"CRAVINGS"
an original screenplay
by
Charles Deemer
FADE IN:
EXT. BRITISH COLUMBIA - WOODS - NIGHT
A gang of MEN holding flashlights and torches
chases someone
through the woods.
The object of their hunt is VICTORIA LESEUR,
late 30s and
looks younger. She wears a formal gown that
is blood-stained
and torn.
Victoria looks terrified as she races ahead
of the pursuing
gang. And with reason: the men are gaining.
Victoria sees an obstacle ahead, a mountain
of stone. She
struggles to reach it before the men catch
her.
The men also see the mountain.
MAN
She can't get far now!
They run even harder. The lights dart ahead
of them like
volleys of bullets.
EXT. WOODS - CAVE - NIGHT
At the foot of the mountain is a cave.
Victoria sees it.
The men are closing in.
MAN
She's heading for the cave!
Just ahead of them, Victoria disappears into
the cave.
INT. CAVE - NIGHT
The cave is filled with bats.
A smile crosses Victoria's lips. One would
think she was
home. She moves deeper into the cave.
The men enter. Lights dart through the
darkness.
Bats flutter everywhere.
MAN
There!
A light falls on something on the ground: it
is Victoria's
gown. She's disappeared, leaving her gown
behind her.
2.
The men exchange knowing glances. Just as
they suspected:
she's turned into a bat!
They mumble among themselves. Then a bat dive
bombs them,
and the men race out of the cave.
Out of the shadows comes Victoria, in her
underwear, smiling.
She is safe.
EXT. CROWN MOUNTAIN RESORT - SWIMMING POOL -
NIGHT
Late. Victoria has the pool to herself. It's
officially
closed but she swims quiet, slow laps. She
looks relaxed
after the earlier ordeal.
Into the light steps MARTIN LESEUR, 40s, her
husband. He
waits at the deep end until she swims close.
MARTIN
Time to come to bed, Victoria.
VICTORIA
Do I have to?
MARTIN
You know you must.
She climbs out of the pool.
INT. SOFTWARE COMPANY - VICTOR'S OFFICE - DAY
VICTOR MONTGOMERY, 20s, sits at his desk,
working on a
computer.
JANEY, 20s, beautiful, appears in the
doorway.
JANEY
Knock, knock.
Victor looks up. He is stunned, and quickly
flustered, to
see her.
JANEY
Hello, stranger.
VICTOR
Janey ...
JANEY
I hear you finally got a date --
you're getting married! Bad joke. But
it's true, you're getting married?
3.
VICTOR
Yes, I met her, Margaret, five or six
months ago and--
JANEY
You don't have to explain anything to
me. I'm just glad you're happy.
VICTOR
I'm happy, yes, of course.
JANEY
So the broken heart I gave you wasn't
permanent. See how I was right? We're
too different. I'm thrilled you found
someone. Well ... That's all I came
by to say.
She leaves.
VICTOR
(after her)
I'd like you to come--
But she's already gone. Victor buzzes his
secretary.
VICTOR
Muriel, send a wedding invitation to
Janey, Jane Sebastian, in Accounting.
INT. SOFTWARE COMPANY - VICTOR'S OFFICE - DAY
- LATER
Victor stares out the window, lost in his
thoughts. JEFF,
20s, knocks and steps into the office.
JEFF
Jitters?
Victor turns from the window.
VICTOR
I saw Janey. She came by to wish me
happiness.
JEFF
You okay with that?
VICTOR
I don't know. It's strange ... the
moment I saw her ...
He can't go on.
4.
JEFF
Victor, you're getting married.
He quickly recovers and looks at his watch.
VICTOR
I have an appointment.
JEFF
Brew after work?
VICTOR
I'll meet you there.
INT. OFFICE BUILDING - HALLWAY - DAY
Victor steps off an elevator and walks down a
hallway to an
office.
The door reads "Lloyd Jacobson, Private
Investigations."
INT. JACOBSON'S OFFICE - DAY
Victor and JACOBSON, 30s, a detective, sit in
his office.
Victor is studying a photograph.
The PHOTOGRAPH is of Victoria LeSeur, taken
when she was in
her 20s.
It is clearly the woman who was being pursued in
the woods.
VICTOR
Where did you find her?
JACOBSON
She lives in Viren. It's in British
Columbia, Canada.
VICTOR
And my father?
JACOBSON
He's also alive.
Victor hands Jacobson the photo but the
detective doesn't
take it.
JACOBSON
It's yours.
VICTOR
Thank you.
He looks at it again.
5.
VICTOR
She's so beautiful.
He looks at Jacobson.
VICTOR
I can't tell you how important this
is to me.
Jacobson hands him a business envelope.
JACOBSON
You can try ... your bill.
INT. BAR - DAY
A popular after-work watering hole.
INT. BAR - BOOTH - DAY
Victor and Jeff share a pitcher of beer.
JEFF
You've been trying to find your
parents for almost a year and now
that you've found them, you look like
you just got fired. What's up?
VICTOR
It's Janey.
JEFF
I was afraid of that.
VICTOR
I should've let it pass. Said thank
you and sent her on her way.
JEFF
I don't follow.
VICTOR
I invited her to the goddamn wedding.
JEFF
You're not still in love with her ...
Victor?
VICTOR
Of course not.
Jeff looks skeptical.
6.
VICTOR
Jeff, I'm getting married! I love her.
JEFF
Who?
VICTOR
Margaret!
EXT. WALLER MANSION - GARDEN - DAY
Victor is walking in a luxurious garden with
his fiancee,
MARGARET WALLER, 20s, plain, aristocratic.
Margaret is looking at the photograph of
Victoria LeSeur.
MARGARET
She's so beautiful.
VICTOR
Almost as beautiful as you.
MARGARET
Do you have a picture of your father?
VICTOR
No.
They walk in silence a moment, looking at the
photograph
together.
VICTOR
Margaret, I'm going to Canada. I have
to see them.
This surprises her.
MARGARET
When?
VICTOR
Right away. I know what you're
thinking. The wedding's less than a
week away.
MARGARET
There's so much to do!
VICTOR
I want them to come, and I don't want
to give them the opportunity to say
no on the phone. You understand,
don't you?
7.
MARGARET
This will give mother something else
to panic about.
VICTOR
I'm glad you don't take after her.
Margaret gives him a funny look, as if
thinking, If he only
knew!
VICTOR
I'll be back in a few days. I promise.
MARGARET
Victor, I love you so much.
They embrace and kiss.
INT. TRAIN STATION - DAY
Seeing Victor off are Margaret and her
mother, GLADYS
WALLER, 50s, over-bearing and arrogant. She
looks like being
in a public train station is as unsettling as
visiting a
prison filled with the unwashed.
GLADYS WALLER
The train, Victor! When time is so
short?
MARGARET
You know he hates to fly.
VICTOR
Don't worry, I'll be back in plenty
of time. And with my parents.
GLADYS WALLER
Your parents are the people who
raised you, God rest their souls.
Victor, I understand how--
MARGARET
Mother...
GLADYS WALLER
Now that you've found them, I know
how much you want them to be here. I
truly understand. But that's what
they have telephones for. You call
and invite them.
VICTOR
I have to board.
8.
GLADYS WALLER
If you have to ask them in person,
it's what they have airplanes for.
MARGARET
Call me from the hotel.
GLADYS WALLER
Today we have email, for God's sake.
There's no reason to stoop to this
level.
VICTOR
Mrs. Waller, be thankful I didn't
take the bus.
He winks at Margaret and moves off to get in
line to board.
INT. TRAIN STATION - VIEWING AREA - DAY
Margaret and Gladys watch the train pull out
of the station.
MARGARET
He's going to be fine, mother.
GLADYS WALLER
Of course, he is. He thinks I'm such
a worry wart. I didn't want to
disappoint him. We can get a lot more
done without Victor around to distract
you. Come along, dear.
She takes her daughter's arm and moves off.
INT. TRAIN - DAY
Victor moves down the aisle, looking for a
seat. The train
is crowded.
He finds an empty seat and takes it.
INT. TRAIN - CLUB CAR - DAY
The club car, too, is crowded. Victor enters
and finds a
spare seat at a small table, occupied by a
man sitting alone.
This is JIMMY BOW, 30s.
VICTOR
Do you mind?
JIMMY
Please.
9.
Victor sits down.
JIMMY
How far you going?
VICTOR
Viren. It's in British Columbia. I've
never been there before.
JIMMY
You like mountains?
VICTOR
The higher, the better.
JIMMY
You'll love Viren then.
VICTOR
How far are you going?
JIMMY
Past Viren, to the end of the line.
EXT. VIREN - MAIN STREET - DAY
Viren is a small town in the foothills of
rugged mountains.
Main Street. Taverns, shops.
A MAN stops at an alley. He looks up and down
the street,
then darts into it.
EXT. ALLEY - DAY
The man continues forward, looking behind to
make sure no
one has seen him.
He reaches a boarded-over building at the end
of the alley.
He takes steps down to a basement door.
INT. ABANDONED BUILDING - BASEMENT - DAY
A 12-step meeting is in progress as the man
enters late. He
takes a seat in the back.
Only a dozen or so people are in attendance.
Some wear dark
glasses, despite the dim interior. All have
sallow
complexions.
Sitting in the meeting together are Victoria
and Martin. He
is holding his wife's hand.
10.
Victoria wears a scarf, a hat, dark glasses,
looking like an
imitation of Greta Garbo in hiding.
The meeting is chaired by a WOMAN wearing too
much makeup.
She looks a little ghoulish.
CHAIRWOMAN
Anyone else?
The man in back rises.
MAN
I'm James, and I'm a vampire.
VOICES
Hi, James, welcome!
MAN
Last night I put my coffin in the
closet -- and slept in a bed!
Scattered applause.
MAN
I had a good night's sleep, too. And
one more thing, you'll notice I
stopped wearing dark glasses! Thank
you.
He quickly sits down, grinning.
CHAIRWOMAN
We have time for one more.
Martin nudges his wife. She shakes her head.
He gives her a stare, Do it!
Victoria gives in and stands up.
CHAIRWOMAN
Yes, dear?
All eyes are on Victoria.
VICTORIA
My name's Victoria, and I'm a vampire.
People respond in unison.
PEOPLE
Hi, Victoria, welcome!
11.
VICTORIA
Last week ... while we were on
vacation ... I relapsed again. You
probably read about it in the paper
... the young man at the resort ...
Scattered responses: surprise, groans of
disappointment.
VICTORIA
So it's back to square one.
Knowing nods around the room.
Martin reaches up, smiles, squeezes her hand.
Tears well in
her eyes.
VICTORIA
I'm going to really try to do better
this time.
A few people applaud. Others look skeptical.
Above the chairwoman, a banner reads:
"Vampires Anonymous"
INT. TRAIN - CLUB CAR - DAY
Victor and Jimmy still sit over drinks.
JIMMY
That's quite a story. Your parents
must be as excited as you are.
VICTOR
They don't know I'm coming.
JIMMY
Really? That's even better. I'm sorry
I'm on assignment, it would make a
hell of a human interest story.
VICTOR
On assignment?
JIMMY
I write for The Spectacle.
VICTOR
I'm sorry, I don't know it.
JIMMY
One of those tabloids you see in the
supermarket. We're the new kid on the
block.
12.
VICTOR
What's the assignment?
Jimmy grins.
JIMMY
A guest at a resort was murdered. I'm
supposed to show that a vampire did it.
A WAITER appears.
WAITER
Another round, gentlemen?
JIMMY
By all means.
INT. TRAIN - HALLWAY - DAY
Victor and Jimmy head back to their seats.
They reach a men's room.
VICTOR
It was nice talking to you.
JIMMY
Likewise.
Victor enters the men's room.
INT. TRAIN - MEN'S ROOM - DAY
Victor stares at his face in the mirror. He
looks tired,
worried.
He turns on the water, stoops forward and
splashes water on
his face.
EXT. COUNTRYSIDE - SUNSET
The train speeds along tracks at sunset.
There are mountains
in the distance.
INT. TRAIN - DINING CAR - NIGHT
Victor and Jimmy share a table again. They
are dining.
VICTOR
Is it hard to write about something
you know isn't true?
13.
Jimmy looks puzzled.
VICTOR
"Boy born with three heads and each
has the brain of a genius."
JIMMY
You read the headlines. Everyone
does, of course. Most people won't
admit it.
VICTOR
Is it like writing humor? You're
laughing as you do?
JIMMY
Laughing all the way to the bank.
VICTOR
I'm curious. How do you track down a
vampire? How do you figure out
what
to write?
JIMMY
I interview people. You can find
someone who believes almost anything.
Then it's just a matter of getting
him to open up. And embellishing what
he says so it's more colorful.
VICTOR
Sounds like a very creative job.
JIMMY
It pays the rent while I work on my
novel.
EXT. VIREN - TRAIN STATION - NIGHT
The train pulls into the station.
