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1 EXT. THE OCEAN - NIGHT 1 CAMERA SKIMMING along the top of the water. Moonlight on the surf. Racing toward the beach where large bonfires burn. TITLES AND TITLE SONG. CAMERA FLIES THROUGH FLAMES revealing: 2 THE SANTA CARLA BOARDWALK 2 This is the place where it's all happening on warm summer nights. MUSIC and NOISE. Arcades. Thrill rides. A brightly-lit Ferris wheel turning against a jet black sky. 3 INT. CAROUSEL 3 Spinning merrily. Loud CALLIOPE MUSIC. Young kids and teenagers occupy the horses and benches. A tough group of "SURF NAZIS" also ride. "My Beach, My Wave" on their T-shirts. The LOST BOYS enter the carousel house. Cool kids in dis- tinctive dress. Compelling; not threatening. They are DAVID, MARKO, PAUL, DWAYNE; David the obvious leader. GREG, the head Surf Nazi, sits in one of the carousel's benches with his arm around his girl, SHELLY. He thinks he's King of the Boardwalk.. And doesn't like it one bit when Shelly casts an appreciative glance toward David. David smiles back at her. Not flirting, just being chi- valrous. Greg scowls and takes his anger out on Paul by tripping him as he goes by. An insult... a shove. David joins Paul. Surf Nazis join Greg. The Lost Boys close ranks. A major melee seems ready to erupt, when the ugly end of a nightstick is shoved against his Adam's apple. A three hundred pound security GUARD is at the other end. The ride suddenly ends. CALLIOPE MUSIC STOPS. GUARD I told you to stay off the boardwalk. For an endless moment David's and the Guard's eyes lock in mortal combat. Neither one willing to give ground. Then David smiles. DAVID Come on, let's pull. The Lost Boys begin to leave as the Guard turns to Greg and the Surf Nazis. GUARD You too, off the boardwalk. And don't come back! Greg and the Surf Nazis grumble and leave. There is bad blood between them and the Lost Boys, but both groups hate the Security Guard more. EXT. BOARDWALK - NIGHT (AERIAL SHOT) CAMERA TRAVELS through the empty amusement park as the lights go off systematically. CAMERA CONTINUES past the rides to reveal: 4 LARGE, EMPTY PARKING LOT 4 The Security Guard approaches his lone car carrying his lunch pail. Deadly quiet. VAMPIRE POV SHOT Zooming down on the Guard. A rush of air. High-pitched SCREECHING. WHISPERING VOICES. THE GUARD looks up -- reacts for a split second -- and then he's gone -- pulled UPWARD OUT OF FRAME so fast, he's just a blur. Only his lunch box -- bouncing on the pavement -- remains behind. 5 SHOTS OF GROTESQUE CARNIVAL IMAGES ON THE BOARDWALK 5 Clown faces bobbing. Dark images in the carousel. 6 EXT. DESERTED BEACH - NIGHT 6 WAVES LAP against the beach. Lonely and deserted. No one around for miles. All is quiet and still, until... WHOOSH! THUD! THE GUARD'S BODY falls from the sky and lands in the wet sand directly IN FRONT OF CAMERA. Horrible and bloodless. Sucked dry, like a deflated balloon. CAMERA PULLS UP, UP, UP until the coastline is visible to us. And NIGHT DISSOLVES INTO DAY. 7 EXT. PACIFIC COAST - MORNING 7 Helicopter shots of the COASTLINE and HIGHWAY 17 approach- ing Santa Clara: ocean, agriculture, etc. CAMERA FINDS a beat up LAND ROVER pulling a U-HAUL TRAILER. 8 INT. ROVER 8 LUCY ANDERSON drives -- late thirties, sexy, warm, com- fortable with herself -- a bit of a free spirit. SAM, 11, a victim of too many afternoons in shopping malls watching Bratpack movies, sits next to her in his trendy duds, suffering the foreign coastline with his large Malamute dog NANOOK. MICHAEL, in his late teens, slumps in the back seat. He is a loner, an independent and not enjoying the ride. LUCY We're getting close... SAM What's that smell? LUCY (filling lungs) Ocean air! SAM Smells like something died. LUCY Guys, I know it hasn't been easy... the divorce and now the move... but I think you're really going to like living in Santa Carla... No reply. Her sons look unconvinced. LUCY How 'bout some music. She turns on the radio to COUNTRY AND WESTERN. SAM Keep going. She next finds an EASY LISTENING station. MICHAEL Keep going. She next finds Donovan singing "Mellow Yellow." SAM/MICHAEL Keep going. LUCY (laughing) Wait. Haight-Ashbury! The summer of love! 'Mellow Yellow.' SAM/MICHAEL Keep going! They all laugh as Lucy turns the dial to a CURRENT ROCK HIT and the boys relax. THEIR POV - LARGE BILLBOARD Showing Boardwalk, Pier, etc. Reads: "Welcome to Santa Carla." As they pass, only Michael notices what has been spray painted on the back of the sign: "MURDER CAPITAL OF THE WORLD." MUSIC CONTINUES over: 9 EXT. SANTA CARLA - MORNING 9 ESTABLISH Summer/Fun atmos -- Bikinis, Surfers, Bikers, Colorful Locals, etc. HIGH SHOT soaks in boardwalk and surrounding area as CAMERA MOVES DOWNWARD finding Sam and Nonook in the crowd running to: 10 EXT. GAS STATION/SURF RENTAL/TRAMPOULINE RIDE 10 In the center of the action. Lucy pumps gas into the Rover as Sam runs up to her. SAM Mom, there's an amusement park right on the beach! LUCY That's the boardwalk, Sam. SAM Can we go now, huh? LUCY Maybe later. Grandpa's expecting us. Lucy is disturbed as she notices TWO RUNAWAY TEENAGERS RUMMAGING through a nearby garbage bin for something to eat. She and Sam are distracted however as they see Michael rolling his HONDA MOTOR BIKE from out of the U-Haul. MICHAEL I need to stretch my legs. I'll follow you. The Attendant gives Lucy five dollars in change. She hands it to Sam, indicating the Two Runaways. LUCY Tell them to get something to eat. SAM I thought we were poor. LUCY Not that poor. Sam runs off as Michael starts his prize possession. LUCY Still mad at me? MICHAEL For what. LUCY For everything. Michael can't deal with this and just roars his engine. LUCY If you want to check it out and meet us later it's okay. Sam returns, having heard this. SAM What!? He can and I can't?! No fair!! MICHAEL That's okay, Mom. I can see it later. I'll help you unload. Lucy seems pleasantly surprised by Michael's display of responsibility. She and Sam get in the Rover as the Runaways shout to them. RUNAWAY Hey, thanks, lady. LUCY (to Runaways) Use some of it to call home. (to Sam as they pull out) Those kids look like me twenty years ago. SAM When you ran away from home, hitch- hiked to Berkeley, spent the night in Golden Gate Park and begged for spare change in the morning? LUCY You've heard this story before? SAM So many times, I'm starting to think it happened to me. 11 EXT. GRANDPA'S HOUSE - DAY 11 A long winding road leads to the old lodge-like funky house. The Land Rover pulls up followed by Michael on his motorbike. GRANDPA, a rugged individualist wearing old denims, Indian moccasins, long grey braid down his back, is a lifeless form on the front porch. Lucy and sons approach. MICHAEL He looks dead. LUCY He's just a deep sleeper. MICHAEL He's not breathing, Mom. Lucy becomes concerned as she feels his head. SAM If he's dead can we move back to Phoenix? Before Lucy and Michael can belt Sam, Grandpa opens his mischievous eyes. GRANDPA Playin' dead... and from what I heard, doin; a damn good job of it, too. Michael and Sam exchange weird looks as Lucy hugs her father. 12 INT. GRANDPA'S LIVING ROOM - DAY 12 Large, lodge-like; funky leather furniture and Indian blankets. Michael carries in his BARBELLS while Sam struggles with his MAMMOTH COLLECTION OF COMIC BOOKS. MICHAEL This is kind of a cool place. SAM (deadpan) I'm so excited I just can't hide it. I'm about to lode control and I think I like it. MICHAEL Will you give Mom a break? Sam follows Michael into the... 13 KITCHEN 13 As Michael, about to put his barbells down on back porch, pumps a few times for good measure. SAM Grandpa does not own a T.V. Have you noticed? There's no T.V. Santa Carla has no malls, no Cineplexes and now I won't even have MTV. I will not know anything hip happening anymore. MICHAEL Hey, Sam, we're flat broke. SAM Even poor people have T.V.s 14 EXT. GRANDPA'S HOUSE 14 Nanook dashes about discovering nature, while Grandpa helps Lucy unload the U-Haul. GRANDPA Lucy, you're the only woman I ever knew didn't improve her situation by getting divorced. LUCY A big legal war wasn't going to improve anybody's situation. We've all been through enough. Besides I was raised better than that. Thanks for having us, Dad. She hugs him, accidentally pulling on his braid. GRANDPA Ouch, my hair... LUCY When I dressed like you do now, you threw me out of the house. I used to hate your short hair and your uptight suits... then I went ahead and married one... I went Yuppie and you became a hippie... Were still out of synch. 15 INT. AN UPSTAIRS BEDROOM 15 Sam is stacking his comic book collection on the shelves when Michael enters. MICHAEL This room is mine. SAM I was here first. MICHAEL Okay. I'll flip you for it. Sam can see it's his only chance. SAM Okay... Michael smiles, grabs Sam suddenly and "flips" him upside down. Michael is laughing, but his tone changes dramati- cally when Sam reaches out, grabs hold of Michael's crotch and squeezes hard. Michael drops Sam. MICHAEL Owwww! You little shit! Sam is out the door as Michael pursues. 16 DOWN THE STAIRCASE THROUGH THE LIVING ROOM 16 Sam yells to Lucy, who is outside. SAM Help me, Mom. Help. LUCY Soon. Sam tears open a pair of old sliding doors and runs into: 17 THE OLD BAR 17 Stuffed animals of all kinds staring down at him: Squir- rels, birds, cats, etc. Also, boxes of eyes, pelts, hides, wooden animal forms. In other words, all the equipment and accouterments of a taxidermist. MICHAEL dashes in. Both boys stare in wonder. The whole scene is very weird. Suddenly a voice from behind. GRANDPA Rules! Both boys jump, Grandpa is behind them. GRANDPA Got some rules around here. 18 INT. KITCHEN 18 Grandpa opens the refrigerator revealing a shelf with a cardboard flap on it reading: "Old Fart." GRANDPA Second shelf is mine... keep my root beers and double-thick Mint Oreo cookies there... Nobody touches the second shelf... Grandpa closes the door as Michael notices something out the window, as they follow Grandpa back towards the living room. Michael points to a small marijuana crop growing outside. Sam is puzzled but Michael make a "smoking a joint" gesture. 19 LIVING ROOM (CONTINUOUS) 19 They follow Grandpa. GRANDPA When the mailman brings the T.V. Guide on Wednesdays, sometimes the corner of the address label will curl up... You'll be tempted to peel it off. Don't. You'll end up rippin' the cover and I don't like that... He disappears into the Taxidermy. GRANDPA ... And stay outta here. SAM You have a T.V.? GRANDPA No, I just like to read the T.V. Guide. Read the T.V. Guide, you don't need a T.V... 20 INT. THE KITCHEN - NIGHT 20 Michael, Sam and Lucy do the dinner dishes together. The radio is playing. A HIT FROM THE SIXTIES comes on. "Land Of A Thousand Dances." Lucy begins to move to the music. Then she puts down her dish towel and starts to dance. LUCY This is how we used to do it. 'Pony Time.' Lucy grabs Sam by the hand and pulls him away from the sink. He copies her. In fact, he's even more wild. Lucy and Sam are laughing and having a great time. Lucy and Sam try to include Michael, but he's embarrassed. 21 EXT. BEACH IN FRONT OF THE BOARDWALK- NIGHT 21 Michael and Sam walk across the beach, around the burning bonfires. The beach is crowded. Greg and the Surf Nazis hang out. It is all very strange and exciting to Sam and Michael who make their way towards the lively boardwalk. Sam fusses with his "mussed" hair and trendy clothes. MICHAEL You're beautiful. SAM Wanna change my hair, my clothes, my face. They go up the stairs near the bandstand. A LOUD ROCK GROUP performs. The crows and action are exciting. Michael and Sam make their way through the young people.. Michael suddenly sees: STAR A heart-stopping young beauty. Different from anyone in the crowd, listening to the music and even though she's with LADDIE, 14, a sweet-faced but sad boy, she seems alone. As the MUSIC BUILDS, she suddenly feels Michael's gaze and their eyes meet. She is a person looking for a friend. Michael smiles. Star wants to smile back, but she can't, and reaching for Laddie, disappears through the crowd. Michael grabs Sam and follows. 22 EXT. SANTA CARLA PIER - NIGHT 22 In view of the boardwalk, but quite a distance away. Lucy, in a soft summer skirt and blouse walks on the busy pier; restaurants, souvenir stores, boat rentals, etc. A "brain dead" ex-hippie is preaching; ranting and raving. Lucy falls in step for a moment with a TOURIST COUPLE who are smiling over the ex-hippie. LUCY I think I dated that guy. The couple chuckle and disappears in the crowd as Lucy comes across a kiosk with dozens of local ads for apart- ments for rent, fishing boats, seminars, and many flyers with missing children. Being added to this is a xeroxed flyer with a picture of the heavyset Security Guard we saw killed. "MISSING" in large black type over his photo. This is being placed there by his WIFE AND TWO CHILDREN. Lucy passes the sad woman and their eyes meet for a second. Lucy notices a "HELP WANTED" SIGN in a restau- rant window. As she goes to inspect it however, she suddenly becomes aware of a YOUNG BOY looking very lost in the middle of the summer crowd. 