Act 2: Fright Night 40th Anniversary Original Cast Table Read

Uh, everybody, and action! Well, you can't blame me, can you? Would you believe such a story? Of course not. Vampires, posh, such silliness.
They don't exist. Of course, I'd never tell any of my fans that.
After all, I am Peter Vincent, the great vampire hunter. I'm a great actor, and actors have to maintain the illusion of being the character they play in the movies.
No matter what I do, I can't disappoint my fans ever. And now for a recap today's news.
Yesterday, a man was found murdered behind the railroad yards. And today, a badly mutilated corpse was found under the North Creek Bridge by the Old Mill.
As yet, the police have no leads. What's that, Fred? We're off the air.
I can't believe this. Two murders in two days in Rancho Corvallis where nothing ever happens.
And both of them were decapitated. What is going on? What? What? What? A good question, isn't it? I'm as anxious as you to find out.
And now for Act Two of Fright Night. As Jeffrey Dandridge says, for real.
Exterior, Brewster House, day. Amy rides up in her moped just as evil Ed starts up the front walk toward Charlie's house.
What are you doing here? Me? What about you? I thought you just dunked him. What I'm doing here is none of your business.
Oh you do like him? Interior, Charlie's room, day. Amy and Evil Ed walk through the door and stop.
The room has been transformed from a normal, happy kid's room into an armed camp for a vampire assault. The window is nailed shut.
Candles on every available surface. Strands of garlic hang from the windows.
Dime store crosses and crucifixes are everywhere. Charlie sits at his desk, whittling a stake from a slat of fence, a hammer by his side.
What's all this for? Self-defense. Not that I think I'll need it.
He'll be dead before nightfall. Who will be? Dandridge.
I'm waiting for the guy he lives with to leave. Then I'm going to go next door, find his coffin, and pound this through his heart.
That's murder, Charlie. You can't murder a vampire, Amy.
They're already dead, remember? Listen, I just taped this. He hits the play button on his tape deck, and a local radio newscast plays back.
Amy, what are we going to do? This is just like fright night. And now for the two o'clock news.
Another body of a young woman was discovered early this morning in back of Sheraton Mall. See that? I don't have any choice.
Somebody has to stop him. Charlie, it's going to be dangerous going into that house all alone, isn't it? Charlie nods.
I mean, you're gonna need all the help you can get, right? Somebody like Peter Vincent, for instance? Yeah. I tried him already.
He said no. Well, why don't you let us try again before you do anything? There's not enough time, Amy.

Well, what happens if you go into that house all alone and he gets you?

Who's going to stop him then?

Yeah, then he'll be able to suck his way through the entire town.

Not that it would be much of a loss.

Charlie, it's going to be dark soon.

And you don't want to go into that house then, do you?

No. No, you're right there.

All right, try him again.

Great. Now, you promise you're not going to do anything until you hear from us, okay?

Charlie nods.

Come on, Evil. Amy, you don't believe me, do you?

I love you, Charlie.

Hey, Amy, come on!

Amy hurries out of the room.

Peter Vincent's apartment, day.

The place is small, but neat.

The walls dotted with posters of his various movies, all in the horror genre, stretching back at least three decades. Peter grabs a letter from his kitchen counter and examines it.
An order of eviction. Suddenly, there is a knock at his door.
He opens it to reveal Amy and Evil Ed. Yes? Mr.
Vincent, could we talk to you for a moment? Well, I'm afraid now is not a good time.

Please, it's very important.

He stares at her, seeing the desperation in her eyes.

Oh, if you would just wait there for one moment.

He steps back, closing the door behind him, doing a quick tidying up.