EXT. VIREN - TRAIN STATION - PLATFORM - NIGHT
Victor and Jimmy come off the train. Jimmy
quickly lights a
cigarette.
Jimmy offers his hand.
JIMMY
Good luck with meeting your parents.
14.
VICTOR
Thank you. And you with finding your
vampire.
Jimmy playfully crosses two index fingers to
form a cross.
JIMMY
Bring them on!
Victor laughs and heads out.
INT. LESEUR APARTMENT - NIGHT
Victoria and Martin sit at the dinner table,
sipping wine.
Victoria has been crying.
VICTORIA
Martin, I couldn't help it. He was so
beautiful.
MARTIN
You were old enough to be his mother.
It's always that way.
VICTORIA
I'm sorry.
MARTIN
What's going to be different this time?
VICTORIA
I try. I really do. Maybe we should
move.
MARTIN
When has moving ever worked?
He finishes his wine and stands up.
VICTOR
Don't hate me.
MARTIN
I could never hate you. You disappoint
me. I'm going to read.
VICTORIA
(after him)
I'll do better. I promise.
But even she doesn't look like she believes
it.
15.
EXT. VIREN HOTEL - NIGHT
Establishing.
INT. VIREN HOTEL - FRONT DESK - NIGHT
Victor is at the front desk. The CLERK
returns a sheet of
paper.
CLERK
That's just up the street and around
the corner, sir. Less than a mile.
VICTOR
Good, I can walk. Thank you very much.
EXT. VIREN HOTEL - NIGHT
Victor comes outside and heads up the street.
EXT. LESEUR APARTMENT - NIGHT
Victor arrives in front of the LeSeur
apartment. He checks
the address with the one he has written down.
INT. LESEUR APARTMENT - NIGHT
Martin is reading when the doorbell rings. He
calls to
Victoria in another room.
MARTIN
I'll get it!
He goes to the door and opens it. He faces
Victor.
A silence. Victor can't speak.
MARTIN
Yes?
Victor clears his throat.
VICTOR
Is this the LeSeur residence?
MARTIN
It is.
VICTOR
You're Martin LeSeur?
16.
MARTIN
I am. And who are you?
VICTOR
Sir, I think I'm your son.
Martin stares at him, waiting. Finally:
MARTIN
My son?
VICTOR
My name is Victor Montgomery. I was
named after my stepparents, who
adopted me when I was very young. For
the past nine months, since my step
parents died, I've been doing research
to learn the identity of my birth
parents.
MARTIN
And if I told you I didn't have a son?
VICTOR
Then there must be another Martin
LeSeur.
Martin studies him.
MARTIN
Can I buy you a drink? There's a pub
around the corner.
VICTOR
Yes, sir.
MARTIN
I'll be just a moment.
EXT. LESEUR APARTMENT - NIGHT
Victor and Martin come outside. They start
walking to the pub.
They are awkward together, neither knowing
what to say.
INT. PUB - NIGHT
Martin joins Victor at a table. He carries
two pints of ale.
VICTOR
I guess I should apologize.
17.
MARTIN
Not at all.
VICTOR
Sir?
MARTIN
For God's sake, boy. Victor.
He reaches across the table and squeezes
Victor's hand.
VICTOR
Dad?
Martin nods, yes.
Victor takes his other hand. Neither knows
what to say until:
MARTIN
I'm so glad to see you. I never
thought I would.
He grabs Victor by the back of the neck,
pulls him forward,
and their foreheads touch.
MARTIN
My son.
EXT. VIREN - NIGHT
Victor and Martin walk along a street.
MARTIN
I want to forewarn you, your mother
may not be able to handle this. She's
often regretted giving you up for
adoption.
VICTOR
Really?
MARTIN
She also hasn't been feeling well.
VICTOR
I could come back tomorrow ... after
you talk to her.
MARTIN
Let me see how she's doing.
They arrive at the LeSeur apartment.
18.
INT. LESEUR APARTMENT - NIGHT
They enter.
MARTIN
Make yourself comfortable.
He gestures to the living room.
MARTIN
I'll be right back.
INT. LESEUR APARTMENT - LIVING ROOM - NIGHT
Victor comes into the living room.
The room is dark, gothic.
He finds a photograph on the mantle: the
young Victoria is
holding a baby. Could it be himself?
INT. LESEUR APARTMENT - BEDROOM - NIGHT
Victoria has fallen asleep. A magazine rests
on the bed
beside her.
Martin approaches and touches her.
MARTIN
Victoria?
She opens her eyes. She sees something in his
expression.
VICTORIA
What is it? What happened?
MARTIN
I have wonderful news.
INT. LESEUR APARTMENT - LIVING ROOM - NIGHT
Victor still stares at the photograph when
Martin leads
Victoria into the room. He holds her arm.
MARTIN
Victor?
Victor turns.
MARTIN
May I present your mother, Victoria
LeSeur.
19.
VICTORIA
Victor?
VICTOR
Hello, mother.
VICTORIA
Victor!
She races into his arms, and they embrace.
INT. LESEUR APARTMENT - DINING ROOM - NIGHT
An empty bottle of champagne is on the table.
Victoria sits
next to Victor, Martin across from them.
MARTIN
You must spend the night here.
VICTOR
I've already paid for a room at the
hotel. I have to call Margaret.
VICTORIA
What's she like?
VICTOR
Warm, thoughtful. You'll like her.
VICTORIA
Martin, one day we'll be grandparents.
MARTIN
I suppose we will.
VICTOR
What time is it?
MARTIN
You must be exhausted.
VICTORIA
We're all exhausted! It's been such
an extraordinary night.
VICTOR
What time shall I come by in the
morning?
MARTIN
We're late sleepers. And we'll have
to pack. Why don't we meet you
at
the station for dinner? Say sixish?
20.
VICTOR
Then you want to take the night train.
MARTIN
It's the best we can do.
VICTOR
I mean, that's fine! Dinner at the
station it is.
EXT. LESEUR APARTMENT - NIGHT
Victoria and Martin escort Victor out.
Victoria embraces her son again. The look she
gives him is
almost lustful.
VICTORIA
You've grown into such a handsome boy!
VICTOR
The photograph on the mantel ... ?
VICTORIA
Of course it's you! I've looked at it
every day these past ... how many
years?
VICTOR
Twenty-four.
VICTORIA
Twenty-four years. But now we can
start anew, can't we?
VICTOR
Yes, we can.
MARTIN
Goodnight, my son.
VICTOR
Goodnight.
He walks away.
Victoria watches him until Martin takes her
arm and leads
her back inside.
INT. LESEUR APARTMENT - NIGHT
They come back into the apartment.
21.
Victoria sees how Martin is looking at her.
VICTORIA
What?
MARTIN
This is not just another handsome
young man. This is your son!
VICTORIA
And he's come back to me!
EXT. VIREN HOTEL - DAY
Victor comes out the next morning.
A SERIES OF SHOTS
Victor sight-seeing the town: having coffee
at an outdoor
cafe; browsing through a bookstore; walking
through a park.
INT. VIREN HOTEL - NIGHT
Victor closes his packed suitcase.
EXT. TRAIN STATION - NIGHT
Victor stands at the station, waiting for his
parents.
He sees them in the distance and waves.
Victoria and Martin arrive with a large
amount of luggage.
Martin sees that Victor is surprised by how
much they have.
MARTIN
We're going to move. Your mother
insists on living close to you.
Victor looks at his mother, who is smiling at
him. He smiles
back.
INT. TRAIN - NIGHT
The threesome move down the aisle, looking
for free seats.
They find some together and take them.
22.
INT. TRAIN - CLUB CAR - NIGHT
Victor, Martin and Victoria enter the club
car. Jimmy is
sitting alone at a table.
JIMMY
Victor! Please join me!
VICTOR
Jimmy, what are you doing here?
JIMMY
Story was a piece of cake. Join me,
please.
VICTOR
Thank you, we shall.
Everyone gets settled.
JIMMY
You must be the parents.
VICTOR
I'm sorry ... Martin, my father ...
and my mother, Victoria.
JIMMY
Victor told me the story. It's quite
something.
EXT. COUNTRYSIDE - NIGHT
The train speeds along.
INT. TRAIN - CLUB CAR - NIGHT
The foursome at the table.
VICTOR
How'd the interviews go?
JIMMY
Quite predictable, actually.
Victoria looks at Victor.
VICTOR
Jimmy is a writer.
JIMMY
A real one when I have time. I'm only
a hack to pay the rent.
23.
VICTORIA
And what do you write about?
VICTOR
He was interviewing people about
vampires. You must've heard about the
murder.
VICTORIA
I'm not sure.
JIMMY
A young man at Crown Mountain Resort
was found with his throat slit. Some
people interpreted this as the wound
left by a vampire.
VICTORIA
And what do you think?
JIMMY
I don't believe in vampires, if
that's what you're asking.
VICTORIA
I do.
MARTIN
She also believes in Santa Claus and
the Tooth Fairy.
He grins.
EXT. TRAIN - NIGHT
The train speeds along.
INT. TRAIN - AISLE - NIGHT - LATER
Victor is moving down the aisle toward his
seat.
Coming the other way is Victoria.
They meet and stop.
VICTORIA
Is the rest room this way?
VICTOR
Straight ahead.
They move to pass one another in the narrow
aisle. There's
barely enough room.
24.
As they pass closely, chest to chest,
Victoria's mouth comes
near Victor's neck.
Her mouth opens longingly before he passes
on.
Then she watches him go.
EXT. TRAIN - DAY
The sun rises as the train continues its
journey.
INT. TRAIN - SEATS - DAY
Victor, Martin and Victoria in their seats
together.
MARTIN
We're almost there, love. You may
want to get ready.
VICTORIA
I was just about to. Excuse me.
She takes a small suitcase and leaves.
INT. TRAIN - LADIES ROOM - DAY
Victoria has barely enough room to open the
small suitcase.
She prepares for being exposed to the sun:
she puts a
protective cream on her face and arms. Then
she puts on the
same Greta Garbo outfit she wore before
(sunglasses, scarf,
shade hat).
EXT. TRAIN STATION - DAY
The train pulls into the station.
Waiting for it are Margaret and Gladys.
GLADYS WALLER
I'm nervous. I hope they come from
good stock.
MARGARET
Mother, you are not going to act like
a snob with them. Let them find out
slowly.
GLADYS WALLER
I'm just saying I hope he comes from
a good gene pool.
25.
MARGARET
It doesn't matter.
GLADYS WALLER
It most certainly matters to your
children!
Passengers disembark.
Victor, Martin and Victoria step off. Behind
them is Jimmy.
Victor offers his hand.
VICTOR
It's been a pleasure.
JIMMY
The same.
VICTOR
I'd like to invite you to my wedding.
JIMMY
I'd love to come.
Margaret spots Victor.
MARGARET
Victor! Victor!
She heads off, with her mother following.
Everyone meets. All eyes turn to Victor to
make the
introductions.
VICTOR
Mrs. Waller, I'm pleased to present
my parents.
Gladys can't take her eyes off Victoria but
recovers enough
to fake cordiality.
GLADYS WALLER
This is such an honor.
Victoria immediately figures her out and
plays along.
VICTORIA
Likewise, I'm sure.
Victor and Margaret exchange a look of
relief. They seem to
get along.
The Waller limo pulls up, and the CHAUFFEUR,
Daniel, hops
out to open the door.
26.
He's a hunk, and Victoria immediately
notices.
Martin notices Victoria admiring the
chauffeur and discreetly
elbows her.
INT. WALLER LIMO - DAY
Everyone has plenty of room in the back of
the Waller limo.
GLADYS WALLER
Of course you'll stay with me. I have
so much room, especially since Edgar
died. I need someone besides the help
to talk to.
MARTIN
Thank you, but we can't. We have a
terrible affliction, I'm afraid:
we're really very private people.
GLADYS WALLER
I don't blame you! There are so few
people in the world worth knowing.
MARGARET
Mother ...
MARTIN
Any hotel that's convenient would be
fine.
GLADYS WALLER
At least let me get you a suite at
the Ambassador.
MARTIN
I wouldn't think--
But he stops when Victoria elbows him.
VICTORIA
Do they have a swimming pool?
GLADYS WALLER
Olympic size, I'm sure.
Gladys picks up the limo phone and punches a
button.
EXT. AMBASSADOR HOTEL - DAY
The limo pulls in front of the Ambassador
Hotel.
A DOORMAN rushes forward to open the door.
27.
INT. WALLER LIMO - DAY
Martin and Victoria maneuver to get out.
GLADYS WALLER
I'll send the limo at ten. It will
give us a chance to visit before the
wedding. Or is that too early?
VICTORIA
Perhaps a little.
MARTIN
Ten is fine.
They step out.
EXT. AMBASSADOR HOTEL - DAY
Martin and Victoria watch the limo pull away.
MARTIN
Poor Victor.
VICTORIA
I don't know what he sees in her.
MARTIN
I meant the mother. And I saw the way
you looked at the chauffeur.
