Ivo Byrt's FAMILIA (English Version)

Even though it's not mentioned, this film takes place in
modern day America. THE VAMPIRES IN THIS SCREENPLAY DON'T LOOK

GOTHIC. THEY LOOK NORMAL, WITHOUT ANY SORT OF GOTHIC MAKEUP ON
THEM. ALSO: The male vampires don't have their hairs standing.
They have their hair down. And the eyes of the family are RED.
Plus, their ears are pointy. Like a bat’s ears. And no, they
do not fucking shine and glitter in the sunlight. Whoever
thought that this screenplay would have shiny and glittery
vampires, I’m sorry but you have picked the wrong screenplay.
IMPORTANT NOTE: It is the author's intention that this film
will be animated, cause that's how the author/writer of this
story likes to work on his stories. And it will also be
presented in Black-And-White, but the main details like RED,
GREEN, ORANGE, ETC, will be presented in THOSE COLORS.
FAMILIA
Written By
Ivo Byrt
Based On The Vampire Stories Developed By

Ivo Byrt
BLACK SCREEN.
VOICE (V.O)
What is a vampire? A corpse supposed to leave his or her
coffin to feed off the blood of the people surrounding her or
him. But what is it to you? Is it a demon or a corpse
condemned to spend his eternity and his life as a beast? A
demon commanded to spray hell on earth? A soul condemned to
wander around the world taking other souls from others on its
way? What is it to you? In your opinion, in your own choice of
words, what is the meaning of a vampire? Someone good? Someone
bad? Someone evil? I believe in the third term.
FADE TO:
A WALL.
A white wall. It's almost decomposing. Like if we're inside of

a soon-to-be-abandoned house.
On the wall, we see nothing but a drawing. We see six figures,

with their eyes colored red, and they're smiling. They have
sharp fangs on their teeth as they're smiling maliciously and
viciously, in a psychopathic way. Each member is attacking
other figures. Human figures. The human figures scream in
sheer terror as the monster figures are killing, attacking and
biting the human figures.
On top of the male monster figure, we see the message:
DADDY.
On top of the female monster figure, we see the message:
MOMMY.
On top of the oldest monster figure, we see the message:
MY BIG SISTER.
On top of the oldest monster figure, we see the message:
MY BIG BROTHER.
On top of the first youngest monster figure, we see the

message:
MY LITTLE BROTHER.
On top of the youngest monster figure, we see the message:

ME.
On top of the drawing, we get to see the clearest message,

marked with red glorious blood:
ME AND MY FAMILY.
FADE TO BLACK.
OVER BLACK:
A raindrop falls from the sky, and lands on the ground. Then,
another one, lands on a house's roof. Then, another one. Then,
another one. Then, another one. The rain strongly pours on the
ground. With some thunder and light storm with it. The rain
hits hard on wherever it falls into, it hits hard like rocks.
SMASH TO:
THE RAIN
is strongly pouring on us, and on the dark night. Lightning

has emerged. The sky shines briefly in white as thunder sounds
are strongly emitted. We slowly go down and see we're on a
deserted FOREST ROAD.
The DREADFUL, MOANING, HOWLING WIND is now BLOWING.
Then, HAZY, BLURRY GLOWS of RED AND BLUE are being illuminated
on the BACKGROUND, far from us. It's A COP CAR. It races
through the rainy night with all speed. The siren sounds out
loud. The COP CAR -- RACES on THE DESERTED FOREST ROAD.
CUT TO:
EXT. COP CAR. SAME.
As we follow the COP CAR, the RAIN FLIES TO US WITH SUCH FURY
AND SPEED, as the COP CAR expels water and dirt on its path.
INT. COP CAR. SAME.
THROUGH THE COP CAR WINDSHIELD,
the car's driving through a dark, rainy night. Rain strongly

pours and falls to the windshield. HEAVY BREATHING is heard.
THE DRIVER, who drives with a hell of a speed, BREATHS HARD
AND OUT LOUD. The RADIO starts to beep. Interference is
emitted. Voices are heard on the radio.
LUIS (ON RADIO)
Andres!
Andres -- Where are you?
Tell me you're getting closer!
The DRIVER, ANDRES, the CHIEF, 48, grabs THE RADIO WALKIE and
starts to talk.
ANDRES
I'm right here Luis! Is the ambulance
there?
LUIS (ON RADIO)

They already arrived. The others are
on their way. Where are you?
ANDRES
I don't -- I don't know. I'm in the
middle of fucking nowhere!
LUIS (ON RADIO)

Please hurry up!
Then, he sees some floodlights on a crime scene, on a quarry.

It seems like he's getting closer to wherever he's going.
ANDRES
Hold on! I think i found you! I'm
close to the scene! I'm approaching!
CUT TO:
INT. QUARRY. SAME.
ANDRES arrives. THE COP CAR arrives to A CRIME SCENE on a

QUARRY.
INT. COP CAR. SAME.
THROUGH THE WINDSHIELD,
Andres pulls over the car next to an ambulance. A group of

people are outside. Something's happening.
ANDRES
Jesus Christ.
He RUSHES OUT of the car, into --
INT. QUARRY. SAME.

ANDRES rushes out of the COP CAR, and runs to THE QUARRY with
the OTHER COP, his sidekick and partner: LUIS, 38 years old.
ANDRES runs front, then stops and pants. He gets shocked. The
lights flash on the scene. Andres walks around as he sees --
-- TORN BODY PARTS! TORN LEGS, TORN ARMS, A TORN TORSO, A

DISMEMBERED CORPSE, A FACE RIPPED IN HALF, ETC! Turns out
these parts used to belong to various teenagers.
ANDRES
(shocked)
Jesus, Mary and Joseph...
Then he turns.
ANDRES
Is that him? Is he alive? Please tell
me he's alive.
CUT TO:
UNDERWATER.
The lights flash on a blurry way. Then, A HAND -- floats on

us. A LIFE-LESS HAND of a TEENAGER.
Then, A BODY -- OF A TEENAGER floats on us. A LIFE-LESS

TEENAGER!
Then, THE BODY is being dragged to the surface by a couple of

people. It's being PULLED OUT OF THE WATER.
ON THE SURFACE.
The BODY of the TEENAGER is being put on a small boat as TWO

PEOPLE start taking the boat to the edge.
Andres and Luis are devastated, shocked, horrified by just

looking at this event.
LUIS
What do you think happened? A wild
creature?
No answer.
CUT TO:
INT. MORGUE. LATER.

THE BODY of the TEENAGER is being covered by a white blanket.
OUTSIDE OF THE ROOM, THE MOTHER OF THE TEENAGER watches

devastated. ANDRES watches her. LUIS walks to ANDRES.
ANDRES
Let's talk.
CUT TO:
INT. HOSPITAL HALLWAY.
ANDRES and LUIS walk to a coffee spot. They start ordering

coffees in plastic glasses.
LUIS
(sighs)
What a night.
ANDRES
So, who was our guy?
LUIS
From what I remember, the kid was
Sebastian Santana. 18 years old.
Probably the tallest motherfucker of
his entire class.
ANDRES
Ok, any investigation on his case?
LUIS
On the quarry case or on the "how in
hell did he get in the quarry in the
first place" case?
ANDRES
On both cases.
I need you to tell me about both
cases.
LUIS
Well, you might get surprised that
the boy had a bite mark on his neck.
ANDRES
A bite mark?
LUIS
Yeah. A wild one. Like, he was bitten
all over his neck. It's like if
someone ripped that part off him. So
maybe, someone bite him and then
what, threw him into the quarry??
I mean you know what they say.
Smaller the town is, bigger the
problems are, right?
ANDRES
(takes out a box of cigars
out of his pocket)
Christ. I can't imagine what's worse.
The town or the problems.
He pulls a cigar from his pocket. He's about to light it. A

NURSE notices, alarmed, disrupted.
NURSE
Excuse me? Sir?
ANDRES
(looks at her)
Yeah?
NURSE
You can't smoke in here.
ANDRES
(realizes)
I -- I see. Well -- Jesus -- I'm
sorry, i just had a long stressful
night and I -- I need some air. I
need some fresh air
(at Luis)
I'll wait for you outside if you want
to talk.
LUIS
OK. Yeah.
That's a good idea.
ANDRES walks out.
CUT TO:
EXT. HOSPITAL. MOMENTS LATER.
FRONT OF HOSPITAL - WIDE SHOT.
ANDRES exits the hospital. It stopped raining like a while

ago.
ANDRES stops and lights a cigar. He smokes, the smoke is

slowly expelled from his mouth.
Then, he looks at the sky, at the dark night sky.
WE SLOWLY MOVE, like CRANE UP to THE NIGHT. And from the

night, everything FADES TO BLACK.
SMASH TO:
INT. SNOWY NORTH TOWN. NIGHT.
The wind is slowly and softly blowing. That serves as an

ambiance music for the town.
So quiet. So peaceful. So beautiful. Bathed in the most

beautiful and vivid moonlight shining on the sky. Maybe it's
Christmas time. But there are no kids screaming and cheering
for their Christmas presents. But there are no Christmas
decorations settled in the houses. And if it was Christmas,
the houses would have been shining from the inside with its
glorious glowing lights.
Anyways, where were we?

The roofs of the houses are covered in snow. The trees and the
ground also.
Snow is slowly falling to the town. This looks like a peaceful

set up for a Christmas movie and not a horror movie.
The small graveyard with the tombstones are also covered in

rich white snow.
We see various shots of the town, with some cars parked close
to the houses.
Told you it wasn't Christmas.
CUT TO:
INT. HOUSE. SAME.
ON THE LIVING ROOM, we see a big window that makes us look at

the outside.
Then, VROOOOOOOM! A BLACK FIGURE! A SHADOWING FIGURE! It

appears outside the window and walks somewhere near the house.
Then, ANOTHER, AND ANOTHER, AND ANOTHER!
INT. HOUSE - PARENTS'S ROOM. SAME.
A MAN and A WOMAN, probably on their 40s, obviously HUSBAND

and WIFE, are sleeping together on a big king-sized bed.
Then, KNOCK KNOCK KNOCK. Three knocks are emitted on the main
door. The HUSBAND doesn't wake up to this. He doesn't react to
this. Neither does the WIFE.
The three knocks are emitted again. And again. And again. And
again. The HUSBAND groans. He begins to wake up. The three
knocks are emitted again. As the three knocks are emitted one
more time, the HUSBAND wakes up and rises from the bed. He
turns his light on. THE WIFE wakes up also.
WIFE
What is it??
HUSBAND
Someone's knocking on the door.
WIFE
Who could that be?
HUSBAND
I'll see.
INT. HOUSE - MAIN ROOM. SAME.
The HUSBAND walks to the door. He hears the three knocks one
more time.
EXT. HOUSE. SAME.
He opens it, and sees nothing. He wonders. He walks outside.

