"AN AMERICAN WEREWOLF IN PARIS"

by

Anthony Waller, Tim Burns & Tom Stern

Based on characters created by

John Landis

BLACKNESS.

Pink Floyd's "Dark Side of the Moon (Brain Damage)" plays as

WHITE TITLES appear over black. As the song crescendos at

the first chorus, SUNLIGHT flares over the lunar horizon and

a crescent sliver of THE MOON is illuminated - huge, filling

the screen from top to bottom. We're in space, circling around

from the dark side until a HUGE FULL MOON fills the screen

with whiteness - TITLES continue as we pull back from the

moon, into the earth's atmosphere, through CLOUDS, until we

reveal

PARIS AT NIGHT

We come to rest on an ancient, vaguely wolf-like GARGOYLE

high atop a gothic cathedral in the Latin Quarter - a maze

of narrow, twisting streets - desolate at this late hour.

Clouds move over the moon. End TITLES. The song fades. A

THUNDER CRACK. Rain drops spatter on the church's metal roof.

Water trickles out of the gargoyle's mouth. We follow the

STREAM OF WATER down to street level where it falls onto

A YOUNG COUPLE

wobbling down the street, sharing a bottle of wine. They

open an umbrella and stand underneath it, smooching and

giggling. We follow the STREAM OF WATER from their umbrella

to the street, where it swirls into drain holes in the MANHOLE

COVER that they're standing on. Suddenly...

CLANG!! The manhole cover pushes up under their feet. He

flinches - bites down on her lip, drawing blood. She yelps.

CLANG!! The cover thrusts up again. They lose their balance,

fall to the ground - the wine bottle smashes. The manhole

cover flips off it's hole. Horrified, they scramble from it.

Then, out of it comes...

TERRENCE MCDERMOTT

a fiftyish college professor in a turtleneck and old tweed

jacket, clutching a well worn leather shoulder bag and gasping

for breath. He's balding, with longish gray hair and intense

eyes. He climbs out of the hole, replaces the cover and dashes

off desperately through the rain, looking back over his

shoulder as he disappears into a narrow alley.

The couple watch him go, befuddled. She touches her hand to

her lip and looks at the blood. She slaps her boyfriend upside

the head.

GIRL

Idiot!

The guy shrugs. Then...

BAM!! The manhole cover explodes off the hole, sails twenty

feet into the air and clatters to the ground some distance

away. We cut to the couple's horrified reactions as they

watch something emerge from the hole.

ON A NEARBY STREET

Terrence, running, hears the couple's horrible SCREAMS echo

through the twisting streets. He comes to A STONE STAIRWAY

and hurries down it, four steps at a time. At the bottom he

turns right and arrives at a star shaped five way

intersection.

A low, muffled growl stops him in his tracks. He stands in

the rain, panting, looking around at the dark maze of streets,

trying to pinpoint the source of the sound.

TERRENCE

(American accent - to

himself)

Where are you, you sick bastard...

A TAXI appears a block away. He waves his arms and calls out

in a very good French accent.

TERRENCE

Taxi! Ici, s'il vous plait!

It turns and drives towards him. He starts off towards it.

He glances over his shoulder - sees nothing. He's twenty

feet from the taxi. He smiles. Then -

He's jerked violently downward into A STORM DRAIN. He screams.

Some monstrous force pulls him down, his bones crushing as

his body is forced through the too-small drain.

The CABBY gets out and runs up to the drain, where Terrence's

thrashing upper body is quickly disappearing into the hole.

Horrible growls and sounds of ripping flesh emanate from the

sewer. BLOOD spurts through the grate. Terrence reaches up

to the cabby, SCREAMING for help.

TERRENCE

My God! Help! Au securs!

The terror stricken cabby shakes his head and starts backing

up. Terrence lunges forth and grabs the cabby's leg. The

cabby screams and tries to get loose. He falls to the ground

and is dragged towards the hole. He grabs the bumper of his

cab and strains to pull himself away, kicking at Terrence's

hand with his free foot.

LIGHTS come on in an adjacent building. A MAN in pajamas

runs out into the rain. The cabby loses his grip on the bumper

and he and Terrence are jerked closer to the sewer but the

man grabs the cabby's hand and pulls. Some OTHER RESIDENTS

gather on the sidewalks. A police car SIREN approaches.

Something gives and the man in pajamas falls backwards into

a puddle. The small crowd looks down and sees TERRENCE, pulled

free from the hole, moaning semi-consciously. We move down

his body, past the bleeding stumps where his legs used to

be, and follow the BLOOD as it swirls into EDDIES of rain

water and flows into the BLACKNESS of the storm drain.

CUT TO:

A FIERCE BULL

charges through the matador's red muletta, snorting blood.

The CROWD goes wild. We're in a bull fight arena, under the

blazing Spanish sun.

The camera dollies past cheering SPANIARDS and finds a small

group of AMERICAN STUDENTS, early twenties.

GORD

Man. I can't believe I paid good

money to watch a guy in tight pants

kill a cow.

SHERRY

Disgusting. This makes American

Gladiators look highbrow.

The camera settles on ANDY MCDERMOTT, 22, as he joins the

crowd in a rousing cheer, waving a bottle of wine with native

gusto. He's good looking in a scrappy sort of way, with

shoulder length brown hair, grungy plaid shirt, khakis, and

glasses.

ANDY

Whoo! Ole!

(to his friends)

Man, you guys are losers! This is

poetry! Death in the afternoon, a

tragic dance of man and beast, just

like Hemingway said. God, Spain is

it! These people know how to live.

SHERRY

I still say we should've gone to

Paris.

ANDY

Paris!? Ug! If I wanted to be in an

overpriced, overrated city full of

obnoxious assholes I would've stayed

in New York! Please!

Another friend, MIKE, joins them.

GORD

Where've you been? Beatin' off in

your sombrero again?

Mike swats Steve in the head playfully and grabs the wine

from Andy. He hands him a crumpled telegram.

MIKE

McDermott, your dad sent this to the

pensione. Supposed to be urgent.

ANDY

(concerned)

What's it about?

MIKE

(defensive)

I didn't read it.

Andy takes the telegram. Mike leans in close to Sherrie and

whispers the gossip.

MIKE

His uncle is in the hospital.

Andy reads the message. His face falls. For a second, he's

silent. His friends see something's wrong.

GORD

Hey, man. You okay? What is it?

Andy grabs the wine away from Mike and takes a long swig. IN

THE BULLRING - the matador plunges his sword between the

bull's shoulder blades and makes the kill.

CUT TO:

INT. PARIS HOSPITAL EMERGENCY WARD - EARLY EVENING

BLOOD splatters on white paper. Pull back to see a CHEF with

a cut finger standing at the admitting counter, dripping

blood on a form. The uptight Parisian NURSE scolds him and

pulls out a new form.

ANDY, lugging his back pack, trudges through the sliding

glass doors marked "St. Severin Hospital". Bleary eyed, hung

over, burdened by a heavy backpack and carrying the crumpled

telegram, he approaches ANOTHER NURSE at the counter.

ANDY

Um, excuse me... hello...

A STOUT WOMAN with a POODLE charges in front of Andy and

launches into a loud French argument with the nurse over the

hospital's "human's only" admission policy.

WOMAN

(French)

Pitou needs a real doctor! He's

melancholy!

ANDY

Hey, wait a minute...

Andy tries to push his way back in, but the shrill little

dog yaps at him. Andy grabs his aching "hangover head" in

agony. The bleeding chef walks away, dripping, leaving the

other nurse free. Andy approaches her. She has her head down

in some paperwork.

ANDY

Pardon... Excusez moi. 'Allo.

Without looking up, she holds up a "please wait" finger.

Andy sighs. The poodle yaps at him again. He winces and tries

to get the nurse's attention.

ANDY

(to Nurse)

Umm...

She raises her finger sharply and glares at him. She goes

back to her paperwork. Andy starts chatting politely with

her, pretending she's responding.

ANDY

So, you ever been to Spain? You'd

love it. It's friendly, sunny,

cheap... And you'd be the only raving

bitch there instead of just one in

the crowd up here.

MARCEL BOULARD, a short middle aged cop in a rumpled coat

approaches. He taps Andy on the shoulder.

MARCEL

Andrew Mc-dair-mo?

ANDY

That's McDermott, but yeah.

Marcel flashes his badge.

MARCEL

Detective Boulard. We've been

expecting you. This is Inspector

Leduc.

LEDUC, in his fifties, taller, heavy set, droopy mustache,

nods gruffly and starts towards the elevator, motioning for

them to follow.

MARCEL

He's in charge but, uh, between you

and me, my English is better.

(they hurry to catch

up with LeDuc)

This way... So you're from New York

eh? I love those Hill Street Blues...

ANDY

Right. Listen, my uncle, it's not

serious is it? Did he eat some bad

snails? Slip on the bidet? What?

They step into the elevator as LeDuc holds the door open.

Marcel and LeDuc trade uneasy glances. LeDuc sighs.

LEDUC

Merde.

MARCEL

He says -

ANDY

Yeah okay. My French isn't that bad.

INT. HOSPITAL ROOM

TERRENCE lies comatose under a clear plastic oxygen tent. An

ORDERLY changes the dressing on his bloody stumps. A NURSE

fiddles with the vast array of bleeping, burbling, sucking,

life support machinery.

Andy, dumb struck, watches from a few paces away. Marcel,

pad in hand, asks him questions. LeDuc stays in the

background, listening and studying Andy intently.

ANDY

Jesus...

MARCEL

How well did, er, do you know him?

ANDY

Not too well. He taught at the

Sorbonne, right? Dad always calls

him his "hippie brother". Did some

work with Timothy Leary I think, and -

Is he... is he going to die?

MARCEL

No. The doctors say the machines

should keep him going a long time.

But basically he is, how you say, a

legume.

ANDY

Legume? You mean, a vegetable?

MARCEL

Vegetable, right. My mistake. It

seems he was attacked by a maniac,

maybe two or three maniacs, just

after midnight. yesterday. They fled

into the tunnels beneath Paris, that's

all we know...

ANDY

What do you mean, maniacs?

MARCEL

Well, here's what I think happened.

A chemistry professor goes to a bad

part of town late at night. Why?

Perhaps he's making a few francs on

the side. The psychedelic drug market

is big these days. He gets mixed up

with a bad crowd and, like they say,

if you lie with dogs, you get fleas.

ANDY

Yeah, well, these fleas must have

teeth like fuckin' chain saws.

BEEP BEEP! Something's wrong with uncle Terrence's machinery.

The IV bottle is sputtering and bubbling, the EKG monitor is

flashing. The orderlies snap into action and pull the curtain

shut, waving "no problem" to Andy and Marcel. Marcel leads

Andy away, trying to calm him down.

MARCEL

Maybe we should go now. You must be

very tired. We'll call if any new -

ANDY

I can't believe this. Why don't you

go down in the tunnels and find the

goddamn... animals that attacked my

uncle?

MARCEL

Andy, it's not so easy. There are

hundreds of kilometers of tunnels

under Paris. It's a whole other city,

crawling with drug addicts, lunatics,

skinheads... It's no man's land.

Andy's about to protest when LeDuc steps in and hands him

uncle Terrence's leather bag.

LEDUC

Here.

MARCEL

Your uncle was carrying this. The

keys to his apartment are in there.

I talked to his assistant, Madame

Flocquet. You'll be staying there a

while?

ANDY

Yeah. I guess so.

(they walk him to the

elevator)

Did he say anything? Before the coma?

MARCEL

Just the name of this hospital, St.

Severin. He repeated it a few times

then he lost consciousness.

ANDY

Why would he pick this one?

MARCEL

I don't know. There were others much

closer. He was religious?

ANDY

Not that I know.

MARCEL

Well, when you're about to pop off,

what have you got to lose? Thanks

for your help.

Andy's dumfounded at Marcel's lack of tact. The elevator

doors start to close. LeDuc nods "good-bye". Marcel leans in

and sneaks in one last comment.

MARCEL

And remember Andy, let's be careful

out there. Heh-heh... Ouch!

The elevator doors knock him on the head as they close. Andy

shakes his head.

ANDY

(to himself)

Inspector Clouseau, on the case.

Great.

CUT TO:

EXT. TERRENCE'S APARTMENT BUILDING - NIGHT

Andy opens the gate of this beautiful 19th century building

and walks through THE COURTYARD to the main entrance. A POODLE

yaps at him. The dog is in the open doorway of the Concierge's

apartment, which opens into the courtyard. The nosy concierge,

MADAME CHRETIEN calls the dog, LULU, back in and shuts the

door.

Andy enters the dark LOBBY, finds the timed auto shut-off

light switch and turns it on. He boards the old fashioned

wire cage elevator and presses the button for #4. McDermott.

The elevator ascends painstakingly slowly. Andy resigns

himself to waiting, thumbs through his uncle's date book.

Andy turns to the day Uncle Terrence was attacked. A circled,

cryptic entry at the bottom of the page reads "Meet Claude,

Medusa - 11:00". Andy wrinkles his brow. At this second, the

light goes out.

Andy ascends the rest of the way in darkness. The doors open

on the fourth floor. He gets out and finds his way to the

apartment. He tries a key in the lock. It won't turn. He

jiggles it. No luck. He goes through this with two more keys,

grumbling under his breath. Finally he finds the right one.

He pushes the door open and gasps.

He's face to face with a scary TRIBAL MASK hanging in the

entrance way. It startles him for a second.

ANDY

This must be the place.

INT. TERRENCE'S APARTMENT

Andy walks in and sets down his bags. A gun COCKS. A young

woman's voice screams at him in French.

YOUNG WOMAN

(in French)

Who are you!? What do you want!?

He turns to see SERAFINE, a beautiful young woman, around

22, casually dressed and aiming a pistol at his head. He

drops the shoulder bag and reaches for the ceiling.

ANDY

Don't shoot! Jesus... uh... Je

m'appelle Andy. McDermott. Je suis

le... um, shit...

It dawns on her. She drops the gun to her side, embarrassed.

SERAFINE

(in English)

Oh fuck, you are his nephew...

ANDY

Yeah, that's the word. And you are?

SERAFINE

Serafine Flocquet. I work for your

uncle.

ANDY

You? You're Madame Flocquet? I

pictured a fat lady with an apron,

not - I don't know - La Femme Nikita.

Serafine puts the gun away in a drawer.

SERAFINE

It sounded like someone picking the

lock. After what happened, I guess I

am a little nervous.

She lights a cigarette.

ANDY

Sure. I can follow that.

SERAFINE

It's a fucking nightmare, isn't it?

ANDY

Yeah. True. The cops weren't much

help either. Their theory is he was

moonlighting as a drug dealer or

something. Make sense to you?

SERAFINE

Police. They have their head in their

asshole and they still can't find

shit.

ANDY

Well put. So, what exactly has uncle

Terrence been up to lately?

As he speaks, he scans the apartment. It's cluttered with an

overwhelming assortment of anthropological oddities from

around the globe, medieval illustrations, molecular models,

and an artsy periodic table that's been used as a dart board.

SERAFINE

He's doing a book with Professor

Roussel, about medieval chemistry. I

was just transcribing his notes onto

the computer and - oh shit!

She races out of the room. Andy follows after her.

INT. TERRENCE'S STUDY

She runs in and finds the computer locked up. She smacks it

a few times, clicks the mouse, taps the keyboard. No response.

SERAFINE

Salots! Shitfucker!

ANDY

(reacts to her loose

grasp of American

slang)

What?

SERAFINE

If you leave it for more than a few

minutes it locks up. Now I must reboot

and type a dozen fucking passwords.

He was security crazy.

She flicks a switch on the back of the computer, rebooting

it. Andy pauses to look at some nearby photos of his uncle.

ANDY

I still can't get over it. The cops

said it was a "maniac", but he looked

like, I don't know, like he'd gone

through a combine harvester or...

something.

Serafine gets kind of emotional at the thought...

SERAFINE

They wouldn't let me see him. Family

only. I told them, Terry was almost

like a father to me, you know?

Andy reacts to her use of the informal "Terry"...

ANDY

Depends. Was "Terry" a father like

Ward Cleaver or a father like Woody

Allen?

A beat. She grasps his meaning. She's offended. She starts

typing on the computer, giving him the cold shoulder.

SERAFINE

You must not have known him very

well. He's not like that.

ANDY

Hey, Sorry if I was out of line.

SERAFINE

You were. I have work to do. The

publisher wants the transcripts by

Monday. Go. Make yourself at home.

ANDY

Fine. My mistake. You know, I'm gonna

be a writer myself some day.

SERAFINE

Uh-huh. Good for you.

Andy sees he's sunk. He heads for the door, but something on

the wall catches his eye. A small flyer on the bulletin board

with a big drawing of Medusa. He takes it down.

ANDY

Medusa... What's this? some kind of

club?

SERAFINE

It's nothing. A stupid party. Not

really a night club, it's, uh...

ANDY

Like an underground club?

SERAFINE

Yes. It's a bad place. Weird people.

Strange things go on.

ANDY

And who's Claude?

Serafine looks at him hard, questioning.

ANDY

I looked through my uncle's date

book. Writer's curiosity.

She points to a paperback on the desk. It's French, with a

psychedelic cover depicting a man, half King Louis XIV, half

witch doctor. The title, (in French) "History Inside Out -

Psychic Illumination Through the Ages" by Dr. Claude Roussel.

A picture on the back shows an academic looking Claude in a

tweed jacket, with gray hair.

SERAFINE

Professor Claude Rousel. The one

your uncle was working with. He

teaches cultural history.

ANDY

In an underground club? I'd like to

see that.

He shoves the book in his back pocket. Serafine's emphatic.

SERAFINE

I'm serious. There's nothing for you

down there. It's dangerous.

ANDY

Come on. I'm from New York - the

"shoot me" state. Don't wait up.

He starts for the door, She spins him around by the sleeve.

SERAFINE

(suddenly quite angry)

What good can you do? Why are you

being so fucking stupid?

ANDY

(getting fired up)

Maybe I didn't know him like you

did. But he's my uncle. And I owe it

to him to get some answers. It's a

quest like, uh, Hemingway, the Old

Man and The Sea. Except instead of

an old man I'm a young man, and

instead of the sea, it's a bunch of

tunnels under Paris. And instead of

a big fish it's... who knows? That's

what I'm going to find out. Au revoir.

He walks out of the office. She calls after him.

SERAFINE

You're a fucking lunatic!

The front door slams. She looks after him, incredulous.

SERAFINE

(French)

God damned Americans.

CUT TO:

EXT. RUE D'ENFER - NIGHT

A MEDUSA HEAD is carved in the stone above the doorway of a

crumbling old facade in a rundown Parisian neighborhood.

Andy tries the front door. It's locked. There's no sounds or

signs of life.

ANDY

(to himself)

Some party.

Andy starts off, then pauses as three PARTY GOERS approach

the door. They're "modern-primitives" - tribal tattoos,

pierced noses, and weird beaded hair. One fishes a key from

the Medusa's mouth, opens the door, and lets the group in.

