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ADRIAN AND THE VAMPIRES FADE IN: EXT. A NICE MANSION - NIGHT Dark but for moonlight. INT. MANSION - NIGHT The dark parlor, a TICKING clock, a night light burning in an upstairs hallway. INT. A BOY'S BEDROOM - NIGHT Dark. Suddenly A VAMPIRE'S HEAD rears up into CAMERA, as if out of an unseen coffin. It's hideous, with sharp fangs and red eyes. And this kid's only ten! He is ADRIAN JARRETT. INT. MASTER BEDROOM - NIGHT Dark. SADIE JARRETT, in her forties, begins waking from a fitful sleep. She's gaunt, sick-looking. A BLACK HUMAN SHAPE stands silhouetted by the moonlit window. It's too dark to tell which way the thing's facing. Sadie finds no one beside her, looks weakly toward the shape by the window. As she fumbles for the bedside lamp: SADIE Willard? The black shape turns from the window, as the lamp comes on. It's only pajama-clad WILLARD JARRETT, fifty, who's been staring out the window in sleepless worry. WILLARD I'm here, darling. As Willard steps over to the bed: SADIE Oh darling. You shouldn't worry so. Willard sits down on the edge of the bed, takes Sadie's frail hand in his. WILLARD How can I help it? INT. SONYA'S BEDROOM - NIGHT Dark, as SONYA JARRETT, about eight, is asleep. The door quietly opens from the lit hallway. A SHADOW falls over her. Something HISSING steals toward her. INT. MASTER BEDROOM - NIGHT Willard, very emotional, kisses Sadie's limp hand. WILLARD You and the kids, Sadie, you're all that I have. All the rest means nothing - nothing - Sadie rolls her eyes, this is too much even for her, as Willard kisses, caresses her hand: WILLARD - nothing, do you hear? INT. SONYA'S BEDROOM - NIGHT The Shadow is right over Sonya. Another HISS, she awakes, and looks up in horror. Adrian, in black cape and top hat, face bestial as before, is all set to get her. Sonya SCREAMS bloody murder. INT. MASTER BEDROOM - NIGHT Willard and Sadie are alarmed by Sonya's SCREAMING. Willard discards Sadie's limp hand as he springs to his feet. Her hand hits Sadie in the nose. WILLARD Sonya! INT. SONYA'S BEDROOM - NIGHT The light's on as Willard rushes in. Sonya, in a rage, is throwing things - a pillow, a rag doll, a vase - at Adrian, who's trying to explain: ADRIAN Sonya - SONYA I hate you, Adrian!! I hate you!! WILLARD Adrian, not again! SONYA I hate you, I hate you!! WILLARD Sonya, that's enough! ADRIAN I was just playing with her, Daddy. As Willard snatches Adrian's top hat from his head: WILLARD Some play! Get back to your room! And get out of that cape! INT. HALLWAY - NIGHT As Adrian, taking off the cape, heads from Sonya's room toward his, Willard following: WILLARD I'm taking that cape away. ADRIAN But Daddy - WILLARD You can have it Halloween and that's it. They stop as Willard takes the cape. WILLARD Adrian, this has to stop. You can't . . . (distracted by Adrian's fangs) Take out those teeth! As Adrian takes them out, Willard confiscating them: WILLARD Why can't you play Cops and Robbers, or Cowboys and Indians? ADRIAN What's wrong with Van Helsings and Vampires? WILLARD I'll tell you what's wrong. You - (distracted by Adrian's red eyes) Take out those contacts! INT. MASTER BEDROOM - NIGHT Bedridden Sadie is holding a handkerchief to her bloodied nose as Willard returns, looking emotionally exhausted. SADIE Willard, what was it? WILLARD (sarcastically) That little vampire we're raising, that's what. (then) He's been sleeping in a crate! I don't know what - He stops, seeing that Sadie is bleeding. WILLARD Oh Sadie. Another nosebleed, darling? Sadie sadly nods yes. INT. DOCTOR RAY'S OFFICE - DAY Adrian lies calmly as blood is being extracted from his arm. Young DOCTOR RAY steps over to check things. ADRIAN Ever met a vampire, Doctor Ray? RAY Never have. What about the headache? Is it gone? ADRIAN Just about. RAY'S NURSE sits by a counter, looking on. ADRIAN Do you know how to spot one, Doctor Ray? RAY A vampire? (thinks, then) The teeth. ADRIAN Not only that. He'll have long pointed ears . . . ON THE NURSE She