FRIGHT NIGHT



                                   Written by

                                   Marti Noxon



          EXT. SUBURBAN NEIGHBORHOOD -- NIGHT


                         FADE UP:
          Moving through a tract development. The houses are like
          Mexican food -- the basic elements are all the same, just
          mixed differently.
          A gloomy night, no moon. And a slightly ominous pattern
          emerges...
          Green, thriving lawns and meticulously tended homes abut
          brown yards and porches littered with old newspapers and
          pizza joint flyers.
          Each third or fourth house is FOR SALE or, worse, seemingly
          abandoned. This area is in danger of becoming a ghost town.
          A deep, commanding voice pierces the silence:

          VOICE (O.S.)
          Defy reason. Defy everything you
          know.
          Now we move in on one of the homes. Not the nicest on the
          block, but inhabited. Lights on in the windows.

          INT. SUBURBAN HOME/VARIOUS -- NIGHT

          Inside the house. A middle-class family lives here. The
          living room is empty, but the TV's on.

          ON THE TELEVISION
          A commercial for PETER VINCENT. A Las Vegas institution,
          he's a magician whose show is all Gothic, horror-movie
          imagery.
          Peter's wiry, hot -- a rock and roll bad boy. He's cutting a
          girl up with a chain saw. And grinning like a mad man.

                         TELEVISION ANNOUNCER
          Peter Vincent's "FRIGHT NIGHT."
          The family DOG is up on the coffee table eating what's left
          of a fast food burger and fries, still in the box.

          TELEVISION ANNOUNCER (CONT'D)
          Something's moving in the dark.

                         

                         

                         

                         

          2.
          Also on the table -- a role-playing game in progress.
          "Magic, the Gathering"... Elves and Wizards.

          TELEVISION ANNOUNCER (CONT'D)
          Only at The Hard Rock. Nightly
          Wednesday Through Sunday.
          Now we hear what at first sounds like a MUFFLED ARGUMENT
          coming from another room.

                         DISTANT VOICE
          Get off her!!
          More voices yelling, something being thrown. An ugly
          domestic scene.
          We creep down a dark hall toward a cracked door, light seeps
          through the opening -- it SLAMS OPEN and ADAM, 17, crashes
          toward us.
          He's nice-looking, a little nerdy -- and he's in a blind
          terror.
          We get a glimpse of the horrible scene behind the door. A
          teen girl's room -- the sound of flesh ripping.
          We see a pale arm on the ground, shaking violently, as if
          something is tearing and tugging at the body attached to it.
          We bolt away with ADAM, who we now see is blood splattered,
          as he races UPSTAIRS. A PHONE CRADLE is ripped out of the
          wall, which Adam nearly falls over.

          INT. SUBURBAN HOME -- UPPER LANDING/BEDROOM -- NIGHT

          ADAM RACES INTO HIS PARENTS' ROOM. Another horrible glimpse -
          - his mother's body splayed across her frilly bed.
          Blood on pale pink sheets.
          ADAM goes to his FATHER'S SIDE OF THE BED and now we see
          Adam's father's body. His father was reaching for A GUN he'd
          hidden under the bed.
          ADAM gets down under the bed, desperately reaches for the
          gun. It's just beyond his grasp.

                         ADAM
          Come on, come on, come on...
          He gets it. But the GUN HAS A GUN LOCK. Adam has to dig in
          his dead father's pockets for his keys. Adam starts to cry.

                         

                         

                         

                         

          3.

                         ADAM (CONT'D)
          Come on, come on!
          He finds them, struggles to unlock the gun with shaking
          hands.
          THE BED IS TURNED OVER in one violent throw. Adam is
          exposed. We see only a hint of the creature that looms over

                         HIM --
          Brutally strong, veins dark and visible under the skin...
          Human but not quite.
          Adam reacts in horror. He knows he's dead.
          HE's RIPPED OUT OF FRAME as we hear:

           DISC JOCKEY (O.S.)
           .we're looking at a nice day here
           in Clark County, hitting a season
          low of only 89 degrees...

          EXT. SHADOW HILLS - DAY

          MUSIC starts under the DISC JOCKEY as we LOOK DOWN FROM HIGH
          ABOVE at the SAME suburban neighborhood as before.
          In the daylight it seems nice. Charming, even.
          Pocket parks decorate almost every corner and kids ride bikes
          in the street. Mothers unload groceries. Neighbors chat.

          DISC JOCKEY (O.S.)
          .so get out there and enjoy this
          beautiful Wednesday, people.
          We SWOOP CLOSER and find that RADIO comes from a passing
          MINIVAN with those cutesy stick figure family decals on the
          rear window.
          The FOR SALE SIGNS and brown lawns don't seem nearly so
          foreboding now.
          We SWOOP UP AGAIN and see beyond Shadow Hills, past the WALL
          that encompasses it -- and become aware for the first time
          that the community is SURROUNDED BY FLAT, ARID DESERT.
          In the distance, we can just make out the glow of Las Vegas
          proper. It looks like a distant fantasy, a land-locked
          Pleasure Island.

                         

                         

                         

                         

          4.

          EXT. STREET - DAY


                         CLOSE ON:
          The wheels of a DIRT BIKE as it zooms down the street.
          WIDEN to see CHARLIE BREWSTER, who is PUSHING the bike as
          fast as he can. It STARTS, sputters -- then craps out.

                         CHARLIE
          (to the bike/pissed)
          You want me to take you apart, huh?
          Charlie's 17 and has the slightly awkward feel of someone who
           just recently came into his body and good looks.
          He's a wry, thoughtful kid who's enjoying -- but not quite
          trusting -- a sudden surge in popularity.

                         CHARLIE (CONT'D)
          (still talking to bike)
          I will. I'll sell you for parts.
          Don't think I won't--
          Charlie stops, embarrassed. DORIS -- a neighbor -- watches
           him talk to his bike. Paused as she hauls her trash cans to
          the curb.
          She's super pretty in a wholesome way -- except for her
          ridiculous body. Stripper city. She nods to the bike,
          amused.

                         DORIS
          Nothing doing, huh?

                         CHARLIE
          The thing's got no ambition.
          (re: trash cans)
          Can I -- uh, give you a hand?

                         DORIS
          I got it. Thanks.
          She walks away -- her sweatpants have the word "LUCKY" across
          the butt. He watches her go appreciatively. Doesn't notice
          his mom, JANE, struggling to pull their own cans to the curb.

                         JANE
          Don't leer at the neighbors, kid.
          Jane, 40's, attractive and frazzled, wears a REAL ESTATE
          brokers blazer. Charlie wheels his bike back to the curb.

                         

                         

                         

                         

          5.
          He and his mom have had an affectionate, teasing relationship
          which has only recently started to have more edge.

                         CHARLIE
          She's the one who put a word on her
          butt. I'm just reading it.
          Jane eyes a LARGE DUMPSTER FULL OF CONCRETE that sits in
          front of their NEXT DOOR NEIGHBOR'S YARD.

                         JANE
          Is he ever going to move that
          thing?

                         CHARLIE
          You need to get over it, Mom.

                         JANE

                         (WATCH IT)
          Attitude.
          (observes him/then)
          You've been tense or something.
          School?

                         CHARLIE
          School's great, actually.

                         JANE
          Amy?

                         CHARLIE
          Good. Hasn't dumped me yet.
          He says this like he's surprised. Jane nods. Getting it.

                         JANE
          That'll teach you to get so tall
          and handsome.

                         (THEN)
          Getting what you want is stressful.
          Especially when you're not used to
          it. More to lose.

                         CHARLIE
          Are you reading those books again?
          The Power of Whatever the Hell?
          She laughs. He glances at the DUMPSTER.

                         CHARLIE (CONT'D)
          They're not working. You're still
          flipping out about a big box.

                         

                         

                         

                         

          6.
          Now Jane moves to the open garage and starts loading OPEN
          HOUSE SIGNS into her trunk. Charlie stands there. She
          shoots him a look -- then he helps her load.

                         JANE
          It's an eyesore. I'm trying to
          convince people to move in, not
          join the legions leaving town--

                         CHARLIE
          If you say "mortgage crisis" again
          I'm getting a new mom.

                         JANE
          The guy moves in and puts a giant
          trash can in his yard! When the
          Perry's lived there--
          Charlie has heard this before. It's a common refrain.

                         CHARLIE
          The Perry's were the greatest
          neighbors ever. But they moved. I
          thought you were happy their place
          finally sold.

                         JANE
          (back on the neighbor)
          He's not digging a pool. Where do
          you think all that concrete's
          coming from?

                         CHARLIE
          You're spying on the guy now?

                         JANE
          He's thirteen feet from our house.
          That's not spying, that's
          observing.
          A BEETLE CONVERTIBLE pulls up. AMY drives and her two hot
          friends, CARA and BEE, sit in the back.

                         AMY
          Hi, Mrs. Brewster.

                         JANE
          Hi honey. Hi girls.
          ANY, 16, is a stunner. And she's as cool as she is beautiful
          -- the girl every other guy in school would die to be with.

                         

                         

                         

                         

          7.
          But Charlie is. And he can't believe his luck. Which puts
          him off his game. She makes him feel like he's always
          playing catch up.
          Charlie moves toward the VW. Jane calls after him.

                         JANE (CONT'D)
          Oh hey -- Ed called. Again.

                         CHARLIE
          Okay.

                         JANE
          I'm tired of making excuses,
          Charlie. If you don't want to talk
          to him, would you please tell him?

                         CHARLIE
          Kinda defeats the purpose.
          He gets to AMY and the girls. Amy glances at the dirt bike.

                         AMY
          Still can't get the bike started,
          huh?

                         CHARLIE
          Wow. No faith.

                         AMY
          So you don't need a ride.
          Amy calls his bluff and starts to drive off. Charlie grabs
          his backpack and RACES after her.

                         CHARLIE
          No, hey, stop--
          She laughs, stops the car. Charlie tries to jump in and she
          drives again.

                         CHARLIE (CONT'D)
          Come on! Hey!--
          Charlie runs and finally dives into the back headfirst. The
          girls are laughing.

                         ON JANE
          Watching them drive off, gone in a cloud of teen spirit.

                         

                         

                         

                         

          8.

          INT/EXT. AMY'S CAR -- DAY

          The Beetle zips through a commercial strip. More suburban
          paradise.
          Charlie's in the front seat now. Amy drives, one hand on the
          wheel. Casually drops one on Charlie's leg. Charlie tries
          to act casual, but he's stoked and... amazed.
          Cara half-sleeps in the back while BEE leans forward, flirty,
          and eyes Charlie's COLORFUL PUMA SNEAKERS. Charlie's a
          sneakerhead, a serious collector.

                         BEE
          Takes a man to wear purple, Chuck.

                         AMY
          Charlie.

                         BEE
          Chuck likes it when I call him
          Chuck, right Chuck?
           Intimidated by these girls, he tries to form a witty retort.

                          CHARLIE
          It's -- they're not -- that's,
           like, puce? That's a macho puce.

                         CARA
          Can you stop someplace? I'm
          severely under-caffeinated.

                         AMY
          (ignores her/to Bee)
          Did you see the poster for the
          formal? The theme is "Hope"?

                         BEE
          I know. They asked me to be on the
          committee again but I was like --
          hope is completely 2008. Grow up.

                         CHARLIE
          Did you suggest "Despair?" Nobody
          would see that coming. Or --
          global warming? Everybody has to
          wear tin foil.

                         AMY
          (laughs/to Charlie)
          Did you go last year? We basically
          did the whole thing, Bee and me.

                         

                         

                         

                         

          9.

                         CHARLIE

                         (LIES)
          Me? I, ah, was in training that
          week. This big triatha--

                         BEE
          (cutting him off)
          Chuck was still under his rock.
          We're so glad you crawled out.

                         CARA
          Caffeine!? Hello!

                         CHARLIE
          I have Econ first period.
          Amy takes her hand off his leg. Charlie notices.

                         CARA
          Charrrliiieeeee.

                         CHARLIE

                         (KILLING HIM)
          Okay. Yeah. It's no big deal.
          Amy PULLS into a coffee place. Parks. The girls climb out.

                         CARA
          Thank you, Jesus.
          Amy catches Charlie looking at his watch, fidgeting.

                         AMY
          You're not going to flunk for
          missing Econ, Brain.

                         CHARLIE
          Brain? I -- what? No, I'm--
          But she's already walking away.

                         AMY
          Five minutes.
          He watches her move off, anxious and smitten.

          EXT. CLARK COUNTY HIGH -- COURTYARD -- DAY

          Charlie arrives with Amy, Cara and Bee -- all the girls now
          sport coffee drinks. Charlie has one too, with whipped cream
          and the works.

                         

                         

                         

                         

          10.
          Kids stream into a nice, modern-looking high school. Amy
          takes Charlie's arm.

                         AMY
          On time. You stress too much.

                         CHARLIE
          I wasn't worried.

                         AMY
          You were doing your worried thing.

                         CHARLIE
          I was? I have a -- what's my--

          MARK (O.S.)
          Ladies!
          A couple of handsome jock-type guys, MARK and BEN, roll up
          along side Charlie and the girls. They draw looks from other
          students as they move through the courtyard.
          The cool kids.

                         BEE
          Doods. Looking massive.

                         MARK
          (to Charlie/re: drink)
          Seriously? A Mochachino? You
          can't ride with the girls anymore.
          You let them brush your hair, My
          Pretty Pony?
          Mark grabs the cup away from him. Starts drinking it.

                         BEE
          (takes his arm)
          Chuck's secure, aren't you?
          We see that Ben is also wearing PUMA's. Different design.
          It's a thing. Charlie shows his off -- he's secure.

                         CHARLIE
          Puce.

                         BEN
          Fuck yeah.

                         AMY

                         (TO CHARLIE)
          I have track after school, maybe we
          can hook up later?

                         

                         

                         

                         

          11.

                         CHARLIE
          Yeah. Hey. Come here.
          (pulls her aside/awkward)
          You know, the formal. Don't think
          I wasn't going to ask you, because
          I thought it was an obvious go.
          Together. Hope, puppies, kittens,
          the whole deal. You and me.

                         AMY

                         (NOT UNKIND)
          Oh, no. Please. Nobody goes to
          the dance senior year.
          She smiles, moves off. He watches her, lets out a breath.

                         CHARLIE
          Right. I knew that.
          MARK and BEN enjoy the view as the girls move off. Wow.
          Mark, incredulous, says to Charlie:

                         MARK
          Did you find a frickin' Genie lamp
          man? Make a sacrifice to the hot
          ass Gods? How do you get that?

                         CHARLIE
          Game, my friend. Rock solid.
          Charlie moves off. And even though he's playing it off, we
          see that Mark's hit a nerve. This hot girlfriend thing is a
          bitch. Mark calls after him--

                         MARK
          You don't even have a car!

          INT. CLARK COUNTY HIGH SCHOOL -- DAY

          Later. Charlie's in Econ class. Seated in a back row near
          MARK and BEN. A number of seats in class are EMPTY.

                         TEACHER
          Ben Wegner?

                         BEN
          Here.

                         TEACHER
          Adam Noris?
          Nothing. Teacher looks around.

                         

                         

                         

                         

          12.

                         TEACHER (CONT'D)
          Adam?
          (marks chart/then)
          Courtney Heuer?
          A girl raises her hand.
          Charlie, bored, idly checks out the class. Stops when he
          sees a tweaked-looking kid, ED, staring at him.
          EVIL ED is a slight, faintly punk-looking kid who's been
          picked on by bullies his whole life.
          He's hyper-intelligent, hyper-critical and... just hyper. And
          his binder is covered with COMIC BOOK STICKERS.

                         TEACHER (CONT'D)
          Nick Straley?

                         (NOTHING)
          Nick?
          Ed sees that he's caught Charlie's eye. Nods significantly
          at him. Like -- "you know and I know..."
          Charlie looks away. As if he didn't see him.

          INT. CLARK COUNTY HIGH SCHOOL -- DAY

          Charlie, Mark and Ben move down the hall. Mark shows Charlie
          a picture on his phone. A woman posing seductively.

                         MARK
          Miss Granada. Geometry.

                         CHARLIE
          Holy crap. Where did you get that?

                         MARK
          She's hard up, man. Equations
          don't keep you warm at night.
          They stop, see EVIL ED approaching. This amuses Mark and
          Ben. But Charlie's uncomfortable -- wants to bolt.

                         BEN
          I think "it's" going to talk to us.

                         ED

                         (TO CHARLIE)
          I need a minute.

                         MARK
          "It's" going to talk to Brewster.

                         

                         

                         

                         

          13.

                         BEN

                         (TO ED)
          When are you going to get the
          message? We don't know you--

                         ED

                         (RE: CHARLIE)
          He does. Or did. Before the
          summer and his Jock Lobotomy.

                         CHARLIE
          (to Ed/uncomfortable)
          What's the deal, man?

                         ED
          Alone.
          Ed stares Charlie down. A beat. Ben and Mark bust out
          laughing. Mark looks at Charlie.

                         MARK
          Just the two of you. That's sweet.
          He can school you in the ways of
          geek-douchery.

                         ED
          It's important. "Brewster."
          The way Ed says his name is enough to propel Charlie into
          action. He grabs Ed and pulls him aside. Mark and Ben watch
          with interest -- out of earshot.
          Ed's tone is dire, serious as a heart attack.

                         ED (CONT'D)
          Adam's missing.
          Charlie's looking around, self-conscious.

                         CHARLIE
          What do you mean, he's missing?

                         ED
          I keep trying him -- nothing. No
          texts, no phone. And he's not the
          only one who's gone. You heard
          roll call.

                         CHARLIE
          So kids aren't coming to school.
          What do you want me to do about it?

                         

                         

                         

                         

          14.

                         ED
          Meet me at his house after school.
          We'll check around. See what's up,
          if he's okay.

                         CHARLIE
          I can't after school. I'm busy.

                         ED
          I don't think you get what I'm

                         TELLING YOU--

                         CHARLIE
          Look, do we have to do this here?
          Ed can't believe it. Charlie's totally blowing him off. He
          starts to lose it, raises his voice--

                         ED
          What, am I not even suppose to
          speak to you now?--

                         CHARLIE
          Keep it down. Don't spaz--

                         ED
          It's so horrible! Crossing the
          streams! Will High School as we
          know it cease to exist?!
          Ed glances at Mark and Ben, who still watch from a distance.