I'll, um, come in. Now, what can I do for you? An autograph, perhaps, or perhaps an interview for your school newspaper? I'm afraid this is much more important.
Oh, really? What could be more important than my autograph? Saving a boy's life? Yes, well, I can see why that could be more important, but perhaps, uh, would you care to explain? Do you remember a fruitcake kid named Charlie Brewster? He said he came to see you. No.
He's the one who believes a vampire is living next door to him? Oh yes, yes. You know, he is insane.
Oh my dear, I do hope he's not a friend of yours. Yeah, she's got the hearts for the creep.
She punches him in the shoulder. Amy! We need your help to stop him, Mr.
Vincent. You see, he really does believe his next-door neighbor's a vampire.
He's planning to kill him. Yeah.
With a stake through the heart. Are you too serious? Oh, my dear, your friend needs a psychiatrist, not a vampire killer.
Please, Mr. Vincent.
I'm afraid not. You see, Hollywood beckons.
I have just been offered a starring role in a major film. I've even had to quit Fright Night.
So you see... I'll give you money.
How much? I have a $500 savings bond. I'll take it.
Now, how are we going to cure your little friend of this delusion? I got it all figured out. We all go next door to the neighbor, and you perform some kind of vampire test on him to pronounce him human.
You know, like in Orgy of the Damned, where you looked in the mirror, the guy didn't have a reflection, and then you knew he was a vampire. Ah, yes.
That was one of my favorite roles. Do you know, I still have the prop.
He pulls out a mirrored cigarette case and flips it open. Amy and evil Ed smile.
This will do just fine. Dissolved to interior, Dandridge House, night.
All the clocks on the wall come to life in unison. Ticking, signaling dusk has fallen and Jerry is awakening.
The phone on the table, next to a bowl of fruit, rings as a hand reaches into frame and picks it up. Yes? A door is heard creaking on the floor above.
Jerry appears out of the darkness, slowly walking down the stairway. It's for you.
Jerry takes the phone from him. Yes.
Yeah, yes, this is Jerry Dandridge. I see.
Well, yes, of course. I'm always willing to help young people, but I'm afraid that crosses are out of the question.
You see, I've I've been reborn recently. Billy and Jerry smile.
Peter's apartment, night. He's a reborn Christian.
He thinks crosses would be sacrilegious. Ask him about how he feels about holy water.
How about holy water? No, I won't do either. Well, tell him it's just ordinary tap water.
All he has to do is sip it. Yes.
Oh, yeah, yes, yes. Okay, yes, that sounds fine.
But, uh, don't bring him over till 7 tonight. I'll be out until then.
He hangs up, then turns to Billy. Well, it seems we won't have to go out tonight after all.
His friends are bringing him over at seven to prove to him that I'm not a vampire. He pops an orange slice into his mouth as they smile at their good fortune.
Cut to Exterior, Dandridge House, dusk into night. Charlie, Evil Ed, and Amy stand in front of the house waiting as darkness slowly closes about them.
It's 6.10. He said he was going to be here at 6, right? Relax.
He said he'd be here. He'll be here.
Here he comes! The kids rush the car as Peter pulls up and Amy opens his door for him. Oh, oh, thank you.
Peter gets out of the car. He wears his vampire killer regalia, the Victorian suit.
Ah, Charlie Brewster, I presume. Peter Vincent, vampire killer.
Mr. Vincent, I can't tell you how much I appreciate this.
Good evening. Good evening.
Now, down to business. Where is the lair of the suspected creature of the night? There.
Oh, yes. I see what you mean.
There is a distinct possibility. He produces a small crystal vial of holy water from his pocket and shows it to Charlie.
Now, shall we go? Wait a minute, wait a minute, where's your stakes and hammers? Oh, I left them in my bag. You're not going in there without them.
But I have to prove he is a vampire before I kill him, Charlie. Look, I know he's a vampire.
I am the one that has to know Charlie.

How are you going to do that?

Peter holds the bottle up for Charlie to see.

This is holy water.

Now, if a drop touches him, he will blister.

In this case, I have asked him to drink it while we all watch.

He readily agreed.

