Act 1: Fright Night 40th Anniversary Original Cast Table Read

Savory Fright Night, Original class Fright Night, written and directed
by Tom Holland fade in exterior Full Moon Night. Clouds
obscure the starless heavens for a moment, heavy and ominous
in the black firmament. Then suddenly they clear, exposing a
full moon streaked with red like a killer's face, a
stalking moon staring down at man's evil on earth below.
A howl breaks the night, a wolf pursuing its prey, perhaps,
or perhaps something much much worse. What was that? Just
a child of the night? Jonathan Exterior, Brancho Corbalis Night.
We panned from a darkened middling sized town, lost somewhere
in the southwest, down a darkened, typical middle class suburban street,
continuing past several houses, one large old foreboding, its windows
dark and vacant, a for sale sign on the lawn,
with a souled sign just beneath it. The other, smaller
home next to it, in sharp contrast to the first house,
newly painted, it's lawn neatly short. We push in closer
in the smaller home, searching for the source of the voices.
Come sit here beside me on the verandah.
It's chilly out here. Oh no, it isn't.
It's beautiful. I love the night's son.
I've never seen you look so beautiful before, Nina, so pale,
so luminescentce. So we push in closer on the smaller home,
searching for the source of the voices continuing up and
through the second floor window. Yes, your lips, sir, are
so red? Are they?
Would you like to kiss them?
The sound of a long drawn out kiss. Why are
you looking at me so strangely, Nina? We passed the
billowing drapes to find ourselves staring at a TV. The
flickering screen the only light in the room. Interior Brewster House,
Charlie's Room Night. One of those aif Hammer type horror
films is on the tube. A woman obviously a vampire,
talking to one of those vapid juveniles. Not you, Jonathan,
your neck?
Has anyone ever told you it was beautiful?
No?
Come lay your head on my breast.
The young man rests his head against her, incredibly enough,
unaware that she is bending toward his neck with huge fangs.
Just as she about to sink them into his jugular,
A tall saturnine man steps out of the darkness wearing
a rather daffy Victorian suit. He opens his vampire kit
slung over his shoulder and grabs a crucifix mallick in
wooden steak, holding the crucifix dramatically in front of him.
This man is Peter Vincent.
Stop you creature of the night.
Miss Nina hissing me, who are you who interrupts my
nightly feeding? I and Peter Vincent thempy gilla. He rushes her,
the steak held high to plunge into her breast.
Keep away, Keep away from me.
We turn away from the TV. As the sounds of
the movie cross fade with the sounds of heavy breathing,
Charlie Brewster and Amy Peterson, two sixteen year olds, are
on the floor, wedged between the bed and the window
and making out like crazy.
Peter Vincent.
The horror movie has faded out to be replaced by
the interior of a local TV studio at Tacky Graveyard.
The centerpiece, the visage of Peter Vincent, much older, now
rising out of a cheap wooden coffin, fills the screen.
This is Peter Vincent, Bring you flight Night Theater.
Charlie, totally oblivious to the TV works on Amy's bra,
trying to get it undone. Amy tries to distract him.
Charlie, Peter Vincent's on.
Forget Peter Vincent.
But you love him.
But I love you more. Amy giggles as once again
as Charlie moves in.
Charlie, stop it tonight, Julie, and horror is blood Castle.
It is one of my favorites, and for a very
good reason. I starr in it. He laughs over dramatically.
As Charlie finally gets Amy's bra done.
Charlie, I said, stop it.
Charlie jumps up, standing by the window. Damn it, Amy, give.
Me a break. I've been going together almost a year,
and all over here is Charlie. Stop it.
The sounds of fright Night Theater breaks the silence. I'm sorry, Amy.
Me too.
I'm just scared, That's all.
Charlie nods as she moves to him of the open
window and steps into his arms, kissing him as she
never has before. She breaks and looks into his eyes.
Let's get into bed, you meant.
They kiss, the two of them slowly turning, Charlie facing
the window to the side yard next door over Amy's shoulder.
There below, he sees two shadowy figures carrying what looks
very much like a coffin toward the cellar doors of
the house next door. Amy slips out of his arms
and onto the bed. She starts to take off her blouse.
He has his binoculars up and glued to the weird
scene outside his window, as Amy lays uncomfortably back on
the bed looking up at him.