He looks everywhere.
He turns and sees THE SAME SHADOWING FIGURE WE SAW AT THE

WINDOW FROM INSIDE THE HOUSE. THE SHADOWING FIGURE HAS CLEAR
RED EYES. RED EYES LIKE A WILD ANIMAL'S EYES.
The HUSBAND is THROWN inside the house. He grunts. He sees how

THE SHADOWING FIGURE enters the house.
THE SHADOWING FIGURE HAS A YOUNG MAN APPEARANCE. The man looks
young. His two eyes are red.
The HUSBAND starts to stand up. The SHADOWING FIGURE then

grabs his leg --
-- and TWISTS IT!
The HUSBAND screams in a harrowing, hollowing, endless pain.

INT. HOUSE - BEDROOM. SAME.
The WIFE wakes up, startled as she hears those painful,

depressing screams coming from her husband.
WIFE
Honey?
No answer.
The HUSBAND,
now with his two legs twisted in a grotesquely horrifyingly
and utterly grotesque and graphic way, is thrown at the dining
room. He tries to crawl away. The SHADOWING FIGURE walks
slowly to him. The HUSBAND tries to crawl as strongly as he
can.
Then, he is grabbed by the hair by the SHADOWING FIGURE. The
figure grabs a knife, and with it --
-- he CUTS THE SHIT OUT OF THE HUSBAND'S NECK! It is cut on a

grotesque and obviously bloody way.
The figure then proceeds to feed on the husband's blood. As

the figure finishes after a couple of seconds, he rises. He
looks at the husband. Then --
-- HE STRONGLY STEPS ON THE HUSBAND'S HEAD SEVERAL STRONG

TIMES, HE STEPS ON IT SEVERAL TIMES UNTIL HE STOMPS ON IT AND
THEN --
-- THE HUSBAND'S HEAD EXPLODES IN A GROTESQUELY WAY, BRAIN

MATTER AND A HUGE AMOUNT OF BLOOD ARE SPREADING ON THE DINING
ROOM'S FLOOR.
WIFE
Honey? Honey! HONEY?!
The WIFE arrives at the scene. She finds the male shadowing
figure and her husband's headless leg-broken throat-slit body.
She begins to be upset, disgusted and horrified about this.
Suddenly -- A FEMALE SHADOWING FIGURE, with her two eyes red,

enters the house. She has the appearance of a very young lady.
The WIFE gasps.
WIFE
Who are you?!
As the WIFE backs away slowly, the female shadowing figure

starts to follow her.
WIFE
Don't come any closer! This is my
property--!
Then, the FEMALE SHADOWING FIGURE stabs the Wife several times
with a box cutter. The Wife begins to cough blood as the
Female Shadowing Figure stabs her strong repeated times.
Outside of the kids' room, the DAUGHTER (10) opens the door.
Only to find her Mom being stabbed alive by the FEMALE
SHADOWING FIGURE.
The DAUGHTER is horrified. The WIFE can barely catch her

breath.
WIFE
Hide, Lilly!
The WIFE screams as the female shadowing figure begins to feed

on her neck. The WIFE screams the same way as her husband
screamed when he got his legs both broken in such a grotesque
way.
Then, THE TWO BIG CHILDREN OF THE SHADOWING FIGURES walk to

the DAUGHTER, who gasps as she enters back into the room.
INT. HOUSE - CHILDREN'S ROOM. SAME.
The DAUGHTER locks the door. The LITTLE BROTHER (7, almost 8)
wakes up from his bed.
LITTLE BROTHER
What's happening?
He hears his Mother screaming from outside the room.
LITTLE BROTHER
Is that Mom?
He rises.
LITTLE BROTHER
What's happening?!
DAUGHTER
Mario, go hide!
LITTLE BROTHER
What? Why?
Then, STRONG BANGING is emitted on the door. No matter how the

door is locked, it will be open by breaking.
DAUGHTER
Go hide! Quickly!
The DAUGHTER takes the LITTLE BROTHER'S hand as she gets him
inside the closet.
INT. HOUSE - CHILDREN'S ROOM - CLOSET. SAME.
The LITTLE BROTHER is hiding on the closet. Through the lines

of the closet door, he can see what's going on outside the
closet.
LITTLE BROTHER'S P.O.V: HE SEES HOW TWO OLDER BROTHER, ONE A

BOY AND THE OTHER A GIRL, ENTER INTO THE ROOM BY BREAKING THE
DOOR WITH ALL THEIR STRENGTHS AND INNER DEMONS.
The OLDER BROTHER and SISTER enter into the room, looking for
the daughter.
The OLDER BROTHER, whose eyes are also red, looks around. He
looks everywhere he can.
THE OLDER DAUGHTER, whose eyes are also red, also looks
around. Then, she hears some sniffing. She stops looking as
she hears those sniffing noises. She tries to get close to
them. As she does, she hears them
under the LITTLE BROTHER'S BED.
UNDER THE LITTLE BROTHER'S BED
The DAUGHTER can't stop silently crying. She sees two boots in
front of the bed. They stop. A moment of the daughter looking
at the boots. Then,
AAAARRRRGGGGHHHH! THE OLDER DAUGHTER scares the DAUGHTER with
an insanely scary and terrifying face. The DAUGHTER screams
like hell. The OLDER DAUGHTER drags the DAUGHTER out of the
bed.
The LITTLE BROTHER watches how his older sister is being

dragged out of the bed. THE OLDER DAUGHTER and THE OLDER
BROTHER hold her down. Then, the two start to feed on the
DAUGHTER so savagely, so wildly, it's impossible to tell if
these two are actually people, or animals. The DAUGHTER
screams like hell as her neck keeps getting bitten and fucked
by the two brothers.
The LITTLE BROTHER watches, silently crying and horrified, how
his older sister is devoured by the two brothers.
We hear the hollowing screams of agony of The DAUGHTER. Then

we see two more brothers entering the room. They are like the
older ones: One is a boy, the other a girl. They're both
young. Both look older. Like 17 years old.
The LITTLE Brother's silent laughter accidentally drops a loud

strong sniff.
The two young brothers heard that. They turn to the closet.
The LITTLE BROTHER watches how the two young brothers approach
to the closet. They stay still. So does the LITTLE BROTHER.
Then --
-- WHAM! CRASH! The Youngest Brothers break the closet door

with all their strengths and all their inner demons. The
LITTLE BROTHER screams like hell.
After they break the closet door, The LITTLE BROTHER stops
screaming. The Two Younger Brothers look at him. They grab
him.
LITTLE BROTHER
No! NO!
They drag him out of the closet.
CUT TO:
EXT. HOUSE. LATER.
We see how the sun slowly falls to the house. We slowly

approach to the house as we enter it.
INT. HOUSE.
We slowly turn to the dining room, where we see the dead body
of The Husband. We turn back front as we keep advancing. The
crying and screaming of the baby is heard from inside the
bedroom. We slowly turn down to see the Wife's dead body.
Then, we turn right, to see the children's room. We enter it
as we see the two lifeless corpses of the two children. It
should be as upsetting as it is shocking.
CUT TO:
INT. HOUSE - BEDROOM. LATER.
ON SOUNDTRACK - THE SUN AIN'T GONNA SHINE ANYMORE by FRANKIE

VALLI and THE FOUR SEASONS
Inaudible.
THE BABY
is crying and screaming like hell. He just won't stop crying.

We slowly back away from him as he keeps crying. All of this
is inaudible. We can only hear the music sounding on the
background.
SMASH TO BLACK.:
OPENING CREDITS - BLACK SCREEN.
The song sounds on the opening credits. As both the credits

and the song end --
SMASH TO:
INT. THE FAMILY'S HOUSE - MATEO'S ROOM. SUNDOWN.
We see a figure, floating above a comfy bed. The figure is A

BOY. He looks like he's 17 years old.
The curtains are covering the scene so that Mateo can't get
burnt by the sun.
The figure, MATEO, a 17-year-old-looking vampire boy, slowly

starts to float down.
Mateo starts to float down slowly and gently.
After a moment of him slowly descending down, he finally lands

on the bed gently.
He slowly opens his eyes. They are red, looks like he's got
the strong blazing blood on his two eyes.
He rises from the bed and walks to the window. He slowly opens
the curtain. And realizes the sun ain't shining no more.
He sighs in relief.
SECONDS LATER:
Waiting for his entire family to wake up, Mateo turns on the
TV. He switches through various channels. A moment of him as
he keeps switching through various channels.
Suddenly, the door knocks. Mateo turns off the TV.
MATEO
Yeah?
His big sister, VANIA, probably the sexiest 20 year old girl
alive, also with red eyes, opens the door. She looks at Mateo.
VANIA
It's almost time, are you ready to
go?
MATEO
(nods)
Yeah.
VANIA
Alright.
She exits the room and closes the door. Mateo turns the TV
again.
CUT TO:
INT. THE FAMILY'S HOUSE - HALLWAY. SAME.
Vania walks on a hallway. She then turns right, to a door.