                          ED (CONT'D)
          You want me to tell your pals how
          well we know each other? The Lego
          contests, the Farscape conventions,

                         THE COSTUMES--

                         CHARLIE

                         UIET--

                         ED
          Or how your first sexual experience
          was with an Electra figurine--

                         CHARLIE
          No. No.

                         ED
          Then be my backup.

                         CHARLIE

                         (DEFEATED)
          Fine. Adam's after school.

                         

                         

                         

                         

          15.

                         ED
          Don't be late.
          Moves off. Charlie sees the guys watching him. A beat. He
          shrugs like "I have no idea what that was about..."

                         FADE TO:

          EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK

           The sun has set behind the mountains. It's gloomy gray out,
          right before dark.
           Charlie and AMY park, climb out of her car with drinks from
           PLANET SMOOTHIE in hand. She's still in her track and field
          clothes. Looks tough.

                         AMY
          You know what I want? For dinner?

                         CHARLIE
          You're eating right now, you know.
          As you speak. You literally just
          forced me to get you a smoothie so
          large they named a planet after it--

                         AMY

                         (LAUGHS)
          I ran six miles. What did you do?

                         CHARLIE
          I -- watched you. But not in a
          creepy way.
          Charlie winces a little. It sounds creepy.

                         AMY
          So don't judge. You don't want me
          to burn my big ole' booty off, do
          you?
          Charlie, on impulse, stops her -- kisses her.

                         AMY (CONT'D)
          What was that for?

                         CHARLIE
          I don't know you're just...

                         AMY
          What?

                         

                         

                         

                         

          16.

                         CHARLIE

                         (PERFECT)
          Nothing.
          A sweet moment. These two have a definite thing. It's real.
          They're about to kiss again when JANE'S GIRLISH LAUGH stops
          them. They both turn and REACT AS THEY SEE...
          A MUSCLED MALE, SQUATTING AND HUNCHED-OVER -- clad only in a
          white wife-beater and jeans. We can't make out his face.
          Jane stands over him, laughing at something he's said as he
          FIXES their sprinkler.
          PUSH IN as the guy looks up. This is JERRY. 30's. Handsome
          to the point of devastating. An all-American Adonis.

                         AMY
          Wow.

                         CHARLIE
          Look at Mom. She'sâ

                         AMY
          Damn right. If he followed her
          home, you have to let her keep him.
          Amy laughs -- almost skips toward them, milking the moment.

          EXT. ADAM'S HOUSE -- DUSK

          ED paces anxiously in front of ADAM'S HOUSE. He has a duffle
          bag over his shoulder. Keeps checking his phone.
          He finally dials in a number. Talks--

                         ADAM
          Charlie. I'm in front of Adam's.
          Remember the videos we all made
          back when? You and me and Adam,
          bro? In tights. Want your pals to
          get a load of that?

          EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK

          Amy and Charlie approach Jane and Jerry. They overhear--

                         JANE
          .so not a pool, what's the work
          you're doing?

                         

                         

                         

                         

          17.
          Jerry has an easy-going way about him. An inviting charm.

                         JERRY
          Foundation problems. I had to rip
          up half the basement.

                         JANE
          These houses were built practically
          overnight. I'm never surprised
          when they come apart.

                         JERRY

                         (RE: SPRINKLER)
          Done. Just needed a new stem.
          Jane sees Charlie and Amy approaching. And gaping.

                         JANE
          Jerry, this is my son Charlie. And
          his -- do we say girlfriend now?

                         CHARLIE

                         (EMBARRASSED)
          I guess. I mean -- only if she's--
          Amy's amused at Charlie's squirming, finally saves him.

                         AMY
          (shakes Jerry's hand)
          Hi. I'm Amy.
          He can't help but give Amy an appreciative once-over. She
          enjoys it, but pulls away and moves closer to Charlie.
          Charlie notices the exchange -- the way this dude oozes
          manliness. Doesn't like it one bit. He shakes Jerry's hand
          a little too firmly. Lowers his voice a bit.

                         CHARLIE
          Hey.

                         JANE
          Jerry's our new neighbor. The
          Perry place. He's "handy."

                         AMY
          (looks to Charlie, smiles)
          No kidding.

                         JERRY
          Sorry about the mess, man. I was
          just telling your mom I'll have the
          dumpster gone next week.

                         

                         

                         

                         

          18.

                         CHARLIE
          Doesn't bother me.

                         JANE
          Jerry does night construction on
          the strip.

                         JERRY
          (noticing Charlie's shoes)
          You play ball? I'm always looking
          for a pick up game.

                         CHARLIE

                         (BLUFFING)
          Now and then, you know.

                         JANE
          It's more of a collector thing.
          The shoes. He's obsessed.
          (to Jerry/"those teens")
          They sleep on sidewalks to get
          them.
          Charlie looks at Jane, thanks for embarrassing me.

                         JERRY
          Well -- they're bold. I like them.
           Jerry looks back at Jane. A little flirtatious.

                         JERRY (CONT'D)
          So... I'd ask you guys inside, but
          it's a mess. I've been meaning to.

                         JANE
          Be neighborly.

                         JERRY
          A drink, something.
          It hangs there, waiting for an invitation. Jane just smiles.

                         JERRY (CONT'D)
          Soon, okay?

                         JANE
          You bet. And thank you so much.
          For the help.

                         JERRY
          Least I could do.
          Jane, Amy and Charlie walk toward the house. Jerry moves
          off. Amy looks at Jane, amazed.

                         

                         

                         

                         

          19.

                         AMY
          Why did you blow him off? Oh my
          God!

                         JANE
          A guy that good-looking, still
          single? Bad bet. He's a player.

                         CHARLIE

                         (IMPRESSED)
          Mom. Breaking it down.

                         JANE
          I've had enough man trouble. I'm
          not getting suckered again.
          Amy and Charlie meet eyes. That was loaded. Jane notices.

                         JANE (CONT'D)
          Don't listen to me. Jaded old

                         BROAD--

                         CHARLIE

                         MOM--
          Charlie's PHONE buzzes. He checks it.

          ON THE PHONE
          A VIDEO CLIP from ED. TITLED "KID COMEBACK and SUPER SQUID!"
          It shows Charlie, Ed and Adam when they were younger,
          prancing around in homemade costumes and, indeed, tights.
          The text message says "10 MINUTES -- OR THIS IS GOING WIDE!"

                         ON CHARLIE

                         CHARLIE (CONT'D)
          (alarmed/to Amy)
          Wow. Okay. I gotta go. Sorry.
          Call you later.

                         AMY
          Now?

                         JANE
          I have dinner on--

                         CHARLIE
          I gotta go. I'll eat later.

                         JANE
          Charlie!

                         

                         

                         

                         

          20.
          But Charlie's already off and running.

          EXT. ADAM'S HOUSE -- DUSK

           Charlie approaches, sees ED pacing in front of the house.
          He's flipping out.

                         ED
          Where the hell have you been?

                         CHARLIE
          You said after school, chill out!
          Ed is already lugging his big duffle to Adam's front door.

                         ED
          Right after! It's dusk, dude, you
          know what that means!?

                         CHARLIE
          That the sun's gone down. What's

                         THE BIG--
          Over him, Ed knocks loudly. Rings the bell.

                         ED
          Hey! Anybody home?
          A long pause. Nothing.

                         CHARLIE
          Not here. Let's go--
           But Ed's already heading around the house with the duffle.

          INT. ADAM'S HOUSE -- KITCHEN -- DUSK

          Ed wriggles in through the DOG DOOR. He turns, lets Charlie
          in. Charlie looks around.

                         CHARLIE
          This is nuts.
          It's the SAME HOUSE we saw in the opening, but completely
          righted. TV is off, the walls are clean. Furniture in it's
          proper place. It's perfect.
          They move into the house. Ed is wired, scared.

                         

                         

                         

                         

                         21

                         ED
          Hello? Ed and Charlie here!

                         (TO CHARLIE)
          Come on.
          Charlie follows him in. Resigned and placating.

                         CHARLIE
          Okay. Fine.
          Ed opens his duffle bag. Inside are CROSSES, STAKES, HOLY
          WATER, even a small AX.

                         ED
          Take this.
          Ed hands Charlie a STAKE. Charlie eyes it, incredulous.

                         CHARLIE
          You've got to be kidding me.
          Ed stops. This is it.

                         ED
          I hate to tell you this but that
          guy, your neighbor.

                         (DEAD SERIOUS)
          He's a vampire. One of the undead.

                         CHARLIE
          My neighbor. Next door.

                         ED
          Yeah.

                         CHARLIE
          I just met him. Jerry.

                         ED
          Jerry.
          A beat.

                         CHARLIE
          That's a terrible vampire name.
          "Jerry." Seriously--

                         ED
          I didn't name him, man, I'm just
          reporting the facts!
          Ed moves UP THE STAIRS. Charlie reluctantly follows. It's
          darker up here. Lights off.

                         

                         

                         

                         

          22.

                         CHARLIE
          Come on, this is a gag -- right?
          Ed's barely listening -- cautious. Every shadow is potential
          death. Total shmuck bait...

                         ED
          Hey! Anybody here?
          They pass the empty MASTER BEDROOM -- where we saw ADAM's
          parents slaughtered. Now its clean and empty.
          Then Ed turns into ADAM's room. It's full of geekery.
          Action figures, the like. Charlie sticks behind him.
          The guys don't register the mostly obscured form of SOMEBODY
          HIDING BEHIND the door. A LARGE MALE figure.
          Ed catches sight of the guy, and SPINS toward it, freaked.
          Charlie also reacts, scared.

                         ED (CONT'D)
          Get back, demon!
          Ed thrusts his cross forward which knocks the door open,
          toppling A MOVIE CHARACTER STANDEE.
          A beat. Then Ed lets out a slightly manic laugh.

                         ED (CONT'D)
          Ha! I killed that sucker dead!

                         CHARLIE

                         (ANGRY)
          They're not here, okay? They left
          town. His dad was a deadbeat--
          Ed pulls a MAP out of his pocket. It has lots of red and
          black DOTS marked on it. He thrusts it at Charlie.

                         ED
          No, see, it's not just them. It
          started -- there was this thing on
          Channel 13, a lady escaped an
          attacker who tried to bite her.
          Ed points to the RED DOTS on his chart. They form a loose
          circle around CHARLIE'S house.

                         ED (CONT'D)
          Adam and me, we graphed the attack,
          the disappearances. Whole
          families, gone.

                         (MORE)

                         

                         

                         

                         

                         23

                         ED (CONT'D)
          And that's you guys at the center,
          see? His windows are totally

                         BLACKED OUT--

                         CHARLIE
          There's a ton of houses like that.
          People work nights on the strip--

                         ED
          But every window? No. I've been
          watching him. It all fits--

                         CHARLIE
          That Jerry's a Dracula.

                         ED
          No. Dracula is a specific vampire.

                         I'M SAYING--

                         CHARLIE
          I know what you're saying! I'm
          mocking you. You've been reading
          too much Twilight--

                         ED
          Fiction, okay? This is real. A
          real monster. And he's not
          brooding. Or lovesick. Or noble.
          He's the fucking shark from JAWS.
          He feeds, he kills, and he doesn't
          move on until everyone around him
          is dead.

                         (MOST EMPHATIC)
          And that book SUCKS.
          Charlie can't help but pause. Ed's conviction is so real.
          But he shakes it off.

                         CHARLIE

                         COME ON--

                         ED
          What about your neighbors, the
          Perrys? He moved into their house.
          Haven't seen them around, have you?

                         CHARLIE
          Yeah, in San Diego like a month
          ago!

                         ED
          Exception, proves the rule. You
          haven't asked him in, have you? He
          can't get in without an invitation.

                         

                         

                         

                         

                         24

                         CHARLIE
          No, but--

                         ED
          Your mom? Lonely divorcee...

                         CHARLIE
          You're on drugs.

                         ED
          No! Well, yeah... I thought you'd
          take my word, but I have evidence
          at home. Hard evidence.
          Charlie stops fighting it and humors him. Ed's lost it.

                         CHARLIE
          Yeah. Okay.

                         ED

                         (INTENSE)
          We have to stake him in his nest.
          You and me. Not now, it's dark.

                         CHARLIE
          Right. Cause he's nocturnal.

                         ED
          Just for -- okay -- for a minute
          pretend you're not a douche now--

                         CHARLIE
          Look, Ed, this stuff, it was fun
          when we were eight--

                         ED

                         SIXTEEN--

                         CHARLIE

                         (LOSING IT)
          Whatever! I grew up, okay? You
          don't want to, fine. But don't get
          an attitude because I'd rather have
          a life than make shit up!
          Ed stops. Stung.

                         ED
          Right. Got it. You're soooo cool
          "Brewster." Go ahead, join the
          Clark High early-peakers. This is
          the pinnacle for them. And that
          includes your girl--

                         

                         

                         

                         

          25.

                         CHARLIE
          Shut up.

                         ED
          Undeniably doable, but we used to
          make fun of her and her pals,
          remember? They're bimbos--

                         CHARLIE
          Shut up!
          Charlie barely refrains from hitting Ed. Instead he shoves
          him away. Ed stumbles. Falls.
          He looks up at Charlie, genuinely hurt and desperate.

                         ED
          Adam's gone -- you act like it has
          nothing to do with you.

                         (THEN/PAINED)
          We were inseparable, man.

                         CHARLIE
          Yeah. And you know when I got
          popular? The minute I stopped
          hanging out with you.
          Charlie takes off. Ed watches him go.

                         FADE TO:

          EXT. NEIGHBORHOOD STREETS/VARIOUS -- NIGHT

          A while later. It's REALLY DARK now.
          Ed, gripping his duffle bag nervously, skates down a
          residential street. Houses here are spaced far apart and the
          lights in many of them are off.
          Ed is anxious, watchful. He knows it's not safe. Every dark
          corner is potentially the end of him.
          A few cars pass. Something moves behind him. Footsteps
          GAINING. Ed abandons his skateboard and BOLTS.
          A hand SLAMS on his shoulder, spins him around. IT's MARK,
          Charlie's pal from school.

                         MARK
          You crossed my yard. Tracked your
          nerdjuice all over it.

                         

                         

                         

                         

          26.

                         ED
          Sorry. Sorry--

                         MARK
          My mom works hard on that shit,

                         MORON--
          Ed glances around nervously, it's dark and anything... else
          could be out there.

                         ED
          Can you just hit me? I don't have
          time for the build up.
          (he steels himself)
          Go.

                         MARK
          Seriously?

                         ED
          Jesus, man! Just do it!
          Fine. Mark winds up and SWINGS -- a brutal blow.
          Ed DUCKS and runs. Mark's immediately on his heels.
          The guys dodge and dart through the neighborhood. But Ed has
          experience in the art of losing bullies and he manages to
          shake Mark for a moment.
          Ed scrambles over a wooden fence, but his DUFFLE BAG GETS
          CAUGHT ON TOP. Most of his vamp hunting stuff SPILLS over on
          the OTHER SIDE OF THE FENCE.

                         ED (CONT'D)
          Crap. Crap!
          There's not time to get the stuff. He can hear Mark
          approaching in the dark.
          He drops into a neighbor's backyard.

          EXT. BACKYARD -- NIGHT

          ED spins and slams right into MARK -- no, it's JERRY.
          Ed falls back and scrambles away, terrified.

                         ED (CONT'D)
          Get away! I'm armed mother fucker!
          Jerry moves after Ed, angry but controlled. More like a man
          than a monster.

                         

                         

                         

                         

          27.

          EXT. FENCE -- NIGHT

          Mark pulls up on the other side of the wood fence. Sees Ed's
          VAMP HUNTING STUFF on the ground, laughs.

                         MARK
          Unbelievable.
          A beat, Mark glances at the high fence. Decides he's done.
          He kicks some of Ed's stuff as he moves off.

          EXT. BACKYARD -- NIGHT

          Ed trips over kid's toys and bikes as he runs to the house.
          There's a porch light on over the back door.

                         ED
          (pounding on door)
          Hey! Let me in! Please!
          But there's no answer. Ed is desperate, Sees Jerry closing
          in, walking across the backyard.
          Ed takes a ROCK and smashes the window over the kitchen sink.

          INT. HOUSE -- KITCHEN -- NIGHT

          Ed falls through the window into the kitchen. Looks out.
          JERRY stalks toward him. All hulking menace.
          But Ed's safe now. Calls out--

                         ED
          Forget it sucker! No invite!
          BAM! Jerry kicks in the kitchen door. Ed, terrified, falls
          back.

                         JERRY
          Abandoned. I thought you did your
          homework.

                         ED
          -- what?

                         JERRY
          You've been watching me. I've been
          watching you. Seems fair.
          Ed BOLTS into the house.

                         

                         

                         

                         

          28.

          INT. HOUSE -- VARIOUS -- NIGHT

          As he races through the empty rooms he pulls a stake from his
          pocket. We see he's wearing a cross around his neck on a
          long chain.
          JERRY's following, but barely breaking a sweat.
          Ed sees A SLIDING GLASS DOOR to the back. He fumbles with
          the lock, gets it open and runs into the backyard.

          EXT. BACKYARD -- NIGHT

          Ed races for the back gate--

          AND SUDDENLY JERKS TO A STOP.
          Jerry has him by the back of the CROSS he's wearing.
          Ed's lifted WAY off his feet by the CHAIN, until he's choking
          on it, the cross directly under his neck.
          JERRY looks away as he SNAPS the chain off Ed and HURLS the
          cross into the neighbor's POOL.
          Ed falls to the ground, watches the cross sink in despair.
          Jerry's standing over him. Smiles a little. We get just a
          flash -- he suddenly has MORE TEETH, sharper, in rows. It's
          chilling.

                         JERRY
          Bit off more than you can chew.
          Shaking, terrified, Ed brandishes the STAKE.

                         ED
          We'll see, man. I know my shit.
          But Jerry doesn't appear to be afraid. He looks at Ed with
          actual sympathy.

                         JERRY
          Really? Who's going to believe
          you? You see the truth, but what
          good is it when you're alone?
          Ed's shaken -- but still grips the stake. Holding on.

                         ED
          Don't play that stuff. That mind
          crap. Come on -- try me. Try me!

                         

                         

                         

                         

          29.