Charlie, I'm ready.
The figures are too dark to make out clearly, but
they are Jerry Dandridge and Billy Cole.
Amy, you're not gonna believe this, but there are two
guys out in the yard below. I think they're carrying
a coffin.
Amy looks at the TV to see a similar scene
of some men carrying a coffin through a fog shrouded landscape.
Sure, and they're on the moors right Amy.
I'm serious?
So am I?
Do you want to make love or not?
The two figures below, having gotten the cellar doors open,
carry the coffin into the basement of the house.
Amy, quick coming, you gotta see this.
The bedroom door slams shut. He whirls to find her gone.
Charlie runs out and scrambles down the stairs after her.
Amy. Okay, okay, maybe it wasn't a coffin, but I
did see two guys carrying something into that house.
I don't understand you. First, you want to make love,
and then you don't.
They reach the bottom of the stairs, only to have
a voice from the living room stop them.
Amy, certainly, what's wrong?
They stop, turning to stare through the doorway at Charlie's
mother Brewster, sitting in the living room watching the ten
o'clock news.
Ah, nothing, Mom, come in here, you two living room night.
Are you kids having a lover's spat?
No, Mom, nothing like that.
Well, there's nothing wrong with it, it says right here.
The divorce rate is seventy six percent higher among couples
who don't argue before marriage.
Mom, we're in high school.
Well, it never hurts to plan ahead. Oh, Amy, would
you remind your mother we are playing poker at her
house this weekend? Yes, missus Brewster. Well, good night, Charlie.
Yeah, can I He moves toward the window that stares
out at the house next door.
Good night, Missus Brewster. Good night Amy. Thanks for helping
Charlie with his homework. Anytime, See you tomorrow, Charlie.
He continues to stare out the window. Amy turns and
stumps out of the room, the front door slamming behind her.
Surely that wasn't very nice, not walking Amy to the
front door.
Well there are people next door.
Oh, I guess the new owner's moving in.
What new owner?
Oh? Didn't I tell you? Bob Hopkins said he finally
got rid of the place.
Well, who'd you sell it to?
I don't know. Some fellow who fixes up houses for
a living. Supposed to be very attractive, though. I just
hope whoever he is, he knows what he's getting into
with his house. It's going to take a lot of
work just to make it livable.
We leave them behind, pushing in tighter and tighter on
the TV Judy was watching. Their voice is replaced by
the newscaster, and now for the local news. A man
was found murdered tonight behind the railroad yards. Details are
penning the waiting notification of next of ken Nexterior high
school day kids are flooding out of the classroom and
says Charlie comes out of one of them holding a
test paper. Another kid comes out right behind him holding
a test paper with a gay plus on it. It's
Evil Ed Thompson.
Thank you, mister Smith, have a good weekend.
A bastard.
Why didn't he tell us he was gonna spring a
pop quiz?
Uh, well that's the point to a pop quiz, Brewster to.
Surprise you, thanks, teach.
Suddenly Amy charges between them, pushing them apart and disappearing
into the crowd.
Amy, Amy, she finally found out what you're really like.
Buzz Off, Evil, call me anything you want. Only you're
the one failing trig, not me. Okay.
He walks off Exsterior Street. Day. Charlie pulls his red
Beater sixty eight Mustang into the driveway. He gets out,
carrying his school books, and heads for the front door.
Just as he bends down to pick up the evening paper,
a cab pulls up and a girl gets out. Charlie
stops cold. She is definitely one the most spectacular women
he's ever seen. She smiles at him, looking like a
little girl lost. Oh is this ninety nine? Oak? No?
No, it's next door.
Oh thanks. Charlie watches the girl disappear into the Dandridge
House with a low whistle of appreciation. Interior Brewster House
dining Room Day. Judy is setting the table for dinner.
Hey, Mom, yeah, I'm in here.
Have you seen the new guy next door yet?
No?
But I did hear. He's got to live in garpenter
with my luck. He's probably gay.
No, I don't think so.
Why what do you know that I don't?
Oh nothing, I gotta go study. I'll see you later.