Andy slips in behind them. One GUY in the group looks Andy

over and mutters something in French to his friends. They

snigger amongst themselves and walk to a door across the

foyer. Andy follows, a few paces behind, through the door,

down some stairs, into

A DILAPIDATED BASEMENT

Lit with a few candles. They walk past an old boiler, through

another door, into

A NARROW STONE SPIRAL STAIRCASE

They proceed down the ancient stairway, also lit only by the

occasional candle placed on the steps. They reach the bottom

of the steps and enter a dark, drippy stone tunnel, still

lit by candles. Some rats scurry away through the puddles

under Andy's feet.

Candles lead the way through the maze of intersecting tunnels.

Some graffiti scratched in the wall catches Andy's eye: "Jean

Philippe 1803". He pauses to look at it for and loses the

group ahead of him. He follows the candles on his own, turning

right, left, and left again. A loud, muffled bass beat gets

louder. He rounds the corner into

THE WILD UNDERGROUND PARTY SPACE

In an open cavern, lit with torches and strobe lights. Two

hundred people are gyrating to eerie techno-tribal dance

music. It's a weird crowd, mostly young modern primitive

pierced and grungy RAVERS, many wearing day-glo tribal face

paint. Clusters of sullen, militant SKINHEADS hang around

the periphery.

An attractive, blissed-out WAIF approaches Andy with a

paintbrush and a jar of day-glo face paint and a brush. She

goes to paint Andy's face. He stops her.

ANDY

That's alright. I'll be a cowboy.

She smiles and pushes his hand down. He shrugs and lets her

paint two day-glow red stripes on his cheeks.

ANDY

Alright. Fine...

(with mock enthusiasm)

Ooh. I can feel it tingling.

Andy sniffs and makes a face - the paint has a weird smell.

ANDY

Phew. What's in this stuff, liquid

plumber?

(he pulls the book

out of his pocket

and shows her Claude's

picture)

Do you know this guy? Claude?

WAIF

Ah oui, le professeur. La bas.

She points to a dark alcove off the main cavern. Andy nods

and starts off. We move in on a leather clad young man leaning

against the wall, watching Andy go. This is GASTON DUFAUX, a

self-styled Parisian thug, who seems to be cultivating a

sort of "Mickey Rourke" look. He takes a drag from his

cigarette and we see he's missing two fingers.

Andy makes his way through the crowd. People are dancing

with wild abandon, and many carry torches. A SKINNY GUY IN A

DIAPER and a paper mache skull mask runs through the crowd,

ranting and spraying fluorescent silly string. He does a

weird dance around Andy and jabbers at him in French.

ANDY

Uh, lemme get back to ya on that.

Andy approaches the side room and peers in. A small group of

young people are listening intently to CLAUDE, whose back is

to us. He's expounding about something in a solemn tone.

CLAUDE

(French, to group)

...How ironic. A man who dedicated

his life to opening the doors of the

mind now lies trapped behind them.

Locked behind a door without a key.

We follow Andy as he steps around the crowd and sees Claude's

face. He looks older than in the photo - he's in his late

fifties, with white hair and intense eyes.

ANDY

Excusez moi, I...

Claude notices the book in Andy's hand. He speaks fluent

English.

CLAUDE

I'm sorry my friend, I'm not signing

books right now. There's been a

tragedy.

ANDY

I know. I'm Andy McDermott. Terrence's

nephew.

Claude is taken by surprise.

CLAUDE

My God, I'm sorry. But how did you

find your way down here? Wait, let's

go talk...

He excuses himself from his "flock" and leads Andy to a quiet

corner of the room. The kids disperse, several looking

sympathetically at Andy.

CLAUDE

It's horrible. Terrence was one of

the most brilliant men I've known.

ANDY

Yeah, well, why did he hang out here?

The cops said it's dangerous -

CLAUDE

The cops. It's their backward laws

that force all this underground in

the first place, endangering people

whose only crime is pushing the limits

of perception, exploring new states

of psychic awareness.

They're suddenly doused with day-glo silly string as the

gibbering idiot in the diaper pops in to deliver a rant at

them.

GUY IN DIAPER

(French)

The moon is bleeding! Prepare for

the downpour!

He ducks back out. Andy picks the silly string out of his

hair.

ANDY

Psychic awareness. Right.

CLAUDE

You think it's silly. But do you

realize that young man is actually

in a deep sleep?

ANDY

What?

CLAUDE

He's on a new drug called ZBH, or

"Daydream". It allows the user to be

fully alert and mobile while he's

dreaming. He is literally conscious

and unconscious at the same time.

ANDY

Yeah well, that's like really groovy

and everything, but who hacked my

uncle's legs off?

Claude frowns. He looks grave.

CLAUDE

Andy...

ANDY

Yeah?

CLAUDE

Terrence and I came down here to do

serious work. For centuries these

tunnels have been home to subcultures

mainstream society would not tolerate.

He gestures to the main cavern, where people are far gone

into various states... some in a trance, some gyrating lustily

to the eerily hypnotic music. We intercut with these images

as Claude speaks.

CLAUDE

These people carry on traditions

dating back to pagan times - the

ancient quest for expanded

consciousness. At the same time

they're pioneering a chemical

revolution, powerful state-of-the-

art compounds... But you know what I

mean....

(he gestures to Andy's

face paint)

A year ago who would have dreamed of

topically applied hallucinogens like

TMD? Except Terry of course...

Andy's eyes widen with comprehension. He touches his face.

ANDY

What!? Hallucinogen? Oh shit...

He rubs the face paint off with his shirt sleeve.

CLAUDE

You didn't know? But then why did

you... well, don't worry. It's

relatively mild.

ANDY

Yeah, well if I claw my face off,

just pack it in ice, okay? Jesus...

the cops were probably right. My

uncle was messed up with a bunch of

fry brains and they went berserk on

him.

Claude lowers his voice. He looks grim.

CLAUDE

No... We stumbled on something else

down here Andy. Something horrible,

almost unbelievable. But very real.

It's been going on for centuries,

though most people wouldn't believe

it, or wouldn't want to...

Andy's somewhere between spooked and incredulous. He glances

at the book in his hand.

ANDY

Wait a second, are you like the Steven

King of France or something...

SERAFINE (O.S.)

Andy!

Andy turns and sees Serafine run up to him. She looks worried.

ANDY

So you came after all. Just in time,

it's getting interesting.

SERAFINE

You must get out of here. It's not

safe.

She grabs him by the arm. He resists.

ANDY

Not you too -

CLAUDE

(checks his watch)

My God! Serafine's right. It's time

to go. We'll talk soon.

SERAFINE

Bon nuit Claude.

(to Andy)

Come on.

Claude dashes off. Serafine drags Andy into the main cavern.

ANDY

Hey, chill out a second!

She leads him across the cavern towards the entrance. Andy

stops short and pulls away from her. It's not easy - she has

a strong grip.

ANDY

Alright, hold on. I'm not gonna get

dragged around like some kid in a

shopping mall. I want you to answer

some questions.

Serafine sees something over Andy's shoulder.

SERAFINE

Merde. I knew I shouldn't have come

here.

Andy turns to see Gaston approaching. He leers at Serafine.

GASTON

(French)

Serafine, mon cher. I hear your boss

looks great in cut-offs.

SERAFINE

(French)

Get the fuck away from me, Gaston.

GASTON

(French)

First you tell me where the ADM is,

eh?

He puts his hand on her shoulder. Andy notices the missing

fingers.

SERAFINE

(French)

Fuck you.

She shoves his hand away and pulls Andy past him. Gaston

grabs her and spins her around. This time Andy grabs Gaston's

hand and pulls it off her. He holds up Gaston's three fingered

hand and glares at him.

ANDY

Well, this explains the two fingers

they found in Liberace's asshole.

Gaston jerks his hand away. He stabs his finger in Andy's

chest.

GASTON

In Paris we have an expression for

people like you: Encul?d'Americain.

ANDY

Yeah? In New York we got an expression

too. Goes like this...

CRACK! Andy hauls off and belts Gaston in the jaw as hard as

he can. But Gaston doesn't even lose his footing. He sneers

with rage and hits Andy with a vicious combination. His

glasses fly off as he reels into the crowd, knocking a few

people into a group of nearby SKINHEADS. The skinheads erupt

into randomly directed violence - a full fledged BRAWL breaks

out. It's chaos.

On the floor, Andy squirms away from the skinheads and

retrieves his glasses. He hears Serafine call his name. He

gets up amidst the mayhem and sees Serafine being carried

away by the crowd.

ANDY

Serafine!

Someone knocks into Andy and he falls to the ground. He gets

back on his feet - Serafine's nowhere in sight. He pushes

his way through the crowd, looking for her. He catches sight

of her white dress in a distant corner. It's there for a

second and then gone again - apparently into a tunnel. He

runs over to it.

Andy peers into THE TUNNEL, which houses some old pipes. It

fades quickly into darkness. He grabs a kerosene torch from

the wall and runs into the tunnel. About a hundred yards in

he passes an ALCOVE.

He leans in with his torch and peers around. The cave like

room is empty but something catches Andy's eye. Scratched

into the stone wall, amidst various graffiti, is A PENTAGRAM.

It looks to be centuries old.

Andy's transfixed by it. The sound of his own breathing

suddenly becomes deafening and his vision begins to distort:

the textures of the stone wall begin to churn and crawl, and

the flames from his torch melt into different hues. The

pentagram glows and seems to grow out of the wall...

The hallucinatory flash is over as fast as it began. Panting,

stunned, Andy shakes it off. He wipes his face, checking for

traces of paint. He tries to reassure himself.

ANDY

Whoa. C'mon.

A woman's SCREAM echoes through the tunnels. He runs towards

it.

ANDY

Serafine!?

Another scream - anguished, tortured. Andy runs faster. He

arrives at an intersection with another tunnel, turns the

corner and finds...

A decrepit old WINO hogging a bottle from his warty HAG

companion, provoking her to scream like she just lost her

only son. They look up at Andy. The hag shuts up. They fix

Andy with an odd stare.

ANDY

Sorry... I, uh, did you see a girl,

la femme, um, avec, la dress blanc?

They just stare at him. Spooked, he walks past them. They

follow him with their creepy stare as he continues into the

tunnel, which slopes downhill.

He comes to an old stairway leading down into darkness. WATER

pours out of a hole in the ceiling. The steps are severely

eroded and slick with flowing water and moss. Andy sees

something. It's SERAFINE'S SHOE, laying on a landing a few

yards down the stairs. He leans in further, loses his footing

and slips.

ANDY

Ahh! Son of a bitch!

He shoots down the stairs on his back, past the shoe which

lies at the mouth of an intersecting tunnel. His glasses

come off. The torch goes out. He stops at the bottom of the

stairs on a gravel surface.

He winces a bit as he sits up. It's too dark to make much

out. He feels around the gravel, finds his GLASSES - they're

shattered. He scowls. He stands up and walks ahead, feeling

his way along the slick wall, peering into the darkness.

ANDY

SERAFINE!?

The echo sounds different - like he's in a larger space. The

echo decays into a familiar low RUMBLE.

A reflection of light appears in a puddle on the floor. The

light gets brighter until Andy sees the subway tracks at his

feet. The rumble gets suddenly louder as

METRO TRAIN

barrels around the corner, flooding the tunnel with light

and closing on Andy fast.

ANDY

Oh shit!

He turns and runs for THE STAIRWAY. He skids on the gravel

and overshoots it. He scrambles back and up into it just as

THE TRAIN whooshes past.

Andy scurries a few feet up the slick steps, using a rusty

pipe for a handhold. As he looks back at the SPARKING, RUSHING

TRAIN WHEELS, his heart pounding in his head, he has another

HALLUCINATORY-FLASH: the sparks explode into streaking

patterns of color and light.

It passes quickly. The train goes by and its rumble fades.

Andy squeezes his temples and takes a deep breath. Before he

finishes exhaling, an UNEARTHLY HOWL echoes through the

tunnels. The howl literally takes his breath away - he's

frozen there, eyes wide, not breathing for a long moment.

Quietly, carefully, he makes his way back up the dark, wet

stairs. He comes to the landing, picks up Serafine's shoe,

and steps into the INTERSECTING TUNNEL.

He squints into the darkness. Without his glasses, ANDY'S

POV is a bit blurry.

He walks into the tunnel. Another HOWL. Andy swallows hard.

ANDY

Jesus Christ...

He hurries along. WATER DRIPS from the tunnel ceiling, down

the walls, onto the cobblestone floor, flowing into rivulets

around Andy's feet and joining a stream that flows ahead of

him, disappearing into the blackness ahead. He approaches

another intersection. He stumbles over something.

He looks down and makes out a GIRL'S BARE LEG lying in a

puddle in the dark intersecting tunnel. He follows the leg

up with his eyes - it's messily severed above the knee. He

gasps.

He looks further into the tunnel and sees A PAIR OF GLOWING

YELLOW EYES staring back at him out of the darkness. Andy

turns and runs.

With a horrible ROAR, the eyes lunge after him and turn the

corner. As it gains on Andy, we see the dim outline of the

massive wolf-like beast.

Andy dives for a SMALL CONDUIT, barely big enough for his

body, and wriggles into it. Behind him the yellow eyes appear

at the mouth of the conduit - the beast SNARLS but can't fit

in. Andy can see a dim light at the end of the conduit. He

crawls along.

He emerges into ANOTHER TUNNEL. Some thirty yards away, light

and street noise come through a GRATE on the ceiling of an

antechamber beyond an iron gate.  Relieved, Andy starts off

towards it. A SNARL stops him in his tracks. THE BEAST comes

tearing around a corner fifty yards behind him.

Andy breaks into a sprint towards the antechamber. He slips

on the wet floor and lands in a puddle, drenching himself.

The beast closes in.

Andy gets up, runs into the antechamber and slams the iron

gate shut. There's a rusty DEADBOLT lock on the gate, but no

key. The beast is twenty five yards away and closing fast -

it's massive silhouette filling the diameter of the tunnel.

Andy whips out his SWISS ARMY KNIFE, opens the screw driver

and tries it in the old-fashioned keyhole - it doesn't work.

The beast is twenty feet away. Andy tries the can opener -

no luck. Ten feet. Andy jams the corkscrew into the hole.

The beast leaps. The corkscrew turns. The DEADBOLT SLIDES.

SLAM!! The beast rams the gate, shaking the anteroom. But it

holds. Flashes of CLAWS and TEETH thrash through the bars,

but it's still too dark to make the beast out clearly. Andy

runs across the anteroom, grabs the steel sewer grate on the

ceiling, and hoists himself up.

Through the bars, he sees a BUSY BOULEVARD in the Pigalle

(the "Times Square" of Paris). There's a COP a few paces

away. Andy screams to him.

ANDY

HELP! OFFICER!

ON THE BOULEVARD - Over the roar of traffic and midnight

revelers, the cop can barely pinpoint Andy's screams. He

looks around, confused. He sees Andy and angrily shakes his

baton at him.

COP

(French)

Hey! You shouldn't be down there!

ANDY

FOR GOD'S SAKES, LET ME OUT!!

THE BEAST slams the gate, wrenching one of the iron bars

loose - two more bars and it'll fit through. Andy jumps down,

picks up the loose bar. It's got a STAR SHAPED SPEAR TIP.

He rushes at the gate and jams the spear through the gate,

aiming for the thrashing teeth and eyes in the darkness.

The beast ducks and the spear sinks a couple of inches into

the BACK OF IT'S NECK and stops, apparently on bone. It

recoils and ROARS with pain, shaking the spear free.

ON THE STREET - The cop raps the bars with his nightstick

and peers into the dark anteroom.

COP

(in French)

You are not allowed down there!

IN THE ANTEROOM - The beast rams the gate - it's rage

redoubled. Andy jumps up and grabs the grate.

ANDY

GET ME THE FUCK OUT OF HERE!!

ON THE STREET

COP

(French)

"Fuck"? You think I don't know this

word "fuck"? Is that how you talk to

policemen in America?

Enraged, the cop runs to his car, muttering to himself. He

opens the trunk and rummages around for something.

IN THE ANTEROOM - The beast knocks another bar off the gate.

Andy watches in horror as it rams even harder, loosening the

NEXT BAR.

ANDY

(to the cop)

FUCK! FUCK! FUCK! FUCK! FUCK!

ON THE STREET - The cop looks over at Andy, incensed. He

takes a crowbar from the trunk, runs back cussing in French,

and struggles with the grate.

IN THE ANTEROOM - The NEXT BAR on the gate gives. The beast

sticks its head through the gap and focuses it's searing

yellow eyes on Andy. It rears back, ready to pounce...

THE GRATE - comes up. The cop grabs Andy and pulls...

IN THE ANTEROOM - Andy's legs dangle like bait. The beast

lunges, teeth and claws bared.

ON THE STREET - Andy screams as a bus roars by. The cop pulls

him up and out. Andy's right pants leg is torn open and he's

bleeding from a GOUGE in his ankle.

COP

(French)

Okay, what the hell are you up to?

ANDY

It bit me! My leg! Jesus, it's down

there, shoot it! Shoot it for Christ's

sakes!

He points frantically at the open hole. The cop aims his

flashlight in the hole. It's empty. He looks Andy up and

down.

COP

(French)

Your passport.

Shaking, Andy takes his passport out of his pocket. The cop

takes it and copies some information. Andy raves at him - a

blur of English and broken French.

ANDY

There's something down there! A bear

or something! A god damn monster!

Beau coup teeth! Huge, Grande, with

yellow eyes, all this hair, it killed

Serafine! My God...

COP

You on drugs? Huh?

ANDY

(he falters)

No... I...

He looks disoriented, half-crazed. He definitely seems like

he's on drugs. The cop shines his flashlight in Andy's eyes -

his PUPILS are like saucers.

ANDY'S POV

The cop's flashlight sparks another HALLUCINATORY FLASH. The

cops face melts like liquid, sounds swirl together, the garish

neon signs of The Pigalle explode into streaking colors and

we BURN INTO WHITE.

CUT TO:

EXT. TERRENCE'S APARTMENT BUILDING

The cop car pulls to a stop. The cop gets out, opens the

back door, and pulls Andy out. He pushes Andy towards the

building.

COP

(French)

Stay off the street.

The cop gets in the car and drives away. Andy staggers to

the gate in a daze and fumbles with the keys.

INT. APARTMENT BUILDING

Andy walks up to the apartment door. Disoriented and shaking,

he manages to open the door and walk in. He locks the door,

and switches on the lights. He looks out the small PEEPHOLE.

No sign of anyone or anything. He leans back against the

door and rubs his hands across his face.

ANDY

Oh god. Je suis seriously messed

up...

There's a DRIPPING sound coming from the kitchen. Andy looks

across the living room into the dark kitchen. The DRIP

continues. He steps forward cautiously. Suddenly he feels

something and looks down sharply.