Yeah, but Mr. Vincent, if I'm right and you prove he's a vampire, he's gonna kill us all right then and there.
Peter knocks on the front door. Do we, old Charlie.
After all, I am here to protect you. I am Peter Vincent.
Yeah, I know. Mr.
Vincent. Billy Cole opens the door.
Hey, Peter Vincent. Billy Cole.
This is a pleasure. Won't you all come in? He steps back as Peter, Evil Ed, and Amy enter the house.
Charlie has no choice but to follow as Billy greets Amy and Evil Ed. Billy waits for Charlie, looming over him as the teen slips past him and into the house.
Interior, Dandridge House, night. Billy turns and yells up the stairs.
All the clocks behind him are ticking madly, the hour seven sharp. Hey, Jer, they're here.
Several seconds pass, then... Perhaps he didn't hear you.
Oh, he heard me all right. Suddenly, a step creaks at the top of the staircase where the shadows are the heaviest.
Jerry Dandridge descends, first his elegant shoes, then his legs with her fashionable pants, and finally the rest of him, all beautifully turned out. He's eating an apricot as he stares down at them.
Ah, Mr. Vincent.
I've seen all of your films and found them very amusing. Oh, thank you.
And who are these two? Jerry and Amy lock eyes. Attractive young people? Well, Ed Thompson.
Ed. Amy Peterson.
Jerry slowly approaches Amy, never taking his eyes off her, then bending low over her hand and kissing it. Charmed.
Isn't that what vampires are supposed to do, Charlie? They all laugh, except Charlie. Please.
He ushers Peter into the living room as Amy and evil Ed stare after him. That's some vampire, Brewster.
Oh, God. He's neat.
Please excuse the mess. I haven't finished unpacking.
Where do you keep your coffin? Or do you have more than one? Charlie! No, no. It's all right, Mr.
Vincent. I'm quite used to it by now.
As you may or may not know, Charlie even brought the police over a day ago. Charlie, you didn't.
Damn right I did. Only they didn't believe me any more than any of you.
But you'll believe me in a second. Mr.
Vincent, give him the holy water. Charlie, there's no reason to be rude about this.
It's perfectly all right, Mr. Vincent.
Where is it? Peter withdraws the vial from his pocket and hands it to Jerry.

Jerry eyes it warily.

And you are sure that this is holy water?

Positive.

I saw Father Scanlon bless it down at St. Mary's myself.

Charlie edges a cross out of his pocket.

Get ready to run. I'll protect you with this.
Jerry holds the vial up to the crackling fireplace. For the first time, nervousness creeping into his manner.
Well, bottom's up. Jerry lifts his head back and downs the contents of the vial in one swallow.
He turns to Peter triumphantly, puts the stopper back in the bottle, and goes to throw it in the fireplace. Peter clears his throat and shakes his head.
Ah. He hands the vial back to Peter.
There. Satisfied? Totally.
Well now, Charlie, you saw that. Are you convinced now that Mr.
Dandridge is not a vampire? It can't be. But, Charlie, you just saw it.
You know as well as I do that no vampire can drink blessed water. Then it wasn't blessed.
Are you calling me a liar, young man? Charlie looks at Jerry. Jerry stares back at him.
If he's not a vampire, have him touch this. Charlie suddenly whips a cross from his pocket and holds it up to Jerry.
Oh, Charlie, you've made a fool of yourself once. There's no reason to compound the error.
Yes, Charlie. You've already caused your friends quite enough pain.
You wouldn't want to cause them any more, would you? Charlie sees Dandridge coiling to spring, Billy sliding into place, blocking the doorway. Charlie slowly etches the cross back into his pocket.
No. No, of course not.
And you're finally convinced I'm not a vampire either, right? Their eyes lock. A moment passes.
Yes. Jerry smiles at him as the tension flows out of the room.
Well, I'm glad that's settled. Jerry puts his arm around Peter and leads him out of the room, followed by Amy and Evil Ed.
I can't tell you how much I appreciate this, Mr. Vincent.
You've been a great help. Oh, not at all.
Glad to be of service. It was really nice meeting both of you.

Charlie moves to follow them out, but Billy steps in front of him, blocking his way.