VICTORIA
Looking does not mean touching, Martin.
She smiles but he doesn't look convinced.
EXT. WALLER MANSION - NIGHT
Victor is saying goodnight to Margaret. They
break an embrace.
MARGARET
I'm so happy for you. It's almost a
miracle, isn't it?
VICTOR
The timing couldn't be better.
MARGARET
Tomorrow at this time, I'll be Mrs.
Victor Montgomery.
They embrace and kiss again.
28.
EXT. WALLER MANSION - BACK AREA - DAY
A stage, tents, tables. The set up for the
wedding is
extravagant. It looks like a festival is
going on.
In the distance, a tennis court. A swimming
pool.
Dozens of early GUESTS are mingling as a
stream of others
arrive.
Gladys is looking for someone. Finally she
finds her
chauffeur.
GLADYS WALLER
Daniel!
He comes running to her.
GLADYS WALLER
You're to pick up Victor's parents at
the Ambassador.
CHAUFFEUR
I know, Mrs. Waller. At ten, I believe.
GLADYS WALLER
Oh, do it earlier. It will give us
more time to get to know one another.
CHAUFFEUR
Certainly, madam.
INT. AMBASSADOR HOTEL - ROOM - DAY
Martin comes into the room.
MARTIN
Victoria, are you ready yet?
No reply. He goes through the suite, looking
for her.
INT. AMBASSADOR HOTEL - SWIMMING POOL - DAY
Victoria is swimming laps as fast as she can.
She is
exhausting herself.
Martin appears.
MARTIN
Victoria! We're running late.
29.
INT. AMBASSADOR HOTEL - ROOM - DAY
Victoria is sitting on a wooden chair,
breathing heavily,
still exhausted.
Martin is behind her, massaging her
shoulders, trying to get
her relaxed.
MARTIN
Better?
VICTORIA
Martin, you know what I need.
MARTIN
It's only what you think you need.
VICTORIA
I have such strong cravings--
MARTIN
I'm going to find a meeting.
VICTORIA
Here?
MARTIN
I don't expect to find the meeting
you need. But twelve steps are twelve
steps.
EXT. AMBASSADOR HOTEL - DAY
Martin and Victoria come out and get into a
cab. Victoria is
still covered to protect herself from the
sun.
INT. CAB - DAY
The CABBY turns around.
CABBY
Where to, folks?
MARTIN
We're looking for a 12-step meeting.
CABBY
What kind?
MARTIN
It doesn't matter.
30.
CABBY
I know an AA meeting that started at
nine. It's only a couple miles from
here.
MARTIN
Perfect.
INT. CATHOLIC CHURCH - BASEMENT - DAY
The meeting is already in progress when
Martin and Victoria
enter in back.
They find empty chairs and sit down.
EXT. AMBASSADOR HOTEL - DAY
The Waller limo parks. The chauffeur gets out
and enters the
hotel.
INT. AMBASSADOR HOTEL - FRONT DESK - DAY
The chauffeur waits as a DESK CLERK buzzes
the room. He
gives up.
DESK CLERK
They don't answer, sir.
CHAUFFEUR
Have they gone out?
DESK CLERK
I just got on.
Another EMPLOYEE passes by.
HOTEL EMPLOYEE
Who are you looking for?
DESK CLERK
Mr. and Mrs. LeSeur.
HOTEL EMPLOYEE
The lady in the Hollywood starlet
disguise, like she doesn't want to be
recognized?
CHAUFFEUR
That's the one.
31.
HOTEL EMPLOYEE
They left in a cab about half an hour
ago.
INT. CATHOLIC CHURCH - BASEMENT - DAY
Victoria stands up.
VICTORIA
My name's Victoria and I'm a ...
She stops. Everyone waits.
VICTORIA
I'm a ... an addict.
EVERYONE
Hi, Victoria! Welcome!
VICTORIA
I'm new ... I mean, I've never been
to this meeting before ... we live in
Viren, in British Columbia, my
husband and I ... or did. We're here
for my son's wedding. I think we'll
move permanently, to be closer to him.
... I don't know why I'm so nervous.
I do this sort of thing all the time
in Viren.
SOMEONE IN AUDIENCE
You're doing fine.
VICTORIA
Thank you. ... I woke up this morning
with the shakes. I needed ... I
needed, well, a drink, yes ... I
needed a drink so bad! ... Sometimes
a good swim will stop my cravings but
today it didn't work.
Knowing nods around the room.
VICTORIA
I got the shakes and couldn't stop.
Martin, my husband, insisted on
bringing me here. We didn't even know
if we could find a meeting or not. On
such short notice, you know ... but
we did, and being here is really
helping me. It truly is. Thank you so
much for being here for me.
She sits down. Everyone applauds wildly.
32.
Victoria turns to Martin. He smiles and nods.
EXT. WALLER MANSION - BACK AREA - DAY
The chauffeur has explained the situation to
Gladys.
GLADYS WALLER
They're not here, and they're not
there, so I have no idea where they
can be. Shopping. They must be
shopping. They probably didn't have
time to buy a wedding gift. We just
have to assume they'll be here on
time, don't we?
EXT. CATHOLIC CHURCH - DAY
The meeting is over. People come up out of
the basement.
Martin and Victoria are shaking hands as
people crowd around
to meet them.
Finally they are alone.
VICTORIA
Martin, that's just what I needed.
You're such a love.
MARTIN
We're late. Let's find a cab.
INT. WALLER MANSION - ROOM - DAY
From an upstairs room, Victor looks over the
crowd below.
Jeff comes in.
Victor hears him and turns.
VICTOR
Is it time?
JEFF
We're waiting for your parents.
They're late.
VICTOR
Have you seen Janey?
JEFF
I don't think she's coming. ... Say,
Good, Jeff.
33.
VICTOR
(ignoring this)
I don't know why I'm so nervous.
JEFF
Loosen up. You're supposed to be
nervous.
INT. WALLER MANSION - BACK AREA - DAY
Wandering through the crowd is Jimmy.
Gladys spots him and approaches.
GLADYS WALLER
I don't believe we've met. I'm Gladys
Waller. You must be a friend of
Victor's.
JIMMY
Jimmy.
GLADYS WALLER
It's so nice of you to come.
JIMMY
I'm honored to be here.
GLADYS WALLER
We'll be starting very soon now!
She hustles away to play hostess with someone
else.
EXT. STREET - DAY
A cab is caught in traffic.
INT. CAB - DAY
Victoria and Martin sit in the back seat.
VICTORIA
Relax, dear. It's not the end of the
world.
MARTIN
We don't dare be late. Our only son,
his only wedding.
VICTORIA
You don't know that.
34.
Martin shoots her a disapproving look.
VICTORIA
Half of the marriages today do end in
divorce.
MARTIN
What a thing to say.
VICTORIA
There's no point in ignoring the
truth, is there?
EXT. WALLER MANSION - BACK AREA - DAY
The cab pulls up. Martin and Victoria climb
out.
Across the way, Gladys sees them entering the
area. She
shouts out to no one in particular:
GLADYS WALLER
Here they are!
INT. WALLER MANSION - ANOTHER ROOM - DAY
Margaret is with one of her bridesmaids,
ANNA. They've been
looking out the window to the crowd below.
ANNA
Is that them?
MARGARET
Yes! Thank God they made it. Victor
would have been so disappointed.
EXT. WALLER MANSION - TENT - DAY
MUSIC starts on a very loud organ. People
move to take their
seats.
Gladys approaches Martin and Victoria.
GLADYS WALLER
I'm so glad you made it on time.
VICTORIA
I need to use the ladies room.
Gladys starts to object, then changes her
mind. She looks
around.
35.
GLADYS WALLER
Daniel!
(to Victoria)
You'll have to hurry.
The chauffeur hurries over.
GLADYS WALLER
Show Mrs. LeSeur to the ladies room.
CHAUFFEUR
Yes, ma'am.
Victoria smiles at him, and they head off.
GLADYS WALLER
(to Martin)
Let me show you where you'll be
sitting.
INT. WALLER MANSION - BACK ENTRY - DAY
Daniel, the chauffeur, leads Victoria inside.
CHAUFFEUR
You can use this one here, ma'am.
VICTORIA
Is there a room where we can have
privacy?
Daniel isn't sure how to respond.
VICTORIA
I need you to help me with something
first. It would be embarrassing if
someone happened along. It will only
take a minute.
CHAUFFEUR
The library's this way.
EXT. WALLER MANSION - BACK AREA - DAY
Everyone but Gladys is seated. She's looking
toward the back
of the mansion, waiting for Victoria to
return.
Martin looks upset that his wife is holding
up the wedding.
He gets up to go fetch her.
36.
INT. WALLER MANSION - LIBRARY - DAY
Victoria closes the library door. She walks
to Daniel and
turns her back to him.
VICTORIA
Unzip my dress.
CHAUFFEUR
Pardon me?
VICTORIA
Unzip me.
CHAUFFEUR
I'm not sure I understand.
VICTORIA
There's really nothing to understand.
My bra is bothering me and I'm going
to remove it. Unzip my dress, and I
can do the rest.
But Daniel doesn't move.
VICTORIA
Unzip the dress and then you can leave.
Daniel reaches out and takes the zipper. He
starts pulling
it down.
VICTORIA
All the way, please.
He does so.
CHAUFFEUR
I'm going now, Mrs. LeSeur.
He is not yet at the door when:
VICTORIA
Wait!
He turns. Victoria has removed her bra and
faces him bare-
breasted.
VICTORIA
Do you find me attractive?
CHAUFFEUR
I don't want any trouble--
He stops when she starts moving seductively
toward him. His
eyes say he should go but his feet won't
budge.
37.
Victoria reaches him. She kisses him firmly
on the lips
Daniel resists for only a moment and then is
kissing back.
Victoria's lips move from his lips to his
neck. Her eyes
sparkle with desire.
Her mouth opens wide and she bites into his
neck.
EXT. WALLER MANSION - BACK ENTRY - DAY
Martin is walking up the steps to the mansion
when he hears
a terrifying male SHRIEK. He starts running.
INT. WALLER MANSION - LIBRARY - DAY
Daniel is on his back on the floor. Victoria
is on top of
him, still sucking his blood.
Martin races in.
Victoria looks up, her face covered with
Daniel's blood.
MARTIN
My God, Victoria!
VICTORIA
I couldn't help it. He's so beautiful!
Martin rushes forward and pulls his wife to
her feet.
MARTIN
What are we going to do? You've
ruined everything!
VICTORIA
I couldn't help myself ...
A MAID steps into the library. When she sees
Victoria's face
covered with blood, she SCREAMS.
Victoria looks troubled for the first time.
She stares at
Daniel's body on the floor.
VICTORIA
Oh my God ... Martin, did I do that?
MARTIN
Yes.
VICTORIA
What are we going to do?
38.
MARTIN
I don't know.
VICTORIA
I need a swim.
MARTIN
No!
EXT. WALLER MANSION - BACK ENTRY - DAY
The maid comes running out of the mansion.
MAID
Somebody call the police!
She faints on the steps as people react in
confusion.
GLADYS WALLER
Everyone be calm!
Gladys rushes ahead to see what is going on.
INT. WALLER MANSION - LIBRARY - DAY
Gladys enters the library.
A small crowd has gathered around Daniel on
the floor. A
DOCTOR among the guests kneels at his side.
GLADYS WALLER
What happened?
DOCTOR
He's dead.
EXT. WALLER MANSION - FIELD - DAY
Martin and Victoria stumble across a field
beyond the
mansion. Martin practically has to drag her.
VICTORIA
Stop, I want to turn myself in ...
MARTIN
No! They would kill you.
VICTORIA
I deserve to die ...
39.
MARTIN
We're going to beat this thing,
Victoria. You just need more time.
EXT. WALLER MANSION - DAY
An ambulance moves across the lawn to the
back of the mansion.
Victor and Margaret have appeared during the
commotion.
VICTOR
What's going on?
He takes Margaret's hand and they move toward
the mansion.
EXT. WALLER MANSION - BACK ENTRY - DAY
Victor and Margaret have to maneuver through
a large crowd
to reach the back steps.
The AMBULANCE CREW is carrying a stretcher to
their van.
Victor and Margaret see the body.
MARGARET
Oh Victor ...
Victor elbows his way to the front of the
crowd as the
stretcher is put into the van. Jimmy stands
nearby.
His mother comes up.
VICTOR
What happened to him?
GLADYS WALLER
His throat was cut.
Victor gasps.
GLADYS WALLER
Victor, Daniel and your mother came
into the house together ... and now
both your parents are missing.
Victor stares at her in disbelief.
Jimmy overhears this and looks like a
reporter who just
found a story.
40.
EXT. WALLER MANSION - DAY - LATER
Several police cars are parked outside the
mansion.
Victor stands at the car that was supposed to
be the bride-
and-groom's getaway. It is decorated for the
occasion.
With Victor is Jimmy. Margaret is nowhere to
be found.
