BLOODLINE - 1st Draft by James

FADE IN:
EXT. A WOODED BATTLEFIELD -- NIGHT, 1862
Battalions of uniformed Confederate and Union soldiers are laying a bloody and chaotic
siege upon each other beneath the moss-covered dogwood and poplar trees. Smoke from
the firing muskets hangs in the air above the casualty-strewn battlefield.
SUPER the date: "1862"
Foot soldiers wage their brutal war using small arms, bayonets, swords, and basic hand-
to-hand combat techniques.
Mounted servicemen swing their sabers wildly from their saddles.
Sparks fly from rifle barrels while second-wave soldiers reload their muzzles as quickly
as possible.
The sound of war, commanders barking orders, and screams of dying soldiers all mix
together into a cacophony of discord.
Union general ELEAZAR PAINE sits upon his massive black horse, saber drawn. He is
surrounded by six Confederate foot soldiers. Paine is in his early fifties. His calmness in
this predicament is testament to the fact that he has seen his share of battles. Paine's
graying hair lends him an air of sophistication but his piercing, dark eyes and self-
deprecating sneer convey a depraved coldness.
The battle rages on behind Paine and his Confederate captors. CONFEDERATE
SOLDIER 1 approaches Paine's horse. The other five surrounding soldiers keep their
small arms drawn and aimed at Paine.
CONFEDERATE SOLDIER 1
General Eleazar Paine, your position is hopeless. I order
you to surrender your remaining troops to the 9th
Tennessee Regiment of the Confederate States Of America.
Paine surveys the soldiers surrounding him. He slowly lowers his saber and re-sheaths it
at his waist. Simultaneously, he grabs a revolver hidden under the flap of his jacket.
With a snap of his elbow the revolver is whipped out and three bullets are emptied into
Confederate Soldier 1, dropping him to the ground.
Paine quickly swings the revolver around and fires another three shots, dropping three
more soldiers.
The two remaining Confederates fire their small arms repeatedly into Paine, knocking
him backwards off of his horse.
The two soldiers approach Paine and peer down at him from above. Paine's eyes are
closed and blood oozes from the fresh bullet wounds.
The Confederates kneel beside him. CONFEDERATE SOLDIER 2 checks Paine's

jugular.
CONFEDERATE SOLDIER 2
We got 'im. Sumbitch is already cold.
Suddenly, Paine bolts upright into a sitting position. He grabs Confederate Soldier 2 by
the hair and breaks his neck. Paine turns to the remaining soldier and throttles his throat,
leaning the Confederate's head to the side.
Paine closes his eyes, tilts his head backwards, and breathes in deeply. He suddenly
throws his eyes open, revealing blood red pupils. His mouth cracks open into an evil
smile, bearing vampire fangs, as he plunges his teeth into the soldier's neck.
The soldier SCREAMS.
INT. ALEX'S BEDROOM -- MORNING, PRESENT DAY
ALEX HAYS awakens upright in bed from his nightmare with a SCREAM. He is in his
mid-thirties, covered in sweat, and has the appearance of someone who has not had a
decent night's sleep in six months.
SUPER the date: "PRESENT DAY"
He runs a hand through his damp hair and breathes deeply before throwing off the covers
and swinging his legs off of the side of the bed.
ALEX
Shit.
He picks up the alarm clock from the bedside table and checks the time.
ALEX (CONT'D)
SHIT!
He quickly jumps out of bed, exits, and rushes down the hallway, stopping at a closed
door.
INT. BRANDON'S BEDROOM -- CONTINUOUS
Alex enters his son's bedroom, which is dimly lit by the morning light creeping around
the edges of the drawn curtains, and kneels down beside the bed. The room is scattered
with various toys, cars, trucks, stuffed animals, and more of what you would expect to
find in a young boy's world. Posters of the Power Rangers, Hot Wheels, LEGOS, and
Harry Potter line the walls.
ALEX
Brandon... Wake up, buddy... we're going to be late for
school.
BRANDON HAYS groggily rolls over. He is a typical All-American six year old with
brilliantly large, innocent eyes and sandy brown hair.
BRANDON
What time is it?
ALEX
It's seven o'clock.
BRANDON
Uh oh.
ALEX
"Uh oh" is right.
BRANDON
We're going to be late for school?
ALEX
Just a little. Get dressed and I'll pop some waffles in the
toaster before I drop you off.
BRANDON
With blueberries?
ALEX
You bet.
BRANDON
(in triumph)
Yes!
EXT. SOCIAL SERVICE OFFICE -- LATER
Alex pulls his economy compact car into a parking space next to a sign on the building
that reads: "SOCIAL SERVICES." He exits his car, dressed in a wrinkled shirt and tie,
hair mussed, face unshaven, and carrying a briefcase. He hustles toward the front door.
INT. SOCIAL SERVICE OFFICE -- CONTINUOUS
Alex enters, passing by BETTY, a kindly receptionist in her 60's who is seated at the front
desk in the reception area. Betty fits the stereotype of the sweet, little old lady that
everyone wants to have as their own grandmother.
The waiting area resembles a doctor's office, decorated with magazine tables, various
chairs, and a water cooler. The shades on the windows are drawn closed, giving the
office an artificial look in the glow of the fluorescent bulbs.
ALEX
Morning, Betty.
BETTY
Good morning, Mr. Hays. Ms. Jenkins is waiting for you in
your office.
Betty picks up an envelope from her desk.
BETTY (CONT'D)
Oh, this envelope was under the door when I came in this
morning. It has your name on it.
ALEX
(taking the envelope)
Thanks.
Alex starts down the hall but stops and turns back to Betty.
ALEX (CONT'D)
Oh... Betty... Call me Alex.
BETTY
Yes, Mr. Hays.... Alex.
ALEX
Better.
Alex smiles and continues down the hallway where he runs into KEVIN WILLIAMS.
Kevin is in his mid-thirties. He is a trendy dresser and has a hairstyle to match.
KEVIN
(jokingly)
Good evening.
Alex stops to talk.
ALEX
Evening? Come on, Kevin. I'm not THAT late, am I?
KEVIN
Naaahhhh. Just gotta give ya a little grief.
(changing gears)
Dude! Did you catch the game last night?
ALEX
No, I missed it. How did it go?
KEVIN
Titans. Twenty-eight to zero.
ALEX
In that case, your world can keep on spinning this morning,
huh?
KEVIN
You know it, Dude!
ALEX
(laughs)
I'll catch up with you later and you can tell me all about it.
KEVIN
You're on.
Kevin exits as Alex continues down the hall.
INT. ALEX'S OFFICE -- CONTINUOUS
Alex enters. His comfortable office is decorated with well-stocked book shelves, a desk,
two chairs, a couch, and some file cabinets.
Closing the door behind him, Alex sees KATEY JENKINS pouring coffee into two cups.
She is an attractive woman in her mid-thirties who dresses in designer clothing and holds
herself confidently, sure of who she is. He approaches her and they kiss.
KATEY
(holding out a cup to him)
Geez, Alex... you look like hell.
ALEX
Good morning to you, too, Katey.
(accepting the cup)
Thanks.
Alex puts the briefcase and envelope on his desk.
KATEY
Another nightmare?
ALEX
Yeah. I swear... if I don't get some sleep soon I'm going to
lose it.
KATEY
You're making yourself sick. I'm getting worried, Alex.
ALEX
Well, don't.
KATEY
I'm making an appointment today.
ALEX
I don't need a sleep therapist, Katey. They're all full of
psycho-analytical bullshit. I'll just take an extra sleeping
pill tonight.
KATEY
Alex... there's only one you. If you won't do it for me then
at least do it for your son. He needs you.
Katey approaches Alex and gently places his hand in hers.
KATEY (CONT'D)
And I need you, too. I kinda like having you around.
ALEX
(with a smile)
Oh, you're good.
(resignedly)
I'll call the doctor between sessions today.
Katey smiles at him and they kiss.
ALEX (CONT'D)
Do you want to do Palmas Verdes for lunch?
KATEY
I kinda like it when we just stay here. It's nice and cozy.
ALEX
Here it is. I'll have Betty place an order for delivery. Now,
scoot. I've got to prepare for my morning cases.
KATEY
See you at noon.
Katey exits.
Alex picks up the envelope from his desk, opens it, and takes out a folded letter.
FLASHBACK - THE NIGHTMARE
A brief memory flash, as quickly as a flashbulb going off, crosses Alex's mind. The flash
is of Paine sinking his teeth into the Confederate soldier's neck.
BACK TO PRESENT
Alex shakes off the vision and begins to scan the letter he has opened. After a moment,
he crosses to the speaker phone on his desk and presses a button.
BETTY (V.O.)
(through the speaker)
Yes, Sir?
ALEX
Betty, please arrange for Kevin to handle my cases today.
Something's come up that I need to take care of.
BETTY (V.O.)
(through the speaker)
Will do, Mr. Hays.
ALEX
Thank you, Betty.... and it's Alex.
He presses the button to disconnect.
EXT. A WOODED BATTLEFIELD -- NIGHT, 1862
The bloody battle has ended in a Union victory. Soldiers scurry about checking their
wounded and looting Confederate corpses.
Simultaneously, packs of Union vampire soldiers swarm in various feeding frenzies upon
the wounded Confederates, having a vicious and animalistic blood feast. Crimson dipped
fangs flash in the moonlight and glowing red eyes float behind distant trees as chaotic
carnage ensues across the battlefield.
Paine has huddled a few of his officers together for a battlefield meeting. Among them is
FREDRICK WINTHROP, a Union officer in his late 40's with an attitude that displays
his complete devotion to Paine. Fredrick holds himself in a very proper stance and has a
well-educated air about him.
PAINE
The Confederates at Fort Donelson have surrendered to
Grant.
FREDRICK
Including Nate Forrest?
PAINE
No. He and his men have taken flight to Nashville.
FREDRICK
Should I form a battery and relocate, Sir?
PAINE
Negative. We will continue to secure the Gallatin railway.
Forrest and his men will eventually want to rejoin Morgan's
forces in Kentucky, which will bring them directly into our
feeding ground.
Paine turns to look at a Union foot soldier who is feeding on a Confederate a few feet
away. The soldier is hunched over his victim on the ground with his back turned to
Paine. A bugle rests on the ground near his feet.
PAINE (CONT'D)
(commanding the foot soldier)
Private Hays, sound the horn to rally the troops back to Fort
Thomas.
The feeding soldier drops his Confederate victim, grabs the bugle, rises, and turns to face
Paine.
The Union soldier is Alex. Blood is streaming down his face and neck.
ALEX
Yes, Sir!
Alex places the bugle to his bloody lips and sounds the HORN.
INT. ALEX'S CAR -- MORNING, PRESENT DAY
Alex is jolted awake from his daydream by the sound of a semi-truck's HORN.
He realizes that he has fallen asleep at the wheel of his automobile while rapidly traveling
down a small country road. He swerves, avoiding a head-on collision with the truck by
only a few inches.
Alex regains control over his vehicle and pulls over onto the shoulder. He breathes
rapidly as the adrenaline rush wears off.
ALEX
Shit!
Alex looks up through his front windshield and notices that he has stopped in front of a
road sign that reads: "WELCOME TO GALLATIN, TN."
ALEX (CONT'D)
(shaking his head)
Welcome home, Alex.
He checks for oncoming traffic behind him and pulls back onto the road, continuing his
drive.
EXT. PAINE'S MANSION -- MOMENTS LATER
Alex continues up a long driveway leading to a fantastic and elegant Southern Plantation
Mansion with multiple columns and large balconies. He parks, exits, and walks toward
the large front door. The door is framed on each side by full-length windows, heavily
shuttered so that light can not enter.
Alex knocks and is greeted by Fredrick Winthrop, looking no differently than he did in
1862. His Union uniform has been replaced with a suit and tie.
FREDRICK
Master Hays. Please come in.
INT. PAINE'S MANSION, ENTRYWAY -- CONTINUOUS
Alex enters the enormously large room as Fredrick closes the door behind him. The
entire area is decorated in the traditional southern plantation style of the 1860's. Elegant
paintings adorn the walls. Hallways branch off of the entryway in different directions,
leading to other areas of the house, and a set of steps rise to the upper level.
ALEX
Fredrick.
(uncomfortably)
You look well. Is he in his room?
FREDRICK
No, Sir... the library. He...
ALEX
What is it?
FREDRICK
Well, I just think that it would be best for all concerned if
your visit were kept short.
ALEX
God knows that I want to spend as LITTLE time with my
father as possible.
FREDRICK
I realize that, Sir. This isn't the first time he's requested
your presence, is it?
ALEX
You write his personal letters... you should know.
(breathes deeply)
He's very ill?
FREDRICK
He's dying.
ALEX
Has he changed at all? You know what I mean.
FREDRICK
Yes, Sir... I think I do. No, he hasn't.
ALEX
Why has he asked me to come? He knows how I feel about
him. Am I in for some kind of deathbed repentance?
FREDRICK
I don't think that your father feels there is anything he
needs to repent for.
ALEX
Our opinions differ.
(runs a hand through his hair)
Let's get this over with.
Fredrick turns, leading Alex down one of the beautifully decorated hallways. They stop
in front of a set of large double doors. Fredrick opens them.
INT. PAINE'S MANSION, LIBRARY -- CONTINUOUS
Fredrick enters, followed by Alex. The immense and dimly lit library has walls lined to
the ceiling with volumes of books. Scattered throughout the room are glass display cases
containing various Civil War relics, such as swords, guns, uniforms, bullets, and flags.
Several feet in front of the double doors sits a large, swivel, leather armchair, the back of
which faces the doors.
FREDRICK
(announcing to the room)
Your son is here, Sir.
Fredrick exits. There is an uncomfortable silence.
PAINE (V.O.)
(from the chair)
My company displeases you?
The chair slowly spins to face Alex. Eleazar Paine is seated, looking slightly older than
he did in 1862. His features have sunken in, as if cancer has been eating away at him.
He speaks with some difficulty.
Alex drops his eyes to the floor to avoid direct contact.
PAINE (CONT'D)
Can't you look at me? I'm not a pleasant sight. The disease
destroys everything.
ALEX
How long?
PAINE
Anytime now. Maybe today... perhaps next week. Why did
you agree to come?
ALEX
You didn't threaten me this time.
PAINE
I asked Fredrick to compose the letter. I merely told him
that I needed to see you.
ALEX
You obviously wanted to tell me something before you
died. Well, say it. Don't expect anything else from me.
PAINE
The hatred is still there?
There is no reply.
PAINE (CONT'D)
It must have made you unhappy. Hatred is destructive to a
soul. I could almost understand it when you were eighteen.
At that age the world is black and white... morality is
shadeless. But now you've seen the REAL world.
ALEX
Can we get to the point?
PAINE
How is your life? What do you do with yourself?
ALEX
You already know.
PAINE
Yes... a social worker. Tell me, do you enjoy conversing
with morons? Is it fulfilling?
ALEX
I don't need to justify myself, you evil son of a bitch.
PAINE
Are you married?
ALEX
You probably know more about me than I know myself.
But, fine... let's play your game. Yes, I'm a social worker. I
have a six year old son named Brandon. My wife's name is
Nicole. She was killed in an accident a year ago.
PAINE
We seem to be unsuccessful at keeping our wives. At least
we have that in common.
ALEX
(losing his temper)
There's a difference! I didn't kill mine!
(calming himself)
You've got five minutes. What do you want from me?
PAINE
I'm a very rich and powerful man, Alex. Powerful in ways
that you do not even know about.
ALEX
So? What's the problem?
PAINE
You are my only child.
ALEX
I see where this is going and I won't have it. You know
how I feel about you and your money. Why don't you just
leave everything to Fredrick?
PAINE
He's not family.
ALEX
Look, you knew damn good and well before I came here
that I would not agree to be your heir. So, what do you
want from me?
PAINE
It is essential that I have someone in our bloodline carry on
my legacy. There is much that you do not know about me,
Alex. I have quite a history.
ALEX
And now you want a stab at immortality?
PAINE
(laughs)
Believe me... immortality is not all it's cracked up to be. I
knew that YOU would not agree to take on my legacy, but
you have provided me with someone who can. Your son,
Brandon, will continue my reign.
ALEX
What?
PAINE
I do not expect you to understand. Regardless of what the
legends, books, and movies say about my race... we DO
NOT live forever.
ALEX
What legends? What race are you talking about?
PAINE
When I die, everything I've built... EVERYONE I've
made... this entire town... It all dies with me. Hundreds and
hundreds of years would all be wasted. Someone in our
bloodline must carry it on.
ALEX
You know, I've been trying to give you the benefit of the
doubt... but, you've lost it. When you're gone... you're
gone. Don't try to involve the living.
PAINE
Brandon WILL carry on the Paine legacy!
ALEX
You can't have him. I'm his father and I'll provide for him.
PAINE
You denied ME that right. You walked out on me.
ALEX
You denied yourself that right a long, long time ago.
PAINE
If your mother were alive --
ALEX
If my mother were alive she'd tell you to burn in Hell! I'll
die before Brandon ever has anything to do with you.
PAINE
Ahhhh, yes. But there are things WORSE than death. It's
out of your hands now, Alex. I WILL have Brandon and he
will take our bloodline to the pinnacle of it's potential.
ALEX
I'll show myself out. We're finished here... forever.
Alex turns toward the open double doors, which suddenly slam shut in his face. He grabs
the door knobs but they are locked. He turns to face Paine again.
Paine flashes an evil grin, slightly growling. His pupils glow red.
PAINE
Say goodbye to life as you know it.
Paine casually flips his gnarled fingers toward the double doors, which swing open
behind Alex.
PAINE (CONT'D)
See you soon, Alexander.
Alex backs his way out of the room, confused about what has just happened, and quickly
exits down the hall.
EXT. ALEX'S HOUSE -- EVENING
The house is a modest, single-story edifice. Bright moonlight illuminates the lot. Tree
limbs cast eerie shadows, like long fingers, across the yard. Alex's car is parked in the
driveway and a Big Wheel tricycle lies on its side in the recently cut grass.
INT. ALEX'S DEN -- CONTINUOUS
Alex and Brandon are in the middle of a toy laser gun battle. They make their own vocal
sound effects and explosions with each pull of their laser triggers. The two of them
scurry around the den, ducking behind modest pieces of faux-wood furniture and firing
their plastic weapons around a roll-top desk, a couch, a chair, a small television on a
stand, and some bean bag chairs.
Finally, bringing himself into the open, Alex is tagged by Brandon's laser and he falls into
a melodramatic death.
ALEX
Uuuhhhggg! You got me!
Brandon removes himself from behind a piece of furniture and comes into the open,
victoriously.
BRANDON
Yes! Brandon is the winner!!
Brandon kneels by Alex's dormant "corpse."
BRANDON (CONT'D)
Ladies and gentlemen... The undefeated champion of the
world... Brandon Hays!!! Yea!!!!!
Suddenly Alex sits up and gently tackles Brandon, tickling him into contagious
LAUGHTER.
ALEX
But, the Tickle Monster suddenly appears and steals the
championship from Brandon! Yea!!!!
Brandon continues to LAUGH hysterically.
Alex stops tickling him, allowing Brandon to sit up and catch his breath.
BRANDON
I love you, Daddy.
ALEX
I love you too, Buddy.
Alex pulls him close and they hug.
ALEX (CONT'D)
You remember what a stranger is, don't you?
BRANDON
Of course... it's someone I don't know. Why?
ALEX
Well, Daddy met with someone today....
BRANDON
Who?
ALEX
He's a stranger. He's a sick old man that may die very soon.
He asked me if you could have something when he died...
and... well... I don't want you to take it.
BRANDON
If you don't want me to, I won't.
ALEX
I don't want you to. I'd like you to treat him like any other
stranger and just stay away.
BRANDON
I will, Daddy.
Alex squeezes him tight.
ALEX
You're such a good boy. I know your mom's up above
watching... and she must be so proud of you.
They enjoy each other's embrace for a few moments in silence.
BRANDON
Okay... that's enough hugging.
ALEX
Oh yeah? Well, how about.... TICKLING?
Alex works him into another fit of LAUGHTER before stopping.
ALEX (CONT'D)
Alright, Buddy... it's time for you to hit the bathtub and go
to bed.
BRANDON
Can I play in the water? Pleeeeease?
ALEX
Only for a few minutes.
BRANDON
(triumphantly)
Yes!
Brandon gets up from the floor and scampers off down the hall.
EXT. FORT THOMAS -- NIGHT, 1862
The structure of Fort Thomas sits under the full moon overlooking the city, railways, and
waterways of Gallatin, Tennessee. It is a traditional Civil War fortress constructed of
large logs and supporting manned lookout towers on each point.
SUPER location and date: "FORT THOMAS, 1862"
Several Union officers have gathered, with their horses, outside of the fortress.
Paine and Fredrick exit the fort, leading a chained CONFEDERATE PRISONER toward
the group of officers. The prisoner is in his mid-teens, noticeably nervous and jittery, and
dressed in a tattered Rebel uniform.
Paine turns the prisoner to face the group of officers.
PAINE
What's your name, Soldier?
CONFEDERATE PRISONER
Robert Cobb, Sir.
PAINE
I think I'll just call you Johnny Reb. Is that okay with you,
Son?
I... yes... yes, Sir.
PAINE
I thought it would be.
Paine pulls out his small arm revolver and circles the prisoner.
PAINE (CONT'D)
Johnny Reb, you have been brought here tonight to answer
for your crimes against the United States of America. Do
you have any last words?
(sweating nervously)
I... I know my rights un...under military protocol. I'm
allowed to stand trial and... and plead my case.
PAINE
This is MY town. You are only "allowed" to do what I tell
you. Is that clear, boy?
Y... y... yes, Sir. P... please don't do this, Sir.
PAINE
You know what, Johnny Reb?
(scratches his chin in thought)
I kinda like you. Let's play a game.
A... a game, Sir?
PAINE
That's right... a game. I'm a fair man... So, I'm going to ask
you a question. If you can tell me the correct answer I'll
put you on one of these horses and give you another chance
at freedom.
That... that sounds... fair, Sir.
PAINE
Good! I'm glad you agree. Here's my question... What is
the name of the commander of the Confederate army?
(confused)
Is... is this a trick question, Sir?
Paine places the barrel of his gun to the prisoner's head.
PAINE
You've got five seconds, Reb. Five... four... three --
General Robert E. Lee, Sir.
PAINE
Very good, Johnny. Fredrick, unchain the soldier.
(smiling)
This must be your lucky day.... or OURS.
The group of Union officers CHUCKLE sadistically.
Paine, still holding his small arm, leads the unchained prisoner to a horse and helps him
into the saddle.
You... you're really letting me go?
PAINE
I'm not a monster, Johnny. Not YET, anyway.
I don't understand.
Paine steps away from the prisoner on the horse and returns to the group of officers.
He aims his small arm at the horse's knee and pulls the trigger.
The bullet rips through the horse's leg with a splash of blood, almost causing it to
collapse under the prisoner. The horse regains his balance and uprights itself but it can no
longer use its injured leg.
Paine and the other officers transform, bearing sharpened fangs and red, deep-set glowing
pupils.
PAINE
NOW I'm a monster.
Paine slaps the butt of the lame horse and YELLS, sending him limping off into the
woods at half speed with the prisoner holding on.
PAINE (CONT'D)
Hunting season is open, men!
They all mount up and give chase into the woods, firing their guns into the air with a loud
BANG.
INT. ALEX'S BEDROOM -- NIGHT, PRESENT DAY
Alex bolts upright in bed from his nightmare, awakened by a loud BANG in the house.
He slowly turns his head from side to side, straining to hear another noise. After a
moment there is a BUMP from down the hall.
Alex slides to the floor and gets a baseball bat from underneath the bed. He stands and
carefully walks to the bedroom door, stopping to listen.
He peers through the murky shadows in the hallway and hears a SHUFFLING sound
coming from the opposite end. He steps out, bat raised, and carefully tiptoes down the
hall.
Alex reaches Brandon's bedroom door, which is slightly ajar. He pushes the door open
and looks through the darkness. Brandon is still tucked in and sound asleep.
There is another BANG, snapping Alex to attention. He slides down the hallway and
peeks his head around the corner and into the den.
INT. ALEX'S DEN -- CONTINUOUS
A SHADOWED FIGURE, wearing a long black coat and having features

