of
          water, slips it into his jacket pocket, closes the bag, and
          replaces it on the front seat of his car. He locks the car
          and turns back to the kids., straightening his shoulders.

                         PETER
          Well, shall we?

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 49.

                          76 CONTINUED:

                         CHARLEY
          Where're your stakes and hammer?

          PETER.
          I left them in my bag-.

                         CHARLEY

                         (HORRIFIED)
          You're not going in there without them?

                         PETER
          I have to prove he's a vampire before
          I kill him, Charley.

                         CHARLEY
          But I know he's a vampire.

                         PETER
          But I am the one that has to know,
          Charley. This is holy water. If it
          touches him, he'll blister- and in
          this case I asked him to drink it
          while we all watched. He readily
          agreed.

                         CHARLEY

                         (SHOCKED)
          He did?

                         PETER
          Yes. Which doesn't exactly strengthen
          your case, does it? Now, shall we go.
          He takes a step up the walk. Charley grabs his arm.

                         CHARLEY
          But, Mr. Vincent, if I'm right and
          you prove he's a vampire, he'll kill
          us all right then and there.

                         PETER
          No, he won't, Charley. Not with me
          here to protect you. After all, I'm
          Peter Vincent.. ' -

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/26/84 50.

                         GR

                         76 CONTINUED: (2)
          He starts up the walk, Amy and Evil Ed following him.
          Charley runs after him, increasingly desperate.

          CHARLEY,
          But, Mr. Vincent, you don't know how
          powerful he is. He can change into a
          bat and fly through the night --
          Peter stops on the porch, knocking on the door, listening
          to the boy with half an ear.

                         PETER
          Of course, Charley, of course. But
          then he's never dealt with me before
          either.

                         CHARLEY

                         BUT --
          Billy Cole opens the door, his face lighting up when he
          sees Peter.He shakes his hand warmly.

                         BILLY
          Mr. Vincent, Billy Cole. This is a
          pleasure. Won't you all come .in?
          He steps back and.Peter, Evil Ed, and Amy enter the
          house. Charley has no choice but to follow.

          77 INT. DANDRIGE HOUSE - PORTICO - NIGHT

           Billy turns and yells up the stairs, all the clocks behind
           him ticking madly, the hour 6:30 p.m.

                         BILLY
          Hey, Jerry, they're here.
          Several seconds pass. Nothing happens. Peter turns to
          Billy.

                         PETER
          Perhaps he didn't hear you.

                         BILLY

                         (SMILING)
          Oh, he heard me all right.
          Suddenly a STEP CREAKS at the top of the staircase where
          the shadows are the heaviest. Slowly Jerry Dandrige walks
          down the stairs into view, first his elegant shoes, then
          his legs with their fashionable pants, and finally the rest
          of him, all beautifully turned out. His handsome face
          stares down. at them as he makes his entrance. There is
          something truly majestic about him, both incredibly attrac-
          tive and yet frightening at the same time.

                         (CONTINUED)

                         

                         

                         

                         

          51.
          vl Rev. 11/23/84

                          77 CONTINUED:
          Jerry reaches the bottom of the stairs and turns to Peter
          with a blinding smile.

                         JERRY
          Ah, Mr. Vincent.
          (shaking Peter's hand

                         WARMLY)
          I've seen all your films and I've
          .found them very amusing.

                         PETER

                         (OBVIOUSLY PLEASED)
          Why, thank you --

                         JERRY
          (turning to Amy-and
          - Evil Ed)
          And who might these two attractive
          people be?

                         PETER
          (doing the intros)
          This is Ed Thompson and Amy Peterson.

                         JERRY
          (bending low over Amy's
          hand and kissing it)
          Charmed.
          (looking up at Charley
          with a wicked smile)
          Isn't that what vampires are supposed
          to do, Charley?
          Charley scowls at him. The others laugh. Jerry turns to
          the living room.

                         JERRY
          Please, come in --
          Be ushers Peter into the living room, Billy following. Amy
          and Evil Ed stare after Jerry, both totally captivated.

                         AMY
          God, he's neat.
          She follows him into the living room. Evil Ed shoots
          Charley a disgusted glance.

                         (CONTINUED)

                         

                         

                         

                         

          52.

                         77 CONTINUED: (2)

                         EVIL ED
          Some vampire, Brewster.
          He follows the others. Left alone, Charley has no choice
          but to join them.

          78 INT. LIVING ROOM - NIGHT

          Jerry looks around at the packing crates and few pieces of
          dusty furniture and turns back to the others.

                         JERRY

                         I I
          You'll have to excuse the mess. I'm
          still unpacking --

                         CHARLEY

                         (SOURLY) 1
          Where do you keep your coffin? Or do
          you have more than one?

                         PETER
          (a warning growl)

                         CHARLEY --

                         JERRY

                         (SMILING)
          It's all right, Mr. Vincent. I'm
          quite used to it by,now. As you may
          or may not know, Charley even brought
          the police over a few days ago.
          Peter, Amy, and Evil Ed all look at Charley, shocked.

                         AMY
          Charley, you didn't.

                         CHARLEY

                         (ANGRILY)
          Damn right, I did; Only the cops
          .didn't believe me anymore than any of
          you.
          (back to Jerry)
          But you'll believe me in a few
          seconds. Mr. Vincent, give him the
          holy water.

                         PETER

                         (WARNING HIM)
          Charley, there's no reason to be rude
          about this --

                         PETER
          (raising a placating hand)
          It's perfectly all right, Mr.
          Vincent. Where is the, ah, holy
          water?

                         (CONTINUED)

                         4

                         

                         

                         

                         

          53.

                         78 CONTINUED:
          Peter withdraws the vial from his pocket. Jerry eyes it
          warily, staring at Peter, his voice suddenly heavy with
          double meaning.

                         JERRY
          Are you sure that's holy water, Mr.
          Vincent?

                         PETER
          (playing it up)
          Positive. I saw Father Scanlon bless
          it down at Saint Mary's myself.
          Jerry takes the vial from his-hand, pulling the stopper,
          and sniffing at it, for the first time nervousness creeping
          into his manner.. Charley sidles up to Amy, whispering in
          her ear as Jerry prepares to drink the water.

                         CHARLEY
          Get ready to run. I'll protect you
          with this.
          He edges a cross out of his pocket, just giving her a
          glimpse of it. He glances up just as Jerry lifts his head
          back and. downs the contents of the vial in one swallow. He
          1 7 7 turns to Peter triumphantly.

                         JERRY
          There, satisfied?

                         PETER
          Totally.

                         (TO CHARLEY)
          Charley, you saw it. Are you
          convinced now that Mr. Dandrige isn't
          a vampire?
          Charley stares at Jerry and the vial, stunned almost into
          speechlessness.

                         CHARLEY
          But, it can't be --

                         PETER
          You just saw it, Charley. You know
          as well as I do that no vampire could
          drink blessed water.

                         CHARLEY
          Then it wasn't blessed!

                         PETER

                         (HUFF ILY)
          Are you calling me a liar, young man?

                         (CONTINUED)

                         

                         

                         

                         

          54.

                         78 CONTINUED: ( 2)
          Charley looks at Jerry. Jerry stares back at hire, smiling.
          Charley suddenly whips the cross out of his packet and
          holds it up.

                         CHARLEY
          If he's not a vampire, then have him
          touch this?
          Jerry stiffens, his face losing its color, but none of the
          others notice. They're all looking askance at Charley.
          Peter steps up to the boy.

                         PETER
          Charley, you've already made a fool
          of yourself once. There's no reason
          to compound the error.

                         _ JERRY
          Yes, Charley, you've already.caused
          your friends quite enough pain.
          (his eyes burning into
          Charley, hammering the

                         POINT HOME)
          You don't want to cause them any
          more, do you?
          Charley sees.Dandrige•coiling to . spring, Billy sliding into
          place blocking the doorway to the portico. The tension
          level in the room is suddenly unbearable. Peter, Amy, and
          Evil Ed are aware of it although they don't know the
          reason. Charley slowly edges the cross back into his
          pocket.

                         CHARLEY
          No, no, of course not.,

                         JERRY
          And you're finally-convinced I'm not
          a vampire either,-correct?
          Their eyes lock; a moment passes. Then finally:

                         CHARLEY
          Yes.
          Jerry smiles at him and the tension suddenly flows out of
          the room. Billy even smiles. Jerry steps forward, usher-
          ing them all toward the portico.

                         JERRY
          Well, I'm glad that's all.settled.

          79 INT. PORTICO - NIGHT.

          They all stop before the front door, Billy in the back-
          ground Jerry turns to Peter.

                         (CONTINUED)

                         

                         

                         

                         

          55.

                         79 CONTINUED:

                         JERRY
          I can't tell you how much I.
          appreciate this, Mr. Vincent. You've
          been a great help.

          PETER -.
          Not at all, Mr. Dandrige. Glad to be
          of service.
          Jerry ignores Charley, turning to Amy and Evil Ed as Peter
          steps back, reaching into his coat pocket for his cigarette
          case.

                         JERRY
          It's been very nice meeting both of
          you. Please, feel free to drop by
          anytime.
          (his eyes singling out
          Amy and.burning into her)
          You'll always be welcome.

                         AMY
          (her eyes beginning
          to glaze over)
          I'd, I'd like that, Mr. Dandrige.

                         JERRY
          Please, call me Jerry.
          Her face is beginning to stiffen, her eyes turning blank.
          Charley looks at her in sudden alarm, remembering the girl
          he saw through the window that night.
          He grabs Amy by the arm, tugging. her toward the door.

                         CHARLEY
          C'mon, let's get out of here --

                         AMY
          (pulling away from
          him, her gaze never

                         LEAVING DANDRIGE)
          Just a minute, Charley --
          Smiling, Jerry turns to Evil Ed as behind them all Peter
          opens his cigarette case, takes out a smoke, about to tamp
          it down on a thumbnail when he glances at the mirror on the
          inside of the-lid. He sees Amy, Evil Ed, and Charley
          grouped around where Jerry Dandrige should be standing, but
          he's not there. It's as though the kids are talking to
          thin air.

                         (CONTINUED)

                         

                         

                         

                         

          56.

                         79 CONTINUED: (2)

                         JERRY
          The same goes for you,.Ed I suspect
          we have many of the same interests.
          You know, in such things as horror
          movies and the occult.
          Peter's head jerks up and he looks at the doorway. Now he
          sees Jerry standing there, talking to the kids. Peter

                         4
          looks back down at the mirror again. No Jerry. His face
          goes chalk white, his mouth gasps for air, and he drops the
          case from his palsied hands. It smashes to the hardwood
          floor with a crash. Everyone turns and looks at him.

                         JERRY
          Something wrong, Mr. Vincent?
          Peter hurriedly scoops up the case, trying to hide his
          shaking hands and keep the tremor out of his voice.

                         PETER
          No, no, just my clumsiness. Come
          along, we must be going. Thank you
          again, Mr. Dandrige
          He ushers the teenagers out the front door as Jerry
          watches, puzzled by his sudden change in attitude.

          80 EXT. DANDRIGE HOUSE - NIGHT

          Peter plunges down the walk to his ca-r, the kids hurrying
          to keep up with him. Charley looks at him.

                         CHARLEY
          What's wrong with you?

                         PETER
          Nothing.
          He stops by his car, fumbling his keys-out of his pocket,
          hardly able to fit them into the lock with his trembling
          hands.

                         CHARLEY
          Then why are your hands shaking?

                         PETER
          (his hands shaking
          worse than ever)
          They're- not shaking.
          Be finally gets the door open, hurriedly sliding in behind
          the wheel, slamming the door behind them. Charley leans
          down, speaking through the partially open window.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 12/4/84 57.

                         80 CONTINUED%

                         CHARLEY
          You saw something in there, didn't
          you, something that convinced you he
          was a vampire?

                         PETER
          Will you be quiet.

                         CHARLEY
          Is Jerry Dandrige a vampire or not?

                         4

                         PETER
          (struggling to get
          the car started)
          No, of course not.

                         CHARLEY
          Please, Mr. Vincent, you have to tell
          me. Our lives depend on it.

                         PETER
          All right. He didn't cast a
          reflection in my mirror. Satisfied 
          now?