JIMMY
Can I get you a drink?
VICTOR
Not at the moment. Thanks.
Gladys Waller comes out of the mansion and
down the stairs
to the car.
JIMMY
I'll let you two be alone.
VICTOR
Thanks, Jimmy.
JIMMY
I'll call you later.
Jimmy moves off.
VICTOR
How is she?
GLADYS WALLER
How do you expect? You said some
terrible things to her.
VICTOR
Not as bad as--
GLADYS WALLER
Victor, put yourself in Margaret's
shoes. You tell her that the wedding
is called off indefinitely and--
VICTOR
I said we should delay it until the
police can--
GLADYS WALLER
Nonetheless, in her eyes--
VICTOR
I can't believe my parents had
anything to do with this.
41.
GLADYS WALLER
Then why did they disappear?
VICTOR
I don't know.
GLADYS WALLER
As far as the police are concerned,
they are the only suspects.
EXT. CITY - SEEDY HOTEL - DAY
Martin and Victoria approach a seedy hotel in
a rundown part
of the city.
They converse briefly, then Martin enters
alone.
Victoria moves into a doorway to wait. Her
face is still
covered with blood.
INT. SEEDY HOTEL - DAY
Martin hands the clerk the registration card.
CLERK
How long will you and your wife be
with us ... Mr. Smith?
MARTIN
I'm not sure.
EXT. SEEDY HOTEL - DAY
Martin comes outside. Victoria steps out of
the doorway.
MARTIN
This way.
VICTORIA
Do they have a swimming pool?
MARTIN
Of course not.
He leads her to a side entrance.
INT. SEEDY HOTEL - BATHROOM - DAY
Martin wipes off the blood from Victoria's
face with a towel.
42.
MARTIN
I'm going to send for him. I have to
let him know about us.
VICTORIA
Do you think he'll come?
MARTIN
I don't know.
EXT. WALLER MANSION - NIGHT
The police cars are gone. The
bride-and-groom's car is still
parked out front.
INT. WALLER MANSION - BEDROOM - NIGHT
Margaret is stretched out on a bed. Victor
stands beside her.
VICTOR
I just need a few days to myself.
Please try to understand.
MARGARET
I'm trying very hard to understand. I
wanted tonight to be so special ...
VICTOR
I know.
MARGARET
Maybe in a few days we can recapture
what tonight was supposed to be.
VICTOR
(ignoring this)
I'll call you in the morning.
He leans down to kiss her. She offers him her
cheek.
INT. BAR - NIGHT
Victor sits alone at a bar, drinking and
thinking.
EXT. VICTOR'S HOUSE - NIGHT
Victor approaches his house. A TEENAGE BOY
comes out of the
shadows.
TEENAGE BOY
Are you Mr. Montgomery?
43.
VICTOR
I am.
TEENAGE BOY
This is for you.
He hands Victor a note, then turns and
hurries off.
VICTOR
(after him)
Who gave you this?
He reads the note.
EXT. SEEDY HOTEL - NIGHT
Victor finds the address of the seedy hotel.
He looks around, nervous to be in such a
neighborhood.
Then he enters.
INT. SEEDY HOTEL - BAR - NIGHT
Victor enters the hotel bar and looks around.
He sees Martin
in a corner booth.
INT. SEEDY HOTEL - CORNER BOOTH - NIGHT
Victor sits down.
VICTOR
Please tell me what happened.
MARTIN
I very much hope to do that. It's
just--
VICTOR
Just what?
MARTIN
There are things that may be hard for
you to understand.
A WAITER comes to the booth.
WAITER
Something to drink, sir?
VICTOR
Scotch and water.
44.
MARTIN
Another for me, too.
The waiter leaves.
MARTIN
Victor, do you have any friends who
are addicts?
VICTOR
Drug addicts?
MARTIN
Or alcoholics? Addicted to food?
Anything?
VICTOR
I know a few alcoholics. Why?
MARTIN
Your mother and I are addicts. We've
been so all our lives.
VICTOR
What are you addicted to?
MARTIN
We're addicted to ... blood.
Victor laughs, more from nerves than a sense
of humor.
Martin looks sternly at him.
VICTOR
You're serious.
MARTIN
Of course.
VICTOR
I have to know what happened.
MARTIN
Your mother is particularly tempted
by the blood of handsome young men.
VICTOR
Are you telling me she did it?
MARTIN
We're vampires. And so are you.
Victor isn't sure how to respond. Finally:
45.
VICTOR
That's ridiculous.
MARTIN
Let's just say you are genetically
predisposed.
VICTOR
Vampires don't exist.
MARTIN
Oh, they do. We have a very long
history.
VICTOR
It's myth.
MARTIN
One day, unfortunately, you will
learn that myth is usually based on
fact.
VICTOR
Even assuming it's true ... why did
mother do it? What did the chauffeur
ever do to her?
MARTIN
It was nothing personal. She had one
of her spells of ... insatiable
cravings.
VICTOR
She murdered him!
Victor self-consciously looks around, to see
if anyone
noticed his outburst.
MARTIN
I wouldn't blame you for turning her
in. But she's getting better. We've
been in recovery for several years
now, though it's taken better with me
than with her, I'm afraid.
VICTOR
Recovery?
MARTIN
We have our 12-step program like
everyone else.
VICTOR
Oh, that's rich. That's perfect.
46.
MARTIN
He was too good-looking and in the
wrong place at the wrong time. ...
Will you go to the police?
VICTOR
And tell them you're vampires? They'd
lock me up -- and rightfully so.
MARTIN
I could take you to a meeting.
VICTOR
This isn't happening.
MARTIN
But it is. You have to know this
about yourself. Forewarned is
forearmed, Victor. My son.
Victor closes his eyes.
VICTOR
Dear God ... I don't know what to do
here ...
EXT. SEEDY HOTEL - NIGHT
Martin walks Victor outside.
MARTIN
She will get better, given time.
VICTOR
You sound like you believe it.
MARTIN
I have to. I love her too much not to.
VICTOR
Will you be staying here?
MARTIN
Probably not long.
VICTOR
I want to come in. I want to see her.
INT. SEEDY HOTEL - ROOM - NIGHT
Martin and Victor come in.
47.
MARTIN
Victoria? Just a minute.
He leaves to fetch his wife. Alone, Victor
looks around at
the peeling walls and stained carpet.
Martin returns alone.
MARTIN
She's not here. Is there a public
swimming pool in the area?
EXT. CITY PARK - SWIMMING POOL - NIGHT
Victoria is swimming laps. Martin and Victor
arrive at the
fence. They watch her swimming.
MARTIN
She likes to swim to calm her nerves.
Always has.
Turning in the pool, Victoria sees them.
VICTORIA
Martin, take him away! I don't want
him to see me like this!
VICTOR
Mother? I want to talk to you!
VICTORIA
Make him go!
She dives and swims under water.
MARTIN
I think it would be best.
VICTOR
Tell her ...
He doesn't know how to finish.
MARTIN
I'll say the right thing.
Victor nods, tears welling his eyes, and
leaves.
INT. BAR - NIGHT
Victor is back at the bar, drinking,
brooding.
Behind the bar, the bartender cuts his
finger.
48.
Victor stares at the blood. A new feeling
rushes into his
body, a feeling that terrifies him.
He gets up, drink unfinished, and flees.
EXT. CITY - STREET - NIGHT
Victor strides quickly into the night.
He comes to a phone booth. He takes out his
wallet and finds
a business card. He dials the number on it.
VICTOR
This is Victor. I was wondering
if
you had time for a drink.
INT. CITY - COCKTAIL LOUNGE - NIGHT
Victor and Jimmy sit in an isolated back
booth.
VICTOR
If I tell you something, you have to
promise me not to write about it.
JIMMY
Okay.
VICTOR
This is going to sound nuts. I saw my
dad. He told me he and mother ...
Christ, you're going to think I've
lost it.
JIMMY
What is it?
VICTOR
They're vampires. That's why she had
to kill him. She had cravings.
JIMMY
Cravings?
VICTOR
For his blood.
EXT. CITY - STREET - NIGHT
Victor and Jimmy stroll down a deserted
street.
VICTOR
What should I do? What would you do?
49.
JIMMY
I'd go on with my life and get married.
VICTOR
What about my parents?
JIMMY
That's a tough one. I don't know what
I'd do. Nothing until I let it all
sink in. There are people who have
delusions and believe they're
vampires.
If you believe you're one, I suppose
you start acting like one.
VICTOR
He said it's like a sickness. They
even have a recovery program.
Jimmy can't hold back a grin.
JIMMY
I'm sorry.
VICTOR
Don't be. It all sounds so ridiculous.
JIMMY
You've got a new life ahead of you,
Victor. I'd focus on that.
INT. WALLER MANSION - BEDROOM - NIGHT
Gladys stands beside Margaret, who is in bed.
GLADYS WALLER
It was a mistake for him to ever
track them down.
MARGARET
You don't understand how
important it
was to him.
GLADYS WALLER
I understand what it's doing to you.
And to this marriage, if that's what
you still want.
MARGARET
Mother, I don't need this.
GLADYS WALLER
He should thank his stars he found
this out about his parents before he
became too attached to them.
50.
MARGARET
I need some sleep, please.
EXT. VICTOR'S HOUSE - NIGHT
Jimmy and Victor shake hands.
VICTOR
Thanks for coming.
JIMMY
Get a good night's sleep. And pay
attention to that lovely fiancee of
yours. Don't let this get in the way,
Victor.
Victor goes inside without a word.
Jimmy smiles, looking like a reporter after a
great interview.
INT. VICTOR'S HOUSE - BATHROOM - DAY
Victor is shaving.
He nicks himself. In the mirror, he stares at
the sight of
his own blood, which begins to trickle down
his cheek.
He takes a finger and dabs at it.
He stares at the bloody finger. Slowly he
puts it into his
mouth.
He sucks away the blood and waits, as if
expecting something
to happen. But he feels nothing.
He looks relieved.
He tears off a piece of toilet paper and puts
it on the cut.
And goes back to shaving.
INT. SPECTACLE NEWSPAPER - EDITOR'S OFFICE -
DAY
Jimmy is talking to his editor, HANK ANDREWS,
50s.
HANK
Will this guy go on record that his
parents are vampires?
JIMMY
I think I can move him in that
direction.
51.
HANK
And it's the same couple that was in
Canada?
JIMMY
Exactly.
HANK
"My Mother's A Vampire Serial Killer."
It could work.
INT. VICTOR'S HOUSE - LIVING ROOM - DAY
Victor is on the phone.
VICTOR
Tomorrow is great. Thank you.
He hangs up and immediately the phone rings.
He picks it up.
VICTOR
Hello?
INT. SPECTACLE NEWSPAPER - DESK - DAY
Jimmy is calling.
INTERCUT
JIMMY
This is Jimmy. You free for a beer
around five?
VICTOR
Actually no. I just made reservations
for Maui.
JIMMY
Really? How long you going to be gone?
VICTOR
A week. I'll touch bases with you
when we get back.
JIMMY
Okay. Have a good trip.
INT. SPECTACLE NEWSPAPER - DESK - DAY
Jimmy hangs up.
52.
JIMMY
(under his breath)
Shit ...
INT. VICTOR'S HOUSE - LIVING ROOM - DAY
Victor punches a number.
INT. WALLER MANSION - DAY
Margaret picks up the phone.
INTERCUT
MARGARET
Hello?
VICTOR
We leave tomorrow morning.
MARGARET
Leave where?
VICTOR
Maui. I thought we could use some
time together. Get back on track.
MARGARET
Oh, Victor ...
EXT. CITY - LIBRARY - DAY
Victor enters the library.
INT. LIBRARY - DAY
He sits at a table in the Reference area.
He's reading about
vampires in an encyclopedia.
INT. SEEDY HOTEL - ROOM - DAY
Martin puts down the phone.
MARTIN
I finally found a meeting.
53.
EXT. SEEDY HOTEL - DAY
Martin and Victoria come out of the hotel.
Both wear
disguises.
They walk up the street.
EXT. ALLEY - DAY
They approach an abandoned building at the
end of an alley.
INT. ABANDONED BUILDING - ROOM - DAY - LATER
A 12-step meeting is in progress. Victoria
has the floor.
VICTORIA
My name's Victoria, and I'm a vampire.
VOICES
Hi, Victoria, welcome!
Among the voices replying is Janey, from
Victor's office.
VICTORIA
I relapsed again. I'm having such a
hard time controlling my cravings.
Tears swell in her eyes.
VICTORIA
I don't know if I'll ever be able to
get it right.
JANEY
Keep coming back!
MARTIN
Yes, keep coming back.
Victoria manages a smile. Janey is beaming at
her.
INT. SEEDY HOTEL - ROOM - DAY
The door opens, and Martin and Victoria
enter, still in
their disguises.
Victor is sitting in the room, waiting for
them.
Victoria is shocked to see him. At first he
doesn't recognize
them. He quickly stands up.