indistinguishable in the darkness, is shuffling through items in the desk drawer. His back
is turned to Alex and the hallway.
Alex enters, raising his bat to swing. He tiptoes stealthily toward the figure at the desk.
The Shadowed Figure does not notice and continues to go about his business.
As Alex continues his approach, he stumbles on one of the plastic laser guns that have
been left on the floor. The gun cracks in half with a loud SNAP. He quickly tries to
regain his balance and his advantage.
The Shadowed Figure spins around to face Alex. His eyes glow red in the darkness and
the moonlight shining through the window reflects off of his bared fangs. The Shadowed
Figure's protruding brow and deep-set eyes give him an animalistic quality. He lets out
an unearthly warning HISS.
Alex, wide-eyed, swings the bat but the intruder quickly reaches out with one hand and
blocks the blow, catching the bat and holding on to it.
In a counter move, the Shadowed Figure thrusts the bat to the side, sending it and Alex
sliding across the room into a piece of furniture.
Alex, lying on the ground, tries to shake off the blow.
The intruder stalks toward Alex until a sleepy voice from down the hall stops him.
BRANDON (O.S.)
Daddy?
The Shadowed Figure spins around to face the hallway, ignoring Alex on the floor. He
walks toward the hall leading to Brandon's room.
ALEX
(yelling)
Brandon, stay back!
Alex throws himself forward from where he has landed, grabbing the intruder's long
black coat from behind.
The Shadowed Figure spins around and throws Alex back to the ground.
Alex slides across the floor and lands on the bat with a GROAN.
BRANDON (O.S.)
Daddy? What's wrong?
ALEX
Stay in your room, Brandon! Everything's fine!
The Shadowed Figure turns back toward the hall as Alex pulls the bat from beneath him.
Alex stands, takes a couple of steps forward, and swings at the intruder's back.
The bat snaps in half with a loud CRACK across the Shadowed Figure's shoulders,
leaving Alex with a splintered piece of wood.
The intruder spins around to face Alex again. He lashes out with one hand, grabbing
Alex by the throat and pulling him face-to-face.
SHADOWED FIGURE
(a raspy whisper)
Back off, Alexander.
ALEX
Who are you?
SHADOWED FIGURE
That is none of your concern.
ALEX
The hell it isn't. What do you want?
BRANDON (O.S.)
Daddy? I'm scared.
ALEX
It's alright, Buddy! I'll be right there!
SHADOWED FIGURE
I think you know what I want. Arrangements have been
made.
ALEX
They haven't been made with me.
SHADOWED FIGURE
You don't understand. This is out of your hands now.
ALEX
Yeah? Well, I heard that same story earlier today. You go
back and tell my father --
SHADOWED FIGURE
(squeezing Alex's throat tighter)
You are in no position to give orders, Alexander.
ALEX
(slightly choking)
I think I am.
Alex thrusts the splintered bat into the chest of the Shadowed Figure.
The intruder throws his head back and emits a thunderous GROWL. He releases Alex
and grasps at the shaft of wood that has impaled him. Sparks fly from his chest as his
skin begins to burn and disintegrate.
Alex steps back, mouth open in amazement.
Flames engulf the Shadowed Figure for a few moments and then he erupts into a cloud of
burning ashes. All traces of his existence completely disappear within seconds.
ALEX (CONT'D)
Fuck me....
BRANDON (O.S.)
Daddy? What's happening?
Alex quickly composes himself and runs through the doorway into the hall.
INT. BRANDON'S BEDROOM -- CONTINUOUS
Alex enters. Brandon is hiding under his covers. Alex crosses to the bed and pulls the
covers from Brandon. Alex holds him close.
BRANDON
What happened? What was that noise?
ALEX
I... It was nothing, Buddy. I just tripped over a couple of
things while I was walking in the dark and made a mess out
there.
BRANDON
I was scared, Daddy.
ALEX
(rocking Brandon gently)
I know. I'm sorry. I... I didn't want you to come out and
fall over anything.
Alex crosses to Brandon's dresser, opening a drawer.
ALEX (CONT'D)
Come on. Let's gather together a few clothes.
BRANDON
Why?
ALEX
We're going to stay at Aunt Heidi's house tonight.
BRANDON
But it's far. I'll be late for school again tomorrow.
ALEX
That's okay, Buddy. We're going to have a little vacation.
BRANDON
Vacation? Cool! Why?
ALEX
I just woke up and thought it might be fun to do something
different at the last minute.
BRANDON
Can I get a toy?
ALEX
Sure. We'll get whatever you want, Bud.
BRANDON
Whooo hoooooo!
EXT. HEIDI'S HOUSE -- MORNING
A small country farm house nestled in the woods. A large front porch supports two
wooden rocking chairs and a swing. The sun peeks over the mountains as a rooster crows
in the yard. Alex's car is parked in front.
INT. HEIDI'S KITCHEN -- CONTINUOUS
HEIDI is at the stove cooking breakfast in her apron. The room is colored in bright
pastels and is detailed with traditional southern items. Heidi is in her early forties and
speaks with a heavy Tennessee / Kentucky drawl.
Alex is seated at a small round table in the middle of the kitchen drinking a cup of coffee.
He has not yet changed his clothes and a comb needs to be run through his hair.
ALEX
Thanks for taking us in last night, Heidi.
HEIDI
Well, sister-in-law's occasionally have their uses, ya know?
ALEX
Yeah... but with no notice...
HEIDI
None is needed. We're family. It's great to see you and
Brandon anytime. He looks like he's grown a foot since I
last saw him!
ALEX
He's getting to be a big boy.
HEIDI
And so smart. You've done a nice job with him. Nicole
would be proud of you two.
ALEX
I miss her.
HEIDI
I do, too.
Alex turns his head to look out the kitchen window in thought.
HEIDI (CONT'D)
Can I ask what happened last night?
ALEX
We... we had an intruder.
Heidi stops cooking and turns to Alex with concern.
HEIDI
Oh my God. Is everything okay?
ALEX
Everything's fine. It was just a burglar. But, I didn't feel
safe keeping Brandon there.
HEIDI
I don't blame you.
ALEX
Could he stay here a couple of days while I try to get things
taken care of at home?
HEIDI
Of course. You're always welcome here. Will he be afraid
when you're not here?
ALEX
No. He doesn't know what happened last night.
A sleepy-eyed Brandon enters the kitchen in his pajamas, interrupting the conversation.
HEIDI
There's that big boy! Come give your aunt Heidi some
sugar!
Brandon smiles and trots over to Heidi. She lifts him up and plants a kiss on his cheek.
HEIDI (CONT'D)
I'm making pancakes.
BRANDON
Mmmmm!
ALEX
I have to run into town and finish a little work, Buddy. I
bet Aunt Heidi has some chickens you can feed while I'm
gone, though.
HEIDI
You bet I do!
BRANDON
Cool!
ALEX
I'll be back later tonight, okay?
HEIDI
We'll be just fine. You go do what you need to do.
ALEX
I love you, Buddy.
BRANDON
Love you, too.
INT. ALEX'S CAR -- LATER