                         CHARLEY
          Mr. Vincent, you have to call the Polic
          e-and tell them --
           The-ENGINE finally CATCHES, and he ROARS away in a cloud of
           burning rubber, Charley watching him go, half frustrated to
          death.

                          CHARLEY

                         SHITI

          80A INT. DANDRIGE HOUSE - PORTICO - NIGHT

          Billy and.Jerry peer out the window, watching the-kids
          walk away from the house.

                         JERRY
          (almost to himself)
          I could teach her so much --

                         BILLY
          What?

                         JERRY
          Nothing.
          Jerry turns away from the window, sits at the foot of
          the stairs.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 57A.

                          BOA CONTINUED:

                         BILLY
          (still at window)
          Well, at least they'll never
          believe the kid now.
          Jerry glances down and sees a sliver of mirror from
          Peter's cracked cigarette case at his feet. He picks
          it up, examining it. He casts no reflection in it.
          He holds it up for Billy to see.

                         JERRY
          No?

                         (RISING)
          Let's go.
          He grabs his leather jacket and moves- down the hallway
          toward the back door, Billy quickly following.

          SOB EXT. DANDRIGE HOUSE - STREET - NIGHT

          The kids are walking down the street away from the
          Dandrige house, the CAMERA CRANING UP to FOLLOW them
          as they recede in the distance, the darkness slowly
          swallowing them up.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 58

                          80B CONTINUED:

                         CHARLEY
          (turning to Amy
          and Evil Ed)
          Well, at least you two heard him.

                         EVIL ED

                          
          Heard who?-

                         I

                         CHARLEY

                          
          Peter Vincent. He said Dandrige had
          no reflection.

                         EVIL ED
          Probably just a trick of the light.

                         CHARLEY
          (whirling on Amy)
          You felt how evil Dandrige was, didn't
          you, Amy? Remember the way he looked
          at you?

                         AMY
          (confused by the

                         MEMORIES)
          Yes, sort of --

                          EVIL ED
           (bored with it all)
           Oh, for Christ sake --

                          
          He turns, about to duck between two houses.

                         CHARLEY
          Where are you going?

                         EVIL ED
          Rome. It's dinner time.

                         CHARLEY
          Wait a minute. We walk Amy home first.

                         EVIL ED
          Why?

                         CHARLEY
          Because it's after dark, pencil.dick,
          and there's a vampire back there! 
          Be points back at the Dandrige house. Evil Ed just
          stares at him.

                         EVIL ED
          Oh, shit, Brewster, you're
          certifiable, you know that.

                         (CONTINUED)

                         

                         

                         

                         

          58A.
          pk Rev. 11/16/84

                          80B CONTINUED:
           They all start down the street together again; growing
           smaller and smaller until they disappear into the
           darkness.

                          81 

                          81 OMITTED

                         CUT TO:

          82 EXT. CITY STREET - NIGHT

          The town of Rancho Corvallis is middling size, perhaps a
          hundred thousand people.

                         1

                         (CONTINUED)

                         

                         

                         

                         

          59.

                         82 CONTINUED:
          There are several tall buildings around, not many but
          enough. Street lamps cast pools of bright light and deep
          shadows everywhere. There are a few pedestrians out, a few
          cars passing by, but once again, not many.
          The three kids walk down the street. Evil Ed stops before
          the open mouth to a shadow encrusted alleyway.

                         EVIL ED
          .Let's cut through here.

                         CHARLEY
          No way. We want people and lights,
          the more the better.

                         EVIL ED
          Look, Brewster, vampires don't
          exist. Haven't you gotten that
          through your thick head yet?

                         CHARLEY
          What if you're wrong, Evil? What if
          Dandrige is a vampire and he thinks
          you know it. Would you walk down
          that alley then?
          The hair on the back of Evil Ed's neck starts to stand on
          end. Then he denies it.

                         EVIL ED
          Aw, fuck you, Brewster.
          He takes a step toward the alley. Charley grabs him.

                         CHARLEY
          Ed, please, just stick with us.

                         EVIL ED
          Forget it. You may be chickenshit,
          but I'm not.
          He disappears down the alley into the darkness. Amy and
          Charley stare after him. She turns to Charley.

                         AMY
          What do we ' do?..

                         CHARLEY €
          Let him go. No vampire's gonna want
          hint anyway.. Probably give him blood
          poisoning.
          They're about to turn away when a blood curdling SCREAM
          ECHOES out of the darkness of the alleyway. It's Evil Ed.
          Charley and Amy dash headlong into the alley after him.

                         

                         

                         

                         

          60.

          83 INT. ALLEY - NIGHT

          They speed through the darkness, skidding to a halt on the
          shadow slick pavement, looking around.

                         CHARLEY
          Where is he?
          Amy spots him laying crumpled against a wall.

                         AMY
          Over here.

                         I
          They dash to him, kneeling by his side. Evil Ed's eyes are
          closed, his breathing shallow. Charley tries to shake him
          awake.

                         CHARLEY
          Ed, Ed, are you all right?
          Nothing from Evil Ed. Charley looks at Amy.

                         CHARLEY
          Jesus, I warned him --
          Evil Ed's eyes suddenly snap open, staring up wildly at
          Charley.

                         EVIL ED
          He got me, Charley. He bit me.
          (grabbing him by

                         THE LAPELS)
          You know what you're gonna have
          to do, don't you?
          (as Charley shakes his
          head, really scared)
          Kill me, Charley. Kill me before I
          turn into a vampire and --
          He suddenly heaves himself.at Charley, his mouth opening,
          going for his throat as Charley jerks back, terrified.

                         EVIL ED
          Give you a hickey!
          He suddenly lets Charley go, rolling on the pavement and
          laughing like a maniac, perfectly all tight. Charley
          springs to his feet, furious with him.

                         CHARLEY
          You asshole, you fucking asshole!
          Evil Ed rolls on the ground in hysterics, pointing at him,
          and laughing loudly.

                         (CONTINUED)

                         

                         

                         

                         

          61.

                         83 CONTINUED:

                         EVIL ED
          Ha, hah, really fooled you.
          (climbing to his
          feet and dusting

                         HIMSELF OFF)
          You really believed me, you poor
          dope!

                         CHARLEY
          (flushed with anger)
          You'll get yours someday, Evil.
          He grabs Amy's hand and walks back down the alley toward
          the street and the lights. Evil Ed yells after him.

                         EVIL ED

                         (MOCKINGLY)
          Yeah., when? When I'm bit by a
          vampire? There are no such things as
          vampires, you fruit cake!
          Still chuckling to himself, he turns in the opposite direc-
          tion and-disappears down the alleyway into the darkness.
          A moment passes; nothing but silence.
          Then Jerry Dandrige steps out from a shadowy wall where it
          would be impossible for any mortal to have concealed
          himself. It's almost as though he materializes out of the
          night. He stares after Charley and Amy and then slowly
          turns to stare in the opposite direction after Evil Ed.
          He slowly walks in that direction.

          83A EXT. FARTHER DOWN THE ALLEY -.NIGHT

          Evil Ed walks along, feeling safe and secure. And then he
          hears it, FOOTSTEPS behind him, coming through the dark
          slowly toward him. He turns and looks back.

                         EVIL ED
          Charley, Amy, that you?
          He hears nothing but those FOOTSTEPS GETTING CLOSER.and
          CLOSER. The fear starts to work at him, twisting up his
          gut and making his forehead sheen with sweat. He steps
          forward, yelling out with false bravery.

                         EVIL ED
          If that's. you, it isn't working. I'm
          not scared!
          And then Jerry emerges out of the shadows, smiling at him.
          With a scream, Evil Ed turns and runs.

                         

                         

                         

                         
          bl Rev. 10/9/84 62.

           83B EXT. FURTHER DOWN THE ALLEY - NIGHT

          Evil Ed runs like he's never run before,•pounding through
          the dark, smashing into traffic cans and falling to the
          ground, leaping to-his feet, ignoring his skinned hands and
          bruised knees, running for his life and knowing it.

          83C EXT. DEAD END NIGHT

          He suddenly skids to a halt, facing a brick wall. He
          whirls, his breath-coming in ragged gasps now, peering down
          the alleyway into the dark, listening to those FOOTSTEPS
          getting closer and closer. He slowly backs away until he
          has no further to go his back against the brick wall, on
          the verge of hysteria.

                         EVIL ED
          No, no --
          The FOOTSTEPS SUDDENLY STOP. Nothing but silence. The
          seconds tick past. He takes a step away from the wall,
          peering into the darkness with something like hope, preying
          that maybe, just maybe, Dandrige has given up.
          A voice suddenly whispers in his ear, no more than an inch
          away.

                         JERRY
          Hello, .Edward.
          Evil Ed turns with a scream to find Jerry standing right
          next to him. Almost insane with fear now, slobbering like
          a wounded animal, he backs away from the shadowy figure,
          hitting the corner and sliding to the cold pavement, almost
          curled up in a fetal ball, tears streaming from his eyes.
          Dandrige walks over to him, staring down with something
          like pity in his eyes.

                         JERRY
          You have nothing to fear from me.
          (in a voice like honey)
          I understand what it's like, being
          different. Only they won't make fun
          of you anymore or beat you up. I'll
          see to that. All you have to do is
          take my hand.
          Evil Ed slowly looks up at him through his tear-stained
          eyes to see Jerry staring-down at him, his. hand outstretch-
          ed to.him, a slight smile on his face, gentle, seductive,
          beguiling.

                         JERRY
          Here, Edward, take my hand.
          Evil Ed looks down at the hand outstretched to him.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/16/84 63.

                         83C CONTINUED:
          It's beautiful, perfectly shaped with thin, elegant
          fingers, almost womanly, the nails impossibly long,
          perfectly shapped, tapering to five gleaming, razor sharp
          points.
          Evil Ed slowly reaches out and-takes the vampire's hand.
          Jerry smiles down at him and slowly leans down, lifting him
          up into the last embrace Edward Thompson will ever know.

          84 EXT. STREET - NIGHT

          Charley and Amy walk rapidly along a street, heading toward
          Amy's home. He casts a glance at her.

                         CHARLEY
          How much further?

                         AMY
          About ten minutes --
          A DEATH RATTLE, long and-high-pitched, suddenly comes to
          them, ECHOING through the city streets, down alleyways and
          across apartment buildings, faint yet filled with so much
          terror it stops them in their tracks and leaves them
          staring fearfully about at the shadows.

                         CHARLEY
          What was that?

                         AMY
          Evil Ed messing around.

                         (SHOUTING)
          Not funny, Evil!
          Her voice bounces off the walls down the street and then
          dies, leaving them staring at the darkness and the shadows,
          fearful. Amy tries to act brave, turning to Charley.

                         AMY

                         C'MON --
          They start down the street again, Charley glancing
          nervously over his. shoulder in the direction of Evil Ed's
          scream.

                         CHARLEY
          Amy, what if Evil really was in
          trouble?

                         AMY
          Oh, come on, Charley, don't let him
          suck you in again --
          All the street lights suddenly go out, plunging them into
          almost total blackness.

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 12/4/84 64.

                         84 CONTINUED:
          They whirl, looking back down the now totally dark street,
          slowly backing away from the darkness.

                         CHARLEY
          (to Army, in a

                         HOARSE WHISPER)
          Don't tell me it's a power outage.

                         AMY

                         (EQUALLY SCARED)
          What else could it be -- 7
          Charley stops, grabbing her, and nods to a light pole oppo-
          site them. She follows his gaze to see a power box on the
          pole, its front ripped open, the wires inside shredded.-
          Before they can even gasp at the sight, they hear the SOUND

                         {
          OF HUGE WINGS beating overhead.. A huge shadow of a bat
          flies across the building wall opposite them. That's all
          it takes; they whirl, dashing down the street.

                         85 OMITTED

                         86

          87 EXT. ANOTHER STREET - NIGHT

          They come-racing down a street, under a bridge and start
          up the incline toward the ROAR above. They turn onto the
          bridge, starting to.cross it., slowing to a walk, breathing
          hard.

                         CHARLEY
          I think we lost him.

                         AMY
          Yeah.
          (stopping and turning

                         TO CHARLEY)
          Charley, you were right about the
          holy water. We faked it. I'm just 
          sorry I didn't believe you.

                         CHARLEY
          It's all right, Amy.
          He kisses her, takes her hand, and they start walking up
          the bridge.

