An American Werewolf in Paris

BLACKNESS.

Pink Floyd's "Dark Side of the Moon (Brain Damage)" plays as WHITE TITLES appear over black. As the song crescendos at the first chorus, SUNLIGHT flares over the lunar horizon and a crescent sliver of THE MOON is illuminated- huge, filling the screen f rom top to bottom. We're in space, circling around from the dark side until a HUGE FULL MOON fills the screen with whiteness- TITLES continue as we pull back from the moon, into the earth's atmosphere, through CLOUDS, until we reveal

PARIS AT NIGHT

We come to rest on an ancient, vaguely wolf-like GARGOYLE high atop a gothic cathedral in the Latin Quarter- a maze of narrow, twisting streets- desolate at this late hour. Clouds move over the moon. End TITLES. The song fades. A THUNDER CRACK. Rain d rops spatter on the church's metal roof. Water trickles out of the gargoyle's mouth. We follow the STREAM OF WATER down to street level where it falls onto

A YOUNG COUPLE

wobbling down the street, sharing a bottle of wine. They open an umbrella and stand underneath it, smooching and giggling. We follow the STREAM OF WATER from their umbrella to the street, where it swirls into drain holes in the MANHOLE COVER that they' re standing on. Suddenly...

CLANG!! The manhole cover pushes up under their feet. He flinches- bites down on her lip, drawing blood. She yelps.

CLANG!! The cover thrusts up again. They lose their balance, fall to the ground- the wine bottle smashes. The manhole cover flips off it's hole. Horrified, they scramble from it. Then, out of it comes...

TERRENCE McDERMOTT

a fiftyish college professor in a turtleneck and old tweed jacket, clutching a well worn leather shoulder bag and gasping for breath. He's balding, with longish gray hair and intense eyes. He climbs out of the hole, replaces the cover and dashes off de sperately through the rain, looking back over his shoulder as he disappears into a narrow alley.

The couple watch him go, befuddled. She touches her hand to her lip and looks at the blood. She slaps her boyfriend upside the head.

The guy shrugs. Then...

BAM!! The manhole cover explodes off the hole, sails twenty feet into the air and clatters to the ground some distance away. We cut to the couple's horrified reactions as they watch something emerge from the hole.

ON A NEARBY STREET

Terrence, running, hears the couple's horrible SCREAMS echo through the twisting streets. He comes to A STONE STAIRWAY and hurries down it, four steps at a time. At the bottom he turns right and arrives at a star shaped five way intersection.

A low, muffled growl stops him in his tracks. He stands in the rain, panting, looking around at the dark maze of streets, trying to pinpoint the source of the sound.

A TAXI appears a block away. He waves his arms and calls out in a very good French accent.

It turns and drives towards him. He starts off towards it. He glances over his shoulder- sees nothing. He's twenty feet from the taxi. He smiles. Then-

He's jerked violently downward into A STORM DRAIN. He screams. Some monstrous force pulls him down, his bones crushing as his body is forced through the too-small drain.

The CABBY gets out and runs up to the drain, where Terrence's thrashing upper body is quickly disappearing into the hole. Horrible growls and sounds of ripping flesh emanate from the sewer. BLOOD spurts through the grate. Terrence reaches up to the cab by, SCREAMING for help.

The terror stricken cabby shakes his head and starts backing up. Terrence lunges forth and grabs the cabby's leg. The cabby screams and tries to get loose. He falls to the ground and is dragged towards the hole. He grabs the bumper of his cab and strai ns to pull himself away, kicking at Terrence's hand with his free foot.

LIGHTS come on in an adjacent building. A MAN in pajamas runs out into the rain. The cabby loses his grip on the bumper and he and Terrence are jerked closer to the sewer but the man grabs the cabby's hand and pulls. Some OTHER RESIDENTS gather on the sidewalks. A police car SIREN approaches.

Something gives and the man in pajamas falls backwards into a puddle. The small crowd looks down and sees TERRENCE, pulled free from the hole, moaning semi-consciously. We move down his body, past the bleeding stumps where his legs used to be, and foll ow the BLOOD as it swirls into EDDIES of rain water and flows into the BLACKNESS of the storm drain.

A FIERCE BULL

charges through the matador's red muletta, snorting blood. The CROWD goes wild. We're in a bull fight arena, under the blazing Spanish sun.

The camera dollies past cheering SPANIARDS and finds a small group of AMERICAN STUDENTS, early twenties.

The camera settles on ANDY MCDERMOTT, 22, as he joins the crowd in a rousing cheer, waving a bottle of wine with native gusto. He's good looking in a scrappy sort of way, with shoulder length brown hair, grungy plaid shirt, khakis, and glasses.