Alex is driving through the wooded countryside talking on his cell phone.
ALEX
That's right, Betty.
(pause)
No, everything's fine. I'm just going to take a couple of
vacation days to be with my son.
(pause)
Uh huh. And please tell Kevin and Katey that I have some
important news. Can you reserve a table for the three of us
at Randolph's tonight? Around seven?
(pause)
Excellent. Thanks, Betty. And, please... call me Alex.
(pause)
Better. Talk to you soon.
Alex disconnects the call.
EXT. ALEX'S HOUSE -- AFTERNOON
Alex pulls into his driveway and parks.
INT. ALEX'S DEN -- MOMENTS LATER
Alex enters and observes the mess in the room. Furniture is overturned, papers from the
desktop are scattered, and pieces of the splintered bat lay on the floor.
Alex uprights the furniture and picks up some of the papers that are scattered about. He
approaches the desk and places the stack of papers onto the desktop.
Looking down, he notices a large white envelope, printed with Tennessee Titans football
logos across the face, laying in one of the open desk drawers. Written on the front of the
envelope is: "BRANDON."
Alex removes the sealed envelope and tears it open. He dumps the contents onto the
desktop.
INSERT - THE ENVELOPE
A large wad of cash, consisting of $100 bills, slides out of the envelope and onto the
desktop.
BACK TO SCENE
ALEX
(quietly to himself)
Son of a bitch.
(speaking to the room)
Did you think you would bribe him?!
EXT. RANDOLPH'S RESTAURANT -- NIGHT
Cars drive by the sign out front that reads: "RANDOLPH'S STEAK HOUSE"
INT. RANDOLPH'S RESTAURANT -- CONTINUOUS
A mid-priced restaurant bordering on upscale. Candle lit tables covered with white
tablecloths are scattered throughout. The room is filled with approximately thirty
customers of various ages and backgrounds who are casually dining and having drinks.
Seated around a small round table in the middle of the room is Alex, Katey, and Kevin. A
young WAITER has just finished writing down their order on a small pad.
WAITER
Thank you so much, folks. I'll be back with your drinks
shortly.
The Waiter exits.
KEVIN
So, Dude... I've been waiting all day. What's the news?
ALEX
Well, it's not news, exactly. I... I think I may need some
help.
KATEY
Of course, Alex. Anything.
ALEX
Yesterday morning when I left the office I went to meet
with my father.
KEVIN
I thought your father was dead.
ALEX
As far as I'm concerned the bastard is dead.
KEVIN
Sensing a little ugliness here.
KATEY
Alex didn't have a great childhood.
KEVIN
Apparently not. What's the deal, if you don't mind me
prying?
ALEX
For starters... he murdered my mother.
KEVIN
NO SHIT! Dude, forget I asked. You don't have to talk
about it.
ALEX
It's alright. I don't mind telling you. Really. My mother
was gentle, beautiful... everyone loved her... except my
father. Don't get me wrong, he did at the start of the
marriage but that soon evaporated as soon as I was born. I
seemed to destroy whatever they had between them.
KEVIN
You can't take the blame for something like that.
ALEX
Yes I can. I was very close to my mother, but my father
and I were strangers. Hell, THEY were strangers to each
other. They rarely spoke. They slept apart. They ate
together, but it was usually in silence. My mom enjoyed
life... dances, parties, dinners. My father had no concept of
fun. His life was his work.
KEVIN
Ya know, it sounds like they weren't meant to be together in
the first place. Why didn't she just leave?
ALEX
She wanted to. After years of living in that atmosphere, my
mother just couldn't stand it anymore. She had an affair
with one of my father's business associates. The affair was
brief and really didn't mean anything, but it proved to her
that a man could still find her attractive.
KEVIN
Shit, Dude. Is that what made him... ya know... do it?
ALEX
Actually, he didn't PHYSICALLY do anything. It
happened while I was away at boarding school. I was
fourteen. My mother was supposed to come visit me one
weekend but Fredrick, my father's assistant, showed up
instead. All he would say is that my mother was dead.
KEVIN
That's awful. What did your father have to say about it?
ALEX
The first time I saw my father after returning home was at
the funeral. He seemed untouched by all of it. He just
didn't care. He told me not to grieve for my mother
because she was just a whore. That was it. Not another
word on the subject.
KEVIN
Harsh, Dude.
KATEY
It gets worse.
ALEX
It didn't take me long to discover what happened. My
father found out about my mom's affair. She begged him
for a divorce, but he refused. For the next two months he
systematically degraded and humiliated her in every way
possible. So, she waited until my father was asleep one
night and cut her wrists open with a razor in the bathtub.
KEVIN
Man... What did you do?
ALEX
Four years later I finished school, left home, and cut myself
off from my father completely.
KEVIN
Wow. That's some story. Why didn't he just divorce her?
ALEX
Pride. He couldn't admit that he had failed at something.
God forbid that the great Eleazar Paine fail in marriage!
KEVIN
What's his name?
ALEX
Eleazar Paine. I know... Hays... Paine. I had my name
changed to distance myself from him.
KEVIN
Eleazar Paine, huh? Any relation?
ALEX
Relation to who?
KEVIN
The general.
ALEX
What general?
KEVIN
Dude! Don't you know anything about local history?
General Eleazar Paine.
ALEX
I was never a history buff.
KEVIN
This guy was off the hook. During the Civil War, Paine
was the Union General who took control of Gallatin,
Tennessee and became known as the American version of
Vlad The Impaler!
KATEY
The guy that Dracula is modeled after?
KEVIN
That's the dude. The locals referred to him as "Our King."
ALEX
He was a UNION officer that the southern locals called
"Our King?"
KEVIN
Yeah, but it gets weirder. He was brutal. For example, he
was known for executing suspected Rebel spies without a
trial. His executions were sadistic, including impaling
Rebels with spikes and letting them hang in the public
square for all to see. He would also skin people alive and
pour salt in their wounds or he would set them on fire, put
them out, and then set them on fire again. He and his
"Dark Soldiers," as they were called, also liked to chase
down prisoners on lame horses. During one month they
executed sixty five people!
ALEX
But, those are war crimes. Why didn't someone stop him?
KEVIN
That remains a mystery. He was removed from his post in
1864 and brought up for a Congressional Inquiry. NO
ONE from Gallatin would testify against him. NO ONE.
KATEY
Don't you think that someone would have spoken up when
they had the chance?
KEVIN
Exactly! But... nothing. Paine got a simple reprimand and
quickly went back to his old ways. To this very day people
won't speak about what happened in Gallatin during the
war. It's almost like the battle still rages on there.
ALEX
(suddenly in thought)
Fuck.
KATEY
What is it?
ALEX
It's all starting to make sense now, in a weird way.
KATEY
What?
ALEX
You're going to think I'm crazy.
KEVIN
(jokingly)
Dude, we already think that!
ALEX
What if I was to tell you that my father could be that same
man?
KEVIN
Well, I'm not going to say that you're crazy, but I AM
thinking it.
ALEX
I'm not kidding.
KEVIN
He'd have to be nearly two hundred years old.
ALEX
What if I went further and told you that his "Dark Soldiers"
were vampires?
KEVIN
Alright... it's time to poke those voices in your head with
another Q-Tip.
KATEY
It does sound nuts, Alex.
ALEX
I think it's true. One broke into my house last night. They
want Brandon.
KATEY
You just had another nightmare, Alex. You didn't call the
doctor, did you?
ALEX
It wasn't a nightmare. There are vampires after my son.
KEVIN
Look... let's just talk this through. What happened after you
visited your father yesterday?
The Waiter returns with a tray of drinks. Alex, Katey, and Kevin all look up at the tray.
The three glasses sitting there are filled with a thick, dark-red liquid resembling blood.
The tray begins to tip toward Alex and the glasses slide off.
Alex shifts his attention to the Waiter's face as the blood-filled glasses spill across his
chest and lap. The Waiter's face has changed. His brow has moved forward, his red eyes
have recessed, and his sharp fangs now glisten in the candlelight.
Suddenly, the room full of diners all stand to attention and turn toward Alex's table. They
have all transformed, leaving our three "heroes" surrounded by a vampire army.
KEVIN (CONT'D)
SHIT! You were saying...???
Alex jumps up, striking the Waiter in the jaw with his fist. The blow gets the Waiter's
attention, but does not seem to have a lasting effect. Alex strikes him two more times but
the Waiter just grins at him.
The rest of the army begin to slowly close in.
Katey stands up behind the Waiter, grabs her steak knife from the table, and plunges it
into his back.
The Waiter spins around and slaps her to the ground. She lands with a THUD, blood
trickling from the corner of her mouth.
A SECOND VAMPIRE launches himself from the surrounding army toward the trio. He
plants himself in front of Kevin.
Alex jumps upon the Waiters back, withdrawing the steak knife and plunging it back into
him over and over again.
Kevin scoops up his knife and spoon from the table and places them together in the form
of a cross. He extends his arms toward the Second Vampire standing in front of him.
KEVIN (CONT'D)
Back off, Pal!
The Second Vampire slaps the makeshift cross from Kevin's hands.
SECOND VAMPIRE
(fangs bared)
You watch too many movies, asshole.
The Second Vampire backhands Kevin across the face sending him airborne into the table
next to him. Kevin and the table crash to the ground.
Katey slowly sits up, trying to shake off the blow she has received. She wipes the blood
from her mouth and watches, in amazement, what is happening around her.
Alex continues to ride the Waiter's back as if in some type of demonic rodeo, stabbing
him again and again with the steak knife. The Waiter continues to try and shake Alex off.
The surrounding vamps continue to slowly close in and encircle the trio.
Kevin sits up, noticing the bottle of TENNESSEE JACK DANIELS WHISKEY that has
fallen from the table to his side during the crash landing. He grabs the bottle, stands, and
smashes it onto our heroes' table, soaking the white tablecloth with 120% proof. He
quickly grabs the candle from the center of the table and smashes it down, as well.
The dining table bursts into flames so quickly that the flash from it ignites the Waiter's
jacket, causing him to GROWL in pain and shock. The Waiter stumbles into the Second
Vampire, igniting him, as well.
Alex leaps off of the Waiter's back and helps Katey to a standing position. He turns to the
flaming table and flips it up into the air toward the approaching hoard of vampires.
The group of surrounding vampires part, like the Red Sea, avoiding the flaming
projectile. Our heroes waste no time taking this opportunity to flee through the small
opening that the table has provided and run toward the front door of the restaurant.
EXT. RANDOLPH'S RESTAURANT -- CONTINUOUS
The trio exits the restaurant and flee down the city sidewalk. Evening commuter traffic
rushes by in the background.
ALEX
Follow me! My car's parked a couple of blocks over!
A male and female vampire exit the restaurant in fast pursuit. The flames from the
burning table begin to ignite and engulf the interior of the restaurant behind them.
Alex, Kevin, and Katey round a corner and disappear from sight behind a building ahead
of them.
The two vampires stop. The male vampire points at his own chest and then points
upward toward the sky. He points at the female vampire and then points toward the street
corner that the trio rounded.
The female vampire nods her head in agreement to the plan and runs in pursuit of our
heroes.
The male vampire jumps toward the wall of the multi-story building and effortlessly
scales it, using only his hands and feet. He disappears from view over the top.
As the trio flee down the city street, Alex pulls his keys from his pocket. His car is in
view across the street, but still several yards away. Alex points his keyless entry remote
at the car in the distance. The headlights flash on and off twice.
Suddenly, the pursuing male vampire drops out of the sky and lands just a few feet in
front of the trio. He lets out a thunderous GROWL.
Katey SCREAMS as our trio stop in their paths. They turn to run in the opposite
direction but are greeted, face-to-face, by the pursuing female vampire.
The male vampire has now closed the gap upon his prey, trapping the heroes between
himself and the female vamp.
Tired and out of breath, the vampires easily counter any move the exhausted trio makes
in order to escape, cutting off their route.
Fire engine, police, and ambulance SIRENS are heard wailing in the distance as they
make their approach toward Randolph's Steak House.
The male vampire grabs Alex by the hair and pulls his head to the side, exposing the
pulsing juggler in Alex's neck.
The female vamp knocks Katey to the ground with a SLAP and places Kevin in a choke
hold. The female vamp then places a foot on top of Katey's head, pinning her face to the
cement.
FREDRICK (O.S.)
Stop!
The male vampire turns his attention away from Alex and toward the sound of the voice.
Fredrick emerges from the shadows of the buildings and walks toward the group.
ALEX
Thank God! Fredrick, get these freaks off of us.
Fredrick motions for the two vampires to step aside, and they do.
Alex lets out a SIGH of relief and rubs his neck.
Kevin kneels down to check on Katey.
FREDRICK
Good evening, Master Hays.
ALEX
Fredrick, do you know what's going on here?
FREDRICK
I'm afraid I do, Sir.
ALEX
Where's my father?
FREDRICK
Perhaps I should ask the questions.
Fredrick suddenly transforms and becomes vamp-faced like the others. His red eyes
glow wildly in the darkness.
FREDRICK (CONT'D)
Where's the boy?
ALEX
Shit. Not you, too.
FREDRICK
Is that really so hard to believe? I like you, Alex. I didn't
want you to have to find out this way. I really didn't.
The sound of approaching SIRENS gets louder with each second.