Another room. She stands in front of the door. She knocks the
door three times.
LUNA (FROM INSIDE THE ROOM)

Yeah?
VANIA
It's me.
Luna opens the door. SHE LOOKS LIKE SHE IS 17 YEARS OLD. BUT
SHE'S NOT 17 YEARS OLD. HER AGE IS SOMETHING MORE THAN THAT.
LUNA
What is it?
VANIA
We're almost about to leave. Are you
ready?
LUNA
Yeah. I am. You?
VANIA
I think so.
LUNA
Well, are you fully ready or do you
think you are fully ready?
VANIA
I don't know, but i think i am.
LUNA
It's so awful to move again, right?
VANIA
Yeah, i know. But, this will be a new
beginning for us. Think of this as a
new way to start all over again.
LUNA
(thinks about it)
Yeah, I guess.
CUT TO:
MINUTES LATER:
Vania is walking in the hallway. She turns left. To another

door. She stands in front of it and knocks on it three times.
Then, A 17 YEAR OLD LOOKING VAMPIRE BOY named VINKO opens the
door.
VINKO
Hey, Vania.
VANIA
Hey. We're about to leave very soon.
I'm just telling you that so that you
could know.
VINKO
Alright. Thanks for telling me.
VANIA
No problem.
He closes the door. She walks off.
OFF SCREEN, we hear some humming. Humming coming from a female

delicate soft beautiful voice.
CUT TO:
INT. CAR. SAME.
ON THE DRIVER’S SEAT, we see A MAN, whose face we can’t fully

recognize. The MAN looks pale. He has his eyes on the road. It
is clear that the humming is emitted from inside the car.
We slowly turn and see A WOMAN, whose face we can’t fully

recognize. She is also pale. She is softly humming a song.
Then, her guts emit a GROWLING sound. She grunts in pain.
MAN
You ok?
WOMAN
Yeah, i’m just -- i’m starting to get
hungry.
From the spot in which you keep the bottles in the car, The
MAN takes a bottle, full of a red liquid:
BLOOD.
MAN
(offers bottle to woman)
Here.
The woman takes it. She opens it and starts to drink from the
bottle. She drinks the half of it. She tastes the blood. She
finishes drinking and closes the bottle.
MAN
Why the half?
WOMAN
In case if you were hungry too. You
want some?
MAN
No. I'm driving. I can't get wild for
it on the road. It's like having a
fucking seizure on the middle of the
road.
WOMAN
For later then.
(turns to the backseat)
Kids, you want some?
We hear four young voices saying “No”. The Woman keeps the
bottle.
WOMAN
For later, then.
LATER:
David, the DRIVER and MAN OF THE FAMILY, switches through

various RADIO STATIONS.
ON RADIO
--continuing our breaking news story.
There's still no reports about the
responsible for the bloody massacre
at the Macarena Asylum. Reports
indicate that there are no survivors
at the massacre--
David switches it.
The radio station changes to another.
ON RADIO
--brand new car--
He switches it again. The radio station changes to another.
ON RADIO
--thank god we have--
He switches it again. Then, he lands one one station and the

song "Who's Afraid Of The Big Bad Wolf?" by Henry Hall sounds
on the radio. It stays there. David looks focused as he drives
on the road.
FADE TO:
LATER:
The RAIN STRONGLY pours on the CAR. On the windshield. We see

A YOUNG DRIVER who drives on his car. On the rainy night. On a
deserted road. Then, he sees A TRUCK, parked on the road, and
A MAN indicating him to stop. THE YOUNG DRIVER sees the truck.
THE YOUNG DRIVER stops the car.
EXT. CAR. SAME/INT. DESERTED ROAD. SAME.
The car parks in front of us. And THE YOUNG DRIVER exits the
car. He walks to THE MAN: BERNIE. 44. With a big black beard
on his chin. A father of two children. Someone who looks
charming.
THE DRIVER IS INTRODUCED TO US: DAVID. LOOKING LIKE HE'S 29
YEARS OLD. CHARISMATIC, HANDSOME, DAPPER, WHITE SKINNED, BLUE
EYES. Here it is ladies. Here's your prince charming from the
movies. He's got everything of what a prince charming has:
Good look, a strong muscular body, red eyes, everything. He's
got this look that drive us crazy about him. There's this
scent he's got that attract us more and more to him. He is
this combination between Trevor Belmont and Alucard of the
Netflix show "Castlevania".
DAVID
Evening sir. Can i help you with
something?
BERNIE
Yeah. I -- Uh. OK, how can i start?
This is bad. I was on my way home and
then the motors failed and then the
truck failed. I tried to fix it, but
with the rain here. It's just -- I
don't know what to do --
BERNIE seems anxious at the moment. Marco tries to calm him

down.
DAVID
Calm down. It's alright.
BERNIE
No, it's not. I got the truck all
bad. And my wife's waiting for me at
the hospital. She's giving birth.
She's been pregnant for like 7
months. I want to be there for her. I
don't know how to get there now. If i
get on my feet, that'll be like
suicide.
DAVID
Calm down. Maybe i can help you with
the motors. And if the motors are all
screwed up, I can take you there for
you if you want. You just tell me
where to go, where to drive to, and
done. Mission accomplished.
BERNIE
Really? Would you do that for me?
DAVID
Yeah, sure. Of course. Can i take a
look at the motor?
BERNIE
If you please, sure. All yours.
DAVID
Alright then.
DAVID goes to the front part of the truck.
DAVID
May i?
BERNIE
Sure.
DAVID opens the hood of the truck.
BERNIE
You know anything about trucks?
DAVID
I've been taught some things about
them.
BERNIE
You and your family are not from
around here are you?
DAVID
No sir.
BERNIE
Where you guys from, cowboy??
DAVID
Texas. We're here to help my Dad with
something. You? Where are you from?
BERNIE
Albuquerque, New Mexico. It's pretty
down there. I wonder how's the state
there now on this days. I haven't
visited on months. Since i got
married and all.
DAVID
Listen, I'm gonna look for something
in my car i hope i can help you with.
I'm gonna come back here and i will
keep helping you out, ok??
BERNIE
Great. Sure. I'll just wait here.
David walks to his car.
WOMAN
What are you doing?
DAVID
Getting the icing of the cake.
He opens the car's trunk and grabs something that he takes

from the car: A PIPE WRENCH. He grabs it. He holds it. David
stays still.
DAVID
Can i tell you something?
WOMAN
What is it?
DAVID
No, honey. I wasn't talking to you.
Sir!
BERNIE
Yeah?
DAVID
Can i tell you something?
BERNIE
Sure. What is it?
DAVID
I've always wanted to visit
Albuquerque.
BERNIE
Really?
DAVID
Yeah sir. Turns out i never had time
to do it. You know with all this
family thing.
David finally closes the trunk door of the car. He approaches

to BERNIE, who wants David to help him get out of his mess.
BERNIE
Well, you should visit it.
David finally approaches to BERNIE.
BERNIE
It's very pretty--
Then, WHAM! DAVID HITS BERNIE WITH THE PIPE WRENCH ON HIS
HEAD! BERNIE falls to the ground. Hurt.
DAVID lunges at him and hits him again and again and again and
again with the pipe wrench. DAVID hits him to death. Then,
finally, BERNIE passes out. He dies. David then proceeds to
have a wild feast with BERNIE'S BLOOD. He sucks it for a
moment. Then, as he finishes, he breaks Bernie's head. He
rises, gets on the car, and drives off. A moment of us seeing
how David and his family drive off, as the red car lights
start to disappear on the road.
INT. TOWN. LATER.
We see the car, slowly advancing through a town. We see a

sign:
WELCOME TO TAVERNER'S HILL
The Car drives through the town.
INT. NEIGHBORHOOD. MINUTES LATER.
The car slowly approaches to a RED HOUSE in a neighborhood.

This is THE ONLY RED HOUSE in THE WHOLE NEIGHBORHOOD. THE
HOUSE'S NUMBER IS
1260. The car slowly pulls over next to THE RED HOUSE.
INT. CAR. SAME.
David stops the car in front of the red house. He sighs. He

turns to his children.
DAVID
Wait here. We’ll be right back.
THE FOUR CHILDREN

Okay.
Maria and David get out of the car. They get out of the car
and walk towards the house.
EXT. THE RED HOUSE. SAME.
David and Maria walk towards the small black gate of the red
house. They open it by pushing it with their hands. They enter
the interior part of the entrance to the house.
David walks to the front door. When he is about to kick the

door open, Maria stops him.
MARIA
Wait.
David obeys. He stops and looks at his wife.
DAVID
What? What is it?
MARIA
What if someday - somehow - we get robbed?
David thinks about this for a moment. Then he realizes.
DAVID
Fuck, you’re actually right about that.
He walks to his wife. He walks with her to the back of the

house. They reach the back, where they see the second door.
That is the door that leads to the kitchen. David is ready to
kick it. He looks at his wife before doing so. She nods. David
turns his head towards the door. He inhales and exhales. He
kicks the door very fucking hard, breaking it.
CUT TO:
INT. CAR. SAME.
The four children hear nothing. They are calm. Suddenly....

desperate screams begin to be heard inside the house.
The four children turn their heads towards the red house.
Inside the house, the screams of pain and agony continue to be
heard.
Author's Note: The screaming has to be and must be realistic.
After a long moment, the screaming stops. The four children

still look at the red house.
After a long moment, the two parents leave the cabin through
the front door. They leave it open. The two parents, with
their mouths covered in red blazing blood, walk towards the
family car.
INT. THE RED HOUSE - MAIN ROOM. SAME.
The family enters and takes a look at the house.
MARIA and DAVID also enter the house, without cleaning the
bloods from their mouths.
The two parents walk to the bedroom of those who lived there.
The four children continue to look around the house.
Suddenly Luna turns towards ...
.... David, who drags the body of AN OLDER WOMAN towards the
front door. The body has several stab wounds to its body, and
has her entire neck cut off and its head broken. Luna stares
in shock at the scene.
CUT TO:
INT. THE RED HOUSE - GARDEN IN THE BACK PART. SECONDS LATER.
David is digging a hole in the garden.
He finishes. Then he begins to drag a body. The body of an

older man. Maria looks from behind. David puts the body in the
burial place. He begins to bury it underground.
Later, he begins to make another hole in the garden. Another

hole located next to the first burial place. When finished,
David drags the body of the older woman we saw earlier, and
puts the body in the second burial place. He begins to bury it
underground.
Maria begins to slowly approach him. She rests her head on her
husband's back, as a kind of comfort. So she hugs him. For
some reason, she doesn't want to let her go. David reacts to
this with surprise and with all the calm in the world. He
holds her hand, stroking it gently.
CUT TO:
INT. THE RED HOUSE - BEDROOM. SECONDS LATER.
David and Maria choose the bedroom, that's composed with a big
king-sized bed.
INT. THE RED HOUSE - LUNA'S ROOM. SAME.
Luna chooses her own room. A room of her own.
INT. THE RED HOUSE - VANIA'S ROOM. SAME.
Vania chooses her own room. A room of her own.
INT. THE RED HOUSE - VINKO AND MATEO'S ROOM. SAME.
Vinko and Mateo choose their own room. A bunk-bed room.