Another friend, MIKE, joins them.

Mike swats Steve in the head playfully and grabs the wine from Andy. He hands him a crumpled telegram.

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

Andy reads the message. His face falls. For a second, he's silent. His friends see something's wrong.

Andy grabs the wine away from Mike and takes a long swig. IN THE BULLRING- the matador plunges his sword between the bull's shoulder blades and makes the kill.

INT. PARIS HOSPITAL EMERGENCY WARD - EARLY EVENING

BLOOD splatters on white paper. Pull back to see a CHEF with a cut finger standing at the admitting counter, dripping blood on a form. The uptight Parisian NURSE scolds him and pulls out a new form.

ANDY, lugging his back pack, trudges through the sliding glass doors marked "St. Severin Hospital". Bleary eyed, hung over, burdened by a heavy backpack and carrying the crumpled telegram, he approaches ANOTHER NURSE at the counter.

A STOUT WOMAN with a POODLE charges in front of Andy and launches into a loud French argument with the nurse over the hospital's "human's only" admission policy.

Andy tries to push his way back in, but the shrill little dog yaps at him. Andy grabs his aching "hangover head" in agony. The bleeding chef walks away, dripping, leaving the other nurse free. Andy approaches her. She has her head down in some paperwor k.

Without looking up, she holds up a "please wait" finger. Andy sighs. The poodle yaps at him again. He winces and tries to get the nurse's attention.

She raises her finger sharply and glares at him. She goes back to her paperwork. Andy starts chatting politely with her, pretending she's responding.

MARCEL BOULARD, a short middle aged cop in a rumpled coat approaches. He taps Andy on the shoulder.

Marcel flashes his badge.

LEDUC, in his fifties, taller, heavy set, droopy mustache, nods gruffly and starts towards the elevator, motioning for them to follow.

They step into the elevator as Leduc holds the door open. Marcel and Leduc trade uneasy glances. Leduc sighs.

INT. HOSPITAL ROOM

TERRENCE lies comatose under a clear plastic oxygen tent. An ORDERLY changes the dressing on his bloody stumps. A NURSE fiddles with the vast array of bleeping, burbling, sucking, life support machinery.

Andy, dumb struck, watches from a few paces away. Marcel, pad in hand, asks him questions. Leduc stays in the background, listening and studying Andy intently.

BEEP BEEP! Something's wrong with uncle Terrence's machinery. The IV bottle is sputtering and bubbling, the EKG monitor is flashing. The orderlies snap into action and pull the curtain shut, waving "no problem" to Andy and Marcel. Marcel leads Andy awa y, trying to calm him down.

Andy's about to protest when Leduc steps in and hands him uncle Terrence's leather bag.

Andy's dumbfounded at Marcel's lack of tact. The elevator doors start to close. Leduc nods "good-bye". Marcel leans in and sneaks in one last comment.

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

EXT. TERRENCE'S APARTMENT BUILDING - NIGHT

Andy opens the gate of this beautiful 19th century building and walks through THE COURTYARD to the main entrance. A POODLE yaps at him. The dog is in the open doorway of the Concierge's apartment, which opens into the courtyard. The nosy concierge, MAD AME CHRETIEN calls the dog, LULU, back in and shuts the door.

Andy enters the dark LOBBY, finds the timed auto shut-off light switch and turns it on. He boards the old fashioned wire cage elevator and presses the button for #4. McDermott. The elevator ascends painstakingly slowly. Andy resigns himself to waiting , thumbs through his uncle's date book.

Andy turns to the day Uncle Terrence was attacked. A circled, cryptic entry at the bottom of the page reads "Meet Claude, Medusa- 11:00". Andy wrinkles his brow. At this second, the light goes out.

Andy ascends the rest of the way in darkness. The doors open on the fourth floor. He gets out and finds his way to the apartment. He tries a key in the lock. It won't turn. He jiggles it. No luck. He goes through this with two more keys, grumbling unde r his breath. Finally he finds the right one. He pushes the door open and gasps.

He's face to face with a scary TRIBAL MASK hanging in the entrance way. It startles him for a second.

INT. TERRENCE'S APARTMENT

Andy walks in and sets down his bags. A gun COCKS. A young woman's voice screams at him in French.

He turns to see SERAFINE, a beautiful young woman, around 22, casually dressed and aiming a pistol at his head. He drops the shoulder bag and reaches for the ceiling.

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

Serafine puts the gun away in a drawer.

She lights a cigarette.

As he speaks, he scans the apartment. It's cluttered with an overwhelming assortment of anthropological oddities from around the globe, medieval illustrations, molecular models, and an artsy periodic table that's been used as a dart board.

