American Werewolf in Paris Movie Script

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: Enculé 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