FREDRICK (CONT'D)
(stepping in closer)
Now, where's the boy?
ALEX
Fredrick, it doesn't have to be this way.
FREDRICK
Oh, but it does. You see, I have a vested interest. When
your father dies, I die with him. I won't have that.
ALEX
There's got to be another way.
FREDRICK
Do not try to understand our ways! This is how it has been
for centuries. So it must also be now. The bloodline must
not be severed.
Fredrick places his hand on Alex's cheek in a subtle but threatening manner.
FREDRICK (CONT'D)
Now, I'm losing my patience, dear boy, and that's usually
not a pretty sight. Where is your son?
Suddenly a line of police cars, an ambulance, and a fire truck round the corner by Alex's
car. The distraction they make causes Fredrick and the other vamps to turn their attention
to the approaching noise.
Alex shoves Fredrick away from him, squats down, and helps Kevin lift Katey to a
standing position. The three of them quickly flee across the street in front of the
approaching vehicles, running toward Alex's car.
Fredrick and the vamps start to follow, but the line of speeding emergency vehicles block
them from crossing the street.
Alex, Kevin, and Katey jump in the car and turn it around, speeding away in the opposite
direction of the emergency while the vamps stand on the sidelines and watch.
INT. ALEX'S CAR -- CONTINUOUS
Alex drives, continually checking his rear view mirror. Katey is seated in the front next
to him and Kevin sits in the middle of the back seat.
KEVIN
What the fuck just happened?
ALEX
It's a long story.
KEVIN
Does it look like I'm going anywhere?
ALEX
Are you okay, Katey?
KATEY
I'll be fine. Where's Brandon? Is he safe?
ALEX
He's at my sister-in-law's house outside of town. My father
doesn't know about the place.
KEVIN
This is not good, Dude.
ALEX
Look, I'm going to drop you guys off. You don't need to be
around me right now.
KEVIN
I love ya, Dude, but I'm afraid I'm going to have to second
that motion.
KATEY
I'm not leaving you.
ALEX
Katey, you're in danger. I'm taking you home.
KATEY
Where will you go?
ALEX
To check on Brandon and work out a plan.
KATEY
Then, I'm going with you.
KEVIN
Dude, I'd like to help, but... no lie... I'm scared shitless right
now.
ALEX
I only wanted you to know what was happening to us. I
had no intention of placing you in danger. I'm dropping
both of you off.
KATEY
Bullshit. You're dropping off Kevin. I'm coming with you.
INT. HEIDI'S LIVING ROOM -- LATER
Brandon and Heidi, dressed in pajamas, are watching cartoons on television and eating
ice cream. The medium-sized room is decorated with hand-sewn quilts that are hanging
on the walls, solid oak furniture, and various "country" knickknacks. Heidi is seated on a
couch and Brandon is lying on the floor. Brandon laughs as one of the characters on the
screen gets himself into an unescapably silly position.
Alex and Katey enter.
Brandon hops up and runs to his dad, giving him a big hug.
ALEX
Hello, Buddy! How was your day?
BRANDON
It was great! We fed chickens and walked in the woods and
made ice cream. Want some?
ALEX
No, thanks. Maybe tomorrow. I don't have much of an
appetite right now.
Brandon notices the dried and discolored blood on his dad's clothes.
BRANDON
What's all over you?
ALEX
Oh, it's nothing. I spilled a bottle of red ink on myself at
work and couldn't get it washed out.
BRANDON
Hi, Ms. Katey.
KATEY
Hello, Brandon. You sure look handsome tonight.
BRANDON
Thanks.
HEIDI
Brandon, I bet your dad and his friend would like a glass of
water. Would you run and fetch them some, please?
BRANDON
Sure. I'll be right back!
Heidi stands and approaches the couple.
HEIDI
What the hell happened, Alex? Are you alright?
ALEX
Yeah, it's okay.
(runs his hand through his hair)
Actually, that's a lie. It's not okay... but I'll get over it.
(shifting gears)
Heidi, this is Katey.
HEIDI
Nice to finally meet you.
KATEY
Likewise.
ALEX
Would you mind if Katey stayed with us tonight?
HEIDI
Not at all.
(pauses in thought)
I don't know if this is a good time, but something happened
today --
Brandon re-enters the room carrying two glasses of ice water. He gives the glasses to
Alex and Katey.
ALEX
Thank you, Buddy.
(sips)
That's just what I needed.
KATEY
You are too sweet.
Brandon smiles and seems to blush a bit.
BRANDON
You're welcome.
Alex kneels down next to Brandon.
ALEX
Would you do me one more favor?
BRANDON
Sure.
ALEX
Would you go get the guest bedroom ready while I talk to
Aunt Heidi for a few minutes? Katey's going to stay with
us tonight.
BRANDON
(a little excited)
Okay!
ALEX
Thank you, Buddy.
Brandon scampers out of the room.
HEIDI
(calling out after Brandon)
There are extra blankets in the cabinet at the end of the hall.
BRANDON (O.S.)
(shouting from down the hall)
Okay!
ALEX
You were saying something happened today?
HEIDI
This afternoon when I stepped outside to take out a bag of
trash... I found this on the porch.
Heidi crosses to a coat closet door and opens it, revealing a large funeral wreath inside
sitting on a stand. A cloth banner draped across the wreath reads: "IN LOVING
MEMORY OF ALEX HAYS." Pinned to the banner is another large, white envelope
printed with Titans logos across the face. Written across the envelope is: "BRANDON."
ALEX
(crossing to the closet)
What the --
HEIDI
Brandon never saw it. I hid it in the closet while he was
out back with the chickens.
Alex pulls the envelope off of the wreath. He opens it and pulls out a wad of loose $100
dollar bills and a note that is folded in half. He puts the cash back into the envelope and
unfolds the note.
INSERT - THE NOTE
The note has Titans football logos printed across the top and has a line that reads:
"FROM THE DESK OF KEVIN WILLIAMS."
Handwriting scrawled across the face of the note reads: "Sorry about your Dad. I hope
this helps."
BACK TO SCENE
ALEX
Son of a bitch!
KATEY
What is it?
ALEX
God damn Kevin!
KATEY
What?
ALEX
It's from Kevin.
KATEY
It can't be. Why would he do something like this?
Alex closes the closet door and hands the note to Katey.
Katey quickly looks over the note and then hands it back to Alex in surprise.
ALEX
I've got to go. Would you watch Brandon for me?
KATEY
Of course. But, you're not going to do anything stupid, are
you?
ALEX
I don't know what I'm going to do.
Alex gives her a kiss.
ALEX (CONT'D)
Tell Brandon that I'll be back soon.
HEIDI
Be careful, Alex.
ALEX
Thanks.
INT. ALEX'S CAR -- MOMENTS LATER
Alex drives through the darkness with a look of determination and concentration on his
face. There is very little light, except for the headlights from an occasional passing
vehicle.
Alex looks down at the envelope of money lying on the passenger seat and then turns his
head back to face the road.
ALEX
Son of a bitch!
Alex switches on some loud ROCK MUSIC and drives off into the darkness.
EXT. KEVIN'S APARTMENT -- LATER
Alex brings his car to a stop in front of a typical, middle-class apartment complex. He
exits his car, holding the envelope in his hand, and approaches Kevin's apartment door.
Alex uses his fist to pound on Kevin's door. There is no answer so Alex pounds again.
Kevin's door begins to open slowly. With no patience left, Alex shoves the door ajar,
revealing Kevin standing in the doorway in his pajamas.
KEVIN
Dude! What the --
Alex interrupts him with a fist to the face, knocking Kevin to the floor of his apartment.
INT. KEVIN'S APARTMENT -- CONTINUOUS
Alex enters and slams the door closed behind him. The apartment is set up as a slightly
Yuppie bachelor's pad with lots of Titans football memorabilia adorning the walls. It's
one step of class up from a dorm room.
ALEX
Get up!
KEVIN
What the hell, Alex?
ALEX
GET UP!
KEVIN
Dude, what's --
ALEX
How much is he paying you?
KEVIN
Who?
ALEX
How much did it take to buy you out?
KEVIN
I don't know what you're talking about.
ALEX
Maybe THIS will refresh your memory.
Alex dumps the envelope's contents onto Kevin. Cash litters the floor. The note falls out
next to Kevin's head.
KEVIN
Where did this come from?
ALEX
You mean, you don't know? Take a look at the note.
Kevin sits up and grabs the note lying next to him. He glances at it quickly.
KEVIN
I didn't write this.
ALEX
How much is my father paying you?
Kevin stands and crumples the note in his hand.
KEVIN
I DIDN'T write this!
ALEX
Really? You were so sure that I would be killed during the
attack on the restaurant that you went ahead and sent this to
my son in order to frighten him. Well, your plan backfired.
KEVIN
Alex, I know that you're in a bad way right now... but
you've got to believe me.
ALEX
Why should I?
KEVIN
Dude... I'm your friend. I was attacked tonight, too, ya
know?
ALEX
That could have just been for show.
KEVIN
If I was up to something and was sure you were going to
die, why would I care to put on a show for you?
ALEX
Just in case.
KEVIN
Think about it, Alex. You're talking crazy. Couldn't it be
possible that someone who REALLY wants to get at you
could have swiped my note pad and written that?
ALEX
(lightening up in thought)
I suppose.
KEVIN
Plus, you know me... Dude, would I give away THAT kind
of money?
(glancing at the floor)
Look at it. That's my rent for the next YEAR!
There is silence as the two stare into each others eyes for a few moments.
ALEX
You're right.
KEVIN
Thank God!
Kevin crosses to Alex and hugs him.
KEVIN (CONT'D)
I love you, Dude. We're buds! I wouldn't do anything to
hurt you.
ALEX
I... I know. I'm sorry. I'm just... confused. Everything is
happening so quickly.
KEVIN
You'll work it out. But, the best thing for you right now,
though, is to get some sleep. You look like a freakin'
zombie.
ALEX
How's your face?
KEVIN
It's fine. Do you want to crash here for a bit?
ALEX
No, I've got to get back to Brandon. I'm sorry... I'll talk to
you tomorrow.
EXT. FORT THOMAS -- NIGHT, 1862
General Paine, Fredrick, and several other Union officers are gathered around a lethal
looking metallic torture device on the common grounds inside the fortress walls. The
device, looking like an evolved version of the medieval rack, consists of metal rods,
hooks, chains, and spikes organized around a set of wrist and ankle cuffs. There is a
handle attached to a rotational shaft for tightening the chains. Two officers are checking
the strength of the shackles and making sure the device is ready to be used.
PAINE
Gentlemen, I present to you our new confessional.
FREDRICK
This device is guaranteed to give those Reb devils some
religion.
PAINE
That or send them to meet Jesus. Either way, we win.
FREDRICK
After spending a few minutes on this rack, those Rebel
spies will be telling us everything we want to know.
PAINE
After the prisoner is shackled and spikes are driven into his
shoulders and knees, we attach the hooks. Fredrick will
tighten the chains very slowly until we have the confession
we want. After that, the chains will continue to be
tightened until their flesh is ripped from the bone. At that
point, gentlemen, it's suppertime.
The officers LAUGH sadistically.
PAINE (CONT'D)
Since no new devices should be used in war without being
properly validated first, I've arranged for a little test
demonstration.
Paine turns to face the doorway in the distance behind him.
PAINE (CONT'D)
(shouting)
Present the prisoner!
An officer drags a small boy through the dirt by the collar. The boy is dressed in rags and
wears a Rebel soldier's cap. The prisoner kicks and twists, trying to break free. The
officer brings him to Paine.
PAINE (CONT'D)
Looks like veal is on the menu tonight, men.
The officers CHUCKLE.
Paine lifts the boy's dirty head to face him. It is Brandon.
INT. HEIDI'S LIVING ROOM -- NIGHT, PRESENT DAY
Alex sits up in a sweat from his nightmare on Heidi's living room couch, which has been
folded out and made into a bed. Brandon lies next to him in the darkness in a very sound
sleep. Alex has managed to change from his bloody clothes into a T-shirt and shorts.
Alex checks on Brandon and, satisfied that the child is fine, begins to catch his breath.
He turns his head toward a doorway leading to other parts of the house. Katey is standing
in the doorway, silhouetted in the shadows, watching over the room.
Katey approaches the couch/bed and sits next to Alex, tenderly sweeping the sweaty hair
from his eyes.
KATEY
(with a whisper)
Another nightmare?
ALEX
(whispering in return)
I don't know what I'm going to do, Katey.
KATEY
You just need a little time to relax.
Katey kisses him, working her way across to his ear and down his neck.
Alex closes his eyes and breaths deeply, enjoying her touch.
Katey continues to arouse Alex by kissing, stroking, and nibbling. After a few moments
she stands, picks up Alex's hand, and pulls him toward her.
ALEX
What are you doing, Katey?
KATEY
Come on... I'm going to help take your mind off of
everything for awhile.
ALEX
But, Brandon --
KATEY
Brandon is sound asleep. There's nothing more you can do
tonight.
Katey pulls him to a standing position and leads him toward the hallway. They walk
down the hall to Heidi's guest bedroom.
INT. HEIDI'S GUEST BEDROOM -- CONTINUOUS
Katey and Alex enter, closing the door behind them. It is a cozy room that continues the
country cabin decoration scheme present in the living room. They lie on the bed as Katey
continues to gently dominate Alex.
Alex begins to slip off Katey's shirt.
KATEY
No, no. You just relax and let me take care of everything.
Katey removes her shirt and then slips off her pants, lying completely nude next to Alex.
She pulls his T-shirt off and then begins to unbutton his pants; stroking and kissing him
the entire time. When Alex's clothes are removed, Katey mounts Alex and begins to
gently make love to him.
Alex relaxes, enjoying the moment. After a few passionate moments pass, he sits up and
rolls Katey over. Alex mounts her and returns the favor.
The love making becomes intense and more passionate. Just before they climax Katey's
face transforms into Paine's.
Alex stops in wide-eyed horror, glaring down at his father's body lying beneath him.
Paine reaches upward and grasps Alex's neck, strangling him.
Choking, Alex claws at Paine's hands, trying to remove them from his throat. When this
attempt fails, he wildly flails his fists at Paine's face, bruising and blooding it. Alex
continues punching, slapping, and poking Paine's face and body, opening up several
bloody wounds.
Finally, Paine's grip is broken and Alex leaps from the bed to the light switch on the
bedroom wall. He flips the switch and turns around to face the bed again.
Katey's nude and beaten body lies motionless on the bloody sheets, unconscious.
BRANDON (O.S.)
(screaming)
Daddy!
Alex grabs a robe that is hanging on the back of the door and puts it on as he exits the
bedroom.
INT. HEIDI'S LIVING ROOM -- CONTINUOUS
Alex enters. He stops to allow his eyes to adjust to the shadows. He sees that Brandon is
no longer on the hide-a-bed. In a panic, Alex scans the empty room.
Suddenly, a dark figure steps in front of Alex, raises his arm, and knocks Alex
unconscious.
FADE TO BLACK
EXT. A WOODED CAMPSITE -- NIGHT, 1862
Four dirty and ragged Confederate soldiers are seated around a large campfire eating their
supper from cans with spoons. They are surrounded by dense trees, bushes, their pup
tents, and the sounds of crickets CHIRPING. Their horses are tied to a group of nearby
trees. A large wagon is parked next to their horses containing a load that is covered with
blankets and tied down with thick rope.
The four soldiers, BILLY, JAKE, PAUL, and BOBBY, are in their early-twenties. They
speak with heavy southern drawls and display the immaturity and ignorance of their age.
BILLY
How did we get stuck on this foolish duty?
JAKE
Whadya expect? We ain't got no schoolin'. Ya think we're
gonna command an army, or sumpthin'?
PAUL
Y'all oughta just quit yer gripin' and be glad we ain't
shovelin' shit.
BOBBY
I kinda like transport duty. All we gotta do is carry supplies
back and forth.
BILLY
It's boring, Bobby. I want to see some action.
JAKE
Kinda like the "action" I saw with YOUR girl before we
left Louisiana?
BILLY
(playfully hitting him)
Fuck you, Jake. I mean it. There's guys runnin' around out
there makin' a difference and we're in the woods with a
damn buggy full of crap.
PAUL
Well I'd rather be in the woods pullin' a wagon than gettin'
my damn head shot off with the rest of the army.
BILLY
Y'all are just a bunch a boring sissies!
JAKE
That ain't what YOUR girl called me when she was
screamin' out my name last week.
BILLY
Don't make me stomp your ass, Jake.
BOBBY
Hey! Be quiet. Did y'all hear sumpthin'?
BILLY
Yeah, I heard Paul's pussy gettin' wet for me.
PAUL
Kiss my ass, Billy.
BILLY
Bare it!
BOBBY
God damn it, shut the hell up! I'm serious. Listen.
The soldiers sit in silence for a moment.
BILLY
It's just a bunch of damn crickets, Bobby.
PAINE (O.S.)
I don't think we've ever been referred to as "crickets"
before.
BILLY
What the --
Paine, Fredrick, and seven other Union soldiers, in full vamp-face, float down out of the
trees as the Confederates look around, trying to find where the stranger's voice is coming
from.
Fredrick and the vampire soldiers land right next to the Confederates with a ratio of two-
to-one, blocking the Rebels from trying to stand and run. The vamps place their hands on
the Rebels shoulders to further ensure that they are not going anywhere. Paine lands in
front of Billy.
BILLY (CONT'D)
Who the hell are you?
PAINE
Don't mind us. We're just a "bunch of damn crickets."
The Union soldiers LAUGH.
BILLY
Looks like we got us a smart ass Yankee.
PAINE
Really? I see it completely differently. Looks to me like
you're seriously outnumbered.
BOBBY
(nervously)
Is this the kinda action you wuz lookin' for, Billy?
BILLY
Shut up, Bobby. They're just a bunch of weird lookin' old
men.
PAINE
Old? Maybe. But, weird looking? Now you've crossed the
line.
Paine backhands Billy in the mouth, drawing a trickle of blood.
Billy reaches for the small arm revolver attached to his belt.
Before Billy can get the gun out of the holster, Paine spins around to face the fire. He
extracts a long, pointed stick with a flaming tip and jams it into Billy's throat. Paine
immediately pulls the poker back out of Billy's neck. A steady, arching stream of blood
spews out of the wound, resembling the flow of a water fountain. Paine sticks his face
into the "fountain" of blood and takes several long drinks.
The other Rebels SCREAM and CUSS in fear and disgust. Bobby, weak in the stomach,
leans forward and vomits.
The flow of blood coming from Billy's neck recedes in pressure. Paine looks at the
remaining Rebels and smiles, blood running down his chin.
PAINE (CONT'D)
Ahhhhhh... I always did enjoy southern food.
He wipes his mouth with the sleeve of his uniform.
PAINE (CONT'D)
(to the Union soldiers)
Gentlemen... won't you join me?
On that cue, Fredrick and the Union soldiers viciously tear into the other Rebels in a
feeding frenzy. The Confederate SCREAMS mix with the sounds of CRUNCHING
bones, SLURPING, and animalistic GROWLS.
Bobby's head is torn off, Jake loses his arms, and Paul's intestines are pulled out and
thrown into the fire. Blood and torn flesh fly through the air as the carnage ensues. The
Union officers tear chunks of flesh from the Confederate's bodies, chewing and
swallowing the bloody, leather-like meat.
Paine sits, watching his soldiers with a smile on his face.
PAINE (CONT'D)
Just another day in paradise.
He grabs Billy's corpse by the hair and pulls it over to him. He bares his fangs and sinks
them into Billy, continuing his feast by tearing a large chunk of meat from his neck and
shoulder.
INT. HEIDI'S LIVING ROOM -- MORNING, PRESENT DAY
Alex awakens with a jolt of panic, lying on the hide-a-bed. He reaches to his forehead,
feeling a large spot that has been bandaged during his unconsciousness. He rubs his eyes
and GROANS, trying to focus on his surroundings. He finally notices a blurred figure
sitting next to him.
KEVIN (V.O.)
(in a blur)
Welcome back.
Alex finally focuses on Kevin and slowly sits up.
ALEX
Kevin? What are you doing here?
KEVIN
I couldn't leave you hanging, no matter how scared I was.
The door was open so I let myself in.
ALEX
Brandon?
KEVIN
I've been through the entire house. He's not here.
ALEX
Katey and Heidi?
KEVIN
They're here, but it's not good, Dude. Not good at all.
You're in some shit. Heidi's dead and Katey looks like she's
gone a couple of rounds with Tyson. What the hell
happened?
ALEX
My father's taken Brandon. He came in the night.
Alex surveys the condition of the room around him. It appears to have been ransacked.
ALEX (CONT'D)
Is Katey awake?
KEVIN
No. Did your old man do that to her?
ALEX
No, I did.
KEVIN
(confused)
Dude! What the hell happened after you left my place?
Alex exits toward the bedroom. Kevin rises to follow.
INT. HEIDI'S GUEST BEDROOM -- CONTINUOUS
Alex enters, quickly followed by Kevin. He approaches the bed and starts shaking
Katey's nude and beaten body.
ALEX
Wake up.
(shakes some more)
Wake up, damn you!
Katey's eyes groggily flutter open and Alex pulls her to a sitting position. Slowly
regaining consciousness, she pulls the bloody sheets up to cover her nude body.
ALEX (CONT'D)
Where's Brandon?
KATEY
(noticing the blood on her)
What happened to me?
ALEX
Don't play stupid. Wasn't that part of the plan? You lure
me in here while he makes off with my son?
KATEY
I don't know what you're talking about.
ALEX
(grabbing her by the throat)
God damn it, Katey... You tell me where he is or so help me
I'll--
Kevin steps in and pulls Alex off of her.
KEVIN
Alex, don't!
KATEY
I don't know anything about that! I swear I don't!
ALEX
Then what the hell was last night if it wasn't a decoy tactic?
KATEY
Last night? I.... I just fell asleep. I was thinking about you
before hand... but... nothing...
KEVIN
Alex, calm down a minute. Isn't it possible that she didn't
know what she was doing? You see that vampire
hypnotism crap all the time on Creature Feature.
Alex takes a moment to think in silence.
KEVIN (CONT'D)
Remember... he set me up, too. He wants to turn us against
each other.
ALEX
Fuck!
(louder)
FUCK!!
(breathes deeply)
God, I'm sorry, Katey. I'm so sorry.
Alex holds her close to him.
ALEX (CONT'D)
The bastard is screwing with my head!
KATEY
It's okay.
ALEX
It's not okay. I've got to get you to a doctor.
KATEY
I'll be fine. Don't worry about me. What's important right
now is Brandon.
ALEX
I know... but... I... All the blood.
KATEY
I'm okay. Really.
KEVIN
If it's any consolation, you got the better end of the deal.
Heidi wasn't so lucky.
KATEY
Is she.....
KEVIN
Yeah.
ALEX
(stands)
I've got to find Brandon. My father said something about
keeping everything in the bloodline.
KATEY
What does that mean?
ALEX
I don't know. He also mentioned something being worse
than death.
The telephone on the nightstand RINGS.
The trio turn their heads to stare at the phone but make no attempt to answer it.
The phone RINGS again.
KEVIN
Do you want me to get that?
KATEY
Answer it, Alex. It could be Brandon.
Alex grabs the phone.
ALEX
Hello?
BRANDON (V.O.)
Daddy?
ALEX
Brandon, are you alright?
BRANDON (V.O.)
Yes, but you've got to come get me. I'm scared, Daddy.
ALEX
I'll be right there, Buddy. Where are you?
BRANDON (V.O.)
He said to tell you that I'm at Fort Thomas and that you
have to come alone.
ALEX
Who says that? Who's with you?
The line disconnects and Alex is left with a DIAL TONE. He slowly returns the receiver
back to the cradle.
KEVIN
Where is he?
ALEX
He said he was at Fort Thomas.
KATEY
Where's that?
ALEX
The line went dead before I could find out.
KEVIN
Fort Thomas doesn't exist.
ALEX
You know of it?
KEVIN
Dude, you really gotta start studying history. Fort Thomas
is where Eleazar Paine called home during his reign over
Gallatin.
ALEX
But you said it doesn't exist.
KEVIN
It doesn't. Not anymore, anyway. But, there's an old
entrance to the cave system there.
ALEX
What cave system?
KEVIN
The Lackey Cave system that runs underneath the city. The
Union Army used it to bring supplies and soldiers into the
fort without being seen. The fort's gone, but the tunnel
system is still there.
ALEX
You've got to tell me where it is.
KEVIN
I'll do better than that... I'll take you there.
ALEX
No. He said I have to come alone.
KATEY
It's dangerous, Alex. You need help.
ALEX
My father has Brandon. I have to go along with his
demands... for now, anyway.
KATEY
This is bullshit. Why can't we just call the cops and let
them take care of it?
ALEX
Ask the police to put out an all points bulletin for a
kidnapping band of vampires?
(runs his hand through his hair)
This is between me and him. It's always been that way.
KATEY
That's cowboy movie crap! Life isn't like that, Alex.
ALEX
Give me a couple of hours. If I'm not back by then --
KATEY
You'll be dead.
KEVIN
I may have a map of the cave system in my office at work.
At least let me take you THERE to get it.
ALEX
Fine.
KATEY
Thank God! That's a start. You guys go for the map. I'll
catch up with you after I get cleaned up. If you need me,
my cell is on.
EXT. SOCIAL SERVICE OFFICE -- LATER
Alex's car, carrying Alex and Kevin, pulls into the parking lot. The two men exit.
INT. SOCIAL SERVICE OFFICE -- MOMENTS LATER
Alex unlocks the door and the two men enter. The blinds are closed and it is dark inside.
KEVIN
I've got the lights.
Kevin crosses to the wall and flips on a switch. The fluorescent lights in the reception
area flicker on. A BANG is heard from down the hall. Kevin and Alex look at each other
in puzzled silence.
Alex slowly creeps to Betty's desk, trying to hear more noises that may be coming from
the hall.
There is a slight RUSTLING sound.
ALEX
(calling toward the hall)
Who's there?
He is answered with another BANG.
ALEX (CONT'D)
Hello?
Alex and Kevin glance at each other in silence and then gently tiptoe down the hall.
The RUSTLING noise continues and grows louder with each step they take toward Alex's
office.
The two men come to a stop outside Alex's closed office door. Alex places his ear to the
door to listen more closely.
Suddenly, the door bursts open and Betty steps out with a smile on her face. She is
holding crumpled paper towels and cleaning supplies in her hands. The two men jump
back, startled.
ALEX (CONT'D)
(catching his breath)
Jesus, Betty, you scared the shit out of me. What are you
doing here this early?
BETTY
Didn't you know, Mr. Hays? I live here.
ALEX
Well, I can't deny that you are dedicated. But, the office
doesn't open for another three hours.
BETTY
Yes, but cleaning needs to be done. I can't live in a place
with a lot of dust. Allergies, you know.
Betty begins to walk down the hall toward the reception area.
KEVIN
I'm going to my office to try and locate that map.
ALEX
Thanks.
Kevin disappears down the hall.
ALEX (CONT'D)
(following Betty to the reception area)
When do you sleep?
BETTY
Oh, I don't need sleep, Mr. Hays.
ALEX
Alex... please.
They have reached the reception area. Betty crosses to her desk and begins cleaning the
surface with her back turned toward Alex.
ALEX (CONT'D)
Betty, you're not being paid enough to put in these kinds of
hours. Why don't you go home and get some sleep.
BETTY
Really, Mr. Hays... I DON'T need sleep.
Betty quickly spins around to face Alex with a GROWL. She has transformed into
"vamp face;" deep-set, glowing red eyes, fangs, and a heavy brow. This kindly, sixty-
year-old receptionist has now become the Grandma From Hell.
ALEX
Shit!
BETTY
(her voice much more demonic)
What's wrong, ALEX? Do aggressive women threaten
you?
Alex crosses behind a small table used to hold reading materials for the waiting clients,
using it as a barrier between the two of them.
ALEX
Betty?
Betty effortlessly leaps into the air and gracefully lands on the table top, now looming
over Alex's head.
BETTY
Come now, ALEX... Are you playing hard to get?
Alex steps out from behind the table and begins a slow arc around the reception area.
Betty steps down from the table top and mirrors Alex's pattern, remaining only inches
away from him the entire time.
ALEX
Betty, what are you doing?
BETTY
Only what should have been done a loooooong time ago,
dear. Your father placed me in this dump years ago to keep
an eye on you.
ALEX
You've been part of this all along?
BETTY
Do you think it was a coincidence that Randolph's was
packed with... "specialty" diners last night?
ALEX
You set me up!
BETTY
Aren't you a fucking genius?
ALEX
I don't understand. You've always worked during the day.
Don't you have to stay in the dark, or something?
BETTY
Unfortunately, that IS one of the drawbacks of the
condition. Do you know what a pain in the ass it is to be
here before sunrise every day?
ALEX
You can't kill me, Betty. What would my father say?
BETTY
Your father no longer has a use for you.... and neither do I.
Betty lunges forward, catching Alex by the arm. She spins him around backwards, wraps
her arm around his throat, and tilts his head to the side. She licks his pulsing jugular.
Alex leans forward and then slams his head backwards, smashing his skull into hers.
Betty's grip is broken and she stumbles backwards into the water cooler, knocking it over.
The tile floor in the reception area begins to flood with water.
Alex moves toward Betty but slips on the wet tile, crashing into Betty's desk and falling
to the floor.
Betty gracefully advances toward Alex. He tries to stand but slips on the wet tile again.
ALEX
(yelling)
Kevin!
Betty has now reached Alex and crouches over him.
BETTY
Kevin can't help you now, ALEX.
For no apparent reason, Betty lets out an unearthly SCREAM of pain. She suddenly
bursts into flames. Alex closes his eyes as Betty disintegrates into dust over him.
When the noise has ended, Alex opens his eyes and tilts his head upward to see Kevin
standing where Betty used to be. Kevin is holding a long silver-spiked desk message
holder in his hand that is still extended outward into what used to be Betty's chest.
KEVIN
I guess she didn't get the memo about violence in the
workplace.
Alex SIGHS in relief.
KEVIN (CONT'D)
(extends his empty hand to help Alex rise)
I found the map.
Alex accepts Kevin's hand and stands.
INT. KEVIN'S OFFICE -- MOMENTS LATER
Alex and Kevin enter. The office has a similar decor to Alex's office except that Kevin
has a lot of very bright Tennessee sports memorabilia hanging around; pennants, trophies,
helmets, large foam hands with the index finger pointing upward, etc. It is apparent that
Titans football is his passion.
The two men cross to Kevin's desk where a large hardcover book is open and ready for
viewing.
KEVIN
They used to offer a tour of the cave system, but the walls
became unstable and it wasn't safe to have people down
there any longer.
INSERT - THE MAP
It is a crude illustration of a cave system across facing pages with markers,