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

INT. TERRENCE'S STUDY

She runs in and finds the computer locked up. She smacks it a few times, clicks the mouse, taps the keyboard. No response.

She flicks a switch on the back of the computer, rebooting it. Andy pauses to look at some nearby photos of his uncle.

Serafine gets kind of emotional at the thought...

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

A beat. She grasps his meaning. She's offended. She starts typing on the computer, giving him the cold shoulder.

Andy sees he's sunk. He heads for the door, but something on the wall catches his eye. A small flyer on the bulletin board with a big drawing of Medusa. He takes it down.

Serafine looks at him hard, questioning.

She points to a paperback on the desk. It's French, with a psychedelic cover depicting a man, half King Louis XIV, half witch doctor. The title, (in French) "History Inside Out - Psychic Illumination Through the Ages" by Dr. Claude Roussel. A picture o n the back shows an academic looking Claude in a tweed jacket, with gray hair.

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

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

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

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

EXT. RUE D'ENFER - NIGHT

A MEDUSA HEAD is carved in the stone above the doorway of a crumbling old facade in a rundown Parisian neighborhood. Andy tries the front door. It's locked. There's no sounds or signs of life.

Andy starts off, then pauses as three PARTY GOERS approach the door. They're "modern-primitives"- tribal tattoos, pierced noses, and weird beaded hair. One fishes a key from the Medusa's mouth, opens the door, and lets the group in.

Andy slips in behind them. One GUY in the group looks Andy over and mutters something in French to his friends. They snigger amongst themselves and walk to a door across the foyer. Andy follows, a few paces behind, through the door, down some stairs, i nto

A DILAPIDATED BASEMENT

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

A NARROW STONE SPIRAL STAIRCASE

They proceed down the ancient stairway, also lit only by the occasional candle placed on the steps. They reach the bottom of the steps and enter a dark, drippy stone tunnel, still lit by candles. Some rats scurry away through the puddles under Andy's f eet.

Candles lead the way through the maze of intersecting tunnels. Some graffiti scratched in the wall catches Andy's eye: "Jean Philippe 1803". He pauses to look at it for and loses the group ahead of him. He follows the candles on his own, turning right, left, and left again. A loud, muffled bass beat gets louder. He rounds the corner into

THE WILD UNDERGROUND PARTY SPACE

In an open cavern, lit with torches and strobe lights. Two hundred people are gyrating to eerie techno-tribal dance music. It's a weird crowd, mostly young modern primitive pierced and grungy RAVERS, many wearing day-glo tribal face paint. Clusters of sullen, militant SKINHEADS hang around the periphery.

An attractive, blissed-out WAIF approaches Andy with a paintbrush and a jar of day glo face paint and a brush. She goes to paint Andy's face. He stops her.

She smiles and pushes his hand down. He shrugs and lets her paint two day glow red stripes on his cheeks.

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

She points to a dark alcove off the main cavern. Andy nods and starts off. We move in on a leather clad young man leaning against the wall, watching Andy go. This is GASTON DUFAUX, a self-styled Parisian thug, who seems to be cultivating a sort of "Mic key Rourke" look. He takes a drag from his cigarette and we see he's missing two fingers.

Andy makes his way through the crowd. People are dancing with wild abandon, and many carry torches. A SKINNY GUY IN A DIAPER and a paper mache skull mask runs through the crowd, ranting and spraying fluorescent silly string. He does a weird dance aroun d Andy and jabbers at him in French.

Andy approaches the side room and peers in. A small group of young people are listening intently to CLAUDE, whose back is to us. He's expounding about something in a solemn tone.

We follow Andy as he steps around the crowd and sees Claude's face. He looks older than in the photo- he's in his late fifties, with white hair and intense eyes.

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

Claude is taken by surprise.

He excuses himself from his "flock" and leads Andy to a quiet corner of the room. The kids disperse, several looking sympathetically at Andy.

They're suddenly doused with day-glo silly string as the jibbering idiot in the diaper pops in to deliver a rant at them.

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

Claude frowns. He looks grave.

He gestures to the main cavern, where people are far gone into various states... some in a trance, some gyrating lustily to the eerily hypnotic music. We intercut with these images as Claude speaks.

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

He rubs the face paint off with his shirt sleeve.

Claude lowers his voice. He looks grim.

Andy's somewhere between spooked and incredulous. He glances at the book in his hand.

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

She grabs him by the arm. He resists.

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

She leads him across the cavern towards the entrance. Andy stops short and pulls away from her. It's not easy- she has a strong grip.

Serafine sees something over Andy's shoulder.

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

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

She shoves his hand away and pulls Andy past him. Gaston grabs her and spins her around. This time Andy grabs Gaston's hand and pulls it off her. He holds up Gaston's three fingered hand and glares at him.