23 POV OF LUCY 23 tending to the child. This is through a store window looking out onto the pier with the boardwalk in the distance. A BUZZER SOUNDS. AND POV MOVES THROUGH THE DOORWAY OF A VIDEO STORE. as the LOST BOYS enter aggressively. These POV's belong to MAX, the tall good-looking friendly owner of VIDEOMAX, a trendy video/souvenier store with banks of TV MONITORS filled with rock and cartoon images. Max is not happy with the appearance of the LOST BOYS in his store, who seem only interested in causing trouble and cruising the attractive YOUNG BLACK CASHIER. Max is just about to deal with them, when the BUZZER SOUNDS again, and Lucy enters with the child. LUCY This boy seems to be lost. David and the Lost Boys watch Lucy and the child. Max is delighted to see Lucy in his store. LUCY I thought maybe his parents might be in here? Max is just about to help Lucy when a frantic YOUNG MOTHER comes dashing into the store. MOTHER Terry... Oh, thank God... I was so worried... She grabs the child, effusively thanking Max and Lucy. Max gallantly hands a lollipop to Terry as the mother thanks them some more and leaves. Max hands Lucy a lollipop next. LUCY No, thanks. She smiles as the Lost Boys shuffle past heading for the door. Max speaks to David. MAX I told you not to come in here anymore. David smiles his smile and leaves with his guys. Max sees Lucy watching him. MAX Wild kids. Outside David and the guys get on their bitchin' bikes and peel out. LUCY Oh, they're just young. We were that age, too, once. Only they dress better. MAX You've got a generous nature. I like that in a person. My name is Max. LUCY Lucy. MAX So what can I help you find tonight, Lucy? We've got it all. Best selection in Santa Carla. LUCY I'm not looking for a tape. What I need is -- MAX -- a job. LUCY Do I look that needy? 24 EXT. BOARDWALK - NIGHT 24 Michael walks briskly past the rides through the crowds. Sam has trouble keeping up as they turn down an alley. SAM Where are we going? MICHAEL Nowhere. SAM Then what's the rush? You're chasing that girl, why don't you just admit it? I'm at the mercy of your sex glands! MICHAEL Don't you have something better to do than follow me around all night? Then, Sam realizes that he's standing directly in front of a GREAT SECOND-HAND COMIC BOOK STORE. SAM As a matter of fact, I do. With that, Sam walks away from Michael. And Michael continues his search alone. 25 INT. COMIC BOOK STORE 25 Weirdness hangs in the air. Sam enters. It seems empty. Sam begins to examine the treasure trove of comics when he suddenly becomes aware of TWO TEENAGERS, EDGAR and ALAN -- tough little dudes in fatigues with cold eyes -- victims of too many Chuck Norris movies. They are busy stacking old comics on the racks from cardboard boxes. They are the FROG BROTHERS. SAM You can't put the Superman D.C. #3400 series with the #500's... it's a different artist. The Frogs just look death at him, but Alan notices something. ALAN (to Edgar) He's right. They begin to correct their mistake, as Sam speaks again. SAM And these Archies should be over here with the Richie Rich's. EDGAR Where the hell are you from, Kryton??? SAM Phoenix actually and these Bullwinkle and... ALAN Just passing through Santa Carla? SAM No, I'm a resident as of today and you'll probably be seeing a lot of me... I've been collecting comic books all my life... perhaps you'd like to see my collection? Alan looks to Edgar as Edgar pulls a comic from the shelf. EDGAR If you're gonna live around here, then here's one you don't wanna be without. He hands Sam a comic entitled Vampires Everywhere. SAM I don't like horror comics. ALAN This one could save your life. 26 EXT. THE BOARDWALK 26 Michael is on Star and Laddie's tail. He keeps pace with her, walking a safe distance behind. She becomes aware of him. She looks over her shoulder -- then suddenly stops. STAR Are you following me? MICHAEL Well, I... STAR Did you want to talk to me? MICHAEL Well... yeah. Sure. STAR Okay. Talk. MICHAEL I just wanted to... I, uh... Sam rushes up carrying his comic. SAM Mom's here. Laddie notices the vampire comic. SAM Let's go. STAR (very sweetly) Nice talking to you. She smiles and walks away. 27 EXT. BOARDWALK ENTRANCE - MINUTES LATER 27 Michael argues with Lucy as Sam climbs into the Rover. MICHAEL It's early. Why do we have to go home? LUCY Bring your own wheels tomorrow night and you can stay as long as you want... well 'til eleven thirty maybe. MICHAEL I'll hitch. LUCY Oh, no, you won't. SAM Mom, you hitched all the way to Berkeley once, remember? MICHAEL Mom, just give me five more minutes. Just five minutes, okay? Lucy nods as Michael dashes off into the crowd. SAM He met a girl. LUCY I guess no one cares what I got a job. SAM Can we get a T.V.? 28 EXT. ANOTHER PART OF THE BOARDWALK 28 Michael rounds the turn and stops short. Star and Laddie are surrounded by the Lost Boys. Michael feels upstaged. The Lost Boys look his way -- but there is nothing threatening in their expressions. They all have motorcycles. They climb on and GUN their engines. Star climbs on behind David, putting her arms around him. They ROAR away. Michael is left standing alone. Star smiles as she disappears into the night. 29 EXT. BEACH IN FRONT OF BOARDWALK - EARLY MORNING 29 The bonfires from the previous night are smoldering in the morning haze. Runaway kids sleep on the beach. 30 EXT. GAS STATION/SURF RENTAL/TRAMPOULINE RIDE - 30 EARLY MORNING Michael parks his bike, as he and Sam rent surf boards and wet suits. 31 EXT. BEACH 31 Michael carries his board under his arm as Sam drags his behind. SAM Do I have to do this? MICHAEL Come on, Sam, you know before there were malls there was 'like the ocean.' 32 VARIOUS SHOTS 32 Michael leans to "master" the art of Surfing. He's very athletic and it doesn't take him too long to get the hang of it. Sam is disaster, however, and settles for watching Michael along with the huge Santa Carla Seals who seem- ingly applaud Michael. Suddenly he is wiped out, however, by Greg and the Surf Nazis who surf right past him. GREG My beach, my wave, dude. Michael wipes out as the Seals applaud. 33 INT. THE VIDEO STORE - DUSK 33 Lucy's first day on the job. MARIA, the hot-looking black cashier, shows Lucy the ropes. MARIA I'd be out on the street if it wasn't for Max. Nobody would'a given me a job the way I looked when I walked in here. LUCY I haven't seen him all day. MARIA He only comes in nights. He's busy opening another store in Los Gatos. Much bigger than this one. Lucy sees Michael and Sam drive up on Michael's Honda. She goes out to meet them. 34 EXT. VIDEO STORE 34 Sam leaps off the motorbike. Michael GUNS the engine. MICHAEL See you later. LUCY I get off in another twenty minutes. I thought maybe we'd all get a bite together. MICHAEL I'll pass. With that, Michael peels off. 35 EXT. THE BOARDWALK - NIGHT 35 Michael is purchasing a BLACK JACKET from the PUNK STORE on the boardwalk. He likes his reflection. It's the kind of jacket the Lost Boys would wear. CAMERA TRAVELS with him as he gets into his new attitude. He stops near an EAR PIERCING CONCESSION and actually considers it. STAR (O.S.) It's a rip-off. Michael is floored to see Star standing behind him. MICHAEL Hi... STAR If you want your ear pierced, I'll do it. He follows her as they move along the busy Boardwalk. MICHAEL What's your name? STAR Star. MICHAEL Oh. Your folks, too, huh? STAR What do you mean? MICHAEL Ex-hippies. My mom was one. I came this close to being called Moon Child, or Moon Beam or something. (beat) But Star's great. I like Star. STAR Me, too. MICHAEL I'm Michael. STAR Michael's great. I like Michael. Michael smiles awkwardly at Star's playfulness. For a moment they walk in silence. STAR I guess you're new around here. MICHAEL Sort of. We used to come here summers when I was kid. Now we're here on a permanent basis. She seems pleased by that news. Michael gives her a look. He can't believe his good fortune. MICHAEL Are you hungry? Wanna get something to eat? STAR Okay. 36 EXT. BOARDWALK PARKING AREA - NIGHT 36 As Michael and Star approach Michael's Honda, the Lost Boys arrive on their motorcycles. Laddie sits behind Paul. David is astride a THROBBING TRIUMPH. Michael looks uneasy; out-classed and out-numbered. DAVID (to Star) Where you going? STAR For a ride. DAVID (glancing at Michael) With him? STAR Yeah. David GUNS his engine, then lets it REV BACK DOWN. DAVID (to Michael) I'm David. (indicates the others) Paul... Dwayne... Marko. Laddie speaks up, having been passed over. LADDIE Hi... I'm Laddie. STAR This is Michael. Silence. Nobody moves, but glances are exchanged all around. MICHAEL (to Star) We still going? DAVID Honda 250, huh? MICHAEL That's right. DAVID C'mon, Star. Climb on. MICHAEL Star?... She gives Michael an apologetic look, then climbs onto the motorcycle behind David. DAVID Know where Hudson's Bluff is? Overlooking the point? David again GUNS his ENGINE and Michael gets his meaning. MICHAEL I can't beat a Triumph. DAVID You don't have to beat me, Michael. (pause) Just try to keep up. 37 EXT. BOARDWALK STEPS 37 The motorcycles BOUNCE down the steps and hit the beach. 38 EXT. THE BEACH 38 Now they pick up speed as they spin out from the board- walk, spraying sand into the air and REVVING their ENGINES. People on the beach turn to look as the motorcycles ROAR by, heading for a more deserted section of sand. 39 AERIAL VIEW 39 Of ALL FIVE MOTORBIKES weaving between the ROARING BONFIRES. 40 CLOSE SHOTS - THE LOST BOYS 40 Their faces are alive with the excitement and the thrill of the ride. 41 CLOSE ON MICHAEL 41 Cautious. Worried. Doing his best to keep up. 42 EXT. THE SHORELINE 42 The motorcycles speed through the surf. 43 ANOTHER ANGLE 43 They head for the pier at full speed. The thick wooden pilings present a hazardous obstacle course. Michael SKIDS and slows down. The Lost Boys do just the opposite. They increase their speed as they approach the pilings. 44 EXT. BENEATH THE PIER 44 David and the others thread their way between the pilings at breakneck speed -- executing turns and avoiding col- lisions in a way that doesn't seem possible. 45 MICHAEL 45 travels through the pilings, trying to keep up. 46 EXT. DUNE-FILLED BEACH 46 An area of gently rolling sand dunes. A bonfire burns beside one of these dunes. We HEAR the THUNDEROUS RUMBLE of approaching motorcycles and one-by-one the Lost Boys sail off the edge of the dune -- fly through the flames of the bonfire -- and land upright on the beach below. MICHAEL is the last one to try this. He's determined not to chicken out. He speeds up the dune -- flies through the flames -- and hits the beach. He almost falls -- but immediately rights himself. Star looks back from her position behind David and gives him a smile. The Lost Boys also favor him with approving looks. 47 EXT. RAILROAD TRESTLE 47 Michael and the Lost Boys -- silhouetted against the night sky -- speed across the trestle. 48 MICHAEL AND DAVID 48 now travel side-by-side. Star's hair blows in the wind. She reaches out her hand toward Michael. Michael reaches out his. Their hands touch for a moment -- then David turns to Michael. DAVID (shouting above the noise of the WIND and the MOTORS Now we race!! David smiles -- and speeds ahead. Michael takes off after him. 49 EXT. HUDSON'S BLUFF - NIGHT 49 David's Triumph streaks across the flat surface of the bluff. Michael is not far behind. MICHAEL'S POV The bluff terminates in a shear five hundred-foot drop into the CRASHING SURF below. And it's coming up fast. DAVID ROARS toward the abyss, seemingly heedless of the peril that lies before him. MICHAEL begins to show fear. It's as is he's going to shoot off the edge of the world. He brakes and spins out, nearly losing control of his bike, sliding toward the edge. DAVID BRAKES! The tires lock and the TRIUMPH SKIDS to a stop. CLOSE ON TRIUMPH'S FRONT TIRE Hanging slightly over the edge of the bluff. The PACIFIC OCEAN CRASHES POWERFULLY against the moon-lit rocks below. MICHAEL slides next to him, slightly over the edge. 50 FULL SHOT - THE BLUFF 50 The other boys now arrive on their motorbikes. David calmly climbs off his bike. Michael explodes and punches him. The other boys fall silent. Star looks to Laddie. Michael prepares for David's retaliation, but David surprises everyone by smiling his irresistible smile at Michael. DAVID How far you willing to go, Michael? 51 EXT. BLUFF FROM THE OCEAN'S POV 51 A beautiful magic spot. David, Michael, Star and the others climb down old condemned wooden stairs, passing huge signs on old rusted pilings reading: "CONDEMNED," "UNSAFE," "UNLAWFUL TO GO PAST THIS POINT." The group presses on toward a LARGE OPENING IN THE ROCKS. 52 INT. CAVE 52 The group enters and Michael can't believe his eyes. A VICTORIAN HOTEL LOBBY has seemingly dropped through a crack in the earth. It is tilted and broken, but nearly intact: Front desk, lobby mural; wrought-iron elevator, and more. Shafts of moonlight shoot down from cracks in the ceiling. DAVID This was the hottest resort in Santa Carla back about eighty years ago. Too bad they built it right on top of the San Adreas fault. (beat) In 1906, when the big one hit San Francisco, the ground opened up and this place took a header into the crack. PAUL Man, you wouldn't believe the cool stuff we've found in here. Michael glances at Star. STAR C'mon, Michael. I want to go. DAVID No. Stick around. MICHAEL We were gonna grab some food. DAVID Good idea. (turns) Marko. We're hungry. Marko nods and leaves. DAVID See? All you gotta do is ask. (lights up a joint) How about an appetizer? David takes the first hit, then passes it to Michael. Star seems troubled. 