                         JERRY
          You say you're glad you're
          different. But how can you be in a
          place like this? These people...
          Even your best friend. You're
          nothing to him now.
          Ed's listening despite himself, hurting now. Jerry moves a
          step in. Ed raises his stake again -- but with slightly less
          conviction.

                         ED
          Get back!

                         JERRY
          It can be over. I can make all
          that pain go away.
          Ed's fighting tears. Life as he knows it is gone.

                         ED
          No...

                         JERRY
          You were born for this and you know
          it. Your "life", what you had?
          That's the illusion.
          (off Ed's silence)
          I can take you somewhere great.
          Somewhere you'll belong.
          Ed takes this in. His eyes clear a bit. Is it...hope?

                         JERRY (CONT'D)
          It's a gift.
          And Jerry moves closer, blocking our view.

          CUT TO BLACK:

          FADE UP ON:

          EXT. BREWSTER HOUSE -- DAY

          A new day. Sunny and hot. A truck moves the DUMPSTER from
          Jerry's house.

          INT. BREWSTER HOUSE -- KITCHEN -- DAY

          Through the kitchen window, Jane watches the DUMPSTER drive
          away. She's pleased, a little surprised. Says to herself...

                         

                         

                         

                         

          30.

                         JANE
          Good on his word.
          A knock at the door. It's Amy. She lets herself in.

                         AMY
          Morning. Charlie?

                         JANE
          You try. My voice seems to be on
          some frequency he can't hear.

                         AMY

          CHARLIE!

          CHARLIE (O.S.)
          Coming!
          Amy looks at Jane, who shakes her head. Amy moves to the
          island. Grins a little.

                         AMY
          Talk to Hot Neighbor again? You
          should facebook him.

                         JANE
          (shakes her head)
          Temptress. I'm resolved.
          Charlie runs down. Wet from the shower, discombobulated.
          pecks Amy, grabs food off a plate. He's out of sorts.

                         AMY
          Oversleep?

                         CHARLIE
          Didn't.
          (off her look)
          Weird dreams.
          Charlie gives Jane a quick peck and follows Amy out.

          EXT. BREWSTER HOUSE -- FRONT YARD -- DAY

          Amy and Charlie head to the car. Charlie turns -- looks back
          at JERRY'S HOUSE. The blacked out windows...

                         AMY
          What?
          Charlie snaps out of it. It's crazy to even entertain Ed's
          theories.

                         

                         

                         

                         

                         31

                         CHARLIE
          Nothing. That guy was such a tool.

                         AMY

                         (HUMORING HIM)
          Totally. Poser.
          She gets in the car. Smiles a little.

                         FADE TO:

          INT. CLARK COUNTY HIGH SCHOOL -- DAY

          Charlie's in class. He's restless, agitated. On his pad, he
          absently draws VAMPIRE images, blood...

                         TEACHER
          Sally Cabella?

                         SALLY
          Here.

                         TEACHER
          Ed Lee?
          Nothing. Charlie looks up.

                         TEACHER (CONT'D)
          Edward Lee?
          Charlie looks around. No Ed. And just like he said -- quite
          a few other kids are missing. Charlie takes this in, looks
          around.

                         ABOVE CHARLIE
          SEATS ALL AROUND HIM ARE EMPTY. This time it makes an
          impact.

          EXT. BASEBALL FIELD -- DAY

          Charlie, Mark, Ben and the rest of the guys get ready for
          practice. Mark's in the middle of a story, but Charlie is
          distracted -- barely listening.

                         MARK
          .she's wearing a jumpsuit, dude.
          Like -- one zip and POP!

                         CHARLIE
          Huh.

                         

                         

                         

                         

                         32

                         MARK
          What's up with you? Dreaming about
          your little boyfriend?
          Charlie takes this in, worried.

                         CHARLIE
          You see him around today? Ed?

                         BEN
          I don't track "it's" whereabouts.
          What did he want, anyway?

                         CHARLIE
          Nothing. Homework stuff.
          But Charlie's clearly distracted.

                         CHARLIE (CONT'D)
          Look, I have to go.

                         MARK
          Now? You're ditching? I'll bail
          with you.

                         CHARLIE
          No -- I'm -- I don't feel so well.
          He takes off. Ben and Mark watch him, perplexed.

          EXT. ED'S HOUSE -- DAY

          Another suburban development. Rows and rows of red tile
          roofs, houses stacked right on top of one another...
          Charlie rings the bell of a modest place. Not as big as
          where Charlie and Jane live. But nice, well-tended for.
          ED's mom, VICTORIA, answers. She's surprised to see him.

                         VICTORIA
          Charlie!

                         CHARLIE
          Yeah, Hi Mrs. Lee.
          Victoria breaks into a wide smile.

                         VICTORIA
          God you're a sight for sore eyes.

                         

                         

                         

                         

          33.

          INT. ED'S HOUSE -- CONTINUOUS

           Victoria pulls Charlie in and hugs him, happy. Calls out--

                         VICTORIA
          Rick! Charlie's here!

                         (TO CHARLIE)
          Look at you. So handsome!

                         CHARLIE
          Oh, I -- you don't have to--
           Now RICK, Ed's dad comes into the room. Shakes his hand.

                         RICK
          Ed said you'd sprouted. And
          you're, the--
          Rick awkwardly gestures around his face.

                         CHARLIE
          Cleared up. Yes sir--

                         VICTORIA
          Ed will be so sorry he missed you,
          But -- you should both be in school
          now, shouldn't you?

                         CHARLIE
          He's not here? Did you see him
          today?

                         RICK
          He's usually up and out early.
          Everything okay?

                         CHARLIE
          No, sure. We're working on a class
          project. I guess we crossed paths.

                         VICTORIA
          I'm so glad you're doing that. Ed,
          he'd be mad that I said so, but he
          talks about you all the time.
          This lands hard on Charlie. How remiss he's been.

                         CHARLIE
          Yeah. That's... He's great.

                         (THEN)
          Would it be okay if I went
          upstairs? Ed has a book we need.

                         

                         

                         

                         

          34.

                         VICTORIA
          Of course. Make yourself at home.
          Charlie goes upstairs. Victoria makes a face at Rick --
          "that's good!" They're both pleased.

          INT. ED'S ROOM -- DAY

          Ed's room is a shrine to comic books, horror and fantasy
          movies.
          There's an art table where Ed has been working on some
          illustrations for a noir-style graphic novel. Charlie stops
          and looks at them. They're fantastic.
          He looks at the photos on the wall -- including a few
          pictures of Ed, Charlie and Adam when they were friends.

          CLOSE ON A PHOTO
          Charlie and Ed, arms around each other. Charlie is shorter
          and thinner -- with really bad acne. Not cute. WAY not.

                         ON CHARLIE
          Ouch. Best not to dwell. He turns and sees--
          PETER VINCENT'S "FRIGHT NIGHT" POSTER on a wall. Charlie
          takes it in, laughs a little.
          Then Charlie examines a WHOLE WALL devoted to Ed's
          investigation of Jerry. Maps, news reports, vampire lore
          printed off the internet, books, etc.
          If you didn't know the difference, you'd say it's just more
          of Ed's fictional world.
          Charlie stares at it all for a beat. Then shakes his head.
          It's all a fantasy -- nothing more.

                         CHARLIE
          This is crazy.
          He starts to take off. But sees that Ed's computer is on --
          and one file stands out. "THE JERRY DIARIES."
          Charlie gives in to his curiosity -- clicks it open -- finds
          a bunch of Quicktime files.
          He opens one. Stops.

          CLOSE ON COMPUTER

                         

                         

                         

                         

          35.
          As BLURRY short clips play:
          Jerry's truck, in motion but it looks like NOBODY'S DRIVING

          IT.
          DORIS the neighbor chatting on Jerry's lawn -- with nobody.
          Over and over, it's appears that JERRY DOESN'T SHOW UP on
          video.

                         OFF CHARLIE
          Taking this in. Chilled.

          EXT. BREWSTER HOUSE -- NIGHT

          It's dark as Charlie comes home. He looks warily at Jerry's
          house as he searches for his keys.
          BAM -- he walks right into JERRY.

                         JERRY
          Hey guy.
          Charlie tries to maintain his cool. What if Jerry is what Ed
          thought? Impossible, but...

                         CHARLIE
          Hey. Guy.

                         JERRY
          You could really do me a solid.

                         CHARLIE
          Yeah? What kind.

                         JERRY
          I have a girl on her way over for a
          beer, and I'm totally out of beer.
          They're at Charlie's back door, the one that leads to the
          kitchen.

                         CHARLIE
          Bummer.

                         JERRY
          Set me up, I'll pay you back two
          times. A sixer for your mom, and
          one for you.

                         CHARLIE
          Uh, yeah, sure.

                         

                         

                         

                         

          36.
          Jerry watches Charlie as he unlocks the door.
          This is when Charlie should invite him in.

                         CHARLIE (CONT'D)
          Let me see what Mom's got. She's
          kind of a "light domestic".. .mom.
          Charlie steps inside. Pointedly DOESN'T ask Jerry to enter.
          Charlie intentionally leaves the door open, moves to the
          refrigerator. But keeps his eyes on Jerry. If he steps in,
          uninvited, Ed's theory is blown.

                         JERRY
          Nice kitchen. Same floor plan as
          my place, huh?
          Jerry leans against the door jamb -- BUT DOES NOT CROSS THE
          THRESHOLD. Charlie observes this. Holy shit.
          Charlie and Jerry MEET EYES. Then a cold smile creeps over
          Jerry's face.
          Charlie fumbles, lets one of the wet beers slide from his
          hand -- it hits the ground, explodes.

                         CHARLIE
          Fuck!

                         JERRY
          Can I help you with that?

                         CHARLIE
          No! No. Thanks. I'll get it.
          Jerry takes in Charlie's frantic refusal. Now he's darkly
          certain. He's been made.
          Charlie tosses the broken bottle into the sink. Moves to the
          doorway with the remaining beers.
          Charlie hands them over the threshold. But doesn't cross.

                         CHARLIE (CONT'D)
          There you go. Uh...party down.
          Jerry watches him, intense. His tone shifts -- cocky and
          intimidating. A threat disguised as "guy talk."

                         JERRY
          This girl tonight -- she's a
          handful. You know.

                         (MORE)

                         

                         

                         

                         

          37.

                         JERRY (CONT'D)
          Women who look a certain way, they
          need to be managed.

                         CHARLIE
          Yeah.

                         JERRY
          You don't mind my saying, you got a
          lot on your shoulders for a kid.
          Your pal, Amy? She's ripe. Must
          be a line of guys dying to pluck
          that. Your mom too -- you don't
          see it, maybe you do -- she's
          giving it off. It's on you to
          watch out for them. You up for
          that?
          Charlie's burning. But holds himself in check.

                         CHARLIE
          I think I can manage.

                         JERRY
          Good. Cause there are bad people
          out there, man. Better keep an eye
          on your women.
          Jerry backs away, intimidating even as he retreats.

                         JERRY (CONT'D)
          Thanks for the beers.
          Charlie watches him move into the dark.

          INT. BREWSTER HOUSE - CHARLIE'S ROOM -- NIGHT

          Charlie bursts into his room, freaked out -- races to the
          window.
          His room is free of all geekery. Now it's all sports and
          sneakerhead stuff.
          AMY's there -- on his bed and surrounded by school books.
          She's reading Wuthering Heights.

                         AMY
          Where've you been? You told me to
          meet you here an hour ago.

                         CHARLIE'S POV
          Jerry's nowhere to be seen and his house is quiet. Lights on
          behind BLACKED OUT WINDOWS.

                         

                         

                         

                         

          38.

                         AMY (CONT'D)
          Hello?
          Charlie breaks away from the window. It's an effort. His
          focus is still half there, even as he tries to talk to Amy.

                         CHARLIE
          Sorry. You okay? Everything okay?
          He checks his phone. Checks for anything from ED. Nothing.

                         AMY
          Yeah. Why shouldn't it be?

                         CHARLIE
          No, it should. Nothing.

                         AMY
          (re: her book)
          You ever read this? It's good.
          Sexy, actually.
          Amy moves to Charlie. Puts her arms around him.

                         AMY (CONT'D)
          In a frustrated, unconsummated sort
          of way.

                         CHARLIE
          Like us, you mean.
          Amy laughs, pulls him onto the bed. She's feeling frisky.

                         AMY
          Kinda makes it hotter.

                         CHARLIE
          Yeah, so you keep saying.
          He smiles a little. She kisses him. But feels his distance.

                         AMY
          Am I boring you? What's up?

                         CHARLIE
          What? No. I'm kind of wiped out,
          that's all.

                         AMY
          I can fix that.
          She kisses him again. Despite himself, Charlie gets drawn in
          and turned on. She pulls back, serious.

                         

                         

                         

                         

          39.

                         AMY (CONT'D)
          Want to get under the covers?

                         CHARLIE
          -- now? Seriously?

                         AMY
          Calm down. Let's just... see how it
          goes.
          Charlie's dying inside. Now?! Could not be a worse time.

                         CHARLIE
          Believeme when I say--thereis
          nothing in the worldI'dratherdo

                         BUT--

                         AMY
          Charlie. Don't be nervous.
          She kisses him again. It's intense, passionate. Charlie
          weakens a little. Maybe death and mayhem can wait...
          Amy moves to take off her top. Oh. My. God--
          DING DONG. Somebody is ringing the bell at Jerry's. Charlie
          stops. Practically tosses Amy off him.

                         CHARLIE
          You hear that?
          He rushes to the window. Looks outside.

                         CHARLIE'S POV
          DORIS is at Jerry's front door. Holding a bottle of wine.

                         CHARLIE (CONT'D)
          Shit.

                         AMY
          What?
          JERRY comes to the door. He and Doris start chatting. She's
          flirting up a storm.

                         CHARLIE
          Shit, shit, shit--
          Amy sees what Charlie sees. Shrugs.

                         AMY
          He's hot. She's a stripper. They
          were bound to find each other.

                         

                         

                         

                         

          40.

                         CHARLIE

                         GO-GO DANCER--

                         AMY
          Take away two tiny pieces of cloth,
          stripper.

                         (LIGHTLY)
          You jealous?

                         CHARLIE
          What? No--
          Jerry is showing Doris in when he stops-and looks DIRECTLY AT
          CHARLIE. It's chilling.
          Charlie DIVES away from the window, grabbing Amy and pulling
          her down too.

                         CHARLIE (CONT'D)
          He looked right at us.

                         AMY
          Maybe. Not a big deal--
          Charlie's freaked now. Doris is IN THERE.

                         CHARLIE
          No, it is a big. A very big. He
          saw us and he was pissed.

                         AMY
          Okay...
          Amy moves away. Looking at him skeptically.

                         AMY (CONT'D)
          If you're not into this, say so.
          Don't do me any favors.

                         CHARLIE
          What? No! I am, I totally am.
          just -- I don't trust that guy.
          He glances out the window again. Amy's irritated, not used
          to having her passes rejected. She gathers her stuff.

                         AMY
          I'm going.

                         CHARLIE
          Amy. Don't--

                         

                         

                         

                         

          41.

                         AMY
          No. You've got your neighborhood
          watch thing.

                         CHARLIE
          Come on, don't be that way--
          But she's gone.

                         CHARLIE (CONT'D)
          Crap!
          A beat. Charlie's torn -- he should go after her. But
          Doris's muted LAUGH from the other house draws his attention.
          He looks again at Jerry's house. He can see faint shadows
          moving behind the windows in the house, like ghosts.
           Charlie's conflicted, freaked -- what can he do? He picks up
          the phone. Dials 911. Then thinks better of it. Hangs up.
          Finally -- he stops at the window, eyes on JERRY'S PLACE.
          Listening and watching intently. Keeping sentry.

                         FADE TO:

          INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- NIGHT

          Later. Charlie's fallen asleep in a chair by the window.
          He's startled awake by a woman's SCREAMS. They sound like
          they are coming from Jerry's.
          But are they screams of pleasure or pain?
          Charlie looks out the window. Jerry's house is dark. It's
          all quiet. Charlie looks at the clock. tam.
          Charlie sits back on his bed. Was it a dream? Then Charlie
          hears A MOTOR START. Charlie goes back to the window.
          Jerry's TRUCK starts and Jerry drives off.
          Off Charlie, unsettled.

                         CUT TO:

          EXT. JERRY'S HOUSE -- BACKYARD -- NIGHT

          A short while later. Charlie moves cautiously into Jerry's
          backyard. He's wearing ALL BLACK and his dad's old winter
          gloves. He looks at his iPhone.
          ON THE PHONE -- a diagram. "How to pick a lock."

                         

                         

                         

                         

          42.
          Charlie steels his nerves. At Jerry's back door, he clumsily
          tries to pick the lock. After a moment or two, he realizes
          he has no idea what he's doing.

                         CHARLIE (CONT'D)
          Crap.
          He walks away from the door, frustrated. Then turns and
          impulsively tries to KICK IN the DOOR with his foot. Nothing
          happens.
          Then something occurs to Charlie. He goes into the garden.

                         CHARLIE (CONT'D)
          The Perrys...
          Charlie finds a FAKE ROCK. Turns it over. It has a KEY in
          it. Charlie's like -- duh.
          He puts the key in the back door lock. It opens.

          INT. JERRY'S HOUSE - NIGHT

          Charlie moves through the first story of the house. He's
          cautious, on edge.
          At first the place seems totally unremarkable. A typical
          "guy pad". Lots of inexpensive furniture, bad art, a salt
          water fish tank...
          At every turn, Charlie expects something or someone to jump
          out at him. It's unbearably tense.

          INT. JERRY'S HOUSE -- UPSTAIRS -- NIGHT

          Charlie looks upstairs. Moves through a plain white hallway,
          finds an open door that leads to Jerry's office, where he
          keeps an EXTENSIVE LIBRARY.
          On one wall hangs a TAPESTRY that looks very old, decorated
          with a strange INSIGNIA. Charlie takes a picture of it with
          his phone.

          INT. JERRY'S BEDROOM -- NIGHT

          Charlie goes into Jerry's bedroom - opens his closet. Sees a
          variety of UNIFORMS. Cop, gas man, UPS, etc. Charlie
          reacts, chilled.
          Charlie stops. JERRY'S TRUCK is pulling into the driveway.
          Charlie's in a panic. Jerry will be inside any moment.