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

CRACK! Andy hauls off and belts Gaston in the jaw as hard as he can. But Gaston doesn't even lose his footing. He sneers with rage and hits Andy with a vicious combination. His glasses fly off as he reels into the crowd, knocking a few people into a gr oup of nearby SKINHEADS. The skinheads erupt into randomly directed violence- a full fledged BRAWL breaks out. It's chaos.

On the floor, Andy squirms away from the skinheads and retrieves his glasses. He hears Serafine call his name. He gets up amidst the mayhem and sees Serafine being carried away by the crowd.

Someone knocks into Andy and he falls to the ground. He gets back on his feet- Serafine's nowhere in sight. He pushes his way through the crowd, looking for her. He catches sight of her white dress in a distant corner. It's there for a second and then gone again - apparently into a tunnel. He runs over to it.

Andy peers into THE TUNNEL, which houses some old pipes. It fades quickly into darkness. He grabs a kerosene torch from the wall and runs into the tunnel. About a hundred yards in he passes an ALCOVE.

He leans in with his torch and peers around. The cave like room is empty but something catches Andy's eye. Scratched into the stone wall, amidst various graffiti, is A PENTAGRAM. It looks to be centuries old.

Andy's transfixed by it. The sound of his own breathing suddenly becomes deafening and his vision begins to distort: the textures of the stone wall begin to churn and crawl, and the flames from his torch melt into different hues. The pentagram glows an d seems to grow out of the wall...

The hallucinatory flash is over as fast as it began. Panting, stunned, Andy shakes it off. He wipes his face, checking for traces of paint. He tries to reassure himself.

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

Another scream- anguished, tortured. Andy runs faster. He arrives at an intersection with another tunnel, turns the corner and finds...

A decrepit old WINO hogging a bottle from his warty HAG companion, provoking her to scream like she just lost her only son. They look up at Andy. The hag shuts up. They fix Andy with an odd stare.

They just stare at him. Spooked, he walks past them. They follow him with their creepy stare as he continues into the tunnel, which slopes downhill.

He comes to an old stairway leading down into darkness. WATER pours out of a hole in the ceiling. The steps are severely eroded and slick with flowing water and moss. Andy sees something. It's SERAFINE'S SHOE, laying on a landing a few yards down the s tairs. He leans in further, loses his footing and slips.

He shoots down the stairs on his back, past the shoe which lies at the mouth of an intersecting tunnel. His glasses come off. The torch goes out. He stops at the bottom of the stairs on a gravel surface.

He winces a bit as he sits up. It's too dark to make much out. He feels around the gravel, finds his GLASSES - they're shattered. He scowls. He stands up and walks ahead, feeling his way along the slick wall, peering into the darkness.

The echo sounds different- like he's in a larger space. The echo decays into a familiar low RUMBLE.

A reflection of light appears in a puddle on the floor. The light gets brighter until Andy sees the subway tracks at his feet. The rumble gets suddenly louder as

A METRO TRAIN

barrels around the corner, flooding the tunnel with light and closing on Andy fast.

He turns and runs for THE STAIRWAY. He skids on the gravel and overshoots it. He scrambles back and up into it just as THE TRAIN whooshes past.

Andy scurries a few feet up the slick steps, using a rusty pipe for a handhold. As he looks back at the SPARKING, RUSHING TRAIN WHEELS, his heart pounding in his head, he has another HALLUCINATORY-FLASH: the sparks explode into streaking patterns of co lor and light.

It passes quickly. The train goes by and its rumble fades. Andy squeezes his temples and takes a deep breath. Before he finishes exhaling, an UNEARTHLY HOWL echoes through the tunnels. The howl literally takes his breath away- he's frozen there, eyes w ide, not breathing for a long moment.

Quietly, carefully, he makes his way back up the dark, wet stairs. He comes to the landing, picks up Serafine's shoe, and steps into the INTERSECTING TUNNEL. He squints into the darkness. Without his glasses, ANDY'S POV is a bit blurry. He walks into the tunnel. Another HOWL. Andy swallows hard.

He hurries along. WATER DRIPS from the tunnel ceiling, down the walls, onto the cobblestone floor, flowing into rivulets around Andy's feet and joining a stream that flows ahead of him, disappearing into the blackness ahead. He approaches another inter section. He stumbles over something.

He looks down and makes out a GIRL'S BARE LEG lying in a puddle in the dark intersecting tunnel. He follows the leg up with his eyes- it's messily severed above the knee. He gasps.

He looks further into the tunnel and sees A PAIR OF GLOWING YELLOW EYES staring back at him out of the darkness. Andy turns and runs.