He cuts a bee line for his room. Study You
dissolved to Charlie's room. Night. He's hard at work at
his desk when over his shoulder a light comes up
behind the drawn shade of the bedroom window of the
house next door. Suddenly, a woman screamed, high pitched and terrified,
shatters the night. Charlie whirls, sending his books crashing to
the floor, staring out his window at the lit window
in the Dandridge House. The light snaps out, darkness, blanking
the entire wall. The Dandridge House dissolved to interior Vast
Food Joint. Day. It's the after school hangout, A bunch
of tables, rock music playing in the background, Kid's mill about,
a TV blaring on the counter. Charlie sits at a
booth trying to study, as Amy quietly slips in across
from them.
Hi Hi, Look, I'm really sorry about the other night.
Oh it was my fault, not yours.
It was Look, Amy, I love you and I never
want to fight with you again.
Okay, I'm so glad we're getting this straightened out. I've
been miserable the less two days.
You don't know what it's been like.
Over her shoulder, he suddenly sees on the TV a
picture of a girl who looks very much like the
one he saw going into the Dandridge House.
The second victim whose body was found early this morning
was a known prostitute.
Not talking to you on the phone, Charlie, are you
listening to me?
He gets up and walks to the TV, staring up
at it as the newscaster's voice runs over the picture
of the girl.
She was positively identified as Cheryl Lane. The badly mutilated
corpse was found into the North Creek Bridge by the
Old Mill. As yet, the police have no leads.
Beva Led steps up beside.
Him, Charlie, you know what I heard on the police
fan last night. What that wasn't the only murder, it's
the second in two days.
Get this.
Both of them had their heads chopped off.
Can you believe it?
You're sick.
Amy grabs a burger from a kid in approaches Charlie. Charlie,
he turns, and she grinds the chili burder into his
face and stumps off, leaving him standing there, his face
dripping with chili, onions and burgers.
You're so cool, Brewster, I can't stand it.
Exterior Brewster House. Day. Charlie parks his Mustang in the
backyard and heads toward the back door. He stops, sets
down at books and studies the Dandro house looming over him.
Interior Dandrid House basement day. Billy Cole is painting over
a basement window when he sees Charlie slowly walking toward
the house. Exterior Brewster and Dandrous Houses. Day. Charlie walks
the distance to the storm doors, stopping above them, staring
down at the handles. One quick glance around tells him
the Dandre house is deserted. He bends down and the
handles and starts to pull. Hey kid, what are you doing?
Charlie jerks up, letting the doors thunk. Home. There on
the front porch stands Billy Cole. He's big and solid,
a threatening grin on his face.
Isn't nothing.
Oh yeah, we just make sure it stays that way.
Kid. A terrified Charlie turns and runs back to his
house as Billy watches him go. Dissolved to exterior Dandridge House. Night,
the two houses sit side by side. The Dandridge House
has changed, although it's hard to say exactly how. It
just seems worse than before, more abandoned, more hking, more dead.
Interior Charlie's room. Night, Charlie has the house next door
staked out. He sits in a chair before his window,
only a cheap horror film flickering on the TV. He
brings his binoculars up to stare at the dark window
of the house next door. Resolved to Charlie's room. Later
that night, the TV is flickering snow now. Charlie is
now sound asleep, Breathing deeply groggly. He sits up to
find himself staring into the lit window of the bedroom
next door. He can see clearly into the room as
a beautiful young girl with alabaster's skin and chestnut hair
stands framed in the window. Slowly taking her blouse off,
she unders her bra, letting it fall to the floor.
Leaving her bare breasts showing. Jerry Dandred steps out of
the shadows behind the girl, sweeping her hair back, exposing
her tender, young neck. As he slowly leans down as
though to kiss her. Jerry's upper lip slowly begins to
pull back, revealing just the hint of fangs, long razors,
sharp and sparkling pearly white in the moonlight. Suddenly, Jerry stops,
the fangs poised an inch above the girl's throat. He
slowly raises his head, staring out the window into Charlie's bedroom.
Charlie gasps in horror as he retreats into the darkness
of his room. As Jerry slowly walks to the window,
never breaking his gaze with Charlie reaches up and slowly
pulls down the shade, revealing long claw like fingers. The
binocular slipped from Charlie's hand, crashing to the floor, and
he whirls around, racing out of the room. Judy's room night,
He bursts through the door to find his mother sound
asleep in bed.
Ma, you gotta get up, Ma, I can't believe what's
happening next door.
What what what are you talking about?
He has Fanks.
The guy who bought the house has fangs.