53 EXT. GRANDPA'S HOUSE - ESTABLISHING - NIGHT 53 54 INT. SAM'S BEDROOM - NIGHT 54 Sam is lying in bed reading Vampires Everywhere. Lucy enters. LUCY Ten o'clock. Lights out. Lucy opens the closet and throws a few items inside, then walks away. SAM Mom. She closes the closet door. LUCY I can't sleep with the closet door open, either. Not even a crack. (pause) Your father doesn't mind, though. It could be wide open for all he cared. I think one of the reasons I divorced him was because he never believed... in the horror... of the closet monster! GRANDPA (O.S.) Closet monster!? Taken by surprise, Lucy and Sam yelp like a pair of scared puppies. LUCY Dad! Don't sneak up on people like that! GRANDPA It's called the Indian walk. Walkin' without makin' a sound. Grandpa is holding something behind his back. GRANDPA Brought you a little somethin' to dress up your room with, Sam. Grandpa reveals what's behind his back: A grotesque stuffed woodchuck. Raised up on its hind legs. Teeth exposed. Very ugly, indeed. Lucy and Sam hide their revulsion as Grandpa proudly places the monstrosity on the dresser. SAM Thanks, Grandpa... GRANDPA Lots more where he came from. LUCY Lights out, Sam. SAM Soon as I finish this comic. Okay? Lucy nods and exits the room. Grandpa follows her out. Sam is left alone to finish the comic. But he can't concentrate. The woodchuck seems to be staring at him. Finally, Sam leaps out of bed, grabs the woodchuck and puts him in the closet. SLAMMING the door tightly. 55 INT. LOBBY/CAVE - NIGHT 55 MUSIC IS PLAYING from a ghetto blaster. Very loud. Very hypnotic. Dwayne makes graceful moves with a skateboard beneath his feet. Everyone is very mellow; very dreamy. MICHAEL (to all) Where are you guys from? PAUL We're from right here. MICHAEL I mean, where do you live? DWAYNE Right here. MICHAEL You live here? Your folks let you? PAUL Is he talking parents? DWAYNE (laughing) What are they? The others laugh, too. Michael looks confused. DAVID We do what we want, Michael. We have complete freedom. (beat) Nobody knows about this place... and nobody knows about us. Michael is intrigued -- and David sees it. He steps closer to him. DAVID Freedom, Michael. No parents. No rules. (smiles) Hell, we're as free as birds. Marko suddenly arrives bearing cartons of take-out food. MARKO Chow time! David takes the cartons from his hand. DAVID Chinese! Good choice. He pops the lid on one of the cartons and approaches Michael with it. DAVID Guests first. Michael hesitates. DAVID It's only rice. Don't you like rice? 300 million Chinese people can't be wrong. Michael takes the carton warily and David immediately turns his back on him, passing out food to the others. Michael takes a mouthful of rice using the plastic spoon provided. The others begin to eat as well. DAVID So how do you like those maggots, Michael? MICHAEL What?... DAVID You're eating maggots. How do they taste? Michael looks at his food. 56 CLOSE ON THE CARTON 56 A thousand wiggling maggots, squirming and sliding over each other. 57 MICHAEL 57 spits out his mouthful in horror and revulsion and throws the carton to the ground. But as the carton spills out, we see that it is just rice after all. The boys LAUGH UPROARIOUSLY. Michael looks mortified. Star gets to her feet. STAR Leave him alone. DAVID Sorry, Michael. No hard feelings, huh? (offers a new carton of food) Here. Try these noodles. Michael looks at the noodles and his expression turns to one of disgust. MICHAEL Worms! 58 CLOSE ON THE CARTON 58 A hundred squirming bloodsuckers! 59 BACK TO SCENE 59 DAVID Worms?... David tilts back his head and pours the contents of the carton into his mouth. The slimy bundle of worms slides slowly across his lips. Michael looks on with a sick expression. He grabs David's arm. MICHAEL Don't! Stop! DAVID Why? (beat) They're only noodles. David shows Michael the carton again. And sure enough, they are only noodles. Michael is baffled. The boys have a good, long laugh at his expense. STAR That's enough! The laughter dies down as a NEW SONG comes on the radio. It's apparently a favorite of the Lost Boys because the MUSIC is immediately TURNED UP LOUD and all thoughts of Michael seem to be forgotten. Everyone begins to move to the music. Star encourages Michael to dance with her. He's feeling the effects of the joint he smoked and his balance is a little off. His head is spinning. During all this, David has located a bottle of wine. He pours some into a paper cup and offers it to Michael. Michael is about to drink when Star holds his arm. STAR (softly) Don't Michael. You don't have to. It's blood! Michael examines the contents of the cup and smiles know- ingly. He's not falling for any more tricks. MICHAEL Good joke, blood. Michael brings the cup to his lips and drinks. The Lost Boys watch him carefully. Wine drips from the corner of his mouth. But it looks more like blood than anything else. Michael lowers the cup. The room is spinning around him. Suddenly: SLOW-MOTION. DREAMY MUSIC. THE CAMERA TAKES OFF whirling up into the air so that our VIEW of the lobby is now from HIGH ABOVE. 60 INT. MICHAEL'S BEDROOM - NEXT DAY 60 Michael cringes in his sleep, as Sam invades his bedroom from their common bathroom. SAM Michael, come on. It's one o'clock already. Sam yanks open the blinds. MICHAEL Go away. SAM You're supposed to watch me and entertain me, and make me appreciate the brief but happy years of childhood. MICHAEL Entertain yourself. Michael pulls the covers over his head. 61 INT. LIVING ROOM - DAY 61 Sam accompanied by Nanook sneak a peek into Grandpa's taxidermy room. Grandpa is hard at work. Sam doesn't dare go inside. 62 EXT. BACK OF HOUSE - DAY 62 Sam and Nanook check over Grandpa's OLD PICKUP parked in the back yard filled with fencing materials; posts, rails and boards. SAM Nanook... this is my life: I come from a broken home. My mother works all day. My brother sleeps all day. And my Grandpa, who is possibly and alien, stuffs chipmonks. Then he notices the marijuana garden next to it. Running into the kitchen, he comes back with a book of matches. Breaking off a leaf, he rolls it and is just about to light it when Grandpa's voice makes him choke. GRANDPA (O.S.) Whatcha doin'? Sam palms the evidence. SAM Grandpa, stop doin' the Indian Walk! GRANDPA Gotta keep in practice. It's a dyin' art. SAM Good! GRANDPA Whatcha doin' over here? SAM Oh... I was just... having a look at your truck. What's all that wood in there for? GRANDPA Been fixin' to build me fence one of these days. Bought all the materials, then put it off... for about ten years. (sighs) Well, one more day won't hurt. Wanna go into town with me? SAM Great. I wanna get some new comics. 63 INT. GARAGE - DAY 63 A classic 1957 CHEVY in creampuff condition. Grandpa takes down an old coffee can from the tool bench and fishes out the car keys from inside. GRANDPA Get in. Sam slides into the car. Grandpa climbs in behind the wheel. 64 INT. '57 CHEVY 64 Grandpa puts the key into the ignition and TURNS OVER the ENGINE. It FIRED UP like a dream. GRANDPA Got to let her warm up a bit. Hear that, Sam? Just like a baby pussycat. (beat) OKay?! Let's go to town! So saying, he TURNS OFF the IGNTION. Sam looks baffled. Grandpa climbs from the car and puts the keys back into the coffee can. Then he turns to Sam who is still seated inside the car. GRANDPA Are we havin' fun or what? SAM I thought we were goin' into town. GRANDPA I hate goin' into town. That's about as close to town as I like to get. 65 INT. BACK PORCH 65 Michael, looking very drawn and wearing sunglasses, stands before his barbells. He pumps them once, but can't complete a second rep. Exhausted, he drops them down. 66 INT. THE KITCHEN - DAY 66 Sam is there, looking through the refrigerator. Michael enters from the service porch and plops down in a chair. SAM What did you do last night? You look wasted. MICHAEL I can't remember much after the Chinese food that looked like maggots. That takes care of Sam's appetite. SAM You don't suppose Grandpa's an alien, do you? MICHAEL What would that make Mom? SAM You're right... not even to mention you and me. Nanook comes up to Michael and begins to lick the bottoms of his bare feet. MICHAEL Beat it, Nanook. Nanook continues to lick and lick. MICHAEL Sam. Make him stop. Sam pulls Nanook away. Then he takes a closer look at Michael's feet. SAM Did you spill something? MICHAEL No. Why? SAM The bottoms of your feet are covered with salt. Michael gets up from the table and starts to leave the room. MICHAEL I told you it was pretty weird Chinese food. SAM Wanna go to the comic book store? MICHAEL No. 67 INT. COMIC BOOK STORE - DAY (LATER) 67 Sam parks his bike outside and enters. He begins looking around, when he sees the Frog Brothers at work as usual. They exchange glares and Sam goes to a section he likes. ALAN How do you like Santa Carla? SAM It's a pretty cool place if you're a Martian. EDGAR Or a vampire. SAM Are you guys sniffing old newsprint or something? EDGAR You think you're cool, don't you? You think you know what's really happening, don't you? Well, you don't know shit, buddy. ALAN Yeah, you think we just work in a comic book store for our dad, huh? SAM This isn't a comic book store, right. It's a bakery. EDGAR This is just our cover. We're dedicated to a higher purpose. SAM Now I get it... you're like those people in the airport trying to get you to give them money. You're part of a cult. ALAN We're fighters for Truth, Justice, and the American Way. SAM You better get some fresh air. EDGAR Hey, man, take this... It's on the house. He hands him a comic called Destroy All Vampires. SAM I don't like horror comics. ALAN Think of this more as a survival manual... there's our number on the back, and pray that you never need to call us. SAM I'm gonna pray that I never need to call you. 68 EXT. VIDEO STORE - EVENING 68 Lucy emerged from the store just as Max drives up in his sports car. His dog, THORN, an Irish Setter, is in the seat next to him. Max leaps from the car. MAX Say hello to Thorn. LUCY (pets him) Hi, Thorn. Lucy begins to walk. Max falls into step with her. MAX You know, Lucy, this isn't working out like I planned. Lucy looks alarmed. MAX (continuing) I never get to see you. (pause) Which is, of course, why I hired you in the first place. (beat) How about dinner one night this week? Lucy's expression tells us that she finds Max charming, in an incorrigible sort of way. LUCY You're cute, Max. MAX I know. It's so 'Eighties.' (opens her car door for her) It's the Cute Decade. 69 EXT. OUTSIDE THE CAVE/LOBBY - CLOSE ON MICHAEL'S EAR - 69 NIGHT As Star pierces it for him. MICHAEL Ouch. STAR Don't be a baby. That didn't hurt and you know it. A drop of blood appears on her finger. She reacts, restraining herself from tasting it. Quickly she wipes it off and inserts an earring in his ear. He looks more like the Lost Boys every minute. The ocean CRASHES against the rocks below them. The moon and stars are out. MICHAEL I wouldn't have given my Mom such a hard time about moving here if I'd known I was going to meet you. STAR I used to fight with my family all the time... just got fed up and ran away. MICHAEL Now you and David... STAR No. They've made me one of them, but I miss my family. MICHAEL Let's go see them. STAR No... no, everything's different now... She gets up and walks toward the water. Michael stops her and, pulling her toward him, kisses her, leaning against the white rocks. STAR ... Michael... Before she can say anything else he kisses her again. The kiss becomes more passionate -- more intense. SUDDENLY LONG DARK SHADOWS LOOM ACROSS THEM. They turn to see David, Dwayne, Paul, Marko and Laddie watching. DAVID Not interrupting anything, I hope. Michael gets to his feet. He glares at David. STAR (indicating Michael's ear) Look. DAVID You're almost one of us now, Michael. MICHAEL I'm my own man. DAVID (smiles) Get your bike. We're going someplace. Michael looks at Star. DAVID Don't worry... she'll be here when you get back. Michael hesitates, but is also drawn intensely to be a part of them. He leaves with the others as they climb over the rocks toward their bikes. Laddie has remained behind. LADDIE I had the dream again about them. STAR Who, Laddie? LADDIE I know it was them, Star. I'm sure of it. He was working in the yard -- hammering something. The yard was big with lots of grass. There was no boardwalk and no ocean. She was bringing him something cold to drink... and had red hair. (beat) I was there, too. And a dog -- but I don't know its name. I was running and the dog was chasing me. Then I turned around and chased the dog. They were watching me. Drinking their cold drinks and laughing. And I was laughing, too. STAR Laddie... you can still remember. You can still remember home. LADDIE It was a dream, Star. STAR No, Laddie. It was a memory. The SOUNDS OF THE BIKES FIRING UP. STAR You didn't tell David? LADDIE No. Just you. STAR Promise me you'll keep it that way. You're not like the others, Laddie. You're like me. (pause) I can still remember, too. She holds him as Michael and the Lost boys roar across the beach into the darkness. LADDIE You like Michael. STAR I like Michael. LADDIE (sweet, fearful) You better not like him too much. As young as he is, Star knows he's right. 