With a horrible ROAR, the eyes lunge after him and turn the corner. As it gains on Andy, we see the dim outline of the massive wolf-like beast.

Andy dives for a SMALL CONDUIT, barely big enough for his body, and wriggles into it. Behind him the yellow eyes appear at the mouth of the conduit - the beast SNARLS but can't fit in. Andy can see a dim light at the end of the conduit. He crawls along .

He emerges into ANOTHER TUNNEL. Some thirty yards away, light and street noise come through a GRATE on the ceiling of an antechamber beyond an iron gate. Relieved, Andy starts off towards it. A SNARL stops him in his tracks. THE BEAST comes tearing aro und a corner fifty yards behind him.

Andy breaks into a sprint towards the antechamber. He slips on the wet floor and lands in a puddle, drenching himself. The beast closes in.

Andy gets up, runs into the antechamber and slams the iron gate shut. There's a rusty DEADBOLT lock on the gate, but no key. The beast is twenty five yards away and closing fast - it's massive silhouette filling the diameter of the tunnel.

Andy whips out his SWISS ARMY KNIFE, opens the screw driver and tries it in the old-fashioned keyhole- it doesn't work. The beast is twenty feet away. Andy tries the can opener- no luck. Ten feet. Andy jams the corkscrew into the hole. The beast leaps. The corkscrew turns. The DEADBOLT SLIDES.

SLAM!! The beast rams the gate, shaking the anteroom. But it holds. Flashes of CLAWS and TEETH thrash through the bars, but it's still too dark to make the beast out clearly. Andy runs across the anteroom, grabs the steel sewer grate on the ceiling, an d hoists himself up.

Through the bars, he sees a BUSY BOULEVARD in the Pigalle (the "Times Square" of Paris). There's a COP a few paces away. Andy screams to him.

ON THE BOULEVARD- Over the roar of traffic and midnight revelers, the cop can barely pinpoint Andy's screams. He looks around, confused. He sees Andy and angrily shakes his baton at him.

THE BEAST slams the gate, wrenching one of the iron bars loose- two more bars and it'll fit through. Andy jumps down, picks up the loose bar. It's got a STAR SHAPED SPEAR TIP.

He rushes at the gate and jams the spear through the gate, aiming for the thrashing teeth and eyes in the darkness.

The beast ducks and the spear sinks a couple of inches into the BACK OF IT'S NECK and stops, apparently on bone. It recoils and ROARS with pain, shaking the spear free.

ON THE STREET- The cop raps the bars with his nightstick and peers into the dark anteroom.

IN THE ANTEROOM- The beast rams the gate- it's rage redoubled. Andy jumps up and grabs the grate.

ON THE STREET

Enraged, the cop runs to his car, muttering to himself. He opens the trunk and rummages around for something.

IN THE ANTEROOM- The beast knocks another bar off the gate. Andy watches in horror as it rams even harder, loosening the NEXT BAR.

ON THE STREET- The cop looks over at Andy, incensed. He takes a crowbar from the trunk, runs back cussing in French, and struggles with the grate.

IN THE ANTEROOM- The NEXT BAR on the gate gives. The beast sticks its head through the gap and focuses it's searing yellow eyes on Andy. It rears back, ready to pounce...

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

IN THE ANTEROOM- Andy's legs dangle like bait. The beast lunges, teeth and claws bared.

ON THE STREET- Andy screams as a bus roars by. The cop pulls him up and out. Andy's right pants leg is torn open and he's bleeding from a GOUGE in his ankle.

He points frantically at the open hole. The cop aims his flashlight in the hole. It's empty. He looks Andy up and down.

Shaking, Andy takes his passport out of his pocket. The cop takes it and copies some information. Andy raves at him- a blur of English and broken French.

He looks disoriented, half-crazed. He definitely seems like he's on drugs. The cop shines his flashlight in Andy's eyes- his PUPILS are like saucers.

ANDY'S POV

The cop's flashlight sparks another HALLUCINATORY FLASH. The cops face melts like liquid, sounds swirl together, the garish neon signs of The Pigalle explode into streaking colors and we BURN INTO WHITE.

EXT. TERRENCE'S APARTMENT BUILDING

The cop car pulls to a stop. The cop gets out, opens the back door, and pulls Andy out. He pushes Andy towards the building.

The cop gets in the car and drives away. Andy staggers to the gate in a daze and fumbles with the keys.

INT. APARTMENT BUILDING

Andy walks up to the apartment door. Disoriented and shaking, he manages to open the door and walk in. He locks the door, and switches on the lights. He looks out the small PEEPHOLE. No sign of anyone or anything. He leans back against the door and rub s his hands across his face.