54.
VICTOR
I'm sorry, I must have the wrong room.
MARTIN
It's us.
Victoria covers her face with her hands.
VICTORIA
Don't look at me!
Martin comforts her. Suddenly Victor takes a
crucifix out of
his pocket and holds it at them.
MARTIN
What are you doing?
VICTOR
If you really were vampires, this
would drive you away.
MARTIN
Don't be silly.
VICTOR
So would this.
He reaches into his pocket and tosses Martin
a garlic bulb.
Martin one-hands it.
MARTIN
We're in recovery, Victor. The point
is to learn to deal with things like
this. Much of it's a matter of
attitude, a change in one's belief
system. Unfortunately, there are
biological aspects as well, and those
are the last to go.
VICTOR
Like cravings?
VICTORIA
(to Martin)
I told you he'd never believe us.
She retreats into the bathroom.
VICTOR
I don't know what to believe.
MARTIN
Have you gone to the police yet?
55.
VICTOR
No.
MARTIN
How about a cup of coffee?
VICTOR
Sure.
MARTIN
Wait for me outside. I need to check
on her.
EXT. SIDEWALK CAFE - DAY
They sit at an outdoor table over coffee.
VICTOR
If I was genetically predisposed,
wouldn't I have felt something when I
tasted my own blood?
MARTIN
Not necessarily. You said you felt
something when you saw the bartender
cut his finger.
VICTOR
Maybe because it was on my mind.
MARTIN
Each of us has a particular craving.
If you're fortunate, you'll never
learn what yours is.
EXT. SEEDY HOTEL - DAY
Victor and Martin reach the entrance.
MARTIN
We'll spend tonight somewhere else.
VICTOR
We leave for Maui in the morning.
Please call my voice mail and let me
know where you are.
MARTIN
I'm not sure what our plans are.
VICTOR
Do you think she'll be able to get
better?
56.
MARTIN
I did, so it's possible.
VICTOR
I'm glad she has your strength to
lean on.
MARTIN
Sometimes it's not enough.
VICTOR
Give mother my love.
They embrace.
EXT. MAUI - SKY - DAY
A small jetliner is descending over the
island of Maui.
INT. MAUI - RESORT - DAY
Victor and Margaret enter their room. A
BELLHOP carries
their luggage.
MARGARET
Victor, look at the view!
She heads for the deck.
Victor tips the bellhop.
BELLHOP
Thank you, sir!
EXT./INT. RESORT - DECK - DAY
Victor joins Margaret on the deck.
MARGARET
Look at the color of that water! I
want to take a swim.
EXT. MAUI - OCEAN - DAY
Margaret races into the water, followed by
Victor. She dives
and starts swimming. She's a better swimmer
than Victor, who
wades in shallow water, watching her.
VICTOR
Be careful! I think they have an
undertow here.
57.
EXT. MAUI - OCEAN - COVE - DAY
They've moved to a rocky area, with a cove
and small beach.
Victor lies on a blanket on the sand.
Margaret is exploring
on the rocks.
Suddenly Margaret cries out.
VICTOR
What is it?
MARGARET
Damn -- I cut my foot!
Victor races to her and starts climbing out
on the rocks.
VICTOR
Stay put, I'm coming!
He reaches her.
VICTOR
How bad is it?
MARGARET
I don't know.
VICTOR
Lean on me for support.
She does and they slowly inch back toward
sand.
EXT. MAUI - COVE - DAY
Victor helps Margaret down onto the blanket.
Her foot is
bleeding.
VICTOR
Let me look at it.
He examines her foot. He lifts her leg,
bringing her foot to
his mouth.
He starts sucking the blood from her cut.
MARGARET
How bad is it?
VICTOR
Not as bad as I thought. I think I
might be able to stop it.
58.
He keeps sucking the blood from her cut. He
gets aroused
doing this. His lips move across her foot and
up her thigh.
MARGARET
Victor?
Ignoring her, his lips move to her bikini
bottom. His hands
grip the waistline, tugging them down.
MARGARET
What are you doing?
He ignores her.
MARGARET
I'm having my period ...
He doesn't care. His mouth moves between her
legs. Margaret
closes her eyes, giving in to the pleasure.
INT. MAUI - RESORT - DAY
Victor helps Margaret into the resort,
letting her put her
weight on him.
Seeing them, the bellhop rushes forward with
a wheel chair.
BELLHOP
What happened?
MARGARET
I cut my foot.
BELLHOP
I'll take you to the first aid station.
He helps her into the wheel chair.
MARGARET
Go on up to the room, Victor. I'm
sure I won't be long.
VICTOR
Are you sure?
MARGARET
You look like you need a shower.
She smiles at him sexily, as if promising
more pleasure to
come.
59.
INT. RESORT - ROOM - DAY
Victor comes into the room. He moves to the
mirror and
stands in front of it, studying himself. He
leans forward to
look more closely.
A trace of dried blood can be seen around his
lips.
He looks at his hands: more dried blood.
He stares at himself in the mirror, as if
trying to read his
own image, to decipher unsettling thoughts on
his mind.
INT. ROOM - SHOWER - DAY
Victor stands under a steaming spray from the
shower.
The door opens and Margaret slips in beside
him. They embrace.
MARGARET
That was wonderful. What got into you?
He doesn't answer her. She slides her hands
down his chest,
to his groin, dropping slowly to her knees.
His face reflects intense pleasure.
INT./EXT. RESORT - DECK - NIGHT
Victor is on the deck, looking out at the
ocean. He's
dressed for dinner.
Margaret appears, looking pretty good for as
plain as she
really is.
MARGARET
I'm ready.
Victor turns -- and takes her all in.
VICTOR
You look spectacular.
INT. MAUI - RESORT - RESTAURANT - NIGHT
A candlelight dinner. Their table is
secluded, romantic.
MARGARET
This is as lovely as I imagined it
would be.
Victor is lost in thought, somewhere else.
60.
MARGARET
Victor?
VICTOR
Yes?
MARGARET
Where are you?
He shrugs.
MARGARET
It's your parents, isn't it? We don't
control who our parents are, Victor.
Maybe it was a blessing in disguise
for you not to know for so long.
VICTOR
No, I'm glad I found out.
MARGARET
But it's so hard for you now.
VICTOR
Not so bad really.
MARGARET
Victor, they--
VICTOR
(changing the subject)
This is great. How's your crab?
EXT. MAUI - BEACH - NIGHT
They walk along the beach under the stars.
Margaret stops him.
MARGARET
I love you so much.
They embrace and kiss.
INT. RESORT - BEDROOM - NIGHT
They are in bed. Margaret is asleep. Victor
stares at the
ceiling.
He slips out of bed. He goes out on the deck.
61.
INT./EXT. RESORT - DECK - NIGHT
He stares out at the ocean.
EXT. RESORT - NIGHT
Victor comes out, dressed, and gets into a
cab.
EXT. MAUI - TOWN - NIGHT
The cab pulls in front of a bar.
INT. CAB - NIGHT
Victor pays the fare.
CABBY
You want me to wait?
VICTOR
I'm not sure how long I'll be.
CABBY
Some cabbies won't come out here this
time of night. How long you think
you'll be?
VICTOR
No more than an hour.
CABBY
I'll wait.
INT. BAR - NIGHT
Victor comes into the bar. It's a lowlife
place, with a
clientele to match.
The first free PROSTITUTE who spots Victor
hurries to greet
him.
PROSTITUTE
Hi. You look like you need company.
INT. BAR - UPSTAIRS ROOM - NIGHT
The prostitute leads Victor into a small
room. A bed, a
sink, not much else.
62.
PROSTITUTE
How do you want to do it?
VICTOR
I want you to cut your finger.
PROSTITUTE
Get out of here.
VICTOR
I'm serious.
PROSTITUTE
You're into blood?
VICTOR
Yes. I just want to taste your blood.
PROSTITUTE
My finger's all I'm gonna cut.
VICTOR
That's enough.
She goes to the sink and turns on the water.
While it flows,
she opens a drawer and takes out a small
paring knife.
PROSTITUTE
I don't think I can do this myself.
VICTOR
I'll do it.
He goes to the sink, and she hands him the
knife. He takes
her hand and puts it under the flowing water.
PROSTITUTE
Not too deep.
VICTOR
I won't.
He slices a small cut in her finger. Quickly
he brings the
finger to his mouth and begins sucking on it.
PROSTITUTE
You already did it?
Victor's eyes are closed, and he looks
ecstatic.
INT. RESORT - BEDROOM - NIGHT
Victor comes in to find the bedside lamp on
and the bed
empty. He finds Margaret standing out on the
deck.
63.
She comes back in.
MARGARET
Where were you?
VICTOR
I couldn't sleep. I took a walk.
MARGARET
I don't like waking up without
you.
VICTOR
Let's go back to bed.
EXT. MAUI - MARKET - DAY
Victor and Margaret explore an outdoor
market. They pass by
stalls filled with fresh vegetables.
EXT. MAUI - MARKET - SIDEWALK CAFE - DAY
They sit at a small table, sipping coffee.
The market crowd
moves by them.
Margaret stands up.
MARGARET
The line's down, I'm going to the
bathroom.
She heads off toward a nearby portable toilet
area.
EXT. MAUI - MARKET - SIDEWALK CAFE - DAY -
LATER
Victor is looking over the crowd when the
prostitute from
last night appears by his table.
PROSTITUTE
Why, good morning!
Victor, nervous, looks around to make sure
Margaret isn't
returning.
PROSTITUTE
Don't you remember me?
VICTOR
I remember you.
PROSTITUTE
You want to see me again tonight?
64.
VICTOR
No, I don't think so.
PROSTITUTE
You seemed to have such a good time.
She teasingly pokes her finger at his mouth.
PROSTITUTE
You want to bite me now? Suck a
little blood?
VICTOR
No! Listen, it was nice seeing you
again. Goodbye.
PROSTITUTE
You're hurting my feelings.
Suddenly she bends down and plants a big kiss
on his lips.
Margaret is returning and sees this. She
arrives as the
prostitute breaks the kiss. The prostitute
doesn't notice
Margaret.
PROSTITUTE
I thought you'd at least bite my lip.
Victor sees Margaret and gets quickly to his
feet.
VICTOR
My name is not Edward, madam! You
have the wrong person.
He grabs Margaret's arm and heads off. Behind
them, the
prostitute starts laughing.
MARGARET
Who was that?
VICTOR
She thought I was someone else.
INT. RESORT - BEDROOM - NIGHT
Victor and Margaret are getting ready for
bed.
MARGARET
Is something the matter?
VICTOR
No. Why do you ask?
65.
MARGARET
You're so distant.
VICTOR
I think I did too much sight-seeing
today. I'm exhausted.
They get into bed. Victor turns out the
light. Margaret
cuddles up next to him, and Victor turns his
face away.
VICTOR
Goodnight.
EXT. AIRPORT - DAY
A jetliner lands.
INT. AIRPORT - TERMINAL - DAY
Gladys greets Victor and Margaret as they
come into the
terminal.
GLADYS WALLER
Don't you both look tan!
EXT. VICTOR'S HOUSE - DAY
The Waller limo, with a new chauffeur, pulls
up in front of
Victor's house.
INT. WALLER LIMO - DAY
In back are Victor, Margaret and Gladys.
GLADYS WALLER
You know I don't approve of people
living together before they marry.
MARGARET
We're not living together. I'm just
staying over-night. Mother, I've done
it many times before.
GLADYS WALLER
If you insist on being together, I
wish you'd stay with me. Victor's
place is so small!
MARGARET
It will do fine, mother.
66.
INT. VICTOR'S HOUSE - DAY
Victor and Margaret come into the house.
Victor goes right
to the phone and picks it up.
MARGARET
Victor? Who are you calling?
VICTOR
I'm checking voice mail.
He punches some numbers, then listens.
MARTIN (FILTERED)
Victor, as soon as you get back, call
this number any afternoon at three
p.m. ...
Victor looks at his watch.
EXT. VICTOR'S HOUSE - DAY
Margaret follows Victor onto the porch.
VICTOR
He just wants to talk to me.
MARGARET
It's harboring a suspect. It's
breaking the law.
VICTOR
The police will never know.
He stares at her, as if waiting for
reassurance.
VICTOR
You're not going to tell your mother,
are you?
MARGARET
No.
EXT. STREET - DAY
Victor steps into a phone booth. He looks at
his watch.
A WOMAN comes up to use the phone.
WOMAN
Excuse me. Are you going to use the
phone?
67.
VICTOR
Yes. In just a minute.
WOMAN
I'd like to use it, too.
VICTOR
I'm waiting for a call.
The woman gives him a dirty look and walks
on.
Victor looks at his watch again. He waits a
few seconds,
then drops in a coin and begins to dial.
EXT. CITY - BUSINESS STREET - DAY
Victor steps into a cafe.
INT. CAFE - DAY
He finds Martin, his disguise slightly
varied, sitting in a
booth.