Charlie runs out to join them.

As the group stands by the door, Peter steps away,

reaching into his coat pocket, pulling out his cigarette case.

Please, feel free to drop by any time.

You'll always be welcome. I'd like that, Mr.
Dandridge. Oh, please.
Call me Jerry. Come on, let's get out of here.
Just a minute. Peter opens his cigarette case, glancing at the mirror on the inside.
He sees Amy, Evil Ed, and Charlie grouped around where Jerry Dandridge should be standing, but he's not there. Well, for you too, Ed.
I expect we have a lot of the same interest, you know, in horror movies and the occult. Peter's head jerks up and he looks back at the doorway.
Now he sees Jerry standing there. Peter looks back down at the mirror again.
No Jerry. Peter's face goes slack as he lets out a gasp.
He drops the case from his shaking hands. It smashes to the floor with a crash.
Everyone turns and looks at him. Something wrong, Mr.
Vincent. Peter hurriedly scoops up the case.
Oh, no, no, I felt a little... Oh, it's just my clumsiness.
Are you sure? Oh, yes, yes. I'm positive.
We've been taking up too much of your time. Thank you so much.
Come along, everybody. Thank you.
Bye-bye. He hurriedly ushers the teenagers out the front door as Jerry watches.
Exterior, Dandridge House, night. Peter plunges down the walk to his car.
What's wrong with you? Nothing. Then why are you shaking? I'm not shaking.
He hurriedly slides in behind the wheel, slamming the door. Charlie leans down, speaking through the partially open window.
You saw something in there, didn't you? You saw something that convinced you he was a vampire. Of course not.
Please, Mr. Vincent, you have to tell me.
Our lives depend on it. All right.
He didn't cast a reflection in my mirror. Satisfied now? The engine roars to life and he tears away.
Mr. Vincent, you have to call the police, Mr.
Vincent! Shit! Evil Ed starts to walk away. Where you going, pencil dick? Home? No way, we walk Amy home first.
Interior, Dandridge House, night. Billy and Jerry peer out the window, watching the kids walk away from the house.
Looks just like her, doesn't she? One good thing. I'll never believe him now.
As Jerry takes a step, and we hear a crunch, he glances down to see a sliver of mirror from Peter's cracked cigarette case at his feet. No.
Exterior. City street.
Night. Street lamps cast pools of bright light and deep shadows everywhere as the trio walk down the deserted street.
Evil Ed stops before a shadow-draped alleyway. Hey, let's cut through here.
No way. We want people and lights.
The more the better. Listen, Brewster.
Vampires don't exist. Haven't you got that through your thick head yet? What if you're wrong evil? What if Dandridge is a vampire and he thinks you know it? Would you walk down that alley then? Evil Ed looks down the dark alley.
Ah screw you Brewster. Look just Come on, please just stick with us, all right? Forget it.
You may be chicken shit, but I'm not. He heads down the alley and into the darkness.
What do we do? Let him go. The vampire's gonna want him anyway.
Probably give him blood poisoning. Then a blood-curdling scream echoes out of the darkness.
Charlie and Amy dash headlong into the alley after him.

They skid to a halt, finding Ed crumpled against a wall.

They kneel by his side.

Are you all right?

Ed continues to whimper.

Damn it, I warned him!

He got me, Charlie.

He bit me.

You know what you're gonna have to do now, don't you? Kill me. Kill me, Charlie, before I turn into a vampire and give you a hickey.
He suddenly heaves himself at Charlie, his mouth open, going for his throat as Charlie jerks back, terrified. Ed is in hysterics, laughing loudly as Amy joins in.
You asshole! You really believed me, you poor dope! Get yours someday, Evil. He grabs Amy's hand and walks back down the alley toward the lighted street.
Oh, yeah, yeah, when? When I'm bit by a vampire? There are no such things as vampires, fruitcake. He turns back down the alley.
As the sound of wind and flapping wings are heard overhead. Then, suddenly, Jerry Dandridge steps out from a shadowy wall.
Evil Ed walks along, feeling safe and secure. Then he hears it, footsteps behind, coming through the dark.
Charlie? Amy? Is that you? He hears nothing but those footsteps getting closer as he yells out with false bravery.