                         CHARLEY
          We've got it made
          And they freeze.' There, high above them on one of the
          arches of the bridge, so high up no one could possibly get
          there unless they flew, stands Jerry Dandrige, staring down
          at them. With a scream, they whirl, racing off the bridge
          and down the street.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 64A-.

                          87 CONTINUED:
          They suddenly turn the corner only to find they are facing
          Jerry Dandrige, standing on the sidewalk directly in front
          of them, amused by the frozen expressions of horror on
          their faces.

                         CHARLEY-
          Run?
          He grabs Amy's hand, the two of them whirling and dis-
          appearing around the street corner.

                         88 OMITTED

          89 EXT.. ANOTHER STREET - NIGHT


                         I
          They race down the street.for the far corner.

          90 EXT. ANOTHER STREET - NIGHT

          They whip around the corner only to skid to a halt. There
          stands. Jerry Dandrige again, smiling at them. He takes a
          step toward them and they whirl, diving down a side street.

          91 EXT. SIDE STREET - CLUE RADIO - NIGHT

          They tear down the street, teeing the Club Radio, a
          fashionable disco, across the street. Its entrance is
          jammed with people trying to get in, all of them dressed to
          the teeth in New Wave and neo-punk.

                         CHARLEY
          Over here --

                         (CONTINUED)

                         I

                         

                         

                         

                         

          65.

                         91 CONTINUED:
          Charley dives for it, dragging Amy after him just as Jerry
          appears. around the corner behind them, walking toward then
          with a steady gait, relaxed, in no great hurry, a hunter
          sure of his kill.
          Charley and Amy fight their way through the crowd until
          they reach the front door. A BOUNCER stands there, check-
          ing I.D.s and collecting the cover charge. He hardly looks
          down as Amy and Charley step up.

                         BOUNCER
          Five bucks apiece.
          Charley frantically searches his pockets and comes up with
          change and nothing else. Amy pulls out a ten dollar bill
          and hands it to him.

                         AMY
          I've got it --
          As Charley takes it from her, he glances over her shoulder
          and sees Jerry moving through the crowd toward them. He
          shoves the money at the Bouncer hurriedly.

                         CHARLEY

                         HERE --
          The man takes it and Charley grabs Amy, pulling her toward
          the door, watching over his shoulder as Jerry keeps coming
          closer and closer toward them. Suddenly the Bouncer
          reaches out and collars Charley'.

                         BOUNCER
          Hey, just a sec. How old are you
          two?

                         CHARLEY
          (lying through his

                         TEETH)
          Eighteen.

                         BOUNCER
          Let me see some I.D.
          Charley glances back. Jerry is just an arm's length away
          now. A MAN suddenly shoulders him aside just as he's about
          to grab Charley and Amy.

                         MAN
          Hey, wait you turn.
          Jerry turns and stares at the man. Whatever the man sees
          in Jerry's eyes gives him the,cold sweats and.he backs
          hurriedly away.

                         (CONTINUED)

                         

                         

                         

                         

                         R

          66.

                         91 CONTINUED: (2)
          Charley grabs Amy, using the moment to pull her away from
          the door and Jerry. The Bouncer shouts after them, holding
          up the ten spot.

                         BOUNCER
          Hey, what about your.money?
          Charley and Amy come out of the crowd, backing away from
          the door just as Jerry emerges, stepping after them. He's
          only ten feet away now, smiling as he approaches, both kids
          realizing it's hopeless to run at this point. Backing
          away, Charley and Amy cross the mouth of an alley. There's
          the CRASH OF A GARBAGE PAIL and Charley glances down the
          alley to see a dish washer from the club dumping garbage,
          the bright lights of the door into the kitchen shining like
          a beacon in the night.
          Charley grabs Amy's hand and jerks her down the alley after
          him as he races for the door.

          92 INT. CLUB RADIO KITCHEN - NIGHT

          He and Amy race through the mad house of a kitchen, one of
          the COOKS glancing up from chopping lettuce as they speed
          pass.

                         COOK
          (waving his butcher
          knife at them)
          Hey, you can't go in there!

          93 INT. CLUB RADIO - NIGHT

          They burst through the door to find themselves in a packed
          VIDEO DISCO, four huge screens overlooking the dance floor,
          all of them playing Michael Jackson's "Thriller." Charley
          and Amy disappear into the crush of people. A moment later
          the cook appears from the kitchen, signaling a bouncer cir-
          cling the floor, keeping a wary eye out for trouble.
          Charley and Amy fight their way through the sea of dancers,
          Charley looking about. He sees what he wants, a sign above
          a hallway reading. rest rooms and phone. He drags Amy in
          that direction.
          At the corner of the dance floor, the cook can be seen ges-
          turing to the bouncer, pointing in the direction the two
          kids took.

          94 INT. HALLWAY - NIGHT

          They break through the crowd and down the short hallway to
          a bank of pay phones opposite the restrooms. Charley digs
          a dime out•of his pocket, drops it, and dials. Amy screams
          at him to make herself heard above the din.

                         (CONTINUED)

                         

                         

                         

                         

          67.

                         94 CONTINUED:

                         AMY
          Who are you calling?

                         CHARLEY

                         (SCREAMING BACK)
          The police.
          (back into the phone)
          Yeah, give me Lieutenant Lennox.

                         CUT TO:

          94A INT. PETER'S APARTMENT - NIGHT

          There is a KNOCK at Peter's locked and barred door. He
          slowly rises from his chair, the cross clenched in his
          hand, staring at it, terrified. The KNOCKING COMES.AGAIN,
          louder this time. He presses his lips to the door, whis-
          pering.

                         PETER
          Who is it?

                         EVIL ED
          Me, Evil Ed.

                         PETER
          What do you want?

                         EVIL ED
          There's a vampire out here. Let me
          in.
          Peter slips the cross into his pocket and unlocks the door.
          Be pulls Evil Ed into the room, hurriedly locking and bar-
          ring the door behind him. Evil Ed has changed, and not for
          the better. His skin is more sallow, huge dark circles
          under his eyes, his lips bloodless, his collar pulled up
          tightly around his neck. Peter turns to him.

                         PETER
          What are we going-to do?

                         EVIL ED
          What are you going to do, not me.
          Peter stares at him as Evil Ed slowly reaches up and pulls
          down the collar of his shirt, revealing two small puncture
          marks on his throat. Peter's eyes widen in horror; Evil
          Ed's smile only grows wider.

                         EVIL ED
          I used to admire you, you know that.
          Of course, that was before I found
          out what •a fake you were.

                         (CONTINUED)

                         

                         

                         

                         

          68.

                         94A CONTINUED:
          He advances on Peter, looming over him, Peter staring up at
          the boy in growing terror. Evil. Ed smiles at him, reveal-
          ing two huge fangs. Peter leaps out of the chair, dashing
          for the door, fumbling to undo the locks and bars with
          trembling fingers. Evil Ed watches, his rictus grin just
          growing wider.

                         EVIL ED
          Peter Vincent, the great vampire
          killer, indeed!
          He throws himself at Peter, grabbing him from behind and
          whirling him about, opening his mouth wide to sink his
          fangs into him. Peter straightens, grabbing the cross from
          his pocket and thrusting it directly into Evil Ed's face,
          slamming it into his forehead between his eyes.
          His skin sizzles and cracks, smoke rising, and Evil Ed
          backs away, bent over screaming in pain, his hands held to
          his face.
          He slowly looks up as Peter watches, frozen in horror.
          Evil Ed drops his hands from his face, revealing a smoking
          sign of the cross branded into his forehead. He stares at
          Peter.

                         EVIL ED
          What have you done to me?
          He turns to look into the wall mirror, but there's no re-
          flection.for him to see. He whirls on Peter, screaming at
          him like the spoiled brat he is.

                         EVIL ED
          What have you done to me?
          He takes a step toward Peter and Peter thrusts the cross at
          him.

                         PETER
          Back.

                         EVIL ED
          The master will kill you for •this.
          And not fast, slowly, oh, so slowly --
          Peter advances on him, the cross held out in front of him
          with shaking hands, backing Evil Ed across the room toward
          the window.

                         PETER
          Back, I say, back --

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev.. 11/16/84 69.

                          94A CONTINUED: (2)
          Evil Ed snarls at him. like some trapped feral animal and
          suddenly whirls-, throwing himself headlong out the window
          in an EXPLOSION OF SHATTERING GLASS.
          Peter rushes to the window, staring out at the street
          below. Nothing. He cranes his-'neck peering at the heavens
          above. Nothing. He draws his head back in, leaning
          against.the wall, gasping for breath, on hand on his heart,
          feeling it about to leap out of his chest with the horror
          of it all.

          CUT BACK TO:

          94B INT..CLUB RADIO - NIGHT I

          Charley slams the phone back into its cradle in frustra-
          I tion, Amy looking at him worriedly.

                         CHARLEY
          He doesn't believe me.

                         AMY
          (sinking back against
          the wall in defeat)
          I'm scared, Charley. I'm real
          scared.

                         CHARLEY
          I won't let him get you, Amy. I
          promise.

                         AMY
          We haven't got a chance, Charley.
          Not the two of us against him! What
          about your mother? Call her. 

                         CHARLEY
          She can't handle this, Amy. 

                         (SUDDENLY)
          You got Peter Vincent's number?

                         AMY
          Oh, Charley, he doesn't care about
          us, I paid him to be there today.

                         CHARLEY
          We don't have-any choice, Amy. Now
          give me his number.
          She reluctantly digs a scrap of paper out of her pocket
          as Charley drops another dime.

                         CUT TO:

                         

                         

                         

                         

          70.

                         94C CONTINUED:

                         JERRY
          (a growl of inhuman

                         RAGE)
          What?
          His hand snaps out, grabbing Evil Ed and jerking hin for-
          ward into the spill of light from the overhead street lamp. '
          The sign of the cross is clearly seen on his forehead.
          Jerry stares at it in revulsion.

                         JERRY
          What is that?

                         EVIL ED

                         (CRYING PITEOUSLY)
          He had a cross --

                         JERRY
          Fool!
          He slams him back into the seat with so much force the
          crossbar that holds it in'place.bends.

          94D EXT.. STREET - JEEP - NIGHT

          Jerry leaps out of the Jeep, slamming the door behind him,
          Evil Ed and Jerry staring after him as he strides toward
          the entrance to the club.

          94E INT. CLUB RADIO - NIGHT

          Charley stands' at the phone, Amy beside him, watching
          anxiously as he listens to the phone ring on the' other end.

                         CHARLEY
          C'mon; Mr, Vincent, answer, please,
          answer.
          Unseen by either of them, Jerry Dandrige sweeps through the
          front door of the club, moving like a god among mere mor-
          tals, his eyes, now glowing a faint red, sweeping the crowd
          of dancers as he moves toward the dance floor.

          95 INT. PETER'S APARTMENT - NIGHT

          Peter sits in the dark, clutching a cross, trying not to
          shake as he watches the-RINGING PHONE, too terrified to an-
          swer. It keeps on RINGING.

          CUT BACK TO:

          96 INT. CLUB RADIO - HALLWAY - NIGHT

          Charley turns his back to the dance floor and Amy, shield-
          ing the phone with his body to cut down on some of the din,
          swearing to himself as he does so.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 71.

                          96 CONTINUED:

                         CHARLEY
          Answer me, damnit, answer me --
          Behind him Amy stiffens, staring out onto the dance floor
          at the sea of people. Moving through the dancers like a
          golden god moving amid mere mortals walks Jerry Dandrige.
          The hot, colored lights of the dance floor highlight his
          hair, accentuating his gracefulness, making him seem even
          more beautiful than he is.
          He stops just at the edge of the floor and holds his hand
          out to Amy, the orgiastic dancing swirling on behind him,
          the pounding, SENSUAL BEAT OF THE FUNK ROCK washing over
          them both. His eyes burn into hers, willing her to come to
          him.
          Terrified, she turns back toward Charley. In that moment
          Jerry disappears from the mouth of the hallway, Amy turn-
          ing back just as she's about to grab Charley only to see
          he's gone. She stops, more intrigued than frightened,
          the image of that beautiful man holding out his hand to
          her sharp in her mind. She takes a step forward down the
          hall, continuing down the hall until she has a clear view
          of the dancers. Jerry's nowhere to be seen.
          Behind her., . Charley is just about to turn and glance. in 
           her direction when a voice answers on the other end of 
          the line.