VINKO
I call the bed from above.
CUT TO:
EXT. THE RED HOUSE. DAY.
It's day.
INT. THE RED HOUSE - LUNA'S ROOM. SAME.
Luna is sleeping under the covers. The window is covered with

pieces of newspaper that are sticking to the window with
scotch tape.
INT. THE RED HOUSE - VANIA'S ROOM. SAME.
Vania is sleeping under the covers. The window is covered with

pieces of newspaper that are sticking to the window with
scotch tape.
INT. THE RED HOUSE - BEDROOM. SAME.
Maria and David are sleeping under the covers. The window is
covered with pieces of newspaper that are sticking to the
window with scotch tape.
INT. THE RED HOUSE - VINKO AND MATEO'S ROOM. SAME.
The window is covered with pieces of newspaper that are

sticking to the window with scotch tape.
FADE TO BLACK.:
EXT. VACATION HOUSE IN THE FOREST. LATER.
The place is quiet.
INT. VACATION HOUSE IN THE FOREST. SAME.
A PREGNANT WOMAN, on her early 30s, is reading a book while

sitting on a chair. She's seven months pregnant.
Then, KNOCK KNOCK KNOCK. Three knocks are emitted on the door.
The WOMAN heard it. She looks somewhere else.
PREGNANT WOMAN
Who could that be?? Honey??
PREGNANT WOMAN'S HUSBAND

Yeah?
PREGNANT WOMAN
Somebody knocked on the door.

Yeah, i know. I realize. It's
probably the neighbors.
PREGNANT WOMAN
Could you check who is it? Please?

(sighs)
Sure. I'll go. Hold on.
INT. VACATION HOUSE - MAIN ROOM. SAME.
The HUSBAND walks to the door. The HUSBAND takes all the locks
off. He finally opens the door. Then, SLASH! MATEO just
slashed the husband's neck with a switchblade. There's a large
bloody line on his neck, with blood coming out.
INT. VACATION HOUSE - ROOM. SAME.
The PREGNANT WOMAN heard that and gasps. She looks at the
door.
PREGNANT WOMAN
(alarmed)
Honey?!
No answer. Then, she leaves the book and rises from the chair.
The PREGNANT WOMAN runs to the scene. The next thing she sees
is --
-- her husband's dead corpse lying on the ground, with the

switchblade stabbed right on his head, with blood coming out.
The PREGNANT WOMAN gasps and reacts to this with sheer terror.
Then, she turns to see MATEO, with his face splattered in
blood. The Husband's blood. LUNA, VINKO, DAVID, VANIA and
MARIA enter into the house. They all enter. But Luna stays
still as she watches the scene.
LUNA watches the pregnant woman, she has that face, she makes
that face:
Don't kill her. Let's get out of here. Let her live. Think
about the life inside of that life.
MATEO
(smiling on a macabre way)
Hello.
He then stabs her on her pregnant tummy. LUNA gasps in terror

as the pregnant woman grunts in pain. There's a bloody hole on
her pregnant tummy. LUNA just watches. Then, MATEO stabs her
again, now on the woman's stomach. The knife penetrates the
Woman's spine, paralyzing her in the moment.
Then, she falls to the ground. She can't move her legs. She is
paralyzed.
MATEO turns to LUNA.
MATEO
Search inside the house. See if
anybody else is inside. Now!
LUNA obeys. She begins to search inside the house with her
family.
MATEO approaches to THE NOW-HURT PREGNANT WOMAN. He lunges at

her.
MATEO
Oh. Poor little woman. SO helpless.
So fragile. So...perfect.
So...beautiful.
He caresses her cheek. She is hurt. She has tears streaming

down her eyes.
MATEO
Did you knew that women are more
beautiful when they are hurt, beaten,
kicked, and most of all, ready to get
raped?? I didn't knew that. I just
found out years ago.
PREGNANT WOMAN
Why -- Why are you doing this? Why
are you doing this to me??
MATEO
I don't know. But i like doing this
to people. Especially women. And I'm
sure that you're gonna like what i am
about to do to you. I know you're
gonna love it too.
He begins to undress her until she’s fully naked. This makes

Mateo get fully aroused. He flushes when he sees the naked
body, especially when it's covered in blood. He takes the
blood from the knife stab wound and spreads it everywhere on
the body. He quickly takes his pants off.
MATEO
Don't worry. I'm not here to hurt
you. I just -- hope you like this. I
know you will. Trust me. I’ll go
slow.
Luna walks to the scene.
LUNA
There's nothing in here.
MATEO
(not looking at luna,
looking at the hurt pregnant
woman)
Nothing?
LUNA
No, nothing.
MATEO
Well...search again!
LUNA
I already did.
MATEO
Search with the family then!
LUNA
What about you?
MATEO
I'm busy here!
LUNA
Raping a woman after you killed her
husband is not exactly a meaning to
say "I'm busy here!".
MATEO
Luna...Please...Just, go search
again, alright?
Luna sighs. She goes back to the same place where she looked
at things.
Mateo then proceeds to put his penis inside the hurt woman's
vagina. He penetrates her. She grunts in pain. He moans. He
begins to thrust.
Mateo keeps thrusting. For some reason, he looks so sexy when

he is thrusting. I know it sounds fucked-up, but it's true.
And like I've said before, this is an animated film. We don't

have to bother on finding a sexy boy to do a fucking sexy
vampire role.
CUT TO:
EXT. VACATION HOUSE. LATER.
We see the house, with the lights turned on from the inside.
We back up a little bit, until --
-- the house begins to be illuminated and shined by the police

car’s lights. We slowly turn and see two cop cars arriving to
the scene. As we slowly approach to them, we see the cops
exiting the cars.
All the cops arrive to the scene. They find the dead body of
THE HUSBAND. Then, they also find the naked dead raped body of
THE PREGNANT WOMAN. But she’s not pregnant anymore. Her baby
just died due to the stabbings Mateo did to her.
COP
Jesus, Mary and Joseph...
CUT TO:
INT. THE RED HOUSE - BEDROOM. DAY.
It is day. Or night, like the vampires like to call it.
LUNA slowly approaches to the side of the bed in which her Mom
is.
She uncovers the sheet off her mother's face. We see her
mother, sleeping peacefully and quietly on the bed, quietly
breathing and quietly inhaling and exhaling.
Luna shakes her Mom slowly.
LUNA
(whispering)
Mom. Mom. Mama. Mama. Mom.
MARIA groans. It is so cute when she groans.
Luna keeps shaking Maria on a slow way.
LUNA
Mom. Mommy. Mom, please wake up. I
need to talk with you.
Maria opens her eyes and sees her daughter.
MARIA
(smiles)
Hey.
LUNA
Mom, please wake up. I really need to
talk with you.
MARIA
(groans)
Oh, please. Let me sleep.
LUNA
Mommy, please. It'll be only for a
while.
CUT TO:
INT. THE RED HOUSE - LUNA'S ROOM. MINUTES LATER.
Maria and Luna are lying on the bed, the sheets are covering
their non-naked bodies.
MARIA
What is it that you wanted to talk
with me?
Luna waits for a moment. Then, she talks:
LUNA
Mom.
MARIA
Tell me.
LUNA
Can i ask you a question?
MARIA
Sure. Yeah. You can ask me anything
you want. What is it?
LUNA
Why do we have to kill people?
Maria is thoughtful.
MARIA
I don't understand.
LUNA
I said: Why do we have to kill
people?
Maria is left on silence. She thinks of her answer. She looks