                         

                         

                         

                         

          43.
          There's no time to get out so Charlie ducks into the CLOSET.

          INT. JERRY'S HOUSE -- CLOSET -- NIGHT

          Charlie pushes as far back into the closet as he can go.
          Leans against the back wall.
          The BACK OF THE CLOSET SWINGS OPEN and Charlie falls back
          into a HIDDEN HALLWAY.
          Charlie stands, stunned, see that the hallway is lined by
          small rooms on either side.
          It's clear that these are additions Jerry's added. Each room
          has a small rectangular WINDOW, so you can see in.
          Charlie reacts, sick. It looks like a prison. Despite the
          danger, he creeps over and looks in one of the rooms--

          WHAM!!
          A pale HAND slaps against the window. Charlie jumps.

                         CHARLIE
          Fuck! --
          DORIS is in the window now. Bruised and so pale she looks
          almost BLUE.

                         DORIS
          Help...

                         CHARLIE
          Oh my God. Oh, shit--
          Charlie tugs on the door. Locked.
          He stands back, what to do? Charlie hears a NOISE. The
          FRONT DOOR. And then -- JERRY'S FOOTSTEPS approaching.

                         DORIS
          Oh... Oh no... Get me out of here!
          Doris pounds on the door. In a cold panic.

                         CHARLIE
          I'm -- I won't leave you--
          But Charlie has no choice. The footsteps are getting CLOSER.

                         DORIS
          Please! No! Don't go!

                         

                         

                         

                         

          44.
          Charlie ducks inside one of the CELLS across from Doris,
          moves behind the door.
          JERRY steps into the hallway, walks right by Charlie's hiding
          place. Pauses near him.
          The door is ajar. Was it that way before? Charlie holds his
          breath.
          Jerry moves to the CELL and retrieves DORIS's half-alive body
          from it.
          Charlie cautiously looks through the crack in the door.

                          DORIS (CONT'D)
          .no... . God, no... please...
          The door to Doris's cell open. Charlie can see PART of
          Doris's body and face.
          Jerry is mostly obscured, bent over Doris -- holding her.
          Charlie watches helplessly, horrified.

                         DORIS (CONT'D)
          Please, please... don't kill me.
          Doris's body TENSES and starts to jerk, as Jerry TUGS AND
          RIPS AT IT SAVAGELY. It's clear he's FEEDING ON HER,
          although we can't see his face.
          Doris screams, then starts to cry. It's stark and REAL and
          terrifying.
          It seems to go on and on. Doris weakens, her head lolling to
          one side, her light fading.
          A small stream of blood spreads across the white pavement.
          In the position she's in, she is eye to eye with CHARLIE.
          She sees him, smiles weakly. Then mouths something -- too
          weak to make much sound.

                          DORIS (CONT'D)
          Cha... Cha...
          CHARLIE is petrified. Doris gets it -- smiles a little
          grimly, puts a finger to her lips. Silence.
          After what seems like an eternity, Jerry is satisfied. He
          tosses Doris aside and stands away from her.
          Charlie DUCKS behind the door as Jerry emerges and casually
          wipes a spot of blood from his mouth.

                         

                         

                         

                         

          45.
          Then Jerry LOCKS DORIS back into her cell. Pockets the key
          and moves off toward the stairs. After a moment, he's gone.
          The sound of a TV starts in Jerry's living room. Something
          banal like "The Real Housewives of Orange County."
          Charlie knows this is his moment. With shaking hands, he
          retrieves his iPhone and pulls up the "HOW TO PICK A LOCK"
          screen.
          Charlie looks through the window in Doris's cell. She's
          breathing -- alive.
          Charlie whispers to himself as he uses a bobby pin and a tiny
          screwdriver on the lock.

                         CHARLIE
          Please... Please...
          The bobby pin slips. Drops. Charlie's losing it. Steadies
          himself. Tries again.

                         CHARLIE (CONT'D)
          Come on.
          The tension is unbearable. Charlie can hear JERRY moving
          downstairs.

                         CLICK
          The lock slides open. Charlie breathes with relief. Then he
          grabs Doris and BOLTS.
          Charlie SLIPS in a pool of blood left behind from Jerry's
          feeding, but he manages to stay on his feet.
          He pushes Doris ahead of him, to a BACK STAIRCASE.
          His PHONE drops out of his pocket, he has to double back --
          every moment counts. Doris's barely aware of what's
          happening, let alone where she is.

          INT. JERRY'S HOUSE -- STAIRWELL/ENTRY -- DAWN

          A moment later. Charlie and Doris emerge downstairs, near
          the entry hall. They can see the front door -- and hear
          Jerry moving in another room.
          Charlie looks around, trying to get oriented.
          JERRY emerges -- almost sees them. Charlie ducks into a
          hiding spot and grabs Doris, covering her mouth.

                         

                         

                         

                         

          46.
          A long beat as Jerry returns to the living room with a beer.
          Settles in a chair facing away from the door.
          Charlie considers his options. Says almost silently:

                         CHARLIE
          Same floor plan.
          He grabs Doris and bolts for the kitchen.

          INT. JERRY'S HOUSE -- KITCHEN -- DAWN

          A back door. Leading out. Charlie and Doris race for it,
          DORIS stumbles and bumps into a chair. Stifles a cry.

          INT. JERRY'S HOUSE -- LIVING ROOM -- DAWN

          Jerry turns at the noise.

          INT. JERRY'S HOUSE -- KITCHEN -- DAWN

          Charlie throws the back door open, he and DORIS ESCAPE.

          EXT. JERRY HOUSE -- DAWN

          The sun is just starting to rise. Charlie races for his
          house, with Doris holding on to him tight. She's crying with
          gratitude and relief, manages--

                         DORIS
          Thank you, thank you...
          Doris looks up at him, her EYES TURNING BLACK, her veins
          going gray. A first ray of pure sunlight hits them.

                         CHARLIE
          Doris?
          In a flash, DORIS starts to BURN. Charlie is helpless to stop
          it as she GOES UP IN FLAMES and explodes.

                         CHARLIE REACTS
          Horrified. In shock.

          INT. JERRY'S HOUSE -- KITCHEN -- DAWN

          Jerry moves into the kitchen.

                         

                         

                         

                         

          47.
          The back door is closed now -- but the blinds sway slightly.
          And there are BLOODY prints on the floor from Charlie's
          sneakers.
          Jerry takes this in, coldly furious.

                         FADE TO:

          INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DAWN

          Charlie sits on his bed -- still in a state of shock. This
          shit is for real.
          Jane comes to the door, her knock cursory. She enters.

                         JANE
          You're going to be late.
          Jane moves to the windows, throws the curtains open. Charlie
          winces at the sun. He got no sleep, looks like hell.

                         JANE (CONT'D)
          The hours you keep. It's like
          living with a vampire.
          Charlie stops. Looks at her. She has no idea.

                         CHARLIE
          Listen -- promise me -- that guy
          next door, Jerry? Under no
          circumstances do you invite him
          into our house. He's dangerous.

                         JANE
          I think I can handle myself.

                         CHARLIE
          No, no you can't--

                         JANE CHARLIE
          Charlie-- Don't even look in his
          direction, understand? And
          at night, you stay inside.

                         JANE
          Because he's dangerous. What kind
          of dangerous?
          Charlie starts gathering his things. Getting ready to bolt.

                         

                         

                         

                         

          48.

                         CHARLIE
          Can you trust me? For once, don't
          ask a million questions--

                         JANE
          Charlie. Stop. I'm your mom, not
          some ridiculous woman--

                         CHARLIE

                         (GENUINE)
          I'm sorry. Okay? I know... We
          just don't have time for a big
          thing! I'm telling you--

                         JANE
          That's enough. I'm done with this
          conversation.
          She moves away.

                         CHARLIE
          Mom! Mom--
          But she's gone. Charlie looks after her, worried.

          EXT./INT. CLARK COUNTY HIGH SCHOOL -- DAY

          Later. Charlie approaches the school. Kids swarm around
          him, happy and care-free. Charlie's in another world.

          INT. CLARK COUNTY HIGH SCHOOL -- LIBRARY -- DAY


          CLOSE ON A COMPUTER SCREEN
          As various pages pop up--

                         VAMPIRE FAQ
          True VAMPIRE tales!
          VAMPIRE chat city
          How to kill a vampire

                         ON CHARLIE
          As he scrolls and frantically scribbles notes.

          CLOSE ON CHARLIE'S NOTE PAD/COMPUTER SCREEN
          As Charlie notes tons of CONTRADICTORY facts;

                         

                         

                         

                         

          49.
           Vamps must avoid all daylight. Vamps can walk in fog or
          twilight.
           Vamps always sleep in the dirt. Vamps never sleep.
           Vamps can only die from stake through the heart. Vamps
          only die from Fire.
           Three bites to turn a victim into a vamp. One bite and the
          victim has to feed from the vamp...
           Vamps change form -- bats, animals, etc. Vamps absolutely
          can NOT shape-shift.

                         ON CHARLIE
          We see now that he's on a computer in the SCHOOL LIBRARY,
          isolated behind some stacks.
          He clicks a link on one of the sites -- which leads him to
          PETER VINCENT'S website. It's an elaborate interactive site.
          It says that Vincent is a serious student of all things
          occult -- especially VAMPIRES -- and has amassed a vast
          collection of books and artifacts.
          It also claims that there are different TRIBES of vampires.

          ON CHARLIE'S NOTEBOOK
          He writes in big letters

           TRIBES?

           PETER VINCENT -- VAMP EXPERT?

          AMY (O.S.)
          Hey.
          Charlie looks up. Amy stands over him, a little wary.
          Charlie covers his writing and closes his computer screen.
          He looks like hell. Disheveled, sleep deprived, tense.

                         CHARLIE
          Hey...

                         AMY
          You weren't in class. What are you
          working on?

                         CHARLIE
          Porn. Hacked it.

                         

                         

                         

                         

          50.

                         AMY
          Oh, good. I thought it was
          something creepy.
          Charlie nods. Smiles wanly. Then--

                         CHARLIE
          Look, I'd better...

                         AMY
          Get back to your porn. Got it.
          She looks away, losing patience. Charlie rallies.

                         CHARLIE
          No. Sorry. I'm just -- I could
          use some coffee.
          She looks back. Okay.

          EXT. CLARK COUNTY HIGH SCHOOL -- QUAD -- DAY

          Charlie and Amy sit in the busy quad.

                         CHARLIE
          We can't hang out at my house any
          more. My mom's flipping out about
          some stuff. I can see you at
          school, but for a while --

                         AMY
          Why? What's going on?

                         CHARLIE
          It's hard to explain. Just...
          What can he say? He has to protect her, but how?
          BEN AND MARK Join them. Notice how tweaked Charlie looks.

                         BEN
          You look like dog shit.

                         CHARLIE
          Thanks.

                         MARK
          Your pal the spaz, his folks were
          here earlier. It's a big thing.

                         CHARLIE
          What? Why?

                         

                         

                         

                         

          51.

                         MARK
          I don't know. He ran away or
          something. They were all upset,
          talking to the principal.

                         BEN
          One less tweaker clogging up the
          halls.
          Charlie stands, upset.

                         CHARLIE
          Shut up.

                         MARK BEN
          Charlie-- Chill out-

                         CHARLIE (CONT'D)
          You don't know what you're talking
          about. He could be dead for all
          you know.
          Mark steps in. Calming, reasonable.

                         MARK
          You're right. Not cool. You're
          worried and it's totally
          understandable.

                         (THEN)
          But he's better off, man. He'll be
          happier with the other trolls on
          the shire.
          That's it. Charlie DECKS MARK. They go to the ground and
          Charlie lets loose on him. A bunch of other guys pull them
          apart amid shouts, etc.
          Mark is bloodied and freaked.

                         MARK (CONT'D)
          What the fuck man!?
          AMY stands back, appalled.

                         AMY
          Charlie!! What the hell is wrong
          with you?!

                         CHARLIE

                         (TO MARK)
          You're an idiot, you know that?

                         (SUPER EMPHATIC)
          And it's HOBBITS on the shire!

                         

                         

                         

                         

          52.
          Charlie turns to Amy--

                         CHARLIE (CONT'D)
          Come on.
          But she shakes her head and moves to MARK and BEN.

                          CHARLIE (CONT'D)

                          AMY--

                          AMY
           Just get out of here, Charlie. Go.
           He knows it's over. Heartbroken, he takes off.

                          FADE TO:

          EXT. THE STRIP -- DAY

          Charlie gets off the bus and walks toward one of the nicer
          hotels.
          He's looking at another "how to" on his phone. "How to meet
          a celebrity."

          INT. HOTEL LOBBY -- DAY


          CLOSE ON -- A NEWSPAPER STAND
          As Charlie grabs a LAS VEGAS SUN from a rack.

          INT. HOTEL LOBBY -- ELEVATOR -- DAY

          Charlie watches a bunch of CONVENTIONEERS with BADGES in the

          FOOD COURT.
          A guy about Charlie's size leaves his coat and badge on his
          chair -- goes to get his food.
          Charlie sweeps in and quietly takes it.

          INT. HOTEL SHOWROOM -- DAY


                         CLOSE ON

                         PETER VINCENT
          40's, but all wiry rock n' roll attitude. Leather pants and
          tattoos, Long black hair wrapped in a bandana. Dark painted
          nails and heavy eye make-up. HEAVY METAL MUSIC BLARES.

                         

                         

                         

                         

          53.
          The whole scene is OVER THE TOP GOTH cheesiness. Lots of
          stage effects and fire...
          PAMELA ANDERSON look-alikes in skimpy outfits prance on stage
          as another SEXY GIRL is handcuffed, S&M style, to a CIRCULAR

          TORTURE BOARD.

          ON THE AUDIENCE
          We see that this is a run-through. Tech guys work light
          boards, etc. A director and scattered others sit in the
          seats.

                         CHARLIE
          Sneaks in one of the back doors. Silently moves close to the
          stage.
          He's WEARING THE STOLEN COAT.
          The badge holder now has the SUN masthead logo inside. It
          looks, at first glance, like a legit credential.

                         ON STAGE
          Peter reveals a tray full of SHARP DAGGERS. He raises them
          to the audience.

                         PETER
          The knives are real.
          He CUTS his OWN PALM with one, bleeds. Doesn't even wince.
          Stud.

                         PETER (CONT'D)
          The girl is real.
          He GRABS HER, feels her up. She giggles.

                         SEXY ASSISTANT
          Ooooo!
          Peter YANKS down on the circular board the assistant's tied
          to -- sending her SPINNING.

                         PETER
          And if I miss, she'll really be
          dead.
          The music switches. It's all TENSION. Peter FLINGS a
          dagger. SCHWACK! The assistant DUCKS as the KNIFE embeds in
          the board behind her, this close where her head was.
          She screams! Breaks character.

                         

                         

                         

                         

          54.

                         SEXY ASSISTANT
          Holy Shit! Pete!
          Also out of character -- PETER speaks in a thick QUEEN'S

          ACCENT.

                         PETER
          You can't say that!
          (moves to her)
          Stop the-- STOP. CUT!!
          The music stops. The spinning board stops.

                         SEXY ASSISTANT
          You almost tore my extensions out!
          Why do you have to throw a real
          knife!?

                         PETER

                         (RE: KNIFE)
          It barely cuts! That board is like
          butter.
          He tears the MAKEUP appliance off his hand that made it look
          like he cut himself. The assistant pulls out of her VELCRO
          straps.

                         SEXY ASSISTANT
          Everybody else fakes it!

                         PETER
          But this looks authentic--

                         SEXY ASSISTANT
          Then learn how to throw!
          She stomps off the stage. Peter can't believe it.

                         PETER
          Screw this.
          He starts to stalk off stage. CHARLIE rushes toward him.

                         CHARLIE
          Mr. Vincent! Mr. Vincent--
          A tech guy moves in on Charlie.

                         CHARLIE (CONT'D)
          Charles Brewster. From the Sun?
          We had an appointment.

                         PETER
          I don't think so. Talk to my guy.

                         

                         

                         

                         

                         55

                         CHARLIE
          We're doing a piece -- "Vampires.
          Separating myth from fact."

                         PETER
          You want a comment? That's a shit
          idea for an article.
          Peter starts to move off. Charlie, anxious, follows.

                         CHARLIE
          Please. I really -- I need your
          expertise. You're the man on this
          stuff, right?
          Peter sees how desperate Charlie is. Stops.

                         PETER
          What is this, like your first
          assignment?

                         CHARLIE
          Actually -- yeah.

                         PETER
          (takes this in/then)
          Ten minutes.

          INT. PETER VINCENT'S PENTHOUSE - NIGHT

          Peter lives in a two story penthouse at the top of one of the
          casino hotels that he works in. It's lavish, floor to
          ceiling windows, etc.
          Still, goth influence reigns. The decor is tacky Haunted
          Mansion all the way.
          Charlie is shown into the "museum" by Peter's ASSISTANT,
          ARTHUR, who looks and sounds A LOT LIKE PETER.

                         ARTHUR
          Don't touch anything, dude.

          INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT

          Charlie enters -- comes face to face with a SNARLING
          WEREWOLF. He starts. Then realizes it's a life-size model.

                         CHARLIE
          Ho -- wow.

                         

                         

                         

                         

          56.
          Charlie stands back, takes in the place. It's an amazing
          combination of FANTASY memorabilia and ACTUAL occult weapons
          and objects. It seems to go on and on.

                         ARTHUR
          Got rooms of this crap. Ebay.
          Charlie examines a case that holds all kinds of TORTURE
          DEVICES and battle axes, as well as SPIKED BALL MACES, etc.
          Cases hold ancient texts and scrolls, haunted objects, etc.

                         CHARLIE
          Amazing.
          Charlie is genuinely impressed. The geek in him can't help
          it. Peter enters, talks to Arthur--

                         PETER
          Midori me.
          Arthur pours Peter a green drink as Peter pulls off his black
          wig (bandana attached) and peels off a nude body shirt that
          has a bunch of TATTOOS printed on it.
          He steps out of his boots, with three-inch LIFTS. Collapses
          into an arm chair. He's just another balding, middle-aged
          guy with bad eyes.
          Peter downs his drink. Arthur hands him the bottle. Peter
          looks at Charlie.
          In truth, Peter's isolated himself to the point that he
          actually welcomes a visitor -- though he'd never admit it.

                         PETER (CONT'D)

                         (RE: MIDORI)
          Looks like pee but I'm hooked. You
          want?