UNCLE TERRENCE, bloody stumps and all, is clutching Andy's

legs and looking up at him desperately. He's trying to speak

but can't seem to make a sound. Blood from his wounds soaks

the WHITE BEAR RUG beneath them.

Andy's terror struck, he tries to jump away but falls

backwards to the floor. Terrence crawls up and gets close to

Andy's face. He croaks out two words in a rasp -

TERRENCE

Saint Severin...

INT. TERRENCE'S HOSPITAL ROOM - SAME TIME

The EKG monitor shows a FLATLINE. Alarms are BEEPING.

Terrence's body lies motionless under the oxygen tent. A

DOCTOR and a NURSE rush to the bed. The nurse rips the oxygen

tent away and the doctor SLAMS his fists down on Terrence's

chest. The EKG show s a tentative blip. The doctor SLAMS

again. An erratic heart beat starts back up on the EKG.

INT. TERRENCE'S APARTMENT - SAME TIME

Andy lies passed out on the floor. Terrence is gone, and the

rug is free from blood.

FADE TO BLACK:

INT. LEDUC'S OFFICE - DAY

Marcel sits next to the patrol cop, PEROTIN, who rescued

Andy. They're hysterical with laughter. Even LeDuc, sitting

behind his desk, is chuckling.

LEDUC

(French)

What else did he say?

PEROTIN

(French)

Yellow eyes... big teeth...

(he can barely choke

out the words between

laughs)

Covered with hair! Ha-ha-ha!

Perotin playfully growls at Marcel. They laugh even harder.

LEDUC

(French)

Okay Perotin. You can go.

Perotin nods, still laughing. Marcel walks him to the door.

Before he steps out, Perotin bares his teeth, growls again,

and cracks up some more. Marcel, laughing, claps him on the

back and shuts the door - then he and LeDuc go instantly

stone faced. They look at each other gravely.

LEDUC

(French)

Well?

MARCEL

(grim)

Okay. So maybe you were right.

LEDUC

Hmmph. At least now there's one person

around here who doesn't think I'm

crazy.

LeDuc walks to a map of Paris on the wall covered with colored

push pins. He sticks a blue pin in it. He points to a green

pin on another part of the map.

LEDUC

(French)

Twelve thirty-six a.m. here. Twelve

forty a.m. here. There's two of them.

At least.

MARCEL

Merde.

LeDuc looks at his calendar. Four days are circled in red

ink.

LEDUC

(French)

Two more nights in this lunar cycle.

MARCEL

Double merde.

LeDuc opens a tall cabinet, revealing a bookshelf stuffed

with dusty tomes. He browses past dozens of titles about

black magic and demonology.

LEDUC

You better follow that McDermott

kid. He's going to wind up like his

uncle if he's not careful.

MARCEL

Right. Little twerp thinks he's

Colombo.

LeDuc selects an old book and hands it to Marcel.

LEDUC

And do some research, will you?

Marcel takes the book. He inspects the cover (it's in French) -

"Werewolves through the Ages: from St. Severin to the

present".

MARCEL

(confused)

Saint Severin...

LEDUC

You never heard the story of Saint

Severin driving the werewolves from

Paris?

MARCEL

You think that's what McDermott was

raving about in the ambulance?

LEDUC

What, you think everyone's as ignorant

as you?

Marcel considers this.

MARCEL

Pretty much.

LeDuc grunts, exasperated.

MARCEL

Inspector, you're not exactly typical.

I mean c'mon...

(holds up book)

This thing isn't sitting on a lot of

coffee tables.

CUT TO:

INT. TERRENCE'S APT. - LATE MORNING

THE SAME OLD BOOK, sitting on the coffee table. The pages

are stuffed with notepaper place markers, many covered with

scribbling, and CHEMICAL NOTATION. In the background, on the

floor, is Andy - fast asleep and snoring where he collapsed

the night before.

We hear a key in the lock. The door opens, smacking Andy in

the head once, twice.

ANDY

Aoww! Hey! What the hell...?

He grabs the door so it can't hit him again. Serafine pokes

her head around and sees him. She's surprised, relieved,

elated. Andy's reaction is more disoriented, stunned.

SERAFINE

Andy! Holy shit!

ANDY

Serafine...?

She kneels beside him and helps him sit up.

SERAFINE

Thank God! What a relief! I thought...

After you disappeared... I couldn't

find you... I thought all sorts of

horrible things...

ANDY

Yeah... Ditto. I saw, er, I thought

I saw you get munched... like Uncle

Terrence...

He looks over at the clean bear rug. Andy rises to his feet

groggily. He looks down at the rip in his pant leg. He feels

the torn fabric, trying to remember.

SERAFINE

What happened? Did you cut yourself?

ANDY

Um... sort of... Maybe... It's all

kind of blurry. We met at the club,

then... Damn, that was some weird

shit.

He goes over to the window and parts the curtains. It's a

brilliant sunny day.

SERAFINE

That was fucking stupid, going down

there. You could have been killed. I

tried to warn you, But you don't

listen. Just like your uncle.

Andy's only half listening. He opens the window, and inhales

deeply. Across the court yard, a MATRONLY WOMAN leans out a

window, hanging her laundry. In the courtyard, Lulu the

obnoxious poodle YAPS at another resident, and Madame Chretien

calls her back. Andy's head is clearing. His mood lifting.

SERAFINE

You have to be a hero. All Americans

think they are cowboys.

ANDY

(leaning out window)

I was an Indian, actually. Man, that

damn psycho paint...! If that's

supposed to be mild, I don't want to

know about medium.

(he looks at the woman

and smiles, the sun

on his face. To

himself:)

The planet earth. It's good to be

back.

SERAFINE

So... you feel okay now?

He turns around and smiles at her.

ANDY

Yeah. Actually, I feel fan-fucking-

tastic.

Serafine laughs. She hasn't heard this expression before. He

approaches her.

SERAFINE

Fan-fucking-tastic?

ANDY

Hey, what more could I want? I

survived my first and last

hallucinogenic hellride, and neither

of us is dead. I'd say I feel almost

as great as you look.

He makes a grab for her, and she pushes him away.

SERAFINE

Hey! Calm down.

He jumps up on the sofa, unable to contain his energy.

ANDY

Come on Serafine. Let's go out. Show

me the real Paris, the part that

isn't overpriced and overrun with

German tourists.

SERAFINE

Go to Jim Morrison's grave at Pere

Lachaise. It's overrun with American

tourists. I have to work.

ANDY

I know! Let's go hock loogies off

the Eiffel Tower!

She digs in her pockets and hands him some coins.

SERAFINE

Here. You go. "Hock some loogies"

for me.

She turns and heads off to the office. He runs in front of

her and blocks her path.

ANDY

What about food? Even beautiful women

have to eat. It's true. I read it.

Please? A half an hour?

(pause. He sees she's

tempted)

My treat?

(she's smiling. He

resorts to begging)

Pleez! Don't make go out there alone

again! I'm begging you!

SERAFINE

Okay. But I'm back in half an hour.

Andy claps his hands together in triumph and scrambles to

hold open the door for her.

SERAFINE

What about your glasses?

ANDY

It's okay. I can see fine.

She gestures to his filthy clothes.

SERAFINE

Don't you want to change?

ANDY

Man! Our first date and already you're

trying to get me to change! You French

women work quick!

She smiles and pushes him back in the apartment.

CUT TO:

EXT. PARIS BOULEVARD - DAY

JERRY LEWIS

on a TV screen, dubbed with a zany French voice, undergoes a

radical physical transformation in "The Nutty Professor".

Pull back to reveal Andy and Serafine watching this scene on

a dozen or so TV's in a store window display. Several PARISIAN

PEDESTRIANS watch Jerry with reverence.

ANDY

Now this is Paris!

On screen, the Nutty Professor's alter ego, "Buddy Love"

launches into his swinging version of "That Old Black Magic".

To this accompaniment, we cut the following -

PARIS MONTAGE:

- AT A BRASSERIE: Andy is about to escort Serafine into the

trendy eatery, but she stops him at the door and points to

the menu, or more specifically the prices. He makes a

horrified face, and they move on.

- IN A BOULANGERIE: Serafine buys cheese, Andy buys meats -

the counterman shows Andy how big a slice off the pate loaf

he's about to cut. Andy nods "yes". The counterman cuts it

and offers the slice. Andy shakes his head "no" and points

to the much larger remainder of the loaf.

- AT AN OUTDOOR MARKET: Detective Marcel, wearing a lame

"disguise" (new wave sunglasses ala "Diva"), watches Andy

and Serafine shop from a distance.

- IN A PATISSERIE: Andy points to a large baguette, says

something suggestive and winks boastfully at Serafine. She

gives him a "yeah, right" look and points at a small

breadstick.

- IN A WINE STORE: Andy looks at each bottle closely, then

"tests" it by shaking vigorously. Serafine's amused. The

owner's baffled.

- ON THE RIGHT BANK: Arms full of groceries, Andy and Serafine

pass the row of outdoor pet stores near the river. Andy looks

longingly at the live ducks in their cages. Serafine pulls

him along. MUSIC fades out.

EXT. ILE SAINT LOUIS - SUNSET

Andy and Serafine sit on the river bank facing a magnificent

Paris vista. Serafine unpacks the food.

SERAFINE

Shit! You bought enough pate for a

fucking army!

ANDY

So tell me, exactly which truck driver

did you study English with?

She laughs and pushes him playfully.

ANDY

Like I should talk. Monsieur foot-in-

the-mouth. I'm really sorry about

that whole Woody Allen thing...

SERAFINE

So's Woody Allen.

(Andy laughs. She

starts uncorking the

wine.)

No, your uncle really helped me. I

was sort of messed up for a while.

Wasting my time just partying and...

just stupid shit. He kind of woke me

up, gave me a job, got me taking

classes.

(she uncorks the wine

and fills their

plastic cups)

You know, he and Claude, their work

is controversial, but they're serious

about it. Totally dedicated.

ANDY

That's what counts. If you're not

passionate about it, don't waste

your time. That's why I quit

college... Plus I'm a lazy bastard.

(They raise their

cups. Andy taps his

forehead.)

Wait, I know this... A votre sante.

SERAFINE

A la votre.

They "clink" and drink. He notices her KEYCHAIN lying on the

ground. It's a miniature replica of Rodin's famous sculpture,

"The Kiss". He picks it up.

ANDY

This looks familiar...

SERAFINE

Ahh, Rodin. Mmm! He's the fuc-

(she catches herself

and laughs)

I mean, he's the best. You must go

to the Rodin sculpture garden, in

the huitieme, it's so beautiful.

She gestures across the river. Andy looks at the gorgeous

panorama.

ANDY

Yeah, I gotta admit, you French are

pretty good at beautiful.

He looks at Serafine. She looks back at him. He holds up

"The Kiss".

ANDY

I bet you're pretty good at this

too.

She smiles playfully.

SERAFINE

What, sculpting?

He shakes his head "no" and moves towards her. They kiss

tenderly. They separate and share a deep, passionate look.

They kiss again, hungrily, falling into a passionate embrace.

They're really going for it. Her NAILS dig into his back. He

pulls her body into his until they look like one form - just

like Rodin's sculpture.

APPLAUSE and CHEERS break the moment. A TOURIST BOAT is

gliding by on the Seine, it's ELDERLY PASSENGERS applauding

the young couple. Serafine pulls away, blushing a little,

and turns to the boat. ANDY doesn't even notice the boat.

He's staring at Sera fine with a scary kind of intensity.

She starts to say something but he starts kissing her again,

cutting her off.

Suddenly he's out of control, pawing at her... It takes an

effort for her to pull back from him.

SERAFINE

Hey, calm down a second...

She looks into his eyes and freezes with fear. HIS STARE is

terrifying, totally predatory, inhuman. Something's ignited

in him. She pushes him away and shakes him.

SERAFINE

What's wrong with you!?

Andy blinks and seems to come a couple of steps back to

normality.

ANDY

What? Aren't I a good kisser? What's

the matter?

She fixes him with a heavy, suspicious stare. She glances

down at his ankle, where the bottom of HIS WOUND is visible.

She seems to understand something. She fumbles in her purse,

takes out a compact mirror, and checks her face.

SERAFINE

God, look at my lipstick. Look, I'm

going to run into the bathroom at

that cafe. Stay here and watch the

stuff, okay?

She gets up and starts off. He looks after her.

ANDY

Serafine...

SERAFINE

I'll be right back. Stay put.

She runs up the steps to street level. Andy watches her go.

He turns back to his glass of wine and chugs it. He puts the

bottle to his lips and takes a long belt. He picks up the

big block of pate and bites into it like a piece of cake. He

likes it. He takes another huge bite. He looks after Serafine.

He gets up.

INT. CAFE

Serafine puts her "telecarte" into the pay phone and dials.

She looks anxious, upset. We hear the phone ringing at the

other end. Behind her, Andy comes into the cafe. He walks up

to her, pissed off.

ANDY

Fixing your makeup with a phone,

huh? Who the fuck are you calling?

SERAFINE

Professor Roussel. There's something

wrong with you. I know it.

ANDY

Roussel? You mean Claude? You're

calling Dr. Demento so he can come

paint my face again? Fuck that.

Andy starts backing away.

SERAFINE

Andy, stop! I think he can help you -

(Claude picks up)

CLAUDE (V.O.)

Allo?

ANDY

What, you think you're gonna catch

fucking leprosy from me? Fuck that

shit! If I'm not good enough for you

I'll find someone else!

He turns and storms out of the cafe. Serafine's flustered.

SERAFINE

Andy!

CLAUDE (V.O.)

(French)

Serafine? Is that you? What's going

on?

SERAFINE

(French)

Claude, it's Andy, he's acting really

weird, I think something happened

last night...

CLAUDE (V.O.)

God, well don't let him go! Catch

him!

She drops the phone and runs out of the cafe. On the sidewalk,

she looks in all directions. Nothing. Andy's gone.

SERAFINE

Fuck!

INT. CLAUDE'S OFFICE - SAME TIME

Claude's sitting at his desk, phone to his ear. The room is

stuffed with books.

CLAUDE

Serafine? Allo?

He hangs up. He strokes his chin and furrows his brow, sinking

deep into thought.

CUT TO:

EXT. STREETS OF PARIS - NIGHT

Music cue: "Wolf Call" by Elvis Presley. Andy pays for a

crepe at one of the roadside stands, and eats it as he walks

along the narrow sidewalk, still brooding about Serafine. He

stops to gawk at the PRETTY GIRLS that pass by, and bumps

into a young FRENCH TOUGH with a ROTTWEILER.

FRENCH TOUGH

Idiot!

ANDY

Ah, bite me!

He glares at the tough and his growling dog. The dog suddenly

shrinks back in fear and decides it's time to leave. He pulls

his owner along. Andy continues on his way. He ditches the

half finished crepe. That's not what he's hungry for.

Andy comes upon a trendy little CAFE with several tables of

diners eating in the open air. Andy notices an attractive

young blond sitting alone, thumbing through a "Let's Go"

guide. This is AMY SINGLETON. Andy approaches confidently.

ANDY

Ahem. Did you know that, according

to the "Let's Go" code of conduct,

whenever two Americans meet in Paris,

the one with the sexiest smile has

to buy dinner?

Amy smiles. She is indeed sexy, with remarkable, sparkling

BLUE EYES.

ANDY

Damn! You win!... Waiter! Garcon!

He jumps into the seat across from her.

AMY

Actually, I'm waiting for someone.

ANDY

What a coincidence, I am someone!

(sniffs)

Mmm. Calvin Klein's Obsession. Now

it's mine too.

She laughs. The waiter arrives to take their order. Andy

hands him the empty half bottle of wine from Amy's table.

ANDY

Hi. Another, bigger bottle for this

ravishing blue eyed Goddess and

myself. And, avez vous le Steak

Tartar?

CUT TO:

INT. TERRENCE'S APARTMENT BUILDING HALLWAY - SAME TIME

Serafine unlocks the door and enters the apartment. She's

stopped cold by what she sees. The place has been totally

ransacked - drawers opened, shelves cleared, furniture

overturned, the works. The window is open.

SERAFINE

Merde! Salots!

She walks across the room, kicking at the debris in her path.

She stands in the middle of the mess, absolutely furious.

SERAFINE

Aaaaah!

EXT. STREET - CONTINUOUS

Across the street from the apartment building, GASTON pauses

to light a cigarette. He hears Serafine's distant scream,

looks towards the building, and walks away.

CUT TO:

EXT. CAFE - NIGHT

Three successive tables of upscale PARISIAN DINERS are gawking

at something. At one table, Inspector Marcel hides behind

his menu, and shakes his head in disdain.

We follow their glances to Andy, greedily licking the last

bits of Steak Tartar off his plate. Amy giggles in amazement

as she pours the last from the bottle of wine. She's a bit

drunk - enough to be amused by Andy's antics.

AMY

God. How can you eat like that?

ANDY

It's all in the tongue. Another

bottle?

Amy laughs and nods "yes". JEAN-LUC, 25, a well dressed,

powerfully built Frenchman enters. He kisses Amy on both

cheeks, all the while watching Andy uneasily.

AMY

Jean-Luc. You're kinda late sweetie.

JEAN-LUC

I was busy. Is this a friend of yours?

AMY

Well, yeah, kinda', but -

ANDY

We're so much more than friends.

We're soul mates, sex slaves, pen

pals, the whole nine yards. Well,

nine yards is a slight exaggeration,

but believe me, for a white boy, I

got nothing to be ashamed of.

Amy laughs in mid gulp and wine comes through her nose. Andy

looks at Jean-Luc, who is - of course - pretty steamed.

ANDY

Hey, I'm kidding... It's a joke!

Here, maybe if I say it in metric.

Jean-Luc grabs Andy by the collar and pulls him to his feet.

JEAN-LUC

Think you're smart, huh?

Amy tries to intervene.

AMY

Jean-Luc, don't be a jerk.

She tries to pull his hands off Andy, but Jean-Luc sends her

reeling back with a firm shove.

ANDY

Hey, look man, she -

Jean-Luc brings his hand back and slaps Andy in the mouth.

JEAN-LUC

Shut up. Why are you Americans always

so loud?

ANDY

I don't know. Maybe it's so we can

drown out the sound of your mother

fucking the navy?

Jean-Luc takes a swing at Andy. With amazing reflexes, he

dodges it deftly. Jean-Luc jabs - again Andy avoids it easily.

He smiles, impressed with himself. Jean-Luc is incensed.

He goes for Andy's throat, but Andy catches him by the arm

and, with superhuman strength, FLIPS him head over heels,

through the air and - SMASH! - onto a nearby table.

Andy casually leans past the semi-conscious Jean-Luc and

plucks a CHAMPAGNE BOTTLE out of its ice bucket. The WAITER

is about to object, but thinks better of it. Andy takes Amy

by the arm, she grabs the RED WINE BOTTLE, and they start

off away from the cafe.

AMY

Wow. You know Kung Fu or something?

