Movie - Interview with the Vampire
Release Date: 11 November 1994 (USA)
Tagline: Drink From Me And Live Forever
Runtime: 123 mins
Director: Neil Jordan
Producer: David Geffen, Stephen Woolley
Writer: Anne Rice (screenplay), Anne Rice (novel)
Scripts - Undated draft with possible deleted scenes and changed story
19: Louis's Vengence
EXT. THEATRE DES VAMPIRES - DAWN
Wet and deserted, the streets around the theatre are
CLOSEUP - CLOCK
Chiming five a.m.
CLOSE ON LOUIS
Looking at the paling sky. He is in an alleyway,
outside of Armand's cell. He has a huge keg with him.
he finds the door unlocked. He enters.
Empty. The hearth is cold. The old coffin is gone.
Louis silently closes the door to the passage and
blocks it with an immense bar. He goes in the other
Louis hurls kerosene all over the stage, the curtain,
the sets, the seats below. He grabs the scythe from the
playlet. He walks out. Dribbling a trail of kerosene
Louis walking rapidly down, leaving the trail of
kerosene. He creeps quietly into the -
Leaking kerosene from the cask. He splashes over the
coffins that gleam in the dimness.
Then he strikes a match and heaves it into the
kerosene. Everything bursts into flame. The trail of
kerosene roars into fire through the ballroom over the
coffins and up the stairs. We hear EXPLOSIONS of fire
Shudders all over, fighting the morning weakness. He
readies the scythe, like the grim reaper.
Rises from her burning coffin, screams and tries to run
through the fire but Louis slashes her down with the
scythe and she goes down screaming, her dress in
Stop him. It's morning. The
sunlight. Stop him.
Others rise, choking in the smoke. Screams from
everywhere. They are burning.
Louis backs up the stairs to the -
He can see there a thin pale light under Armand's
bolted door. Suddenly -
Comes at him from behind. Louis turns. Santiago rushes
him in a blur. Louis swings the scythe, too fast to see
what he himself is doing. Santiago's head streaming
blood flies through the air.
The body drops, flapping its arms.
SCREAMS come from everywhere.
Another vampire rushes burning towards Louis. He
decapitates him in turn. Then he staggers into Armand's
cell, and bars the door the connects it to the ballroom
behind him. He staggers to the outer door. There is a
thin strip of daylight, beneath the door, blinding him.
He throws it open, and staggers into the daylight.
EXT. THEATRE DES VAMPIRES - DAWN
Louis staggers out of the burning theatre, into the
thin daylight. Great gusts of smoke cover the street.
He staggers through the daylight, weakening, about to
fall, when through the clouds of smoke comes -
A MAGNIFICENT HEARSE
As in a dream, driven by Armand's human boy. The door
of the hearse opens. Through the curtains enclosing the
interior, we see Armand. He reaches a hand out to Louis
and pulls him inside.
The hearse vanishes through the smoke, leaving the
spectacle of the burning theatre.
EXT. THEATRE DES VAMPIRES - TWILIGHT
The gutted Theatre and ballroom, the roof collapsed,
exposed to the evening sky. The life of Paris goes on
around it, oblivious.
INT. LOUVRE - NIGHTS LATER
It is already a museum by this time and Louis and
Armand, fancily dressed and composed, walk through it.
They stop by a Gericault - The Wreck of the Medusa.
You didn't even warm them, did you?
And yet you knew what I would do.
I knew. I rescued you, didn't I?
From the terrible dawn.
You were their leader. They trusted
You made me see their failings,
Louis. You made me look at them
with your eyes.
He looks at Louis affectionately.
Your melancholy eyes...
What a pair we are. We deserve each
other, don't we?
We are a pair, and that's what
Armand and Louis walk slowly through the Louvre
together. Camera follows them for a while, then comes
to rest on a sunrise by Turner.
We left Paris shortly after. For
years we wandered. Greece, Egypt,
all the ancient lands. Then, out of
curiosity, perhaps, boredom, who
knows what, I took him home, to my
INT. MOVIE THEATRE - NIGHT
A deco cinema of the twenties. Louis and Armand,
dressed in the style of the period walk down the aisle
through the crowded seats.
And there, a technological wonder
allowed me see sunrise, for the
first time in two hundred years...
On the screen, Murnau's "Sunrise", in black and white.
We see a montage of sunrises, from a whole range of
movies, in black and white.
And what sunrises! Seen as the
human eye could never see them. We
would sit in the dark, night after
night among nameless humans,
entranced with the miracle of
light. Silver at first, then as the
years progressed in tones of
purple, red and my long-lost
The SUNRISES continue, in color now, and the
backgrounds in them change to the fifties.
And in time parted. We had become
so alike, we both wanted the
certainties of loneliness once
The lights come up in a different theatre. Louis
sitting there, alone, in a half empty theatre, dressed
in the clothes of the fifties. He rises, exits with the