           PETER (V.0.)
           Yes.
           Charley cups one hand over his ear, bending dawn to hear
           better. Behind hint Amy slowly disappears down the hall- 
          way and onto the dance floor. 

                         CHARLEY
          Mr. Vincent, this is Charley Brewster.
          You gotta help us. Jerry Dandrige has
          me and Amy trapped in this club --

          CUT BACK TO:

          97 INT. PETER'S APARTMENT - NIGHT

          Peter moves to the window, the phone in his hand. He
          slowly pulls back the curtain, peering down at the street
          below.

                         PETER
          I'm sorry, Charley. I-can't do that.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 72.

                          97 CONTINUED:

           CHARLEY (V.0.)

                         (INCREASINGLY DESPERATE)
          But you have to come, Mr. Vincent.
          You're the only one who knows what's
          going on.

                         PETER
          You have to understand, Charley.
          Ed's one of them now. He just tried
          to kill me. If I try to go out he'll
          kill me for sure.

          CUT BACK TO:

                         I

          98 INT. CLUB RADIO - HALLWAY .- NIGHT I

          Charley is screaming into the phone, almost in tears.

                         CHARLEY
          If you don'"t, Dandrige'll kill us!
          He's so into what he's saying on the phone, he doesn't
          even realize Amy's gone.

          CUT BACK TO:

          99 INT. PETER'S APARTMENT - NIGHT


                         PETER

                         (TORTURED)
          I'm sorry, Charley, I just can't!
          He hangs up the phone, flattening himself back against the
          wall, terrified.

          CUT BACK TO:

          100. INT. CLUB RADIO - HALLWAY - NIGHT

          Charley slams the phone down, turning to Amy.

                         CHARLEY
          God damn him. He-won't help us --
          -Only Amy is gone, the hallway empty. Charley rushes toward
          the dance floor.

          101 INT. CLUB RADIO - DANCE FLOOR - NIGHT

          Charley emerges from the hall, looking about in the crush
          of people for Amy. Nothing; it's as if she's disappeared
          into thin air. He plunges out into the crowd.

                         (CONTINUED)

                         A

                         

                         

                         

                         
          gr Rev. 11/26/84 73.

                          101 CONTINUED:
          In another part of the bar area Charley moves among the
          people, desperately searching for Amy. He passes the
          drunken teenagers, ignoring them as he suddenly bumps into
          a table, a man yelling up at hiXi angrily.

                         CORE USER
          Hey, watch out,.asshole!
          Charley glances down to see the table of users grouped
          around their mirror of white powder. He moves quickly
          away, searching for Amy. He stops by the wall of poseurs
          cruising everything that walks by, asking a girl that looks
          from behind as though she must be Amy's age.

                         CHARLEY
          Pardon me, have you seen a girl,

                         LIGHT-HAIRED --

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 74.

                          101 CONTINUED: (2)
          The girl turns to him,. revealing herself as a woman well
          into her mid-forties, decked out like a teenager, Sylvia
          Miles ten years ago, staring at him hungrily.

                         OLDER WOMAN
          Forget her, take me instead
          She reaches out to kiss Charley and he flees the crowd of
          flesh.watchers laughing at him as he goes.
          He moves along a wall of LESBIANS, stopping one, his des-
          peration growing.

                         CHARLEY
          I'm looking for a girl --

                         LESBIAN
          So am I.
          Before Charley can recover a woman moves into her arms,
          Charley, shocked and disconcerted, backing away until he
          bumps to a halt against a heavy metal biker, the kind of
          guy who's into Twisted Sister. The parody of biker throws
          him to the floor for the insult, his friends, walking par-
          odies of bikers, laughing at Charley as he leaps to his
          feet and backs away into the crowd.
          He breaks free of the packed humanity, stopping on the
          stairs. It is at that moment that he catches a glimpse of
          Amy on the dance floor, dancing with Jerry. He hurries
          down the stairs and onto the floor.
          On the dance floor, Amy moves.with Jerry, their bodies
          locked together, slowly falling. into his eyes, dancing
          slower and slower with him until finally she has no will
          left of her own. She is "in love" with him. It is at that
          moment that she bends her head forward, laying it on his
          shoulder, exposing her neck to him, her eyes staring at the
          wall as they revolve around and around, Jerry bending down
          to kiss her neck, his mouth slowly opening. It is at that
          moment Amy sees her reflection in the mirrors mounted
          against one wall;.she is dancing alone. Shocked back to
          her senses, she goes rigid in Jerry's arms, trying to pull
          away from him, screaming as the music and the dancers stop.

                         'AMY
          Charley!
          Across the dance floor, Charley hears her SCREAM and pushes
          his way through the sea of humanity, fighting his way to
          her side where she stands with Jerry, once again caught in
          his eyes, slowly losing her will. Charley grabs Jerry by
          the shoulder, trying to pull him away from Amy.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 74A.

                          101 CONTINUED: (2A)

                         CHARLEY
          Let her go!
          Jerry looks down at him, smiling, mocking him as Amy sways
          in his arms, her eyes locked on. his face.

                         JERRY
          What's wrong, Charley? Jealous?
          He grinds his pelvis against.Amy, dry humping her in front
          of Charley. She throws her head back, her mouth opening in
          .something close to ecstasy, her eyes glazed, staring up at
          him with adoration, giving herself to him as she cocks her
          head to one side, exposing her tender young throat.
          Charley goes crazy.

                         CHARLEY
          You filthy son-of-a-bitch -- !
          He swings at him only to have Jerry release Amy, catching
          Charley's fist in the palm of his hand easily. Be stares
          down at the boy, smiling cruelly.

          .JERRY
          You shouldn't lose your temper,
          Charley. It isn't polite.
          He tightens his grip, slowly squeezing Charley's fist. You
          can almost hear the knuckle bones grinding as Charley's
          face'contorts in agony, driving him to his knees before
          Jerry. Charley looks up at him, tears of pain streaming
          down his face.

                         CHARLEY
          (gasping with pain)
          You can't kill me here --

                         JERRY
          I don't want to kill you, Charley. 
          I -want you to bring Peter Vincent to
          my house, just the two of you. That
          is if you ever want to see Amy again.
          He casually releases Charley, letting the boy drop to the
          floor as he disappears with Amy into the swirling mass of
          dancers. Charley leaps to his feet, ignoring the pain in
          his hand and plunges after them.
          Charley breaks free of the swirl near the bar, looking
          everywhere and not seeing either of them. Suddenly he's
          grabbed by a strong, pair of arms. He looks up to find
          himself staring into the face of a huge, black BOUNCER.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 748.

                          101 CONTINUED: (28)

                         CHARLEY

                         (DESPERATELY)
          Let me go --
          The man ignores him, calling back over his shoulder.

                         BOUNCER'
          Hey, Donny, this the one?
          Another huge bouncer, the one the cook talked to when
          Charley and Amy sneaked into the club, steps out of the
          whirl staring down at the boy.

                         DONNY
          Yeah, its him.

                         (TO CHARLEY)
          Where's your girlfriend?
          Charley suddenly sees Jerry and Amy breaking through the
          throng, heading for the entrance. He points to them
          wildly.

                         CHARLEY
          That's her, over there with that older

                         GUYF

                         DONNY
          C' mon .--
          He cuts across the floor on a diagonal to intercept Jerry
          and Amy, the black bouncer dragging Charley after him in a
          steel 'grip. Jerry finally reaches the throng near the
          front door, starting to move through it with Amy when sud-
          denly the two bouncers and Charley block his way. Donny
          jerks Amy out of Jerry's hand, passing her to the black
          bouncer, nodding at her and Charley.

                         (CONTINUED)

                         

                         

                         

                         

          75.

                         101 CONTINUED: (3)

                         DONNY
          Get the two of them out of here.
          Jerry steps toward Amy, his face beginning to darken with
          rage, the MUSIC pulsating around them, people swirling by
          on all sides.

                         JERRY
          She's mine --
          Donny puts out his hand, stopping Jerry as the black
          bouncer drag's Charley and Amy toward the front door.

                         DONNY
          You want chicken, man, you. go to some
          other club.
          Jerry snarls, his eyes beginning to glow, his hair slicking
          back slightly, the hint of fangs beginning to protrude over
          his upper lip as rage overtakes him. He raises his right
          hand, holding it out in.front of. the bouncer's face so the
          man can clearly see what is happening. The nails on the
          four fingers pop out, literally elongating several inches
          in front of the man's eyes, growing into razor sharp claws
          that sparkle in the overhead lights.
          The bouncer, terrified, screams for his'companion.

                         'DONNY
          Hey, Leon, get back here!
          Toward the entrance to' the club, Leon releases Charley and
          Amy, hustling back toward his buddy. Charley grabs Amy,'
          pulling her toward the door.

                         CHARLEY
          C'mon, quick --
          But it's. too late already. Donny screams as the talons
          whistle through the air, tearing his throat out in one
          swipe, scattering blood everywhere, blinding several of the
          dancers swirling.by, hitting people drinking at the bar, a
          couple necking in a corner, blood flying everywhere.
          Jerry steps around the corpse as it topples backward over a
          table of coke users, the bouncer's dead eyes staring up at
          them. Leon dashes up, - lunging for Jerry. The vampire's
          hand snaps out, grabbing`him by the throat, squeezing,
          driving those claws deep into the man's neck, holding him
          like a chicken, enjoying a second of his death throes and
          then casually flinging him into the center of the floor,
          bringing the music and all the dancing to a shrieking halt
          as this new group of people stare at another dead body.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 76.

                          101 CONTINUED: ( 4)
          Pandemonium erupts throughout the club, people screaming
          and rushing for the exit, the fear contagious, all of them
          streaming toward the bottleneck of a hallway leading to the
          front door, turning it into a battleground of panicked,
          terrified people, clawing and screaming to get out of the
          club. -
          Close to the front door, Charley and Amy fight their way
          through the madness, trying to gain the outside and freedom
          as behind them a wave of panicked humanity sweeps toward
          them.

                         CHARLEY
          Hold on to me --
          Suddenly Jerry steps out in front of them and sweeps Amy
          away from. him, the crowd flowing around Charley and carry-
          ing him off in the opposite direction as he fights and
          screams to get back to her.

                         CHARLEY

                         AMYL
          But the sea of humanity is too much for him; it pushes him
          ,first away from and then toward the front door, leaving him
          no choice but to go with it or be trampled.

          102 EXT. CLUB RADIO - NIGHT

          Charley bursts through the entrance of the club just in
          time to see the black Jeep ROARING away down the street,
          Evil Ed peering out the back window, grinning wi.ldly at
          him, mocking him with his full set of fangs.

                         CUT TO:

                         103 OMITTED

                         THRU

                         121

          122 INT. PETER VINCENT'S APARTMENT - NIGHT

          Peter is hurriedly packing, shoving the bare necessities
          into his suitcase, preparing to abandon his mementos of
          a lifetime in his rush to get out of town while he's
          still alive.
          There's a KNOCK at the door. Be looks up, terrified.

                         PETER
          Who is it?

          CHARLEY (O.S.)
          Charley Brewster. Let me in.

                         

                         

                         

                         
          bl Rev. 10/9/84 77.

          123 EXT. APARTMENT HALLWAY - NIGHT 123

          The door cracks open an inch, a chain across the latch.
          Peter peers out at him.

                         PETER
          Are you one of them, too?

                         CHARLEY
          What are you talking about?
          Peter thrusts his cross out through the crack.'

                         PETER
          Here, grab this.
          Charley does as told. Peter peers at his hand. No smoke.
          He hurriedly slips the chain from the door and pulls the
          boy inside.

          124 INT. APARTMENT - NIGHT

          Peter relatches the door and hurries back to his packing.
          Charley watches him.

                         CHARLEY
          What are you, doing?

                         PETER
          Leaving.

                         CHARLEY
          You can't.

                         PETER
          Wanna bet? Watch me.
          Peter closes the suitcase, hurrying for the door. Charley
          steps in front of him, blocking his path.

                         CHARLEY
          Dandrige has Amy. He says he'll kill
          her unless we come to his house.
          Peter stops, staring at Charley, stunned. The blood drains
          from his face.

                         PETER
          Oh, my God.

                         (SUDDENLY REACHING
          for the phone)
          The police, I'll call the police --

                         CHARLEY
          (grabbing the phone
          away from him)
          No, they won't believe you. I've
          tried.