There's a DRIPPING sound coming from the kitchen. Andy looks across the living room into the dark kitchen. The DRIP continues. He steps forward cautiously. Suddenly he feels something and looks down sharply.

UNCLE TERRENCE, bloody stumps and all, is clutching Andy's legs and looking up at him desperately. He's trying to speak but can't seem to make a sound. Blood from his wounds soaks the WHITE BEAR RUG beneath them.

Andy's terror struck, he tries to jump away but falls backwards to the floor. Terrence crawls up and gets close to Andy's face. He croaks out two words in a rasp-

INT. TERRENCE'S HOSPITAL ROOM - SAME TIME

The EKG monitor shows a FLATLINE. Alarms are BEEPING. Terrence's body lies motionless under the oxygen tent. A DOCTOR and a NURSE rush to the bed. The nurse rips the oxygen tent away and the doctor SLAMS his fists down on Terrence's chest. The EKG show s a tentative blip. The doctor SLAMS again. An erratic heart beat starts back up on the EKG.

INT. TERRENCE'S APARTMENT - SAME TIME

Andy lies passed out on the floor. Terrence is gone, and the rug is free from blood.

INT. LEDUC'S OFFICE - DAY

Marcel sits next to the patrol cop, PEROTIN, who rescued Andy. They're hysterical with laughter. Even Leduc, sitting behind his desk, is chuckling.

Perotin playfully growls at Marcel. They laugh even harder.

Perotin nods, still laughing. Marcel walks him to the door. Before he steps out, Perotin bares his teeth, growls again, and cracks up some more. Marcel, laughing, claps him on the back and shuts the door- then he and Leduc go instantly stone faced. The y look at each other gravely.

Leduc walks to a map of Paris on the wall covered with colored push pins. He sticks a blue pin in it. He points to a green pin on another part of the map.

Leduc looks at his calendar. Four days are circled in red ink.

Leduc opens a tall cabinet, revealing a bookshelf stuffed with dusty tomes. He browses past dozens of titles about black magic and demonology.

Leduc selects an old book and hands it to Marcel.

Marcel takes the book. He inspects the cover (it's in French)- "Werewolves through the Ages: from St. Severin to the present".

Marcel considers this.

Leduc grunts, exasperated.

INT. TERRENCE'S APT.- LATE MORNING

THE SAME OLD BOOK, sitting on the coffee table. The pages are stuffed with notepaper place markers, many covered with scribbling, and CHEMICAL NOTATION. In the background, on the floor, is Andy- fast asleep and snoring where he collapsed the night befo re.

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

He grabs the door so it can't hit him again. Serafine pokes her head around and sees him. She's surprised, relieved, elated. Andy's reaction is more disoriented, stunned.

She kneels beside him and helps him sit up.

He looks over at the clean bear rug. Andy rises to his feet groggily. He looks down at the rip in his pant leg. He feels the torn fabric, trying to remember.

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

Andy's only half listening. He opens the window, and inhales deeply. Across the court yard, a MATRONLY WOMAN leans out a window, hanging her laundry. In the courtyard, Lulu the obnoxious poodle YAPS at another resident, and Madame Chretien calls her ba ck. Andy's head is clearing. His mood lifting.

He turns around and smiles at her.

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

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

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

She digs in her pockets and hands him some coins.

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

Andy claps his hands together in triumph and scrambles to hold open the door for her.

She gestures to his filthy clothes.

She smiles and pushes him back in the apartment.

EXT. PARIS BOULEVARD- DAY

JERRY LEWIS

on a TV screen, dubbed with a zany French voice, undergoes a radical physical transformation in "The Nutty Professor". Pull back to reveal Andy and Serafine watching this scene on a dozen or so TV's in a store window display. Several PARISIAN PEDESTRIA NS watch Jerry with reverence.

On screen, the Nutty Professor's alter ego, "Buddy Love" launches into his swinging version of "That Old Black Magic". To this accompaniment, we cut the following-

PARIS MONTAGE:

- AT A BRASSERIE: Andy is about to escort Serafine into the trendy eatery, but she stops him at the door and points to the menu, or more specifically the prices. He makes a horrified face, and they move on.

- IN A BOULANGERIE: Serafine buys cheese, Andy buys meats- the counterman shows Andy how big a slice off the pate loaf he's about to cut. Andy nods "yes". The counterman cuts it and offers the slice. Andy shakes his head "no" and points to the much lar ger remainder of the loaf.

- AT AN OUTDOOR MARKET: Detective Marcel, wearing a lame "disguise" (new wave sunglasses ala "Diva"), watches Andy and Serafine shop from a distance.