If that's you, it's not working.

I'm not scared.

Jerry rounds a corner and stands looking at Evil Ed.

Evil Ed turns and runs, smashing the traffic cans and falling to the ground.

Jerry continues his steady stride toward the boy as Evil leaps to his feet.

He's running for his life, and he knows it. He suddenly skids to a halt, facing a brick wall.
He whirls, his breath coming in ragged gasps now, peering down the alleyway into the dark, listening to those footsteps getting closer and closer. He slowly backs away until he has no further to go, his back against the brick wall.
The footsteps suddenly stop. He takes a step away from the wall, peering into the darkness with something like hope, praying that maybe Jerry Dandridge has given up.
Then, popping up from behind him is Jerry, inches from him. Hello, Edward.
Evil Ed turns to find Jerry standing right next to him. He backs away from the shadowy figure and slides to the cold pavement.

You don't have to be afraid of me.

I know what it's like being different.

Only they won't pick on you anymore.

Or beat you up.

I'll see to that.

All you have to do is take my hand. Here.
Edward. Take my hand.
He offers his hand. It's beautiful, perfectly shaked with thin, elegant fingers, tapering to five gleaming, razor-sharp points.
Evil Ed slowly reaches out and takes the vampire's hand. Jerry smiles at him and slowly leans down, lifting him up into the last embrace Edward Thompson will ever know.
Charlie and Amy walk quickly as suddenly a death rattle, long and high-pitched, pierces the night, echoing through the city streets, down alleyways and across apartment buildings, stopping them in their tracks. What was that? It was just Evil messing around again.
Cut it out, Evil! Not funny! Amy, what if Evil was really in trouble? Charlie, you're not gonna let him sucker you in again, are you? She wraps his arm around her and they start to walk, when suddenly all the streetlights go out, plunging them into darkness. Tell me it's a power outage.
Well, what else would it be? They pass by a light pole to see a power box, its contents shredded and on fire. Then the sound of huge wings beating and wind rushing overhead as a huge shadow passes by.
They dash down the street. They race around a corner to see the club radio, a fashionable disco.
Its entrance is jammed with people, all of them dressed to the teeth. Charlie runs to the entrance, dragging Amy after him just as Jerry appears around the corner behind them, relaxed in no great hurry, a hunter sure of his kill.
They take off and run down a side street, stopping to see Jerry now standing in front of them. The only escape is a ramp, and they take it running up to the top.
Jerry blocks their escape. Charlie glances to his right to see an open window where a cook is preparing food.
Charlie grabs Amy, pushes her first through the window, and then jumps in after her. He and Amy race through the madhouse of a kitchen, a cook glancing up from chopping lettuce as they tear past.
Interior, club radio, night. Hey, you can't come in here.
They burst through the door and disappear into a crush of people. They fight their way through the sea of dancers, Charlie dragging Amy to a payphone and dropping in a coin.
Who are you calling? The police. Interior, Peter's apartment, night.
Peter sits in a chair, cowering, his cross clenched firmly in his hand. Suddenly, there's a knock at his locked and barred door.
Who is it? It's me, Evil Ed.

What do you want?

Hurry!

There's a vampire out here.

Let me in!

He jumps from his chair,

unlocks his numerous locks,

and pulls Evil Ed into the room.

Evil Ed has changed.

His skin is more sallow,

huge dark circles under his eyes,

his lips bloodless,

his collar pulled up tightly around his neck. What are we going to do now? What are you gonna do? Peter stares at him as Evil Ed slowly reaches up and pulls down the collar of his shirt, revealing two small puncture marks on his throat.
Peter's eyes widen in horror. Evil Ed's smile only grows wider, exposing razor-shot fangs.
Not me. He lunges toward Peter as Peter jumps away.
Now, I used to admire you, you know that? Of course! That was before I found out what a fake you were.