                         (CONTINUED)

                         

                         

                         

                         
          ch Rev. 12/4/84 78.

                          124 CONTINUED:
          'Peter collapses in a chair, staring blindly ahead.

                         CHARLEY

                         (QUIETLY)
          Peter, it's just us. Were going to
          have to save Amy.

                         PETER
          I can't. I was paid to be there
          today.

                         CHARLEY
          I know.

                         PETER
          And you still want me to help you?

                         CHARLEY
          Yes. You're Peter Vincent, the Great
          Vampire Killer.

                         PETER
          (looking up at him,

                         FURIOUS)
          That's a character in a movie, 
          .Charley. That's not even my real name!
          (repressing a sob)
          And I'm terrified, I'm sorry, but I am.

                         CHARLEY
          I can't do it alone, Peter. If you
          don't help, Amy's going to die. And
          me, too, probably.
          r (nothing f om Peter)
          Please, Peter.

                         PETER
          I'm sorry, Charley.

                         CHARLEY
          (quietly, of ter a

                         MOMENT)
          Yeah, me, too.
          He walks to the door, slipping quietly out of the apart-
          ment, leaving Peter staring miserable at the floor.

                         DISSOLVE TO:

          125 INT. DANDRIGE HOUSE - BEDROOM - NIGHT

          Amy slowly regains consciousness, opening her eyes to find
          herself laying on the floor, Jerry Dandrige looming over
          her. She cowers back, looking about the bedroom.

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84 79.

                          125 CONTINUED:

                         AMY
          Where am I?

                         JERRY
          Where you wanted to be. In
          bedroom.
          He reaches out a hand to her; she cowers back.

                         AMY
          Liar. Where's Charley?

                         JERRY
          You don't really care.
          He hits play on the TAPE DECK. FUNK ROCK, hot and driving,
          snakes out of the speakers. He turns back to her, holding
          out his hand. She looks away, then glances up only to find
          herself trapped in his gaze.
          He starts.to weave his way across the floor toward her,.
          every move a suggestion, an invitation, all of it somehow
          hypnotic. She stares at him, fighting to break free.
          Finally she manages to turn her head away, staring at the
          floor, screaming at him.

                         AMY
          Liarl I love him...
          It doesn't faze him; he just keeps moving to the beat,
          slowly, oh, so slowly, coming closer and closer to where
          she sits on the floor, his voice stroking her as he comes.

                         JERRY
          Am I lying, Amy?
          He stops above her, leaning down, his voice a husky, post-
          coital whisper.

                         JERRY
          Am I?
          And she's gone, his eyes drawing her in and swallowing her
          up, drowning her in their faint red glow. He holds out his
          hand to her.
          She slowly takes it and-he raises her up into his arms,
          moving in place to the MUSIC with her, smiling down as she
          stares up at him blindly. He gently pushes her head down
          on his shoulder, exposing her tender young neck.
          And then he slowly bends down, his mouth opening to expose
          those two, razor sharp fangs with their alabaster cast,
          slowly, delicately sliding them beneath her skin.

                         (CONTINUED)

                         

                         

                         

                         
          bf Rev. 11/28/84 80.

                          125 CONTINUED: (2)
          Her body arches, both arms pressing him to her, her body
          clinging to his. And then she screams, bucking under him
          like she's having something like a sexual climax, only
          better, much better.
          And just underneath her scream.is this horrid, greedy,
          SUCKING NOISE, Jerry Dandrige, feeding.

                         CUT TO:

          125A EXT. SIDE YARD OF A HOUSE - NIGHT

          Charley walks through the darkness, with cross and stake
          held in his hands, slowly approaching the Dandrige house
          through a side yard across the street.
          The shadows loom up over him, the wind causing the TREE
          BRANCHES to RUSTLE, Charley growing more and more nervous
          with every passing second.

          126 EXT. DANDRIGE HOUSE - NIGHT

          -Charley steps out of the darkness of the trees across the
          street from the Dandrige house, stopping to stare at it.
          The huge, silent, dark.house no longer looks like every
          other house on the block.
          It seems to have assumed a life of its own and turned into
          a hulking, brooding monster, about to leap forward and
          pounce on him.
          Charley grips his stake and hammer, checks the cross stuck
          in his jacket pocket, takes'a deep breath, squares his
          shoulders, and starts the slow walk toward the Dandrige
          house. Through the trees-he moves, into the shadows and
          darkness, across the street, closer and closer,to that
          hulking,, evil house.
          Suddenly a'hand snaps out of the darkness, grabbing him by
          the shoulder.

                         CHARLEY

                         (TERRIFIED)
          What? :

           "PETER (O . S . )
          Peter Vincent, ready to do battle
          with the undead.
          Charley whirls to find himself staring into Peter Vincent's
          drawn face. He wears his Victorian suit, his whole
          demeanor that of his public persona, the vampire killer.

                         (CONTINUED)

                         

                         

                         

                         
          bf Rev. 11/28/84 80A.

                          126 CONTINUED:

                         CEARLEY

                         (GULPING)
          Peter, this is serious

                         PETER
          (pulling himself up to
          his full height)
          I am serious.
          Ee drops to his knees, pulling an assortment of his movie
          props out of his leather bag.

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84 81.

                          126 CONTINUED:

                          PETER T
          Let's see, stakes, hammer, crosses,

                         FLASHLIGHT --

          CHARLEY.
          What about Billy Cole? What's going
          to stop him?
          Peter rises, holding up a pistol.

                         PETER
          This. From Orgy of the Damned.

                         CHARLEY
          What if he's not human? Bullets
          aren't going to stop him then.

                         PETER
          He walks around during the day,
          doesn't he?

                         (CHARLEY NODS)
          Then he's human.
          (turning toward the

                         HOUSE)
          Let's go.
          The two of them cross the street, heading toward the house
          which now seems to be staring at them, about to charge
          them. Charley glances at Peter.

                         CHARLEY

                         PETER --

                         PETER
          (cutting him off)
          Not now.
          But Peter isn't really paying attention to Charley. His
          eyes are on that malevolent looking house, the house
          looming larger and larger above him as they get closer and
          closer.
          Peter begins to slow, his nerve draining away as the true-
          evilness of the. place begins to eat at him. He finally
          comes to a halt, staring at the house. Charley stops,
          looking. back.

                         CHARLEY
          What's wrong?

                         PETER
          (quickly).
          Nothing, nothing at all.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 82.

                          126 CONTINUED: (2)
          He joins Charley, the two of them slowly walking toward
          the house again, Peter becoming more and more nervous the
          closer they get. Charley takes a step for the front door.
          Peter grabs him.

                         PETER
          Are you crazy? Not through the front
          door. Let's go around to the back
          and sneak in
          The front door slowly swings open on creaking hinges,
          seemingly of its own accord. Peter and Charley turn to
          look at it, a dark gaping hole like an open mouth, ready
          to swallow them.

                         CHARLEY
          Too late.
          Be starts moving up the porch toward the door. Peter moves
          with him, his gaze fixed on that gaping mouth of an open
          doorway, mumbling to himself as he goes.

                         PETER
           I'm Peter Vincent, the great vampire
          killer. I'm --
          They disappear into the house, Jerry Dandrige suddenly
          .stepping INTO FRAME, staring after them.

          127 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT

           Charley and Peter stop and stare around in the darkness.
           Nothing moves, not even a shadow. Charley nods up the
          stairs.

                          CHARLEY
           This way.
          They start up the stairway.

          127A EXT. HOUSE - NIGHT

          Outside the house, the SUBJECTIVE CAMERA watches them,
          craning past the front..windows onto the side of the house,.
          watching Charley and Peter through the windows as they
          mount the stairs, the CAMERA SLOWLY heading up the side of
          the house.

          127B INT. JERRY'S BEDROOM,- NIGHT

           Jerry appears outside his bedroom window, floating there.
          t He leans forward, opening the window, about to climb in.

                         

                         

                         

                         

          8 2A.
          pk Rev. ll/I6/84

          127C IT. HOUSE.- STAIRWAY - NIGHT
          { _ �? P eter suddenly grabs Charley, freezing as he hears that
          second story bedroom window opening.

                         -PETER
          Did you just hear something?

                         CHARLEY'
          (pausing and listening)
          No.
          They start up the stairway. Peter grabs Charley again,
          digging his fingers into the boy's arms, listening hard.

                         PETER
          Let's wait until dawn. He'll be in
          his coffin then. We'll have a better
          chance of getting Amy.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 83.

                          127C CONTINUED:

                         CHARLEY
          Amy'll be dead by then, too. Now

                         COME ON
          He turns to start up the stairs- only to have a voice come
          out of the darkness on the landing above.
          JERRY (o.s.)
          (he steps forward into
          the light, looking

                         ABSOLUTELY ENORMOUS)
          Welcome to Fright Night. For
          Real._
          Peter almost turns tail and runs right there. Charley
          grabs him, holding him in place on the staircase, staring
          up at the vampire looming above them.

                         CHARLEY
          Where's Amy?

                         JERRY

                         (SMILING)
          Up here. All you have to do is get

                         BY ME
          He starts. down the steps. Peter whips out one of the
          crosses, thrusting it at the vampire.

                         PETER
          (in his vampire killer

                         VOICE)
          Back, spawn of Satan.

                         JERRY
          Oh, really?
          He reaches out, takes the cross. from Peter's hand and
          crumples it, contemptuously tossing. it aside. Be turns
          back to Peter.

                         JERRY
          You have to have faith in order for
          it to work on me, Mr. Vincent.
          He starts down the stairs again, Peter backing away,
          terrified, his nerve completely gone now. Charley steps
          forward, staring up at Dandrige defiantly. He whips out
          his cross, thrusting it at the vampire.

                         CHARLEY
          Stop!
          Jerry stops, staring at the cross. Charley starts up the
          stairs toward him, the cross held in front of him.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 - 84.

                          127C CONTINUED: (2)

                          CHARLEY

                          BACK --
          Jerry backs up the stairs, away from the cross,
          disappearing into the darkness at the top of the landing.
          Charley glances back at Peter triumphantly.

                         CHARLEY
          We're gonna make.it --
          Billy Cole suddenly steps out of the darkness in front of
          him, rips the cross from the boy's hand and viciously
          backhands him across the face. With a scream, Charley
          smashes through the. stairway railing, plunging to the
          hallway floor below. He lands with a solid thud, lying
          there, groaning.
          Jerry steps in front of Billy, staring down at Peter on the
          stairway, smiling at him. Then he slowly starts down the
          stairs toward Peter. With a scream, the actor whirls,
          racing down the steps and out the front door.

          128 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - NIGHT

          Peter smashes through the front door, yelling up the
          stairway.

                         PETER
          Mrs. Brewster!
          No answer. He grabs the phone from the table and punches
          out a number, speaking hurriedly into it.

                         PETER
          Hello, operator, get me the police.
          Operator?
          No response, not even a dial tone. He holds the phone up
          only to see the cord has been ripped from the wall.
          His eyes widen in horror, his gaze snapping back up the
          stairs.
           PETER (Cont.)
          Mrs. Brewster --
          He plunges up the stairs.

          129 INT. MASTER BEDROOM - NIGHT

          He bursts through the door to see Judy in bed, the back of
          her head to him, her blond hair lying across the pillow.
          He hurries across the room. toward her, relief sweeping his
          features.

                         (CONTINUED)

                         A

                         

                         

                         

                         
          yl Rev. 11/23/84 85..

                          129 CONTINUED:

                         PETER
          Mrs. Brewster, thank God. All the
          phones have been ripped from the

                         WALLS --
          Be reaches out, turning her over on the bed to face him...
          only it isn't Judy; it's Evil Ed, wearing one of her wigs.

                         EVIL ED
          I know. I did it.
          He grins up at Peter as he.-slowly rises, the wig
          slipping from his head, his features already
          transformed subtly into those of a vampire, the hair
          slicked back on his head, his face elongated, two huge
          white fangs slashing over his lower lip.
          Peter staggers back, staring at him in horror.

                         PETER
          Where's Charley's mother?

                         EVIL ED
          She's working nights apparently. She
          left - a note for Charley.
          (holding out the crumpled
          note as he takes a step

                         FOR PETER)
          His dinner's in the oven. 
          With a scream, Peter whirls and plunges out of the room.