at her daughter.
MARIA
You're talking about...our nature?
LUNA
Yes. Our nature. Why do we have this
nature with us?
MARIA
Look....It's not our choice, alright?
It's not anyone else's choice either.
We don't do it because we want to. We
do it because we have to. To survive.
To live.
LUNA
I don't want to live my life doing
nothing but...just...killing people
for survival. I don't want that.
MARIA
Then, what is it that you want?
LUNA
I want a perfect life.
MARIA
Lu, no one can have a perfect life.
Not even humans, not even vampires.
Even with a prefect life, you are
still gonna regret that it all
happened to you.
LUNA
I just don't want people to suffer.
That's all.
Silence.
MARIA
Is there anything else you want to
ask me? Remember, like I've said, you
can ask me anything. Anything you
want.
Luna thinks about her question. She now has one:
LUNA
How did you met Dad?
MARIA
You really want to hear that story?
LUNA
Yeah.
MARIA
Ok. It was a long time ago. Around a
thousand years ago.
LUNA
Were you my age when you met him, or
you were older?
MARIA
I was i. I was still i. I still had
this face. This appearance. This
eyes. This young woman's body. I've
had this young woman's face for a
very long time. We met on a small
town, far from here. We both were
wandering on our owns in the night.
Then suddenly, we exchange stares.
And when i see him on the eyes, i saw
--
LUNA
The love of your life?
MARIA
I saw my future on his eyes. I saw
the two of us forming a family.
That’s when i realized that when i
saw him, i knew that this is the
person i want to spend the rest of my
life with. And i’m glad i did.
LUNA
What happened after?
MARIA
We just spent all of our nights
together. We lived in separate
houses. Every night, we went out,
flew on the roofs of the houses, and
just feast on people together. It was
fun. Years later, we married. And
then we had the most beautiful
children a mother and a father could
ever have.
LUNA
Was it like when you saw Dad in the
eyes? Or was it different?
MARIA
It was like when I saw your Dad in
the eyes.
LUNA
Are you happy you had this life? Are
you happy you formed a family?
MARIA
So happy.
LUNA
Why can't you repeat it?
MARIA
Hmm?
LUNA
Why can’t you try doing what you did
with Dad? Fly on the roofs of the
houses? Go out at night?
MARIA
Now it's different. We're both
parents. I can't leave you all alone.
If i go out, who’s gonna take care of
you and the the kids? I have to take
this responsibility.
LUNA
Mom? Can i ask you a question?
MARIA
Sure. What is it?
LUNA
How does someone falls in love? You
just look at that person in the eyes
and you know it's the right one?
MARIA
It just happens. You don’t fall for
that person just by his or her
expression. You fall for that person
because of who he or she is. Someone
good. Someone who loves you for who
you are. Someone who promises to
protect you and guard you.
LUNA
Should i do it like you? Looking into
somebody’s eyend looking at my future
through them?s a
MARIA
You’ll see. And if you have any
problem with it, i’ll help you, ok?
LUNA
And what happens if soon enough i’m
on a relationship with someone?
MARIA
If you’re gonna be on a relationship,
you have to be very careful on the
one who you’re falling in love with.
That’s the hardest part. All i’m
saying is that you don’t know if that
person cheats on you or hurts you. If
you’re on a relationship with
someone, good. You did it. But the
hardest part, the hardest of them
all, is keeping the relationship.
You’ll know it better when you grow
up. There’s still a lot of years
coming ahead.
LUNA
And how do i know? How do i know that
i’m in love?
MARIA
You’ll just know. When you’re ready.
I want you to look at something, ok?
She extends her hand, showing a ring on her finger. Her hand
lies on the bed next to the mother and daughter. LUNA looks at
it.
MARIA
Do you like it?
LUNA
Uh-huh. It's pretty. Very pretty.
MARIA
Your Dad gave it to me, before you
were born. He never told me where he
got it from. If he stole it from a
store, he would have told me how. You
know what he said to me the moment he
presented the ring to me?
LUNA
What did he said to you?
MARIA
He said: “I will protect you with all
my life and the life i can give. I
can be a better husband, a better
father, a better everything to you.
If we want to be more eternal, if
we’re gonna keep loving each other
the way we do, i need you to allow me
to attach this ring on your finger.”
It feels like if he said those words
yesterday.
LUNA
You said yes?
MARIA
Of course. And after i said yes I
cried of happiness. I jumped on him,
he held me strongly with his arms.
LUNA
Where did you had the wedding? On a
church?
MARIA
On an abandoned church, in a small
town. Years later, you were born.
Before i met your dad, i was scared.
LUNA
Of what? Of the sun?
MARIA
I was scared of loneliness. I was
scared of spending my life alone. But
the moment i met him, when we started
our family, that's when i realize
that i was not scared anymore.
LUNA
That sounds cute. Will i get married
someday? Sure, after i fall in love.
MARIA
When you get older.
LUNA
But i'm about to be 350 soon.
MARIA
I know, but when you grow up some
more, you will fall in love, you will
get married and i will be the
happiest grandmother in the world.
LUNA smiles.
LUNA
Mom, are we monsters?
MARIA
Of course we aren’t. It’s just our
nature, that’s all.
LUNA
But -- if we are not monsters, and if
we are not humans, then what are we?
MARIA
We are a family. Still. We were a
family yesterday. We are a family
today. We will be a family tomorrow.
No matter what the cost is, no matter
if we’re still monsters or not, we
are still a family.
Maria then takes the ring out of her finger. She gives it to
LUNA.
MARIA
You can keep it if you want.
LUNA
Really? Thanks.
MARIA
Put it on. See if it fits.
LUNA puts the ring on her third finger from her right hand. It
fits perfectly.
LUNA
It does fit. It fits perfectly.
MARIA
Yeah.
Then, she yawns. She cuddles next to her mother. Maria closes
her eyes. Now there's a mother and a daughter sleeping
together.
We turn to outside the room, where A SHAPE, A BEING, A FORM, A

FIGURE, A MAN is standing, looking at the mother and the
daughter.
DAVID.
DAVID slowly walks to the scene, and he just lays next to

LUNA, looking at Maria. DAVID sleeps. Now there's a mother, a
daughter and a father sleeping together. With their eyes
closed.
FADE TO BLACK.
INT. MARCO'S HOUSE. 2:30 AM.
A BOY, 10 YEARS OLD, looking young, innocent and fragile,

wakes up from a nightmare. He is MARCO.
He looks around. Then, he rises from his bed and begins to

look under his bed. There's nothing in there. Marco sighs as
he goes back to bed.
Then, he sighs and looks up. To the ceiling. He looks

melancholic.
He's a depressed boy and he's sick of the everyday routine.
He wears a short white shirt as an every night pajama. And

boxers. We don't see the boxers. Marco is not your typical emo
teen.
Then, he hears his neighbors complaining and arguing. Who the
hell can be arguing at...2:30 in the night?
Marco sighs as he looks up.
CUT TO:
INT. UNCLE'S CAR, FRONT-SEAT. LATER - MORNING.
MARCO is at the front seat. He looks at the window.
His UNCLE, 45 years old, a neglectful fuck, is driving his

car. He is transporting Marco to school.
Marco, with a look of an endless melancholia on his face,

keeps looking at the window.
CUT TO:
INT. SCHOOL. MINUTES LATER.
Marco walks with his backpack on his back to the inside of the
school.
Then, THREE BULLIES, also 10 years old, VICTOR, RAYMOND and

BRUCE stumble across Marco. Victor pushes him.
VICTOR
Out of the way, faggot.
Marco freezes.
VICTOR
What's the matter? You waiting for
your boyfriend or something, you
fucking little fairy?
(scoffs)
Look at him. He thinks he is so
special.
RAYMOND
He's such a fucking loser. That's
what he is.
VICTOR, RAYMOND and BRUCE run to the inside of the school,

pushing everyone in front of them. Marco sighs as he begins to
walk inside as well.
CUT TO:
INT. CLASSROOM. LATER.
All the students are sitting on their spots. Looking front.

The TEACHER is telling something on front.
TEACHER
Got any historical real life event?
One that was inspired by a movie or a
book? Anyone?
MARCO raises his hand.
TEACHER
(getting to notice him)
Uh yes MARCO.
MARCO
The Sharon Tate Incident.
TEACHER
Alright, tell us about it.
MARCO
You know Roman Polanski?
TEACHER
I've heard from him. Is he a
director?
MARCO
Yes, he's a director. Back in 1969,
Mr. Polanski went on a trip to
London. Probably to promote his new
film or something like that.
TEACHER
Okay.
MARCO
Well the thing was that Sharon was
two weeks pregnant with her baby. On
a night, a terrible night, she went
to have dinner at the El Coyote Cafe,
with some people. Her friends. Jay
Sebring, Wojciech Frykowski and
ABigail Folger. They returned home at
10:30 PM. After midnight, they were
all murdered by three members of The
Manson Family.
TEACHER
How?
MARCO
Stabbing.
TEACHER
And how it was reported?
MARCO
I'm sorry?
TEACHER
How did it made it to the news? To
history?
MARCO
Tate's housekeeper Winfred Chapman
found the bodies the next morning.
TEACHER doesn't know what to say. He
doesn't know if he should be shocked
or interested. At least he should be
proud that one of his students
actually reads and knows something.
TEACHER
Alright, everyone, let's give a huge
clap to MARCO here. Come on.
They all start clapping. All except
for Victor and his goons.
CUT TO:
INT. SCHOOL BOYS BATHROOM. LATER
MARCO enters the bathroom. He walks to the washer. He looks at

himself in the mirror. Then, someone STRONGLY pushes him.
Victor. His two friends are there with him.
VICTOR
Well well well. How's it going you
fucking little bitch?
MARCO
Leave me alone.
BRUCE
Check it out, he's washing his little
faggie face.
Bruce tries to touch MARCO's face,
but he strongly aparts the hand off
him.
BRUCE
Hey, easy there.
MARCO
Don't fucking touch my face.
BRUCE
You don't want me to fucking touch
your face? Well don't you dare trying
to fucking touch my hand. I'm not
your fucking boyfriend and i don't
want to be.
(scoffs)
He even fights like a faggot.
VICTOR
He even talks like a faggot. Watch
this.
(mockingly)
"The Manson Family, Mr. Teacher"
(normal)
Nobody fucking cares of what happened
to those people.
A PEER, 8 years old, enters the bathroom. MARCO, Victor,

Raymond and Bruce look at him. An awkward silence fills the
scene.
PEER
Am i missing something??
Silence. Nobody speaks.
PEER
I'll come back later.
He leaves. Victor turns at MARCO.
VICTOR
You fucking faggot. Try touching me
and I'll fuck you up.
They all leave. MARCO looks at them go. He looks at himself on

the mirror. He suddenly starts to feel sorry and embarrassment
and shame for himself.
THE RING BELLS.
CUT TO:
INT. CLASSROOM. LATER.

Marco, as he's writing on a notebook, can't help but
notice...MARTINA, who's writing on her notebook. She's really
cute when she's focused and concentrated.
Martina is Marco's crush. She has always been his crush.
Marco looks at her, with full attention. Secretly.
MRS. MATUTE (O.S.)

Marco. Marco.
Roaring:
MRS. MATUTE
MARCO!
Marco gasps. He jumps out of his chair, falling to the ground.

Everyone, including Mrs. Matute, start to laugh at him.
Marco, embarrassed, rises up and goes back to sit on his spot.
MRS. MATUTE
Oh that's so funny.
MARCO
Oh yeah?! That's so funny?! Tell me,
what is so funny?!
Beat.
MARCO
The fact that i fell from my fucking
chair?! Really?! Is that so fucking
hilarious to you, you old fucking
putrid cunt?!
Beat. Everyone is quiet. Mrs. Matute is stunned.
CUT TO:
EXT. PRINCIPAL'S OFFICE. LATER.
MRS. MATUTE and THE SCHOOL PRINCIPAL are arguing with MARCO,
who's sitting, looking down. UNCLE is also with him.
CUT TO:
INT. UNCLE'S CAR. LATER. AFTER SCHOOL.
Marco is on the front seat, looking at the window, thoughtful.