- IN A PATISSERIE: Andy points to a large baguette, says something suggestive and winks boastfully at Serafine. She gives him a "yeah, right" look and points at a small breadstick.

- IN A WINE STORE: Andy looks at each bottle closely, then "tests" it by shaking vigorously. Serafine's amused. The owner's baffled.

- ON THE RIGHT BANK: Arms full of groceries, Andy and Serafine pass the row of outdoor pet stores near the river. Andy looks longingly at the live ducks in their cages. Serafine pulls him along. MUSIC fades out.

EXT. ILE SAINT LOUIS - SUNSET

Andy and Serafine sit on the river bank facing a magnificent Paris vista. Serafine unpacks the food.

She laughs and pushes him playfully.

They "clink" and drink. He notices her KEYCHAIN lying on the ground. It's a miniature replica of Rodin's famous sculpture, "The Kiss". He picks it up.

She gestures across the river. Andy looks at the gorgeous panorama.

He looks at Serafine. She looks back at him. He holds up "The Kiss".

She smiles playfully.

He shakes his head "no" and moves towards her. They kiss tenderly. They separate and share a deep, passionate look. They kiss again, hungrily, falling into a passionate embrace. They're really going for it. Her NAILS dig into his back. He pulls her bod y into his until they look like one form- just like Rodin's sculpture.

APPLAUSE and CHEERS break the moment. A TOURIST BOAT is gliding by on the Seine, it's ELDERLY PASSENGERS applauding the young couple. Serafine pulls away, blushing a little, and turns to the boat. ANDY doesn't even notice the boat. He's staring at Sera fine with a scary kind of intensity. She starts to say something but he starts kissing her again, cutting her off.

Suddenly he's out of control, pawing at her... It takes an effort for her to pull back from him.

She looks into his eyes and freezes with fear. HIS STARE is terrifying, totally predatory, inhuman. Something's ignited in him. She pushes him away and shakes him.

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

She fixes him with a heavy, suspicious stare. She glances down at his ankle, where the bottom of HIS WOUND is visible. She seems to understand something. She fumbles in her purse, takes out a compact mirror, and checks her face.

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

She runs up the steps to street level. Andy watches her go. He turns back to his glass of wine and chugs it. He puts the bottle to his lips and takes a long belt. He picks up the big block of pate and bites into it like a piece of cake. He likes it. He takes another huge bite. He looks after Serafine. He gets up.

INT. CAFE

Serafine puts her "telecarte" into the pay phone and dials. She looks anxious, upset. We hear the phone ringing at the other end. Behind her, Andy comes into the cafe. He walks up to her, pissed off.

Andy starts backing away.

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

She drops the phone and runs out of the cafe. On the sidewalk, she looks in all directions. Nothing. Andy's gone.

INT. CLAUDE'S OFFICE.- SAME TIME

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

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

EXT. STREETS OF PARIS - NIGHT

Music cue: "Wolf Call" by Elvis Presley. Andy pays for a crepe at one of the roadside stands, and eats it as he walks along the narrow sidewalk, still brooding about Serafine. He stops to gawk at the PRETTY GIRLS that pass by, and bumps into a young FR ENCH TOUGH with a ROTTWEILER.

He glares at the tough and his growling dog. The dog suddenly shrinks back in fear and decides it's time to leave. He pulls his owner along. Andy continues on his way. He ditches the half finished crepe. That's not what he's hungry for.

Andy comes upon a trendy little CAFE with several tables of diners eating in the open air. Andy notices an attractive young blond sitting alone, thumbing through a "Let's Go" guide. This is AMY SINGLETON. Andy approaches confidently.

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

He jumps into the seat across from her.

She laughs. The waiter arrives to take their order. Andy hands him the empty half bottle of wine from Amy's table.

INT. TERRENCE'S APARTMENT BUILDING HALLWAY - SAME TIME

Serafine unlocks the door and enters the apartment. She's stopped cold by what she sees. The place has been totally ransacked - drawers opened, shelves cleared, furniture overturned, the works. The window is open.

She walks across the room, kicking at the debris in her path. She stands in the middle of the mess, absolutely furious.

EXT. STREET - CONTINUOUS

Across the street from the apartment building, GASTON pauses to light a cigarette. He hears Serafine's distant scream, looks towards the building, and walks away.

EXT. CAFE - NIGHT

Three successive tables of upscale PARISIAN DINERS are gawking at something. At one table, Inspector Marcel hides behind his menu, and shakes his head in disdain.

We follow their glances to Andy, greedily licking the last bits of Steak Tartar off his plate. Amy giggles in amazement as she pours the last from the bottle of wine. She's a bit drunk- enough to be amused by Andy's antics.