          130 INT. HALL WAY - NIGHT

          Peter races down the hallway only to bit a table in the
          dark, crashing to the floor on the landing, the.table
          splintering beneath him. He sits up, groaning, holding his
          leg.
          He suddenly hears a GROWLING, low and deep and vicious,
          coming from the other end of the hallway. He looks up,
          .staring into the darkness.
          Suddenly, a HUGE WOLF, as ugly as Evil Ed, tears out of the
          master bedroom, skidding to a halt, staring back at Peter.
          It's eyes glow like red-hot coals in the dark, saliva drip-
          ping from its huge fangs.
          Peter scrambles to his feet, about to plunge down the
          stairs when with a terrible SNARL, the huge animal bounds
          down the hall toward him.
          With a scream, Peter picks up a splintered leg of the table
          just as the wolf launches itself into the air toward his
          jugular vein.

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84 86.

                          130 CONTINUED:
          He slams the jagged piece of wood into the animal's chest
          as it flies past, its snapping jaws missing his throat by
          an inch, the wolf hits the landing railing and plows
          through it, almost in slow motion, plunging over the side.

          131 INT. PORTICO - STAIRWAY - NIGHT-

          The wolf tumbles through the air in a blur of fur and
          fangs, down and down until suddenly Evil Ed smashes into
          the hardwood floor below with a terrible THUD. He lays
          there, the long wooden splinter buried in his heart.
          Peter hurries down the stairs, stopping above him and
          staring down, watching in fascinated horror as humanity
          leaks back into his eyes, his face transforming into that
          of a normal teenage boy as he dies.
          He looks up at Peter with suddenly soft, brown eyes.

                         EVIL ED

                         I'M SORRY
          He dies, Peter staring down at him, sorrow struck by the
          waste and horridness of it all..

          132 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT

          Jerry comes through the�door with Charley over his shoulder
          and dumps him on the floor a few feet from where Amy lies,
          curled up in a fetal ball.
          He nods at. Amy as Charley slowly opens his eyes, regaining
          his senses.

                         JERRY
          You wanted her, there she is.
          Charley glances to his side, sees Amy lying there, and
          crawls to her. He gently turns her toward'him.

                         CHARLEY

                         AMY --
          His words die on his lips. Amy's eyes are clenched shut,
          her face drenched with sweat, her entire body trembling.
          Jerry .watches his horrified reaction, smiling.

                         JERRY
          You see, you gave me so much trouble,
          I thought you deserved a special
          punishment.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 87.

                          132 CONTINUED:

                         CHARLEY
          (staring up at him

                         WILDLY)
          What have you done to her?

                         JERRY '
          Nothing much. I just bit her a
          little bit, that's all.
          Jerry just stares-at him silently, leaving no room for the
          boy to disbelieve him. Charley suddenly leaps for him,
          furious with rage.

                         CHARLEY
          You bastard!
          .Jerry casually knocks him aside, flinging him through the
          air against the far wall with his incredible strength.
          Charley crumples to the floor, stunned. Jerry walks over
          to him and drops a wooden stake at his feet.

                         JERRY
          Here.
          (Charley stares at

                         IT DUMBLY)
          You're going to need it just before
          dawn. - -
          With a bow he lets himself out of the room, closing the
          door behind him. The key can be heard turning in the
          lack. Charley stares around for a moment, gathering his
          senses. He sees the window has been boarded up with plank
          after plank and nail after nail. It would be impossible
          for him to rip it apart, just as it would be impossible for
          anyone to-hear him through.it were he to scream.
          He crawls to Amy, gently turning her over only to see that
          she has already begun to change, her upper lip slipping
          back as he stares at her, revealing lengthening bicuspids,
          the beginnings of fangs. Her eyes are black, like bottom-
          less pits. He raises his head and screams, his voice 
          filled with anguish and despair.

                         CHARLEY
          No!

          133 EXT. STAIRWAY - NIGHT

          Dandrige pauses halfway down the stairs, listening to the
          agony in Charley's voice as the scream dies away. He
          smiles, then continues to walk down the stairs.

          134 EXT. DANDRIGE HOUSE - NIGHT

          Peter faces the brooding, terrible house, his stake and
          hammer in either hand, his face set hard with deter-
          mination. Throwing his shoulders back, he begins to walk
          slowly toward the front door.

                         

                         

                         

                         
          bl Rev. 10/9/84 88.

           135 INT. PORTICO - HALL - STAIRS - NIGHT

          He slips through the front door, pausing to look down the
          hall. The basement door is open, the sounds of Jerry and
          Billy working down there faintly heard. He hurries up the
          stairs.

          136 INT. SECOND FLOOR LANDING - NIGHT

          He works his way from door to door till he finds the locked
          one. He r aps on it lightly, whispering through a crack in
          the frame.

                         PETER
          Charley.

          137 INT. BEDROOM - NIGHT

           Charley hears the whisper and springs to his feet, hurrying
           to the door.

                          CHARLEY
           (in a whisper)
           Peter?
           PETER (o.s.)
          I'm going to have to break the door
          down. Make as much noise as you can.
          Charley turns to the wall, beating on it and yelling for
          all he's worth.

                         CHARLEY
          Help, let me out!

          138 INT. BASEMENT - NIGHT

          Jerry and Billy are preparing a spare coffin for Amy,
          dumping dirt into it from the bottom of the huge, ornate
          coffin Charley saw them carrying into the house on that
          first night so long- ago. They pause in their work as they
          hear Charley's SCREAM DYING AWAY. Jerry smiles at Billy.

                         JERRY 
          I think she just opened her eyes.

          139 INT. ROOM - NIGHT

          -Peter hits the door from the outside, snapping the lock,
          letting himself in and closing it as quietly as he can
          behind them. He looks around, spotting Amy lying in the
          corner.

                         PETER
          Quick, grab her and let's get out of

                         HERE -

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/25/84' 89.

                          139 CONTINUED:

                         CHARLEY
          We can't. Look.
          He falls to his knees beside Amy and rolls her over for
          Peter to see. She is still covered with sweat and
          trembling even more violently now. Her upper lip slips
          back revealing lengthening fangs, just the beginning of

                         I
           red in the iris. Peter's eyes widen in horror. I

          140 INT. BASEMENT - NIGHT

          Jerry pauses in his labor to stare up at the ceiling in the
          direction of the bedroom two floors above, his ear
          cocked. .Billy looks at him.

                         BILLY
          Something wrong? '

                         JERRY
          Yes. We have a visitor.
          He puts down his shovel, heading for the stairs, Billy
          following him.

          141 INT. BEDROOM - NIGHT

          Charley glances up from Amy's trembling body to look at
          Peter.

                         CHARLEY
          Is it too late to save her?

                         PETER
          Not if we kill Dandrige before dawn.'

          141A EXT. SIDE OF DANDRIGE HOUSE - NIGHT

          SUBJECTIVE CAMERA CRANES UP'off a basement window, up the
          side of the house past the living room window and up and
          up, the VOICES in Jerry's bedroom getting LOUDER and
          LOUDER as Jerry approaches.

                         CHARLEY
          Are you sure?

                         PETER
          So far everything's just like in the
          movies. We'll just have to keep on
          hoping.
          And the CAMERA STOPS outside the bedroom window, watch-
          ing as Charley grabs the stake Dandrige dropped on the
          floor, and heads for. the door.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 89A,

                         141A CONTINUED:

                         CHARLEY
          Let's go --
           He and Peter hurry out the door, the CAMERA WATCHING them
          go.

          142 INT. SECOND FLOOR LANDING - STAIRWAY - NIGHT


                          I
          They come out of the bedroom and start. down the steps only
          to find themselves facing Billy Cole coming up the other
          way. They freeze. as Billy stops, a slow smile sliding
          across his grim features.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 90.

                          142 CONTINUED:

                         BILLY
          Well, what do we have here?
          He starts up the steps. Peter :pulls a pistol, one of the
          props from his apartment, from-his pocket.

                         PETER
          Stop or I'll shoot.
          Billy stops, still smiling at him,. their eyes locked for
          what seems like an eternity. Then Billy starts up the
          stairs toward him again. Peter points the gun at Billy
          with trembling hands.

                         PETER
          I mean it. Don't force me to

                         SHOOT --
          Billy reaches out his huge hands for Peter's throat. Peter
          FIRES, the bullet punching a neat hole through Billy's
          forehead. The large man freezes, his eyes rolling back in
          his skull.
          Be stands there for a moment and then tumbles backward down
          the stairs, landing with a CRASH at the bottom.
          Suddenly there is the SOUND OF APPROACHING FOOTSTEPS on the
          balcony above. Peter and Charley whirl, staring up at the
          landing above them. A second later Jerry Dandrige steps
          out of the shadows.
          With a smile he starts down the stairs toward them.
          Charley steps forward, thrusting his cross up at Dandrige.

          CHARLEY.

                         STOPS
          Dandrige freezes, his face darkening with fury. Charley
          starts up the steps, Peter close behind him.

                         CHARLEY
          Come on, we have him --
          Dandrige's gaze snaps past Charley's shoulder, down into
          the shadows at the bottom of the stairs where Billy's body
          lies, his eyes glowing as they burn into the corpse for a
          moment before shifting back to Charley and Peter.
          He smiles at the boy.

                         JERRY
          Do you?
          He steps back into Amy's room, disappearing from sight.
          Peter looks at Charley.

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84 91.

                          142 CONTINUED: (2)

                         CHARLEY
          What did he mean?

                         PETER
          Nothing. He's just bluffing.
          Charley continues up the stairs-slowly, the cross held out
          in front of him, Peter hugging his back. Behind them, down
          at the foot of the stairs,,Billy slowly sits up. Peter and
          Charley continue climbing, their gazes fixed ahead. Behind
          them Billy stands and starts to walk up the stairs toward
          them, the first STEP he hits GROANING under his heavy
          weight.
          Charley and Peter freeze, turning to look back. They see
          the huge man coming up the stairs toward them, a thin trail
          of blood leaking from the bullet hole in his forehead.
          Peter whips his pistol out with trembling hands and UNLOADS
          THE ENTIRE REVOLVER into the man, casting a pale of
          gunsmoke in front of him and Charley, obscuring their view
          of the stairway below.
          Suddenly Billy Cole appears through the thick cloud, back-
          ing them up the stairs. Peter stumbles, falling backward,
          .unable to rise in time. Billy leans down, grabbing him and
          jerking him into the air like a ragdoll.,. about to fling him
          over the ballustrade to the floor far below.
          Charley suddenly leaps forward, slamming his stake into the
          creature's heart.

                         CHARLEY
          No!
          Billy Cole freezes, his eyes widening. Be drops Peter
          crashing to the steps and staggers back, grabbing the rail
          for support, hanging there below Peter and Charley for what
          seems an eternity, the stake protruding from his heart..
          As the two watch in horror, Cole's face slowly begins to
          dissolve, skin putrefying and slipping away, revealing the
          grinning skull beneath, the process of dissolution acceler-
          ating as the seconds tick past.
          Suddenly the legs turn to bone and.what remains of the
          body, no more than a skeleton in clothes now, tumbles
          backward down the stairs with a clatter, to land with a
          crash on the floor below, bones rolling in-every direction
          across the portico. They stare down the stairs at his
          remains.

                         CHARLEY
          (in a hoarse whisper)
          Be wasn't human.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 92.

                          142 CONTINUED: (3)

                         PETER
          No, he, certainly wasn't.
          Peter scrambles to his feet, he'and Charley backing
          hurriedly up the stairs, terrified by what they've seen.
          i 143 INT. AMY'S ROOM - NIGHT
           They rush into Amy's room, Peter stopping to stare at the 
          open window, left that way by Dandrige when he entered and
          left. Charley ignores it, hurrying to Amy, and kneeling by
          her side. He gently turns her over to expose lengthening
          bicuspids as Peter sticks his head out the window. Her
          irises are now more red than before, signaling the trans-
          ition she is making from the living to the walking dead.

          143A EXT. JERRY'S WINDOW - SIDE OF THE HOUSE - NIGHT

          Peter glances down, searching for Jerry as above him,
          clinging flat to the wall like a fly, is Jerry. The vam-
          pire smiles, slowly drawing back his clawed hand to tear
          Peter's throat out when the man cranes his neck to look
          over his shoulder. He is just about to when Charley calls
          to him from the room within.