Peter Vincent, the great vampire killer. Indeed.
He throws himself at Peter, shrieking, jumping on his back, opening his mouth wide to sink his fangs into him. Peter grabs the cross from his pocket and thrusts it directly into Evil Ed's face, slamming it squarely between his eyes.
His skin sizzles and cracks, smoke rising. Evil Ed backs away, his hands held to his face, falling onto a corner.
Evil Ed drops his hands from his face, revealing the sign of the cross branded into his forehead. He turns to look into the wall mirror, but there's no reflection.
What have you done to me? He takes a step toward Peter, and Peter thrusts the cross at him, backing Evil Ed up. Back! The Master will kill you for this, but not fast.
Slowly. Oh, so slowly.
Back! I say back! Evil Ed snarls at him like some feral animal and suddenly throws himself headlong out the window in an explosion of shattering glass, leaving Peter gasping for breath. Club radio, night.
Charlie slams the phone back into its cradle in frustration. He doesn't believe me.
I'm scared, Charlie. I'm really scared.
I'm not going to let him get you, Amy. I promise.
You got Peter Vincent's number? He doesn't care about us. I paid him to be there today.
It doesn't matter, Amy. We don't have any choice.
Give me his number. Sweeping through the front door of the club and moving toward the dance floor like a god among mere mortals, walks Jerry Dandridge.
The colored lights of the dance floor highlight his hair, accentuating his gracefulness. Charlie stands at the phone waiting for Peter to pick up.
Amy looks out onto the dance floor, catching a glimpse of Jerry appearing and disappearing as he moves through the dancers. She is drawn closer, Jerry disappearing again, only to magically appear before her.
He stops just at the edge of the floor and holds his hand out to her, the pounding, sensual beat of the funk rock washing over them both. His eyes burn into hers, willing her to come over to him.
She can't help but take his hand as she glides out onto the dance floor. Look, you gotta help me.
Dandridge has me and Amy trapped in this club downtown. Peter cowers, frozen with terror.
No, Charlie. I'm sorry.
I just can't do that. Mr.
Vincent, you've gotta come. Come on, you're the only one who knows what's going on.
Interior, club radio, dance floor, night. Amy turns and moves away from Jerry, but stops as he comes up behind her, slowly running his hands down her body, slipping a hand between her legs and twirling her about, only to let her slide down his body to the floor.
She rises, already physically changing as the heat between them builds, her hair more swept back, her cotton blouse now silk, clinging to her body. She tries to move away from him through the dancers, but the attraction is too strong.
Her clothes and hair continue to change. Amy, the girl next door, more and more the girl of Jerry's thirsty dreams.
As they dance, their bodies press against each other. She throws back her head, exposing her smooth, arcing throat.

Jerry pulls back her collar and bends down, his fangs beginning to lengthen.

Just as he's about to sink them deep, she jerks back, meeting his eyes again.

She melts and pulls her collar back for him.