has long straight hair, from which protrude rather long ears. ADRIAN (o.s.) And eyebrows so thick they meet above his nose . . . She also has rather thick eyebrows. ON HER HANDS folded in her lap. ADRIAN (o.s.) And he'll have hair in the palms of his hands. NEW ANGLE Ray smiles at Adrian. RAY If I meet any hairy palms, I'll let you know. Ray gives him a wink and moves off. Adrian looks at the Nurse. Her eyes are fixed on the container in which Adrian's blood is collecting. OVERLAP SOUND: WILLARD (V.O.) The kid has this blood disease: polycythemia vera . . . In the Nurse's eyes, as she's watching Adrian's blood collecting, is an odd, faraway fascination. WILLARD (V.O.) It's sort of the opposite of anemia . . . Adrian is staring quizzically at the Nurse. WILLARD (V.O.) The body keeps producing too many red cells . . . The Nurse snaps out of it under Adrian's stare. As she smiles self-consciously, turns to busy herself: WILLARD (V.O.) Too much blood in the body . . . Adrian is keeping an eye on the Nurse. INT. PSYCHIATRIST'S OFFICE - DAY Willard is lying on a couch as he talks: WILLARD It's incurable. All they can do is treat it, keep taking out blood. (beat) What I fear is that this disease has begun affecting his mind. This obsession with vampires . . . The psychiatrist is a weird-looking fellow named GROSS. He has thick bushy eyebrows and long pointed ears. WILLARD It's gone beyond reason. I can't reason with the boy. The doctor says not to worry - Gross is not even listening. He's looking closely at something he has found in his palm, begins picking at it, idling his time. WILLARD - that it's natural, given his disease, for Adrian to have more than the average child's interest in blood. That it's something the kid will outgrow. As Willard sits up, turning anxiously to Gross: WILLARD Do you think he's right, Doc? Gross, caught off guard, quickly lowers his palm. WILLARD It's just a boy's passing fancy? He'll outgrow this thing about vampires? GROSS I'm inclined to agree, Mister Jarrett. Given time. WILLARD (sighs) Well good for him, but what about me? I'll be ready for the bughouse by then. (lying down again) And his mother - the poor woman has cancer as it is. How much more can she take? (beat) Poor Sadie. I give her all the affection I can. Believe me I do. Willard sits up again to make a point, Gross lowers his palm: WILLARD If you could kill a person with love, she'd already be dead. INT. A HOSPITAL ROOM - DAY Sadie is dead. The attending PHYSICIAN gently closes Sadie's eyes. Willard, at the bedside, becomes ludicrously emotional as only Willard can do. INT. FUNERAL PARLOR - NIGHT Sadie lies in an open coffin. A few feet away, FRIENDS and RELATIVES speak quietly with Willard, Adrian, and Sonya. Adrian walks over to stand by the coffin. He looks sadly at Sadie. After a moment, Adrian starts to turn away, but Sadie (so Adrian imagines) grabs his arm, pulls him close to whisper: SADIE Don't let them get me, Adrian. Don't let them get me. Adrian lets out a wail of terror, turns to flee. He runs right into the arms of Willard: WILLARD Son, what is it? Adrian looks toward the coffin. Sadie lies serenely in death as before. ADRIAN Sorry, Dad. I guess I got carried away. Willard sighs. One of the Relatives, a middle-aged LADY, comes forward. WILLARD (to Lady) Carry him away. The Lady soothingly escorts Adrian off, while Willard gives dead Sadie a sad look of apology. EXT. GRAVEYARD CEREMONY - DAY The MINISTER is intoning, with sad but brave Adrian, tearful Sonya, sobbing Willard, and RELATIVES seated at the graveside. Other MOURNERS stand about, the coffin set to be lowered. MINISTER Into thy hands, O Lord, we commend thy servant Sadie. Acknowledge, we humbly beseech thee . . . Adrian (imagining again) looks up at a middle-aged MAN, in Victorian clothes, who has appeared at his side. It's Professor ABRAHAM VAN HELSING. MINISTER . . . a sheep of thine own fold . . . Van Helsing, holding something in his hand out of view, whispers to Adrian: VAN HELSING You know what has