measurements, labeled entrances and exits, surface railway markings, and a winding river
surrounded by trees.
KEVIN (V.O.) (CONT'D)

(pointing to a spot on the map)
There's a historic marker located here showing the previous
location of Fort Thomas, but the city of Gallatin sealed off
the cave entrance that was there years ago.
ALEX (V.O.)
(pointing at other spots on the map that are
located further away from the fort marker)
What are these?
KEVIN (V.O.)
Those designate other entrances and exits to the tunnels
that were used by the Union army to smuggle supplies in
and out of the fort. They're hidden in the woods.
BACK TO SCENE
ALEX
Are any of THOSE tunnels still open?
KEVIN
I don't know. They're all located outside of the city limits,
so.... maybe.
ALEX
Surely they wouldn't have been left open if the cave system
was unstable.
KEVIN
That's politics. Think about it. The city only cares about
what they may be sued over. What someone chooses to do
outside the city limits is none of their concern.
ALEX
You're the history buff... Which one of those entrances do
you think would have remained the most stable over time?
INSERT - THE MAP
Kevin points at a spot outside of town in the woods.
KEVIN (V.O.)
Probably here.
ALEX (V.O.)
Why there?
BACK TO SCENE
KEVIN
The Union army used to bring in the majority of their
supplies from the river. The mounted patrol would then
place these supplies on a wagon and transport them to this
entrance. Foot soldiers would unload the supplies, carry
them through the tunnels, and then into the fort.
ALEX
But they could have done that anywhere.
KEVIN
Yes, they could have. But, this location was closest to the
dock, so they used it the most. Based on the importance of
that entrance's location, I would think that the soldiers
would have reinforced it.
ALEX
This is great! You're a genius!
KEVIN
Well, that's a first.
Alex closes the book and puts it under his arm.