ANDY

(amazed at himself)

Yeah. Apparently.

In the background, Marcel hurries to pay his tab and follow

them. He slips on some of the broken glassware spilled by

Jean-Luc's fall, and almost goes for a tumble himself.

FURTHER DOWN THE STREET

Amy and Andy walk together. She's still giddy.

AMY

Ha ha. You were probably right about

his mom.

ANDY

Hope I didn't hurt him too bad.

AMY

Who gives a shit? I've had it up to

here with arrogant Frenchmen.

ANDY

Up to there? Really? I bet I could

beat that.

AMY

Ha ha! Yeah right, white boy! Ha Ha

ha.

(she hiccups)

I think maybe I drank too much.

ANDY

Ah. The mating call of the blonde.

The night is young, the moon is

bright, whataya feel like doing

tonight?

AMY

I don't know... Surprise me.

He thinks a moment, then puts his arm around her and whispers

in her ear. She squeals with delight.

AMY

Are you kidding?! I LOVE Jim

Morrison!!

Inspector Marcel, who's eavesdropping from around a nearby

corner, rolls his eyes to heaven. Oh brother. The Doors'

"Backdoor Man" kicks loud as we

CUT TO:

EXT. PERE LACHAISE - NIGHT

Marcel is hiding behind a grave, spying. His passion for

police work has been reborn, judging from his rapt, totally

absorbed stare. He's watching...

ANDY AND AMY

having extremely hot and primal sex on Jim Morrison's grave,

lit by dozens of flickering candles people have "left for

Jim". He pours red wine into their mouths. Sweat and wine

drip off their naked bodies. The sex heats up to an intense,

screaming climax. Amy squeals with ecstasy.

AMY

My God! You're an animal!

But Andy's still accelerating - transported to another plane.

Sweat pours from his brow. His face contorts with each groan,

but now it's hard to tell if it's from pleasure or pain. His

body jerks violently and his skin suddenly blushes bright

red. Amy winces.

AMY

Ahh! Jesus! You're burning hot! What

the hell -

ANDY

AHHHHHHH!

Marcel is a little disconcerted.

MARCEL

(French, to himself)

Alright already, you passed the

audition for God's sakes.

Andy's skin literally glows red, turning his sweat to steam.

He leaps off Amy and disappears into the sprawling cemetery,

screaming in agony. Amy watches him go.

AMY

Hey, where are you going!?

Marcel starts off after Andy, taking the wide route around

Amy. Andy's scream echoes through the cemetery. Amy pulls

her dress on.

AMY

Creep.

ANDY

red hot (literally), weaves through the tombs, screaming. He

comes to a small courtyard with an ORNATE FOUNTAIN. He dives

into the brackish water. Clouds of steam rise off the water

as he thrashes about under the marble goddess in the center

of the fountain.

AMY

searches through the graveyard. She's got Andy's clothes.

AMY

I don't know what's wrong with you,

man, but I got your pants, so we

better talk.

THE FOUNTAIN

Andy's gurgling screams are changing, becoming less human.

We catch glimpses of body parts as they surface from the

churning froth - GROTESQUE, FLAILING LIMBS somewhere in mid-

transformation between human and beast.

MARCEL

steps cautiously through the ancient, ornate tombs and

mausoleums, listening to the distant splashing and sporadic

inhuman screams. He draws his gun and loads a cartridge.

Suddenly a horrible grunt and loud SMASH pierce the air.

Marcel wheels around and smacks nose first into a gravestone.

MARCEL

Merde!

AMY

in another part of the graveyard, stops in her tracks,

listening. Another SMASH followed by crumbling, and rushing

water.

AMY

(to herself)

He's gone psycho ballistic. This is

bad.

Amy feels something and looks down. There's a stream of water

flowing around her feet. She follows it towards its source

and steps into

THE COURTYARD

The fountain has been smashed - the stone rim cracked into

bits and the center statue fallen to the ground. There's no

sign of Andy. Amy walks up to the fountain.

AMY

Oh my God...

She notices something on the ground. It's the STONE GODDESS,

smashed into several pieces. We hear a low growl. Amy looks

up, terrified. She scans the GRAVES around the perimeter of

the courtyard. She takes a few tentative steps backward.

Suddenly a MASSIVE TOMBSTONE is wrenched off its base (most

of the ancient stone markers are eroded and crumbling - many

already fallen over). It falls like a tree, revealing the

familiar pair of piercing yellow eyes behind it, framed by

the dim outline of a massive beast. Amy emits an odd,

primitive whine.

AMY

Unnnhh...

She runs away from the beast, across the courtyard and

disappears into the graves.

In the DENSE FOREST OF TALL TOMBSTONES, Amy zigs and zags

through narrow spaces, barely wide enough for her slender

body to fit through. The camera CRANES UP.

HIGH ANGLE

Thirty paces behind Amy, pairs of tombstones split apart

like jungle vegetation, crashing thunderously to the ground.

The unseen beast's path is slowed by the monuments, but still

follows Amy.

Amy looks back as she runs. She sees the tops of tombstones

fall behind her. She comes to a railing at the top of a

fifteen foot wall separating a LOWER LEVEL of the cemetery.

She hangs over the edge and quietly drops.

She runs down a path comes to an intersection where six paths

converge. She looks down each of them, but can't see the

outer walls of the cemetery - just an endless landscape of

graves. She sprints down a path and ducks behind A LARGE

CRYPT.

Up on the higher level, the beast howls. She looks up and

sees its silhouette sniffing the air, the full moon looming

behind it. She looks up at the iron door on the crypt. Then

she reaches into her purse...

THE BEAST'S POV

Its HEAVY BREATH dominates the soundtrack. It scans the sprawl

of graves from its perch on the hill, sniffing. It locks

it's stare on the large crypt. It sniffs again. With a growl,

it leaps over the railing (we stay with its POV) and hits

the ground running. It runs up a twisting path, closing in

on THE CRYPT. It arrives at the back of the crypt and circles

it, sniffing. It stops in front of the door.

THE BEAST'S EYES

Narrow and glow with intense predatory focus.

INSIDE THE CRYPT

We're looking at the door. CRASH! It flies open, revealing

the snarling beast, backlit by the moon. It lunges in and

stops.

THE BEAST'S POV

Scans back and forth - the crypt is empty. The beast sniffs

again and growls with rage.

AMY

somewhere else in the graveyard, sprays a long blast of

perfume into another crypt, and sneaks into the endless maze

of tombs. We hear the enraged beast smash into another crypt

a hundred yards away.

Amy comes to ANOTHER FOUNTAIN and slips into the water,

quietly rinsing herself.

THE BEAST'S POV

smashes into another crypt. Nothing's inside. It backs up

and runs to another crypt. SMASH! Nothing. The growls grow

more furious. It crashes down another door. Nothing.

Amy, dripping wet, pads down a row of ancient family

mausoleums. She pauses as the beast lets loose a horrible

howl and topples a monument some distance away. She tries

the heavy iron door on a SMALL GOTHIC MAUSOLEUM. It opens.

She slips inside.

IN THE MAUSOLEUM

Amy crouches under the small portal and STAINED GLASS WINDOW,

which depicts the Virgin Mary. She struggles to quiet her

breathing, and listens...

She hears only the trickling water from the nearby fountain.

Then... some crackling twigs... then a SNIFF... another SNIFF,

closer. Trembling, Amy quietly raises herself, peers out the

portal and sees

MARCEL

Standing a few paces away, SNIFFING and trying to stem the

flow from his bloody nose.

MARCEL

Merde...

Amy breaths a sigh of relief. Then -

THE BEAST springs out of the darkness behind Marcel - a blur

of eyes, claws, and teeth - and tackles him to the ground.

IN THE MAUSOLEUM

Amy drops down to the floor, huddled in terror. A GUN SHOT

hits the STAINED GLASS above Amy's head, shattering the Holy

Virgin. Another GUN SHOT followed by a ROAR OF PAIN from the

beast. But the pained roar quickly becomes VICIOUS SNARLING

again. There are no more shots, just horrible snarls, screams,

and ripping flesh. BLOOD splatters through the portal and

drips down Amy's face. She hunkers down. Then, the sound of

steps going away, and at last... silence.

Amy waits. We hear only the fountain and another, closer

DRIPPING. It's Amy's wet clothes, still dripping into A PUDDLE

on the floor, which is dripping UNDER THE IRON DOOR, into a

small STREAM flowing on the otherwise dry STONE WALKWAY,

away from the mausoleum.

In the mausoleum, Amy listens a bit more. Satisfied the coast

is clear, she quietly turns to the iron door, grasps the

handle and slowly turns it. But

before it clicks open -

RRRIIP!! The iron door is wrenched out of Amy's hand and off

it's hinges, revealing

THE BEAST, up close and in clear view for the first time -

it's truly awesome - a huge leering mouth full of razor sharp

teeth, a hulking body built like a wolf but as massive as a

bear, and vaguely humanoid paws with big hook claws. There's

a bloody FLESH WOUND in its right shoulder.

It snarls savagely at Amy. She chokes out a little cry. The

beast lunges.

OUTSIDE THE MAUSOLEUM - HIGH ANGLE

The beast's powerful hind section sticks out of the mausoleum,

kicking a bit as it rips into its prey. The graveyard sprawls

endlessly under the big moon, which hangs low in the sky.

FADE TO BLACK:

EXT. TERRENCE'S APT. BUILDING COURTYARD - MORNING

We hear Lulu the poodle's bell jingling behind a bush. Madame

Chretein pokes her head out her door and whistles for Lulu.

The bell keeps jingling, but Lulu doesn't come. She calls

its name. It still won't come. She steps out into the

courtyard in her bathrobe and walks towards the bush, calling

for the dog, annoyed as its disobedience. She looks behind

the bush and sees - A CROW picking at the scant remains of

Lulu, ringing the collar bell with its beak. She SCREAMS.

INT. TERRENCE'S APT. - SAME TIME

Andy wakes up in a cold sweat, naked on his Uncle's couch.

The phone is ringing. He looks disoriented, confused. We

hear Madame Chretien screaming in the background.

ANDY

Jesus...

He sits up to get the phone and becomes dizzy - he grabs his

head. He reaches for the phone and winces - there's a crusted

over FLESH WOUND on his right shoulder. He picks up the phone.

ANDY

Hello?

SERAFINE (O.S.)

(anxious, concerned)

Are you okay?

ANDY

No, I don't think so... I was having

a nightmare. Wait a second...

SERAFINE (O.S.)

Where did you go last night? What

did you do?

ANDY

I don't... I... I can't remember...

SERAFINE (O.S.)

Listen, I'm coming over. Don't go

anywhere. Stay right there.

She hangs up. Andy is very confused. He sees the front door -

it's ajar and the door frame has been splintered where the

deadbolt sits. Stunned, he stands up, only to double over

with a wave of nausea. He covers his mouth and runs stooped

over to the bathroom.

He leans over the toilet and vomits. After a few heaves his

body relaxes and he catches his breath. He opens his eyes

and looks down in the bowl - horror and disbelief sweep over

his face as he focuses on:

A HUMAN EYEBALL

staring back at him from the bloody water. The iris is a

familiar shade of sparkling blue...

ANDY

Oh no... no...

The doorbell rings. He leaps up, flushes the toilet and runs

out of the bathroom, still naked, to find himself in full

view of LeDuc and two UNIFORMED COPS standing in the open

door. One of the cops is examining the splintered door frame.

LeDuc looks to be in an even worse mood than usual. His

English is rough, but firm.

LEDUC

Get dressed.

CUT TO:

INT. POLICE MORGUE - MORNING

We're close on a metal body drawer. A TECHNICIAN pulls it

open, revealing a severed human foot, nothing else.

LeDuc, Andy, and the technician stand by the drawer in this

dreary room. LeDuc never takes his eyes off Andy's face.

LEDUC

You recognize her?

ANDY

What?!

Leduc looks down, sees the foot, and barks at the technician.

LEDUC

(French)

That's the wrong one!

The technician checks his clipboard and tries another drawer.

It contains a rotting ARM. LeDuc curses under his breath. He

and the technician start opening drawers at random, peeking

in, then slamming them shut.

ANDY

(nervous)

You, uh, you want to tell me what

this is about?

LeDuc ignores him, continuing to open drawers. The technician

appears to have found the right one at the far end.

TECHINICAN

Inspector! C'est le voici.

A little exasperated, LeDuc and Andy go over to see what the

technician has found. Once again, LeDuc gives him the nod.

He opens the drawer to reveal

AMY'S MANGLED CORPSE

It's badly lacerated. Parts of her throat and midriff are

missing, and she has only one eye. Andy gasps in horror.

LEDUC

We know you were with her.

ANDY

Oh shit... No...

LEDUC

That's not all...

(he reaches for another

drawer above Amy's)

Marcel - Officer Boulard was following

you.

ANDY

Oh no... no....

He pulls open the drawer to reveal MARCEL'S MANGLED CORPSE.

There's a gaping hole in his midsection.

LEDUC

He was a good man. Now his wife is a

widow.

ANDY

(overcome)

This is... it's like a sick joke, I -

LeDuc grabs Andy by the collar and slams him against the

wall

LEDUC

This is not a joke! Not a dream!

These people are dead and -

TAP TAP... Through the small window in the door he sees CHIEF

PICARD, his superior, trying to get his attention.

LEDUC

Merde... Wait here. When I return

you tell me about last night, huh?

ANDY

But... I don't remember anything, I

swear...

LEDUC

(sternly)

I leave these open. Maybe something

comes back to you.

He leaves the room. The technician leaves too. Andy's alone,

staring at the corpses. Through the window, he can see LeDuc

arguing loudly with his superior... Andy tries to breath

deeply, calm down. He turns back to look at Amy's corpse.

Suddenly, her eyes - well, her eye - snaps open and looks

straight at him!

AMY

Thanks for the lovely evening,

shithead!

ANDY

Aaaaa! Jesus! This isn't happening.

I'm still hallucinating. Shit!

Andy storms around in a fit of disbelief.

AMY

You really know how to show a girl a

good time, don't you?

OUTSIDE THE ROOM

LeDuc and the Chief have stopped their argument briefly to

watch Andy stomping around, gesturing wildly. They resume

their argument.

CHIEF

(French)

Okay. So he's weird. Maybe on drugs.

Still, that's not -

LEDUC

I'm telling you. It's not drugs.

It's something more. Someth -

CHIEF

Don't give me your black magic

bullshit! Seven mutilations in forty

eight hours and all you find is a

scrawny American boy? Do you have a

motive?

(LeDuc hesitates)

Do you have a weapon? Or do you want

me to believe he did it with his own

two hands?

LEDUC

(exasperated)

I told you. These murders are not

normal.

The Chief rolls his eyes, "here we go again" style. Meanwhile,

INSIDE THE ROOM

Andy is still pacing the room madly.

AMY

Face it boyfriend. This is really

happening.

ANDY

No it isn't! You're dead!

Marcel comes to life and peeks over the top of his drawer.

MARCEL

I'm afraid she's not so lucky. She's

undead. And so am I.

ANDY

Aaaaa!!! Get the fuck away from me!

MARCEL

What are you so damn angry about?

Did somebody turn into a wild beast

and rip your intestines out? Huh?

AMY

I spent four years on StairMaster

for this bod and you rip through it

like a pork chop. Thanks.

Andy blinks hard. Every time he opens his eyes, Marcel and

Amy are still there, hideous as ever, staring at him.

ANDY

Okay... dead or undead... what do

you want from me?

AMY

A-duh... You're a werewolf. And we,

as your victims, have to walk the

earth until your curse is lifted.

ANDY

Uh huh... And, supposing I believed

that, what could I do about it?

AMY/MARCEL

(together)

Kill yourself.

AMY

It's the only way.

MARCEL

It's not so hard. I used to think

about it all the time. Maybe you

should meet my wife.

Andy buries his head in his hands.

OUTSIDE THE ROOM

CHIEF

Enough. Cut him loose.

LEDUC

I can't! At midnight tonight, he

will kill again. It's crazy!

CHIEF

Are you crazy? We have nothing. Let

him go, then watch him. If you're

right, you can pick him up at

midnight. Or maybe he'll lead you to

the others. Just let him go.

The chief leaves. LeDuc scowls. He looks in at Andy, still

gesticulating wildly and talking to thin air. LeDuc reenters

the room and looks at Andy bitterly.

LEDUC

You're free to go.

Andy looks from LeDuc to the drawers and back again.

ANDY

Me?

LeDuc gives him an angry stare.

CUT TO:

EXT. ILE DE LA CITE - DAY

Andy walks past Notre Dame, flanked by Marcel and Amy.

MARCEL

Hanging is nice. Never goes out of

style. What about hare-kare - a taste

of the Orient? But no! You're in

Paris! Try the Guillotine! There's

one in the Louvre!

AMY

I'd use pills. They're painless.

MARCEL

Oh give me a break! He could use

pills back in America! Why not get a

little culture?

Andy stops in his tracks - overwhelmed, desperate.

ANDY

Look, I didn't mean to hurt anybody...

God, I didn't mean to... to...

AMY

Rip my face off? Hey, we all make

mistakes. Hell, I didn't mean to

sleep with you on the first night,

especially without a condom. But I

did, and now I'm paying the price.

Andy slumps over, beaten. Amy puts her arm around him. Marcel

pats him on the back. They start him walking along.

MARCEL

Let's face it. It's a, how do you

say... mother-fucker. But we're all

in it together. That's why we're

trying to help you.

AMY

Exactly.

HOOOOONNNNK!! Andy looks up to see a speeding bus about to

flatten him. Amy and Marcel have lead him into traffic. He

jumps back and the bus just grazes him. Of course, it passes

right through Amy and Marcel. They're still standing there

when it's gone.

MARCEL

Merde! Just missed!

AMY

(to Andy)

Uhh! Would you die already!

Andy's adrenaline is pumping. There's still some fight in

him.

ANDY

Fuck you! If I'm gonna kill myself

I'll do it when I'm good and ready!

You can go to hell!

MARCEL

No we can't. That's the problem. God

knows it would beat hanging around

with you!

Andy socks Marcel and breaks his jaw - off. It skitters off

into the street. He punches him in the gut - SKLURCH! His

fist gets stuck in the tangle of Marcel's abdominal organs.

While Andy tries to pull his hand free, Amy rears back and

kicks him in the balls. He wrenches his hand loose and

staggers back, clutching his groin.

ANDY

Hey, you can't kick me! You're an

apparition!

AMY

What, all of a sudden you got a degree

in supernatural law?

Marcel fits his jaw back into place.

MARCEL

Call it the power of suggestion.

He socks Andy in the mouth. Andy shakes it off, rips Marcel's

arm off, bashes him in the face with it, then turns around

and uses it to beat Amy over the head. Meanwhile...

IN AN UNMARKED POLICE CAR PARKED A HALF BLOCK AWAY

RENE and FRANCOIS, the two cops who accompanied LeDuc to

Andy's apartment, watch Andy whirl around the sidewalk,

swinging wildly at the air, reacting to invisible blows, and

cursing unseen enemies.