Oh thanks, that's lovely, Charlie. I have to get up
at seven tomorrow.
He hears the car door slam in the yard next door,
jumps to the window, peering out into the back of
the Dandridge house, just in time to see Billy Cole
walking away from a shiny new black cherry Kee jeep,
its back door left open. Charlie out of the room.
Thanks, Charlie, Charlie.
Charlie pounds down the stairs and flies down the hall
toward the back door exterior Brewster and Dandredg's House's night.
Charlie slips out his back door and through the darkness
into the adjoining yard. There, among a clump of bushes,
he crouches down. Suddenly the back door to the Dandridge
house opens and Billy comes out, carrying a large bundle
in a plastic trash bag over his shoulder. He dumps
it in the back of the jeep as suddenly there
is a terrific wush over Charlie's head, the beating of
large wings above causing the bushes around and to bend
and sway. Charlie lifts his head peering about to see
a shape step out of the darkness. It's Jerry Dandridge.
He glides toward the jeep, tossing Billy a woman's purse.
You forgot something, Billy one hands it out of the
air as Jerry takes a juicy bite of an apple.
Just then, the back door to Charlie's house opens, sending
a shaft of night into the darkness. Judy Brewster stands
in the doorway Charlie, Jerry, and Billy Freese, both of
them whirling around to look at the Brewster House.
Charlie.
Jerry takes a step forward, his eyes probing the murky blackness.
He tosses the apple, landing directly in front of Charlie.
As Jerry takes a few steps in his direction, a
terrified Charlie suddenly leaps to his feet and races back
into his house, pushing Judy back through the door and
running in ah Billy steps forward to follow the boy,
but Jerry puts out a hand, stopping him. Interior Brewster
House kitchen night. Charlie sits at the kitchen table, his
mother putting a cup of hot cocoa on the table.
I hate cooking things in the microwave. It never melts
the marshmallows, right, Mom.
I don't need hot.
Drink that out.
Oh sorry, drink that, mom, I don't need hot. Coco
didn't have a nightmare. They did kill a girl over there.
Oh Holly, did you stay up studying?
I'm not sick. The guy did have fangs, and a
bat did fly over my head, and a second later
he stepped out of the shadows. Don't you see what
that means?
Oh wait, wait, wait, let me guess. Oh what, he's
a vampire?
Oh what match cut too interior Amy's house?
Day?
What a vampire? Damn it? How have you listened to
anything I've said, Charlie?
Is this some kind of trick to get me back?
I forget it. I'm going to the police, chol You can't.
Go to the police with a story like that. They'll
lock you up.
All right, then, I won't tell him it's a vampire,
but I sure as hell I'm going to tell him
about the two women, Charley, Charlie.
He slams out the back door. Exterior street. Day police
car pulls up in front of the Dandrid house. Charlie
in a red Mustang right behind him, Charlie exits his
car and runs to Lieutenant Detective.
Lennox is sure about this now?
Charlie nods, and the cop turns and heads toward the house.
Charlie following Exterior dandridch House Day. Lieutenant Lennox knocks on
the door and the door open, revealing Billy Cole. Yes,
mister Dangers.
No, I'm his roommate, Billy Cole, Lieutenant Lennox, homicide mine
if we come in?
No, not at all. Come on in. Interior dandridch House Day.
The house is a mess of moving boxes and heavy
Victorian furniture scattered everywhere. A number of the pieces still
under white dust covers. Clocks line one wall, none of
them working, all set at six pm.
This is quite a place you have here.
Yeah, we're restoring it. Where's mister Dangels he's away on business.
Is there anything I can help with?
There was a murder last night. Charlie lives next door,
thinks he saw the victim in his house.
Well, that's impossible. I was here with Jerry all last night.
There was nobody else in the house.
Charlie looks into a crate.
That's a lie. I saw him carry your body out
in the plastic bag.
What do you say to that, mister Cole The kid's
obviously crazy, Officer. I did take some bags out last night,
but they were full.
Of trash, pulling out packing material. Charlie reveals an old
painting of a girl who looks just like Amy, only
she's dressed for the seventeen hundreds. Amy.
Here, let me show you.
Look the bag I saw had a body in it,
not trash.
Oh you actually see the body charveling hut.
Well no, but okay, look, let me take you out back.