Victor looks at him questioningly. Martin
nods, and Victor
slides in across from him.
VICTOR
Where's mother?
MARTIN
She's meeting us later.
VICTOR
Dad, I think I know what I'm addicted
to.
MARTIN
So soon?
VICTOR
I found out in Maui.
EXT. CITY - SIDEWALK SALE - DAY
Victoria, in a different disguise (with the
usual protection
from the sun), is trying out hats at a
sidewalk sale.
On the street, traffic slowly passes by.
Among the cars is a
POLICE CAR. Victoria notices it as she models
a new hat --
and a look of concern darkens her face.
68.
The police pay no particular attention to
her. But this
doesn't matter. Victoria tosses down the hat
and hurries
along the sidewalk, darting through the
crowd.
When she reaches the corner, she turns and
starts running.
INT. CAFE - DAY
Victor and Martin are still talking.
VICTOR
The intensity was so incredible. I
can see why it would be hard to stop.
Martin sees something across the room and
stands up.
MARTIN
Excuse me a minute.
Victoria has just entered and stands near the
entrance, bent
forward and out of breath. Martin reaches her
and comforts
her.
Victor sees this. He stands up, tosses some
money on the
table, and joins them.
VICTOR
What's the matter?
MARTIN
I'll pay the check.
VICTOR
It's taken care of.
EXT. CAFE - DAY
They come outside. Martin steps into the
street to hail a
taxi. Victor and Victoria wait on the
sidewalk.
VICTORIA
I must be so embarrassing for you.
VICTOR
No, don't think that.
She touches his cheek.
VICTORIA
I don't deserve such a sweet boy.
A cab stops, and they move forward to get in
as Martin holds
open the door.
69.
EXT. ALLEY - DAY
The cab stops in front of the alley leading
to the abandoned
building where the recovery meeting is held.
INT. ABANDONED BUILDING - ROOM - DAY
Martin leads Victor and Victoria into the
meeting room. They
are early, and only a few recovering vampires
are around.
HERBIE, 40s, comes forward. He acts like the
man in charge.
HERBIE
I've seen you at a few meetings but I
don't believe we've met. I'm Herbie.
MARTIN
Martin. This is my wife, Victoria,
and my son, Victor.
Everyone shakes hands.
HERBIE
Our next meeting is this evening.
MARTIN
I know. We'd like to volunteer to
help. Whatever you have to do.
HERBIE
There's always grunt work to do. You
want to keep busy, don't you?
MARTIN
It helps.
HERBIE
That it does. Any of you know how to
type a letter on a computer?
He's looking at Victoria, who shrugs.
VICTOR
I'm pretty good with computers.
EXT. ALLEY - ABANDONED BUILDING - NIGHT
A few people surreptitiously duck into the
alley and hurry
toward the abandoned building.
Janey enters the alley.
70.
INT. ABANDONED BUILDING - ROOM - NIGHT
Victor, Martin and Victoria sit together,
waiting for the
12-step meeting to begin.
Janey enters. Looking for a seat, she spots
Victor. She is
shocked to see him there.
Suddenly she retreats, leaving the room.
EXT. ABANDONED BUILDING - NIGHT
Janey comes outside. She takes a deep breath,
recovering,
and quickly moves up the alley toward the
street.
INT. VICTOR'S HOUSE - NIGHT
Margaret is sitting at a table alone, eating.
The door unlocks, and Victor comes in.
VICTOR
I'm sorry I'm late. I got tied up.
MARGARET
You could've called.
VICTOR
Yes, I should have.
He sits at the table.
VICTOR
There's so much I want to tell you. I
don't know where to begin.
Margaret looks like she suspects the worst.
MARGARET
I used to think I knew you.
VICTOR
I used to think I knew myself.
MARGARET
What's happening to us? This has
something to do with your parents,
doesn't it?
VICTOR
Yes.
71.
MARGARET
You're going to protect them.
VICTOR
She couldn't help it.
MARGARET
It was your mother?
VICTOR
She's sick. She can't stop herself.
And I'm sick, too.
MARGARET
What are you saying?
VICTOR
I was at a 12-step meeting. There's
hope for people like me. Like my
parents. I'm going to beat this,
Margaret. All I ask from you is to
believe that I can.
MARGARET
How can I believe in you when I don't
even know what you're talking about?
VICTOR
I don't want to tell you yet. I don't
want to lose you, and I would if I
told you. You have to trust me.
Margaret studies him, then stands.
VICTOR
Please.
MARGARET
That's a lot to ask, Victor. If you
want to reach me, I'll be at mother's.
She walks out. Victor is devastated.
INT. VICTOR'S HOUSE - KITCHEN - NIGHT
Victor does the dishes.
The phone rings. He lets it ring. When it
stops, he retrieves
his voice mail.
JIMMY (V.O.)
Victor, this is Jimmy. How was
the
trip? Give me a call, I'd like to see
you.
72.
Victor hangs up and does nothing.
INT. VICTOR'S HOUSE - BEDROOM - NIGHT
Victor tosses and turns, unable to sleep.
Finally he gets up.
EXT. VICTOR'S HOUSE - NIGHT
Victor comes outside. Not a sign of life
anywhere. He raises
his collar against the night chill.
EXT. ALLEY - ABANDONED BUILDING - NIGHT
Victor stands in the alley, in front of the
abandoned
building where the meetings are held.
Suddenly Janey appears.
JANEY
Hello, Victor.
Victor jumps.
JANEY
Looking for a meeting?
VICTOR
What are you doing here?
JANEY
I think these places should stay open
twenty-four hours. I saw you at the
meeting tonight. I was so shocked I
had to leave. Why didn't you tell me?
VICTOR
You mean you ... ?
JANEY
It's why I wouldn't go out with you.
You'd be too tempting.
VICTOR
Jesus ...
JANEY
There's an all-night diner around the
corner. You want a cup of coffee?
73.
INT. DINER - NIGHT
They sit in a booth over coffee.
JANEY
How long have you been in recovery?
VICTOR
I just started. I only found out
about ... you know ...
JANEY
They say some people never find out.
They're the lucky ones.
VICTOR
And you?
JANEY
I've known since I was thirteen.
A silence.
JANEY
I read what happened in the
paper.
Does your fiancee know?
VICTOR
Yes and no. She knows something's
wrong.
JANEY
You can make her one, you know.
That's what most couples do. One
turns the other into one.
VICTOR
I know so little about how it works.
JANEY
It's like anything else, you can
infect her. As long as you stop
before she bleeds to death.
VICTOR
Can we talk about something else?
Janey laughs.
JANEY
I'm sorry. It's so much a part of me
now, I forget how hard it was in the
beginning.
74.
EXT. CITY - STREET - NIGHT
Victor and Janey walk along a sidewalk.
VICTOR
I proposed to her before I knew
anything about this.
JANEY
And if you'd known?
VICTOR
I'm not sure I can go through with it
now.
She stops. He stops. Their eyes meet, and
they are drawn to
one another.
VICTOR
Is there a way to ... without hurting
anyone?
JANEY
Yes ... if you find a kindred soul ...
Their lips move slowly together and touch.
They kiss. Then
they are biting, kissing passionately, each
drawing blood
from the other.
Janey pulls briefly away.
JANEY
My place is close ...
Victor covers her mouth with a biting kiss.
INT. JANEY'S APT - BEDROOM - DAY
Victor wakes up in bed alone. He gets up and
dresses.
INT. JANEY'S APT - KITCHEN - DAY
Janey is at the stove, making breakfast.
JANEY
Good morning, sleepy head. Ready for
coffee?
Victor nods and sits on a stool at a coffee
bar. He looks
remorseful.
JANEY
I was afraid you'd feel guilty.
75.
VICTOR
I'm not sure how I feel.
JANEY
Nothing has to come of it, you know.
You get a craving, you satisfy it. We
can help each other that way.
VICTOR
I thought you were in recovery.
She laughs.
JANEY
All my life. Look, what my program
is, is not hurting anyone. Not
killing anyone, for God's sake. If I
can get by with an occasional fling
with a kindred soul, where no
one
gets hurt, what's the problem? But if
I've hurt you--
VICTOR
No! I'm fine.
JANEY
Right. I hope you like your eggs
scrambled, it's the only way I can do
them.
VICTOR
Scrambled's fine.
JANEY
There's a meeting at ten. It's better
than confession.
She smiles but Victor looks troubled.
INT. ABANDONED BUILDING - ROOM - DAY
Victor and Janey come into the meeting room
together.
Martin and Victoria are already there. They
see Victor with
Janey and exchange a troubled glance.
Victor and Janey take their seats together.
EXT. BUILDING - DAY
Martin and Victoria wait outside the
building. Victor and
Janey come out.
76.
MARTIN
Victor.
Victor approaches them but Janey stays
behind.
VICTOR
Dad, I'd like you to meet ...
But Janey isn't beside him. He sees her standing back and
goes to her.
VICTOR
I'd like you to meet my parents.
JANEY
I don't think so.
She turns and starts walking away.
VICTOR
Wait a minute!
She ignores him.
EXT. STREET - DAY
Victor, Martin and Victoria walk down the
street together.
Victor stops at a corner.
VICTOR
I go this way.
MARTIN
Son, if you need to talk about
anything ...
VICTOR
I'm fine.
He moves off.
MARTIN
He's doomed, Victoria.
VICTORIA
Don't say that.
MARTIN
He's found his craving. There's
nothing to be done about it.
VICTORIA
You're really talking about me,
aren't you?
77.
MARTIN
No. You hit rock bottom. That's the
first step toward recovery. He's just
beginning.
INT. VICTOR'S HOUSE - DAY
Victor comes in -- and finds a note in the
entryway. He
begins reading.
MARGARET
(V.O.)
Victor, I couldn't sleep all night.
Finally I came back, it was three or
four in the morning, but you weren't
home. Where were you? Who were you
with?
He crumples the note and lets it drop to the
floor.
INT. JANEY'S APT - DAY
Janey opens the door and Victor steps in.
JANEY
Victor, you shouldn't be here.
VICTOR
I know. I couldn't stop myself.
JANEY
Turn around and go now, before it's
too late.
VICTOR
It's too late.
He embraces her. They kiss with growing,
biting passion.
INT. JANEY'S APT - KITCHEN - DAY
They sit at the coffee bar.
VICTOR
I'm engaged to be married. It didn't
keep me from you.
JANEY
It's why they call it an addiction.
VICTOR
What am I going to do?
78.
JANEY
You do have options.
VICTOR
Going to a meeting didn't help either
of us.
JANEY
If you're trying to make me feel
guilty, too, you're wasting your time.
I made peace with my disease a long
time ago.
VICTOR
What options do I have?
JANEY
You leave her. Or you make her one of
us.
Victor stares at her.
VICTOR
I'm not sure I understand how that
works.
JANEY
You pass along the disease by
infecting her blood. You have to be
careful that you don't go too far --
she has to survive, of course. But
it's done all the time.
VICTOR
How would I know when to stop?
JANEY
You can practice on me.
VICTOR
You'd help me?
JANEY
Of course. I like you.
VICTOR
I've never met anyone like you before.
JANEY
Of course you haven't.
VICTOR
I have to think about it.
79.
JANEY
I know.
EXT. STREET - DAY
Victor creeps alone down the street, lost in
his thoughts.
He reaches a decision and his pace quickens.
EXT. WALLER MANSION - DAY
Victor waits on the porch. A MAID opens the
door.
VICTOR
I'm here to see Margaret.
MAID
Just a minute.
She closes the door. Victor takes a deep
breath and waits.
The door opens again and Gladys comes out.
GLADYS WALLER
Now Victor, I think it's time you go
to the police so life can get back to
normal.
VICTOR
What are you talking about?
GLADYS WALLER
You know very well what I'm talking
about.
VICTOR
I want to speak to Margaret.
GLADYS
WALLER
She doesn't want to speak to you.
VICTOR
I'd like to hear that from her.
GLADYS WALLER
Why are you doing this? If you loved
her--
VICTOR
Of course I love her!
80.
GLADYS WALLER
Sometimes love requires making a
sacrifice, even if it's a difficult
one. I'll say it again: it's time you
went to the police.
Victor stares at her.
GLADYS WALLER
You can also tell that reporter
friend of yours that I'll have him
arrested if he bothers us again.
VICTOR
I don't know what you're talking about.
GLADYS WALLER
This nonsense about your parents
being vampires.
INT. SPECTACLE NEWSPAPER - DESK - DAY
Jimmy is working at the computer when the
phone rings.
JIMMY
This is Jimmy ...
INT. VICTOR'S HOUSE - LIVING ROOM - DAY
Victor is calling.
VICTOR
What I told you about my parents was
off the record! I don't want you
talking to anyone or writing anything!
Do you understand me?
He slams down the receiver.
INT. SPECTACLE NEWSPAPER - DESK - DAY
Jimmy hangs up. Without missing a beat, he
goes back to work
on his story.