to be done. MINISTER May her soul . . . Van Helsing moves off toward the coffin. No one sees this, of course, except Adrian. MINISTER . . . and all the souls of the departed . . . As Van Helsing steps to the coffin, steels himself, hammer and stake in hand: MINISTER . . . rest in peace. We therefore commit her body to the ground . . . Adrian is watching wide-eyed, frozen. MINISTER . . . earth to earth, ashes to ashes . . . Van Helsing flings open the lid. At once Sadie grabs him by the wrist with superhuman strength. She yanks the stake from his hand. During this: MINISTER . . . dust to dust; in sure and certain hope . . . Adrian is watching in horror. MINISTER . . . of the resurrection . . . Sadie, sitting up, CLUBS Van Helsing over the head with the stake, Van Helsing falling to his knees by the coffin. MINISTER . . . to eternal life. SADIE (to Van Helsing) I'm not a vampire, you idiot! MINISTER As it was in the beginning . . . As Sadie throws the stake at the fallen professor: SADIE (to Van Helsing) Leave me alone! As Sadie lies back down and slams the lid shut: MINISTER . . . is now . . . Adrian stares in amazement at Van Helsing, sitting in a confused stupor on the ground, a hand to his bleeding head. MINISTER . . . and ever shall be . . . The service concludes as it began, no Van Helsing in view. MINISTER World without end. Amen. INT. DR. GROSS'S OFFICE - DAY A beautiful female PATIENT is lying on the couch while Gross, in a nearby chair, quietly opens a piece of mail. PATIENT I don't know exactly when it began, Doctor - this feeling that I'm just too good for men. Gross has quietly removed an invitation halfway from its envelope. The part we can read says: You are cordially invited to the gathering of Walpurgisnacht at Bran Castle, Romania, on the 15th of this August. PATIENT The last guy I was really attracted to turned out to be gay. Gross, reading, looks pleased by the invitation. PATIENT It was ironic, you know? In a way, he felt he was too good for me. Now Gross seems to notice something striking about his Patient. PATIENT My mother always told me to be leery . . . The Patient's neck looks so smooth, soft, and inviting. PATIENT . . . to guard my chastity, till I had found Mister Right . . . Gross is clearly tempted, excited, by that neck. PATIENT . . . and I was Mrs. Right. Gross begins moving slowly, hungrily down toward her neck. PATIENT She said, "When that lovebug bites you, you'll know it." INT. OUTER OFFICE - DAY Gross's SECRETARY is startled to hear a bloodcurdling SCREAM from Gross's office. The office door opens, the Patient rushes out in a panic. She pauses, a hand on her neck, long enough to scream at the Secretary: PATIENT You're just going to sit there? He's a beast! The Patient flees. Gross steps out of his office. He looks duly flustered. SECRETARY Doctor, what happened? GROSS Nothing, I . . . I need a plane reservation right away. Cancel all appointments. Take a paid vacation. As Gross starts back into his office: SECRETARY Where to, sir? GROSS Where to? How should I know? Go where you - SECRETARY (interrupting) I mean the plane reservation. Where to? GROSS Oh. To Romania. Bucharest. As Gross goes into his office: SECRETARY How soon, sir? GROSS (o.s.) (from office) The sooner the better! A MAP OF ROMANIA fills the screen. We are in: INT. A FAMILY ROOM - JARRETT MANSION - NIGHT Adrian is lying on the floor with an oversized atlas, opened to the map. ADRIAN Daddy? Willard sits reading a newspaper on the couch. WILLARD Hmm? ADRIAN Are we still gonna go on a trip, now that Mom won't be going? WILLARD (reading) We'll see, son. Where do you want to go? ADRIAN Transylvania. Willard stops reading. As Adrian lugs the atlas to the couch, sits down beside Willard: WILLARD Transylvania? ADRIAN It's part of Romania. Let me show you on the map. As Adrian points it out: ADRIAN See? "Transylvania." It's the homeland of Dracula. Willard sighs. WILLARD Adrian, there was no Dracula. ADRIAN There was too, Daddy. He wasn't really a vampire - at least they don't