She steps forward, slowly sinking to her knees in front of him, a supplicant worshiping her demon lover. Jerry looks down at her and lifts her to her feet, spinning her about in a mad dance that takes them past a wall of floor-length mirrors.
Amy can't help but look at herself in her desire, only to realize he isn't in the mirror, only she. He's about to penetrate her with his fangs when Charlie is suddenly there, grabbing Jerry and pulling him back.
Let her go! Jerry looks down to Charlie and slowly turns and plants a sensual kiss on Amy. You filthy son of a bitch! Charlie swings at Jerry, who catches Charlie's fist in the palm of his hand, forcing him to his knees.
You shouldn't lose your temper, Charlie. It isn't polite.
He tightens his grip, slowly squeezing Charlie's fist, the knuckle bones grinding as Charlie's face contorts in agony. You can't kill me here.
I don't want to kill you, Charlie. He squeezes harder, causing Charlie to cry out in pain.
I want you to bring Peter Vincent to my house. Just the two of you.
That is, if you ever want to see Amy again. He shoves the boy to the floor as he disappears with Amy into the swirling mass of dancers.
Charlie reappears behind him, grabbing his shoulder. Let her go! Just then, two bouncers approach.
One pulls Charlie and Amy away, leaving the other to face Jerry. She's mine! You want chicken, man? You go someplace else.
Out of my way! Move me. Jerry snarls.
His eyes glowing, the hint of fangs beginning to protrude over his upper lip. The nails on his fingers pop out into razor-sharp claws.
Bouncer number one screams as the talons whistle through the air, tearing the bouncer's thrower up with one swipe. Jerry's hand snaps out, grabbing the other bouncer, lifting him in the air, then flinging him onto the dance floor.
Pandemonium erupts, people stampeding toward the front door. Charlie and Amy fight their way through the madness and down the stairs.
As the wave of panicked humanity sweeps toward them, they are separated as Charlie fights to get back to her. Amy! Amy! He watches Amy get swallowed up into the terror-stricken mob when suddenly she is scooped up by Jerry.
He pauses for a moment to look up at Charlie, who is helpless to do anything, pulling her away with him. Amy! Exterior, club radio, night.
Charlie bursts through the entrance of the club just in time to see the black jeep roaring away down the street. Evil Ed peering out the back window, pointing at him and laughing wildly.
Interior, Peter Vincent's apartment, hallway, night. Charlie runs to Peter's door, banging on it.
Peter! Peter, open the door! Who is this? It's me, Charlie Brewster. Let me in.
Come on! The door cracks open an inch, a chain across the latch. Are you one of them? What are you talking about? Here, grab this.
Peter thrusts his cross out through the crack as Charlie does his told. No smoke.
He hurriedly pulls the boy inside. Peter relatches the door and hurries back to his packing.
Peter, we don't have very much time. Dandridge chased me and Amy all over town.
He trapped us in this place called Club... What...
what are you doing? I'm leaving. You can't! Just watch me.
But Dandridge has Amy! He says he's gonna kill her unless we come to his house! Peter stops and stares at Charlie, stunned. Oh my God.
The police. I'll call the police.
Oh, Peter, no! They won't believe you. I've tried.
Peter, it's just us. We're going to have to save Amy.
I... can't.
I... I was paid to be there today.
I know. And you still want me to help you? Yes! You're Peter Vincent, the great vampire killer.
That is a character in a movie. It isn't even my real name.
I'm terrified. I'm sorry, Charlie, but I am.
I can't do it alone, Peter. If you don't help me, Amy's going to die.
Me too, probably. Please, Peter.
I'm sorry, Charlie. Interior, dandridge House, bedroom, night.
A hand places a cassette into a player and pushes play. Amy, now dressed in a thin chiffon gown, lies on the floor.
As the pulsing music permeates the room, Amy regains consciousness, opening her eyes, searching the room, landing on the painting of a woman that looks just like her.

She's someone I knew a long time ago.

Jerry turns away from the window, weaving his way across the floor toward her, every move a suggestion, an invitation.

Where am I? Where's Charlie? He slowly removes his shirt, joining her on the

floor. He gently pushes her head down on his shoulder, exposing her tender young neck,

kissing her as he goes. And then he slowly bends down, his mouth opening to expose those two

razor-sharp fangs. She goes to speak, but he stops her, then traces her lips with his finger.
Their gaze locked, she removes the top of her gown, letting it fall to the floor as they kiss passionately. He kisses her neck, then rears back, sinking his fangs into her.
Her body arches, both arms pressing him to her, her body clinging to his. She bucks under him like a sexual climax, only better.
Much better. And just underneath her moans of ecstasy is a horrid, greedy, sucking noise.
Jerry Dandridge, feeding, as two thin strands of blood slowly run down the back of her alabaster skin.

End Act Two.

Yes!

Yeah!

Wow!

Ladies and gentlemen, lunch is back out where we had charcuterie, so we'll do a longer break.