RENE

(French)

You know, in his own way, he's

probably happier than any of us.

Francois nods philosophically. Meanwhile, back in Andy's

reality...

Marcel has got him in a full Nelson and Amy is punching him

in the stomach. He bucks forward, wrenching both of Marcel's

arms off and slams them together onto Amy's head, knocking

her down. Andy waves Marcel's arms in triumph.

ANDY

Ha-ha!

AMY

Oh, big man. You can beat up a couple

of cadavers. Well let me make

something real clear, asshole. If

you don't kill yourself, at midnight

tonight you're gonna transform and

murder innocent people!

MARCEL

What are you going to be, McDermott?

A coward and a murderer? Or a man,

with guts enough to do the right

thing?

The truth of this question hits home with Andy. A heavy

expression falls over his face, one of grave sadness, but

also inner dignity. He breathes deeply and exhales.

ANDY

Alright. Let me write a letter.

MARCEL

Good man. Now can I have my arms

back?

CUT TO:

EXT. NEWS STAND - DAY

Music cue: Thelonius Monk's "Round Midnight". The NEWS STAND

MAN hands Andy some stamps. Andy sticks them on a letter

addressed to Mr. and Mrs. William McDermott. He starts walking

away but a postcard in the display rack catches his eye -

it's Rodin's " The Kiss". He looks at it sadly.

A MAILBOX

Andy drops the letter in the box. He walks to a pay phone on

the sidewalk. Amy and Marcel lean on a nearby building,

watching Andy dial. Terrence's answering machine picks up.

TERRENCE'S MACHINE (O.S.)

(French)

Hey. This is Terrence. Please leave

a message at the beep...

(English)

In other words, this is Terrence

McDermott. Please leave a message.

(it BEEPS)

ANDY

Hey, Serafine, I hope you're checking

these. It's Andy. So I guess you

knew what was wrong with me yesterday.

Unfortunately it took me until today

to realize it, and because of that

two people are dead. If you didn't

know, well, shit, it's irrelevant

now. I know what I have to do, but

before I do it I just wanted to say...

I don't know what would've happened

with us, but I'm really glad I had

the chance to know you even if it

was only a couple of days and... I

don't know... I probably wouldn't

have the nerve to say this if I was

gonna see you again, but I think if

I had the chance to kiss you one

more time I would've fallen totally

in love with you.

INT. TERRENCE'S APT. - SAME TIME

The door opens, Serafine enters and runs to the machine.

ANDY (ON MACHINE)

Oh well... Bye Serafine.

Serafine snatches the phone off the receiver just as Andy

hangs up. She gets a dial tone. She's very upset.

SERAFINE

Merde!

ON THE SIDEWALK

Amy and Marcel watch Andy hang up in the phone booth. The

emotion of the moment is getting to Amy.

AMY

Geez, I feel bad for him. Maybe we

should've told him abou -

MARCEL

Are you crazy!? You know that's

totally impractical. Besides, like

the Bible says...

(he sticks his finger

in her empty eye

socket)

An eye for an eye...

Amy nods. Andy exits the phone booth and approaches them.

"Round Midnight" fades out.

ANDY

Let's do it.

CUT TO:

EXT. ESPLANADE - DAY

Andy drains the last of a bottle of Jack Daniel's and wobbles

along, totally smashed and a bit wistful, with Amy and Marcel

in tow.

ANDY

What the hell, lots of my heroes

killed themselves. Hemingway, Van

Gogh... um... Herve Villachaise...

MARCEL

But this is class kid, all the way.

What a way to go.

AMY

You got style, babe. That's why I

went for you in the first place.

WIDE SHOT

They're approaching the Eiffel tower.

ANDY

When they ask how I died, just tell

'em... Ei-ffel.

THE COPS

sit in their car, watching Andy buy his ticket and get into

the elevator.

FRANCOIS

(French)

Should we follow him up?

RENE

Well, he's gotta come down some time.

Fuck it, let's grab a bite.

FRANCOIS

Good thinking.

CUT TO:

INT. PATISSERIE - DAY

It's a typical Parisian bakery, stuffed to the ceiling with

an unbelievable array of the finest, most delectable pastries.

Rene steps to the counter.

RENE

Vous avez les doughnuts?

CUT TO:

EXT. EIFFEL TOWER OBSERVATION DECK - DAY

We're looking at the elevator doors. They open. Andy strides

out onto the deck, through the milling TOURISTS, flanked by

Marcel and Amy.

ANDY

There's only one thing certain in

life - each of us owes God a death.

Proud, determined, Andy arrives at the six foot wire mesh

fence and quickly scales it. Amy and Marcel follow. Nearby

tourists are alarmed and a clamor of concern rises up. Those

with camcorders jockey for position.

ANDY

All we can do is make sure it's a

good one.

Andy gets over the fence and stands on the small ledge. Amy

and Marcel join him. The tourists gasp. Andy glances down at

THE PRECIPITOUS DROP. He turns suddenly pale.

ANDY

Shit. I feel sick.

MARCEL

Don't worry. In a few seconds you

won't feel a thing.

ANDY

Puking on yourself in midair is not

a good death.

AMY

Look, the more you think about it,

the harder it is.

MARCEL

Just like sex with my wife.

AMY

The key is don't look down.

MARCEL

Also like sex with my wife.

AMY

(to Marcel)

Would you shut up?

Andy looks woozy. Tourists are trying to dissuade him in

Italian, Japanese, Icelandic, etc. Marcel tries a new tack.

MARCEL

Tell you what, we'll jump together.

AMY

(picking up Marcel's

lead)

Sure. We wouldn't ask you to do

anything we wouldn't do. Now give me

your hand... that's it...

Amy coaxes Andy's hand off the fence. The crowd gasps. Andy

grits his teeth and focuses again.

AMY/MARCEL

One... two... three... JUMP!

They jump, but Andy stops short - GASTON is leaning over the

fence and has Andy by his shirt.

GASTON

You're not getting off so easy.

AMY AND MARCEL

Plummet through the air. They look back at Andy, annoyed.

MARCEL

Merde! I can't believe this!

AMY

You try to be a good sport, and look

what happens.

SPLAT!! Their bodies split into several pieces and squirt

out on the pavement into two radial patterns, each about ten

feet in diameter. Repair will take a while this time.

MARCEL'S HEAD

Huh. Galileo was right.

AMY'S HEAD

Who?

GASTON

has Andy by the arm and is trying to pull up to "safety".

The tourists cheer him on. Andy is resisting.

GASTON

Where's the ADM? Where did your uncle

put it?

ANDY

Man, I don't know what the fuck you're

talking about.

GASTON

Bullshit! Your uncle told you!

ANDY

My uncle's in a coma you moron!

GASTON

Before the coma!

ANDY

He didn't tell me anything. All he

said was Saint Severin...

Andy swallows the word "Severin", remembering something as

he speaks. Suddenly wheels are turning in his head.

GASTON

Saint Severin? The church? So you

know all about the ADM!

(Andy reacts to the

word "church?")

Where is it! Tell me! Tell me or

else!

ANDY

Or else what? You'll kill me?

GASTON

No. But I'll kill your fucking

girlfriend!

ANDY

You'll never get the chance.

Andy pulls backward as hard as he can, jerking Gaston off

balance. He's trying to pull them both to their deaths, but

Gaston grabs a STEEL POST with his free hand.

Andy hangs below the ledge, pulling Gaston's arm down with

all his new superhuman strength. But Gaston pulls back just

as hard. Andy sees The STEEL POST start to bend. He looks

into Gaston's FERAL STARE and understands...

ANDY

It was you! You son-of-a-bitch! You

got my uncle!

The POST keeps bending - its welds won't hold long.

GASTON

Don't be an idiot! I'm not the only

one. If I die, Serafine dies!

ANDY

Bullshit! You're bluffing!

GASTON

What, you think Claude hangs out

underground cause he likes to dance?

This gives Andy pause.

ANDY

Claude...?

GASTON

And you call me a moron...

Andy stops pulling. He looks uncertain - maybe Gaston is

right... But then - SNAP! The post, which has bent all the

way over into a "J" shape, snaps its weld. Gaston and Andy

plummet towards the ground nine hundred feet below. The

tourists gasp.

Using the bent pole as a hook, Gaston snares a HORIZONTAL

ANTENNA which sticks out of the tower about fifty feet under

the observation deck. He stops short and dangles there, still

gripping Andy by the arm. The tourists CHEER. Meanwhile,

nine hundred feet below...

RENE AND FRANCOIS

lean on their car, munching doughnuts. The tower looms behind

them, and we can just make out the dangling figures at the

top. Rene reaches into the paper doughnut bag and comes up

short.

RENE

(French)

Oh! You ate the last jelly!

UP ON THE ANTENNA

Gaston's grip is firm. They'll have to climb up the iron

cross beams to the observation deck.

GASTON

The ADM. Let's go.

ANDY

Yeah, okay. Just gimme a minute to

freshen up.

CUT TO:

ON THE OBSERVATION DECK

Andy and Gaston climb up onto the deck. The tourists applaud

and cheer for Gaston - the "hero".

TOURISTS

Bravo! Magnifique! Wunderbah!

Gaston can't resist posing as the cameras flash - he sucks

in his cheeks, purses his lips and does his best "Mickey

Rourke". Andy looks at him, incredulous.

ANDY

I must be in Paris. Even the

werewolves are poseurs.

CUT TO:

INT. TERRENCE'S APT. BUILDING

Gaston and Andy endure the elevator ride together.

ANDY

So, if you and the nutty professor

are both werewolves, what do you

want with drugs? You like seeing

lots of pretty colors when you're

tearing people's throats out?

GASTON

If you know about the church, why

ask such stupid questions?

They step out of the elevator and up to the apartment door.

Andy takes his key ring out and tries the lock. The key won't

turn. Andy jiggles it.

ANDY

Damn...

He tries another key. It doesn't work. He jiggles it, rattling

the door on its hinges.

GASTON

What's the problem?

ANDY

Hey, I'm new here, what do you want?

Andy tries a third key. No good. More jiggling.

GASTON

Fucking cretin...

The fourth key works. Andy pushes the door open. Gaston shoves

him in roughly and steps in after him.

INT. TERRENCE'S APARTMENT

Gaston shuts the door behind him and walks over to Andy, who

scans the room nervously, unsure of his next move.

GASTON

Where is it? Hurry up!

Andy's eyes come to rest on the end table drawer, where

Serafine had put the gun before... He advances toward it.

ANDY

(patronizing)

Okay, okay. I got your magic medicine

right here, dogboy. Just -

Gaston grabs Andy's hand before he opens the drawer.

GASTON

Do you think I'm an idiot?

ANDY

(beat... incredulous)

Sure. Don't you?

He shoves Andy away and opens the drawer... no gun. They

hear a pistol COCK behind them.

SERAFINE

Looking for this?

Gaston turns and sees Serafine aiming the gun at him. With

incredible speed he leaps for the window as Serafine fires.

BANG!! The bullet catches him in the arm as he dives through

the glass. BANG!! She fires again and misses.

Gaston lands in the courtyard, three stories below, and runs

off with a slight limp. BANG! BANG! Serafine fires blindly

into the courtyard after him, overwrought with anger. Andy

puts a hand to her arm, and she lowers the gun. They embrace

tightly, desperately. Serafine can't keep from crying. Andy

comforts her.

ANDY

Hey, hey... shhh. It's okay now...

La Femme Nikita strikes again.

He wipes away her tears and she smiles at his joke.

SERAFINE

Andy, I thought... I heard your

message and... thank God you're

alright.

She embraces him again, but Andy gently frees himself.

ANDY

I'm not alright. We both know that.

The only reason I'm here now is to

warn you. You're still in danger.

Gaston told me that Claude has got

the curse too. He's a werewolf.

SERAFINE

I know. He told me.

ANDY

What?! He told you? When?

Andy hears a familiar voice behind him.

CLAUDE

Two weeks ago.

Andy spins around to see Claude standing by the hallway to

Terrence's office. Andy reaches for the gun and points it at

him.

ANDY

You two faced bastard. I knew you

were full of shit.

SERAFINE

Andy! No!

She puts herself between Claude and the gun barrel. Andy

pushes her out of the way.

ANDY

Serafine! Move! Don't you see, he's

just after the drug, that ADM stuff.

He's using you to get to it, just

like he used Uncle Terrence.

Claude approaches Andy, speaking calmly.

CLAUDE

You're exactly right, Andy. I enlisted

both Serafine and your uncle to obtain

ADM. And now I'm counting on your

assistance too.

ANDY

Why the fuck would I do that?

SERAFINE

Because, Andy. It's a cure.

ANDY

A cure?

CLAUDE

A cure. With ADM we can wipe out

lycanthropy, the curse of the

werewolf, forever.

Andy is shocked, stunned, skeptical. He bluffs with the only

card he's got.

ANDY

Is that so? Maybe we should go to

Saint Severin church and make sure,

huh?

Claude's face changes. He's surprised.

CLAUDE

Ah, you've done your homework...

Excellent. Get your coat. Leave the

gun with Serafine. She can keep

searching. We don't have much time.

Andy and Serafine share a heavy look. He hands her the gun.

SERAFINE

Andy... I should never have let you

go underground. I'm sorry...

ANDY

(shaking his head)

I had to be a damn Hemingway hero.

Well I'll tell ya, the old man and

the sea didn't go through half this

shit.

CUT TO:

EXT. SAINT SEVERIN CHURCH - EVENING

Sheets of rain crash down over this ancient gothic church.

Sharing an umbrella, Andy and Claude walk inside.

INT. UNMARKED POLICE CAR

Parked across the street, Rene and Francois watch them enter

the church. Rene talks into a cellular phone.

RENE

(French)

He's going into Saint Severin church

with Professor Claude Roussel.

INT. LEDUC'S OFFICE - SAME TIME

LEDUC

(on phone)

Really... Okay, keep checking in.

LeDuc hangs up and thinks a moment. He turns the page of the

old book on his desk, revealing an old woodcut illustration

of a policeman being attacked by a werewolf. He frowns.

INT. SAINT SEVERIN CHURCH - EVENING

An evening mass is in progress. The boy's choir fills the

church with a solemn hymn. Andy follows Claude to a narrow

staircase. An OLD WOMAN gives them the evil eye and crosses

herself as they pass. Claude and Andy go up the stairs and

arrive at a balcony under a magnificent wall of ancient

STAINED GLASS. One of the panels catches Andy's eye.

ANDY

Whoa...

THE PANEL shows a weird medieval ritual - a man draining

blood from another man's neck into a goblet. ANOTHER PANEL

features a pentagram. ANOTHER PANEL shows a huge werewolf

eating a monk under a frowning sun. All the transcriptions

are in Latin. Claude signals Andy to follow him.

CLAUDE

The panels that concern us are over

here.

(he directs Andy to a

group of panels)

I'll translate the Latin.

A PANEL shows a different werewolf, tied down, being stabbed

in the heart by a knight under a frowning moon.

CLAUDE

"Then Simon did slay the demon spirit,

the same as had made him unclean,"

THE NEXT PANEL - the knight now holds the beast's heart aloft,

impaled on his dagger. Where the beast was, a man lies

bleeding in the background.

CLAUDE

"and Simon did cut out the heart of

the beast which once dead, regained

the shape of a man"

THE NEXT PANEL shows the beast's heart on a platter. The

Hero is sitting at a table, cutting into the heart with a

knife, as if he's about to eat it.

CLAUDE

"Simon ate of the heart of the beast

and his soul was cleansed."

(he turns to Andy)

These pictures are not just myth,

Andy. The scholars of the day used

them to record facts and enlighten

the public. This is the medieval

version of a newspaper.

ANDY

(skeptical)

Yeah, well what if it's the Weekly

World News...

AMY

No. It's all true, Andy...

Startled, Andy turns to see Amy and Marcel, a little worse

for wear, standing behind them.

AMY

I mean, if by some miracle you can

find the werewolf that bit you, and

then manage to eat it's heart, the

curse is lifted. I was gonna tell

you but Marcel wouldn't let me.

MARCEL

Oh sure, it was all mean old Marcel's

idea. Give me a break! We didn't

tell you because it's a wild goose

chase! Not to mention disgusting.

Look...

Marcel reaches into his own chest cavity, rips out his own

slimy purple heart, and thrusts it in Andy's face.

MARCEL

A little Grey Poupon and then Bon

appetite, eh?

Andy grimaces and turns back to Claude.

CLAUDE

(to Amy)

I don't believe we've been introduced.

ANDY

What?... Oh, right, you can see these

guys too. Jesus...

(he rolls his eyes)

AMY

(smiles and extends

her hand)

Amy. Nice to meet you.

Claude shakes her hand - SQUISH. Some sort of body fluid

oozes out of Amy's hand. Claude frowns and discreetly wipes

his hand with a handkerchief. Marcel smiles and extends his

hand.

MARCEL

Marcel.

(Claude smiles

politely, declining

Marcel's rotting

hand)

My wife has all your books.

Claude nods "thank you". Andy's had enough.

ANDY

Great. Later on we'll have to get

together for cocktails. Right now I

kinda have to hurry before I grow a

lot of hair and eat people.

(to Claude)

Say this heart thing works. What's

it got to do with ADM?

CLAUDE

It's chemistry, Andy. Nothing more.

Mutated antigens concentrated in the

heart of the infector unlock a vaccine-

like chain reaction in the infectee.

There were not many bio-chemists

working in the twelfth century, but

with today's technology it's possible

to synthesize any chemical imaginable.

When I discovered this ancient cure

I knew who to go to.

ANDY

Uncle Terrence.

CLAUDE

Yes. I was able to decode the old

texts and give Terrence the

specifications. It took a lot of

trial and error, but finally he got

it: Adenine Di-Methyloxide. ADM. I

call it ADAM. But just before he was

attacked, he hid it...

ANDY

Because Gaston was after it.

CLAUDE

Yes, that sociopath. He's given

himself over to the evil of

lycanthropy. To him, ADAM is just a

threat to the terror he holds over

others. To us, it's salvation.

MARCEL

Yeah, well I don't know much about

chemistry, but even if this stuff

works, you better find it by midnight.

Otherwise it's -

ANDY

Yeah, I know. Back to the Eiffel

Tower.

(to Claude)

And what about you?

CLAUDE

Believe me, I won't go through another

night of that hell. I have my

contingency plan right here.

He removes a WHITE PILL from his coat pocket and holds it

up.

CLAUDE

Sodium cyanide.

The CHURCH BELLS ring. The group listens tensely as the solemn

bells sound eight times.

ANDY

Eight o'clock. Shit. You'd think my

uncle would have left a clue, a note,

something...

CLAUDE

That's what Serafine is searching

for. Without much luck, I'm afraid.

If only we could speak with him. But

alas, he's off in another realm,

close to death.

The wheels in Andy's head are turning. He looks over at Amy

and Marcel. He smiles. He's got an idea.