                         CHARLIE
          No, thanks. Not...on the job.
          Peter scratches avidly at his crotch.

                         PETER
          Leather, it doesn't breath. You
          know? Fucking rashes are killing
          me... So I'm your expert, huh?
          For your vampire thing.

                         (BITTER)
          They're all the rage, huh.

                         

                         

                         

                         

          57.

                         CHARLIE
          Yeah. I guess... So -- say I want
          to kill one. But really. How how
          would you do it?

                         PETER
          Depends. You got fire, beheading.
          Or go classic -- stake through the
          heart. Bam!

                         CHARLIE
          So all that actually works?

                         PETER
          How the fuck do I know.

                         CHARLIE
          I thought you're--

                         PETER
          I read books, man. You think I'm
          hanging out with Dracula and the
          Easter Bunny?

                         CHARLIE
          Sorry. No.
          Charlie realizes he has no choice. He has to reveal more.

                          CHARLIE (CONT'D)
           I -- I have a personal interest in
          this story.
          (off Peter's look)
          A friend's missing, actually. I
          think one of them got him.

                         PETER
          Them, meaning a "vampire."

                         CHARLIE
          Jerry. He lives next door to me.

                         PETER
          "Jerry?"

                         CHARLIE
          I know.

                         (THEN)
          But it's no joke. If you look at
          these clips, you'll see. They take
          some time to load but...
          Charlie moves to Peter, shows him his phone. Digs into his
          pocket.

                         

                         

                         

                         

          58.

                         CHARLIE (CONT'D)
          And I printed up some photos I
          took. In his place. Or lair...
          Charlie put the photos in front of Peter on the table.
          Peter's expression closes. He stands, pissed.

                         PETER
          Arthur!

                         CHARLIE
          No, come on, I'm--

                         PETER
          You're a nutjob. Arthur!
          Charlie deflates -- his desperation showing again.

                         CHARLIE
          Listen to me. I saw it. I saw him
          kill a girl. She burned up in my
          hands. You have to tell me how to
          stop him.
          Arthur enters.

                         PETER
          Get this loser out of my sight.

                         CHARLIE
          I know what I saw.

                         PETER
          No you don't. See this guy?
          He gestures to ARTHUR.

                         PETER (CONT'D)
          My cousin, Art. He's "me" on
          stage. That's how I teleport.
          People see what they want to see.

                         CHARLIE

                         (URGENT)
          This is what you've been looking
          for, I promise. I can take you to
          him, to his place.

                         PETER
          In Clark County Nevada. A hot bed
          of supernatural activity.

                         

                         

                         

                         

          59.

                         CHARLIE
          Yes! It's genius. A transient
          population. A town where people
          work all night, sleep all day...

                         PETER
          A town full of con-artists.
          (not buying it)
          No. You're working me, or
          somebody's working you.
          Charlie's getting angry now.

                         CHARLIE
          He already got my friend! I know
          how I sound. But I'm not crazy. I
          didn't want this. I don't want to
          know this. Just tell me what to
          do!
          Peter feels Charlie's sincerity. For a moment he looks
          genuinely conflicted. But his expression hardens.

                         PETER
          Run.

                         CHARLIE
          What?

                         PETER
          You heard me.
          He moves away. But Charlie is on his heels. Peter looks to
          ARTHUR, nods.

                         CHARLIE
          So I save my own skin so he can
          keep killing!? I won't. We have
          to kill him! Please!--
          Arthur THROWS Charlie out, the door closed firmly behind him.

          INT. PETER VINCENT'S PENTHOUSE -- OUTER HALL -- DUSK

          Charlie stands, shut out. What the hell is he going to do
          now?

                         FADE TO:

                         

                         

                         

                         

          60.

          EXT. BREWSTER HOUSE/JERRY'S HOUSE -- DUSK

          Moving in on the Brewster home, an odd sight is revealed.
          Every window is draped with strings of GARLIC.
          Charlie's revealed in his window -- hammering up another long
          rope of the stuff.
          His gaze falls on JERRY'S HOUSE and we follow it.

          INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DUSK

          Now we find that Charlie's entire room is decked out in anti-
          vamp decor. Not just the garlic but crosses and other
          religious pictures, etc.
          Charlie LOOKS at the clock -- night coming too quickly. He's
          grimly focused as he starts sharpening a STAKE.
          A knock. Jane doesn't enter this time. Another knock.

                         CHARLIE
          What?
          Jane walks in. Takes in the decor.

                         JANE
          The whole house looks like that
          show Dark Shadows.

                         CHARLIE
          It's a gag. For Amy. Long story.

                         JANE
          (takes this in/then)
          You like her a lot, don't you?
          A moment when they could connect. But Charlie just nods.
          Jane's disappointed. Then--

                         JANE (CONT'D)
          Don't use tape on the walls.

                         (THEN)
          Oh. Ed's parents left a few
          messages, looking for him.
          Charlie looks up at this. Pained.

                         CHARLIE
          Okay.
          He goes back to his work. Jane looks at him for a beat, then
          she starts to go.

                         

                         

                         

                         

          61.
          THE DOORBELL RINGS. Before Jane can really react, Charlie
          pushes past her.

                         CHARLIE (CONT'D)
          DON'T. Don't open it.

          INT. BREWSTER HOUSE -- LIVING ROOM -- DUSK

           Charlie races downstairs. Stops. AMY is standing in the
          living room.

                         CHARLIE
          How'd you get in?!

                         AMY
          It was unlocked.

                         CHARLIE
          MOM! You have to lock the door!

                         AMY
          Okay, whatever, listen. You're
          flipping out. Punching out your
          friends and blowing everything off
          and is that a stake?
          A beat. He forgot he was holding it. He hides it behind his
          back.

                         CHARLIE
          No.
          Amy sits, upset. Looks around and sees that the living room
          is decked in more anti-vamp decor.

                         AMY
          Look. Even if you're losing it --
          you don't get to blow me off. You
          don't go from something to nothing
          overnight.

                         (EMOTIONAL)
          You're not nothing to me, Charlie.
          Whatever's happening, just -- talk
          to me.
          Charlie takes this in, emotional. But--

                         CHARLIE
          I can't let you get hurt. You need
          to forget about me for a while.

                         

                         

                         

                         

          62.

                         AMY
          What? How am I going to get hurt?
          Tell me. Charlie--
          Now there's another KNOCK at the door. Jane comes downstairs-

                         JANE
          I got it--

                         CHARLIE
          NO. Don't answer it.
          A tense moment. Another knock.

                         INNERCUT WITH

          EXT. BREWSTER HOUSE -- FRONT DOOR -- DUSK

          JERRY stands at the door. Quietly enraged.

                         JANE
          This is ridiculous--

                         JERRY
          Jane. It's Jerry from next door--

                         CHARLIE
          I'm telling you, don't answer it!

                         JANE
          This is my house. I'll answer the
          door if I want to.
          She starts to move to the door again. Charlie blocks her
          way, desperate.

                         CHARLIE
          Mom. He murdered Ed and Adam. And
          I have proof.
          Jane is stunned, at a loss. From the other side of the door--

          JERRY (O.S.)
          Jane? I need to talk to you.

                         JANE
          Just-- Hold on!

          JERRY (O.S.)
          Now. Your son is harassing me!
          He pounds on the door. Jane examines Charlie closely.

                         

                         

                         

                         

                         63

                         JANE
          Charlie. What's happening?

                         CHARLIE
          Whatever he says, don't--

          JERRY (O.S.)
          He broke into my house. I'd rather
          not take this to the authorities.
          But I will! He's sick, deluded--

                         CHARLIE
          Mom.
          A tense beat... Finally--

                         JANE

                         (YELLS/ANGRY)
          Get the authorities! My son is a
          good kid!
          Charlie sags with relief. A brief look of appreciation
          passes between Charlie and Jane.

                         ON JERRY
          As he backs away from the door. His expression goes cold.
          He disappears into the dark.

          INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT

          Charlie races to a window. SEES JERRY MOVE out of sight.

                         CHARLIE
          Shit, shit...

                         JANE
          What? What is he doing?

                         CHARLIE
          Whatever it is, it's not good.

          EXT. BREWSTER HOUSE -- FRONT YARD -- NIGHT

          Jerry stands back, intense. He's got to take care of this
          problem NOW.

          INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT

          Charlie's running from window to window now, trying to see
          what's going on.

                         

                         

                         

                         

          64.

                         CHARLIE
          Just -- if we stay in here -- he
          has to give up. He can't get in
          without an invitation.

                         AMY

                         OH--

                         (GETTING IT)
          Oh... Really? Like a--

                          CHARLIE
          Vampire. Really.
           Amy and Jane are blown away. Charlie's going crazy.

          EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT

           Jerry carries a SHOVEL and A SMALL SAW. He stalks into the
          Brewster's backyard, where he's hidden from the street.

          INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT

          Jane follows Charlie, worried.

                         JANE
          Think about what you're saying--

                         CHARLIE
          I have. I've "processed," believe
          me.
          Jane takes this in. Then SMILES.

                         JANE
          Ooooh. This is the gag! For Amy.
          I can't believe you got Jerry to go
          along with it!
          Charlie stops. Fuck.

          EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT


          CLOSE ON JERRY
          As he starts to DIG UNDERGROUND -- amazingly strong and
          swift.

          INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT

          Charlie hands Amy and Jane both CROSSES on CHAINS.

                         

                         

                         

                         

          65.

                         CHARLIE
          Take these. Put them on. Just do
          it.

                         JANE

                         (HUMORING HIM)
          Okaaaay. Vampire protection!

                         AMY
          I don't think this is funny.
          But she puts it on.

          EXT. BREWSTER BACKYARD -- NIGHT

          Jerry pulls up the NATURAL GAS LINE that leads to the
          BREWSTER'S HOUSE. He SAWS IT OPEN AND LIGHTS THE END ON

          FIRE.

          INT. BREWSTER HOUSE -- LIVING ROOM/VARIOUS -- NIGH

          Hisssssssssss. A strange sounds coming from under the floor.

                         AMY

                         WHAT'S THA--
          BOOM!! The GAS FIREPLACE EXPLODES, the STOVE EXPLODES, THE
          WATER HEATER ALL EXPLODE at once!!
          WINDOWS BLOW OUT as Charlie JUMPS on Jane and Amy, dragging
          them to the ground.
          The room starts to BURN.
          Charlie, Amy and Jane are in a panic. They try to put the
          fire out, but it's no use.
          Charlie stops. A CHILLING SIGHT:
          Jerry stands on the other side of the blown-out windows. His
          expression dark. Through the flames he says--

                         JERRY
          Don't need an invitation if there's
          no house.
          A beat. Charlie GRABS Amy and Jane and they RUN through the
          house.

          INT/EXT. BREWSTER GARAGE/STREET - NIGHT

          y, Charlie and Jane race into the garage

                         

                         

                         

                         

          66.

                         AMY
          I can drive--

                         JANE
          I drive!
          They jump into Jane's car. Hit the garage opener--

                         CHARLIE
          Gun it Mom! Go!!!
          Jane GUNS IT THROUGH THE OPENING GARAGE DOOR, destroying it.
          She CLIPS Charlie's dirt bike -- pushing it onto the sidewalk
          as she takes off.
          Jane's car swings wide into the street, almost smashing into
          an arriving FIRE ENGINE! Charlie, Amy and Jane SCREAM!!
          They narrowly avoid a head-on collision with a FIRE TRUCK.

                         ON JERRY
          As he sees the dirt bike in the driveway. He jumps on.
          Tries to start it. NO GO. Fuck.

          INT. JANE'S CAR -- NIGHT


                         JANE
          What did we do!? What does he
          want!?
          They are racing away when the DIRT BIKE COMES CRASHING
          THROUGH THE BACK WINDOW of the car, nearly taking Amy's head
          off.

                         AMY

                         HOLY--
          Everyone reacts. Then the BIKE STARTS - the wheels spinning
          wildly in the back seat.

                         CHARLIE
          Amy!
          Amy's hair gets caught in the spokes - it's horrible as it
          YANKS part of her hair out.
          Charlie grabs her away from the bike -- she falls into his
          arms, crying as JERRY's BIG PICKUP appears in the rear
          windshield.

                         

                         

                         

                         

          67.

                         JANE
          He's coming!

          THEY SWERVE OUT THE SHADOW HILLS GATES

          EXT. MAJOR STREET -- NIGHT

          Jane speeds down the street, which is wide and not heavily
          trafficked here.
          Unlike the planned community of Shadow Hills -- now we can
          see we're surrounded by great expanses of empty DESERT.
          JERRY'S TRUCK SMASHES REPEATEDLY into JANE'S.

                         AMY
          My brother has a gun!

                         CHARLIE
          Good to know! Is he here?!

                         JANE
          Call the police! Anybody--
          Jane manages to evade Jerry until --
          The TRUCK SKIDS in a long arc in front of them and BLOCKS
          THEM. Jane screeches to a halt.

                         JANE (CONT'D)
          Oh hell.
          In a flash, Jerry is out of the truck and coming for them.

                         CHARLIE
          GO! Go! Don't stop!! Go--
          Charlie steps on the accelerator, grabs the wheel and AIMS

          THE CAR AT JERRY.

                         JANE
          Charlie!!
          They RUN JERRY OVER WITH A TERRIBLE THUDDDD!!! Amy and Jane
          scream. Jane is aghast, stops the car.

                         JANE (CONT'D)
          Oh my God!!
          Charlie steps on her accelerator foot, the CAR ZOOMS FORWARD.

                         

                         

                         

                         

          68.

                         AMY
          Are you nuts!? You can't kill that
          guy!

                         CHARLIE
          You have no idea.

                         (TO JANE)
          It's him or us. Mom. MOM.
          Jane looks at him -- can feel that he's telling the truth.
          Charlie's looking around as they speed down the highway, in
          the rearview. NO JERRY anywhere.

                         CHARLIE (CONT'D)
          Where is he? Where'd he go?
          Everybody looks UP. The roof of the car.
          BAM! Jerry's hand SHOOTS up through the FLOORBOARD under
          Jane's feet.
          Jane and Amy SCREAM!

          CLOSE ON THE FLOOR OF THE CAR
          JERRY'S EYE glares through the small hole. It's all BLACK.
          No pupil. Freaky.
          He's TEARING THROUGH METAL from the undercarriage of the car,
          where he's clinging -- face up.
          The more he rips away -- the more he reveals his face.
          His veins and eyes are BLACK. His nose snout-like. And his
          fangs emerge from lethal rows of jagged teeth, like a SHARK.
          It's shocking, horrible.

          ON THE UNDERSIDE OF THE CAR
          As Jerry drags over the highway, the pavement grinding away
          at his clothes and flesh.
          He reaches through the hole he's made and SLAMS his fist down
          on the FLOOR BREAK. The car SCREECHES to a sudden halt.
          ON CHARLIE, AMY and JANE
          Screaming even after the car has stopped. Then -- BAM!! The
          car is REAR-ENDED by another vehicle. It's a MINIVAN.
          JANE's car is SLAMMED -- the back is a crush of glass and
          metal.

                         

                         

                         

                         

          69.
          A GRIM MOMENT -- only the sound of hissing air and groaning
          steel as everyone assesses the damage.

                         AMY
          Oh... Are you-- Jane?
          Jane is woozy. Hurt.

                         CHARLIE
          Mom?

                         JANE
          I'm okay...
          Charlie sees that the other car is drivable. The guy inside,
          a FAMILY MAN, is stunned and pissed. Gets out of his car--

                         FAMILY MAN
          What the hell do you think you're
          doing!--
          Charlie gets out of the car too. Yells, urgent--

                         CHARLIE
          NO! Hey man, stay in your--
          But it's too late. The guy is met by a HORRIFIC Jerry,
          hideously torn and bleeding, who appears from UNDER JANE'S

          CAR.
          In a flash, Jerry grabs the guy and VAMPS, ripping the family
          man's NECK OUT.

          CLOSE ON MINIVAN
          As those "cute" stick figure family decals are splattered
          with BLOOD.

          AMY AND JANE
          Now out of the car, react. JERRY IS A FUCKING VAMPIRE.
          Jerry drops the business man, who's dead as he hits the
          ground. He moves toward them.
          Charlie looks at Amy and Jane. I told you so.

                         CHARLIE (CONT'D)
          Yeah.
          Charlie urgently grabs them. Shoves them down the highway.

                         CHARLIE (CONT'D)
          Get out of here. Run. Run!

                         

                         

                         

                         

          70.

                         AMY

                         BUT--

                         CHARLIE
          Go! I'll catch up! She's hurt,
          get out of here!
          They back off.
          Charlie pulls a large cross out of his coat and brandishes it
          as he walks toward Jerry. Jerry keeps his distance, taunting

                         HIM--

                         JERRY
          Let them run. Just makes them
          easier to kill when I'm done with
          you.
          Ding, ding, ding -- the family man's CAR DOOR is open and the
          warning bell rings over and over...
          CHARLIE eyes the car. Keys still in it. He circles Jerry,
          backing him off.

                         CHARLIE
          I repel you with the power of
          Christ the Lord.

                         JERRY
          Do you? Really? When did you take
          your last confession?

                         CHARLIE
          Get back...

                         JERRY
          That's a mighty big cross you have
          there. Question is -- do you
          actually know how to use it?
          Jerry LUNGES for Charlie, but he DIVES for the family man's
          open car door.
          But Jerry's on him -- hands BURNING as he rips the cross from
          Charlie and shatters it with his hand.
          Then he TOSSES Charlie, who flies and hits JANE'S CAR, then
          crumples to the ground.
          Jerry gets Charlie around the neck -- holds a sharp,
          splintered end of the broken cross against Charlie's chest.
          The wood still burns into Jerry's hand, but Jerry holds on.

                         

                         

                         

                         

          71.

                         JERRY (CONT'D)
          Ever take one of these in the
          chest? I have.
          Charlie struggles, terrified.

                         JERRY (CONT'D)
          But they missed the heart.
          Rigggght... . here. Easy
          measurement.
          Jerry positions the "stake" right over Charlie's heart.
          Charlie winces. Terrified and overpowered.

                         JERRY (CONT'D)
          Shouldn't have been so nosey.
          Jerry's about to plunge the STAKE through Charlie's heart
          when a THICK WOOD STAKE comes through Jerry's SHOULDER.
          Jerry HOWLS, falls off Charlie and we see that he's been
          staked by the business end of a REAL ESTATE SIGN.
          JANE stands over them, quaking with fear and adrenaline.
          Amy's right behind her with a CROWBAR.