Amy laughs and nods "yes". JEAN-LUC, 25, a well dressed, powerfully built Frenchman enters. He kisses Amy on both cheeks, all the while watching Andy uneasily.

Amy laughs in mid gulp and wine comes through her nose. Andy looks at Jean-Luc, who is - of course - pretty steamed.

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

Amy tries to intervene.

She tries to pull his hands off Andy, but Jean-Luc sends her reeling back with a firm shove.

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

Jean-Luc takes a swing at Andy. With amazing reflexes, he dodges it deftly. Jean-Luc jabs- again Andy avoids it easily. He smiles, impressed with himself. Jean-Luc is incensed.

He goes for Andy's throat, but Andy catches him by the arm and, with superhuman strength, FLIPS him head over heels, through the air and - SMASH! - onto a nearby table.

Andy casually leans past the semi-conscious Jean-Luc and plucks a CHAMPAGNE BOTTLE out of its ice bucket. The WAITER is about to object, but thinks better of it. Andy takes Amy by the arm, she grabs the RED WINE BOTTLE, and they start off away from the cafe.

In the background, Marcel hurries to pay his tab and follow them. He slips on some of the broken glassware spilled by Jean-Luc's fall, and almost goes for a tumble himself.

FURTHER DOWN THE STREET

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

He thinks a moment, then puts his arm around her and whispers in her ear. She squeals with delight.

Inspector Marcel, who's eavesdropping from around a nearby corner, rolls his eyes to heaven. Oh brother. The Doors' "Backdoor Man" kicks loud as we

EXT. PERE LACHAISE - NIGHT

Marcel is hiding behind a grave, spying. His passion for police work has been reborn, judging from his rapt, totally absorbed stare. He's watching...

ANDY AND AMY

having extremely hot and primal sex on Jim Morrison's grave, lit by dozens of flickering candles people have "left for Jim". He pours red wine into their mouths. Sweat and wine drip off their naked bodies. The sex heats up to an intense, screaming clim ax. Amy squeals with ecstasy.

But Andy's still accelerating- transported to another plane. Sweat pours from his brow. His face contorts with each groan, but now it's hard to tell if it's from pleasure or pain. His body jerks violently and his skin suddenly blushes bright red. Amy w inces.

Marcel is a little disconcerted.

Andy's skin literally glows red, turning his sweat to steam. He leaps off Amy and disappears into the sprawling cemetery, screaming in agony. Amy watches him go.

Marcel starts off after Andy, taking the wide route around Amy. Andy's scream echoes through the cemetery. Amy pulls her dress on.

ANDY

red hot (literally), weaves through the tombs, screaming. He comes to a small courtyard with an ORNATE FOUNTAIN. He dives into the brackish water. Clouds of steam rise off the water as he thrashes about under the marble goddess in the center of the fou ntain.

AMY

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

THE FOUNTAIN

Andy's gurgling screams are changing, becoming less human. We catch glimpses of body parts as they surface from the churning froth- GROTESQUE, FLAILING LIMBS somewhere in mid-transformation between human and beast.

MARCEL

steps cautiously through the ancient, ornate tombs and mausoleums, listening to the distant splashing and sporadic inhuman screams. He draws his gun and loads a cartridge. Suddenly a horrible grunt and loud SMASH pierce the air. Marcel wheels around an d smacks nose first into a gravestone.

AMY

in another part of the graveyard, stops in her tracks, listening. Another SMASH followed by crumbling, and rushing water.

Amy feels something and looks down. There's a stream of water flowing around her feet. She follows it towards its source and steps into

THE COURTYARD

The fountain has been smashed- the stone rim cracked into bits and the center statue fallen to the ground. There's no sign of Andy. Amy walks up to the fountain.

She notices something on the ground. It's the STONE GODDESS, smashed into several pieces. We hear a low growl. Amy looks up, terrified. She scans the GRAVES around the perimeter of the courtyard. She takes a few tentative steps backward.

Suddenly a MASSIVE TOMBSTONE is wrenched off its base (most of the ancient stone markers are eroded and crumbling- many already fallen over). It falls like a tree, revealing the familiar pair of piercing yellow eyes behind it, framed by the dim outline of a massive beast. Amy emits an odd, primitive whine.

She runs away from the beast, across the courtyard and disappears into the graves.

In the DENSE FOREST OF TALL TOMBSTONES, Amy zigs and zags through narrow spaces, barely wide enough for her slender body to fit through. The camera CRANES UP.

HIGH ANGLE

Thirty paces behind Amy, pairs of tombstones split apart like jungle vegetation, crashing thunderously to the ground. The unseen beast's path is slowed by the monuments, but still follows Amy.

Amy l