MARCEL

Andy, please. Don't smile like that.

You're scaring me.

CUT TO:

INT. HOSPITAL - NIGHT

Andy and Serafine walk down the corridor of the Terminal

Ward. Andy looks determined. Serafine looks upset.

SERAFINE

What makes you so sure this will

work?

ANDY

I told you. He already tried to

contact me once. If you saw his

face... He was desperate to tell me

something. I owe him this.

SERAFINE

I don't know...

ANDY

Listen, either he wastes away as a

pathetic vegetable or he can give

what's left of his life to save

hundreds of potential victims. He's

a McDermott. I know what his choice

would be.

SERAFINE

I suppose you're right. But I still

don't like it.

They stop at the door to Terrence's room.

ANDY

Fine. You don't have to watch. Stay

out here and stand guard.

She nods. Andy goes into

TERRENCE'S HOSPITAL ROOM

The lights are off. Andy approaches Terrence's oxygen tent.

In the dim light, he can barely make out Terrence through

the plastic, lying motionless, barely making an impression

under the sheets. He looks at the body wistfully and surveys

the array of machinery that's keeping him "alive". Most of

the machines are plugged into a TRANSFORMER BOX on the floor.

ANDY

Hey. We meet again... Look, I know

you understand what I'm about to do

here. I think. But I hope you forgive

me anyway.

Andy takes a deep breath. He leans down to the transformer

and opens the safety cover, and flips the power switch. All

the machines power down.

Suddenly the old man in the bed sits up, gasping, and clawing

at the walls of the oxygen tent. Oh my God! It's NOT

Terrence!! Andy nearly soils himself, diving down to fumble

with the transformer, suddenly all thumbs. He switches the

power on again.

THE NURSE STATION

The fat, sour looking duty nurse sees the alarm from the

failed life support system. She's about to call for help

when the indicator stops flashing. She watches it intently

for a few seconds, nothing. She decides to dismiss it.

TERRENCE'S ROOM

The old man is lying back down, asleep. He seems to be okay.

His support machinery is functioning normally again.

With a sigh of relief, Andy turns and pulls back the curtain

behind him. There's Terrence, sans oxygen tent, hooked up to

another extensive support system.

ANDY

So. You moved...

He pulls the curtain closed behind him, and moves in close

to his uncle. Terrence's expression looks unmistakably morose.

ANDY

You don't look happy... Um, I don't

usually go in for this stuff, but...

(He crosses himself,

and says a silent

prayer)

Amen.

Andy leans down, opens the transformer box, and flips the

power switch. The machines power down - all except the EKG

monitor, which shows a flat line and emits the familiar steady

tone. Andy switches off the monitor. Silence.

Terrence's body is completely still, peaceful. He leans down

over its face and speaks in a soft voice.

ANDY

Uncle Terrence? Can you hear me?

Terrence's body remains motionless.

AT THE NURSE'S STATION

This time the nurse doesn't wait to respond. Seeing the

indicators from Terrence's room, she presses the intercom.

NURSE

Chambre 411. Code bleu! Code bleu!

IN TERRENCE'S ROOM

Silence. Andy's worried. He takes his uncle by the shoulders.

ANDY

Come on... Skip the undead orientation

and get down here.

Nothing. He looks at the door nervously.

OUTSIDE THE DOOR

Serafine sees a squad of doctors and nurses pushing trolleys

of emergency equipment her way from the far end of the hall.

She leans her head in the door to warn Andy.

INT. HOSPITAL ROOM

Andy is beside himself with stress. He shakes Terrence's bed

a little to rouse him. Nothing. He tries a little harder

shake... The door opens. It's Serafine, also in a panic.

SERAFINE

They're coming!

ANDY

Shit. What have I done?

(to Serafine)

Stall them! I'll meet you out back.

She shuts the door, just in time. The emergency team are

right there.

SERAFINE

(feigning hysterics)

Stay away from him! You butchers!

Haven't you done enough already!

They struggle to get past her.

INT. HOSPITAL ROOM

Andy can hear Serafine arguing outside the door. He looks

out the window to the three story drop into the alley below.

OUTSIDE THE DOOR

Serafine is finally shoved aside. They push the door open.

INSIDE

Andy rushes to the door and pushes it shut. He cranks the

DOORKNOB all the over and bends it down, jamming it in the

locked position. He steps away. The door holds, but for how

long? He looks at the old man in the oxygen tent. Hmm. He

pushes the old man's bed up against the door.

Andy forces the window open and steps out onto the ledge. He

looks back at his uncle, and the old guy. He shrugs

apologetically, then takes a deep breath, closes his eyes,

and jumps.

OUTSIDE THE HOSPITAL ROOM DOOR

The fat nurse is getting impatient with the doctors, who are

attempting to pick the lock "surgically". She pushes them

aside and heaves her considerable heft against into the door.

It opens a crack. She backs up and slams it again...

INSIDE THE ROOM

The nurse's jolts shake the old guy's bed, sliding it forward.

He dozes happily like a baby rocking in the cradle.

EXT. THE BACK ALLEY BEHIND THE HOSPITAL

Andy runs behind a nearby dumpster to avoid being seen from

the window above. He kicks the wall in frustration.

ANDY

Damn it!!

A voice calls out from behind Andy.

TERRENCE'S VOICE

Whoa! What an outrageous nightmare!

Andy spins around and sees Terrence, the undead version,

perched atop some trash bags, scratching himself.

ANDY

Uncle Terrence?

TERRENCE

Andy? Andy is that you?

ANDY

Yeah. Look, uncle Terrence -

Terrence mutters distractedly, excitedly, and quickly...

TERRENCE

Andy, I have to tell you about the

dream I had - or that I'm still having -

it feels like a systemic, physio-

tropic reaction to some drug, maybe

a triptamine or phenethylamine

derivative. But it is hyper-real.

I'd swear my legs had been cut off

or... wait a second... I'm getting a

strange meta-physical buzz. Shit.

I'm, uh, dead, aren't I?

ANDY

Sort of...

BACK IN THE HOSPITAL ROOM

The doctors have clustered around Terrence's corpse. The

nurse is lubricating the electro-shock paddles for the doctor.

Serafine slips out the door into the hallway.

SOMEONE'S POV, spying from behind a supply cart in the hallway

(we see a hand on the cart), watches Serafine walk away,

unnoticed by the doctors.

BACK IN THE ALLEY

TERRENCE

Undead. Right. Sort of an ectocosmic

manifestation. What a pisser. Tell

you one thing though, Timothy Leary

will be jealous as hell.

ANDY

Great, but listen, I need to know

where you hid the ADM?

TERRENCE

The ADM! Be careful, Andy. It's very

powerful. How do you know about it?

ANDY

I went to St. Severin church.

(Terrence reacts "I

see...")

Now look -

IN TERRENCE'S ROOM

ZAP! The doctor jolts Terrence's chest with the paddles.

IN THE ALLEY

Terrence's zombie jerks with sudden pain.

TERRENCE

Oh shit! No! Andy, don't let them

take me back there!

ANDY

The ADM! Quickly! Where is it?!

TERRENCE'S ROOM

ZZT! They zap him again.

IN THE BACK ALLEY

ANDY

Where is it! Please!

TERRENCE

AHHH!! The wine cellar!! In a bottle

of Chateau Margaux. A metal

cylinder... Don't... Don't - AAAAH!

Another zap. The undead Terrence twists his face in pain. In

the background, Serafine appears at the mouth of the alley.

Terrence croaks out a few last words.

TERRENCE

Lies! All lies! Ahhhh!!!

Andy turns towards Serafine, then back to his uncle, but

Terrence is gone.

INT. HOSPITAL ROOM

Terrence's face is contorted with pain. The EKG monitor shows

a weak but regular heartbeat. The doctor pulls off his mask

and wipes his brow. The other technicians congratulate him.

IN THE ALLEY

Serafine approaches. Andy runs up to join her.

ANDY

I saw him. Just before those bastards

zapped him back. The ADM is in the

wine cellar, in a bottle of Chateau

Margaux.

SERAFINE

I didn't know he had a wine cellar.

ANDY

Guess that's why he hid it there.

Let's go.

They run out of the alley and see GASTON jump on his hopped-

up Kawasaki enduro.

SERAFINE

Oh shit! He must have heard us.

Gaston sees them, gives them the finger and tears off down

the street.

ANDY

Dammit! C'mon!

They run to Serafine's Vespa - the tires are slashed. Enraged,

she kicks it over.

SERAFINE

That bastard! Fuck!

Andy looks around desperately. A GUY pulls his motorcycle

out of its parking spot and starts up the street towards

Andy. Andy jumps out in front of the accelerating bike and

grabs the handlebars, stopping it short, sending the rider

tumbling forward, over Andy. He lands on his butt in the

street and starts yelling at Andy, who climbs on the bike.

ANDY

Sorry... I'll bring it back.

Serafine hops on the back and they burn rubber down the street

after Gaston. Music cue: CCR's "Bad Moon on the Rise". They

screech around the corner onto

SAINT GERMAIN BOULEVARD

It's red lights as far as the eye can see. Andy grits his

teeth and accelerates towards the cluster of traffic stopped

at the first light.

SERAFINE

Oh merde!

She shuts her eyes as Andy zooms between the rows of stopped

cars and roars through the red light. SCREECH!! Crossing

cars slam on their brakes and swerve to avoid the speeding

bike. Andy bears down on the next red light.

SERAFINE

Are you crazy!?

ANDY

Before Hemingway, there was Starsky

and Hutch.

Andy speeds through more stopped cars and runs the next red

light. SCREECH!! More swerving cars. Andy has to swerve

himself to avoid one. He bears down on the next light.

Meanwhile...

GASTON

is stopped on his bike, casually talking on a cellular phone,

two red lights ahead of Andy and Serafine. He hears their

bike and turns to see them zoom through the intersection in

back of him. Gaston curses, puts the phone in his pocket and

twists his throttle, accelerating through the red light.

ANDY AND SERAFINE

gain on Gaston. They're seventy five yards behind him.

GASTON

pulls a pistol and aims over his shoulder. BANG! He fires

back at them.

SERAFINE

pulls her pistol out. Both bikes roar through another red

light.

A POLICE CAR pulls out onto the boulevard and turns on its

flashing lights and siren and pursues the bikes. The traffic

lights turn green.

Gaston leads by fifty yards. The cop car pulls alongside

Andy and Serafine. She discreetly pockets her gun. The COP

in the passenger seat aims his gun at Andy.

COP

(French)

Pull over! Now!

ANDY

Shit!

There's no choice. They pull over. GASTON speeds safely away,

looking back at them and laughing. The cop car stops ahead

of them and the COPS get out, guns drawn.

FIRST COP

(French)

Hands in the air! Now!

Andy and Serafine put up their hands. The first cop goes

back to check the police radio, which is beeping. The second

cop keeps his gun aimed at Andy's head. He's furious.

SECOND COP

(French)

Hot shot huh? You know how many

officers die in high speed chases?

SERAFINE

(French)

Moron! The guy ahead of us has a

gun! He's the one you should stop!

SECOND COP

Shut up! I don't need you to tell me

my job. It's always "the other guy"!

SERAFINE

He's going to kill people you ignorant

shithead!

SECOND COP

Okay! That's it! You're under arrest!

Maybe you'll learn some respect in

jail!

Serafine curses again. Andy tries to calm her down. The

arguing escalates... In the car, the first cop is talking on

the radio.

FIRST COP

Really?

He turns, looks out his window and sees

RENE AND FRANCOIS

parked in their unmarked car. Rene is talking with him on

the radio. Francois waves.

THE SECOND COP

is trying to put handcuffs on Serafine. She's still screaming

at him. He's incensed. The first cop gets out of the car and

walks up to them.

FIRST COP

(to Andy and Serafine)

You can go.

His partner looks at him, incredulous, red-faced.

SECOND COP

(French - to first

cop)

WHAT!?

FIRST COP

(ignores 2nd cop)

Drive safely.

ANDY

Merci.

Serafine smiles at the second cop. Andy peels out, races

through the red light and disappears down the boulevard. The

cops watch them go, then turn to each other. The second cop

is apoplectic - about to explode.

INT. UNMARKED CAR

Rene and Francois speed off to keep pace with Andy. Rene is

dialing his cellular phone. As they pass the other police

car, we glimpse the two cops in an angry shoving match against

the car. Rene's call goes through.

INT. SAINT SEVERIN CHURCH

LeDuc is on the balcony, studying the stained glass panels

and consulting an old book. The cellular phone in his coat

pocket rings. An OLD PRIEST nearby frowns at him.

LEDUC

(French - into phone)

Hello.

(Pause)

I'll meet you there in ten minutes.

He hangs up. The priest is still frowning at him. LeDuc shrugs

gruffly - "what do you want from me?" and turns back to the

stained glass.

As the church bells sound ten o'clock we cut to different

panels: Several scenes of werewolves terrorizing people. A

scene where some people mix potions and dump a strange flower

into a cauldron. Another shows an evil looking man shaking

his arm defiantly at a frowning sun - though he is human his

raised arm is the enlarged, hairy limb of a werewolf. Another

shows a saint throwing the strange flower into a fire in the

town square.

LEDUC

(French)

Thank God for Saint Severin.

The bells strike ten. LeDuc checks his watch, closes his

book and hurries off.

EXT. TERRENCE'S APT. BUILDING

Music cue: "Evil" by Howlin' Wolf. Gaston stops, jumps off

his bike, and runs into the court yard.

ANDY AND SERAFINE

speed along on the bike, weaving through narrow side streets.

GASTON

riding the wire cage elevator in the apartment building down

to the basement. He gets out and walks down the dank hallway,

past several padlocked doors. He stops at one with a MCDERMOTT

nameplate. He's about to shoot it off, then looking around,

thinks again. He grabs the lock and, grimacing with the

effort, twists it off with his bare hands.

ANDY AND SERAFINE

stuck behind a garbage truck on a narrow street. Andy hops

the curb and races down the sidewalk, scattering pedestrians.

GASTON

flicks on the light switch in the wine cellar. There are six

large racks of wine bottles. He walks past them, scanning

the bottles. He stops at the third rack and removes a bottle.

The label reads "Chateau Margaux". He tries to peer inside,

but it's too hard to see. Instead, he hurls it at the wall -

SMASH!! Wine sprays everywhere, but no metal cylinder. He

grabs another bottle. SMASH!! Just wine. He grabs another...

ANDY AND SERAFINE

arrive in front of the apartment and hop off their bike.

Serafine eyes GASTON'S BIKE hatefully. Andy pulls her along.

SERAFINE

Wait a second...

She pulls out her gun. BLAM! BLAM! She blasts the gas tank -

WOOF! The bike goes up in a fireball. Serafine nods,

satisfied. Andy looks at her like she's nuts. They rush into

the courtyard.

GASTON

throws another bottle. SMASH! Just wine. The floor is awash

in the pricey Burgundy. He throws another bottle. SMASH!

Nothing. He licks his fingers. He's enjoying this...

SERAFINE AND ANDY

In the elevator, going down, maddeningly slowly. Through the

window they can see the full moon in the sky. Andy checks

his watch. They look at each other nervously.

GASTON

Throws another - SMASH! A small METAL CYLINDER clinks as it

bounces on the floor. Gaston picks it up and smiles. BANG! A

gunshot hits Gaston in the arm - he drops the cylinder.

Serafine and Andy stand in the doorway.

SERAFINE

Dirty bastard...

Serafine fires again - BANG! The shot misses as Gaston hits

the deck and draws his gun in one very fast motion, taking

aim at Andy who's rushing towards him.

GASTON

That's far enough!

Andy stops, Gaston's gun aimed at his chest. Serafine steps

slowly towards Gaston, her gun aimed at him.

GASTON

(to Serafine)

Another step and he's dead!

ANDY

Go ahead Serafine. Blow him away.

Serafine stops. The three of them stand there in a close

triangle, the metal cylinder on the floor between them. It's

a Mexican standoff... in Paris. Then...

CLAUDE (O.S.)

Drop the gun!

Claude is in the doorway holding a pistol. Serafine sees him

and turns back to Gaston, smiling.

SERAFINE

(to Gaston)

You heard him. Do it!

Gaston just smiles back at her. Claude steps forwards and

cocks his gun against Serafine's head.

CLAUDE

I said drop the gun.

Serafine's expression turns confused, horrified. Andy is

shocked. She drops the gun. Claude picks it up and pockets

it, keeping his gun on Serafine, who stares at him, aghast.

ANDY

You bastard! God! I should've known.

You wanted the cure all for yourself!

GASTON

Cure!? Ha-ha-ha!

Andy and Serafine react with confusion to Gaston's outburst.

Claude picks up the metal cylinder and unscrews its cap with

his free hand. He slides out a vial filled with amber fluid

and holds it to up to the light. He smiles.

CLAUDE

No, it's no cure. It's something

much more interesting.

SERAFINE

You fucking liar!

CLAUDE

(with mock alarm)

Oh, did I hurt the little girl's

feelings? Well excusez moi... I

confess my desire for ADM is quite

"intense". So I deceived you and our

poor friend Terry - a competent

technician, but let's face it, a bit

naive. "The great cure for

lycanthropy!" Hmph. He didn't have

the vision to grasp the potential of

ADAM, until it was too late. And

even then, he came rushing down to

tell me, as if I would be just as

shocked! Ha.

He pockets the vial, pulls out the white "cyanide" tablet

and pops it in his mouth. Andy reacts with shock.

CLAUDE

(off Andy's look,

crunching up tablet

in his mouth)

Oh this? Rolaids. I had a midnight

snack that... disagreed with me.

Serafine's been doing a slow burn. She explodes and lunges

at Claude, knocking his gun out of his hand.

SERAFINE

Fucking traitor!

She picks Claude up and hurls him across the room. CRASH!!

Claude smashes into a rack of wine bottles. Serafine jumps

after him and dives on top of him pummeling him in a blind

rage. Andy looks at her, agog.

ANDY

Wait a second...

He and Gaston notice Claude's gun at the same time. They

both dive for it. Andy grabs it but Gaston steps on his hand

and aims his gun down at him.

GASTON

You want to be cured?

He cocks the gun. Andy lets go of Claude's gun. Gaston picks

it up and aims one gun at Andy and the other at Serafine,

who's wrestling with Claude. Claude throws her off and she

lands on her butt next to Andy. Andy looks at Serafine.

ANDY

What the fuck!? You too!?

SERAFINE

(stammering)

I... I didn't think you would... I'm

sorry... I believed that son-of-a-

bitch...

Claude gets to his feet, drenched with wine and smarting

from Serafine's punches. He walks over to Serafine and kicks

her in the face.

CLAUDE

Shut up, you foul mouthed little

cunt. I don't have time for your

histrionics.

GASTON

Give me the ADM old man.

Gaston is aiming one of his guns at Claude.

CLAUDE

Oh for Christ's sakes Gaston. Can't

you rise above the level of common

thug just this once?