70 EXT. RAILROAD TRESTLE - NIGHT 70 The trestle spans a deep gorge, obscured IN fog. The boys arrive on their motorbikes. DAVID Perfect time. They climb from their motorbikes as David walks onto the trestle. MICHAEL What's going' on? DAVID (smiling) What's goin' on, Marko? MARKO I dunno. What's goin' on, Paul? PAUL Who wants to know? DAVID Michael wants to know. The Lost Boys laugh. Michael looks irritated. He watches as Paul, Marko and Dwayne climb below the trestle, hold on with their hands and allow their bodies to dangle over the fog-shrouded gorge. DAVID Now you, Michael. Michael hesitates. DAVID Do it, Michael. Now! Michael summons his courage and climbs down. David follows him. 71 ANGLE BENEATH THE TRESTLE 71 All five boys hanging on. The fog billowing up beneath them. Michael starts to look down. Then, a RUMBLING is heard in the distance. Michael notices the look of excitement in the eyes of the other boys. A PASSENGER TRAIN is approaching. It's WHISTLE BLOWS. The trestle begins to shake. A look of terror comes into Michael's expression. DAVID Hang on!! The train THUNDERS across the trestle overhead, only a foot or two above them. The ROAR and the NOISE are tremendous. The heat. The smoke. The dust. The boys grimace and hold on for dear life. Then, Michael reacts in horror as: PAUL releases his grip and falls, disappearing into the fog below. Then: Marko falls. Followed by Dwayne. Only David and Michael remain. David shouts over the DIN of the passing train. DAVID Let go, Michael! Let go! Michael can't believe what he's hearing. He's scared out of his wits. DAVID Do it! David lets go with one hand, clings on with the other. DAVID Do it, Michael!!! David lets go. He drops from sight; vanishing into the fog below. MICHAEL Sweat streaming down his face. The final car of the train passes overhead and the noise begins to fade. Then Michael hears: laughter from the fog below. LOST BOYS Drop, Michael. Let go! It's safe! Come on! Don't be such a baby! They WHISTLE and CAT CALL and do everything they can to goad him on. All the while invisible in the darkness below. Michael lets go. He drops into the fog. His eyes widen with fright -- but -- for a moment he is buoyant -- suspended in mid-air -- floating! And then... he drops. With a WHOOSH. Like dead weight. The wind RUSHING around his ears. He loses consciousness. DAVID catches him in his arms. DAVID Almost. 72 INT. MICHAEL'S BEDROOM - DAY 72 The shakes are drawn and the room is dark. Sam rushes in. SAM Michael, wake up! It's Mom! Michael stirs. MICHAEL Mom's home?... SAM No. On the phone. Michael glances at the clock. It's two in the afternoon. MICHAEL Oh, shit... He fumbles for his sunglasses. Finds them and puts them on. Then he picks up the phone by his bed. Sam notices how long Michael's fingernails are. SAM Michael... are you freebasing? Inquiring minds want to know! Michael gives Sam a hostile look, then speaks into the phone. MICHAEL Hi, Mom... INTERCUT between Michael and Lucy 73 INT. VIDEO STORE 73 LUCY Michael, are you still in bed? MICHAEL No. I'm up. LUCY Michael, will you do me a favor this evening? Will you stay home with Sam tonight? I'm meeting Max for dinner after work. MICHAEL (very unsympathetic) I watch him all day. The only time I have more myself is at night. Let Grandpa watch him. LUCY Grandpa has plans of his own. (firmly) Michael, I want you to do this. Everybody has been bending over backwards for you. You come home late. You sleep in to the middle of the day -- Sam is always alone. You do exactly what you want... tonight do what I want for a change. Michael is silent on the other end of the line. LUCY Okay? MICHAEL (sweet self) Okay. Michael hangs up the phone -- then notices his growing fingernails. 74 INT. BATHROOM 74 Michael steps into the shower stall and turns on the water. He lets it beat against him. Suddenly, his ex- pression turns to one of pain. The water burns. He reaches for the handles, turns down the hot, turns up the cold. It still burns. He turns the hot completely off. The cold water burns! He jumps from the shower in alarm. 75 EXT. GRANDPA'S HOUSE - ESTABLISHING - NIGHT 75 76 INT. KITCHEN - GRANDPA'S HOUSE - NIGHT 76 Sam slaps together a couple of bologna sandwiches. Grandpa walks in wearing a suit and tie. He begins to bang around through the kitchen cupboards. GRANDPA Anything in here that might pass for after shave? Sam locates a bottle of Windex. Grandpa examines the bottle, squirts a little onto his hand and smells it. Then splashes it on. GRANDPA Thanks. Michael enters looking drawn and tired. He still wears his sunglasses. Grandpa is startled by his appearence but says nothing about it. MICHAEL Big date, Grandpa? GRANDPA (slyly) Just dropping off some of my handiwork to the 'Widow' Johnson. MICHAEL (nasty) Oh, yeah. What'd you stuff for her? Mr. Johnson? Grandpa gives Michael a look of displeasure. GRANDPA See you laters, boys. Grandpa goes out the door. SAM (to Michael) That wasn't funny. 77 EXT. GRANDPA'S HOUSE - NIGHT 77 Grandpa drives away from the house in his pickup truck. 78 INT. KITCHEN (CONTINUOUS) 78 SAM I'm making you a sandwich. MICHAEL Don't bother. Sam glances at Michael's ear. SAM Lose the earring, Michael. It's not happening. It's just not happening. MICHAEL Piss off. SAM (very pleasantly) You have such a great personality, Michael. You should open your own charm school. Headlight beams begin to shine in the kitchen windows, moving rapidly from one to the next. MICHAEL What's that?... 79 INT. THE LIVING ROOM 79 As Michael arrives in the living room he can hear LOUD MUMBLED WHISPERING. Headlights flash across the window curtains, accompanied by the unmistakeable ROAR of MOTORBIKE ENGINES -- as if they were going around the house. The WHISPERING grows LOUDER. It seems to be saying "Michael, Michael, Michael." He goes for the front door. SAM Don't open it! The ROAR of the ENGINES CONTINUES from outside. He reaches for the doorknob. SAM No!! Michael throws open the door, and -- Nothing. The front yard is empty. But a blast of cold air rushes into the house and a WEIRD ECHOING sound rever- berates across the sky. A low ground fog is rolling in as well. Sam and Michael look bewildered. SAM Weird. Michael closes the door and locks it. His face is ashen. 80 EXT. RESTAURANT - NIGHT 80 Lucy pulls up to the restaurant in her Land Rover. Max pulls up immediately behind her in his sports car. He jumps out, hurries over to Lucy's car and opens the door for her with a galant flourish. 81 INT. SAM AND MICHAEL'S BATHROOM - NIGHT 81 Sam is in the tub. Nanook is curled on the rug. A radio is BLASTING ROCK MUSIC. Sam lip synching to the music, uses soap and water to sculpt his hair into a variety of punkish styles. He's lost in the music, enjoying this activity immensely. 82 INT. THE KITCHEN - NIGHT 82 Michael goes to the refrigerator for some milk. Then Michael abruptly buckles over in pain. He drops the milk carton to the floor, where it BURSTS OPEN. He straightens up, sees the mess he's made and goes to the pantry for a mop. 83 INT. THE PANTRY 83 Michael finds the mop -- but is then hit by another wave of pain. He grabs his stomach and doubles over. As he lifts his head, this is what he sees: The walls of the pantry begin to breathe! Soup cans puff out and suck in. Preserves seem to come alive. The light bulb expands. The floor ripples. Michael's HEART begins to POUND. Blood surges through his veins -- causing them to bulge and ripple. 84 CLOSE ON MICHAEL'S MOUTH 84 as his teeth begin to extend -- cutting his gums. 85 INT. RESTAURANT 85 Lucy and Max have some wine before ordering dinner. MAX The video stores are a big success. Wait'll you see the one I'm opening in Los Gatos. The WAITER arrives. WAITER Ready to order now, sir? LUCY (to Max) I'll just have the fillet of sole. MAX No you won't. (to Waiter) We'll start with caviar. Ceasar salad and your two biggest lobsters. (indicates empty bottle of wine) This wine as nice, but now I think some Dom Perignon. WAITER Very good, sir. The Waiter departs. Max is not getting the expected reaction from Lucy. MAX Not impressed, are you? LUCY Ohm I would have been... one marriage ago. Max can't help but smile. MAX So, I've met the one woman on the planet who's going to hold my success against me. LUCY You seem like a terrific guy, Max, and I'm grateful for the job... MAX But I don't think it's what you really want to do, is it? LUCY I guess if I had my choice, I'd like to do something that involves children. Work with kids in some way. Teenagers, maybe. (beat) And Santa Carla seems to be full of them. MAX Yeah. Runaways, mostly. They come from all over. Attracted by the boardwalk and the ocean. Lucy... listen I know I have no right to ask you this... but don't look for another job just yet... I mean besides being the best employee I have... I think you're cute. LUCY I hear this is the decade for cute. 86 INT. SAM AND MICHAEL'S BATHROOM 86 Sam continues to listen to ROCK BLASTING as he creates another hair style for himself. 87 INT. STAIRCASE 87 Michael appears in the shadows. His veins have returned to normal, but he is possessed by a strange calm. Michael begins to ascend the stairs. We hear the sound of his HEARTBEAT. Michael reaches the second floor landing and moves slowly down the hallway toward the bathroom door. His HEART POUNDS even LOUDER in his chest. 88 INT. BATHROOM 88 Sam is in the tub. MUSIC blaring. Sculpting his hair. 89 INT. HALLWAY 89 Michael stands outside the bathroom door. His HEART POUNDING in his chest. His face white as snow. He reaches for the doorknob, then withdraws his hand. A battle is raging within him. 90 INT. BATHROOM 90 NONOOK raises his head and begins to WHINE. 91 INT. HALLWAY 91 Michael has his back pressed against the bathroom door, fighting his urge and desire to enter. LOUD, POUNDING HEARTBEAT! 92 INT. BATHROOM 92 Sam, unaware of Nanook's nervous behavior, disappears under the water to rinse his hair. NONOOK sits up and HOWLS -- and Michael bursts in! Michael and Nanook lock eyes. NANOOK begins to GROWL softly. A deep, primordial GROWL of warning. CLOSE ON MICHAEL His lips peel back, revealing his teeth. NANOOK lunges at Michael, propelling both of them into the hallway. The DOOR SLAMS shut behind them. 93 SAM 93 surfaces for air, hears a tremendous FIGHT going on in the hallway. THUDDING, BANGING, GROWLING and HOWLING. Tumbling downstairs followed abruptly by silence. 94 INT. HALLWAY 94 Sam steps cautiously into the hallway. It is dark. SAM Michael? Are you there, Nanook? No response whatsoever. Sam swallows hard and begins to walk down the hallway. Then -- he hears HEAVY BREATHING and stops in his tracks. He looks down the dark staircase. SAM Michael? MICHAEL (softly) Don't turn on the light. Sam turns on the light -- and SCREAMS! 95 MICHAEL 95 is huddled at the bottom of staircase, his face and hands covered in blood. SAM What happened, Michael!? MICHAEL Nanook... SAM What about Nonook? What have you done to Nanook?! What have you done to my dog, you asshole?! MICHAEL Nothing! I didn't hurt him. He bit me! This is my blood! Michael shows Sam the gash across the palm of his hand. Sam reacts. Nanook appears protectively beside Sam. SAM What did you to do him, Michael? Why did he bite you? MICHAEL He was protecting you! Sam is shocked to hear this. But gets an even greater shock when he looks at the mirror in the hallway. He GASPS out loud. MICHAEL What?? SAM Look at your reflection in the mirror!! Michael looks, is startled to see that he is nearly invisible. SAM You're a creature of the night, Michael! Just like the comic book... You're a vampire, Michael! My own brother -- a godamn shit-sucking vampire! (beat) Wait'll Mom finds out! Michael looks confused and bewildered. He moves toward the staircase. SAM Stay back! Stay back! He makes a cross with his fingers and runs for his room. 96 INT. SAM'S ROOM 96 Sam and Nanook dash in as Sam locks the door and the bath- room door. He scrambles for the comic with the Frogs' number on it. 97 INT. MICHAEL'S BEDROOM 97 Michael walks in wearing a dazed expression. He flops down on his bed. 98 INT. COMIC BOOK STORE 98 Hiding the phone and the conversation from the clientele, the Frogs walk to Sam. EDGAR You did the right thing, calling us. Does your brother sleep a lot? 99 INT. SAM'S BEDROOM 99 INTERCUT between Sam and Frogs. SAM All day. ALAN Can't stand light? SAM Wears sunglasses in the house. EDGAR Bad breath? Long fingernails? SAM His fingernails are longer, but he always has bad breath. ALAN Salt sticks to the bottom of his feet. SAM Yeah. ALAN He's a vampire alright. EDGAR Get yourself a good sharp stake and drive it through his heart. SAM I can't do that! ALAN Why not? SAM He's my brother. ALAN You better get a garlic T-shirt, buddy. EDGAR Or it's your funeral. CLICK. The Frogs hang up. Sam looks even more worried than before. 100 INT. MICHAEL'S BEDROOM - CLOSE ON MICHAEL 100 Something is happening, but we can't tell what. Yet we feel the distinct sensation of movement. BANG. Michael's nose makes contact with a hard white surface. It's as if something is pressing down on him. CAMERA PULLS BACK and we realize that Michael is floating above his bed! Completely weightless. Gravity-free. The white surface is the ceiling. Michael looks scared and confused. He's out of control. Floating aimlessly near the ceiling like a helium balloon. He wants desperately to get back down. He tries to maneuver himself toward his bed. He grabs hold of the blind cord. But the window is open and Michael's feet float out -- and the rest of him soon follows. 101 INT. SAM'S BEDROOM 101 The phone RINGS. Sam jumps and grabs it. SAM Hello! 102 INT. RESTAURANT 102 Lucy on the phone. She hears the panic in Sam's voice. LUCY Sam. Is everything all right? SAM Mom. I think we've got to have a long talk about something? LUCY What's wrong? Tell me. SAM We can't talk about it on the phone. Then Sam sees Michael floating in mid-air outside his bedroom window. SAM Oh, no! Oh, God! He's coming to get me! Mom!!! Lucy hears this. She drops the phone and runs from the restaurant. ANOTHER PART OF THE RESTAURANT The waiter arrives at Max's table with two huge lobster dinners and more Dom Perignon, just as Max sees Lucy jump into her Land Rover and burn rubber away from the restaurant. Max is totally confused. 103 EXT. GRANDPA'S HOUSE - NIGHT 103 Michael rises into the night sky as far as the cord will allow. 