INT. JANEY'S APT - BEDROOM - NIGHT
Victor and Janey relax after lovemaking.
Victor slips out of
bed and starts dressing.
JANEY
It's so hard for you to keep still.
81.
VICTOR
There's something I have to do.
JANEY
Be careful.
EXT. WALLER MANSION - NIGHT
Victor darts across the lawn to one side of
the mansion. The
mansion is dark, everyone in bed.
He goes to a tree that rises to a window at
the second floor.
He starts climbing.
He reaches the window. It is cracked open.
INT. WALLER MANSION - BEDROOM - NIGHT
Victor climbs into the dark bedroom. He
approaches the bed,
where Margaret is asleep. She looks so
peaceful.
He bends forward, toward her neck, so white,
so inviting.
Margaret stirs.
Victor snaps straight up. What is he doing?
He steps backward.
Margaret stirs again. Victor stops, panicked.
She settles
into a breathing rhythm, and he retreats to
the window.
He climbs out. As soon as he's gone, Margaret
stirs -- and
suddenly bolts up, as if from a nightmare.
MARGARET
Victor?
She looks around the dark room. Nothing. It must
have been a
dream.
INT. JANEY'S APT - NIGHT
Janey opens the door, and Victor collapses
into her arms.
JANEY
Did you tell her?
VICTOR
I couldn't.
82.
INT. WALLER MANSION - KITCHEN - DAY
Margaret enters. Gladys is at a breakfast
nook and pours her
coffee.
GLADYS WALLER
Did you sleep well, dear?
MARGARET
I had a dream about Victor.
GLADYS WALLER
That's to be expected for a while.
MARGARET
Mother, I'm going to talk to him.
Gladys doesn't look pleased.
GLADYS WALLER
Please think carefully before you do
that.
MARGARET
I love him.
GLADYS WALLER
But does he love you? It seems to me
he had a choice between you and his
parents and made his decision.
MARGARET
If he did, he doesn't mean it. He
spent so much time looking for them,
it must be hard to let them go.
GLADYS WALLER
Please sit on it for a week. See if
he comes to you.
MARGARET
I miss him.
She gets up and leaves, turning at the
doorway.
MARGARET
It's my life, mother.
INT. JANEY'S APT - KITCHEN - DAY
Janey enters to find Victor already up.
JANEY
Aren't you the early bird?
83.
VICTOR
I have to talk to her.
He starts out.
JANEY
This early?
VICTOR
I want to see my dad first.
INT. SEEDY HOTEL #2 - DAY
Martin is reading when Victoria passes
through the room on
her way to the door. They retain their last
disguises.
MARTIN
Going out?
VICTORIA
I won't be long.
MARTIN
Are we going to the meeting?
VICTORIA
I'll meet you there.
EXT. SEEDY HOTEL #2 - DAY
Victoria comes out and heads down the street.
From the other direction, Victor enters the
hotel.
INT. SEEDY HOTEL #2 - DAY
Martin opens the door to find Victor.
MARTIN
Victor. You just missed your mother.
VICTOR
I need advice ... Dad ...
MARTIN
It's too depressing in here.
EXT. PARK - DAY
Victor and Martin stroll through a park, deep
in conversation.
84.
EXT. WALLER MANSION - DAY
Margaret drives out to the gate. Suddenly
Victoria jumps in
front of the car, and Margaret screeches to a
stop. Victoria
hurries around to the window.
VICTORIA
We need to talk.
MARGARET
Have we met?
VICTORIA
I'm Victor's mother.
Margaret regards her more closely and recognizes
her. She
looks around, making sure no one has seen
them.
MARGARET
Get in.
EXT. PARK - BENCH - DAY
Victor and Martin sit on a park bench.
MARTIN
What I hear you saying is this.
Correct me if I'm wrong. You still
love Margaret. But now that you've
tasted blood, you lust for more. And
that's where Janey comes in.
VICTOR
I feel so guilty. There must be a way
for Margaret to satisfy me the way
Janey does.
MARTIN
Victor, there isn't. You must make a
very hard decision here.
VICTOR
Janey said--
MARTIN
You could infect Margaret into
becoming a vampire. Why don't you
just kill her instead? She'd be
happier.
A silence.
MARTIN
Someone has to say it.
85.
VICTOR
So my choices are ... ?
MARTIN
Unless she's a strong woman, a rare
woman, I think you have to face
reality. She'll never
understand your
problem.
VICTOR
So I should leave her ...
MARTIN
You're going to be struggling with
your disease all of your life. Do you
want to put her through that?
INT. MARGARET'S CAR - DAY
Victoria is in the passenger seat.
MARGARET
Before you start, I have to know if
it's true. Did you kill Daniel?
VICTORIA
It's more complicated than a simple
yes or no.
MARGARET
Start with that. I have to know.
VICTORIA
Yes. But not because I wanted to.
MARGARET
Victor says you couldn't help it.
You're sick. I don't understand.
VICTORIA
I know. The thing is, you'll never
understand. That's why you must give
him up.
MARGARET
I would only do that as a last resort.
And only if he wanted me to.
VICTORIA
I want to show you something. Maybe
it will help you make your decision.
Will you come with me?
Margaret looks at her and nods.
86.
EXT. GAS STATION - DAY
Margaret pulls into a gas station at a full
service island.
She gets out.
A GAS JOCKEY comes over.
MARGARET
Fill it, please. Where are your rest
rooms?
The gas jockey points.
INT. GAS STATION - DAY
Margaret enters and finds the pay phone. She
checks through
the window to make sure that Victoria is not
watching.
She goes to the pay phone and drops in a
coin. She punches
911.
MARGARET
I need the police ...
EXT. PARK - DAY
Victor and Martin are strolling again. Martin
looks at his
watch.
MARTIN
I told Victoria we'd catch up with
her at the meeting.
INT. MARGARET'S CAR - DAY
Margaret gets behind the wheel.
MARGARET
Where to?
EXT. STREET - DAY
Margaret's car stops at a stoplight. A car pulls
beside
her -- Jimmy is behind the wheel.
He notices her and beeps his horn but the
light changes and
Margaret pulls ahead. Jimmy follows, changing
into her lane.
Margaret's car passes a corner where a police
car is idling
against the curb.
87.
INT. POLICE CAR - DAY
Two officers see her pass.
POLICE OFFICER #1
That's the one.
EXT. STREET - DAY
The police car pulls abruptly behind
Margaret's car, cutting
Jimmy off.
INT. JIMMY'S CAR - DAY
Jimmy slams on the brakes.
JIMMY
Hey!
EXT. STREET - DAY
The three cars continue, Margaret followed by
the police,
followed by Jimmy.
INT. ABANDONED BUILDING - ROOM - DAY
Janey walks into the room, early to the
meeting. She finds a
seat.
Herbie sees her and approaches.
HERBIE
Janey, are you seeing that new
fellow, Victor, I believe his name is?
JANEY
You know I don't date men in recovery.
HERBIE
Unfortunately, I know you do. Answer
the question.
Janey smirks at him.
JANEY
You worry too much, Herbie.
She gets up and retreats to find a distant
seat. Herbie just
stares at her departure.
88.
EXT. STREET - DAY
Margaret's car parks on the street near the
alley to the
abandoned building. She and Victoria get out.
Victoria leads the way toward the alley.
MARGARET
Where are we going?
VICTORIA
You'll see.
The police car pulls up and parks near the
alley.
Jimmy cruises by.
INT. JIMMY'S CAR - DAY
Jimmy looks around to see what is going on.
INT. POLICE CAR - DAY
The officer driving is on the intercom.
POLICE OFFICER
We need some back up.
EXT. STREET - DAY
Jimmy parks and gets out. He sees Margaret and Victoria
enter the alley.
The police car remains parked at the curb.
Jimmy hurries to follow the women.
INT. ABANDONED BUILDING - ROOM - DAY
Victoria and Margaret enter.
VICTORIA
We must've gotten here first.
MARGARET
What is this?
She looks around and sees the sign on the
front wall,
"Vampires Anonymous."
89.
MARGARET
Oh, my God ... are you serious?
VICTORIA
We have our 12-step program, just
like everyone else.
MARGARET
This is a sick joke.
VICTORIA
No. What it is, dear, is something
that runs in the family.
Jimmy enters. He starts to approach Margaret
but changes his
mind when he sees the Vampires Anonymous
sign. He moves to a
back corner, watching with interest.
MARGARET
Why did you bring me here?
VICTORIA
Victor will always be fighting his
disease. Do you think you really have
the strength to cope with this?
Victor and Martin enter.
VICTOR
Margaret, what are you doing here?
MARGARET
What are you doing here!?
Janey has noticed Victor's arrival and is
watching everything
with interest. So is Jimmy.
VICTOR
We have to talk.
MARGARET
I should think so.
EXT. STREET - ALLEY - DAY
Several other police cars pull up around the
alley as
reinforcements. OFFICERS get out of the cars and approach
the abandoned building.
INT. ABANDONED BUILDING - ROOM - DAY
Herbie takes control.
90.
HERBIE
Let's all be seated, please, so we
can begin.
Martin and Victoria take their seats. Victor
leads Margaret
aside and directs her into a small, adjacent
room.
Everyone sees this -- Jimmy, Janey, Victoria,
Martin.
INT. ABANDONED BUILDING - SMALL ROOM - DAY
The room is filled with supplies. Victor
closes the door
behind them.
VICTOR
This is what I've been trying to tell
you.
MARGARET
I don't believe in vampires, Victor.
What are you really telling me? You
belong to a Satanic cult?
VICTOR
I can't expect you to understand.
MARGARET
Just tell me the truth.
VICTOR
I'm trying to.
MARGARET
What do you want from me? You want me
to join and do this with you?
VICTOR
I don't know what I want.
MARGARET
Because I can do that. I love
you.
Just tell me what I have to do to
make you happy.
VICTOR
I think you really mean that.
He studies her.
VICTOR
Just stay and listen to the meeting.
He cracks open the door -- and sees police
officers entering
the back of the room. He closes the door
again.
91.
VICTOR
Police are here.
MARGARET
I called them.
VICTOR
You what?
MARGARET
I turned in your mother.
Victor glares at her.
MARGARET
I had to. She's the only thing
standing between us.
Margaret starts out but Victor grabs her. She
struggles and
he puts his hand over her mouth.
INT. ABANDONED BUILDING - ROOM - DAY
The police watch the meeting from the back.
They look amused.
Martin, Victoria, Janey and Jimmy glance at
the closed door
to the small room, wondering what is going on
in there.
Janey gets up and approaches the room.
At the podium, the police have made Herbie
nervous.
HERBIE
Are we doing anything wrong, officers?
POLICE OFFICER
You tell me.
HERBIE
We're practicing our constitutional
right of free assembly.
The police officers grin. One playfully forms
a cross with
his two index fingers.
Herbie continues chairing the meeting, going
over
introductory business matters. One officer
whispers to
another.
POLICE OFFICER #1
Which one is she?
POLICE OFFICER #2
Good question.
92.
INT. ABANDONED BUILDING - SMALL ROOM - DAY
Victor struggles with Margaret. In the
struggle, their faces
come close and Margaret suddenly kisses him.
He begins
kissing back.
Their kissing becomes more passionate, and
then in Victor's
case, more violent. Finally he can't resist
temptation any
longer. He bites her on the neck.
The door opens, and Janey comes in, closing
the door behind
her. Seeing what Victor is doing, she grabs
him, pulling him
off Margaret.
JANEY
Victor, no!
Margaret slumps to the floor, bleeding from
the neck. She
looks in horror at Victor.
MARGARET
What are you?
She's rapidly getting weak.
JANEY
(to Victor)
We have to get out of here.
A filing cabinet blocks another door. Victor
begins to move
it.
Janey finds a rag to stop Margaret's
bleeding.
JANEY
You're going to be okay.
INT. ABANDONED BUILDING - ROOM - DAY
Martin and Victoria exchange a nervous
glance. Martin nods
and gets up. Victoria follows.
They step slowly to the door to the supply
room and enter.
Jimmy sees this. He gets up to follow them.
The police officers see this and exchange
glances.
INT. ABANDONED BUILDING - SMALL ROOM - DAY
Victor has freed the other door. Martin and
Victoria enter.
93.
MARTIN
Oh, Jesus ...
VICTOR
It was an accident!
JANEY
She's going to be fine.
Martin opens the freed door. A hallway.
MARTIN
This way.
Without a word, the foursome slip out of the
supply room,
into the hallway, leaving Margaret behind.
She clutches the
bloody rag to her throat.
Jimmy enters. He rushes to help Margaret.
INT. ABANDONED BUILDING - ROOM - DAY
Several police officers exchange words, then
two step out to
go to the supply room.
INT. ABANDONED BUILDING - HALLWAY - DAY
Victor, Janey, Martin and Victoria rush down
the hallway.
INT. ABANDONED BUILDING - SMALL ROOM - DAY
The two policemen enter.