GASTON

Give it to me!

CLAUDE

Don't be an idiot. There are certain

procedures one must -

GASTON

NOW!

Claude sighs. He takes the vial from his pocket and walks

over to Gaston.

CLAUDE

Very well then...

Gaston grabs the vial, uncaps it and drinks it down greedily.

He stands there, waiting. Nothing happens...

ANDY

Ha. Some wonder drug...

GASTON

Why isn't it doing anything!?

CLAUDE

I told you. It's not ready.

Claude turns to the noise of footsteps and a walkie-talkie

in the hallway. Four uniformed officers plus Rene and Francois

storm into the room, guns drawn.

COPS

(French/English)

Freeze! Drop your weapons! Hands up!

Andy and Serafine put up their hands. Gaston brandishes his

guns at the cops, then sees the six guns aimed at him and

drops it. LeDuc walks in.

CLAUDE

(French - to LeDuc)

Thank God! These hoodlums tried to

rob me!

LEDUC

(French - to Claude)

Put up your hands.

CLAUDE

(French)

But surely -

LeDuc cocks his pistol and aims it at Claude.

LEDUC

(French)

Now!

Claude puts his hands up.

CLAUDE

(French)

What's the charge?

LEDUC

(French)

There is no charge.

(English)

Everybody comes in for a few

questions. Everything checks out,

you will go free. After midnight.

Claude frowns. Gaston swears. Andy looks at Serafine, shocked

and confused. She looks back at him, angry and sad.

CUT TO:

EXT. STREET - NIGHT

The cops are herding the handcuffed "questionees" into the

back of a reinforced paddy wagon. LeDuc talks to the DRIVER,

and another COP in the passenger seat.

LEDUC

(French)

Godard is waiting for you at Rocherout

jail. Hurry... And don't stop for

anything. Good luck.

The driver nods. It roars off, lights flashing and siren

wailing. LeDuc and the other cops head for their respective

cars. LeDuc barks orders to an AID who's at the ready with

the car radio.

LEDUC

I want four separate maximum security

cells ready. Get video cameras,

photographers, and doctors.

The aid nods and gets on the radio. LeDuc checks his watch.

It's 10:47.

CUT TO:

INT. PADDY WAGON

Serafine hangs her head sullenly, in a quiet rage. She won't

meet Andy's gaze. He looks over at Claude and Gaston. Gaston

is restless, edgy. He grabs Claude by the collar and shakes

him.

GASTON

Nothing's happening!

ANDY

Looks like he lied to you too.

Claude breaks Gaston's grip and shoves him back in his seat.

CLAUDE

(calmly)

Relax my friend. It's still not ready.

Andy looks back at Serafine. He shakes his head in disbelief.

ANDY

Now I remember why I didn't want to

come to Paris. Everyone you meet is

a goddam werewolf!

Serafine stares bitterly at her feet.

SERAFINE

I hope they fucking fry us all.

ANDY

Yeah. French fries...

SLAM! He's interrupted by the sound of Gaston's head snapping

back against the wall. His eyes bulge wide. He grins and

starts to laugh. First a little. Then a lot.

GASTON

Yes! Yes! Ha! Haha hahaha...

He stands up, laughing, power-mad. Suddenly his body is jerked

by a spasm and he falls to the floor. He's not laughing

anymore. He flails about wildly, croaking out strangled cries,

gripped with a terrible seizure.

IN THE FRONT CAB

The TWO GUARDS, the driver and his partner, hear the

commotion. The guard looks over to his partner, and chuckles.

PARTNER

Aaooooo!!! Heh heh heh.

They both laugh. The driver takes a sharp turn at high speed.

IN THE BACK COMPARTMENT

Gaston flops around on the floor like a fish, grabbed by a

flurry of convulsions. He bites off his tongue, spitting

blood everywhere. Finally, he goes rigid with one last

seizure, then falls totally limp. Andy studies the very dead

corpse.

ANDY

It killed him... You coulda just

used Draino. It's cheaper.

CLAUDE

I told him it wasn't ready...

Claude takes a folded PAPER CUP from his jacket pocket. He

blows into the cup to bring it back into shape. He then takes

a SHARPENED STEEL TUBE from his pocket, plunges it into

Gaston's neck, and fills the cup with the blood that pours

forth. Andy and Serafine are horrified. Claude puts the cup

of blood to his lips and pauses.

CLAUDE

Now it's ready.

He swallows the cup of blood down in one gulp, and sits back

to wait for the effects, smiling dreamily.

CLAUDE

What is the curse of the werewolf?

I'll tell you. The curse is to possess

such awesome power and yet be

completely unconscious of it. It may

as well belong to someone else. But

it wasn't always that way. A thousand

years ago the Gauls had a drug

powerful enough to unlock the door

to lycanthropic consciousness, to

full control. It came from

moonsbreath. A small white flower

once found in the hills of this

region, until the thick headed crusade

by our famous Saint Severin eradicated

it for all eternity. But now, thanks

to ADAM, the "curse" is over...

As he says this, he holds up his RIGHT ARM. It begins to

mutate and grow, reshaping his arm into the grotesque,

powerful forelimb of the beast. PLINK! His swelling wrist

pops the handcuff easily.

SERAFINE

(French)

Holy mother of God...

ANDY

Fuck me...

Claude rises to his feet, triumphant. He advances towards

Andy and Serafine, backing them up against the rear doors of

the van. He gently traces the outline of Serafine's face

with his werewolf hand. She bristles at his touch.

CLAUDE

All my life I've worked to unlock

the power of the unconscious mind.

Well this is it. This is power!

ANDY

You sure it's not just 'coz you jerk

off too much?

Claude cocks his werewolf fist and SLAMS it into the back

doors, inches from Andy's head. He leaves a deep dent, and

opens the doors just a crack. It's a gesture that seems

calculated to frighten them. It works.

Claude holds up his LEFT ARM and transforms it to match his

right. It takes some effort and a little pain, but he keeps

a smile on his face throughout the process.

CLAUDE

Don't you see what this means? I've

broken through! I'm in total control!

Not the moon! I can do whatever the

fuck I want!

SMASH!! Claude drives his left arm into the back doors, making

another huge dent, and opening the crack even wider.

IN THE FRONT CAB

The cops exchange worried looks. The one on the passenger

side slides open the viewing panel. Claude has his back to

him.

COP

(French)

Hey! What's going on in -

He stops short as Claude turns around, revealing his monstrous

arms. Mortified, the cop reaches for the SHOT GUN under the

dash. Claude races up towards the view window. As the guard

pokes the muzzle through the window, Claude grabs hold of

it. BLAM! The guard's shot hits the side wall. Claude rips

the gun from the guard angrily, and smashes it to pieces

against the wall, grinning like the devil himself.

Meanwhile ANDY throws himself at the doors, kicking them,

trying in vain to break them open. He spots the SHOTGUN BARREL

on the floor and grabs it.

CLAUDE reaches through the window and grabs the guard by the

head. He repeatedly smashes the guard's head against the

back wall of the cab.

CLAUDE

(as he smashes the

guard)

Don't you know... the wolf... is a

protected... species!?

The driver freaks out, seeing his partner get his head

crushed. THE PADDY WAGON swerves all over the road.

ANDY uses the shotgun barrel to twist open the lock on the

van doors. As the vehicle swerves, he drops the barrel out

the door, and falls over. He calls to Serafine.

ANDY

I need your help. Come on.

She joins him and together they take a run at the back doors.

The doors open a little, but the lock still holds.

Finished with the guard, Claude turns and sees what Andy and

Serafine are up to.

CLAUDE

Wait!

Andy and Serafine take another run - it works. THE DOORS

bust open, and Andy and Serafine, still handcuffed, go

tumbling out into THE STREET, rolling on the pavement.

SCREECH! HONK! Cars swerve to avoid them, just barely. CRASH!

A minivan plows into a parked car. Claude watches from the

back of the van. He rears his head to the moon and smiles.

IN THE CAB of the paddy wagon, the driver hears an unearthly

howl. It's hellish. Without looking away from the road, he

points his pistol through the hole in the compartment. He

adjusts THE MIRROR to see into the rear compartment - The

back doors are hanging open. He steals a look over his

shoulder - Other than Gaston's corpse, it's empty... He

breathes a sigh of relief and turns back to the road as -

A HUGE WEREWOLF - Claude fully transformed - bursts through

the windshield and rips into him.

THE PADDY WAGON is traveling over the Pont Neuf bridge. A

GASOLINE TRUCK approaches from the other direction. The

werewolf leaps off of the hood just as the paddy wagon,

swerving all over the road, hits the gasoline truck head on.

KA-BOOM!! Both vehicles explode in a fireball, smash through

the side wall of the bridge, and plunge into THE RIVER.

INT. SQUAD CAR

LeDuc, following at a distance, is trying in vain to get the

paddy wagon driver on the radio.

LEDUC

Allo! Jean-Louis! Respond! Allo!

His partner slows the car. Traffic ahead is snarled. It's

chaos. He taps LeDuc on the arm and points...

PARTNER

Inspector...

Leduc sees the column of black smoke in the distance.

LEDUC

Merde... merde, merde, merde.

He slams his fist against the dash angrily.

CUT TO:

EXT. PARIS STREET, NIGHT

Andy lies by the roadside, dazed, bruised, handcuffed, but

conscious. He sits up unsteadily, and looks for Serafine.

ANDY

Serafine?

He sees a small crowd of people a little further up the road,

outside a small bistro. He staggers up to them and pushes

his way through. Serafine is there on the ground by the curb,

eyes closed.

Kneeling beside her, he turns angrily on the onlookers.

ANDY

Get out of here! Go on! Move it!

He shoos them away. Of course, they just back up a bit, still

gawking at the handcuffed couple.

ANDY

Serafine... Get up, come on...

Andy brushes away the hair from Serafine's face. He feels

her neck for a pulse - she has one. But as he takes his hand

away, he notices a smudge of BASE MAKE-UP has rubbed off on

his fingers. He looks at the back of Serafine's neck and

sees that the makeup had been covering A SCAR. It bears the

unmistakable star shape of the wound Andy inflicted on the

werewolf that bit him.

Horrified, he stands and backs away a few feet. Serafine

opens her eyes, sees him.

SERAFINE

(groggy)

Andy?... What? What is it?

(she sits up, her

head clearing)

Andy... are you okay?

ANDY

It was you... That night in the

tunnels. You. You did this to me.

SERAFINE

No I.... Andy, you can't be sure.

ANDY

That's the scar where I stabbed you!

Oh God... You deliberately took me

down there so you could... God, I

can't believe it!

Serafine gets to her feet, a little unsteadily at first.

SERAFINE

You made me go there. I tried to

stop you! You wouldn't listen!

ANDY

What was I? Your idea of a fuckin'

hors d'oeuvre? Huh?

SERAFINE

Shut up! You fucking shut up! What

do you want? Huh? What the hell do

you want?

She walks over, grabs a steak knife from one of the outside

tables at the bistro, and charges at Andy, pulling open her

shirt... She offers him the knife, and pounds at her heart.

SERAFINE

Here! Come on! Do it! Go ahead.

ANDY

What...?

SERAFINE

You know what. Kill me. Cut out my

fucking heart. Go on! Do it!

Enraged, Andy takes the knife. He and Serafine lock eyes.

For a second he's tempted, his blood boiling, heart pounding.

ANDY

You're crazy.

He throws the knife aside, turns and walks away.

ANDY

This is all crazy!

Serafine retrieves the knife and chases after him. She gets

in front of him and blocks his path. She holds the knife

point to her own chest.

SERAFINE

The drug was a lie, but the legend

in the church is true. Ask the undead.

Andy just stares back at her, not knowing what to say. It's

all too much to believe. He shakes his head. He tries to go,

but she moves in front of him. She's determined.

SERAFINE

We don't both have to die.

ANDY

(softening)

I couldn't do it. Not to you.

He sees her looking up. He follows her gaze to the FULL MOON.

It's getting late. Andy shudders, wipes the sweat from his

brow. He's already starting to feel the heat in his blood.

SERAFINE

I can't go through another night. I

won't.

Andy takes her hand and guides the knife away from her chest.

ANDY

I know... I'm already burning up...

Look, I'm not going to go through

this another night either. But we

still have some time to get Claude.

He'll just kill more people, and

spread the curse.

She's desperate, tears welling up in her eyes.

SERAFINE

We can't stop him. Not now.

Handcuffed, with no kind of weapons.

Please Andy...

ANDY

No. We have to try. We'll figure

something out. And if midnight comes

before we can get to him, well, then

we go together. Deal?

(he extends a cuffed

hand)

Shake a paw?

She laughs despite her tears, puts her cuffed hands over his

head and hugs him tightly.

SERAFINE

I know where he'll go.

ANDY

Where?

SERAFINE

Somewhere where there are no police,

and plenty to eat.

Andy looks at her. He knows what she's driving at.

CUT TO:

EXT. PETIT PONT - NIGHT

LeDuc and Napier stand on the bridge, which has been blocked

off, watching the tow truck drag the charred wreck of the

paddy wagon from the river. Ambulances wait nearby. Firemen

are still putting out small piles of flaming debris.

NAPIER

(French)

Poor Bazin and Racine. At least they

brought those monsters down with

them.

LeDuc isn't listening - he sees something that makes his

face go slack: The paddy wagon emerges from the murky water

revealing the open, banged-up back door with several large

FIST PRINTS in it. He checks his watch - it's 11:32.

LEDUC

(French - to himself)

Impossible...

(to Napier - urgent)

Get headquarters on the radio.

Napier isn't paid to ask questions. He hops to it.

NAPIER

Right away sir.

CUT TO:

INT. UNDERGROUND PARTY - NIGHT

Andy and Serafine emerge from the tunnel, wearing grim,

determined expressions. The party is in full swing - throbbing

beats and sweaty dancing bodies. They walk straight across

the dance floor, pushing their way through the crowd. Amongst

the variety of freaky types here, no one raises an eyebrow

at two people in handcuffs.

Serafine, who's scanning the room, is approached by a leather

clad HIPSTER GUY.

HIPSTER GUY

Serafine, mon belle! Ca va?

He goes to kiss her on both cheeks. Without breaking stride,

she puts her handcuffed hands on his face and shoves, sending

him reeling.

Serafine points out a gang of four militant skinheads off in

a corner. Andy nods and smiles.

ANDY

This could be fun.

They make their way to the skinheads. Andy walks up to the

SKINHEAD LEADER, who's got a swastika tattoo, a bad

disposition, and a fifty pound advantage on Andy.

ANDY

I got something you want. Follow me.

Andy and Serafine walk into A SMALL CHAMBER off the main

space. The skinhead signals his mates to come along, slips

on some BRASS KNUCKLES, and follows Andy into

THE CHAMBER

The skinheads surround Andy and Serafine. There's no one

else in the room. The skinhead leader looks at Andy's

handcuffs and sniggers.

SKINHEAD

What do you got, pervert?

ANDY

I got Hitler's dick in a jar. And

the funny thing is it's still in

Goerring's mouth.

The skinhead turns red with rage and throws a punch at Andy's

head. With lightning speed, Andy grabs the skinhead's fist,

twists his arm around his back and hurls him across the room.

He slams face first into the stone wall and collapses on the

floor with a THUD.

Simultaneously, the other three skinheads attack. Serafine

BASHES one across the face with both fists, sending him to

the floor. The other gets her in a headlock from behind. She

runs backwards and - SLAM! - crushes him against the wall.

The third skinhead tries to kick Andy in the groin. Andy

grabs his boot and flips him over backwards - he actually

does a full back flip and lands on his face.

The leader groggily pulls a pistol and aims it at Andy. Andy

snatches it out of his hand.

ANDY

Didn't even have to ask.

SERAFINE

(French)

All your weapons, on the floor! Now!

The skinheads slide out some LEAD PIPES, a SWITCHBLADE,

another PISTOL, and an army surplus GRENADE. Andy and Serafine

scoop them up, except the lead pipes.

ANDY

Neo-Nazis. Ya gotta love 'em.

(to the Skinheads)

Merci beau coup, monsieurs.

CUT TO:

INT. TUNNEL - NIGHT

Music cue: "After Midnight (we're gonna let it all hang out)".

Andy's gun is pressed against the chain on Serafine's

handcuffs - BANG! The chain is broken. BANG! She returns the

favor and his chain is broken.

They walk into the DRIPPING, dank tunnel, away from the party,

which fades away in the background. Each carries a pistol

and a flashlight. BEADS OF SWEAT appear on their foreheads.

The tunnel tilts downhill. Heavier DRIPPING. They turn a

corner and...

SLAM! Something barrels into them - it's a HYSTERICAL GIRL.

She's about nineteen and splattered with blood. She SCREAMS

uncontrollably. Serafine holds her by the shoulders, trying

to calm her.

GIRL

(French)

Ahhhhhhhh! A monster! My God! It got

my boyfriend! Noooooo!

SERAFINE

Ou!? Ou est le monstre!?

GIRL

Ahhhh! Let me go! Let me gooooo!!

She's off the deep end, flailing at Serafine, who keeps trying

to calm her down. There's no time for this. Andy presses his

gun to her temple. She shuts up and stares at him with wide,

terror stricken eyes.

ANDY

(calm, firm)

Ou est le monstre?

She points back down the tunnel she came out of.

GIRL

(French)

Down the stairs.

ANDY

Merci.

He lets her go. She starts SCREAMING again and continues on,

disappearing into darkness. Andy winces and holds his ears.

SERAFINE

No wonder he let her go.

ANDY

Really.

They run in the direction she pointed. They arrive at the

intersection with A STAIRWAY to the right. They start down

it. They see something up ahead -

SOMEONE'S HAND is sticking out on the ground from a passage

at a landing on the staircase.

SERAFINE

Her boyfriend.

The hand moves a bit, pulls back and disappears into the

crossing passage.

ANDY

He's alive. C'mon.

They hurry down to the landing, shine their light into the

passage. The hand is severed, and A BIG RAT is dragging it

along with some difficulty. A dozen or other rats munch on

scraps of flesh scattered over a grisly mess of blood and

body parts. Andy and Serafine stare at it for a moment.

Suddenly Andy looks away.

ANDY

God. I can't believe it.

SERAFINE

What?

ANDY

(disturbed)

It's making me hungry.

A beast HOWL echoes through the tunnels. Serafine shines he

flashlight on some bloody beast foot/paw prints leading down

the stairs.

They follow the bloody prints down the stairs and come to an

ancient ARCHED DOORWAY with a skull set in the arch and a

chiseled inscription. Andy points to the inscription.

ANDY

What does it say?

SERAFINE

(reading)

"Stop! Beyond this passage lie the

catacombs of Paris: the exclusive

domain of the dead."

Andy gestures back to the bloody remains.

ANDY

We'll say we're with him.