104 INT. SAM'S BEDROOM 104 Sam backs away from the window with a terrified expression. Michael is bobbing helplessly in the air outside the window. He's yelling something but we can't hear what it is. Then, Michael's foot CRASHES through the window and we HEAR: MICHAEL Help me! Sam -- help me! I'm your brother! SAM is shaken back into reality by Michael's cry. He puts his fear aside and acts on instinct to save his brother. He rushes out of his room and into: 105 MICHAEL'S BEDROOM 105 where he is greeted by a chilling wind that blows in through the opened window. Sam almost has to fight his way toward the window, that's how strong the wind is. But he gets there and begins to reel Michael back inside. As Michael climbs back inside, he immediately anchors himself to the bed with the blind cord. MICHAEL We've got to stick together, Sam. You've got to help me. SAM What about Mom? MICHAEL No! We can't tell Mom! (beat) Please, Sam. Don't tell her. SAM I don't know, Michael. This is not like breaking a lamp or getting a 'D'. MICHAEL Just for a few days, Sam. Give me a chance to work this out by myself. 106 EXT. GRANDPA'S HOUSE - NIGHT 106 Lucy speeds up in her Land Rover. She practically jumps out before the car has come to a full stop. She runs into the house. 107 INT. THE HOUSE 107 Lucy rushes in to find Sam walking calmly down the stairs. LUCY Sam! What happened!? You had me scared to death. Are you all right? SAM Sorry, Mom. It was a mistake. I thought I saw something out the window. (beat) I was reading this horror comic and I guess I go a little carried away... Lucy looks at him with a good deal of skepticism. LUCY Where's Michael? SAM He's already gone to bed. 108 INT. MICHAEL'S BEDROOM 108 Michael lies on his bed, totally freaked out. 109 INT. THE RESTAURANT 109 The MAITRE 'D is on the phone. MAITRE 'D I am very sorry. But he is no longer here. In the b.g. we see that the table once occupied by Max and Lucy us now empty. 110 INT. THE KITCHEN 110 Lucy is on the phone with the restaurant. LUCY Well, thank you, anyway. She sighs to herself and hangs up the phone. Then she casts a weary glance at the spilled milk carton on the floor next to the refrigerator. She grabs a dish towel and begins to mop up the milk, placing the ruptured carton on the counter in the process. CAMERA MOVES IN CLOSE ON MILK CARTON: We see A PICTURE OF LADDIE on the carton's side. And the bold letter that exclaim: MISSING CHILD! 111 INT. LUCY'S BEDROOM 111 Lucy enters the bedroom. Sam comes in right behind her, buttoning p.j.s SAM Can I sleep in here with you tonight? LUCY In here? SAM Do you mind? It was a real scary comic. LUCY Okay. (sniffs) Have you been eating pizza? You smell like garlic. 112 EXT. GRANDPA'S HOUSE - NIGHT 112 All the lights are out. FANTASTIC SONG BEGINS. 113 INT. LUCY'S BEDROOM - NIGHT 113 Lucy & Sam sleep. We HEAR the distant sound of a MOTOR- BIKE driving off, Sam's eyes blink wide open. 114 EXT. ROAD NEAR HOUSE - NIGHT 114 Michael speed away on his motorbike. He sees approach- ing headlights -- decides to pull off and kill his engine. Then, Grandpa drives by in his pickup truck returning from the Widow Johnson's. SONG CONTINUES. 115 INT. CAB OF PICKUP TRUCK 115 Grandpa is singing merrily to himself as he drives. 116 EXT. THE ROAD 116 Michael waits for Grandpa to pass, then ROARS off in the opposite direction. 117 EXT. BOARDWALK - NIGHT 117 Michael travels the length of the boardwalk on his bike. Every attraction and booth is shut down for the night, and the place is deserted. Bonfires burn on the beaches. SONG CONTINUES. 118 EXT. CLIFF - NIGHT 118 Michael arrives at the cliff where the lobby/cave is located. No one is there. He decides to enter the cave. 119 INT. LOBBY/CAVE - NIGHT 119 Michael enters. The place is deserted. MICHAEL Star? He waits for a reply -- but there isn't one. Now Michael notices and empty bottle of wine -- the same "wine" he drank before. He smells the bottle and recoils. It smells of blood. SONG CONTINUES. Michael hurls the bottle across the lobby where it CRASHES against the wall and shatters. 120 VARIOUS IMAGES 120 begin to rush through his mind. The motorbike "rave-up" on the beach. 121 ANOTHER IMAGE 121 Drinking blood from the wine bottle. 122 ANOTHER IMAGE 122 The ear-piercing ritual and kiss with Star. 123 ANOTHER IMAGE 123 The "trestle-hanging" episode. 124 BACK TO MICHAEL 124 As the IMAGES FADE, Michael finds himself standing in the far corner of the lobby. Something belonging to Star lets him know that this is where she sleeps. SONG CONTINUES. He sits down on the bed, and soon he is curled up, fall- ing asleep. DISSOLVE TO: 125 SOME IMAGES WE HAVE NOT ALREADY SEEN 125 Michael and Star together. She's on the back of his bike, her arms tightly-wrapped around his waist. They are speeding along a moon-lit beach -- or some equally romantic location. Michael is as happy as any young man has the right to be. SONG CONTINUES. DISSOLVE TO: 126 EXT. THE CLIFF - NEAR DAWN 126 Firt light begins to show in the sky. 127 FLYING POV 127 Speeding across the ocean, heading for the cave. Much NOISE. WHISTLING wind. FLAPPING wings. WHISPERING. SONG CONTINUES. 128 INT. LOBBY/CAVE 128 Michael is curled up on Star's bed. The NOISE sweeps into the cave on a cold rush of air. Michael stirs. He hears voices. Then looks up to see Star coming to lie next to him. MICHAEL Star. I have to talk to you. Star doesn't respond. She's fallen right to sleep. Michael tries to awaken her. MICHAEL I have to talk to you. Please wake up. STAR Have to sleep. Have to sleep, Michael. MICHAEL When? STAR Tonight. At the boardwalk... She almost doesn't get the last word out before falling back to sleep. Michael gets to his feet and staggers away from Star's bed. He notices Laddie sleeping nearby. But there is no sign of the other Lost Boys. SONG ENDS. 129 EXT. GRANDPA'S HOUSE - MORNING 129 Michael drives up on his Honda. He approaches the house. Lucy is on the porch, drinking coffee. LUCY Hi. Michael nods and keeps walking. LUCY What's the matter, Michael? Aren't we friends anymore? He stops. MICHAEL (mumbling) Sure. LUCY Does that mean we are, or we aren't? MICHAEL We are... LUCY Then let's act like friends. Let's talk. I know this is a new place, and -- Michael begins to roll his eyes impatiently. LUCY -- If there's a girl, we could talk about her. MICHAEL (moving away) I'm tired now. LUCY Wait a minute, kiddo. MICHAEL Mom... please. Michael heads into the house. Lucy tugs on her own ear- lobe to indicate Michael's earring. LUCY We haven't even gotten around to this yet! Michael walks into the house without saying another word. Lucy looks frustrated and concerned. 130 INT. THE KITCHEN 130 Sam is at the table eating breakfast and reading a vampire comic. Grandpa is pouring a cup of coffee. The two brothers exchange a look, but say nothing. GRANDPA Looks like I wasn't the only one got lucky last night. Michael doesn't reply. He glances down at the comic that Sam is reading. INSERT - VAMPIRE COMIC BOOK A very bloody drawing of a vampire being staked through the heart. MICHAEL walks away looking ill. 131 EXT. IMPRESSIVE HOUSE, SANTA CARLA - MORNING 131 Lucy and Sam pull up in the Land Rover. SAM That it? Lucy checks the address she has written down. LUCY Yeah. Not bad, huh? Lucy reaches for a wine bottle with a note attached as she gets out of the Rover. LUCY An apology for running out on Max last night... Actually you should be making this apology. 132 ANOTHER ANGLE 132 She tries the main gate, but finds it locked. LUCY I better leave this on the front porch or someone's just going to take it... She climbs over a low portion of the fence. Lucy approaches the house. She sees Thorn sleeping on the porch. LUCY Hi, Thorn... Suddenly, unexpectedly... THORN ATTACKS! Leaping to his feet -- charging from the porch -- GROWL - ING viciously -- ribbons of saliva trailing from his mouth. LUCY turns and charges back toward the fence. SAM jumps from the car. SAM Mom!! LUCY drops the wine. It smashes on the sidewalk. She just makes it safely over the fence, as... THORN CRASHES into it -- bending the bars to conform to the contours of his head. Thorn reels back, stunned -- but finds his footing and begins to BARK at Sam and Lucy. SAM comes to his mother's side. SAM You okay, Mom? Lucy has skinned her knees landing on the sidewalk. But she is more shaken than hurt -- and she feels very foolish. LUCY I'm okay, Sam. I'm okay... 133 EXT. BOARDWALK - DAY (LATER) 133 Sam and the Frogs walk toward the beach with their comics. EDGAR We've been aware of some very serious vampire activity in this town for a long time. ALAN Santa Carla has become a haven for the undead. EDGAR As a matter of fact, we're almost certain that ghouls and werewolves occupy high positions at City Hall. They sit on the boardwalk steps. SAM I have something to tell you guys. (pause) Not only is my own brother showing systems of being a vampire... but now I'm convinced my mother's dating one! EDGAR That is very probable. What's your reasoning? SAM Well... he only shows up at the store after dark. And today, his dog attacked my mom. (whips a comic from his back pocket) Listen to this. From Vampires Everywhere... (he reads) 'Vampires require a daytime protector -- a Guardian -- to watch over them as they sleep. For it is during the day that the vampire is most vulnerable. Since they hold sway over animals, fierce dogs -- the hounds of Hell -- are often employed for this purpose.' The Frogs are completely convinced. EDGAR I told you that comic would save your life. Suddenly Greg and the Surf Nazis appear and grab their comics. In a flash they tear them to shreds and sprinkle the pieces over their heads onto the sand. The Frogs and Sam are enraged as the Surf Nazis walk off laughing to themselves. EDGAR I wish they were vampires so I could nuke them in their hearts. SAM How do you know they're not? ALAN They wouldn't be out in the daytime. SAM Exactly how many vampires have you actually destroyed? EDGAR All together? ALAN Zero. Sam looks at them like they've been putting him on. EDGAR Hey, just because a Marine hasn't seen combat, doesn't mean he still isn't a Marine. Let's check out your mother's boy friend. They leave as CAMERA FOCUSES on shreds of vampire comics in the sand. 134 EXT. GRANDPA'S HOUSE - EVENING 134 135 INT. MICHAEL'S BEDROOM 135 Michael is getting dressed to go out. More and more he is looking like one of the Lost Boys. 136 INT. THE KITCHEN 136 Lucy is making dinner. Grandpa sniffs the pots. GRANDPA Smells good. When do we eat? LUCY I told Max eight o'clock. GRANDPA Max? You men we're having company again? LUCY 'Again'? Dad... you haven't had company in this house since Mom died eight years ago. GRANDPA Right. An' now we're having company again. I'll take mine to go. Michael enters. LUCY Max is coming for dinner, Michael. I'd like you to meet him. MICHAEL Can't. Got plans of my own. LUCY There's only three weeks left of summer, Michael. Things are going to change around here when school starts. MICHAEL Gotta go, Mom. 137 INT. THE LIVING ROOM 137 Michael heads for the front door. He opens it to find Max just preparing to ring the bell. MAX Hey. How ya doin'? Michael, right? MICHAEL Yeah. Max... right? An awkward silence as Max just stands there. MAX You're the man of the house, Michael. I'm not coming in unless you invite me. Michael thinks this is rather strange, but shrugs it off. MICHAEL Come in, come in. I'm inviting you. MAX Thank you very much. Max steps across the threshold -- but is surprised to see Michael continue out the door. MICHAEL See ya. 138 EXT. THE HOUSE 138 Michael takes special note of Max's sports car as he gets on his bike. He thinks it's pretty cool. 139 INT. THE KITCHEN 139 Max enters, surprising Lucy. MAX Hello. Lucy jumps. MAX Is it okay for the guest to see the food before the dinner? LUCY You're thinking of the groom not seeing the bride before the wedding. MAX Oh, right. I always gets those two confused. He follows her into: 140 THE DINING ROOM 140 The table is set. Lucy sets down the bread. Max comes up behind her, puts his arms around her waist and nuz- zles her neck. She turns her face to his. Max is about to kiss her when: SAM Mom... Max and Lucy look to see Sam standing there with the Frogs beside him. SAM These are my dinner guests. Edgar and Alan. The Frog Brothers. LUCY (thrown) Ah... I didn't know you were having guests... SAM Well if we're in your way we can just eat peanut butter out of the jar in the kitchen. LUCY No, no... there's plenty for everybody... Oh, Max, this is Sam... and the Frog Brothers... She looks them over strangely but The Frogs and Sam only have eyes for Max. 141 INT. THE DINING ROOM - NIGHT 141 Everyone is seated around the dinner table. Edgar and Alan concentrate on Max's behavior. Lucy serves spaghetti from a large plate. MAX This looks terrific, Lucy. LUCY Boy! Somebody areound here sure has bad breath! The boys all look directly at MAx. But Lucy means Nanook who is on her case. LUCY Nanook, stop breathin' on me. SAM C'mere, Nanook. The Frogs exchange disappointed expressions. Sam indicates Max's large plate of spaghetti. SAM How about a little Parmesan cheese on that? MAX Okay, Sam. Thanks. Max takes the container and sprinkles some of the grated cheese onto his spaghetti. Sam and the Frogs exchange a conspiratorial look. Max takes a mouthful of spaghetti and nearly spits it out. LUCY Max! What's wrong? MAX It's garlic!! I like garlic, but... He sputters. SAM Quick -- drink some water! Sam intentionally spills a glass of water onto Max's lap. MAX Hey! Easy! He jumps from his seat, tries to mop up the spill with his napkin. SAM Does it burn? MAX Burn?? Are you kidding? It's freezing! LUCY Max, I'm so sorry. Then, very casually, Edgar leans back in his chair and flips off the lights. The room goes dark. LUCY Oh, no. Now what? SAM Must be a circuit breaker. We hear SCUFFLING of FEET, CHAIRS MOVING, people BUMPING into each other in the dark. EDGAR (in a whisper) He's not glowing. SAM (whispering) Hit the lights again. And when the lights come back... Sam is holding a mirror to Max's face. Startled at being confronted unexpectedly with his own reflection, Max YELLS. Sam and the Frogs all look into the mirror -- annoyed to see that Max is producing a reflection. LUCY Sam! What's gotten into you tonight?! Max gets up from the table. MAX I think I know what's going on here. EDGAR You do?! MAX Sure. I understand what you're thinking, Sam. But you're wrong. SAM I am? MAX Yeah. I'm not trying to replace your Dad... or steal your Mom. I just want to be your friend. Sam looks a little shame-faced. But not the Frogs. Lucy follows Max to the: 142 ENTRYWAY 142 LUCY I'm really sorry, Max. MAX Our batting average isn't very good is it? So far we're zero for two. LUCY I don't understand Sam. He's just not like this. MAX Boys Sam's age need a good deal of discipline, or they walk all over you. LUCY (defensively) He doesn't walk all over me. MAX (sweetly) I don't want to fight with you, Lucy. Come on. Let's give it one more try. (beat) Dinner at my house, tomorrow night. I'm cooking. 