                         JANE
          Leave my kid alone.
          Jane collapses, and we see that there's a lot of BLOOD on the
          back of her head.

                         CHARLIE
          Mom!
          Jerry's in agony as he stumbles away, pulls the sign post out
          of his shoulder.
          Charlie grabs his mom and drags her into her wreck of a car.
          Amy dives into the car with them.
          Charlie presses the accelerator. Will it still drive?

                         CHARLIE (CONT'D)
          Come on come on come on...
          IT LURCHES forward, then goes. Metal scraping the ground,
          raining glass... but it RUNS.
          They start to bolt when BAM! JERRY STANDS UP right in front
          of the car, LUNGES AT THEM. CHARLIE RUNS OVER JERRY'S BODY
          AGAIN. They speed off.

                         

                         

                         

                         

                         72
          Jerry writhes in the middle of the road. But even as he
          does, he HEALS. His body knitting itself back together...

          INT. HOSPITAL CORRIDOR/JANE'S ROOM -- NIGHT

          Charlie's giving a report to a pair of uniformed cops.

                         COP #1
          So a gas leak caused the fire at
          your home and...

                         CHARLIE
          My mom didn't feel right, we were
          trying to get her to the hospital.
          It was stupid to let her drive.

                         COP #1
          Yeah it was. And driver who rear-
          ended you, you get the exact make
          and name of the van?

                         CHARLIE
          It wasn't there when you got there?

                         COP #2
          Hit and run. Happens all the time.
          Charlie stifles his surprise. Nods.

          ANGLE ON AMY
          On her cell, pacing as she eyes Charlie with the cops.

                         AMY
          We won't stay up all night. Bee
          and Cara need help with Trig --
          it's not a party. Okay. Okay...

                         (THEN/EMOTIONAL)
          Mom? I love you.
          She stops at the open door of a hospital ROOM. Her gaze

                         FALLING ON--

                         JANE
          Who lies motionless in a bed. A doctor checks her chart.
          AMY hangs up. Charlie, finished with the cops, joins her.
          They're both pained as they look at Jane.

                         AMY (CONT'D)
          Maybe you should have said
          something to the police.

                         

                         

                         

                         

                         73

                         CHARLIE
          Like what? A vampire moved next
          door, borrowed some beer, ate a
          stripper and then blew up our house
          because we wouldn't invite him in?
          Amy looks at him.

                         AMY
          Okay.
          The DOCTOR approaches.

                         DOCTOR
          You should get some rest.

                         CHARLIE
          She's going to wake up, right?

                         DOCTOR
          Assuming the swelling is minimal, I
          hope so.

                         CHARLIE
          But you don't know.

                         DOCTOR
          Not yet. We need to give it time.
          The doctor puts a hand on Charlie's shoulder, leaves.
          Charlie turns away, upset. Amy watches, feeling helpless.

          INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT

          Peter, in a bathrobe, looks out his floor-to-ceiling windows
          at the lights of the strip.
          The ASSISTANT from the show toddles out on high heels and a
          ridiculous mini-dress. Her hair is messy, post sex.

                         ASSISTANT
          Bye babe. Good show tonight.
          He's barely paying attention.

                         PETER
          You were late again on "The Devil's
          Torture Chamber."
          But she's gone.
          A beat. He moves back toward the library shelves. As he
          does he notices the PHOTOS Charlie took at Jerry's place.

                         

                         

                         

                         

          74.
          Absently, he sifts through them. Stops.
          He picks up the one of the INSIGNIA.
          Peter reacts. Stunned. This means something to him.
          He goes to a WALL SAFE. Opens it. Hidden inside are a bunch
          of personal items. Some from his childhood. Old photos of
          his mother and father...
          And a hand-drawn sketch, in a youthful scrawl, of THE
          INSIGNIA. He puts the two side by side. They MATCH.
          Off PETER, looking at the sketches. Haunted.

          INT. HOSPITAL -- JANE'S ROOM -- NIGHT

          Charlie and Amy sit on a tiny couch. Both are scared and
          regretful.

                         CHARLIE
          This is my fault.

                         AMY
          You didn't make any of it happen.

                         CHARLIE
          Ed came to me. I turned my back on
          him.

                         AMY
          How were you supposed to believe
          him? None of it makes sense.

                         CHARLIE
          He did talk a lot of demented crap.
          (but.. )
          He was my best friend. He asked
          me, begged me, to believe him.

                         AMY
          People change. Everybody--

                         CHARLIE
          Yeah they do. I turned into a
          dick. I figured my dweeb past, not
          big with the ladies.

                         AMY

                         (WRY)
          So you're saying this is my fault.

                         

                         

                         

                         

          75.

                         CHARLIE
          I wanted you to like me. I tried
          to erase Ed -- all of it. I know
          how that feels.

                         AMY
          I knew you were a dweeb.
          (off his look)
          You think I want a "dude" like Mark
          or Ben? I like that you're
          different... It didn't hurt that
          your skin cleared up.
          She smiles, takes his hand. A sweet, connected moment. Then
          something alarming occurs to Amy:

                         AMY (CONT'D)
          I can't believe we didn't have sex.

                         CHARLIE

                         AMY-

                         AMY
          No, seriously. I'm going to die a
          virgin? Me? How did this happen?

                         CHARLIE
          We're not going to die--

                         AMY
          But what if we do? Let's do it.
          Now. The bathroom. Charlie.
          A beat.

                         CHARLIE
          I think we should kill the vampire
          first. I'll perform much better.
          They laugh -- trying not to cry. Then:

                         AMY
          Oh my God, Charlie. What are we
          going to do?

                         CHARLIE
          We're going to fight.
          Then Charlie's phone rings. He answers.

                         CHARLIE (CONT'D)
          Hello?

                         INNERCUT WITH:

                         

                         

                         

                         

          76.

          INT. PETER'S VINCENT'S PENTHOUSE -- LIBRARY -- NIGHT

          Peter stands with the photo of the insignia in hand.

                         PETER
          I can help you. My place. One
          hour.

          EXT. HOSPITAL HALLWAY -- DAY

          A few minutes later. Charlie and Amy move out of Jane's
          room.

                         AMY
          The Peter Vincent?

                         CHARLIE
          Under-whelming, believe me. But
          he's what we've got.
          They close Jane's door and we see that it's COVERED in
          CROSSES of every shape and size. It's quite a spectacle.
          A nurse passes, looks at Charlie and Amy quizzically.

                         CHARLIE (CONT'D)
          My mom is very religious.

          INT. PETER'S "MUSEUM"/LIBRARY - NIGHT


                         CLOSE ON
          A MIDORI cocktail
           WIDEN to reveal that PETER is pouring himself a whopper. Amy
          and Charlie sit nearby.

                         PETER
          I'll tell you what I know, but
          that's it. Don't expect me to join
          your Scooby gang.

                         CHARLIE
          Anything. I'll take it.

                         PETER
          I found the origin of that insignia
          you showed me. It's a species that
          originated in the Mediterranean.
          They nest in the earth -- explains
          that hole you saw. And they kill
          slowly, keep their victims alive
          for days.

                         (MORE)

                         

                         

                         

                         

          77.

                          PETER (CONT'D)

                          (GRIM)
          "Snackers."

                          CHARLIE
          So -- they turn all of them?
           (off Amy's look)
          Make their victims into vampires.

                         AMY
          I know. I read.

                         PETER
          No. It takes a while before they
          complete the change. They usually
          finish them off before that.

                         AMY
          So how do you kill these guys, this
          "tribe"?

                         PETER
          Usual stuff. But it's a strong
          breed. You need a plan--
          A VOICE interrupts over an intercom. It's ARTHUR, Peter's
          assistant.

          ARTHUR (O.S.)
          Delivery. Guy says you need to
          sign for something.

                         PETER
          Send him in.

                         (TO CHARLIE)
          I order things when I've had a few
          cocktails. It's a--

                         CHARLIE

                         (ALARMED)
          Wait. You get deliveries this
          late?

                         PETER
          I don't know. Maybe--
          Charlie stands.

                         CHARLIE
          No. You said he could come in.
          The delivery guy. That's--

                         AMY
          What? Charlie--

                         

                         

                         

                         

          78.

          VOICE (O.S.)
          An invitation, airhead.
          They turn and see EVIL ED, in one of Jerry's "uniforms."
          It's clear he's changed. A glint in the eye, more muscular.
          Charlie takes Ed in, pained. Ed grins at him.
          Ed flips open a cell phone. Dials.

                         ED
          Looking at them now. Yes sir.
          (hangs up/then)
          He's modern, Jerry, dispensed with
          all that "master" stuff.

                         (TO CHARLIE)
          Hey bud.
          Charlie steps in front of Amy.

                         CHARLIE
          You've got a problem, keep it with
          me.

                         ED
          Problem? You let him get me, man.

                         CHARLIE

                         (ANGUISHED)

                         I KNOW--
          Ed is CREEPING TOWARD Charlie.

                         AMY

                         CHARLIE--

                         ED
          You let him turn me into this.
          At that, ED VAMPS. Black eyes, black veins. Those teeth.
          It's terrifying.
          SMASH!! One of the cabinets shatters. Ed, Charlie and Amy
          spin to see PETER standing by the open collection case. A
          SMALL NAIL in his hand. He's shaking like a leaf.

                         PETER
          Stay away, demon.

                         ED
          (amused/queens accent)
          "Stay awaaaay, demon!"
          Ed closes in on Peter. Peter looks to Charlie. It's real.

                         

                         

                         

                         

          79.

                         ED (CONT'D)
          Whatcha got there? Itsy bitsy
          little stakey?

                         PETER
          Crucifixion nail. Lethal to you.

                         ED
          Old school. Nice. Got to get
          pretty close to use it, though.
          Peter looks at the short piece of metal in his hand. Fuck.
          HE BOLTS down the nearest hallway.

                         ED (CONT'D)
          Uh uh. No you don't.
          ED BOLTS AFTER PETER. Charlie and Amy race the other way.

                         CHARLIE
          The elevator!

          INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT

          Peter pushes a BUTTON on a doorway, bolts into a PANIC ROOM.
          Ed is on his heels, but JUST MISSES grabbing Peter before the
          door closes.
          The POWERFUL DOOR CLOSES ON ED'S ARM, crushes it. ED HOWLS
          as his arm SEVERS. The door LOCKS.
          But what doesn't kill him makes him stronger and crazier.

                         ED
          A panic room!? You better panic,
          loser! You better watch your neck!

          INT. PETER'S PANIC ROOM -- NIGHT

          Peter's in shock -- watching Ed's severed arm twitch on the
          floor.

          ED (0.S.)
          Prince of darkness is a little baby
          man! I love it! All the fat
          chicks in your fan club are gonna
          be so bummed!
          He hears ED flipping out, but ED DOESN'T SHOW UP ON THE

          SECURITY SCREEN.

                         

                         

                         

                         

          80.

          INT. PETER'S PENTHOUSE -- ENTRY AREA -- NIGHT

          Charlie runs with Amy to the ELEVATOR. The CONTROL BOX has
          been ripped from the wall. They're trapped.

                         AMY
          Oh my God, oh my God...
          Amy's starting to lose it. Charlie grabs her.

                         CHARLIE
          Look at me. Stop.

                         (SHE DOES)
          There's another way out of here.
          And there are a million things to
          fight with in here. Understand?
          We're going to make it.
          Amy pulls herself together. Nods. They RUN.

          INT. PETER'S "MUSEUM" LIBRARY -- VARIOUS -- NIGHT

          CHARLIE AND AMY race through the ROOMS of Peter's extensive
          collection.

          INNERCUT WITH ED
          Tracking them -- not far behind, his stub of an arm bleeding
          and HEALING as he goes.

                         ED
          Give it up, Chuck! You're dead.

                         (THEN)
          If you hadn't ended up such a dick,
          I might have tricked you out. We
          could have rocked this evil shit!
          But you blew it. Nothing but the
          big dirt nap for you and your lady.

          AMY AND CHARLIE
          Round a corner -- it's a dead-end. They see a large antique
          CONFESSIONAL at one end of the room.

                         ON ED
          As he comes around the same corner a moment later. AMY and
          CHARLIE are NOWHERE to be seen.

                         

                         

                         

                         

          81.

          INT. PETER'S HIGH RISE LOBBY -- NIGHT

          Jerry enters, his appearance different. Healing from the car
          incident has taken it out of him.
          He's pale and weakened -- and still has lots of cuts and
          bruises.
          He's also changed into new clothes, jeans and a SWEATER.
          We see THE SAME GUARD that Charlie spoke to earlier.

                         GUARD
          Sign in, please.

                         JERRY
          I know where I'm going.

                         GUARD
          Sign in. No exceptions.
          Jerry ignores him, keeps moving toward the elevator.

                         GUARD (CONT'D)
          Hey! I'm talking to you. Sign in,
          or you're not going nowhere.
          Jerry turns. Slow and deliberate. Expression cold.

          INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT

          Ed is MOVING IN ON the CONFESSIONAL. Sees MOVEMENT behind
          the curtain.

                         ED
          I expected more of a fight. Girl's
          made you lazy in the head.
          Pussy'll do that.
          ED YANKS the curtain on the confessional open.
          ARTHUR hides there, terrified.

                         ED (CONT'D)
          Look at that. Vincent's got a
          Vincent.

                         CLOSE ON
          A large cabinet on the other side of the room. AMY AND
          CHARLIE are squeezed behind it. They react to HORRIBLE
          SCREAMS as Ed rips ARTHUR apart.

                         

                         

                         

                         

          82.
          CHARLIE holds AMY close, muffling her sobs.
          Blood seeps across the floor, under their feet...

                         ON ED
          His face bloodied. Eyes wild. The trembling body of ARTHUR
          on the ground at his feet.
          Ed turns Arthur over. Arthur's still breathing, reaches for
          something around his neck. A cross? No, it's a chain with
          PICTURES of sweet-faced children on silver charms.

                         HE PLEADS--

                         ARTHUR
          .I have ...kids ...

                         ED
          Had.
          Ed lifts Arthur off his feet and chokes him with one hand...

                         ED (CONT'D)
          Don't take it personal. I'd eat
          you -- but I'm saving my appetite.
          Arthur's turning a horrible purple, eyes bulging... Ed
          breaks his neck with a HORRIBLE WRENCHING CRUNCH. Drops him.

                         ED (CONT'D)
          Dinner with an old friend.

          INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT

          A door to a STAIRWELL opens, Jerry steps into a hall. He
          looks healthy again. Robust.
          He wipes a small smear of blood from his mouth.

          INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT

          AMY AND CHARLIE hold their breath as ED looks around the
          room. Arthur is motionless at his feet now.

                         ED
          I know you're here. I can hear you
          breathing. It's totally cool.
          He laughs, hyper. Excited.

          CHARLIE EYES A CASE WITH A BATTLE AXE

                         

                         

                         

                         

          83.

                         ED (CONT'D)
          Sooo, I take out the prom king and
          queen? Embarrassment of riches!
          CHARLIE SHOVES the case he hides behind with Amy over ONTO
          ED. Yells to Amy--

                         CHARLIE

          GO!
          Amy bolts from the room as Charlie punches the glass out on
          another case that holds the battle axe. He grabs the weapon.
          Ed SHOVES the cabinet off him with his good hand, stands.
          Charlie and Ed face off.

                         ED
          Mano e...one mano. Piece of cake.
          Cause I'm a God Damned killing
          machine, and you're like all the
          Clark High big shots -- nothing.

                         (THEN)
          You picked the wrong side, man.
          Ed lashes out, slicing CHARLIE on the arm with his SHARP
          NAILS. Charlie yells, but holds his ground.

                         CHARLIE
          I didn't pick--

                         ED
          You didn't think.
          Charlie's wrecked about what he has to do.

                         CHARLIE
          I know. I'm sorry.
          Charlie takes a swing with the AXE. Ed starts BOUNDING
          around the room, avoiding Charlie's swings as he clings to
          walls and, impossibly, THE CEILING.

                         ED
          Steeeerike! Call that a swing,
          Slugger?
          Charlie swings and swings, but Ed is too fast for him.
          Finally, Charlie connects with ED'S NECK. Blood flies,
          Charlie can't look -- anguished.

           ED (O.S.) (CONT'D)
          Come on! You're not even trying.

                         

                         

                         

                         

          84.
          Charlie looks back, Ed's HEAD is only HALF OFF. He's
          grinning even as he bleeds everywhere. It's macabre,
          horrible.
          Ed SLASHES Charlie again with his claw-like nails. Charlie
          cries out.

          INT. PETER'S LIBRARY/"MUSEUM" -- NIGHT

          Amy can hear Charlie yell.

                         AMY
          Charlie!
          She smashes into one GLASS CABINET after another, pulling out
          and pocketing everything she can find to fight ED. Finds a
          GUN loaded with silver bullets...

                         JERRY
          You are something, aren't you?
          Amy spins. Jerry's closing in on her. Beautiful, seductive.
          She's shaking, terrorized. BAM, BAM, BAM!!
          She empties the GUN into JERRY anyway. It knocks him back,
          but he's still standing. He picks a silver bullet out of his
          shoulder, unimpressed.

                         JERRY (CONT'D)
          Werewolves.
          Amy FLINGS holy water in his face.
          JERRY SCREAMS, burns.

                         AMY
          Vampires.
          She RUNS.

          INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT

          ED is already starting to heal as he and Charlie continue to
          fight. But his head still flops hideously to one side.

                         ED
          Bone is a motherfucker, Chuckles.
          Hard to cut.
          Charlie takes another swing with his axe. Ed jumps out of
          the way.

                         

                         

                         

                         

          85.
          Ed manages to get Charlie in a one-arm embrace of sorts,
          positions himself so he can BITE HIS NECK.

                         ED (CONT'D)
          Is this weird for you too? I feel
          like such a homo--
          Charlie FLIPS ED -- they are wrestling when Charlie sees AMY
          approaching with A SPIKED MACE. Charlie DUCKS and AMY
          smashes ED in the head. Hard.
          Charlie grabs a long, sharp piece of the shattered wooden
          cabinet.
          Ed is on the ground. Moaning, laughing. Charlie has his
          shot. But he hesitates.