ALEX
I'm out of here. Thanks.
KEVIN
No problem. Are you sure I can't talk you into some
backup? What happens if you go in there alone and one of
those things goes all Kung-Fu on you?
ALEX
I have to take that chance. Brandon said to come alone.
I'm not going to screw this up.
KEVIN
I understand. If you need me, I'm a phone call away.
INT. ALEX'S CAR -- MOMENTS LATER
Alex is driving when his cell phone rings. He picks it up and looks at the caller ID
screen.
INSERT - THE CELL PHONE
The caller ID screen displays: "KATEY JENKINS"
BACK TO SCENE
ALEX
(answers)
Hello?
INTERCUT TELEPHONE CONVERSATION - ALEX AND KATEY
KATEY
Did you get what you need?
ALEX
Yes. Kevin showed me a cave entrance near the docks. I'm
going there now.
KATEY
Great. I'll meet you there.
ALEX
No, Katey. Stay where you are. I'll call you when it's over.
KATEY
What if this doesn't end how you hope it does?
ALEX
He's my son. I'll do whatever it takes. Now, stay home!
Alex disconnects the call as he sees the road sign reading: "WELCOME TO GALLATIN,
TN."
EXT. CAVE ENTRANCE -- LATER
Alex's car comes to a stop on a muddy dirt road in a thick patch of woods. Alex exits the
vehicle with the hard-backed history book in one hand and his cell phone in the other
hand. He places the phone in his back pocket and the book on the trunk of the car.
INSERT - THE BOOK
Alex opens the history book and turns to the pages displaying the map of the cave
system. He rips those pages out.
BACK TO SCENE
Alex crudely folds those pages, slips them into his pocket, and discards the book into the
mud. Alex unlocks and opens the trunk. He leans inside the trunk, digs around just a bit,
and produces a flashlight. He points the flashlight at his eyes and flips the power switch
upward. The light comes on. Alex turns it off again and places the flashlight in his other
back pocket.
Alex closes the trunk, turns toward the woods, and pulls the map out of his pocket. He
looks over the map and then up at the trees a few times, trying to match the map's
diagram to his surroundings.
He looks through the trees and takes a few steps to the right. Alex squints, looking harder
through the trees. Suddenly the squint is replaced by realization as Alex folds the map
and places it back into his pocket.
Alex steps through the trees, goes forward a few paces, crouches, and starts raking leaves,
dirt, and rocks away from a patch of ground. He uncovers a large, oversized metallic
door that is set into the ground.
ALEX
Bingo.
Alex continues to quickly rake away debris until he finds a hand-hold in the door. He
grasps the hand-hold and tugs. The door does not rise.
Alex rakes away some more debris and tries to raise the door again. It moves slightly
upward before Alex drops it again.
ALEX (CONT'D)
Come on, you bitch!
Alex pulls upward on the door with all of his might and it begins to slowly open upward.
Finally, after a great struggle, it fully opens.
Alex pulls the flashlight out of his back pocket, crouches by the hole in the ground, and
shines the flashlight into the darkness below. He sees a stairway.
Alex steps into the hole and proceeds down the steps into the darkness.
INT. CAVE TUNNEL SYSTEM -- CONTINUOUS
Alex descends the steps, shining the flashlight around him. He notices a track of
electrical lights strung throughout the cavernous tunnel from the ceiling. The dim light
bulbs illuminate the tunnel just enough to give it a murky, yellowish, sunset quality.
The walls and floor of the tunnel are damp. Small puddles of water splash underneath
Alex's feet. The cavern floor is littered with Civil War antiques; rusting swords and guns,
rotting wood shipment crates, leather boots, wagon wheels, etceteras. The SQUEAKING
and SCURRYING of rats can be heard echoing around him.
Alex, having enough light in the cavern to see, turns off the flashlight and places it in his
back pocket. He looks from side to side, seeing various dimly lit tunnels spidering off in
other directions. Alex pulls the folded map out of his pocket and looks at it. He selects
the correct tunnel to travel through by comparing the map to what he sees in front of him.
He refolds the map and returns it to his pocket.
A greater number of rats have become more visible, scurrying around Alex's feet, and
their SQUEAKING is gradually becoming louder.
Alex, slowly and carefully, walks down one of the narrow tunnels. He tries not to step in
the puddles or make any other type of noise that may give him away.
The number of rats running through the tunnel has now become very large. What began
as one or two has now turned into groups of tens and twenties. Their numbers grow with
each new step Alex takes.
As Alex continues through the dimly lit tunnel he notices a sea of small, red eyes
following him. It looks as if hundreds of rats have assembled a huge vermin army,
prepared to attack at a moment's notice.
Alex turns around and walks through the tunnel backwards, keeping an eye on the
quickly growing rat army that is following only a few feet from him.
Three brave rats break away from the mass and run toward Alex. One by one, they
spring into the air, lunging at Alex's face.
As each rat soars toward him, Alex swats them away with the palm of his hand.
Six more rats quickly follow up the first attack, running and then jumping at Alex. One
lands on his neck, one on his face, two on his arm, and two on one of his legs. Each rat
begins to bite off small chunks of Alex's flesh before being swatted off.
Alex speeds up his backstepping, noticing that there are now thousands of organized rats
slowly stalking him.
With a loud, unison SCREECH, the rat army charges toward Alex like a hungry pack of
wolves.
Alex spins around and runs at full speed through the tunnel.
Thousands of rats begin to close in on him from behind. A ROAR fills the air from the
pounding of their feet.
Alex, in a rush, slips in the mud and falls to the ground with a large splat. He turns his
head to peek around behind him. The rats are almost on top of him. He jumps up and
sprints further down the tunnel.
The first line of rats reaches Alex's heels. They begin jumping at his ankles and calves.
A few land on him and begin ripping chunks of his pants and flesh away with their teeth.
Alex sees the end of the tunnel ahead. It appears that it is about to empty into another
large cavern. Alex turns up his speed another notch as he exits the tunnel, enters the
cavern, and slams, full-speed, into a man standing there.
Alex is knocked backwards onto his butt, as if he has just slammed into a brick wall. He
lifts his head to see what he has crashed into.
A SNEERING VAMPIRE, in his 30's and dressed in a tattered Union uniform, is standing
over him. He holds an old Civil War muzzle-loading rifle with a bayonet attached to the
end. His flesh is dirty and covered with gunpowder residue.
Alex turns his head around to see if the rat army is still behind him. There are none to be
seen or heard, as if they have vanished.
The Sneering Vampire cocks his head to the side and heavily inhales the air around Alex,
taking in the essence of his fear.
SNEERING VAMPIRE
What do we have here? An intruder?
The sneering vampire begins to circle Alex on the ground.
SNEERING VAMPIRE (CONT'D)