think so. His real name was Vlad, Vlad Tepes. He was a bloodthirsty prince. He'd put people on stakes. They called him Vlad the Impaler. And Dracula, which means devil. And he had a real castle, just like those there today. WILLARD Romania is verboten. Capeesh? You want to see a castle, we'll go to, uh - Disney World. I'm sure there's a Castleland there and - Willard stops - he sees that Adrian is about to cry. WILLARD Okay, maybe it's a good idea. I'm going to take you to Romania and prove to you there's no such thing - and there's never been such a thing - as a vampire. ADRIAN (delighted) And I'll prove there is! WILLARD (sighs) Wait till I tell my psychiatrist. ADRIAN What? WILLARD I have to go to Romania to look for vampires. He'll laugh me out of the office. EXT. AN AIRLINER - AIRBORNE - DAY High above the clouds. EXT. BUCHAREST, ROMANIA - DAY CAMERA MOVES IN on a TAXI in TRAFFIC. INT. TAXI - DAY Sonya, Adrian, and Willard are in the back seat, Sonya sulking. SONYA We could have gone to London or Rome or the River Forever. But no, we have to go look for Dracula. WILLARD No, darling, you're misstating our purpose. There's no Dracula to look for. ADRIAN We're looking for vampires and I'm gonna find one. SONYA Good. I hope he sucks your blood all out. The DRIVER, lean and beady-eyed, is listening to all this with veiled interest. WILLARD Okay, that's enough. Knock off that kind of talk. Capeesh? Adrian looks wonderingly at Sonya: ADRIAN "The River Forever"? What's that? WILLARD I think she means the French Riviera. (to Sonya) Don't you, darling? Sonya sticks her nose in the air. She's not telling. EXT. A BUCHAREST HOTEL - DAY Willard hands the Taxi Driver his money. A PORTER is going in with the luggage. DRIVER I thank you. Willard heads for the entrance with Sonya. Adrian is looking around. The Driver watches him. As Adrian starts toward the entrance: DRIVER Little man . . . Adrian stops, turns to look at the Driver. DRIVER You wish to see castle like in Dracula book? Go to Brasov. From there to Bran Castle. WILLARD (from entrance) Adrian . . . ADRIAN That's in Transylvania? Bran Castle? DRIVER Of course. They say Vlad Tepes himself used to stay there. SONYA (from entrance) Adrian! ADRIAN (to Driver, excitedly) Thanks for the info. As Adrian turns to go: DRIVER Little man . . . Adrian stops and turns again. DRIVER If you go to Bran Castle, return to Brasov before dark. The Driver turns to go, leaving Adrian wide-eyed, looking eager to get there. EXT. A TOUR BUS - MOVING - DAY On a scenic Transylvanian road. The bus passes a Bran Castle road sign. INT. THE BUS - DAY Full of TOURISTS. Adrian is excited, Willard and Sonya show considerably less interest. Adrian notes that American LYLE GREENWOOD looks with plenty of interest at pretty American KATY HARRELL, seated ahead of him. Both are in their twenties. Katy, apparently unaware of her admirer, enjoys the view, talks in Romanian with a PASSENGER beside her. Lyle notes Adrian observing him. Lyle gives him a cross-eyed look, which has the desired effect: Adrian turns his attention elsewhere. EXT. MOUNTAIN ROAD - DAY The tour bus continues on its way. EXT. BRAN CASTLE - DAY Standing majestic, with its towers and turrets, in a mountain fastness. EXT. ROAD - DAY The tour bus is approaching the castle. A PEASANT WOMAN watching from the roadside crosses herself. EXT. FRONT OF CASTLE - DAY The tour bus pulls up and stops. EXT. FRONT OF CASTLE - NEW ANGLE - DAY Tourists are getting off the bus. Adrian, already off, is looking up at the castle with awe. Now something grabs his attention. A WOMAN stands at an upper window, watching them. She is pale, dressed in black. INT. THE WINDOW - DAY CLOSE ON THE WOMAN, watching, with thick eyebrows and rather long ears. She's the CARETAKER. EXT. FRONT OF CASTLE - DAY Sonya joins Adrian, still staring up toward the window, as Tourists continue disembarking. ADRIAN Look at that woman. (glancing around) Where's Daddy? I want him to see her. SONYA Who? I don't see any woman. Adrian looks