                         AMY
          Do it. Charlie!
          Charlie's frozen.
          Ed starts to get up, his head a mess. It's now or never.

                         ED
          Wow. Bimbo has some juice--

                         AMY
          Jerry's here. He's coming!

                         CHARLIE
          (to Ed/pained)
          I'm sorry.
          WHAP, Charlie stakes ED in the heart. Ed looks at Charlie
          with surprise...
          Ed's hideous features seem to dissolve. For a brief moment --
          he looks like himself again.

                         ED
          I wasn't even a badass vamp. I was
          his Renfield. Funny if you--
          Ed starts to VIBRATE HORRIBLY, his WHOLE BODY moving so
          impossibly fast he's little more than a BLUR...
          Then he BURNS UP FROM THE INSIDE OUT.
          Charlie's paralyzed -- in a world of hurt.
          Amy grabs him. Pulls him out of the room.

                         

                         

                         

                         

          86.

                         AMY
          I found the stairs. Come on.

          INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT

          JERRY, VAMP-FACED and recovering from the holy water, sees
          AMY and CHARLIE running up ahead.
          He sprints after them. Charlie sees him and TOPPLES A GIANT
          FIGURINE in his path, as well as cabinets, etc...
          They slow Jerry down enough to get slightly ahead.

                         AMY

                         OVER HERE--
          She flings the door to the stairwell open and they RACE DOWN

          THE STAIRS.

          INT. PETER'S PANIC ROOM -- NIGHT

          Peter sits huddled in a corner, ashamed and shaking.
          The SECURITY CAMERA flicks through different rooms, until it
          lands on his dead cousin, ARTHUR.
          It's like Peter's looking at his own mutilated corpse.
          OFF PETER, terrified.

          INT. CASINO -- NIGHT

          Amy and Charlie emerge from the stairway.
          They find themselves ON THE FLOOR of a HARD ROCK TYPE CASINO,
          which is on the bottom of the building where Peter lives.
          Amy slows as they fold into the crowds. Relieved.

                         AMY
          Stop. Stop, I need to--

                         CHARLIE
          Not now. He's coming for us.

                         AMY
          He can't kill us, not here--

                         CHARLIE
          Who's going to notice? Who's going
          to care? Amy, look around--

                         

                         

                         

                         

          87.
          Amy takes in the people on the floor. Drunk, oblivious. Two
          guys YELL and FIGHT at a craps table. A couple makes out in
          a dark corner, etc. It's loud, chaotic.

                         AMY
          Oh, God...

                         CHARLIE
          Keep moving. Come on.
          Now Charlie sees JERRY some distance behind them now, moving
          toward them in the crowd. They meet eyes.
          Charlie grabs Amy, scans for someplace to hide. He spots a
          nightclub -- "REFLECTIONS".
          The outside walls are all mirrored, like a brightly lit
          diamond.

                         ON JERRY
          Behind them in the crowd, he sees them slip into the club.

          INT. REFLECTIONS - NIGHT

          The inside of the club is made up of MIRRORS AND WINDOWS.
          The dance floor is PACKED. All writhing bodies and sweaty
          abandon.
          It's dizzying, disorienting.
          Charlie sees JERRY enter, look around for them. The best bet
          to get lost is to dive into the crowd.
          Charlie leads Amy through the throngs of people -- the
          different levels of the club are like a maze. Glass
          staircases lead to mirrored balconies...
          A hopped-up DJ climbs up on a balcony, starts throwing t-
          shirts into the crowd.

                         DJ
          Tequila Man t-shirts! Yeeeeeahhhh!
          The crowd goes nuts, SURGES forward...
          Someone bumps Amy and Charlie and they lose hands.

                         AMY
          Charlie!
          Charlie turns, a DRUNK CHICK gets in his way -- tries to
          dance with him. He pushes past her.

                         

                         

                         

                         

          88.

                         CHARLIE
          Amy? Amy!
          Charlie can't see Amy, instead sees HIMSELF over and over
          again in a series of mirrors -- the infinity effect.
          It's dizzying, disorienting.
          THEN HE SEES JERRY, a shark, moving in and out of the crowd,
          disappearing behind mirrored columns, reemerging...
          Charlie also sees that JERRY DOESN'T REFLECT in the mirrors
          around them. Instead the crowd parts as if by magic.
          Jerry's heading straight toward--

                         AMY
          who's been pushed toward the DJ stand by the crowd. She's
          spinning, looking desperately for Charlie.

                         CHARLIE (CONT'D)
          Amy!
          Charlie's frantically pushing toward her. But the CRUSH of
          people makes it nearly impossible to gain ground.

          CLOSE ON AMY
          As a HAND slips into hers. She turns, relieved, to find--

                         JERRY
          Holding her with a firm grip.

                         AMY
          No. No!
          Amy STRUGGLES and CRIES OUT as JERRY PULLS HER away from
          CHARLIE, toward ramp that leads to another dance floor.
          Jerry laughs, throws her over his shoulder.

                         AMY (CONT'D)
          Help!!
          A GUY in the crowd high-fives him. All part of another crazy
          night in Vegas.

                         GUY
          Go get her, man!
          AMY sees her fast-moving reflection in the mirror -- she
          appears to be FLOATING above the people.

                         

                         

                         

                         

          89.

                         AMY
          Help me! Help!!
          CHARLIE can SEE HER, but can't get to her. The crowd is
          indifferent to her cries.
          Charlie grabs his cell -- hits a button. It dials, then--

                         CHARLIE

                         (INTO PHONE)
          Peter! We're in the casino, the
          club! Jerry's got Amy! He's got

                         HER--

          INT. PETER'S PANIC ROOM -- NIGHT

          Peter's holding his cell. It's ringing.
          He hangs up.

          INT. REFLECTIONS -- SECOND STORY -- CONT.

          Jerry, hidden away from Charlie now, puts Amy down. She
          tries to run, but he holds her tight.

                         AMY
          Charlie's coming, he'll find me--

                         JERRY
          I'm counting on it.
          Amy SPITS on him. Jerry reacts -- a flash of RAGE and he
          exposes his brutal rows of TEETH for just an instant.

                         JERRY (CONT'D)
          Come on.
          He grips her harder, sways with her to the music. Leans
          close to her ear, seductive.
          His predatory skills in high gear.

                         JERRY (CONT'D)
          You just need a taste. You'll see.
          It can be like a dream.
          Jerry draws a nail over his wrist, draws a line of blood. He
          puts his mouth over the cut, bloodying it.
          He forces her into a DEEP KISS. She struggles mightily --
          but then her body relaxes, as if she's been sedated.

                         

                         

                         

                         

          90.

                         JERRY (CONT'D)
          That's it... Good girl.
          JERRY looks up sees CHARLIE coming toward them.
          But Amy's altered now. Staring into Jerry's eyes like a
          child.
          CHARLIE'S GETTING CLOSER when--

                         CHARLIE
          Amy! No!--
          BAM! A hand falls on his shoulder.

                         A DOORMAN

                         DOORMAN
          How'd you get in here?

                         CHARLIE
          You have to help me. That guy,
          he's going to kill her, he's a

                         KILLER--
          The doorman glances at JERRY and AMY. Jerry stokes Charlie's
          anguish -- running his hands over Amy's ass, kissing her
          neck.

                         DOORMAN
          Yeah? Then she's liking it.
          Charlie's beside himself, enraged and terrorized.

                         CHARLIE
          You don't understand!--

                         DOORMAN
          ID. Then you can tell me your
          whole sad story--

                         CHARLIE
          No! There's no time-- Amy!!
          Charlie's increasingly desperate, tries to RUN. But the
          doorman has a good grip, pulls him back.

                         JERRY
          Sees that CHARLIE is restrained.
          Jerry locks eyes with Charlie and SMILES, his horrible fangs
          exposed. He's taking Charlie's woman -- and enjoying it.

                         

                         

                         

                         

          91.

                         CHARLIE (CONT'D)
          No! NO!

                         CHARLIE'S POV
          As he's being dragged away -- JERRY BRUTALLY BITES AMY.
          It's a nightmare.
          Charlie loses it, screaming and flailing. But there is no
          helping her.

                         FADE TO:

          INT. PETER'S HIGH RISE -- BEDROOM -- NIGHT

          Peter packs a bag, getting out of town.

          CHARLIE (O.S.)
          I see you got my message.
          Peter turns. Sees Charlie standing in the doorway.

                         PETER
          How'd you get in here?

                         CHARLIE
          Security's a little lax. Everybody
          got their throat ripped out.
          Peter backs away as Charlie moves in.
          Charlie is different. Colder, harder. Like he's aged a
          decade in one night.

                         PETER
          You too? He change you?

                         CHARLIE
          Look at your monitor.
          PETER turns to a security monitor in his closet. Charlie

          SHOWS UP ON THE SCREEN.

                         CHARLIE (CONT'D)
          I don't know if Amy's alive or dead
          or turned -- but he's got her. My
          mom may not make it. And Ed...

                         (COLD)
          I'm going to end him, or he's going
          to end me.

                         (MORE)

                         

                         

                         

                         

                         92

                         CHARLIE (CONT'D)
          One way or the other, that's how
          it's going to be and you're going
          with me.

                         PETER
          Don't you get what this is?
          There's no fighting. There's only
          surviving, if you're lucky--

                         CHARLIE
          You call this surviving? If you
          live and we all die, you think
          you'll ever be able to get us out
          of your head?

                         PETER
          I know I won't. I never could --
          not after the first time.
          This stops Charlie.

                         PETER (CONT'D)
          I told myself I probably made it
          up. I was a kid. Maybe it was
          easier to believe in monsters...

                         CHARLIE
          Made what up?

                         PETER
          The vampire who killed my parents,
          my brothers. But not me. I hid.
          Charlie reacts. Surprised, but now it all makes sense.
          Peter continues, haunted--

                         PETER (CONT'D)
          I didn't collect all this stuff for
          fun. I thought maybe I could find
          the tribe, "avenge" my people.

                         CHARLIE
          So do it. We'll go in at dawn.
          He's got to rest sometime--

                         PETER

                         (HARD)
          It's not like that. When I was a
          kid, I hid because I wanted to
          live. I still do! This isn't the
          comics. You want to be a dead
          hero. Good for you. But I'm out.

                         (THEN)

                         (MORE)

                         

                         

                         

                         

          93.

                         PETER (CONT'D)
          You think I'm a coward. I'm just a
          realist.
          Moment of hesitation for Charlie. Has he been affected by
          Peter's words? Then--

                         CHARLIE
          So you bail on people, erase them.

                         (THEN)
          I don't want to make it to
          tomorrow, not if you're the kind of
          man I have to be.
          A moment. Peter is full of self-loathing, but resolved.
          Charlie turns to leave.

                         PETER
          Wait.
          Peter takes something from his luggage. A stake carved from
          WHITE WOOD. He hands it to Charlie.

                         PETER (CONT'D)
          Blessed by Saint Michael. Kill a
          vampire with it -- it's supposed to
          turn his victims back. If Amy's
          changed, you can still save her.

                         CHARLIE

                         (RE: STAKE)
          If it's for real.

                         PETER
          Who knows what's for real any more.
          Charlie takes the stake. Starts to go. Peter stops him--

                         PETER (CONT'D)
          There's no guarantee he'll be
          asleep during the day. He's
          housebound, not hibernating.

                         CHARLIE
          I'll figure it out.

                         PETER
          No, you need a plan. To stake him,
          you have to get close -- he's
          stronger than you.

                         CHARLIE
          Holy water?

                         

                         

                         

                         

                         94

                         PETER
          Slow him down. Won't stop him.

                         (THEN)
          Torch him, you'll have a few good
          minutes before he really goes up.
          Believe me, a vampire on fire isn't
          thinking clearly.

                         CHARLIE
          But if he's on fire, how do I get
          close enough to stake him?
          A beat.

                         PETER
          Fuck.

                         CHARLIE

                         (POINTED)
          You just worry about yourself.
          With that, Charlie leaves.
          Off PETER. Disgusted with himself.

          INT. HOSPITAL - NIGHT/DAY

          Charlie sits by Jane's bedside. She's still comatose.
          We move closer and see that Charlie's drawing a MAP OF
          JERRY'S HOUSE on some scrap paper -- laying it out from
          memory as best he can.
          He GLANCES at the clock as it ticks toward DA
          As Charlie plots, he talks to Jane -- his silent confidante.

                         CHARLIE (CONT'D)
          Those rooms upstairs, that's
          probably where he's got Amy.
          I get her out, assuming she's--

                         (NOT DEAD)
          Then I have to get him on the
          ropes.
          He thinks... Then looks up, an idea occurring. Jane lies
          there peacefully.

                         CHARLIE (CONT'D)
          I have to go.
          More energized, Charlie stands and gathers his things.
          He stops, contemplates his mother for a moment -- regretful.

                         

                         

                         

                         

          95.

                         CHARLIE (CONT'D)
          I'm coming back for you, Mom.

          INT. ARMY/NAVY STORE -- DAY

          Charlie buys FIREPROOF CLOTHING, a small open-flame lighter,
          and a SPRAY CANISTER like the kind an exterminator uses.
          The guy at the counter looks Charlie up and down. Charlie
          takes this in. Finally, Charlie's like -- fuck it.

                         CHARLIE (CONT'D)
          Going to kill a vampire.
          The guy looks at him. Then--

                         STORE GUY
          Good for you.
          The store guy waits. Charlie hands over his money.

          EXT. JERRY'S HOUSE - DAY


          ON JERRY'S HOUSE
          LOOMING, silhouetted against early morning light. Next to
          it, Charlie's house stands in charred ruins.
          CHARLIE stands on the front lawn, contemplating the houses.
          He wears fireproof clothes, has stakes and crosses strapped
          to him, holsters made out of duct-tape...
          Slung over his shoulder is the spray canister. And he holds
          a crowbar in a free hand. He looks like something out of one
          of Ed's graphic novels.
          Before he enters, Charlie DOUSES HIMSELF IN HOLY WATER.

                         CHARLIE
          Let's do this shit.
          He swallows hard, scared but determined.

          INT. JERRY'S HOUSE -- FIRST FLOOR -- DAY


          CLOSE ON WET FOOTPRINTS
          Widen to find Charlie cautiously moving through the house.
          The blacked-out windows give the place a gray, stifled air.
          Behind Charlie, we see that the front door has been broken
          open with the crow bar.

                         

                         

                         

                         

          96.
          Charlie anxiously looks around for Jerry -- fully expecting
          him to jump out and go for his throat...
          He takes the stairs up to the second floor, two at a time.

          INT. JERRY'S HOUSE -- UPSTAIRS HALLWAY -- DAY

          Charlie moves down the hall, stops at some of the small
          rooms. Looks in.

                         NO AMY
          Finally, Charlie hears a GROAN. He opens a window in the
          door for yet another room.
          AMY'S lying on the floor, turned away from him. Charlie's
          not sure what he'll see when he gets a better look at her.

                         CHARLIE

                         AMY--
          Amy slowwwwly gets up, turns...
          And aside from a BRUISED BITE MARK on her neck -- she looks
          normal. She rushes to Charlie, keeps her voice down.

                         AMY

                         CHARLIE--
          She reaches through the window. They link hands, emotional.

                         AMY (CONT'D)
          You shouldn't be here--

                         CHARLIE
          Where is he?

                         AMY
          I don't know. He dumped me here.
          I'm bait. He said so--

                         CHARLIE
          How do you feel?

                         AMY
          I'll survive. Please get out of
          here. He's too strong--

                         CHARLIE
          I'm stronger.

                         (WAVERING)
          In a nerd power way. You know...

                         

                         

                         

                         

          97.
          He reaches into his jacket, pulls out a CROSS.

                         CHARLIE (CONT'D)
          Take this. It should--
          He looks up. AMY IS GONE. Disappeared.
          Charlie, reacts. Calls out in a hushed panic--

                         CHARLIE (CONT'D)
          Amy? Amy!?
          Nothing. It's like she vaporized.

          INT. JERRY'S HOUSE -- HALLWAY -- DAY

          Charlie races down a hallway, looking for ANY.
          He tries door after door that won't open.
          He finally finds one door that's unlocked, rushes through --
          almost FALLS through an open floor in an unfinished portion
          of the house.
          Jerry's building more cells.
          Charlie backs out of the doorway, turns a corner and BAM!
          He runs into JERRY. No, wait -- it's PETER.
          He's not wearing his wig, etc. But he's cleaned up and
          standing tall. Dressed all in black.

                         CHARLIE
          Shit! You--

                         PETER CHARLIE
          Sorry-- How'd you--
          A beat. Then:

                         PETER
          Guess I don't want to be a man like
          me either.
          Peter opens his leather coat -- it's loaded with weapons.
          And a flask. Peter grins.

                         PETER (CONT'D)
          Let's kill something.

                         

                         

                         

                         

          98.

                         CHARLIE

                         (RE: FLASK)
          You reek. Midori?

                         PETER
          Don't get greedy. I'm here.

                         (THEN/PROUD)
          And I found something else. From
          my collection. Powerful shit.
          From around his back, he reveals A DOUBLE-BARRELLED SHOTGUN
          with a CROSS MOUNTED ON THE BARREL.

                         CHARLIE
          Wooden bullets? Nice.

                         PETER
          No, you think I'm fucking MacGyver?
          Bullet, bullets. They'll buy us
          some time.
          Charlie is grateful, but now's not the time for man hugs.

                         CHARLIE
          We have to find Amy. She was in a
          room upstairs, then she just
          disappeared. This house--

                         PETER
          What do you mean she "disappeared?"

                         CHARLIE
          She was there. I looked away,
          looked back -- she was gone.
          Peter takes this in.

                         PETER
          Show me where.

          INT. JERRY'S HOUSE -- AMY'S ROOM -- DAY

          Peter and Charlie pry open the door to the room where Amy was
          held. Peter walks over the floor -- finds a TRAP DOOR.

                         PETER (CONT'D)
          Floor trap. I use it all the time.

                         CHARLIE
          Where does it go?

                         PETER
          Only one way to find out.

                         

                         

                         

                         

          99.
          Peter lowers himself into the hole under the trap door--

                         CHARLIE
          Wait -- you're going in?

                         PETER
          See that? Like a great date. Get
          me drunk and I'll try anything.
          Peter lets go and FALLS. Charlie steels himself, goes in
          after him.

          INT. JERRY'S BASEMENT -- DAY

          THUD! Charlie and Peter land painfully on a dirt floor.

