That night, Andy, Chris, and Brad attend Club de la Lune, a nightclub hosted by Serafine's friend Claude.

He transforms and kills her and a cop who tailed him, suspecting Andy was involved in the Club de la Lune massacre.

In an alternate ending, after Andy eats Claude's heart, Serafine has a vision of her stepfather in the back of an ambulance, explaining how he found a cure before his death).

[6]Landis's draft focused on Debbie Klein (a character mentioned but never seen or heard in the original film) getting a job in London, and her subsequent investigation into the deaths of David and Jack.

The storyline for Lafia's draft focused on a schoolteacher in Paris who holds forth on good and evil in a class he teaches.

The teacher is bitten by a lycanthrope and goes through the expected changes, while on his trail is the doctor from the first film, who has been working on a werewolf serum.

In a December 1990 interview in Fangoria #99, Lafia had stated that the studio was not interested in his script: "As it stands now it will most likely never be made, which is too bad.

Stern and Burns's script followed a young American named Andy McDermott, who is vacationing in Spain when he is called to Paris after hearing that his uncle was savaged by a mysterious beast there.

[13] In keeping with the tradition of An American Werewolf in London, Stern and Burns loaded the script with as many songs referring to the moon as they could find.

[14] As part of the preproduction process, Stern had makeup effects (FX) artists Steve Johnson and Tony Gardner work on preliminary designs for the monster, and Phil Tippett, who had worked on Jurassic Park, was going to use computer graphics to bring the beast to life for full-body shots, while the closeups would be handled by the makeup FX crew using animatronic heads.

"[13] Marco Brambilla, whose film Demolition Man was a major international hit, was brought on to take over directing.

According to Stern, Brambilla's approach was going to involve the traditional half-man, half-wolf look, with FX to be created by Amalgamated Dynamics.

During the hiatus, Brambilla left, and was replaced by Anthony Waller, who had gained a cult following for his low-budget thriller Mute Witness.

[17] In an alternate ending, after Andy eats Claude's heart, Serafine has a vision of her stepfather in the back of an ambulance, explaining how he found a cure before his death.

In its opening weekend, the film ranked seventh in the United States and Canada box office and third among new releases, earning $7.6 million.

[4] Upon its release, USA Today gave the film two out of four stars, citing unfunny gags, a "charmless" performance by lead actor Tom Everett Scott, and a failure to tap into the Parisian setting, though they praised Anthony Waller's direction.

[22] Russell Smith of The Austin Chronicle called An American Werewolf in Paris "a fast-paced, entertaining homage that recaptures a fair amount of the old lunatic energy and subversive humor [of the original]."

While he criticized that the characters often seem clueless in the face of obvious danger, he found the film offered a great deal of fun and that the transformation effects, while not enhanced by the usage of CGI, are "repulsively convincing".

[23] Writing for ReelViews, James Berardinelli derided the film's sitcom-level comedy, unintentionally humorous scares, and gratuitous nudity, but said the emotionally compelling performance by Julie Delpy and the occasional strong directorial strokes prevent it from succeeding as campy, "so bad it's good" entertainment.

The film was nominated for Worst Sequel at the 1997 Stinkers Bad Movie Awards, but lost to Speed 2: Cruise Control.

The website's critical consensus reads, "Markedly inferior to its cult classic predecessor in every way, An American Werewolf in Paris is felled by the silver bullets of clumsy storytelling and chintzy special effects.

[29] A soundtrack for An American Werewolf in Paris was released on CD and cassette tape through Hollywood Records on September 23, 1997.