UNCLE is driving, with an obvious face of disappointment on
his face.
Marco turns to his UNCLE.
MARCO
UNCLE--
UNCLE
Shh!
MARCO
UNCLE, please. I just want to talk to
you--!!
UNCLE
Shut up! You've already said enough
today. And please, just...Don't call
me UNCLE anymore, are we clear?
MARCO
UNCLE...
UNCLE
ARE. WE. FUCKING. CLEAR. ?!.
MARCO
Yes, yes we are.
UNCLE
Say it.
MARCO
Say what?
UNCLE
What you've just said.
MARCO
But i've just said it.
UNCLE
Well, say it again.
MARCO
(sighs)
We are clear.
UNCLE
Louder.
MARCO
We are clear!
UNCLE
Louder!
MARCO
WE ARE CLEAR! WE ARE CLEAR! WE ARE
FUCKING CLEAR! WE ARE FUCKING CLEAR!
UNCLE
Good.
He keeps driving. Marco looks at the window. He cries

silently.
CUT TO:
INT. MARCO'S HOUSE - DINING ROOM. LATER THAT DAY. 6:30 PM.
Marco is gathered on the dining room with UNCLE. Both have

plates with dinner on their spots on the table.
UNCLE is eating perfectly while Marco isn't. UNCLE notices

him.
UNCLE
What's wrong?
MARCO
What?
UNCLE
What do you mean "what"? I said
what's wrong. Why aren't you eating
your food. The delicious food made by
your poor old Grandfather--
MARCO
You're not my grandfather.
Silence erupts on the scene. UNCLE is
stunned by just hearing those words.
UNCLE
Apologize. Right now.
MARCO
I don't want to.
UNCLE
Oh yeah? And why you don't want to
apologize to your poor old UNCLE?
Huh? Why don't you want to
apologize--?
MARCO
(softly)
Fuck's sake.
(loud)
I SAID YOU'RE NOT MY FUCKING
GRANDFATHER! YOU ARE NOT MY
GRANDFATHER! AND YOU WILL NEVER BE!
UNCLE is still stunned.
UNCLE
I'm gonna count to five. And if you
still haven't apologized by the time
when i counted 5, you will be in
serious trouble. One...Two...
He rises from his spot and walks to Marco.
UNCLE
Three...Four...
MARCO
I'm sorry...
UNCLE
FIVE!!!
Then, he pulls Marco out of his spot. Marco yells and screams
for help. UNCLE then proceeds to beat, punch, and kick Marco
in such a strong, violent, brutal and vicious way to see.
CUT TO:
INT. SCHOOL HALLWAY. THE NEXT DAY. DAY.
MARCO is walking on the school hallway. He's about to walk to

the stairs. He's about to walk downstairs.
Then --
WHAM! VICTOR pushes him as MARCO falls down the stairs. As he

lands to the ground, he grunts. All the students from there
erupt in strong laughter. Everyone laughs at him. MARCO
realizes that all of the students around him, including his
bully, are laughing at him.
VICTOR
Hey MARCO! You walk much?
The laughter continues. MARCO rises, and runs away, crying.

INT. BATHROOM. SECONDS LATER.
MARCO arrives, crying. He begins to wash his face. He keeps

crying. Then, VICTOR, RAYMOND AND BRUCE arrive to the
bathroom. MARCO gasps. He turns to them.
VICTOR
Hey there you fucking pussy!
VICTOR PUNCHES MARCO, WHO FALLS TO THE GROUND. THEN, VICTOR,

RAYMOND AND BRUCE BEGIN TO KICK MARCO, BEAT MARCO AND PUNCH
MARCO WITH ALL THEIR STRENGTHS AND INNER DEMONS. THIS SHOULD
BE SHOWN IN A GRAPHIC, DISTURBING, UPSETTING, BRUTAL, VICIOUS
AND SAD WAY.
MARCO is weak, he can't stop them, nor he can't stand up to

himself.
UNCLE (O.S)
Stand up you fucking little bitch!
CUT TO:
INT. MARCO'S HOUSE - MAIN ROOM. LATER.
UNCLE is beating, punching and kicking the living shit out of

MARCO.
MARCO can't stand up and defend himself. He just lays there,

waiting for the pain to end sooner.
FADE TO BLACK.:
INT. TOWN'S HOSPITAL - THE HEALTH CENTER PART. LATER THAT DAY.
NIGHT.
This is the town's official health center. It's located in a

hospital. It's a long and extended hallway full of doors that
lead to rooms. In the center of the hallway, we can find this
dining room with a large TV hanging from above the room.
The patients, people who are dressed in normal clothes and who
are hospitalized for a reason (could be suicidal depression or
drug abuse), are eating their dinners while the news is being
projected on the TV.
In Between the patients, there are adults, old people, grown

ups and teenagers.
The caretakers of the patients are all waiting for them to
finish their dinners.
One of the caretakers, an african-american male, walks deep to

the hallway, holding a box full of cigarettes on his hand.
CARETAKER #2
Where are you going?
CARETAKER #1
I'm just going to smoke for a while.
As he walks to the emergency stairs, located on the end of the

hallway, we turn to the window, where we see the weather is
raining.
We then begin to see...
...FOUR RED EYES, looking at the scene. Some shit's about to

go down.
WE TURN TO...
...THE EMERGENCY STAIRS.
INT. HOSPITAL - THE EMERGENCY STAIRS. SAME.
The African-American Caretaker walks upstairs.
Then, from inside the health center, we can hear nothing

but...
...HOLLOWING AND HARROWING SCREAMS OF TERROR AND PAIN!
The Caretaker quickly begins to hear those screams of pain and

sheer horror.
He walks downstairs. To the health center. As he keeps walking

downstairs, those depression-inducing screams keep continuing.
He opens the door of the emergency stairs...
INT. TOWN'S HOSPITAL - THE HEALTH CENTER PART. SAME.
...where he finds...
...MUTILATED, DISMEMBERED, DISEMBOWELED, OBVIOUSLY DEAD,

BLOODY AND RAPED CORPSES.
The corpses, that used to belong to the patients and the

caretakers are lying all over the hallway, with strong red
blood coming out of their necks.
Their heads are broken. The reason of that is because they
won't turn into vampires and then infect the whole fucking
town.
The caretaker looks at the bloody mess of the hallway, as he

keeps venturing into the hallway. He looks traumatized,
disgusted, horrified.
Then, as the terrified Caretaker turns,...
...Mateo attacks him. He sucks on the Caretaker's blood,

making him yell and scream in pain.
As Mateo finishes, he breaks the Caretaker's head and leaves

him to die on the ground.
Mateo has his whole mouth covered in red blood. Just like the
family. They all have their mouths covered in red blood.
DAVID
Let's go.
David and his family go off flying on the broken windows. They
jump on the broken windows and they fly off.
FADE TO BLACK.:
EXT. THE RED HOUSE. NIGHT. THE NEXT NIGHT.
The family is gathered outside the house.
DAVID
Alright, so you know the rules. We'll
go separate ways this time. Are we
clear?
MATEO
Yeah.
VANIA
Yeah.
LUNA
Yeah.
VINKO
Yeah.
MARIA
We're clear.
DAVID
Inside the house, that will be the
place where we will encounter,
alright?
MARIA
Sounds good. Kids?
THE KIDS OF THE FAMILY

Yeah / Yeah / Alright / Inside, got
it.
DAVID
Alright. Vinko, Mateo, let's go.
David, Vinko and Mateo walk off. Maria, Vania and Luna walk on
the other direction.
CUT TO:
INT. STREET. LATER.
NOTE: THE THREE GIRLS HAVE ALREADY KILLED SOMEONE. THIS IS THE
AFTERMATH OF THE KILLING.
Vania, Maria and Luna are walking on the street.
Then, Maria hears a boy crying. She stops. Her two daughters
notice.
LUNA
What is it? Mom?
She keeps hearing the boyish crying.
MARIA
Don't you hear that?
LUNA
Hear what?
MARIA
That.
LUNA
What?
VANIA
What's that?
MARIA
That. Someone crying. Sounds more
like a boy crying or something like
that.
She then turns to an alley. She walks
deep into it.
She hears the crying noises inside the alley. She keeps
walking deep into the alley.
Then, she sees...
...A BOY. Sitting on the alley, facing his back on the wall of
the filthy alley.
The BOY keeps crying.
Maria begins to sympathize for the boy. She looks worried.

Luna and Vania enter the alley too and notice the boy.
Truth is that no one else outside the alley gives a shit about
it. They're all moving on with their lives.
Maria gets on her knees.
MARIA
Are you okay?
The BOY,
MARCO, completely battered and with multiple bruises on his
body, uncovers his face from his hands. He sees Maria for the
first time.
He gets scared. He slowly starts to back off to the other way
of the alley. Maria, calm, stops him.
MARIA
Hey, hey, hey. It's alright. It's
alright. It's fine. Look at me. I'm a
good person, alright? I'm not gonna
hurt you, alright?
Marco pants as he keeps looking at her. He doesn't talk.
Maria uses her fingers to dry Marco's tears. Something that

she had never done before, not even to a human.
Maria can't help noticing Marco's right eye: He's got a purple
eye on his right eye.
MARIA
Christ, what happened there?
Marco doesn't even answer.

MARIA
You're not gonna talk to me?
VANIA
Mom?
MARIA
(not even turning back to
see her daughter)
Yeah?
VANIA
Dad, Mateo and Vinko must be waiting
for us.
MARIA
So?
VANIA
Look, let's just leave him here,
alright? Someone will do something.
MARIA
Someone? Someone? Has someone done
something to him right now? Do you
think that people are giving a shit
about him right now?
LUNA
Mom, I know what you're trying to do,
alright?
MARIA
Really? You know? And what am I
trying to do?
LUNA
You're trying to bring him with us.
MARIA
Exactly.
VANIA
Mom. We're not like this. You know
we're not like this.
MARIA
(to marco)
Listen, we need to go now. You are
more than welcome to come with us, if
you want. What do you say?
No answer. Maria sighs.