I'll show you the bags I put in the in
the God, sorry, god, it's like I got fifteen lines.
Okay, look, let me take you out back. I'll show
you the bags I put in the garbage. Okay, let's
see him.
Look, I can prove he's lying. Let's look in the
basement instead.
What's down there? Yes, Charlie, what's down there? Billy stares
Charlie down.
Well, obviously the boys made him stake.
Officer.
You know how kids do a coffin. That's what's down there,
a coffin. I saw them carry it in. What Yeah,
and you'll find Jerry Dandridge in It's leaping the sleep
of the undead.
Ooo. Billy laughs, For heaven, what are you talking about?
He's a vampire.
Oh I saw him in that room last night. He
had fangs and he bit her on the neck.
Billy whistles and makes the sign of the cross, for
Heaven's sake, Come on, what.
Are you talking about? Wait, we can't just leave like this.
I've got a coffin for you.
The cup pulls Charlie out the door and hustles him
down the walk exterior street day to.
The Please please listen to me. I'm telling you Jerry
Dandridge is a vampire.
Sure, and I'm dirty Harry.
Now let me tell you something, kid.
If I ever catch your ass down at the station
house again, I'm throwing it in jail forever.
Lieutenant, Please come on, just listen to me for a sec.
Lennox hops in his car, slamming the door behind him
as Charlie hovers by the window.
Look, I know it's crazy, I know that, but Lieutenant.
The car roars away as Charlie hears footsteps in the
upper ports of the Dandridge House and whirls to find
himself staring at Billy Cole looking back at him. Charlie
slowly backs away from him toward his car and glances
up at the sky overhead. The light is beginning to fade.
He checks his watch. It's four in the afternoon. He
looks back at Billy Cole, then leaps into his car
and tears off down the street. Interior Evil Ed's Room day,
Evil Ed sits at his desk, hand painting a monster
model of a ghoul. Evil's room is a veritable museum
of horror movie posters of Frankenstein, Dracula, and the Wolfman
dotting the wall, the shelves full of monsters and models,
the floor littered with horror comics. Charlie barges in and
skids to a home.
Evil and to what do wiow this to be?
As pleasure?
The vampire knows that I know about him, or at
least he will, and he wakes up tonight.
Where do you attack that about?
I have a vampire living next door to me and
he's gonna kill me if I don't protect myself. What
come on, Evil, I haven't got time to explain. Just
tell me what to do to protect myself.
Yeah, good, very funny, broster.
If please, I'm not kidding tell me what to do.
Don't call me evil anymore? Why should I help you anyway?
I've got eight bucks, help me, and it's yours.
The money into his pocket.
Barb, be it for me to turn down a fool's money.
Now, where and when do you expect the vampire to
attack in.
My bedroom tonight?
Eva Lead pulls a dime store across from his desk.
Start with this, but you must have total faith in
it for it to work. Then get some garlic links
of the stuff that you could wear around your neck
and hang from your window.
If he comes for you, that'll.
Be the way.
And then, of course there's holy water, but you gotta
get a priest to say a blessing over it first.
That's it.
Great.
So your best protection right now, Chuck, is that a
vampire cannot enter your house without being invited by the
rightful owner first.
Sure about that?
Positive?
Thank you? Thank you.
Charlie runs out interior Charlie's room night. Charlie finishes nailing
shut his window and steps back and tests it. It's secure, Charlie.
Could you come down here a minute please. There's someone
I'd like you to meet.
Yeah, mom, living room night. He walks into the living
room to find his mother standing there a drink in
her hand.
Charlie, this is our next door neighbor, Jerry Dandridge.
Charlie freezes. Jerry, sitting in a chair, rises to reveal himself, Hello, Charlie.
Charlie just stares at him in horror.
Well, Charlie, don't be rude. Shake hands.
Charlie slowly moves to Jerry and takes his hand, shaking
it as one would the hand of a recently disinterred corpse.
What's he doing here? Oh?
I invited him over for a drink? What I invited
him over?
Why?
What's the matter, Charlie?
Afraid I'd never come over without being invited first. Jerry
and Julie laugh, Oh, you're right, You're quite right, of course.
Now that I've been made welcome, I'll probably drop by
quite a bit. In fact, anytime I feel like it,
with your mother's kind permission, of.