up at the window again. No one's there. As Adrian points: ADRIAN She was right there in that window. SONYA Oh, come on, Adrian. You're going to start seeing vampires everywhere, right? INT. CARETAKER'S QUARTERS - DAY The Caretaker steps to a wall mirror. Something o.s. begins GROWLING irritably. As the Caretaker primps: CARETAKER I must go greet our visitors. We see now that there is no reflection in the mirror at which the Caretaker primps. She looks off at the Growler (o.s.) as the GROWLING continues. CARETAKER You behave yourself while I'm gone. She moves to the door, opens it, looks back at the Growler (o.s.), then leaves, the disgruntled GROWLING continuing. EXT. CASTLE - DAY The Tourists are walking toward the entrance. Adrian watches as Lyle moves cockily toward Katy, who stands studying the castle, writing notes on a pad. Lyle stops nonchalantly by Katy. Adrian listens nearby. LYLE Some castle, eh? KATY Sure is. It's going to be in my dissertation. LYLE Yeah? What's it on? KATY Medieval castles, like this one. Lyle lets on to be happily amazed. LYLE Lucky for me! Look, my name's Lyle. Lyle Greenwood. And you're - ? KATY Katy Harrell. LYLE Katy, I'm here for a little research of my own. And you're just the expert I need. KATY Oh, I wouldn't say that. LYLE No, believe me, you're just what I've been praying for. Mind if I tag along with you on the tour? KATY Not at all. As they move toward the castle, Lyle eyeing her: LYLE Boy, this is my lucky day. Adrian is watching, apparently impressed by Lyle's technique. WILLARD Adrian! As Willard and Sonya wait for Adrian to join them: WILLARD Don't wander off. Capeesh? We don't want Vlad Tepes to get you. INT. MAIN HALL - THE CASTLE - DAY The Tourists are milling about, waiting for their tour. Adrian again eavesdrops on Lyle and Katy: LYLE You see, I have this theory - which I hope to prove - that Count Dracula really existed. (on Katy's look) I don't mean Vlad Tepes, the impale-people guy. We know he was real. I mean Dracula the count, from Bram Stoker's novel. KATY Dracula the vampire. LYLE The same. KATY Lyle, really. LYLE Yes really. I'm going to write a book. I've got it all figured out. CARETAKER Welcome! The Caretaker addresses the Tourists: CARETAKER Welcome, everyone, to Bran Castle. Adrian hears Lyle whisper to Katy: LYLE Tsch. She's made up like a vampire. CARETAKER My husband and I are the caretakers here. He is ill today and unable to join us. Ioan will be your guide for the day. She has gestured toward IOAN, a middle-aged gentleman who nods a courteous greeting to the Tourists. CARETAKER He speaks English, French, and Romanian. He will answer all questions. Now I bid you enjoy your stay at Bran Castle. Her eyes fall on Adrian. He returns her gaze with obvious unease. IOAN You will come this way, please. The Caretaker watches Adrian, who keeps glancing back nervously toward her, as he begins moving with the other Tourists, Ioan leading them off down a corridor: IOAN Bran Castle, dating back to the fourteenth century, has been home to many Transylvanian nobles . . . Adrian is now walking backwards, staring at the Caretaker who stands calmly staring back at him. IOAN (fading down the corridor) Even the famous Vlad Tepes once stayed here. Adrian backs right into Lyle, who has stopped with Katy to look at something in the corridor, the other Tourists moving on. Turning to Adrian with aggravation, Lyle glances toward the Caretaker, still standing alone in the main hall, watching. Lyle bends down to look Adrian in the eye. LYLE Don't you know that it's impolite to stare? Adrian heads on down the corridor, Lyle watching him with disgust. Katy is looking at a wall painting. We hear a FLUTTERING SOUND from the main hall. Lyle glances toward the hall, then does a take. No one is there where the Caretaker was standing. Looking rather puzzled, Lyle is rejoined by Katy, who notes his expression. KATY What is it? LYLE That caretaker . . . KATY What about her? As they start down the corridor, Lyle glancing back toward the