143 EXT. BOARDWALK - NIGHT 143 Michael is looking for Star, but he chances upon the Lost Boys instead. David has his back to him. Michael comes up behind him and spins David forcefully around. MICHAEL Where is she?! DAVID Hey, take it easy. MICHAEL Where's Star, David?! DAVID If you ever want to see Star again, then you better come with us. David gets on his bike. Michael is forced to follow. 144 EXT. WOODS - NIGHT 144 The motorbikes pull up and park. Everyone climbs off and begins to climb the high trees. David waits to be last. He gestures for Michael to climb. MICHAEL What is this, David? DAVID You're one of us, now -- aren't you? Michael hesitates. DAVID You'll never see Star again if you're not. Michael looks at David for a beat, then begins to climb the tree. David follows him up. 145 CAMERA RISES OVER THE TREE TOPS 145 to reveal Greg and the Surf Nazis camping in the distance. They have a fire going. They're drinking beer and smoking dope and laughing with their girlfriends. THE LOST BOYS watch them from their vantage point high up in the tree. What happens next happens fast. It's confusing and dis- orienting. Much is suggested, but little is shown. 146 ANOTHER ANGLE 146 The Lost Boys swoop out of the trees and attach the Surf Nazis. Mostly, we just HEAR the NOISE and see shadows. THE SURF NAZIS react in horror and confusion. CAMERA FINDS Greg running into the water. David attacks viciously. DAVID Hey, dude. My beach, my wave. 147 MICHAEL 147 stay behind in the tree. He witnesses the attack, but doesn't join in. From the expression on his face, we know that it is a horrible spectacle to behold. He turns his face away. He looks like he wants to puke. Sweat beads up on his forehead and the color drains from his face. His breathing becomes heavy and his heart begins to POUND POWERFULLY in his chest. The vampire in him takes over and as the Lost Boys shout his name, he feels compelled to join them, but he resists with all his strength. Dazed and frightened, he tries to escape down the tree. All the while the SOUND of the VAMPIRE MASSACRE continues in the distance. He slides gasping and sweating onto the forest floor. For a moment, he just lies there looking bewildered. Then: SILENCE. The attack is over. Approaching FOOTSTEPS CRUSH leaves and SNAP twigs. Michael waits, unable to move. And... THE LOST BOYS emerge from the shadows wearing eerie, satiated expres- sions, their eyes glowing dimly. They approach Michael. DAVID No you know who we are, Michael... and who you are, too. David's expression is calm and reassuring. DAVID You'll never grow old and you'll never die. (pause) But you must feed. Michael glances in horror toward the direction of the Surf Nazi attack. David, Paul, Dwayne, and Marko walk off. 148 INT. SAM'S BEDROOM - NIGHT 148 All is dark. CAMERA IS CLOSE ON A PAIR OF BEADY EYES which now reflect the opening of the bedroom door and the entrance of a human form. It comes closer. SAM Michael..? Sam turns on the light -- and we see that the "beady eyes" belong to one of Grandpa's mounted owls. SAM I wish he'd stop giving me these things. Sam opens the closet, we see about a half-dozen other mounted creatures on the shelves. He tosses in the owl. MICHAEL I know everything. Then: From outside the window -- STAR Michael! Michael! Sam and Michael go to the window and look out. Star is standing in the yard, in the moonlight. SAM It's that girl from the boardwalk. Is she one of them? MICHAEL I don't know. STAR I have to talk to you. Can I come up? MICHAEL Okay. Michael turns from the window, races out the door into the hallway. He is about to go down the stairs when: SAM She's one of them! Michael turns -- and sees Star standing in the bedroom doorway. She has obviously flown up and Sam is freaked. MICHAEL Do you know where David took me tonight, Star? Do you?! STAR Yes... and I'm to blame for it. If you hadn't met me... if I hadn't liked you... I tried to warn you... MICHAEL That night in the cave -- that wasn't wine they gave me to drink... it was blood! David's blood. (beat) I'm one of them, Star! I'm just like them! STAR Not yet... You're like Laddie and me... Half-vampires... You're not a full vampire until you've made your first kill... You were supposed to be mine... but I couldn't, Michael. MICHAEL Why not? STAR Because I love you... MICHAEL Then it's not too late for us... STAR It's not too late for you to be saved... but each night... it becomes harder and harder for me to resist killing... MICHAEL I know, I've felt it... STAR I'm weak... Soon I'll need to feed. Sam gulps as Michael kisses her. Star senses something and gets frightened. STAR David's looking for me... I have to go. MICHAEL You're not going anywhere... (turning) Sam... In a wink, Star is gone... out the window. We don't even see her leave. Michael and Sam lean out after her. MICHAEL Star. SAM (calling after her) Don't kill anybody until we get back to you... Sam goes for the phone. MICHAEL Who are you calling? SAM The Marines. 149 INT. LIVING ROOM - NEXT MORNING 149 Sam opens the door and the Frogs enter. EDGAR Okay. Where's Nosferatu? EDGAR The Prince of Darkness. ALAN The nightcrawler. The bloodsucker. EDGAR El Vampiro. SAM (shouting) They're here Michael, come down here! Michael comes down the stairs looking weak and fragile. Dark glasses perched upon an ashen face. EDGAR This guy looks more like a zombie. Alan reaches into his backpack and pulls out a sharpened stake. ALAN Should I run him through? EDGAR I've only got one question for you, and I want an honest answer. Have you taken any human victims yet? MICHAEL Of course not! EDGAR If you're telling the truth, it means we can save you. SAM He's telling the truth! (beat) Aren't you, Michael? EDGAR To free you, we must destroy the leader of the vampires. MICHAEL David. EDGAR I don't want names! Just lead me to him. Where's their nest? MICHAEL I'll take you there. ALAN You can barely stand up. Besides... We can't trust you. You're practically one of them. Michael grabs Edgar by the arm. MICHAEL I said, I'll take you there. Nobody's going near Star without me. EDGAR Okay, okay. Michael releases his grip. Edgar rubs his arm. EDGAR Vampires have such rotten tempers. 150 EXT. GRANDPA'S HOUSE - DAY 150 We are far out in the fields as Grandpa puts in fence posts from the back of his pickup. He turns as he hears his prize Chevy SQUEEL BACKWARD OUT OF THE GARAGE. Sam leans out of the car yelling. SAM Grandpa, okay if we borrow the car? Before he can answer, the CAR SHOOTS OFF TOWARD TOWN. 151 EXT. SANTA CARLA STREET - MIDDLE OF TOWN - DAY 151 The Chevy pulls up to a stop sign -- then doesn't move. 152 INT. THE CHEVY 152 This is why: Michael has fallen asleep at the wheel, his chin touches his chest. A car behind HONKS. Michael wakes up an continues driving. Edgar warns Michael. EDGAR Just so you know: If you try to stop us, or vamp-out in any way, I'll stake you without thinking twice about it. SAM Chill out Edgar. 153 EXT. CAVE/LOBBY ENTRANCE - DAY 153 The Chevy pulls up an parks. Everyone piles out. The Frogs wear knapsacks in which they carry flashlights and stakes. MICHAEL Down there. The Frogs charge ahead down the old stairs. Michael seems to stumble. Sam supports him. MICHAEL Sam... if something happens to me. If I don't have the strength to go on, promise me you won't let them hurt Star. Sam swallows hard -- overwhelmed by the possibility of such a responsibility. 154 INT. THE LOBBY/CAVE - DAY 154 Edgar and Alan step into the lobby and look around with wide-eyed wonderment. A moment later, Michael and Sam come up behind them. Sam is also amazed by what he sees. EDGAR There's got to be a sleeping chamber around here someplace... As they search for the entrance to the sleep chamber, Michael goes to the spot where he knows Star will be in the far corner of the lobby. Michael bends down to her. She looks like a sleeping angel. He shakes her gently. MICHAEL Star. You're coming with me. She opens her eyes -- is surprised to see him, but hardly has the strength to show it. STAR Michael? He looks around, sees a long hooded cape draped on the bed. MICHAEL You've got to put this on. STAR Take laddie. MICHAEL Huh? STAR Save Laddie first. Michael glances over to where Laddie is sleeping. Star's eyes beseech him. Michael gives in to her wishes. He begins to wrap Laddie (who doesn't awaken) in a blanket. 155 ANOTHER PART OF THE LOBBY 155 Alan has found something and called Edgar and Sam over. He's pointing to an opening in the top of the grated elevator. ALAN Feel it? Feel the draft? Edgar shines a flashlight up there. EDGAR It's an opening, all right. Let's try it. Somebody give me a boost. 156 EXT. THE CAVE - DAY 156 Michael emerges from the cave with a bundled Laddie in his arms. The sun beats down. Laddie awakens. He looks around with uncomprehending eyes. Michael adjusts the blanket to keep the sun off Laddie's face. Michael staggers up the old stairs. 157 INT. TUNNEL WITHIN THE CAVE 157 Sam, Edgar and Alan have all entered the tunnel via the elevator and now make their way down its long, dark length. FLIES begins to BUZZ around. Sam tries to swat them away. EDGAR We're on the right trail. Flies and the undead go together like ham and eggs. Alan pulls a can of bug spray from his backpack and sprays the air. Sam coughs. 158 EXT. CAVE - DAY 158 Michael arrives at the Chevy with Laddie in his arms. He opens the back door and places Laddie on the seat. Laddie remains sound asleep as Michael makes certain that his face is covered and away from the sun. Then, turning away from the car, he heads back toward the cave. It is obvious that he is becoming extremely exhausted and rapidly losing strength. 159 INT. CAVE TUNNEL 159 Edgar, Alan and Sam are frozen in place with mouths hanging open. We don't know why until the CAMERA PANS DOWN and we see: SKELETONS of dead hotel guests, killed in the earthquake. They still wear their period clothes. One holds a suitcase. One wears the bellman's uniform. THE BOYS summon their courage and continue on. 160 INT. LOBBY/CAVE 160 Michael returns for Star. He looks awful. Star reaches out and touches his hand. Michael wraps her in the hooded cape and lifts her. 161 INT. THE TUNNEL 161 The boys reach the end of the tunnel where a large opening awaits them. A biting cold wind blows through the opening and flies BUZZ angrily. SAM What's that smell!? EDGAR Vampires, my friend. Vampires. They step through the opening into a small cavernous area. 162 INT. PITCH BLACK AREA 162 Sharp, jagged rock formations protrude up from the chamber floor. A network of webs and mossy vines hang from the ceiling. Somewhere in the distance is the HOLLOW SOUND OF DRIPPING WATER. THE BOYS pan their flashlights across the scene -- but find no one. 163 EXT. CAVE - DAY 163 Michael carries Star towards the car. He is weakening. His legs buckle and he sinks to his knees. Star's hood falls back revealing her face. Michael finds inspiration in her beauty and struggles to his feet, lurching toward the Chevy. 164 INT. PITCH BLACK HOLE 164 Sam and the Frogs find nothing until they shoot their flashlight beams UPWARD. And what they see causes their hearts to skip a beat. THE LOST BOYS hang upside down from the ceiling like great human bats. David is in front, with the others behind him. ON SAM, EDGAR AND ALAN SAM I thought they'd be in coffins. EDGAR That's exactly what this place is. One great big coffin. (starting to climb) Let's stake 'em. DAVID'S EYES roll open. Yellow and glassy. His voice is from hell. The whole cave shakes. DAVID You're all dead! YOU'RE DEAD MEAT! THE BOYS SCREAM and run for their lives. They scramble down the rocky ledge. They cause such a commotion, that the other Lost Boys open their eyes one by one -- glowing red in the darkness of the chamber. 165 THE TUNNEL 165 The boys run through the tunnel, past the hotel guest skeletons. 166 LOBBY/CAVE 166 They dash across the lobby. 167 EXT. CAVE 167 They scramble up the stairs toward the car. SAM Michael! Start the car! 168 EXT. BLUFF 168 They arrive to find Michael passed out beside the car. Sam and the Frogs shove Michael into the front seat. SAM I'll have to drive! ALAN We don't ride with vampires. SAM Fine! Stay here! Sam hops in behind the wheel. The Frogs look back toward the cave, exchange a look, and decide to make an exception just this once. They leap in. 169 INT. THE CHEVY 169 Edgar gets in front next to Michael. Alan gets in back next to Star and Laddie. They find it very distasteful to be this close to vampires. Sam turns the ignition and the car FIRES UP. Hesitates. EDGAR Come on. Burn rubber. Edgar STOMPS down hard on the gas pedal. 170 EXT. HUDSON'S BLUFF 170 The Chevy ROCKETS backwards toward the cliff. Sam stomps on the brakes. TIRES SCREECH. The car comes to a skidding stop in a cloud of dust -- its back fender hanging precariously over the cliff. 