Course, Oh, Jerry, anytime. It's so nice someone interesting has
finally moved into the neighborhood.
Charlie backs away, terrified.
Charlie, Are you all right?
Yeah?
Fine, I just got to get back to my trick.
That's all.
Nice to meet you. Charlie, see you.
Soon. Charlie bolts out of the room, falling over furniture
and pounding up the stairway. Dissolved to exterior Dandridge House night,
the old house wrapped in fog as the wind whips
around its eaves. That foreboding feeling has now turned to evil.
Interior Brewster House, Judy's room night. Judy is sound asleep,
a sleeping mask over her eyes. Darkness and silence, and
nothing else but moonlight spilling through the window at the
far end of the hall. Then the sound of wings
as a shadow crosses. Charley is sound asleep in his room,
holding his cross, Suddenly jolted awake by the sound of
footsteps on the roof. He jumps up, listening to the
sound of someone or something walking hallway night. He peers
around the corner. Nothing. He tiptoes to the top of
the stairs and looks around the living room, nothing but shadows.
Then he hears it, a noise from the floor below.
It sounds like finger nails scratching across glass. He creeps
down the stairs. Then he sees it the source of
the scratching sound, a tree branch caressed by the wind.
As it's blown back and forth across a pace in
a glass. Charlie breathes a sigh of relief. Judy's Room night,
Jerry Dandred stands above Judy, an open window behind him,
staring down at her sleeping peacefully in the back. He
glides across the room, past Judy's bureau, past the wall
mirror without leaving a reflection, and out the door with
unnatural silence. Hallway night. Jerry closes the door behind him,
giving it a sharp tug that dislodges it from its hinges,
and moves across the hall toward the open door to
Charlie's bedroom, entering while he whistles strangers in the night.
I know the tune.
It's the whistler that's not working.
Anybody I can.
Too high.
I'm worn out.
I couldn't get it up. Charlie walks down the hall
and disappears into his own room. He shuts the door
softly behind him, notices a light in the Dandridge house
opposite his room, which turns off. As he watches for
any activity, the closet door opens silently behind him, revealing
Jerry Dandridge. Charlie quickly turns to find himself facing Jerry.
The vampire's hand whips out with lighting speed and seizes
him by the throat.
No, we wouldn't want to wake your mother, would we, Charlie,
They I'd have to kill her too.
Jerry flings the boy the length of the room within
humor and strength, slamming him into the closet. Charlie slips
to the floor, all the air knocked out of him.
Jerry reaches down and grabs the boy by the throat,
pulling him up to face him.
Do you realize how much trouble you've caused me?
Spying on me, almost disturbing I sleep this afternoon, telling
the policeman about me.
He slams him against the opposite wall, Charlie's legs dangling
several feet above the floor, kicking you.
Deserve to die, boy, Of course.
I could give you something. I don't have a choice.
Forget about me, Charlie.
Forget about me, and I'll forget about you.
What do you say, Charlie. Charlie reaches into his pocket,
whips out his cross, holding it up and thrusting it
into Dandridge's face. Jerry's other hands snaps out and grabs
Charlie by the wrist, holding the head with a cross
and beginning to apply pressure. Fool Jerry tightens his grip
as Charlie writhes in agony, the cross slipping from his
fingers and falling to the floor. Jerry easily flicks off
the lock and yanks up the nailed window. He begins
to slowly push Charlie out the window. The boy cranes
his neck, glancing over his shoulder. The hard ground is
a good thirty feet below. He turns back to the vampire,
fighting for a handhold, grabbing the window frame with one hand,
trying to keep himself from falling. His fingers begin to
slip as he searches desperately for a handhold from a
nearby dresser. He grabs a picture of Amy, pulling it
out the window as it falls to the fence below,
skewering itself on a pointed slat. Jerry continues his assault
as Charlie's fingers find a pencil and he slams the
point down through Jerry's hand. Jerry wails in pain as
he whirls away from him, the pen's protruding from the
back of his hand. He grabs and pulls it out,
then turning back to Charlie, his face is no longer human,
letting out an unearthly scream that blows Charlie back against
the wall.
Charlie, Charlie, Charlie, can you hear me?
Jerry's head whips back and forth between the door to
the hall and Charlie.
Charlie, Charlie, is that you, Charlie? My door stuck?