They walk through the gate and enter

THE CATACOMBS

Andy shines his flashlight around, illuminating two large

tunnels which lead into a twisting, intestinal maze, lined

from floor to ceiling with HUMAN SKULLS and FEMURS. The bones

form the building blocks of the tunnel walls and are arranged

in various patterns - from crucifixes to Masonic pyramids

and even pentagrams. Ground water seeps from the ceilings

and walls, DRIPPING over the eroded, crumbling bones.

Despite the situation, Andy can't help but be dumb struck by

the spectacular necropolis.

ANDY

Whoa...

SERAFINE

After the revolution, the Paris

cemeteries overflowed. They dug up

all the old bodies and brought them

here. Seven million people. Mostly

very poor.

ANDY

Pretty stylish digs for a bunch of

paupers.

SERAFINE

Well, they are French.

ANDY

Right.

Another eerie HOWL echoes through the maze. Andy looks down

both main tunnels - the howl seems to come from each of them.

ANDY

These tunnels must loop around and

connect.

SERAFINE

Let's go from both ends. We'll cut

him off.

Andy considers this.

ANDY

Okay. Be careful.

SERAFINE

You too.

She kisses him. They're both sweating heavily now. She starts

off to the right. He watches her go for a moment and then

walks down the other skull lined tunnel.

CUT TO:

EXT. PETIT PONT - NIGHT

The CHARRED BODIES of Gaston and the two cops lie on the

river bank, near the wreck. LeDuc surveys them with a few

other cops. Napier leans out of a nearby car with a radio

handset. The bells of nearby Notre Dame begin to ring.

NAPIER

(French)

It's headquarters sir. They got a

report.

LeDuc rushes over and grabs the handset.

LEDUC

(French - into radio)

What've you got?

DESK OFFICER (V.O.)

Just a crazy call from a girl,

probably fucked up on drugs. I

wouldn't bother you but you said

call with anything unusual.

LEDUC

What did she say?

DESK OFFICER (V.O.)

Something about a monster,

underground, in the catacombs under

Place Denfert.

LEDUC

I need two tactical assault squads

at Place Denfert immediately. You

can tell the commissioner it's a

code red.

DESK OFFICER (V.O.)

But Inspector, this girl, I wouldn't

call her reliable.

LEDUC

Now!

DESK OFFICER (V.O.)

Yes sir.

LeDuc throws the handset back at Napier. The church bells

strike twelve.

CUT TO:

INT. CATACOMBS

Andy walks along carefully, shining the flashlight ahead of

him, his gun at the ready. His breathing gets heavier. His

face gets redder. More sweat. His heart pounds in his ears.

The tunnel follows a serpentine path, with many smaller

passages and anterooms off to the sides.

Andy sees some flickering light reflecting off the wet skulls

up ahead. He approaches it. It's coming out of AN ANTECHAMBER.

He holds his gun out in front of him and steps quietly. He

peers into the antechamber and finds

TWO HALF EATEN BODIES

It's the old hag and the wino he saw in the tunnels at the

first party. They've been killed very recently - blood still

drips from their gaping wounds.

He kneels over the wino's body. There's a big chunk missing

from his neck. Andy stares at the BLOODY FLESH, transfixed.

He shudders with a sudden spasm. His breathing gets quicker.

More sweat. He reaches towards the wound, his hand shaking,

and touches the flesh. Blood runs down his fingers. He slowly

brings his hand back towards his mouth.

TERRENCE (O.S.)

Don't do it, Andy. Fight it with

everything you've got.

Andy looks up to see UNCLE TERRENCE, stumps and all, sitting

across from him.

ANDY

Uncle Terrence, you're...

TERRENCE

Yeah, I finally "checked out", thank

God. But there's a bit of unfinished

business.

ANDY

Claude.

TERRENCE

I never thought I'd ask this of

anyone, Andy, but do me a favor and

kill the evil son-of-a-bitch, will

you?

A SNARL cuts him off. Andy jumps up, steps out into the main

tunnel and shines his light.

THE BEAST

rounds a curve and comes into view about thirty yards away.

It's running straight at Andy and closing fast. Andy aims

the gun. BANG! A miss - the bullet shatters a skull on the

wall. BANG! Another miss. BANG! The bullet hits the beast in

the shoulder. It stumbles but keeps coming. BANG! A miss.

Andy aims carefully.

ANDY

C'mon you mother...

BANG! A direct hit in the chest. The beast falls. Snarling

in pain.

BANG! Andy blasts again, but the beast drags itself to the

safety of a recessed area off the tunnel, out of Andy's line

of fire. Andy walks forward, listening to the horrible wails

of the beast, thrashing around in a puddle on the floor.

Andy aims his gun and his flashlight as he nears the corner

of the recess. The wailing and thrashing settles down. Andy

proceeds cautiously. He rounds the corner, and shines the

light on

SERAFINE

naked, bleeding from bullet wounds in the chest, shoulder,

and neck. She lies still. Andy sighs with anguish. He drops

to his knees.

ANDY

No! Oh God!

He puts down his gun and cradles her head in his hands. She's

breathing - just barely. She looks into his eyes. Her voice

is weak.

ANDY

Oh God. Shit...

SERAFINE

Andy...

She reaches up feebly and manages to grab the SWITCHBLADE

from his back pocket. She clicks it open and hands it to

Andy.

SERAFINE

Do it.

Andy's shaking, shuddering - his breathing erratic.

ANDY

No. It's over.

He shakily presses the gun to his own head.

TERRENCE (O.S.)

Don't, Andy. Stop Claude.

Andy looks up. Terrence, Marcel, Amy, and a dozen other

mutilated, rotting undead, presumably Serafine's victims,

stand in the tunnel, looking on solemnly.

MARCEL (O.S.)

Either way works for us...

AMY

But you better hurry.

Claude's stentorian voice echo's from beyond a curve in the

tunnel.

CLAUDE (O.S.)

You can't turn back Andy.

CLAUDE

in human form, walks towards the glow from Andy's flashlight

around the bend. His naked body is taut and muscular - it

looks thirty years younger than it should. His face is younger

too - he looks the picture of a powerful young warrior.

CLAUDE

"Man is something to be surpassed! A

rope, stretched over the abyss between

the animal and the Superman". Neitzche

was right, Andy. And now, I have

crossed that abyss. I am no longer

man OR beast, but man AND beast.

ADAM has lived up to its name. I am

the first new man, and my God it is

FUCKING MAGNIFICENT! You're already

half way there Andy. Feel the power

in your veins. With ADAM, you could

harness it. Master it. Let it

transform you into something more

glorious than your wildest dreams!

ANDY

is shaking violently - on the brink of transforming. Serafine

raises the blade to him again. She's fading fast.

SERAFINE

Don't let me die for nothing...

Andy winces with pain - his brow bulges, his teeth enlarge,

the transformation is starting. Uncle Terrence is worried.

TERRENCE

Andy!

CLAUDE

still walking. The light is getting brighter - he's almost

around the bend. He's buzzing with a scary kind of euphoria.

CLAUDE

The choice is yours Andy: deny your

own blood, die an unfulfilled child,

or face the challenge of mind and

body united at last. Which will it

be?

He rounds the corner and sees Andy hunched over Serafine's

body. He keeps walking.

CLAUDE

Don't be confused by old beliefs.

This is beyond mere words like good

or evil. You have to feel it!

ANDY

whips around, BLOOD streaming from his mouth, gun aimed,

grip rock solid, his features back to normal, eyes locked on

the beast with determined, controlled rage.

ANDY

Feel this.

BLAM! BLAM! He pumps out two shots. One hits Claude in the

upper left part of his CHEST. The other hits his CHEEK, exits

at the back of his jaw and shatters the cheekbone of A SKULL

on the wall behind him. He screams in pain and dives for

cover into a SMALL INTERSECTING TUNNEL.

Andy gets up, pausing for a second to look back at Serafine's

face. It looks peaceful. The undead are gone. He starts after

Claude.

CLAUDE

sits leaning against a wall of skulls. The face wound is

bleeding but not mortal.

CLAUDE

Stupid boy...

With an awesome rage he grimaces and starts to TRANSFORM HIS

LEFT SIDE - his muscles swell around the chest wound and THE

BULLET actually squeezes out of the hole and falls to the

ground. The wound closes up as the flesh keeps morphing and

growing hair.

ANDY

creeps around the corner, gun and flashlight aimed, towards

the small tunnel.

When the flashlight beam falls on Claude, he's in mid pounce -

rocketing at Andy with bad intent. BANG! Andy gets off a

shot - it hits Claude in his THIGH as he tackles Andy.

They wrestle, Claude in mid-transformation, his left side

further along, hairier, his facial bones shifting. His thigh

swells and ripples and THE BULLET SQUIRTS OUT of its wound.

His left arm, mostly transformed, grips Andy's gun hand.

BANG! Andy squeezes off a shot, blowing off the tip of

Claude's transforming THUMB.

CRUNCH! Claude clamps his vice like grip and crushes the

gun. Andy wrenches his hand away as Claude hurls him off

like a rag doll.

Andy flies through the air and SMASHES into the tunnel wall.

The wall of ancient SKULLS and BONES shatters and collapses

around Andy - burying him in ossified fragments.

Andy lifts himself out of the pile and looks at Claude, who

lies on the floor finishing his transformation. His right

side is catching up with his left and his head is now more

beast than human. All the while he glares at Andy and doesn't

appear vulner able.

Andy takes advantage of the moment to get the hell away - he

runs into the tunnel, leaving Claude behind to finish

transforming.

Andy makes a few quick turns through the maze - it seems he

has evaded Claude for the moment. He pulls the GRENADE from

his pocket, turns off his flashlight and pads along softly,

listening for the beast.

Suddenly a sharp sound from behind him makes Andy jump.

VOICE

(French - screaming)

STOP WHERE YOU ARE! HANDS UP!

Andy turns around. A scared COP is aiming his gun at him,

shining a flashlight in his face. Andy puts his hands up.

COP

(English)

It's you. You should be dead in that

wreck with Bazin and Racine!

ANDY

Shhh! Be quiet, man! We're not alone -

COP

Shut up! Save your stories. The only

thing I want to hear is you begging

for your life. I want to see you

suffer, like they did.

(he sees Andy's look

of terror)

Haha! You're scared now, eh? Come

on. Where's the scary monster now

huh? Ha ha... We'll see who -

A ROAR cuts him off. The cop spins around - the beam from

his flashlight flooding THE BEAST with light as it springs

through the air at him. Andy runs.

COP

(French)

My God!

He gets off one shot - it hits the beast in the arm, but

it's too late. The beast clamps it's massive jaw onto the

cop's neck and bites his head clean off. THE HEAD rolls across

the floor and comes to rest in a pile of skulls.

CUT TO:

SERAFINE'S BODY

In the tunnel. Two queasy cops stand over it. LeDuc approaches

them.

LEDUC

(French)

What have you got?

COP

(French - disturbed)

It's the girl. Someone cut out her

heart.

LEDUC

(Matter of factly)

Good.

The cops look at him like he's nuts.

CUT TO:

ANDY

is crouched at a corner of two catacomb tunnels, grenade

clutched in his hand. He hears something and carefully peers

around the corner.

ANDY'S POV

At the end of the long tunnel of bones, the beast lurks at

another intersection, sniffing the air and growling, some

forty yards away.

Andy ducks back around the corner. He holds up the grenade,

pulls the pin, and whispers a quick prayer...

ANDY

(to himself)

Just throw a strike...

With a determined grunt, he pitches the grenade around the

corner and then ducks back. Suddenly the beast's growling

stops. Andy grits his teeth and closes his eyes, awaiting

the explosion. Just silence. Then a small skittering sound

close by. He opens his eyes.

THE GRENADE

skitters to a stop, a couple of feet from him.

ANDY

Shit!

He bolts and gets five steps from it when

KA-BOOM!! It explodes behind him, launching him through the

air along with a spray of bones and rubble. He lands twenty

feet away and clutches his left leg, wincing in pain.

ANDY

Ahh! Son of a bitch!

LEDUC

and the cops turn towards the sound of the blast.

LEDUC

(French)

Let's go.

ANDY

struggles to his feet. He clicks on his flashlight and sees

the blast has caved in the tunnel- a wall of rubble seals

Andy off from the beast.

Andy breaths a sigh of relief. At least he's got time. He

starts limping away from the wall of rubble...

SMASH!! The rubble explodes again as the beast crashes through

it like a freight train, sending rocks and bones flying.

Andy runs as fast as he can with his bad leg. The beast closes

in on him quickly. Andy jumps up for a NARROW OPENING in the

tunnel ceiling. He grabs the metal rung inside and pulls

himself up into the vertical shaft as the beast pounces. The

beast catches Andy's foot with its claw. Andy pulls out of

his sneaker and just barely eludes the beast's grasp.

Andy climbs up the metal rungs in this old service shaft -

barely wide enough for his body. The beast claws and gnashes

his teeth at the opening but can't fit in - for now.

Andy reaches an iron grate, pushes it up and crawls out into

ANOTHER DRIPPY TUNNEL

Like the ones near the party - no skulls. There's a lot of

water in this one. It looks familiar.

CLAUDE

is transforming back into human shape. His face is now more

human than beast. He screams into the vertical passage in a

growling, not quite human voice.

CLAUDE

You have no advantage, Andy! My body

has no limits!

ANDY

looks around in the tunnel. He sees something (we don't). He

limps off towards it.

CLAUDE

in his human shape, crawls into the vertical service passage

and climbs up the rungs.

Claude emerges from the shaft into the dark tunnel. Andy's

no where in sight. We hear only dripping water.

CLAUDE

So this is how you choose to die.

Hiding like a scared rabbit. Just

praying I don't find you...

ANDY

crouches under a concrete ledge in a very dark space. Claude's

voice sounds distant, echoey, and competes with the closer

sound of trickling water.

CLAUDE (O.S.)

Well I assure you, your nervous sweat

glands will give you away soon enough

my trembling little rabbit.

CLAUDE

begins transforming. He falls to the ground and groans with

joyous pain as his body noisily transforms.

CLAUDE

AHHHH! IT'S FUCKING GLORIOUS!

AAAARRGGGHHH!!

ANDY

huddles in his hiding place, looking out into the darkness.

ANDY

(to himself)

C'mon already...

A glint of light appears in a puddle on the ground. Andy's

eyes widen.

CLAUDE

His head is transforming - his exaltations become more

animalistic.

CLAUDE/BEAST

RRAAAAAARRRRRRGGG!!

LEDUC

still in the catacombs, hears Claude's yell echo through the

tunnels. He thinks it came from above. He runs towards a

stairway.

THE BEAST

Claude is fully transformed. He sniffs the air, locks in on

a scent and sets off through the tunnel.

ANDY

watches intently as the light in the puddle gets brighter.

It starts reflecting on the wet concrete walls of this tunnel.

ANDY

(to himself)

Now.

Andy clicks on the flashlight, shines it at himself, and

yells for all he's worth.

ANDY

HEY YOU DIRTY EVIL FUCK! C'MON AND

GET ME! I DARE YOUR UGLY ASS! (etc.)

THE BEAST

cocks its head towards Andy's taunts. The sound of flowing

water is close by. The beast pounces towards Andy's voice,

into

THE WET, SLIPPERY STAIRWAY

that Andy slid down that first night in the tunnels. The

beast loses it's footing and slips helplessly down the slick,

eroded stone, GROWLING furiously.

LEDUC

runs down a tunnel, towards Andy's screaming voice. The beam

of his flashlight illuminates the landing ahead of him,

halfway down the stairwell. He sees THE BEAST slide by,

clawing in vain for a grip.

A METRO TRAIN

screams around the bend, lighting up the whole metro tunnel.

Andy is still SCREAMING from his refuge under a ledge.

THE BEAST

shoots out of the stairwell and lands on the tracks. It looks

up, frozen for a split second - it's horrible snarling face

is caught in the speeding train's harsh glare...

SMASH!! Impact. The beast is sucked under the wheels and

ground to bits between track and wheels.

LEDUC

at the landing, looks down the stairwell as the train rushes

past.

ANDY

huddled next to the passing train, clenches his fist in

victory.

ANDY

Yes!

The train passes. Andy gets up and shines his flashlight

around the ground. The beasts body lies in chunks, smears,

and puddles. The parts begin morphing back into Claude's

human forms - A THIGH here, A PIECE OF SPINE there...

LEDUC inches his way down the last few feet of the stairway,

using the rusty pipe for a handhold. He walks up with his

flashlight and aims it at the BEAST'S HEAD, which finishes

turning back into Claude's head.

LeDuc glances at Andy. He takes a small envelope from his

pocket and shakes out a single SILVER BULLET. He loads it

into his gun and FIRES straight into Claude's lifeless head.

LEDUC

(to Andy)

I always wanted to do that. I saw it

in a movie.

ANDY

What about me?

LEDUC

My men think you died and floated

away in the Seine. If I wanted to, I

could let them believe that.

(a long pause)

But that would be illegal...

Andy looks at him carefully, trying to read him. LeDuc's

face is impassive.

CUT TO:

INT. COURTROOM, NIGHT

The prosecutor, who speaks English with a thick French accent,

has an extremely sarcastic look on his face. He wheels around

dramatically, and confronts Andy, who sits uneasily on the

stand, wiping the sweat from his brow.

PROSECUTOR

You intend us to believe that you

committed these murders because the

moon was full and you were somehow

magically transformed into a huge

powerful beast with an insatiable

appetite for human flesh, is that

right?

ANDY

You don't understand!

The prosecutor turns away towards the jury to mock Andy.

PROSECUTOR

Oh? So I don't understand? You think

it's me who has a hard time coming

to grips with reality?

The JURORS snigger at Andy's expense. But wait, suddenly

they look concerned - something's wrong. The prosecutor

continues, his back to Andy.

PROSECUTOR

You think I'm the one who needs my

head examined? I don't understand?

Well, Mr. McDermott, enlighten me.

He wheels around to Andy and comes face to face with

THE BEAST

huge and ravenous. It goes for his throat.

PROSECUTOR

Good God!!! Aaaaaaaa!!!

The beast tears the prosecutor apart, spraying blood

everywhere. The jury - oddly enough - break into polite

applause. One less lawyer...

CUT TO:

INT. AIRPLANE - NIGHT

Andy wakes up with a start - a concerned STEWARDESS is leaning

over him. Disturbed PASSENGERS crane their necks, peering at

him like he's nuts.

STEWARDESS

You were screaming in your sleep,

sir. Are you okay?

Andy looks around, getting his bearings. He takes a deep

breath and shakes it off.

ANDY

Yeah. It was just, um... something I

ate.

The stewardess nods and smiles, a little uneasily. He picks

up the Bloody Mary from his table and gulps some down. A

little bit of tomato juice dribbles down his chin. He looks

out the window.

EXT. AIRPLANE

It flies along over a blanket of clouds, past the huge, silver

moon. The song is Cat Stevens' "Moonshadow", sardonically

covered by Nirvana, with the oh so appropriate lyrics: "If I

ever lose my legs..."

ROLL CREDITS