MARIA
Alright. Suit yourself.
Maria then rises and walks off with her two daughters.
We're only focused on Marco, who looks at them go. He starts

to think for a moment.
INT. STREET. SAME.
Maria and Vania and Luna walk off the alley.
Then, Marco starts to exit the alley and he follows them.
Marco walks to Maria. She turns and notices Marco. The three
women stop.
Maria gets on her knees, to Marco.
MARIA
What? What is it?
Silence. Beat.
Then, she realizes:
MARIA
You want to come with us?
Marco nods, without saying anything coming out of his mouth.
CUT TO:
INT. THE RED HOUSE - MAIN ROOM. LATER.
Maria, Vania and Luna arrive at the house....
....with Marco with them. Marco looks around.
MARIA
Honey, we're home!
Silence. No answer.
Maria then takes Marco to the bathroom.
LUNA
What are you doing?
MARIA
What do you think? I'm gonna give
this poor creature a bath. He looks
like he hasn't taken a bath in days.
LUNA
What about us?
MARIA
Wait outside. Wait for the boys to
come home.
They enter the bathroom.
CUT TO:
INT. THE RED HOUSE - BATHROOM. MINUTES LATER.
Maria is giving Marco a bath. She puts shampoo and spreads the
shampoo on Marco's hair.
Marco likes this. He feels comfortable and safe now.
Truth is that he feels happy now. Only his mother made him
baths like this. For some reason, this brings him back to the
memory of him and his mother.
MARIA
Close your eyes.
Marco obeys. He closes his eyes.
Maria fills an empty plastic container with water. He washes

Marco's hair with it. The shampoo dissolves slowly. It spreads
on Marco's face as it slowly goes down. She rinses his hair
with the water from the plastic container.
Maria then notices...
...SCRATCH MARKS on MARCO'S BACK. Like if someone just

attacked him, or even worse, raped him then scratched him.
Maria can't help notice the scratch marks.
MARIA
What happened there?
MARCO
Nothing.
Maria then realizes about something:
MARIA
You can talk?
MARCO
(nods his head)
Yes. I can talk.
MARIA
I thought you were mute.
MARCO
If i was mute, i would have answered
your questions from earlier on the
alley with sign language.
MARIA
I don't know anything about sign
language.
MARCO
Yeah, me neither.
Maria chuckles. Marco does the same.
MARIA
Well, now we've got one thing in
common.
MARCO
Yeah.
MARIA
All Right, turn.
Marco turns and Maria's smile fades away when she sees Marco's
purple eye.
MARIA
What happened there?
MARCO
I fell on the street...
MARIA
What's your name?
MARCO
Marco.
MARIA
Well, Marco. I've seen people fall on
the streets all the time. And none of
those times I've seen people get a
purple eye. I know you're lying to
me.
MARCO
I'm not lying.
MARIA
Yeah, you are.
MARCO
I'm not lying. I hit my eye with
something---
MARIA
Did someone do that to you?
MARCO
...No...
Then:
MARCO
...Yeah...
MARIA
Who did that to you?
MARCO
My...My...UNCLE...
MARIA
Your UNCLE did that to you?
Marco nods.
MARCO
Yeah, that scumbag.
MARIA
"Scumbag"? What's a "scumbag"?
MARCO
It’s a word to a person that’s...bad.
You know...a bad guy. An idiot. A
stupid person. Someone who you cannot
trust. Understand?
MARIA
"Scumbag"....I get it. Was he
responsible for those scratch marks
on your back? He did them to you?
MARCO
Yeah.
MARIA
Oh, you poor little thing...Want me
to call your parents to come get you?
Marco doesn't answer. He looks down. Tears streaming off his

eyes.
MARIA
What? What is it? You don't want me
to call your parents to come get you?
You don't want me to help you--??
MARCO
My parents are dead.
Maria realizes.
MARCO
I've been living with my UNCLE ever
since they died.
MARIA
Well...Do you want me to call
somebody to come get you? Want me to
get you home---??
MARCO
No. I don't want you to get me home.
If I go there again, I'll die,
understand?
Maria realizes.
MARIA
Oh.
MARCO
I appreciate the offer, alright? I
really, really do. But I just don't
want you to call anybody. Alright? If
you do, they'll send me with him and
i'll be gone within seconds.
Maria understands that Marco doesn't want to be sent home.
MARIA
Oh. Okay. Alright. You can stay here.
MARCO
Really?
Marco, happy, hugs Maria, the same way he used to hug his
mother. He does it like if she was his mother. Maria hugs him
too.
CUT TO:
INT. THE RED HOUSE - MAIN ROOM. SECONDS LATER.
Luna and Vania wait in the living room. David, Mateo and Vinko
arrive at the house.
DAVID
We’re home!
But he only notices Luna and Vania in the living room. He

wonders.
DAVID
And your mother?
VANIA
She’s in the bathroom?
DAVID
What is she doing there? Is she sick or something--?
VANIA
(cutting him off)
She brought somebody to the house.
David wonders. “Brought?” “Somebody?” “To the house?” “Who

could that somebody be?”
DAVID
What?
VANIA
Mom brought somebody to the house.
DAVID
Who?
VANIA
A human.
David realizes. He walks faster to the bathroom. They all look

at him go.
INT. THE RED HOUSE - BATHROOM. SAME.
Maria keeps giving a bath to Marco. David enters the bathroom

and sees the human boy. Marco gasps. Maria turns to David, who
looks furious.
MARIA
Well, hi Honey. How was hunting?
DAVID (O.S)
I can't accept this!
CUT TO:
INT. THE RED HOUSE - BEDROOM. LATER.
David and Maria are arguing in the bedroom.
DAVID
I can't accept a human child in this
house! I will not accept it!
MARIA
You have to do it!
DAVID
And why do you think I should accept
this?
MARIA
The boy had nowhere to go. He has
nowhere to live now. Please, let's
just give him a home, at least for
once.
DAVID
That boy?! THAT FUCKING BOY?! HE'S A
THREAT! WHAT IF HE EXPOSES US?! WHAT
IF HE RISKS THE FAMILY?!
MARIA
I...Look, I know what you're trying
to say. But I have already made up my
mind.
DAVID
Jesus Fuck. Where did you find him?
Did you steal him? Is it someone
else's boy?
MARIA
He was. But not now. Not anymore.
DAVID
Honey, where did you find him?
MARIA
On an alley.
DAVID
On an alley?
MARIA
Yes, on an alley. An alley. A fucking
alley.
DAVID
(turns to the door)
Great.
David walks to the door. Maria wonders. She stops David.
MARIA
Jesus FUCKING CHRIST!!! What are you
planning to do to him? You're gonna
kill him?
DAVID
I'm gonna return him to the same
alley where you found him. And you're
coming with me.
MARIA
I'm not coming with you.
David stops and turns to her.
DAVID
You want to keep him, don't you?
MARIA
I'm just trying to help him. He's had
a rough time in his life. Have you
seen the bruises on his body? The
purple mark on his eye? He's got a
purple eye, David. A fucking purple
eye. And no, he didn’t fell on the
fucking street. Someone did that to
him, alright? Someone bad.
DAVID
(softly, to himself)
...kidnapping. This is kidnapping.
This is kidnapping. This is
kidnapping...
MARIA
What's that?
DAVID
(not to himself; normal)
This is kidnapping, alright? This is
kidnapping, alright? You just
kidnapped somebody’s fucking child.
MARIA
Jesus Fucking Christ, how many
fucking times do i have to fucking
tell you this? I found him on an
alley, all alone. Imagine what could
have happened to him if nobody else
appeared. He would have died.
DAVID
Yeah, good riddance.
MARIA
Babe, just think about it for a
second. I just saved somebody's life.
DAVID
Yeah, by kidnapping him and bringing
him into our home. Our home, Maria.
Our fucking home. What if he goes to
the police? What if he tells us? You
know what would happen if he does
that? We would all get fucking
exposed. They will discover us. And
they're gonna kill us. All of us.
MARIA
Babe...
DAVID
I'm just saying, we can't stay with
him.
MARIA
Oh yeah? And why not?
DAVID
Because...What if the father or the
mother of the boy end up searching
for him? What if they end up
searching the boy without rest? We
could get in some serious shit. We
could get in big trouble---
MARIA
His parents are dead.
David freezes for a moment. He can't quite believe what he
just heard.
DAVID
What?
MARIA
He told me the whole thing. His two
parents died when he was little.
After that, he moved in with his
Uncle. And after that...
DAVID
...you found him on the fucking
alley.
MARIA
...I found him on the fucking alley.
David doesn't know what to do: Either get rid of the boy or
allow him in his house. He sighs, thoughtful.
MARIA
Babe, think about it. We can give him
food, shelter, a good place to live.
Don't you think he deserves it?
David sighs.
DAVID
Alright.
MARIA
(happy)
Really?!
DAVID
Really...
She quickly hugs him.
DAVID
But under one condition. One.
Alright?
MARIA
(breaks the hug)
Alright. And what would that one
condition be?
DAVID
If he turns on all of us, if he
accuses us to the police, if he
exposes us to the public, he's dead.
I'm not joking. He will be dead for
real.
Maria understands now.
MARIA
Alright.
CUT TO:
INT. THE RED HOUSE - BATHROOM. MINUTES LATER - DAWN.
The bathtub is all clean and dry. Marco is lying on the

bathtub with bed sheets covering him. There's a pillow behind
his head.
Since they couldn't find any more rooms for Marco, they
decided to go for the bathroom instead.
Maria is covering Marco with the blankets.
For some reason, Maria is behaving like a mother towards

Marco. She treats him like a son.
Truth is that Marco didn't, and never, had a normal childhood.