What are you doing down here, Reb?
ALEX
(out of breath)
I've come for my son.
SNEERING VAMPIRE
Do not speak to me unless I give you permission!
ALEX
Where is he?
SNEERING VAMPIRE
I don't believe you heard me, Reb. Either that or you're
stupid. Is that it, Reb? Are you stupid?
ALEX
I'm smart enough to know the fucking war is over, dumb
ass.
SNEERING VAMPIRE
Ohhhh.... A Johnny Reb with spirit. It's going to be a
pleasure to break you, Boy.
ALEX
(stands)
Yeah? You and what army?
At that moment, three more Union clad vamps with bayonet equipped muzzle-loaders
step out of the murky shadows.
The Sneering Vampire pushes Alex back down into the mud amid the scattered war relics.
The soldiers LAUGH.
SNEERING VAMPIRE
Looks like you just overstepped your bounds, Reb.
ALEX
Looks like you just underestimated the wrong guy.
Alex grabs a rusty saber that is lying next to him in the mud and swings it at the Sneering
Vampire's knees. It connects and cuts the legs out from under the vamp in a spray of
blood. Alex stands and swings the saber downward, executioner style, at the Sneering
Vampire's throat, decapitating him.
Sparks and flames shoot out of the vamp's neck and fire engulfs his body. He spasms as
he burns.
The other three vampires, now lined up like a firing squad, raise their rifles toward Alex.
Alex drops the saber and dives to the ground as the three muzzle-loaders empty their
rounds, creating a brief ricochet of bullets throughout the tunnel walls. Alex follows his
dive with a roll through the mud toward the three soldiers. Alex stands, grabs the rifle
barrel of the vamp at the right end of the line, spins it toward the vamp in the middle of
the line, and rams the bayonet of the rifle into the middle vamp's chest.
The middle vamp HOWLS as he explodes in a shower of sparks, flame, and dust.
It only takes a moment for the vamp to shake free of Alex's grip and countermove,
knocking Alex back to the ground. The vamp lifts his rifle and plunges the bayonet
toward Alex's head.
Alex shifts slightly and the bayonet pierces the ground just inches away from Alex's left
ear.
The vamp tries to retrieve the rifle, but it is lodged firmly into the ground.
The vamp from the left end of the line turns his bayonet in the direction of Alex and the
struggling vamp. He begins to approach them.
Alex stands and forcefully kicks the struggling vamp away from his lodged rifle, sending
him flailing backwards onto the bayonet of the approaching soldier. The vamp explodes
in the same fashion as the others... sparks, flames, and dust... leaving Alex alone with the
final soldier.
The lone soldier lunges at Alex with the bayonet. Alex dodges to the right, but he is not
quite fast enough. The bayonet pierces Alex's left shoulder, drawing a stream of blood.
Alex cries out in a painful SCREAM.
The vamp pulls the blade free and lunges at Alex again. This time Alex IS fast enough to
avoid the bayonet. But, the vamp counters the move by swinging the rifle barrel around,
knocking Alex in the side of the head and sending him back down to the mud.
Alex rolls over and recovers the saber he dropped earlier. He stands and swings it at the
vamp, who blocks the blow with his rifle barrel.
The two men exchange several blows in a crude and slightly clumsy sword battle
between Alex's saber and the vamp's bayonet. Sparks occasionally fly off of the weapons
from the metal-on-metal contact as the men swing, thrust, and parry for several brutal
minutes.
After a few moments, Alex is knocked back to the ground. The vampire hovers over
Alex, raising his bayonet in the air and preparing to plunge it into Alex's chest. The
soldier thrusts the weapon downward.
In that same instant, Alex raises his saber into the air, causing the blade to impale the
descending vamp's chest. The last soldier explodes into a cloud of dust around Alex.
There is a brief moment of silence before the sound of one person unenthusiastically
CLAPPING echoes throughout the tunnels. Alex looks around to try and determine the
origin of the sound.
Fredrick, "vamped" out, reveals himself by stepping from the shadows into the dim light.
He is accompanied by a silver-haired vampire who is holding a bound and gagged
hostage by the arm. The hostage is Katey, who he drags around with him against her
will. Fredrick is still applauding what he has just witnessed.
FREDRICK
Bravo, Alex! Nice show! I didn't know you had it in you.
ALEX
Katey?
Katey tries to lunge forward and escape toward Alex but she is yanked back by the silver-
haired vampire.
ALEX (CONT'D)
(standing)
Let her go.
FREDRICK
I don't think so. But, if you behave we MAY let her live.
ALEX
Where's Brandon?
FREDRICK
He's safe.
ALEX
I want to see him.
FREDRICK
All in good time, my boy.
Alex raises the saber and threateningly approaches Fredrick.
ALEX
That time has come.
Fredrick sidesteps and swats the saber away, as if slapping at a mosquito, knocking it out
of Alex's grip.
FREDRICK
Now, now, Alex. I don't think that's a very good example
of how to behave.
Fredrick turns his head to the silver-haired vamp.
FREDRICK (CONT'D)
Take her.
The silver-haired vamp pulls Katey's head to the side, exposing her jugular, and opens his
mouth to bite.
Katey's eyes widen in panic.
ALEX
STOP!
Fredrick lifts two fingers upward as a signal to the silver-haired vamp. He closes his
mouth and releases Katey's head.
FREDRICK
Now that you see I'm not fucking around, are you ready to
behave?
ALEX
Whatever it takes to see my son.
FREDRICK
I'm SO glad to hear that you'll be cooperating with us.
Who knows? You may even decide to join us.
ALEX
Don't get your hopes up.
FREDRICK
Come.
Fredrick turns and begins walking down one of the narrow cave tunnels. Alex walks
beside him as the silver-haired vampire drags Katey along behind them. They continue
their conversation as they make their way through the murky, damp passages.
FREDRICK (CONT'D)
It's funny, really.
ALEX
What?
FREDRICK
You've tried, for so long, to distance yourself from your
father, but traces of him can be seen in everything that you
do.
ALEX
I'm nothing like him.
FREDRICK
Oh, but you are. You've just proven that, once again.
ALEX
What are you talking about?
FREDRICK
The soldiers in the tunnel. I placed them there as a... test.
ALEX
A test of what? How much of a beating I could take?
FREDRICK
On the contrary. It was to demonstrate how strong your
will was to survive. You display the same determination
and drive as your father. The same type of quick thinking
under pressure. You two are more alike than you care to
admit.
ALEX
What's your point?
FREDRICK
The point is.... You could have it all.
ALEX
Don't even go there, Fredrick. I think I made it very clear
to my father --
FREDRICK
This request has nothing to do with your father.
(takes a breath)
I like you, Alex. It was my idea to have you come to this
place. I wanted to talk to you and see you in action. You
and your son, together, could carry the power of your
bloodline centuries into the future.
ALEX
I'm not interested. I just want my son.
INT. UNDERGROUND LAIR -- CONTINUOUS
The group enters a very large cavern at the end of the narrow tunnel they have been
walking through. The large room is stocked with various supplies from throughout the
ages, all kept in perfect condition. It appears to be a complete underground bunker built
like a bomb shelter. There is a large stairway leading up one of the cavern walls to a steel
door in the cave's ceiling.
FREDRICK
The envelope of money that was left at your home was only
a fringe benefit. You could also have power beyond your
imagination.
ALEX
I'm losing my patience. Where's Brandon?
FREDRICK
(motions toward the stairway)
He's at the top of those stairs... inside your father's house.
Alex makes a move toward the stairway but is cut off by Fredrick.
FREDRICK (CONT'D)
Not so fast, Alex. I can't just let you go barging in.
ALEX
Look, I've listened to your pitch. Now, just set Katey free
and let me face my father. This is between me and him.
Fredrick pauses and stares blankly into Alex's eyes. He then turns his head to face the
silver-haired vamp.
FREDRICK
Untie his friend.
The silver-haired vamp cuts the ropes that bind Katey. She immediately runs to Alex,
removing the gag from her mouth in a panic. The two lovers embrace.
KATEY
Alex, please. Do whatever he asks. He's crazy. He'll kill
both of you.
ALEX
No he won't. He can only kill one of us. Isn't that how it
works, Fredrick? You have to keep at least one of us alive
for the bloodline to survive. It would be too risky to waste
me now without first checking on my son.
KATEY
Don't be stupid, Alex. You don't know what you're dealing
with.
FREDRICK
Yes, Alex. Listen to your friend. Don't be stupid.
ALEX
Sorry, but I don't bargain with my son's life.
FREDRICK
Well, I'm very sorry to hear that. Very sorry, indeed. I
didn't want to have to do this, Alex.
Fredrick backs away from them a few steps.
FREDRICK (CONT'D)
Katey.
Katey suddenly transforms into a full-fledged vampire; deep-set red eyes, protruding
brow, and fangs. She HISSES as she grabs Alex by the throat. Alex begins to choke,
staring wide-eyed in surprise.
The silver-haired vamp crosses to Fredrick in order to get a better look at the fight that is
about to happen.
FREDRICK (CONT'D)
This should be fun.
The silver-haired vamp CHUCKLES.
Alex tears at Katey's hands but can not break free. He throws a couple of uppercuts into
her face, fazing her slightly.
Katey releases her grip with one hand and brutally backfists Alex across the cheek.
Alex spits out a mouthful of blood onto Katey's face.
Katey sticks out her tongue and slowly licks off the blood that has sprayed around her
mouth, GROANING in pleasure at the taste. She grabs Alex's face with her free hand
and pulls his head to hers. She begins licking the blood off of his mouth. She GROANS
in pleasure, running her hand through his hair seductively.
KATEY
You don't know what you're missing, Alex.
Alex lifts up a knee and firmly plants it in Katey's stomach.
Katey coughs up air as she doubles over from the unexpected blow.
Alex breaks Katey's grip on his throat and throws her to the ground. He quickly kneels
down, straddles her, and pins her arms to the ground. Katey struggles to break free. Alex
turns his head to Fredrick.
ALEX
You son of a bitch!
FREDRICK
Don't blame me. It was her choice. Sweet little Katey
joined our ranks shortly after the Civil War ended. She
became your father's personal secretary when he resigned
from military duty in 1865.
ALEX
(still struggling)
Bullshit! You did this to her!
FREDRICK
Think about it, Alex. Have you ever seen her out in the
sunshine? Ever wonder why she never sets a lunch date...
only dinner?
ALEX
I won't accept that.
FREDRICK
How about this, then? Ever wonder how we found your
sister-in-law's farmhouse?
(flashes an evil smile)
Speaking of... how's that bump on the head that I gave you
last night?
In a rage, Alex leaps off of Katey and charges at Fredrick. He tackles him, taking
Fredrick to the ground. Alex raises his fist to hit Fredrick in the face but is yanked off of
him by the silver-haired vampire and thrown backwards several feet. Alex lands with a
solid THUD that knocks the wind out of him.
Fredrick stands, brushes off the dirt, and calmly approaches Alex, who is curled up trying
to regain his breath. Fredrick kneels next to him and grabs Alex's left shoulder, applying
pressure to the sword wound. Fresh blood spurts out, soaking Alex's shirt with a large
crimson stain.
Alex SCREAMS in pain as Katey and the silver-haired vamp approach.
FREDRICK (CONT'D)
That was not polite, Alex.
Alex spits in Fredrick's face, causing Fredrick to squeeze Alex's shoulder harder. Alex
SCREAMS again.
FREDRICK (CONT'D)
And that was just plain rude. I don't think I like you
anymore, Alex.
ALEX
(in great pain but still sarcastic)
Gee, I'm so sorry to hurt your feelings.
FREDRICK
Katey, dear. Would you like the first drink?
KATEY
Yummy!
KEVIN (O.S.)
Think again, bitch!
Everyone turns their heads toward the surprise visitor.
Kevin stands in the distance with a perfectly preserved, 1862 bayonet-fitted musket rifle
aimed in their direction. He pulls the trigger.
The bullet from the rifle hits Katey squarely in the forehead, blowing away a large
section of her skull. She collapses to the ground in a splash of blood and brains.
Kevin tosses the musket aside and pulls out a preserved 1862 revolver from his
waistband. He aims it at the group and advances forward.
ALEX
Kevin! How the hell did you find me?
KEVIN
Dude, I was the one with the map! Remember? Plus it
helps that voices carry through these tunnels like a mother
fucker.
Kevin stops within a few feet of the remaining group, still pointing his revolver in the
direction of the kneeling Fredrick.
KEVIN (CONT'D)
Go get your son. I've got this covered.
Alex sits up and punches Fredrick in the face, knocking him to the ground. Alex stands,
glaring down at Fredrick.
ALEX
We're not through.
FREDRICK
(sitting up)
Oh, I think that we are.
Suddenly, Katey flies upward from the ground, half of her head missing, and soars
toward Alex.
Kevin pulls the trigger of the revolver, still pointed at Fredrick, but misses him as
Fredrick rolls away and runs toward the stairway in the background.
In an instant and as if gravity doesn't exist, the silver-haired vamp leaps toward Kevin,
grabbing his gun arm and shaking the revolver free.
INTERCUT THE DOUBLE BATTLE - ALEX/KATEY AND KEVIN/VAMP
The double battle rages on simultaneously with fists and feet flying in a variety of
uppercuts, sidekicks, roundhouses, jabs, and more as Fredrick disappears through the
steel door at the top of the stairway.
Both Kevin and Alex take a beating as well as deliver a good bit of thrashing to the
vamps for several minutes.
Alex, not having a huge effect with his fists, pulls the flashlight out of his pocket and
begins repeatedly slamming it against the remaining portion of Katey's head. She
continues her vicious advance, slowing down very little with each blow.
ALEX
I don't fucking believe this!
Kevin is knocked to the ground several feet away from where he dropped the revolver.
He lands on his chest, face forward, and can see the gun a few feet in front of him. He
begins to crawl and slither along the ground as quickly as possible to reach the revolver
but is stopped when the silver-haired vamp places a large foot in front of his face. The
vamp kicks Kevin backwards.
Alex notices where Kevin tossed his musket rifle after firing. He runs toward the rifle
with Katey in close pursuit. Alex dives, retrieving the musket. He spins around and
firmly plants the bayonet into the chest of the quickly approaching Katey. She bursts into
a shower of sparks, flame, and dust.
The silver-haired vampire is now kneeling over Kevin, having pinned him to the ground.
With fangs bared, he prepares to bite.
Alex quickly approaches Kevin, swings the bayonet in a large arc, and decapitates the
silver-haired vampire, spraying blood, sparks, and dust into Kevin's open mouth.
Kevin begins spitting out the remains of the vampire onto the ground in disgust.
KEVIN
(still spitting)
God damn it! I hope we taste better than they do.
Alex reaches out his hand to help Kevin up.
ALEX
Come on. I'll buy you a bucket of Listerine when this is all
over.
Kevin accepts Alex's hand and rises. Kevin crosses to retrieve the revolver on the
ground. Alex, still armed with the bayonet, and Kevin, now armed with the revolver, run
toward the stairway.
INT. PAINE'S MANSION, HALLWAY -- MOMENTS LATER
The steel door in the floor, which is hidden by a large rug, opens upward as Alex and
Kevin enter the mansion. The long hallway is neat and clean. We recognize this
traditional southern plantation hallway as the path between the entryway and Paine's
library. The mansion is strangely silent.
Alex closes the steel door behind them and surveys his surroundings.
ALEX
(calling out)
Brandon!
His voice echoes through the mansion.
PAINE (O.S.)
Welcome home, Son.
Alex and Kevin look around, trying to locate where the voice is coming from. They
begin to travel the length of the hall toward the mansion's entryway, passing the closed
set of large double doors that lead into Paine's library.
ALEX
(calling out, again)
Where's my son?
Alex and Kevin have almost reached the entryway.
PAINE (O.S.)
Somewhere safe. He likes it here. I think he'd like to stay,
actually.
ALEX
Don't you mean that YOU'D like him to stay?
PAINE (O.S.)
It makes no difference, really.
INT. PAINE'S MANSION, ENTRYWAY -- CONTINUOUS
Alex and Kevin enter. Paine is seated in a wheelchair in the center of the large room. He
still looks frail and cancerous. Fredrick stands beside him.
ALEX
I'm sorry to spoil your plans, but I won't have that. I'm his
father. I'll decide what's best for the boy.
PAINE
How do you know what's best for him when you've never
taken the time to experience it yourself?
ALEX
I experienced enough in this house to know that it is as
corrupt as you are. Look, I don't intend to take this any
further. Just give me Brandon and we'll go on living our
separate lives.
PAINE
"LIVING" is what this is all about, my dear boy.
Kevin raises the revolver and aims it at Paine.
KEVIN
That's enough chit-chat.
PAINE
(turning his head to Kevin)
I don't believe this is any of your business.
KEVIN
I'm making it my business.
PAINE
Do you know how many times I've been shot with one of
those puny weapons? Yet, I still live.
KEVIN
I didn't say I wanted to kill you. I just want it to hurt...
(cocking the revolver's hammer)
...a lot.
Paine raises his claw-like hand and points a gnarled index finger at Kevin.
Kevin's eyes widen in surprise and his back stiffens. He drops the revolver on the floor
and begins grasping at his throat. He chokes and gasps in pain, as if having an asthma
attack.
Alex moves toward Kevin in order to come to his assistance.
Fredrick, with unnatural speed, crosses to Alex and knocks him to the ground. Fredrick
pulls the musket from Alex's hands and rams the bayonet through Alex's wounded
shoulder, lodging it into the floor beneath him and pinning Alex to the ground with a
SCREAM of pain.
Alex grasps the rifle with his good arm and tries to free himself. He has no luck.
Fredrick crosses to Kevin, who is still choking. Kevin falls to his knees, struggling to
breathe. His face begins to turn blue and his bloodshot eyes start bulging.
Paine lowers his hand and places it back onto the armrest of his wheelchair.
Kevin, still kneeling, is suddenly released and can inhale again. He breathes vigorously,
allowing the oxygen to rush back into his body.
Fredrick places his heel on Kevin's chest and kicks him over backwards.
Alex turns his head, still struggling with the bayonet, to get a look at what is happening.
Fredrick leans over and retrieves the revolver. He stands and aims the gun at Kevin's
knee. He pulls the trigger.
Kevin SCREAMS as his knee shatters in a spray of blood and bone.
FREDRICK
How's that, Kevin? Does it hurt?
(cocks the revolver's hammer)
A lot?
ALEX
You son of a bitch!
Fredrick fires another round into Kevin's other knee, shattering it as well. The shot is
answered with another SCREAM from Kevin.
FREDRICK
Wow! That's gotta smart!
Kevin squirms in pain.
Alex frantically tries to free himself from the bayonet that has him pinned.
Fredrick crosses to Kevin and steps on one of his shattered knees, applying all of his
body weight to it.
Kevin SCREAMS.
FREDRICK (CONT'D)
You scream like a little girl.
ALEX
Leave him alone!
Fredrick applies more pressure with his foot to Kevin's knee.
Kevin SCREAMS even louder.
FREDRICK
You have no idea what you're dealing with, Little Man.
ALEX
God damn it!
FREDRICK
You know what they say... Two is for good measure, but
three's a charm.
Fredrick fires a third shot down into Kevin's chest, killing him.
ALEX
NO!
Fredrick smiles and tosses the revolver aside. He kneels down beside Kevin and rips his
shirt open, exposing the bloody, pulsing bullet wound. Fredrick thrusts his fingers into
the wound and swirls them around for a few moments before pulling them out and
placing them in his mouth. He sucks off the blood and then licks his fingertips.
FREDRICK
Mmmmmmmmm. You sure know how to pick friends,
Alex. Finger lickin' good.
Alex rips the bayonet from his shoulder and sits up in great pain, unable to use his left
arm.
Paine, still seated in his wheelchair, flashes an evil grin.
Fredrick stands and turns toward Alex.
FREDRICK (CONT'D)
Well... look who's back in the game.
Fredrick kicks Alex's wounded shoulder.
Alex GROANS in pain as more blood spills across the front of his shirt. His head drops
and his body sways slightly from side to side, as if he is about to faint.
FREDRICK (CONT'D)
My mother told me never to play with my food, but this is
kinda fun.
Secretly, behind his back, Alex fumbles to remove his cell phone from his back pocket.
Fredrick squats down onto one knee beside Alex. He lifts Alex's head to face him. Alex's
eyelids seem very heavy.
FREDRICK (CONT'D)
Oh, no! Don't check out on me yet. The fun is only
beginning.
Fredrick slaps Alex's face a few times, trying to bring him to attention.
Alex successfully removes the cell phone from his back pocket without being noticed,
keeping it hidden in his hand.
Fredrick grabs Alex's face and brings it close to his own.
FREDRICK (CONT'D)
Look at me.
ALEX
Look at THIS!
Alex swings his right arm at Fredrick's head, impaling Fredrick's eye with the antenna of
his cell phone.
Fredrick HOWLS like an animal. He stands and stumbles backwards a few steps toward
the full-length shuttered entryway windows. Blood begins to spew out of his eye socket,
around the protruding phone, and runs down his cheek. He grasps the phone, pulls it
from his eye socket, and throws it across the room, leaving a gaping, bloody hole in his
head.
Alex rolls over to the revolver, grabs it, and stands. He aims the gun at Fredrick and fires
off the last three rounds.
As each bullet pierces Fredrick's chest, he is pushed closer and closer to the entryway
windows. The third round that hits him knocks Fredrick backwards through one of the
full-length windows and into the sunlight on the front porch. Fredrick SCREAMS.
A shaft of sunlight shoots through the broken window into the entryway of the mansion,
crossing part of the wheelchair and shining on one of Paine's clawed hands. Smoke rises
from Paine's skin as he rolls his chair backwards a few inches, removing himself from the
path of the light beam.
Fredrick stumbles in pain as his flesh bursts into flames. His entire body becomes
engulfed by fire as he begins walking back toward the broken window. His blazing body
steps back through the hole and into the mansion's entryway.
Alex runs toward the window and, as soon as Fredrick steps through, kicks Fredrick in
the chest, sending him back out the window and into the sunlight.
Fredrick falls to the ground, struggling to return to the mansion's entryway for safety.
Suddenly his body explodes into a shower of sparks and dust.
Alex turns back to face Paine in the entryway. The two of them are separated from each
other by the shaft of light, leaving them on opposite sides of the room from each other
and cutting off Paine from the rest of the mansion.
PAINE
We are in an interesting predicament, wouldn't you say,
Alexander?
ALEX
No, YOU are. I'm free while you're trapped like a caged
animal.
PAINE
Trapped?
Paine raises his gnarled hand toward Alex as if he is thrusting something away from him.
Alex, gripped by an unseen force, is thrown backwards across the room, crashing into the
wall behind him. He lands on his wounded shoulder and GROANS in pain.
With an evil LAUGH, Paine's face transforms into his vampire self. He stands, without
much effort, and slowly walks into the shaft of sunlight toward Alex.
Alex, shocked at the sight, sits up where he has landed.
Smoke rises from Paine's skin as he crosses through the shaft of sunlight, at a deliberate
pace, toward Alex's side of the room. He pays no attention to his smoking flesh.
Alex scoots away a few inches on his butt.
Paine exits the shaft of sunlight and the smoke immediately stops rising from his skin.
He continues to slowly stalk toward Alex.
Alex, still on his butt, eyes the rifle and bayonet and begins sliding himself along the
floor toward it.
Just before Alex reaches the rifle, Paine raises his gnarled index finger toward the gun.
The rifle spins and quickly slides down the hallway toward the library doors.
PAINE (CONT'D)
(laughs)
Am I still "TRAPPED," Alexander?
Paine comes to a stop in front of Alex, who is still seated on the floor. Paine peers down
at him.
PAINE (CONT'D)
I'm a very rich and powerful man, Alexander. When you
walked out... left me... my empire was expanding. In the
last twelve years it has doubled in size.
ALEX
Is that what you call it? Your "empire?"
PAINE
You're an intelligent man, Alexander. You take that from
me. But you're not thinking clearly about my offer.
ALEX
I think it's VERY clear. Murder is murder.
PAINE
Whatever else you may think of me, you must admit that
I've worked hard all my life.
ALEX
None harder. But you worked for yourself... your own
satisfaction. I see now that power was your aim and
everything else was bent to that end.
PAINE
My life has not been as empty and evil as you make it out
to be. Many positive things have been accomplished.
History teaches us that society can not move forward
without a little bloodshed. I think I've done my part to help
advance our society.
ALEX
I will not have Brandon become part of your machine?
PAINE
You have it all wrong.
ALEX
That's what you are. You're a machine. You use people.
PAINE
I prefer to think of it as making a living.
ALEX
You take people's lives, grind them up into little pieces, and
then repackage them into nice little boxes that serve your
needs. That's what you did to mother and Katey and
everyone else in this town.
PAINE
Dear boy... your mother was a whore. She was accustomed
to being used. Your little girlfriend was none better.
This statement enrages Alex. He propels himself off of the floor, lunging at Paine.
Paine casually steps aside, avoiding Alex's attack.
Alex clumsily slams into the wall behind Paine with his wounded shoulder. He
SCREAMS and grasps at his shoulder with his usable hand.
PAINE (CONT'D)
Temper. Temper.
(steps closer to Alex)
I do admire your passion.
(takes a deep breath)
So, Alexander... where do we go from here?
ALEX
You can go to Hell.
PAINE
Been there... several times, actually. I have a gold
membership card.
ALEX
I'm glad you think this is funny.
PAINE
Amusing, maybe... but not funny. Remember when I told
you that there was something worse than death? Our
RACE is that thing. Do WE have a choice? No... and
that's not funny.
ALEX
But, you just tried to convince me that positive things have
come from being the way that you are. So, which is it?
Make up your mind.
PAINE
We are forced to live by the natural order. Instinct.
Survival of the fittest. Kill or be killed. We do what we do
because we have to.
ALEX
And I should feel pity for you and let you turn my son into
a monster? I'm sure you had a choice. It may have been so
long ago that you don't remember it now, but I'm sure you
didn't have to live this way.
Paine turns and walks away a few steps before stopping and turning around to face Alex
again.
PAINE
I can see that your mind is closed. So, if you'll excuse me.
Paine turns and walks to his wheelchair.
ALEX
We're not finished.
Paine stops and turns back to Alex.
PAINE
Yes we are, Alexander. We can end this the easy way or the
hard way. Neither option has a happy ending. Unlike me,
YOU have a choice. You can accept what is going to
happen and continue surviving in this realm, as my people
have over the centuries, or you can take your leave of this
plane now and completely miss out on how the story ends.
ALEX
That doesn't sound like any kind of choice to me.
Paine sits in his wheelchair.
PAINE
Welcome to the world of the damned. Choices are few
here.
Paine begins to wheel himself down the hallway toward the library.
PAINE (CONT'D)
You can let yourself out.
Alex runs toward Paine, who is already halfway down the hall, and grabs the back of his
wheelchair. With a hefty heave, Alex flips the chair over, spilling Paine out onto the
floor. Alex moves to the rifle bayonet lying on the floor and picks it up. He returns to
Paine and lifts the rifle above his head, preparing to plunge it into the vampire.
Paine rolls over and thrusts his hand toward Alex.
Alex is mystically thrown backwards into the large double doors of the library, breaking
them off of their hinges. He, and the doors, crash inward onto the library floor, knocking
the wind out of him.
PAINE (CONT'D)
It appears that you have chosen the hard way. You see...
you are like me, Alexander.
Paine stands, with slight difficulty.
INT. PAINE'S MANSION, LIBRARY -- CONTINUOUS
Paine enters. The library still looks as we remember it, including the large, leather chair
with its back facing the doorway. Looking down at Alex and the mess on the library
floor, Paine waves his clawed hand. Alex slides across the floor, smashing into and
knocking down a glass display case containing Paine's Union uniform. Long shafts of
jagged glass are left protruding upward from the base of the display case. The glass has
cut Alex. Paine waves his hand again, causing Alex to flip into the air. Alex is propelled
through another glass case containing a perfectly preserved pair of 1860's dueling pistols,
shattering it and leaving more large spikes of glass pointing upward from this case, as
well. The guns fall to the floor.
Alex rolls over and grabs one dueling pistol in each hand. He sits up and fires them at
Paine.
The bullets pierce Paine's chest, but he is not fazed by them. He takes a few more steps
into the room and waves his hand at Alex, sending him into the air, again, and through
another glass display case of war memorabilia located next to a wall of books. Paine
walks toward Alex.
Alex stands and begins throwing books from the shelf at Paine as he gets closer and
closer.
Books bounce off various parts of Paine's body as he continues to advance on Alex.
Paine comes to a stop just inches in front of Alex. He quickly reaches up with one hand
and grabs Alex by the throat, pulling Alex forward so that they are face to face.
PAINE
Are you quite finished now?
ALEX
Not yet.
Alex whacks Paine in the head with a large hardback book he is holding.
Paine, surprised, releases his grip on Alex's throat.
Alex rears back and brutally hits Paine in the head with the book again.
Paine backs away a couple of small steps from this blow.
Alex continues to follow up his attack, repeatedly beating Paine in the head with the large
book.
Paine is pushed backwards across the room a few steps with each blow. Welts begin to
appear on his face and blood seeps from his mouth. Each blow seems to weaken him.
He begins to slump over a bit as he continues to slowly back away.
With one final, powerful strike to the face, Alex sends Paine falling backwards onto the
large glass spikes protruding upward from the base of one of the display cases. Blood
sprays from Paine as the glass spikes enter his back and exit out through his chest. He
lets out a thunderous ROAR. The spikes lodge and suspend Paine, not allowing him to
fall to the floor. Blood runs out of his mouth as he turns his head to face Alex. Paine
smiles for a moment and then begins to LAUGH.
ALEX (CONT'D)
Where's my son?
Paine continues to LAUGH, achingly coughing up blood in the process.
Alex brutally knocks Paine in the head with the book again, causing Paine to slide a little
further down the glass spikes.
ALEX (CONT'D)
Where's Brandon?
PAINE
He's not here.
Paine agonizingly LAUGHS some more as blood steadily flows from his mouth and
chest.
Alex places his hand on Paine's upper chest and pushes him further down the spikes that
are impaling him.
Paine ROARS in torture.