The vampire whirls and runs out the curtains, blowing wildly,
the sound of powerful wings beating away into the night air.
Charlie.
Charlie runs into the hallway, looking out the window into
the night, then slams it shut to find Judy stumbling
out of her room.
Charlie, what is going on?
Oh?
Nothing, I just had a nightmare.
Oh you know, I had one last night.
It was awful.
I was at this white sale and I suddenly realized
I was start naked.
They both hear it crash from outside his window.
Now what is it?
Charlie grabs her gently, pushing her back and nothing.
Nothing, just raccoons in the garbage inn. Why don't you
go back to sleep?
But Sweetie, what about your nightmare? Do you want a valiant?
I'm I'm fine now, honest, well, I do need my sleep.
I start the night shift tomorrow three o'clock in the morning.
It's so bad for my complexion, I mom.
He pushes her through the bedroom door and closes it,
then goes to the window and checks nothing out there.
Charlie's room night. He clicks on the TV as he
paces the room, lost in thought. It's fright night Theater again.
He's about to lean over and turn it off when
the phone suddenly rings by his side. He picks up
the rece and just listens. Interior dandred bedroom night. Blood
slowly drips into a bowl of water as we pan
up to see the source of it. It's Jerry's bloody hand.
I know you're there, Charlie. I can see you. Charlie
slowly turns, staring out his window. There in the window
of the house next door stands Jerry, the phone to
his ear, staring back at Charlie.
What's the matter, Charlie.
Scared?
You started this, Charlie, and now I'm going to finish it.
Billy kneels at his side, solicitously bandaging his injured hand.
I just destroyed your car, Charlie.
But that's nothing compared to what I'm going to do
to you tomorrow night.
He hangs out, slowly drawing the shade, blanking out the
lit window. Once against, Charlie hangs up the phone on
the TV. The horror flick dissolves as Peter Vincent comes
on Good Evening horror films.
Did you know there are a lot of people who cannot.
Believe in vampires?
But I do because I know they exist. I have
fought them in all their guys is Charlie straitens, his
gaze suddenly riveted to the screen. Man, wolves, bats, and
I am always won.
That is why they call me a great vampire killer.
Now watch me do it. The horror flick resumes a
much younger Peter flinging open a coffin to reveal its
sleeping contents, than staking it through the heart, blood spattering
his face. Go Peter Go. Dissolved to exterior studio entrance day.
Charlie paces back and forth as it. Dejected Peter Vincent
comes out of the studio dressed in his street clothes,
his vampire kids slung over his shoulder, heading towards his
car as Charlie runs to meet him. Mister Vincent Peter
ignores him and keeps walking.
Mister Vincent, could I talk to you for a minute, please,
mister Vincent, it's very very important.
What do you want me to sign? Pardon me? Well?
You do want my autograph, don't you?
No, no, sir, I was curious about what you said
last night on TV. You know about believing in vampires?
What about it?
Are you serious?
Absolutely?
Unfortunately, none of your generations seems to be.
What do you mean?
I had just been fired because nobody wants to see
vampire killers anymore or vampires either. Apparently all they want
are demented madmen running around in sche masks hacking up
young virgins.
Now, if you'll excuse.
Me, I believe in vampires, and that's nice.
If only there's been a few more of you, perhaps
my ratings would have been.
In fact, I have one living next door to me.
Would you help me kill him?
Pardon me?
You know the murder of that girl that happened a
few days ago.
Yes, the guy who lives next.
Door to me did it, and he's a vampire.
If this is your idea of a joke, I am
not amused, Vincent.
I'm not joking. I'm deadly serious.
Peter stares at him for a beat and decides, Charlie's crazy. Well,
if you'll excuse me.
Mister Vincy, you have to believe me. I'm telling the truth.
Come on, you just said you believed in vampires.
I lie. Now you leave me alone.
Please, you have to listen to me. The vampire tried
to kill me last night and trash my car when
he didn't succeed. Now he's gonna be back after me tonight,
mister Vincent, and if I don't get help, he's gonna
kill me.
Peter shots him aside, popping into his car, quickly locking
the door behind him. As he starts the engine. Charlie
beats on the window.
Mister Vincent, please just listen to me for a second.
Peter haul's ass out of the lock and disappears down
the street.
No, no, wait, mister Vincent, Wait and act
One job, everybody,