                         PETER
          Ow, crap...
          They look around -- eyes adjusting. There's barely any
          light.
          They're in a LARGE UNFINISHED BASEMENT. The floor is dirt
          and the main story of the house is held up by numerous

          SUPPORT POSTS.
          At the far end of the basement there is a door that leads to
          another room/storage area.

                         ON CHARLIE
          As he sees something. Stops.
          A MOUND of dirt. Like a grave.
          Charlie indicates to Peter to follow him. They whisper:

                         CHARLIE
          You uncover him. I'll light him
          up, then stake him.
          Charlie pulls a FABRIC MASK, like a ski mask, over his face.
          Peter looks at him.

                         CHARLIE (CONT'D)
          Flame retardant.
          They're standing over the grave now. Both nervous.
          Charlie nods to Peter. Peter does his best to hold the
          shotgun on the grave as he pushes the dirt aside with his
          free hand. He's shaking.

                         

                         

                         

                         

          100.
          After a moment Peter UNCOVERS PART OF THE BODY. Then he
          moves up toward the face...
          Charlie douses the body with liquid from the canister.

                         CHARLIE (CONT'D)

                         (TO PETER)
          Gas.

                         PETER
          You should be a magician.
          As the face emerges, Charlie readies a match, then reaches
          for his STAKE--

                         PETER (CONT'D)
          Stop! No--
          CHARLIE stops JUST AS HE'S ABOUT TO TOSS the match.

                         PETER (CONT'D)
          Who is that?
          IT'S ADAM, sleeping in a shallow dirt grave.
          Charlie reacts. Holy shit. He pushes his mask back.

                         CHARLIE
          Adam. I know him. Knew him.

                         PETER
          Shh. Don't wake him up, for

                         CHRIST'S--
          Peter stops. He's looking over Charlie's shoulder,
          horrified.
          In the dirt behind CHARLIE are MORE GRAVES. Eight or ten at
          least. Charlie turns. Sees the graves.

                         PETER (CONT'D)
          You know them too?
          Charlie reacts, stunned.
          Peter moves to another grave, uncovers another sleeping face.
          And then another. A hulking man, a suburban mom...
          Charlie uncovers another body. Stops, chilled.

                         CHARLIE
          Ms. Granada. My geometry teacher.

                         (RUEFUL)
          She was hard up.

                         

                         

                         

                         

          101.

                         PETER
          How about we go back to my "run
          away" plan?

                         CHARLIE

                         (IGNORING HIM)
          We can't burn Jerry out. There's
          no way we'll get all these people
          out if the house goes up.

                         PETER
          I thought you're here for Amy.
          (off Charlie's look)
          Great. Right. Save the Geometry--
          A SCREAM stops him. Amy. Charlie and Peter spin -- it's
          coming from behind the door to the other room. A beat.
          They're both petrified as they move toward the door.
          Peter readies the gun again. Charlie pulls a CROSS out along
          with the stake.
          They creep toward the door.

          CLOSE ON CHARLIE
          Charlie puts his hand on the doorknob... Turns it...
          WHAMP! -- Charlie's VIOLENTLY SHOVED THROUGH THE DOOR into
          the STORAGE AREA

          INT. JERRY'S STORAGE AREA -- DAY

          Charlie hits the dirt hard.
          The door SLAMS SHUT AND LOCKS BEHIND HIM. He's in a smaller
          room with a LARGE DIRT GRAVE in the middle. Jerry's grave.

          INT. JERRY'S BASEMENT -- DAY

          Peter's confronted by JERRY. Who smiles darkly.

                         JERRY
          You look bigger on TV.
          Peter fires the shotgun, BLAM!
          But he misses Jerry and the power of the blast sends PETER

          HURTLING BACKWARD.

                         

                         

                         

                         

          102.

          INT. STORAGE AREA -- DAY

          Charlie reacts to the blast -- but sees that ST. MICHAEL'S
          STAKE has fallen from his hand and rolled to the edge of the
          grave.
          He cautiously moves to retrieve it...
          He stops as he sees A FIGURE emerge from the dark. AMY.
          Her clothes are torn now, a thin trickle of blood runs down
          her neck. She looks impossibly sexy. Her hair, her eyes,
          her lips -- all shining and full.
          Forgetting himself, he goes to her. Pulls her into his arms.

                         CHARLIE
          Amy, God...
          She clings to him, near tears.

                         AMY
          Charlie.

          INT. JERRY'S BASEMENT -- DAY

          Peter scrambles on the ground, SHOTGUN trained on JERRY --
          who moves toward him calmly. The cross on the gun the only
          thing holding him back.

          BLAM!
          Peter fires again -- grazes JERRY.

                         JERRY
          In pain, he TRANSFORMS and VAMPS before our eyes with a blood-
          curdling yell. It's chilling.

          CLOSE ON GRAVES
          One by one, the TRIBE of vampires wake. ADAM, MS. GRANADA...

          INT. STORAGE AREA -- DAY

          Amy pulls away from Charlie -- says:

                         AMY
          You should have run with me while
          we had the chance. You should have
          saved me, Charlie.

                         

                         

                         

                         

          103.
          Charlie takes this in, pained. Then--

                         CHARLIE
          It's not too late.
          She brings her lips close to his ear. Rasps...

                         AMY
          It is. He's inside me now.
          Her EYES GO DARK -- fingernails grow SHARP and dig into
          Charlie. He feels the change.

                         CHARLIE

                         AMY--
          Charlie shoves her off, hard. But she holds him tight -- and
          they TUMBLE INTO THE GRAVE.

          INT. JERRY'S BASEMENT -- DAY

          JERRY, backed by ADAM, MS. GRANADA and a handful of other
          vampires, closes in on PETER.

                         JERRY
          It's over, guy. Charlie -- his
          girl's having her way with him.

                         (THEN)
          She's way out of his league anyway.
          Peter, trapped, won't be able to keep them at bay much
          longer.

                         PETER
          Stop! Stop!
          Desperate, he BLASTS them again. Hits one on the shoulder.
          But it's not stopping them.

                         JERRY
          And your aim--

                         PETER
          You don't get it! I'm on your
          side.
          Peter smiles a little. Shows his rows of SHARP FANGS.
          Jerry and the others stop. What?

                         

                         

                         

                         

          104.

          INT. STORAGE AREA -- DAY

          Amy and Charlie struggle. He reaches for his cross -- but
          she throws him off her with a violent HISS.
          Charlie gets his first look at AMY in full VAMPIRE glory.
          She's even more freaky looking than Jerry or Ed. Her face is
          nearly overtaken by a wide mouth filled with razor-sharp
          teeth. Her eyes are crazed and blood-red.
          It's gruesome and terrifying.
          Charlie sees THE STAKE at the lip of the hole. Dives for it.
          Amy's on him in a flash. She throws him to the ground. He's
          got the STAKE in hand. Ready to strike.

                         AMY
          You wouldn't.

                         CHARLIE
          Try me.
          She STRADDLES HIM, sexual and raw. Charlie's repulsed,
          terrified.

                         AMY
          I'll be the best you ever had. The
          only you had.

                         (THEN)
          Charlie. We can be together
          forever.
          She leans in, licks his neck seductively...

          AND GASPS.
          She sits back, the STAKE IN HER CHEST. She falls away,
          shuddering.
          Charlie pulls the stake out -- scrambles out of the nest.
          He looks back at her, anguished.
          A beat. AMY, in terrible pain, LAUGHS. Nothing's happening.
          No kablooey.

                         AMY (CONT'D)
          Missed. You missed.
          Charlie BREAKS THE DOOR OPEN with his crowbar.

                         

                         

                         

                         

          105.

                         CHARLIE
          I know.
          He backs away from her. Into--

          INT. JERRY'S BASEMENT -- DAY

          The basement where Jerry and the THE TRIBE are CIRCLED around
          a body as MS. GRANADA feeds.
          ON PETER, who's pale and shaking...
          Charlie attacks them with THE CROWBAR.

                         CHARLIE
          Get off him!
          He hits MS. GRANADA off Peter. Manages to hold off JERRY for
          a beat. Spins and HITS ADAM in the head.

                         ADAM
          Dude!

                         CHARLIE
          Sorry.
          AMY enters from the other room -- already healing. Jerry
          sees her -- holds up a hand and backs the others off.

                         JERRY
          I'll finish this.
          Jerry, all swagger, moves in on Charlie.
          Charlie sees Peter, barely alive, spit out his FAKE VAMP
          teeth. Peter meets his gaze, wry and weak. Done for.

                         PETER
          Worth a shot. "Master of
          illusion."
          Now Charlie notices SHOTGUN not far from Peter's body. He
          dives for it, but Jerry steps on it -- kicks it away.

                         JERRY

                         (TO CHARLIE)
          You think that's going to stop me?
          Time to man up.
          Jerry brutally kicks Charlie, sends him sprawling.

                         

                         

                         

                         

          106.

                         JERRY (CONT'D)
          Now. I'm going to kill your girl --
          make you watch. I'll take my time
          with you. And once you're dead,
          I'll finish your mother.

                         (RE: AMY)
          Too bad about that one. She sucked
          me dry. Like a pro.
          Amy smiles a little. Jerry GRABS CHARLIE, lifts him off his

                         FEET--
          Charlie, enraged, SPRAYS JERRY WITH GAS FROM the CANISTER --
          right in the eyes.
          Jerry recoils, HISSING. Adam and the OTHER VAMPS MOVE IN.
          Jerry's over it. He's on CHARLIE in a flash, FANGS BARED.
          About to RIP HIS NECK OUT.

          BLAM!
          PETER has the gun again -- has managed to pull himself up
          into a sitting position.
          He BLOWS away ONE OF THE SUPPORT BEAMS.
          BLAM! And ANOTHER.
          BLAM! And ANOTHER.
          BLAM -- he misses.

                         PETER
          Fuck.

          BLAM! AND ANOTHER.
          Charlie DIVES for SAFETY as the CEILING COLLAPSES in part of
          the basement. SUNLIGHT STREAMS in -- forcing JERRY, AMY and
          the other vamps into a corner.

                         PETER (CONT'D)

                         (TO JERRY)
          Fuck yeah! Nice sweater, loser!

          BLAM!
          Another BEAM collapses. BURYING JERRY, AMY and the others
          under DEBRIS from the floor above.
          A stunned beat.
          Peter slumps, exhausted from the effort.

                         

                         

                         

                         

          107.
          Charlie looks at him -- amazed.

                         PETER (CONT'D)

                         (WEAK)
          I'm better with stationary targets.

                         CHARLIE
          Yeah you are.
          Peter looks at him, sad.

                         PETER
          Get out of here. We don't have
          much time before they dig out.

                         CHARLIE

                         (RE: STAKE)
          I can save you. I have to kill him
          with this.

                         PETER
          You're a brave mother, I get it.
          And you were right. This is how I
          had to go... But we didn't count
          on an army.

                         CHARLIE
          He'll kill you both, he said--

                         PETER
          We're already dead.

                         (THEN)
          Go now, you live to fight another
          day. Stay -- there won't be one.
          Charlie stops. Swayed. Pained.

                         PETER (CONT'D)
          Do it.

          CLOSE ON CHARLIE
          Accepting it. It's what he has to do.
          He starts DIGGING.

                         PETER (CONT'D)
          Charlie!
          But Charlie ignores him, determined. Pulls his MASK DOWN
          over his face again.

                         PETER (CONT'D)
          Stop!

                         

                         

                         

                         

          108.
          WHAM! JERRY BURSTS OUT OF THE RUBBLE, attacks Charlie.
          Charlie falls back, PULLING JERRY with him into THE LIGHT
          Jerry BURSTS INTO FLAME -- but holds Charlie tight
          AMY and the other vamps start to claw their way OUT of the
          rubble.
          Charlie and Jerry fight -- nearly ENGULFED IN FLAMES now

                         PETER (CONT'D)
          Charlie!
          Peter gets up, painfully, moves to help.
          Raging and desperate -- Charlie and Jerry continue to battle.
          Finally, Jerry pulls Charlie down with him --rolls on the
          ground as they fight. Trying to put out the flames.
          Jerry starts to DISINTEGRATE -- he's about to EXPLODE into
          bits. Charlie's stake is now ON FIRE.

                         CHARLIE

          NO!
          A last desperate attempt. He can see Jerry's HEART, about to
          burn away.

          HE STAKES JERRY.
          AMY suddenly SCREAMS - she's burning inside, DYING. Or so it
          seems. The vampire is being burned out of her.
          PETER cries out too, reacting less violently. But in pain.

                         JERRY
          Still burning, looks down as the STAKE OF SAINT MICHAEL in
          his CHEST. Right through the heart.
          He starts to SHAKE VIOLENTLY -- faster and faster, just like
          Ed did -- becoming little more than a macabre BLUR.
          For a moment -- Jerry's human form hangs in the air...

                         JERRY
          Blow me.

          THEN HE BLOWS INTO A MILLION PIECES.

          ON CHARLIE AND PETER

                         

                         

                         

                         

          109.
          Thinking fast, PETER tackles CHARLIE -- who is still in
          flames. They tumble into one of the open graves.
          DIRT pours in around them, extinguishing the fire.

                         ON AMY
          Transformed and healed. Herself again. She rushes to the
          edge of the open grave.

          ABOVE THE OPEN GRAVE
          Peter pulls Charlie's mask back. Charlie is burned,
          unconscious.

                         AMY
          Charlie!
          She crawls into the grave. Cradles Charlie in her arms.

                         AMY (CONT'D)
          Charlie...
          Amy starts to cry. Peter looks on, concerned. Finally,
          Charlie opens his eyes. Says weakly...

                         CHARLIE
          Blow me? Seriously?
          Peter falls back -- exhausted. Laughing.

                         CHARLIE (CONT'D)
          Those are his last words? What a
          tool.
          We pull away, leaving this tableau...
          UNTIL ADAM, MS. GRANADA and the OTHER MEMBERS of the tribe
          emerge from the rubble. Disoriented, freaked.
          A beat.

          MS. GRANADA
          Let's agree to never talk about
          this.

                         FADE TO:

          INT. PETER'S APARTMENT - NIGHT

          Charlie, Amy, Jane and Peter are in Peter's penthouse. It's
          a glittering night, a spectacular view.

                         

                         

                         

                         

          110.
          Jane, released from the hospital, looks healthy and glowing.
          She smiles at Peter, who also looks more together.
          She has a glass of wine -- he's drinking a COKE.

                         JANE
          Think you'll ever feel the same
          about a nighttime sky?

                         PETER
          Same as what? I was always
          terrified.

                         JANE
          Right. We're just catching up.

          ON AMY AND CHARLIE
          Charlie sees the connection between Peter and Jane.
          Shudders.

                         CHARLIE
          I'm not seeing that.

                         AMY
          She deserves some fun. Your mom
          fully cheated death.

                         CHARLIE

                         (SUGGESTIVE)
          You too. You deserve fun.

                         AMY
          Oh, I plan on it. Now that you've
          killed your first vampire...

                         CHARLIE
          I am so going to perform.
          Charlie KISSES her. It's intense, passionate. It's
          different, they're different. The childish part of them long
          gone.
          He runs his hands through her hair, pulls her close.
          SOMETHING BEEPS, talks...

                         VOICE
          "Frak!" "Frak!"

                         AMY

                         (PULLS BACK)
          What is that?

                         

                         

                         

                         
          Charlie, a little sheepish, shows her. He's wearing a
          BATTLESTAR GALACTICA wrist watch.

                         CHARLIE
          Battlestar.

                         AMY
          Right.

                         CHARLIE
          It was Ed's.
          Amy smiles a little, softens.

                         AMY
          Right.

                         (THEN)
          Frak?
          PETER is passing. Hears this. Is down with it.

                         PETER
          Frak! Right on.

                         (TO AMY)
          Perfect Woman, can I get you a
          drink?

                         AMY
          I'll take another. Thanks.

                         CHARLIE

                         (TO PETER)
          I'll give you a hand.
          Charlie follows PETER into the DINING ROOM, where a BAR CART
          is set up. Peter moves to it. Pours himself a Midori.

                         CHARLIE (CONT'D)
          I thought you were on the wagon.

                         PETER
          It's dark.
          (off his look)
          I'm on the "day" wagon.

                         CHARLIE
          Thanks for inviting us.

                         PETER
          We should celebrate. Being alive.
          Your mom's clean bill of health.

                         CHARLIE
          You wanted to put the moves on her.

                         

                         

                         

                         

                         112

                         PETER
          What? No. What?

                         CHARLIE
          Just -- I'm watching you. I've got
          to look out for her.

                         PETER
          Yeah you do. So here's what I'm
          thinking. We faced the beast and
          we won. Can you imagine the
          possibilities if we had got that
          shit on film?

                         CHARLIE

                         VAMPIRES DON'T--

                         PETER
          Show up on film, yeah. But
          werewolves do, bigfoots do. We get
          proof, catch something -- we could
          build a stage act around that, you
          wouldn't believe. We'd blow those
          Cirque bitches away!

                         CHARLIE
          An act? Seriously? What about
          saving people from evil? What

                         ABOUT--
          A CHILLING LAUGH interrupts them. Distant. Eerie. And
          somehow familiar.
          Peter nods to his COLLECTION CABINETS.

                         PETER
          It happens. All this stuff...

                         CHARLIE
          Ever think about collecting
          something else? Snow globes or--
          Charlie stops, catches sight of something MOVING IN THE

          REFLECTION ON THE FLOOR-TO-CEILING WINDOW.
          Just a wisp, a phantom. The face - is it ED? His features
          twisted in a grimace of fear and pain... It's CHILLING.
          Charlie's spooked. But he looks again and the face is gone.

                         CHARLIE (CONT'D)
          Yeah, definitely get new stuff.

                         

                         

                         

                         

          113.
          Peter leads CHARLIE OUT, back to the ladies in the other
          room. Still on about his idea...

          WE HOLD ON THEIR REFLECTION IN THE WINDOW

          PETER (O.S.)
          I'm serious, man. Do you know how
          much we could make? Think about
          how much people pay to see a tiger,
          or boobs, right? What if we had a
          tiger, boobs -- and a zombie!
          After they've gone we linger on the window. Is that Ed's
          eerie reflection again?, barely visible...

          AS WE GO TO BLACK

          ED (0.S.)
          You're so coooool Brewster!!

                         THE END