                         CHARLEY
          Peter!
           Peter ducks in just as Jerry's about to strike.

          143B INT. JERRY'S ROOM - NIGHT

          Charley looks up from Amy's-unconscious body at Peter.

                         CHARLEY
          She's worse. C'mon, we're running
          out of time --
          The two men rush out of the room.

          143C EXT. JERRY'S WINDOW - SIDE OF HOUSE - NIGHT

          The SUBJECTIVE CAMERA does a 180 degree turn, staring in
          through the window out the open door onto the balcony.
          Jerry.sees Peter and Charley standing out there, hears
          their voices.

                         CHARLEY
          Where is he?
          The CAMERA BEGINS TO DRIFT up the side of the house toward
          the attic window above.

                         

                         

                         

                         
          Rev. 11/26/84 9 2A.

          144 INT. SECOND FLOOR LANDING - NIGHT

          Charley and Peter there, staring about. Suddenly they
          hear FOOTSTEPS on the floor above. They stare up at the
          ceiling.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 93.

                          144 CONTINUED:

                         PETER
          He's in the attic.
          They rush to the attic door, the two men disappearing up
          the dark stairs.

          145 INT. ATTIC - NIGHT

          They come up the staircase to find themselves enclosed in
          darkness. Peter pulls out a flashlight and flicks it on,
          shining it about the musty, filthy room. He pauses as rats
          scatter beneath the unexpected blaze.
          He continues to search with the flashlight, picking out the
          remains of a--ruined window at the far end, the glass shat-
          tered, the window itself flung wide open.

                         CHARLEY
          Well, he was here --
          The beam moves on, only to suddenly stop on a large chest
          shoved in a corner.

                         PETER
          There, his-coffin.
          Both of them approach, staring down at the long chest.
          Peter hands the flashlight to Charley, pulling a stake from
          his pocket, a hammer from his belt. He raises the stake in
          the air, the hammer ready. He nods at the coffin.

                         PETER
          Open i t.
          Charley throws his shoulder against the lid, heaving. The
          lid opens with a GROAN, Peter about to stab down only to
          find it empty.

                         CHARLEY
          (almost in despair)
           God' damn him. Where is he? 

          145A EXT. ATTIC WINDOW - SIDE OF HOUSE - NIGHT

          The SUBJECTIVE CAMERA STARES in at them, then SLOWLY BE-
          GINS TO DRIFT up the side of the house toward the roof
          above.

          145B EXT. ROOF - NIGHT

          The CAMERA GOES UP onto the roof and down around the
          chimney to discover Jerry sitting there as though he's
          just alighted.

                         A

                         

                         

                         

                         
          gr Rev. 11/26/84 94.

           145C INT. ATTIC - NIGHT

          Charley and Peter stare up at the beams overhead as dust
          trickles down, the THUD of Jerry landing above them on
          the roof still loud in their ears.

                         PETER
          Well, now we know where he is.

                         CHARLEY
          Yeah, but what's he doing up there?

          146 EXT. DANDRIGE HOUSE - ROOF - NIGHT

          Jerry sits on the roof, squatting there like some huge
          nocturnal bird of prey, his eyes closed, his lips moving
          in a whisper.

          147 INT. BEDROOM - NIGHT

          Amy lies on the floor, hardly moving now. Suddenly she
          groans and rolls over, throwing a hand over her face as
          though trying to ward off some particularly terrible night-
          mare.

          .148 EXT. ROOF - NIGHT

          Dandrige's face darkens even more in concentration.

                         JERRY
          Amy, awake, I command you to awake!

          149 INT. BEDROOM - NIGHT

          Amy's eyes slowly open. There's not a vestige of human
          life in them. She blinks and her eyes go completely red,
          glowing in the dark.
          Dandrige's voice fills her. mind like distant thunder.

                         JERRY'S VOICE
          Now show me how much you love me,
          Amy, kill them both!
          She rises and moves like a zombie messenger of death toward
          the door to the hallway and the attic above.

          149A INT. ATTIC - NIGHT

          Charley and Peter are still staring up at the attic ceil-
          ing above, the waiting becoming unendurable for Charley.

                         CHARLEY
          I'm going up there.
          He heads for the open window at the far end of the
          attic nearest the stairs.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 95.

                         149A CONTINUED:

                         PETER

                         CHARLEY --
          He-takes a step after the boy, but he's too late. Charley
          is already out the window.

          149B EXT. ROOF - NIGHT

          Charley climbs onto the roof, a cross in his hand, a stake
          in the other. The roof looks deserted, but hidden behind
          the chimney stands Jerry, waiting for the boy. Unaware of
          the danger., Charley reaches the chimney and stealthily be-
          gins to circle it, sensing danger, the cross and stake in
          hand. He suddenly reaches the side where last we saw Jerry
          only to find no one there. He stands there puzzled,
          looking about.

          PETER (0.3 . )
          (calling up from
          the attic below)
          Do you see him?

                         CHARLEY

                          (SHOUTING BACK)
           No.

          150 INT.'ATTIC 'MIGHT

          Peter stands alone at the far end next to the coffin, ner-
          vously talking.to himself.

                         PETER
          Where the hell is he?
          And in the window directly behind his back, Jerry rises up
          out of the dark, no more than a few feet away, only 'a thin
          pane of glass separating Peter from his clawed hand. He
          raises it to strike through the glass at Peter just as
          .Charley slides in the open window at the far end from the
          roof and sees Jerry in the window behind Peter.. He screams
          out.

                         CHARLEY
          Peter, behind you!
          Peter whirls, holding up his cross and as quickly as he
          appeared from the night, Jerry slips back into it, leaving
          Peter staring at the window, terrified at the close call as
          Charley reaches his' side.

                         CHARLEY
          You okay?

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 96.

                          150 CONTINUED:
          Peter nods numbly as a huge shadow rises up along the
          staircase wall at the far end of the attic behind them,
          a shadow that suggests Jerry is coming up the stairs
          from the floor below toward them.
          A STAIR CREAKS behind them and Charley and Peter whirl
          to see Amy step out of the stairwell. She looks incred-
          ibly beautiful as though somehow her moment with Dandrige
          has transformed her from virginal girl to a full grown
          woman, dripping with sensuality. Charley steps forward,
          about to rush into her arms.

                         CHARLEY

                         AMY --

                         PETER

                         (GRABBING HIM)
          No!
          Charley looks at Amy as she clears the steps and turns to-
          ward them. Peter shines his flashlight into her face. The
          eyes glow red, the face lifeless, fangs, larger now than
          before, protruding.from her upper lip.

                         CHARLEY
          Oh, my God --
          Suddenly they hear Dandrige cruelly laughing at them from
          the floor below, laughing like this is the best joke he's
          ever heard..

                         CHARLEY
          He's downstairs now --
          Amy suddenly launches herself at Charley, seizing.him by
          the throat and throwing him to the floor, landing on top of
          him. He grabs her by the shoulders, holding her back as
          she tries to plunge her fangs into his neck. Peter steps
          up behind her, a stake raised in his hands, about to plunge
          it into her back.
          Charley screams up at him.

                         CHARLEY
          No!
          Peter shifts his grip on the stake, holding it like a club,
          and brings it slamming down on her back. She collapses un-
          conscious on top of Charley. He shoves her off, climbing
          to his feet, and turning toward the staircase to the floor
          below.

                         CHARLEY
          Come on --

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 97.

                          15'0 CONTINUED: (2)
          The two men plunge down the stairs. A second later, Amy
          rolls over, her eyes snapping open, perfectly conscious
          again. She slowly rises.

          151 INT. SECOND-FLOOR LANDING - PORTICO - STAIRS - NIGHT

          The two men come out of the stairway, Peter turning back to
          lock the attic door behind him. Charley starts for Jerry's
          room. Peter grabs him.

                         PETER
          You take downstairs, I'll take up

                         HERE --
          Charley plunges down the stairs to the portico below as
          Peter disappears into the bedroom, searching for Dandrige.

          151A EXT. HOUSE - JERRY'S BEDROOM WINDOW - NIGHT

          The SUBJECTIVE CAMERA WATCHES as Charley heads down the
          stairs, Peter turning for Jerry's room, the CAMERA CRANING
          OFF the window and DOWN around the side of the house,
          PICKING UP Charley up through the front windows as the boy
          disappears down the first floor hall in search of Jerry,
          Jerry watching him the entire time from outside the front
          of the house.

          151E INT..HOUSE - PORTICO - NIGHT

          The front door slowly begins to open, that strange killing
          hand of Jerry holding the doorknob, all that's seen of him
          as he obviously prepares to slip inside.

          151C INT. JERRY'S BEDROOM - NIGHT

          Peter freezes as he hears the front DOOR CREAK and turns,
          racing out the bedroom door onto the balcony.

          151D INT. SECOND-FLOOR BALCONY - NIGHT_

          Peter comes to a halt at the top of the stairs, peering
          down at the portico below. No Charley. He calls out,
          panic struck.

                         PETER
          Charley!
          Charley comes running down the hall, stopping at the bottom
          of the stairs, staring up at Peter..

                         CHARLEY
          What is it?

                         PETER
          (sighing in relief)
          I thought I heard something.

                         IS

                         

                         

                         

                         
          Rev. 11/26/84 98.

          151E EXT. FRONT OF HOUSE - NIGHT

          The SUBJECTIVE CAMERA STARES in at them, then starts to
          move across the porch and up the side of the house as
          Charley speaks to Peter.

                         CHARLEY
          What?
          The CAMERA PASSES Jerry's bedroom window, catching a
          glimpse of Peter on the balcony just as he replies to
          Charley.

                         PETER
          I don't know. Just my nerves, I
          guess.

          151F INT. HOUSE - SECOND-FLOOR BALCONY - NIGHT

          Behind Peter there is suddenly a POUNDING at the attic
          door. Its Amy, trying to get out. Peter stares wor-
          riedly at the attic door as the POUNDING from within be-
          comes more VIOLENT.
          Suddenly ALL THE CLOCKS on the wall below GO OFF, signaling
          that it's 6 a.m., dawn, time for Jerry to go to bed. 
          Peter takes his eyes off the clocks as the LAST CHIME DIES, 
          looking at Charley over the Balustrade.

                         PETER
          Keep searching for him. Se's got to
          be close. It's almost dawn.
          Charley heads back down the hallway toward the basement as
          above on the landing, Peter stares around, about to try
          another door when suddenly the huge stained glass window
          directly behind and above him bursts apart in an EXPLOSION
          OF SHATTERING GLASS and Jerry Dandrige plunges in from the
          outside, landing in a crouch before Peter.
          He rises as the. older man backs away.
          Charley rushes down the hail back into the portico, brought
          by the sound of the crash. He's about to start up the
          stairs when Dandrige turns and stares down at him.
          Charley ignores him, starting up the stairs. Peter speaks
          to him, never taking his gaze from Dandrige.

                         PETER
          Stay there, Charley --
          Charley freezes, staring up at the vampire and the man
          above, watching, waiting. Dandrige's gaze bores into
          Peter.

                         JERRY
          So. Just the two of us at last.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/26/84 99.

                         151F CONTINUED:
          He-takes a step for Peter. Peter whips out a cross,
          thrusting it at him. Dandrige stops, smiling at him.
          He starts for him again, Peter holding his ground, the
          cross thrust out in front of hiin.

                         PETER
          Back!

                         JERRY

                         (SMILING THINLY)
          You have to have faith for that
          to work, Mr. Vincent. Remember?
          Peter continues to hold his ground, the cross held up
          higher, staring defiantly back at Dandrige, refusing to
          drop his gaze. And then it happens: the vampire jerks to
          a halt, staring with slowly dawning fury at Peter, real-
          izing by whatever invisible force it is emanating from that
          cross that indeed Peter has recovered his faith. He stands
          there, stymied, snarling at the man.
          Peter peers over his shoulder, out the ruined window. On
          the horizon, the first pink tendrils of dawn are breaking.
          Now it's Peter's turn to smile as he shifts his gaze back
          to Dandrige.

                         PETER
          Look over your shoulder.
          Dandrige cranes his neck to see the rising dawn through the
          open window, the sun beginning to glint its golden rays
          even as he stares at it. He turns back to Peter, roaring
          with fury.