JIMMY
We need an ambulance!
EXT. ABANDONED BUILDING - SIDE ENTRANCE - DAY
Victor, Janey, Martin, and Victoria dash out of the building
into a different alley. They start running
down it toward a
busy street.
EXT. STREET - DAY
They reach the end of the alley and stop.
They look one way
and the other. The coast is clear.
They move onto the street, walking briskly.
94.
INT. SEEDY HOTEL #2 - ROOM - DAY
Victor and Janey sit close at a small table.
Across the
room, Martin and Victoria huddle, speaking in
hushed tones.
VICTORIA
I want her out of here.
MARTIN
Does it really matter?
VICTORIA
It does to me.
MARTIN
I don't know if I can do this any
more. Maybe we should all turn
ourselves in.
VICTORIA
Don't be ridiculous.
MARTIN
How long can we carry on like this? I
get so tired of it ...
Victoria steps away and goes to the small
table.
VICTORIA
Victor, we're leaving town. I want
you to come with us.
Martin comes over.
MARTIN
See what you have to look forward to,
Victor. Relapse and running,
relapse
and running. You become a criminal
for life.
JANEY
It doesn't have to be that way.
VICTORIA
This is a family affair. Don't you
have somewhere to go?
VICTOR
I want her here.
Victoria glares at him, then at Janey. Janey
smiles back.
MARTIN
What are you going to do?
95.
VICTOR
I don't know.
MARTIN
Why don't you sleep on it? You can
crash here for the night.
JANEY
Why don't we get our own room?
She stands and offers her hand. Victor
accepts it.
The women again glare at one another. Janey
leads Victor to
the door.
MARTIN
See you in the morning?
VICTOR
Of course.
Victor and Janey leave.
VICTORIA
She's going to destroy him.
MARTIN
What difference does it make? He
seems quite capable of managing that
on his own.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT
Victor and Janey make love.
INT. SEEDY HOTEL #2 - ROOM - NIGHT
Martin is asleep. Beside him, Victoria stares
at the ceiling.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT -
LATER
Victor and Janey are asleep.
INT. SEEDY HOTEL #2 - HALLWAY - NIGHT
Victoria comes into the hallway. She carries
a small suitcase.
She goes to Victor's door and opens the case.
She takes a
tool from it and begins to pick the lock.
Success. She cracks open the door. Listens.
96.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT
Victor and Janey are still asleep. Janey is
on her back.
INT. SEEDY HOTEL #2 - ROOM - NIGHT
Martin stirs. He notices that his wife is not
in bed. He
sits up.
INT. SEEDY HOTEL #2 - HALLWAY - NIGHT
Victoria takes a wooden stake and a small but
heavy mallet
out of the case. She brings them into the
room.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT
Victoria creeps to Janey's side of the bed,
carrying the
stake and mallet. She positions the stake
over Janey's heart
and raises the mallet.
Janey stirs and rolls over toward Victor.
Victor stirs.
Victoria waits for them to calm down but
Victor opens his
eyes. As his mother comes into focus, he
looks confused.
VICTOR
Mother?
Martin appears in the doorway.
MARTIN
Victoria!
Janey wakes. She sees Victoria with the stake
and mallet and
gasps.
JANEY
You were going to kill me!
Martin grabs Victoria.
MARTIN
Go back to bed!
Victoria glares at Janey, then turns and
leaves.
MARTIN
Are you all right?
Janey nods. Victor comforts her.
97.
MARTIN
I'm sorry. She's not well.
He picks up the stake and mallet.
MARTIN
I tried using this on myself once. I
couldn't get enough leverage.
He sets them on the dresser.
MARTIN
We'll be leaving first thing in the
morning. I'm sorry you found us.
Maybe you could've been spared all
this.
VICTOR
Probably not. It's who I am.
Martin starts to say something but changes
his mind.
VICTOR
Dad? Will I see you again?
MARTIN
For your sake, I hope not.
He goes.
Victor and Janey embrace.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT -
LATER
Janey is asleep. Victor stares at the
ceiling.
He slips out of bed. Janey doesn't stir.
As he cracks open the door, he sees the
mallet and wooden
stake on the dresser. He stares at them,
thinking.
He looks at Janey. Back at the dresser.
INT. SEEDY HOTEL #2 - HALLWAY - NIGHT
Victor comes out of the room and takes a deep
breath.
EXT. SEEDY HOTEL #2 - NIGHT
He comes outside. No sign of life anywhere.
98.
As he steps forward to go, Victoria calls to
him from an
open window above.
VICTORIA
Can't sleep either, huh?
He looks up at her.
VICTORIA
Wait, I'll be right down.
Victor looks troubled.
INT. SEEDY HOTEL #2 - VICTORIA'S ROOM - NIGHT
Victoria tip-toes to the door. Martin is
snoring.
As soon as she is out of the room, Martin
opens his eyes and
sits up.
EXT. SEEDY HOTEL #2 - NIGHT
Victoria comes out.
VICTOR
How could you do that?
VICTORIA
Sometimes I get so impulsive. I can't
help myself.
VICTOR
I think I love her.
VICTORIA
You lust after her. There's a
difference.
VICTOR
I'm no longer sure there is.
VICTORIA
You have so much to learn.
She smiles and takes Victor's arm as if he
were her date.
VICTORIA
I love this time of night. I feel
like I own the world.
She leads him up the street.
At the window above, Martin watches them.
99.
INT. SEEDY HOTEL #2 - HALLWAY - NIGHT
Martin comes out. He looks at the door to
Victor's room,
then steps toward it.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - NIGHT
The door cracks open. Martin takes the mallet
and stake from
the dresser.
EXT. SEEDY HOTEL #2 - NIGHT
Martin comes out with the mallet and stake.
EXT. CITY - STREET - NIGHT
Victor and Victoria stroll along an abandoned
street. A
stranger would mistake them for lovers by the
slow rhythm of
their close bodies.
VICTORIA
Will you go swimming with me?
VICTOR
Mother ... it's so late ...
VICTORIA
Of course you will.
EXT. CITY PARK - SWIMMING POOL - NIGHT
Victor helps his mother climb the fence to
get into the
outdoor pool. Then he climbs it to follow
her.
Victoria quickly strips down to her underwear
and dives in.
VICTORIA
It's wonderful! Hurry!
Victor strips to his shorts. He goes to the
shallow end and
steps in.
VICTORIA
Want to race laps?
VICTOR
Mother, I can barely swim.
He moves into deeper water. She swims up to
him.
100.
VICTORIA
I must have been a mermaid in a
previous life.
She dives under water, playfully grabbing
Victor's legs.
VICTOR
Mother, stop it!
EXT. SWIMMING POOL - OUTSIDE FENCE - NIGHT
Martin appears. He watches them frolicking in
the water
together.
EXT. CITY PARK - SWIMMING POOL - NIGHT
Victor and Victoria are stretched out on long
cushions along
the edge of the pool. Victoria's eyes are
closed.
VICTORIA
We're a unique race with our own
unique morality. I know it takes some
getting used to. What you'll learn,
Victor, is that nothing that feels
good is ever wrong.
A silence.
VICTORIA
Victor, are you awake?
VICTOR
I'm awake.
VICTORIA
Are you all right?
VICTOR
What do you have against Janey?
VICTORIA
The fact that I'm your mother.
VICTOR
I don't understand.
VICTORIA
I want you to love me best. Not
literally, it's much too soon for that.
VICTOR
Mother!
101.
VICTORIA
If it feels good, Victor, then it is
good. One thing we vampires have over
humans is that we're not bound by a
false restrictive morality.
VICTOR
I like being with Janey. You'd better
get used to the idea.
VICTORIA
I've made you angry, and I feel so
good! I'm going to take a little nap.
Don't let me sleep too long.
Silence.
Martin approaches. He is carrying the mallet
and stake.
Victor sees him, and Martin quickly puts one
finger over his
lips to hush him.
Martin kneels by Victoria, who dozes. Victor
sees the mallet
and stake and understands what is about to
happen.
Martin positions the stake. Victor sits up.
Father and son look at one another. There's a
question in
Martin's eyes. Finally Victor shakes his
head. Martin
relaxes the stake.
VICTOR
Could you really have done it?
MARTIN
Recovery is so much harder for women,
Victor. They can't control their
sensuality. In the end, they just
drag us down. This is not the first
time I've gotten this far. But I can
never go through with it.
He drops the mallet and stake to the ground.
Victoria opens her eyes.
VICTORIA
Hello, dear. Did you come for a swim?
MARTIN
I came to take you home.
VICTORIA
(to Victor)
See how he looks out for me?
102.
EXT. SEEDY HOTEL #2 - DAY
Martin pulls up in a rental car and gets out.
INT. SEEDY HOTEL #2 - VICTOR'S ROOM - DAY
Janey is making the bed.
VICTOR
The maid will do that.
JANEY
It gives me something to do. I'm not
at my best here.
VICTOR
You're doing fine.
JANEY
If I go with you, she's going to kill
me one day. She wants you to herself.
VICTOR
That's sick.
JANEY
We're not noted for our Christian
good manners.
VICTOR
You're making me choose between my
parents and you.
JANEY
I suppose I am.
INT. SEEDY HOTEL #2 - VICTORIA'S ROOM - DAY
Martin enters.
MARTIN
Ready?
VICTORIA
I've decided she can come with us.
MARTIN
That's up to her.
VICTORIA
I think it's the only way we'll have
Victor. They're still here, aren't
they?
103.
MARTIN
They'll meet us at the coffee shop
down the street.
EXT. SEEDY HOTEL #2 - DAY
Victor and Janey come out.
VICTOR
At least talk to them.
JANEY
You're going with them, aren't you?
VICTOR
I don't know. I want everybody to sit
down and talk.
INT. COFFEE SHOP - DAY
Victor and Janey sit together in a booth.
Martin and Victoria appear. Martin drops a
copy of The
Spectacle on the table in front of Victor.
A headline reads: "Vampire Bites
Fiancee!" with a photograph
of Margaret clutching a bloody rag to her
neck. The story
has Jimmy's byline.
MARTIN
We have to get you out of town.
Martin and Victoria sit down.
MARTIN
(to Janey)
I hope you're feeling better.
JANEY
I'll survive.
MARTIN
I suppose we should get right to the
point.
VICTORIA
(to Janey)
I want you and Victor to come with us.
JANEY
I don't think I can do that.
104.
VICTORIA
I can understand why you'd feel that
way. Anybody would. Sometimes I just
get such strong impulses to do
something--
JANEY
Spare me the rationalizations.
VICTORIA
Victor can't stay here. It's not safe.
JANEY
I realize that. Victor has to do what
he's going to do.
VICTOR
(to Janey)
Will you move somewhere with me?
JANEY
No.
VICTORIA
Then it's decided.
VICTOR
It's not decided!
He stands up and lifts Janey to her feet.
VICTOR
We have to talk.
EXT. COFFEE SHOP - DAY
Victor leads Janey outside. Martin and
Victoria sit in the
window behind them.
VICTOR
I love you.
JANEY
That doesn't change anything.
VICTOR
I want you to come with me.
105.
JANEY
I have a life here. A rhythm here.
It's actually a very delicate balance
that I survive within, Victor. I've
learned how to satisfy my cravings
and stay out of trouble at the same
time. I'm not going to do anything to
jeopardize that.
VICTOR
I can't stay here, I'll be arrested.
JANEY
Which is why you have to leave. Maybe
I'll visit you sometime.
Victor embraces her. Janey breaks it.
JANEY
I was your first vampire, Victor. I
know you'll always remember me.
She kisses him on the cheek and abandons him
on the sidewalk.
In the window, Victoria gets up and Martin
behind her.
Victor is watching Janey go, not knowing what
to do. Martin
and Victoria come out.
MARTIN
We have a long trip.
VICTORIA
Have you decided where we're going,
dear?
MARTIN
I've heard the midwest has a growing
recovery community. I'm not sure
we'll like the winters.
VICTORIA
We can always move in winter. We can
spend the winter in Florida!
MARTIN
Victor?
A parent moves to each side of him. They start toward the
car, leading Victor along.
106.
INT. MIDWEST TOWN - MEETING ROOM - NIGHT
Victor is on his feet at a 12-step meeting.
Martin and
Victoria sit beside him.
VICTOR
My name's Victor, and I'm a vampire.
VOICES
Hello, Victor, welcome!
A BEAUTIFUL WOMAN speaks alone after the
others.
BEAUTIFUL WOMAN
Hi, Victor -- welcome ...
Victor catches her eye. They smile at one
another.
Victoria glares at her.
Victor clears his throat and goes on.
VICTOR
I've never been to the midwest before.
I think I'm going to like it here.
The beautiful woman smiles at him. Victor
smiles back.
VICTOR
I'm new to recovery and can use all
the help I can get.
The beautiful woman gives the slightest nod.
Victoria looks outraged. Martin closes his
eyes, here we go
again.
Victor looks like he's ready to boogie.
FADE OUT