Alex leans over Paine and gets in his face.
ALEX
(almost enraged)
Where?
There is a low RUMBLE within the house. Everything inside the library begins to
RATTLE.
Paine's bloodshot eyes fly wide open and a steady beam of white light shoots out of each
eye, hitting Alex and throwing him backwards across the room.
Alex crashes to the floor but immediately sits up to see what is happening.
The entire room begins to shake violently, as if a major earthquake is taking place.
Paine's body spasms on the glass spikes in an epileptic type of seizure. The room starts to
fall apart around Alex. Books fly off of shelves, pictures fall off of walls, glass display
cases topple over and shatter, and other destruction ensues. The room is in complete
chaos.
Alex remains seated on the floor trying to protect his head from the flying debris.
Paine opens his mouth, as if to scream, and a flood of blood spews upward, geyser style,
plastering the ceiling with a crimson stain. Souls of past victims from throughout the
ages fly out of the light beams being emitted from Paine's eyes. They look like ravaged
ghosts dressed in various period costumes from history and sporting tortured facial
expressions, as if they have been existing in purgatory for hundreds of years. The souls
circle the room above Alex's head, MOANING a sound that resembles a recording being
played backwards in slow motion.
Pieces of the ceiling begin to break away and fall to the floor in chunks throughout the
room as the violent earthquake becomes more intense.
Suddenly large gusts of wind whip through the room, adding to the chaos. The winds
begin to rotate in a circular motion, creating a wide funnel cloud in the room that throws
the debris around with greater intensity.
Alex is unable to sit up any longer against the gale force winds. He lies on the floor and
covers his head as his body continues to be beaten with debris.
Paine's body ceases to move, the light fades from his eyes, and the blood stops spewing
from his mouth. Still suspended above the floor by the spikes, Paine remains motionless
except for the movement forced upon his body by the wind and debris.
The tornadolike activity slowly begins to concentrate into the center of the room, pulling
the souls, blood, and debris along with it. The funnel cloud twists tighter and tighter until
it squeezes itself out and disappears.
The room, in a complete state of disarray, is motionless and silent. Oddly enough, the
only thing that has not been disturbed by the chaos is Paine's large, leather armchair,
which remains in the rear of the room with it's back facing the entrance.
After a moment, Alex lifts his head to survey the damage. Everything is in a shambles.
He stands and approaches the impaled Paine.
Suddenly Paine catches on fire and explodes in a shower of sparks, flames, and dust.
ALEX (CONT'D)
(as if all is now lost)
NO!!!!!!!!!
Alex falls to his knees among Paine's ashes, in defeat. He drops his head and begins to
cry for a few moments
ALEX (CONT'D)
(lifting his head and shouting)
BRANDON!!!!
There is silence.
ALEX (CONT'D)
BRANDON!!!
He is greeted with more silence. Alex begins to sob.
ALEX (CONT'D)
Oh, God. Oh, God! What have I done?
After a few moments, Alex stands, composes himself, and slowly walks, slump-
shouldered, toward the shattered library doors.
BRANDON (O.S.)
Father?
Alex turns and looks around the empty room for his son.
ALEX
Brandon? Where are you?
BRANDON (O.S.)
I'm here, Father.
The large leather armchair spins around to reveal Brandon sitting calmly and unharmed.
Alex runs to him.
ALEX
Thank God! Are you alright?
BRANDON
Yes, Father. I am fine.
Alex holds open his arms for a hug.
ALEX
Come here.
Brandon remains seated.
ALEX (CONT'D)
It's okay, Buddy. We won. Everything's going to be just
fine now.
Alex reaches out for Brandon, but he flinches away from his touch.
ALEX (CONT'D)
Come to Daddy. We'll stop and see the doctor before we go
home.
BRANDON
We are home, Father.
There is an awkward silence as Alex soaks in what has just been said.
Brandon's face transforms. His red eyes sink back under his enlarged brow and sharp
fangs grow inside his mouth.
BRANDON (CONT'D)
I think you should begin packing my things. Arrangements
have been made.
Brandon's voice begins to slowly morph into the voice of Paine.
BRANDON (CONT'D)
You'll get used to everything in time. It really won't be so
bad... you'll see. It will only require some minor
adjustments on your part... Alexander.
FADE OUT

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FADE IN:

EXT. A WOODED BATTLEFIELD -- NIGHT, 1862

SUPER the date: "1862"

Mounted servicemen swing their sabers wildly from their saddles.

The Confederates kneel beside him. CONFEDERATE SOLDIER 2 checks Paine's

The soldier SCREAMS.

INT. ALEX'S BEDROOM -- MORNING, PRESENT DAY

SUPER the date: "PRESENT DAY"

INT. BRANDON'S BEDROOM -- CONTINUOUS

EXT. SOCIAL SERVICE OFFICE -- LATER

INT. SOCIAL SERVICE OFFICE -- CONTINUOUS

Betty picks up an envelope from her desk.

Alex stops to talk.

Kevin exits as Alex continues down the hall.

INT. ALEX'S OFFICE -- CONTINUOUS

Alex puts the briefcase and envelope on his desk.

Katey approaches Alex and gently places his hand in hers.

Katey smiles at him and they kiss.

He presses the button to disconnect.

EXT. A WOODED BATTLEFIELD -- NIGHT, 1862

INT. ALEX'S CAR -- MORNING, PRESENT DAY

EXT. PAINE'S MANSION -- MOMENTS LATER

INT. PAINE'S MANSION, ENTRYWAY -- CONTINUOUS

INT. PAINE'S MANSION, LIBRARY -- CONTINUOUS

Fredrick exits. There is an uncomfortable silence.

Alex drops his eyes to the floor to avoid direct contact.

EXT. ALEX'S HOUSE -- EVENING

INT. ALEX'S DEN -- CONTINUOUS

Brandon kneels by Alex's dormant "corpse."

Brandon continues to LAUGH hysterically.

Alex pulls him close and they hug.

Alex squeezes him tight.

They enjoy each other's embrace for a few moments in silence.

Alex works him into another fit of LAUGHTER before stopping.

EXT. FORT THOMAS -- NIGHT, 1862

SUPER location and date: "FORT THOMAS, 1862"

Paine turns the prisoner to face the group of officers.

Paine places the barrel of his gun to the prisoner's head.

The group of Union officers CHUCKLE sadistically.

INT. ALEX'S BEDROOM -- NIGHT, PRESENT DAY

INT. ALEX'S DEN -- CONTINUOUS

A SHADOWED FIGURE, wearing a long black coat and having features

Alex, lying on the ground, tries to shake off the blow.

Alex steps back, mouth open in amazement.

INT. BRANDON'S BEDROOM -- CONTINUOUS

EXT. HEIDI'S HOUSE -- MORNING

INT. HEIDI'S KITCHEN -- CONTINUOUS

Heidi stops cooking and turns to Alex with concern.

INT. ALEX'S CAR -- LATER

Alex disconnects the call.

EXT. ALEX'S HOUSE -- AFTERNOON

Alex pulls into his driveway and parks.

INT. ALEX'S DEN -- MOMENTS LATER

INSERT - THE ENVELOPE

EXT. RANDOLPH'S RESTAURANT -- NIGHT

INT. RANDOLPH'S RESTAURANT -- CONTINUOUS

The Waiter exits.

The rest of the army begin to slowly close in.