171 INT. THE CHEVY 171 SAM Burn rubber does not mean warp speed! INT. THE CHEVY - TRAVELING (LATER) ALAN We blew it, Edgar! We lost it! EDGAR Shut up! ALAN We unraveled in the face of the enemy! EDGAR They pulled a mind-scramble on us, man! It wasn't our fault! They opened their eyes and talked! SAM (looking in the rearview) Oh, no... EDGAR What? SAM There's a cop behind us. ALAN Quick! Look older! Sam gives Alan a look. EDGAR This is all we need! To be caught driving without a license... and in the possession of vampires! Michael's head slumps against Edgar's shoulder. Edgar pushes him away -- and Michael awakens. SAM Michael! Get behind the wheel. MICHAEL Huh?... ALAN They're gaining on us! SAM (to Michael) You gotta drive! As the Chevy barrels down the highway, Sam and Edgar assist Michael into the driver's seat. There is some pretty dangerous climbing going on in the front seat -- and for a moment it appears that no one has actual control of the car. ALAN Red light!! Michael, Sam and Edgar look up to see the stoplight. The Chevy rushes toward it. SAM Brake, Michael! Brake! Michael -- acting very dopey -- finally hits the brake. But Sam must take control of the steering wheel because Michael's hands keep slipping off. 172 THE POLICE CAR PULLS UP BESIDE THEM 172 The cops look over at the Chevy with a good deal of suspicion. EDGAR They're looking at us. ALAN They're gonna book us. SAM (to Edgar and Alan) Shut up. (to the cops) Uh... excuse me... which way to the Punk Rock Festival? We're the opening act. The cops just smile and shake their heads in dismay. The light changes, and the cops speed off. Everyone in the Chevy breathes a deep sigh of relief. 173 INT. GRANDPA'S HOUSE 173 All enter. Michael carries Star in his arms. Sam and the Frogs carry Laddie. As they approach the stairs, Nanook comes racing up to them, BARKING loudly. SAM No, Nanook! Quiet! EDGAR Your dog knows flesh-eaters when he smells 'em! Nanook continues to BARK. MICHAEL Take him outside, Sam! Sam grabs Nanook by the collar and leads him away. The others begin to climb the stairs -- when Grandpa appears. GRANDPA Michael! Everyone freezes in place. Grandpa looks the over. They must certainly be the most curious group of people he's ever seen going up the staircase. GRANDPA (to Michael; continuing) Do you know the rule about filling the car up with gas when you take it without askin'? MICHAEL No, Grandpa... GRANDPA Well, now you know. Grandpa departs. It takes a moment to register, then everyone hurries up the staircase. 174 INT. UPSTAIRS HALLWAY AND BEDROOMS 174 Edgar and Alan watch from the hallway as Michael makes Star and Laddie comfortable on his bed. Sam comes up the stairs, looks into the bedroom, then turns to the Frogs. SAM Well... we blew Plan A. ALAN Time to activate Plan B. SAM What's Plan B? EDGAR We don't have one yet. (looks at his watch) And we only have two and a half hours to come up with one. SAM What happens in tow and a half hours? EDGAR The dun goes down and they'll be comin' for us. 175 EXT. A SANTA CARLA CHURCH 175 The sun begins to sink behind the archway cross. CAMERA PANS DOWN to find Sam and the Frogs charging in on their bikes. They drop them, run up the steps into the church. 176 INT. VESTIBULE OF CHURCH 176 The boys enter. A christening is taking place within the church, but nobody notices as the Frogs pour the holy water from the bowls near the doorways into their canteens. 177 EXT. THE BOARDWALK - THE OCEAN 177 The sun begins to set. 178 INT. VIDEO STORE 178 Sam enters and goes running up to Lucy. SAM Mom! Listen to me! This is very important! Santa Carla is crawling with vampires! Lucy reacts. A customer looks over at Sam. Lucy takes Sam aside. LUCY What did you say? SAM Vampires, Mom! Everywhere! You've got to tell the police! The newspapers! The TV stations! They'll listen to you. They'll believe you... you're a mom! LUCY Not funny, Sam! SAM This is not a joke. They know that we know about them. They're coming to the house as soon as it gets dark! LUCY Stop it, Sam. Stop it right now! SAM But, Mom... LUCY Not another word! I can't believe you're doing this. I'm going to see Max tonight and you're trying to ruin it for me again. SAM No, I'm not... LUCY There's nothing wrong with Max. I don't know why you don't -- SAM (exploding) -- I'm not talking about Max! To hell with Max! Lucy reacts. More customers look over. Sam winces. LUCY I'll deal with you later, young man. 179 EXT. VIDEO STORE 179 Sam emerges from the store. The Frogs are waiting for him. SAM We're on our own. Edgar and Alan exchange a look. ALAN Good. EDGAR That's just the way we like it. 180 INT. GRANDPA'S WORK ROOM 180 Sam comes in to find Grandpa working on one of his mounted animals. SAM Grandpa, the Widow Johnson called. She said to pick her up a seven instead of eight. GRANDPA (confused) Did we have a date tonight? SAM I guess so. She said not to be late. GRANDPA I better get cleaned up, then. 181 EXT. GRANDPA'S HOUSE - FEW MINUTES LATER 181 Grandpa takes off in his pickup truck as the sun sinks lower. MONTAGE SEQUENCE 182 Michael locks doors and windows, boarding some up. 182 183 Sam prepares bowls of garlic in the kitchen. 183 184 The Frogs pour some holy water into a full bathtub. 184 185 They fill water guns with holy water. 185 186 Edgar and Alan supply camouflage makeup using a photo 186 in Soldier of Fortune magazine as their guide. 187 INT. MICHAEL'S BEDROOM 187 Michael goes to the window. It looks as if his strength is returning. He pulls back the curtain and looks out. He has a commanding view of Santa Carla. The sun has just dropped below the horizon. Michael turns to Laddie and Star who begin to stir from their resting place on the bed. Star and Michael exchange an anxious expression. STAR They'll be coming for Laddie and me, won't they? MICHAEL They'll be coming for all of us. Then Michael goes to his closet and takes out a very serious-looking hunting bow and arrow quiver. 188 EXT. MAX'S HOUSE - EVENING 188 Max opens the door to Lucy and ushers her in. MAX Maybe this is the night where everything finally goes right for a change. LUCY I hope so. Max picks up a note of concern in Lucy's voice. MAX Something the matter? LUCY No, no. Just worrying about my boys -- as usual. MAX (getting her some wine) Let me tell you something about boys. They're like weeds. They grow best when they're ignored. LUCY (taking the wine glass) I thought you said they needed discipline? MAX Well... what do I know? I'm a bachelor. (pause) Lucy... this is going to be a very special night, I promise you. He starts to go, but she stops him. He looks confused, then sees what she has in mind. She kisses him on the lips. It last a long time. 189 INT/EXT. THE CAVE - NIGHTFALL 189 190 THE LOST BOYS' POV 190 Exiting the cave, and suddenly... we are flying! OVER THE OCEAN OVER THE BEACH OVER THE BOARDWALK OVER THE TOWN 191 INT. MAX'S HOUSE 191 Max and Lucy are kissing passionately on the sofa when a DISTANT NOISE is HEARD in the sky overhead. Lucy notices, but Max is too involved to hear anything. Thorn, however, sits up and begins to HOWL. 192 INT. GRANDPA'S HOSUE - THE LIVING ROOM 192 Sam, Michael, Edgar, Alan, Star and Laddie are assembled for final instructions. Sam and the Frogs carry loaded water guns. Michael has his bow and arrow. EDGAR I think I should warn you all: It's never pretty when a vampire buys it. No two bloodsuckers ever go out the same way. Some scream and yell. Some go quietly. Some explode. Some implode. But all will try to take you with them. Michael and Sam exchange a look. Then, Nanook begins to BARK from outside. SAM Nanook! I left him tied up in the yard. Sam rushes to the door. EDGAR Don't go out there! Stop him! MICHAEL Sam, don't -- 193 EXT. GRANDPA'S HOUSE 193 Sam races across the lawn in the moonlight toward Nanook, tied up near Grandpa's vegetable garden. EXT. VAMPIRE POV - FLYING OVER THE TREE TOPS Moving toward Grandpa's house far in the distance. Sam can be seen running toward Nanook. EXT. THE YARD Sam reaches Nanook, who is now BARKING frantically. Sam tries to untie him. Has difficulty with the knot. EXT. VAMPIRE POV Rushing in toward Sam and Nanook. EXT. THE YARD Sam frees Nanook. The two of them run toward the house. EXT. VAMPIRE POV Sweeping in toward the yard. Sam running below. CLOSE ON SAM dashing toward the house as VAMPIRE SOUNDS fill the air behind him. VAMPIRE POV Now skimming over the grass -- speeding toward Sam and Nanook. Getting closer... closer... closer. SAM arrives at the door. Runs into the house as: VAMPIRE POV has door SLAMMED in its face. 194 INT. THE HOUSE 194 Sam leans against the front door, totally out of breath. Everyone is relieved to have him back safely. Then... DWAYNE EXPLODES from out of the fireplace! Everyone SCREAMS. Dwayne flies across the room kicking Michael in the face. Michael goes down as Dwayne grabs Sam and lifts him into the air. Star grabs Laddie and rushes him up the stairs to safety. Alan and Edgar swat baseball bats at Dwayne -- Dwayne, mid-air above them, still has Sam by the arm. But Sam uses his free hand to draw his water gun and spray Dwayne in the face. Dwayne falls and CRASHES into the stereo, turning it on. LOUD ROCK MUSIC begins to BLAST. 195 INT. SAM'S BEDROOM 195 Star hides Laddie under the bed. She notices that the bedroom window is not closed. She moves to close it when it EXPLODES in her face and: PAUL flies into the bedroom. Star SCREAMS. 196 INT. LIVING ROOM 196 The boys hear Star's scream. The Frogs rush up the stairs. Dwayne BELLOWS in protest -- and a beam of light shoots out from his mouth. Sam continues to squirt him in the face. The water burns his eyes, blinding him. Enraged, Dwayne becomes a disgusting and hideous sight with flashing fangs and purple face. 197 INT. UPSTAIRS HALLWAY 197 The Frogs and Star collide in the hallway. STAR It's Paul... EDGAR Where? STAR I don't know where he went. Edgar glances around. Notices that the boys' bedrooms are on one side of the house and Lucy's is on the other. EDGAR (to Star; indicating Lucy's bedroom) Check that room! (to Alan; indicating Sam's bedroom) You take that one. Edgar takes Michael's bedroom himself. 198 INT. MICHAEL'S BEDROOM 198 Edgar cautiously enters the room -- water gun drawn. The bathroom door opens behind him and Paul quietly steps out. He looks as horrible and nasty as Dwayne. His face evil and rotting. His fingernails long and sharp. Paul bares his fangs. They are yellow and bloodstained. He is about to sink them into Edgar's neck when Edgar senses his presence and spins around. EDGAR (startled) Ahh!! Paul lunges, but Edgar SQUIRTS him in the face with holy water. Paul YELLS and SCREAMS and flails his arms, but Edgar continues to SQUIRT and SQUIRT, driving Paul back into the bathroom. 199 LIVING ROOM 199 Dwayne grabs Sam and is just about to gouge out his eyes when: MICHAEL Duck, Sam. Michael, recovered, releases an arrow. It WHOOSHES through the air and sinks into Dwayne's throat. Dwayne ROARS in horror and pain. So loud is his cry that windows SHATTER and light bulbs POP. Then, as if illuminated from within, Dwayne's body begins to glow. It CRACKLES with electrical energy. HISSES and FIZZES. Then vanishes from sight. 200 INT. BATHROOM 200 Edgar shooting holy water as Paul backs into bathroom. EDGAR Alan! Alan! I'm almost out of ammo!! Sam and Michael's bedrooms are connected by the bath- room. Alan hears Edgar's cry and enters the bathroom from Sam's side, coming up behind Paul. Alan sees the bathtub filled with holy water and has an idea. He gets down on his hands and knees behind Paul. Edgar catches on and head-butts Paul, knocking him back- wards. Paul trips over Alan and falls into the tub with a SPLASH. The water burns! Paul SCREAM and kicks. The water turns to a frothy pink and yellow foam -- boiling up, spitting, and shooting into the air like a geyser. Alan and Edgar jump back. And in a moment... Paul is gone. 201 EXT. ROOF 201 Shoots through the roof. 202 LIVING ROOM 202 Michael and Sam are about to run upstairs when: MARKO CRASHES up through the window in front of them, blocking their path. Michael and Sam leap back. Then, Michael looks up -- just as: DAVID! crashes through another window. Hovering in the air directly overhead; his back pressed against the ceiling. Sam and Michael react as David SWOOPS down on them -- fangs exposed; claws extended. The boys leap away, but David's claws rake across Michael's back, tearing his shirt and drawing blood. Marko SMASHES the living room lamps and the room goes dark. Marko and David -- glowing dimly -- soar around the room like bats. Marko and David enjoy the superiority of the air, but Michael has had enough. Sensing his own ability to fly, he leaps into the air and speeds toward David. Sam looks astonished... and Marko catches him off-guard. He scoops him up and flies him into the kitchen. Michael's flying is not pretty. He tumbles awkwardly through the air. But his aim is good. He COLLIDES with David in mid-air. Michael ricochets across the room and David is propelled in a new direction as well. The two of them careen from wall to wall like racquet balls. 