                         JERRY
          No!
          Peter picks up his stake and dives for the vampire,
          Dandrige is too quick for him.
          He throws himself off the landing, tucking his body into a 
          somersault as he hurls through the air toward the portico
          floor below, turning into a whirling ball of spinning flesh
          only to suddenly emerge- from it no longer a man, but now an
          enormous bat.
          The' bat straightens in midair above the portico and zooms
          down the hallway, smashing into Charley chest high, blowing
          him off his feet as his claws rake the boy, sending two
          bloody furrows down his chest as the bat whips past him and
          disappears down the hallway into the darkness.

                         (CONTINUED)

                         

                         

                         

                         
          pk Rev. 11/16/84 99A.

                          151F CONTINUED: (2)
          Peter recovers above, hurrying down the stairs to the
          portico below. He rushes to Charley's side, helping the
          badly shaken boy to his feet.

                         PETER
          Are you all right?

                         CHARLEY
          Yes.
          Amy begins POUNDING AT THE ATTIC DOOR. above again. The two
          men look up as it begins to splinter.

                         PETER
          Quick, he's in the basement.
          He helps the boy. down the hall, the two of them disappear-
          ing through the basement door. A second later the attic
          DOOR above RIPS FROM ITS HINGES, CRASHING to the floor.
          Amy steps out of the attic, her eyes sightless, a stake
          grasped in her hand.' She walks like an automaton down the
          stairway toward the portico below..

          152 INT. BASEMENT - DAWN

          Charley anaa$ Peter hurry down the stairs into the dark room,
          its windows covered with blackout drapes. The floor is a
          mass of antiques, row after row of them, many covered with
          dust cloths. Peter dives for the first one, ripping the
          cloth off only to discover an armoire. He rushes to the
          next one.

                         PETER
          Quick, his coffin has to be here

                         SOMEWHERE --
          They race down the aisle continuing to rip dust covers away
          only to discover a line of mirrors, several of them
          obviously removed from pieces in the house above. They
          stop, staring at them.

                         CHARLEY
          Well, now we know what he did with
          the mirrors --
          The DOOR to the stairway- CREAKS open behind them, lost
          somewhere in the dark. Peter whirls, looking back the way
          they just came.

                         PETER
          What was that?

                         (CONTINUED)

                         

                         

                         

                         
          Rev. 11/16/84 99B.

                         152 CONTINUED:

          .CHARLEY

                         (MOVING AWAY)
          You keep searching. I'll check it
          out.

                         PETER

                         CHARLEY
          But Charley has disappeared into the darkness before Peter
          can stop him.
          Charley appears down the row of antiques, stopping at the
          foot of the stairs and staring up at.the basement door
          above. It is partially open, allowing just a sliver of
          light into the darkness. He calls out, clutching his stake
          nervously.

                         CHARLEY
          Who's there --
          Amy appears out of the darkness behind him, slowly.
          approaching; her face deathly white, her lips blood red,
          her eyes almost glowing in the dark. He hears her at the
          last second, whirling to face her with a gasp. She reads
          the fear on his face and smiles sadly, reaching out a hand
          to him.

                         AMY
          Don't be frightened, Charley.
          She takes a step closer and he steps away. Amy stops,
          staring at him; then she slowly begins to advance on him,
          unbuttoning her blouse, her voi ce a husky, purring whisper.

                         AMY
          Charley, I love you --
          (he backs away; she
          keeps coming closer,
          exposing more and
          more of her body)
          What's wrong, Charley, don't you want
          me anymore?
          He suddenly breaks her spell, coming to his senses and
          whip ping out his cross, thrusting it. in her face. She
          whirls away with a snarl, burying her face in her hands,
          softly beginning to weep.

                         AMY
          It's not my fault, Charley. You
          promised you wouldn't let him get
          me, you promised.

                         (CONTINUED)

                         

                         

                         

                         

                         I
          pk Rev. 11/16/84 99C.

                          152 CONTINUED:
          He stares at her, guilt boiling up inside of him. He steps
          forward, touching her shoulder, letting the cross drop to
          his side.

                         CHARLEY

                         AMY --
          She whirls, huge fangs flashing, dripping hungry saliva,
          and dives for his exposed throat. He whips the cross up,
          but'not in time, her forearm smashing into his wrist,
          sending the cross whirling away into the darkness. Amy
          straightens, smiling at him, the. huge fangs sparkling in
          the light from the open doorway above. -

                         (CONTINUED)

                         

                         

                         

                         
          bl Rev. 10/9/84' 100.

                          152 CONTINUED: '(2)
          She begins to walk toward him, her sexual interest in
          Charley gone, replaced by mad, driving hunger.
          At the other end of the room, Peter desperately weaves his
          way among the pieces of furniture dotting the floor,
          looking for the coffin. He stops before a huge armoir,
          whips it d own to discover it empty, and is about to move on
          when he glances down. There, at the corner of the armoir,
          is a small hole with rats scurrying in and out. Realizing
          something must be behind the huge piece of furniture, he
          shoves it aside, toppling it CRASHING to the floor.
          A hidden alcove, more a dais than anything else, is
          revealed, a huge window at the back covered with a blackout
          curtain, and Jerry's ornate brassbound coffin sitting in
          the middle, covered with CHATTERING, crawling RATS.
          Peter stares at it, horrified, calling out into the
          darkness behind him.

                         PETER
          Charley, I found it --
          Back at the other end of the room, Charley is backing away
          from Amy as she slowly stalks him, the stake she picked up
          in the attic-in her hands. Charley yells back at Peter.

                         CHARLEY
          Get it open!
          She suddenly leaps for him, .stabbing with the stake only to
          miss him by inches, sending it plunging through the back of
          a chair with her growing strength, shattering it against
          the stone wall behind the chair. She turns on Charley,
          empty-handed now, continuing.to stalk him.
          Before-the dais, Peter stifles his revulsion of the rats
          and leaps forward, rushing to the side of the coffin and
          fumbling with the clasps only to discover they're locked.
          he cries out again..

                         PETER
          He'_s locked it somehow from the
          inside..
          He grabs a hammer from his pocket and starts pounding at
          the clasps, trying to free them while at the side of the
          room Charley continues to back away from Amy, calling back.

                         CHARLEY

                         HURRY --
          He goes to dodge Amy when she leaps forward, shoving a
          bureau across his path, blocking his escape. She smiles at
          him, continuing to back him into a corner.

                         (CONTINUED)

                         

                         

                         

                         
          yl Rev. 11/23/84 101.

                          152 CONTINUED: (3)
          Back at the coffin, the clasp finally comes loose beneath
          Peter's pounding and he moves to the next one, smashing at
          it with the hammer desperately. Back at the side of the
          room, Charley dodges Amy, leaping over a pile of refuse in
          his desperation to escape, the girl vampire diving after
          him, her fingers clawing into his back and shredding his
          shirt as he twists out of her grasp.

                         I
          Back at the dais, Peter breaks the last clasp, throws the
          coffin lid open, sees Jerry resting beneath him, the king
          vampire's eyes closed.
          He fumbles a spare stake from his belt, pressing it to
          the creature's heart, about to slam it home with the
          hammer when suddenly behind him Charley crashes INTO VIEW
          on the floor, Amy fixed to his back, rising over his,
          struggling to sink her fangs in his neck. Peter whirls at
          the NOISE, momentarily distracted.
          In the coffin, Jerry's eyes snap open, fixing on Peter.
          With a snarl he sits right up in the coffin behind Peter,
          the man turning back only to find himself face to face with
          the enraged vampire. Jerry opens his mouth, about to kill
          him when Peter slams it home, missing his heart and
          impaling his shoulder.
          The old -actor falls back as the vampire rises out of his
          coffin, the stake protruding from his shoulder, Amy
          stopping in her struggle to kill Charley, both she and the
          boy staring.up at the huge vampire looming over all three.
          With superhuman deliberation, Dandrige pulls the stake
          from his chest and hurls it away. It smashes into a far
          wall, splintering a window, sending a thin ray of light
          into the room. Dandrige turns on Peter, his face con-
          vulsed with hatred. He leaps for him, smashing him into
          a wall, about to sink his fangs into Peter's neck as
          Charley watches.

                         CHARLEY

                         (SCREAMING}
          No!
          He desperately leaps around Amy, reaching for the blackout
          curtain covering the window at the back of the.dais. - She
          jumps after him, grabbing him just as his fingers close
          around the curtain. She pulls him to the floor, her mouth
          open, about to sink her fangs in him as the drape comes
          with him, tearing from the window and sending a huge bolt
          of sunlight streaming into the dank room.

                         (CONTINUED)

                         0

                         €

                         

                         

                         

                         
          pk Rev. 11/16/84 102.

           152. CONTINUED: (4)
          it hits Jerry Dandrige squarely in the back, whirling him
          away from Peter, picking him up and throwing him across the
          room, slamming him into the far wall, pinning him there
          several feet above the floor.
          He writhes in the golden beam, twisting this way and that,
          but unable to escape as his body slowly begins to smoulder,
          a million small fires breaking out all over him as begins
          to burn.

                         JERRY

          N000000 --- !
          As Peter and Charley watch unable to tear their eyes. away,
          the vampire's body suddenly EXPLODES in a whooshing ball of
          flame that incinerates him instantly, leaving nothing
          behind but the ECHOING SCREAM of a soul finally going to
          hell.
          Amy rolls off of Charley moaning. He turns to her.

                         CHARLEY

                         AMY --
          She slowly opens her eyes, the girl he knew staring back at
          him, her fangs gone. She throws herself in his arms,
          weeping softly. He holds her close, staring across the
          room at Peter who sits beside the coffin, wiping Dandrige's.
          blood from his face and mouth with his handkerchief,
          nothing but silence in the room now, the sun shining mer-
          rily through the window, only a few wisps of charcoal
          floating lazily through the air to remind any of them what
          just happened.

                         DISSOLVE TO:

          153 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT

          The Dandrige house is dark, a "For Sale" sign prominently
          displayed on the front lawn. The house itself now seems
          innocuous and ordinary, free forever of the evil that once
          dwelt within. The Brewster house-next door is lit and gay,
          much as it was on the first night we saw it. The TV can be
          heard coming from the house.

                         ANNOUNCER'S VOICE
          And now, Fright Night, starring Peter
          Vincent.

          154 INT. CHARLEY'S BEDROOM - NIGHT

          Charley and Amy lay on his bed, making out like crazy,
          the TV tuned in to Fright Night just as it was the first
          evening we met them. They break for a moment as Peter
          Vincent comes up on the screen.

                         (CONTINUED)

                         

                         

                         

                         
          gr Rev. 11/25/84 103.

                          154 CONTINUED:

           PETER (V.0.)
          This is Peter Vincent, once more back
          with you as host of Fright Night. I
          thought I'd let the vampires rest for
          a little while.
          (winking into camera)
          Right, Charley?
          (back into his host

                         ROLE)
          Tonight the threat comes not from
          beyond the grave, but from beyond the
          stars as alien beings stalk an unwary
          summer camp in "MARS WANTS FLESH."

                         (PAUSE)
          I do not star in it.
          Amy turns back to Charley, the two of them staring at each
          other, obviously deeply in love. Then she slowly begins to
          undress. Smiling he rises, inadvertently turning to his
          window as he takes his shirt off, much as he did the first
          night. He freezes.
          There in Jerry's window, looking back at him, are a pair of
          red glowing eyes. Charley blinks. He looks at the window
          again. The eyes are gone...
          Behind him, Amy looks at him questioningly.

                         AMY
          Charley, is something wrong?
          With a quizzical shake of his head, Charley slams the
          window shut and turns to her.

                         CHARLEY
          No, nothing.
          He jumps into bed with her,, the two of them beginning to
          make- love as the CAMERA PANS off them to the window,
          pushing out through the window closing in on Jerry's window
          across the way. A pair of red eyes stand there in the
          darkness, staring and staring as the CAMERA MOVES CLOSER
          AND CLOSER. They blink; . they're for real; there is another
          vampire out there and he is watching Charley.

          FADE OUT.

                         THE END

                         

                         

                         

                         

                         
 


Fright Night (1985)



Writers :   Tom Holland
Genres :   Comedy  Horror  Thriller


User Comments







Index    |    Submit    |    Links    |    Link to us    |    RSS Feeds    |    Disclaimer    |    Privacy policy