hall with a chuckle: LYLE She pretended to fly away. EXT. COURTYARD - DAY Ioan is leading the Tourists along one of the arcades. As he stops and turns at a door: IOAN Through this door we shall return to the main hall of the castle. Then we shall - KATY (interrupting) Excuse me . . . Katy and Lyle step forward, Adrian not far behind them. As Katy gestures across the courtyard: KATY That side of the castle over there - aren't you going to show that as well? IOAN No, madam. That part of the castle is under renovation. It is closed to the public. Ioan opens the door and enters. The Tourists begin following. INT. A CORRIDOR - DAY Willard smiles back at Adrian and Sonya as they are moving along with the Others. WILLARD I haven't noticed one vampire yet. Have either of you? ADRIAN I wouldn't count out the caretaker. WILLARD Tsch. She's a dog-and-pony show. As the group continues moving, Adrian now deliberately lags, glancing curiously back. EXT. COURTYARD - DAY The door from the corridor opens, Adrian looks out across the courtyard. He sees Lyle and Katy moving hurriedly along the opposite arcade, looking for a way into the forbidden side of the castle. INT. THE MAIN HALL - DAY Entering with other Tourists, Willard finds that Adrian is no longer with Sonya. WILLARD Where's Adrian? SONYA I don't know. Maybe the vampires got him. INT. A GALLERY - DAY Lyle and Katy are walking through an ornate gallery, admiring paintings and statues. The gallery door quietly opens, and Adrian looks in. Adrian sees Lyle and Katy disappear around the corner of a corridor at the gallery's far end. Adrian starts quietly following - then stops as he HEARS the door mysteriously close itself behind him. Concerned, Adrian hurries back to the door. It won't open. Turning, Adrian looks anxiously down the gallery. ADRIAN Hey! Wait! His voice RESOUNDS in the stillness. He runs down the gallery. INT. CORRIDOR - DAY Adrian rounds the corner, stops to look. Not a soul to be seen. The passage seems cold and foreboding. He walks along the passage. Something catches his eyes, startles him to a halt. It's a PORTRAIT on the wall - the rather unsettling portrait of Vlad Tepes, the bejeweled, mustachioed Wallachian prince with the large evil eyes, which seem to glare at Adrian. Adrian backs away, turns as he's moving, and walks right into a suit of armor standing by the wall. The armor topples, CRASHING to the floor with a horrendous, echoing clatter. This spooks Adrian even more, he goes running down the passage. Vlad in the portrait almost seems to be watching with evil amusement, Adrian's FOOTSTEPS running away, the armor still ROLLING around. INT. A CORRIDOR - DAY Adrian desperately tries one door, then another. All are locked. Adrian stops, scared and frustrated. ADRIAN Where are you?! Where did you go?! Only silence. He looks up toward the corridor's only windows - little more than holes, high up in the wall. Adrian's about to cry - then he notes that a door is standing slightly ajar. Adrian goes over, listens at the door, then cautiously opens it wider. INT. A STUDY - DAY Adrian pokes his head in. No one's there, he comes in, looks around. It's a nice little study, with oak table and chair. Adrian hurries over to the regular-sized window. EXT. WINDOW - DAY Adrian leans out, looks around. The castle's moat is far, far below. The window faces woods, with mountains beyond. Not a person in sight. Adrian yells from the window: ADRIAN Help!! Help meeee!! A WIND now mysteriously arises, gently blowing Adrian's hair, and - INT. STUDY - DAY - the door SLAMS shut as if blown by the WIND. The Wind dies, as if mission accomplished. Adrian doesn't know what to think. Then his eyes widen, as Adrian sees a MIST, smokelike, seeping in under the door. The mist is sparkling and swirling. Adrian watches in terror as the mist keeps seeping in, rising, not filling the room but staying right by the door. It's gathering, boiling up into some kind of form. Adrian turns, yells with all his soul out the window: ADRIAN HELLLLLLLP!! |