203 INT. MICHAEL'S BEDROOM 203 Edgar and Alan, still flushed with their victory over Paul, sit on the bed re-loading their guns with holy water. ALAN Did you see that sucker burn?! EDGAR Man, we totally annihilated his night-stalkin' ass! ALAN Two down and two to go. EDGAR (very serious) Four to go. ALAN Whattaya mean? EDGAR Those two we brought back with us. The girl and the kid. I don't trust 'em. I say we terminate 'em while we can. ALAN You know what? You're absolutely right. LADDIE still hiding under the bed is listening to every word the Frogs utter. He begins to transform upon hearing the Frogs' plan. His "human" eyes roll back into his head until his "vampire" eyes -- glowing red slits -- take their place. Laddie opens his mouth and a beam of light shoots out. His fangs begin to descend... POPPING his braces off. Edgar's and Alan's ankles dangle temptingly before him. RETURN TO SCENE EDGAR Death to all vampires! ALAN Maximum body-count. EDGAR We are awesome monster-bashers! ALAN The meanest! EDGAR The baddest! The Frogs are about to exchange another self-congratu- latory high-five when... the mattress begins to erupt between them. It bulges and heaves and... LADDIE RIPS through it! Bedcovers are shredded and mattress stuffing and springs explode into the air. Laddie has transformed into the ugliest, meanest little vampire imaginable. Alan and Edgar SCREAM at the top of their lungs and leap away from the bed in terror. Laddie virtually pulls the mattress apart, climbs away and advances on the Frogs who cower in the corner like the scared children they are. Star rushes in, sees what's happening, and steps between Laddie and the Frogs. STAR Laddie... NO. The Frogs are amazed to see Star fearlessly put her arms around Laddie like a comforting mother and calm him down. And Laddie returns to normal before our astonished eyes. 204 INT. THE KITCHEN 204 Marko advances toward Sam. Nanook GROWLS. Sam throws anything he can get his hands on: Plates, toaster, cups, silverware, etc. They bounce harmlessly off of Marko's head and chest. Marko continues to advance. Sam grabs the kitchen fire extinguisher and SPRAYS FOAM into Marko's face. But it doesn't stop him. Marko's long, serpent's tongue slips out of his mouth and cleans the foam from his face. Marko just keeps coming. He opens his mouth revealing a blinding beam of light and long, jagged fangs. He rushes toward Sam who grabs a round wooden napkin ring and JAMS it into Marko's mouth. The ring props Marko's mouth open and offers a convenient opening through which Sam begins to stuff entire garlic cloves. Marko's eyes blaze. 205 INT. THE LIVING ROOM 205 David and Michael continue their aerial dog-fight. Michael looks like he's getting the worst of it. David gets the edge on him. He comes up under Michael, grabs him by the waist and continues to fly upward until Michael's head BANGS against the ceiling, knocking him unconscious. Michael drops to the floor. 206 INT. THE KITCHEN 206 As Marko struggles to remove the napkin ring from his mouth, and Nanook bites his ankles -- Sam continues to stuff garlic down Marko's throat. Suddenly, Marko starts to swell up like a balloon. Get- ting bigger and bigger, until his face nearly disappears into a puffy, purple ball. SAM Nanook! He's going to burst! Sam and Nanook turn away as MARKO EXPLODES O.S. and gooey green slime is splattered over the kitchen. Sam barely has time to savor the thrill of victory before something grabs him by the back of the neck and yanks him into the air. It's David. He flies out of the kitchen with Sam. 207 INTO THE LIVING ROOM 207 UP THE STAIRS DOWN THE HALLWAY 208 INTO MICHAEL'S BEDROOM 208 Where he hurls Sam across the room. Star, Laddie, Edgar and Alan are there as well. David points his index finger... and a ribbon of flame shoots out -- like a welder's torch. Everyone fearfully steps back. David "draws" a wreath of flame around the windows and the door... sealing everyone inside. But he exits... 209 INT. THE LIVING ROOM 209 Michael regains consciousness in time to see David approaching him. DAVID Just you and me now, Michael. One on one. Fight to the finish. Michael gets slowly to his feet, never taking his eyes off David. DAVID It's over, Michael. You're the only one left. They're all dead. Sam and Star, too. All dead. Michael doesn't believe him -- but he looks worried. Then, David attacks. He leaps at Michael... and the fight is on! Michael grabs a wooden hat rack and swings it like a bat. It connects with David's head, but David is unphased. Michael swings again and David catches the hat rack, yanks it from Michael's grasp and SNAPS it in two as if it were a twig. Michael charges. They tumble through the air, fighting fiercely. CRASHING from one room to the next. 210 THROUGH THE DINING ROOM 210 211 THROUGH THE KITCHEN 211 212 INTO THE BACK PORCH 212 213 INT. UPSTAIRS BEDROOM 213 Where everyone is trapped. Sam and Edgar have their ears pressed to the floor, listening to the fight below. 214 INT. BACK PORCH 214 Michael and David SLAM each other into walls. Finally, David picks up Michael's chest and propels him back- wards, two feet off the ground, back -- 215 THROUGH THE KITCHEN 215 216 THROUGH THE DINING ROOM 216 217 INTO THE LIVING ROOM 217 Where David traps Michael against the wall, the barbell pressed against his neck. DAVID Give up, Michael! You're one of us. Don't you understand that? You're one of us! Michael doesn't listen. He struggles, but can't free himself. DAVID Don't make me kill you! 218 INT. UPSTAIRS BEDROOM 218 SAM We have to help him! EDGAR How?! We can't get out! STAR (after a moment) I can. Everyone looks at her. Star turns toward the burning door, contemplates going through it. CLOSE ON STAR We realize that for her to go through the door she must allow a bit of the vampire in herself to surface. A subtle change comes over her... and she opens the burning door and walks through it without harm. Sam, Edgar and Alan exchange a look, then put their ears to the floor again. 219 INT. THE LIVING ROOM 219 David presses hard against the barbells. The weights sink into the wall and the bar itself begins to crush Michael's throat. STAR (O.S.) Leave him alone! David turns to see Star standing behind him. She holds the pointed, broken hat rack in her hands. David releases his grip on the barbells. They fall to the floor. So does Michael -- holding his throat and gasping for air. DAVID You can't kill me, Star. STAR (trembling) I will, David! DAVID No, Star. Put it down. Put it down. Star's resolve begins to crumble. We realize that she is incapable of killing David. He begins to approach her. MICHAEL David! David spins in Michael's direction. Somehow, Michael has summoned up a hidden reserve of strength. He holds the barbells in his hands. MICHAEL Catch! He pushes the barbells through the air toward David who catches them instinctively. But their weight carries him backwards -- directly into the pointed end of the broken hat rack that Star holds. DAVID Ahhhhhh!! The hat rack enters his back, pierces his heart, and exits through his chest. David SCREAMS and BELLOWS and pulls out the stake. Light pours from the hole in his body like a brilliant searchlight. Then David flies up and HITS the ceiling -- still HOWLING and YELLING and SPARKING like a Roman candle. Then -- like a balloon losing its air -- he begins to deflate and ROCKET around the room on a wild, spinning flight. Star and Michael duck to avoid being hit. David is heading toward the ceiling. 220 INT. UPSTAIRS BEDROOM 220 Sam, Edgar and Alan have their ears presses to the floor when suddenly, David EXPLODES through the floor only inches away -- and keeps traveling upward, EXPLODING through the bedroom ceiling as well. 221 EXT. GRANDPA'S HOUSE - NIGHT 221 David CRASHES through the roof of the house and disin- tegrates high in the night sky -- like a shooting star. 222 EXT. UPSTAIRS BEDROOM 222 Sam and the Frogs looks at the hole in the floor, then look at the hole in the ceiling... then see the wreath of flames around the door and windows blow out and die. They rush for the door. 223 INT. THE LIVING ROOM 223 Sam, Laddie and the Frogs come down the stairs to see Michael holding Star in his arms. All is silent. And slowly they realize that they have triumphed. EDGAR (to Michael) You destroyed David. His hold on you has been released. Sam notices that Michael, Star and Laddie don't look pleased. SAM What's the matter? MICHAEL I... I don't feel any differently. (to Star) Do you? Star shakes her head, no. They look at Laddie. He also shakes his head, no. EDGAR That means we still haven't destroyed their leader. 224 EXT. SANTA CARLA STREET - NIGHT 224 Grandpa's pickup rumbles down the street. 225 INT. THE LIVING ROOM 225 Headlights sweep across the front window. SAM Someone's here. Everyone looks toward the door -- and Max and Lucy enter. They stop dead in their tracks. LUCY Ohmygod... SAM Mom! LUCY What happened? Is everybody all right?! Michael and Sam don't know what to say or where to begin. Then we notice that Max wears and expression of pure anguish. MAX Where are my boys?... Everyone looks confused. MAX Where's David? Where are the others?! Sam, Michael, the Frogs, Laddie and Star know what Max is talking about, and they react in horror. But Lucy is still in the dark. LUCY Max... what are you talking about? MAX It was all going to be so perfect, Lucy. One big happy family. My boys... and yours. EDGAR I knew it! You are a vampire! LUCY (softly) Vampire?... SAM But you passed the test! MAX Michael invited me in. Never invite a vampire into your house. It renders you powerless. SAM What?! (to Edgar) Did you know that!? EDGAR Sure. The invitation protects them. Sam glares at Edgar. As if to say, Thanks for nothing! LUCY Will somebody please tell me what this is all about!? MAX It's you I was after all along, Lucy. To be our day time guardian. I knew if we could bring Sam and Michael into the faimly, there'd be no way you could say no. Max peels back his lips revealing his fangs. Lucy jumps. MAX I still want you, Lucy... I haven't changed my mind about that. Max advances toward Lucy. He is the meanest, nastiest, foulest, oldest vampire of them all. And all the evil and depravity that dwells within his soulless being now manifests itself in his ghastly appearence. Everyone SCREAMS. He moves toward Lucy. Yellow eyes flashing. Fangs descending below his jaw. Skin rancid. Breath foul. Michael steps between Max and his mother. MICHAEL I didn't invite you in this time! LUCY Michael!... MICHAEL Get out, Mom! Run! Max ROARS and everyone is knocked to the ground and held there by the sound. Everyone but Michael, that is. He alone is left standing to face Max. 226 OUTSIDE HOUSE 226 Grandpa arrives home. 227 INSIDE HOUSE 227 Max scoffs at Michael. MAX Come on, boy. Come and save your mother. Michael and Max do battle. Michael is brave, but fool- ish. He doesn't have a chance. Holding Michael by the ankle, Max spins him over his head. Michael hits against the walls and the bannister, SNAPPING off the rails one by one. Then, Max releases him and Michael sails across the room and lands in a heap. Exhausted and defeated. 228 WINDOW - GRANDPA WATCHES 228 229 BACK TO SCENE 229 Max smiles to himself, reaches down and pulls Lucy to her feet. Prepares to sink his fangs into her neck. She struggles to get away. MAX Don't fight. It's so much better if you don't fight. He lowers his head to her neck. Lucy looks over his shoulder, sees something through the front window. With all her strength she pushes away from Max, and... 230 GRANDPA'S TRUCK 230 SMASHES into the front of the house in reverse. The truck stops, but the fencing material in the truck's bed does not. Several large fence posts CRASH through the picture window... slicing through Max's body like knives through butter! Max ROARS in protest and in pain. The force of the impaling propels him backwards into the fireplace where his body becomes a VORTEX, drawing into it all that surrounds it. It sounds like the RUSHING OF THE WIND as furniture, drapes, carpets, etc. are sucked into the space that was once occupied by Max's body. Lucy, Sam, Star, Laddie and the Frogs hold on to one another for dear life, lest they get sucked in as well. Michael, too weak to save himself, goes by -- but Star and the Frogs are able to grab hold of him. Nanook also finds himself being sucked in. But Sam grabs him by the tail and holds him back. Everything else that isn't nailed down (and some things that are, like floorboards) disappear into the swirling vortex. 231 EXT. THE HOUSE 231 Grandpa, from his truck, looks up at the chimney and sees the VAPORIZED CONTENTS of his house being spewed high into the night air. 232 INT. THE LIVING ROOM 232 Max's own head and limbs are consumed in the vacuum, and the vortex beings to subside. Silence. LUCY Everybody okay? Everyone is able to get to their feet now. Sam sees Max's driving cap on the floor. He picks it up and tosses it into the now dying vortex. Michael and Star trade joyful expressions. MICHAEL It's gone. I feel it! STAR So do I! They look at Laddie. LADDIE Me, too! Michael hugs Star. MICHAEL Everyone accounted for? Grandpa enters from the front yard. He surveys the scene, then, stepping over the debris, heads into: 233 THE KITCHEN 233 and goes directly to the refrigerator. He pays no attention to the mess or the gooey green slime that coats the walls. He just opens the door and takes a diet Root Beer from the second shelf. He POPS the top, takes a long swallow and lowers the can. GRANDPA (to himself) The one thing about livin' in Santa Carla I never could stomach... (beat) All the damn vampires. 234 EXT. THE LOBBY/CAVE - NIGHT 234 The place is deserted. CAMERA PROWLS. Then, one by one, KIDS begin to arrive. At first we don't recognize them. But then we realize they are: The Runaways who Lucy gave food to... Maria from the Video Store... A couple of Surf Naxis... (and perhaps others.) They are here to take up where the Lost Boys left off. CAMERA PUSHES PAST THEM, toward the old mural painted on the lobby wall. The mural depicts a typical day on the boardwalk in the year 1900. CAMERA MOVES CLOSER AND CLOSER TO THE MURAL. And HOLDS TIGHT on one painted figure in particular: A man in a straw hat. He's grinning broadly... and he's most definitely Max. END