He never had real parents, nor a real grandfather.
Maria accommodates Marco on the bathtub bed.
MARIA
There. All set.
MARCO
Why am I sleeping in the bathroom?
MARIA
Because we couldn't find another room
for you.
MARCO
Why can't I sleep with the others?
With you?
MARIA
Aren't you big enough to be sleeping
with grown-ups?
MARCO
I don't know.
Maria chuckles. She lunges and kisses Marco on the cheek.
MARIA
Goodnight.
MARCO
Goodnight, miss.
Maria walks to the bathroom door. She turns off the lights and
exits the room.
MARCO
Miss?
Maria turns.
MARIA
Yeah? Tell me. What is it? What do
you need right now?
MARCO
(silence)
No, nothing. I...I forgot.
MARIA
Oh, alright. Whenever you remember
it, you tell me, alright?
MARCO
Okay.
MARIA
I think you should rest for now. You
must be tired.
MARCO
Yeah, i am.
MARIA
Alright then. Goodnight.
Marco, without any sort of wonder, without any sort of

hesitation, goes to sleep. He sleeps comfortably on the
bathtub bed.
CUT TO:
INT. TOWN'S SUPERMARKET. NIGHT.
MATEO, VINKO AND MARCO are in the supermarket. Mateo is

holding tight on a shopping cart, Vinko is on the shopping
cart and Marco is looking for some stuff.
Vania, Luna, Maria and David are out there, hunting for food
for Mateo and Vinko. Mateo and Vinko are hunting for food for
Marco.
Mateo then turns and sees something that attracts his

attention. He keeps looking at it. He stops the shopping cart
and walks to something that keeps attracting him. He finally
arrives at it...
...IT'S A HALLOWEEN HORROR VAMPIRE MASK. More like, a set of

HALLOWEEN HORROR VAMPIRE MASKS. Looks like Halloween is
approaching.
Mateo grabs one of the masks and looks at it. He feels wonder
for it.
MATEO
Hmm.
Interesting.
Mateo puts the mask on one spot. He looks at it. He stares at

it for a beat. He starts to examine it.
Then, he opens his mouth. Revealing his fangs. He touches

them.
Then, he introduces two fingers of his two hands to his mouth.

And he opens his mouth in a grotesque way.
He takes his tongue out. Now there's a vampire trying to mimic

a vampire mask.
Mateo turns and sees A MOTHER with her TWO LITTLE KIDS,
watching him. Mateo stops doing what he was doing.
He goes back to the cart with the vampire mask on his hand.
INT. TOWN'S SUPERMARKET - CASHIERS SECTION. LATER.
Mateo is paying the bought things with a shitload of money.

Money that he recollected from the victims he killed with his
own family.
The SUPERMARKET CASHIER is stunned by the quantity of money

that Mateo is paying the things with.
SUPERMARKET CASHIER
That's a lot of money you got on your
hand.
Mateo chuckles.
MATEO
Lady, I just robbed a bank with my
brother.
He gives the money to the SUPERMARKET CASHIER.
CUT TO:
INT. TAVERNER'S HILL TOWN. LATER.
Mateo, Vinko and Marco are walking on the town of Taverner's

Hill.
It's a quiet town. But that doesn't mean that there aren't any
cars or people around. There are people minding their own
business, there are others who are talking to others. There
are vehicles driving and passing by. A perfectly
normal-looking quiet small town.
Mateo is wearing the supermarket-bought Vampire mask.
VINKO
Mateo, did you realize what just
happened?
MATEO
What? What just happened?
VINKO
We just bought in the supermarket
like humans. It's the first time we
ever do that.
MATEO
You're right. That moment was
amazing. We should have bought so
much shit in there. Maybe even buy
the entire fucking supermarket.
Vinko and Mateo laugh their asses off.
MARCO
Mateo?
Mateo turns to Marco.
MATEO
Yeah?
What is it?
Tell me.
MARCO
Where did you get that money from?
MATEO
What money?
MARCO
That money that you got from your
pocket and gave to the lady on the
supermarket.
Where did you get it?
MATEO
I stole it.
MARCO
You stole it? Really? From who? The
people you killed?
MATEO
That's right. I stole it from the
people that I...that we killed.
MARCO
We? Who is we?
MATEO
Me and My Family.
MARCO
Oh, right. You kill people. I forgot.
MATEO
It's okay.
I wonder what they could be doing
right now.
They're out there, hunting blood for
us while we're hunting food for you,
Marco.
CUT TO:
INT. APARTMENT - BEDROOM. SAME.
A YOUNG COUPLE is roughly making love in bed. Both are fully

barefoot naked.
The NUDE YOUNG COUPLE keeps kissing and making out.
Suddenly, WE HEAR A WINDOW BREAKING SOUND FROM OUTSIDE OF THE

ROOM!
THE NUDE YOUNG WOMAN gets startled. THE NUDE YOUNG MAN doesn't
get startled.
NUDE YOUNG WOMAN

Did you hear that?
NUDE YOUNG MAN

Hear what?
NUDE YOUNG WOMAN

That.
NUDE YOUNG MAN

What?
NUDE YOUNG WOMAN

That.
NUDE YOUNG MAN

What?
NUDE YOUNG WOMAN

That. That sound. That noise.
NUDE YOUNG MAN

What sound? What noise? I don't hear
anything.
The YOUNG MAN tries to keep it up with the sexual tension and
the sexual action that he shared with her. But she just aparts
from him.
NUDE YOUNG MAN

Okay, what the hell is wrong now?
She rises from the bed and puts a robe on.
NUDE YOUNG MAN

What are you doing?
NUDE YOUNG WOMAN

I'm going to see what that noise was.
NUDE YOUNG MAN

Babe...
NUDE YOUNG WOMAN

Not right now.
She walks to the door. The YOUNG MAN lays back to the bed,
frustrated.
A few seconds pass by...

Then, he hears footsteps approaching. He quickly sighs.
NUDE YOUNG MAN

Finally.
He sees the door.
NUDE YOUNG MAN

It's about god-damn...
Then, he sees something that confuses him and horrifies him at

the same time.
NUDE YOUNG MAN

...time?
He sees his FULLY NAKED GIRLFRIEND, with her THROAT SLICED

OFF, WITH RED BLAZING BLOOD COMING OUT OF IT.
The YOUNG MAN is horrified, scared, confused by all of it.
NUDE YOUNG MAN

Baby?
The YOUNG WOMAN, as she opens her mouth, makes blood to come
out of her mouth.
She quickly gets on her knees and drops herself to the ground.
NUDE YOUNG MAN

BABY?!
He quickly rises up from bed and goes to check her. His hands
gets stained with her girlfriend's blood.
NUDE YOUNG MAN

Oh, fuck.
Fuck. Fuck.
Fuck. FUCK!
Babe! Babe! Please! Please, wake up!
Babe? Babe!
He desperately and frantically tries to revive and wake up his

girlfriend. But no good result comes out of it. Her throat
slit wound keeps bleeding. He tries to fix it, but he can't.
He begins to cry.
Then, DAVID quickly approaches and hits THE NUDE YOUNG MAN
with A HAMMER ON THE HEAD VARIOUS SEVERAL STRONG TIMES. The
NUDE YOUNG MAN falls to the ground, dead. David keeps hitting
him wildly and strongly.
Then, he stops. He grabs two empty water bottles and begins to
fill them with the blood of the couple. It is as gruesome as
it sounds.
David finishes collecting the blood for Vinko and Mateo.
He and his family walk off. They fly off on the broken window.
They fly off the apartment.
CUT TO:
INT. THE RED HOUSE - DINING ROOM. LATER.
Marco is eating yogurt with cereals. Vania watches him. She's

sitting on the table with him.
Marco finishes his plate. He picks it up and goes to the

kitchen with it.
VANIA
What are you gonna do with that
plate?
MARCO
I'm gonna wash it.
VANIA
No, no, no. Nonsense. Here, give it
to me.
Marco wonders.
VANIA
Please, give it to me.
I'm not gonna break it or anything
like that.
Marco gives her the plate. She walks with it to the kitchen
INT. THE RED HOUSE - KITCHEN. SAME.
where she begins to wash the plate on the dishwasher. Marco

approaches, confused.
MARCO
Why did you do that? I could have
washed by myself.
VANIA
Marco, you're the guest in our house.
We always must treat our guests with
kindness and honesty. That's this
home's rules.
MARCO
I thought that this home's rules were
"kill everything that is a human".
VANIA
Well...yeah. Plus that.
Vania looks at Marco, she smiles to him. He smiles back.
MARCO
But seriously, why did you wash the
plate and didn't let me wash the
plate?
VANIA
Look, I'm not supposed to talk to a
human, alright?
This is, like, the first time that i
ever talk to a human. And now, I'm
just trying to be nice to you,
alright?
Marco understands.
MARCO
Alright. I get that you're trying to
be nice to me. And i appreciate it,
alright? I appreciate that you're
being nice to me.
VANIA
Thank you.
Vania then stops washing the plate. And gets on her knees, as
she looks at Marco.
VANIA
Just so you know. By far, you're my
favorite human, of all time.
MARCO
(smiles)
Really?
VANIA
(nods)
Really.
Then, something unexpected happens. She lunges and kisses him
on the cheek. Marco gets surprised. He gasps and blushes.
Vania backs off, embarrassed and blushing.
VANIA
Sorry.
MARCO
What for?
There's nothing to forgive.
Silence. The two look at each other, they smile to each other.
CUT TO:
INT. THE RED HOUSE - BATHROOM. HOURS LATER - DAY
Marco is sleeping on the bathtub bed.
CUT TO:
INT. THE RED HOUSE - VINKO AND MATEO'S ROOM. DAY.
Vinko is sleeping. And as he sleeps, he gradually begins to

smile.
CUT TO:
INT. THE RED HOUSE - MAIN ROOM. NIGHT. LATER THAT DAY.
The family is out. The only members who are inside the house
are Marco and Vania.
Marco is watching the TV. He's watching the news. He's sitting
on the couch.
Vania approaches to him.
VANIA
Hey.
Marco turns to her.
MARCO
Hey.
She sits next to him.
VANIA
What're you watching?
MARCO
Just some other random reporting on
the news.
VANIA
You like watching the news?
MARCO
It's not that i like to watch them.
But it's the only thing i have to
watch.
VANIA
Really?
It's the only thing you have that you
can watch?
You never watch cartoons?
MARCO
They're so...How should i describe
them....typical.
VANIA
What do you mean by "typical"?
MARCO
It's always the same thing with
cartoons. Something goes right,
something goes bad and then something
goes right again at the end of it.
It's always the same thing.
Vania thinks about this for a second.
VANIA
So, what you're trying to say is
that....cartoons are....boring?
MARCO
It's not that they're boring, because
they're not. It's just, they need to
do something different this time.
Something less typical. Something
new.
VANIA
Speaking of something different and
something new, want to do something
else today?
MARCO
What do you mean?
VANIA
Instead of watching the same old
boring news of every night, why don't
we do something different today?
MARCO
Do something different?
VANIA
Mm-hm.
MARCO
Like what?
VANIA
Like...go out. Why don't we go out
today?
MARCO
Like...as in....like a date or
something?
VANIA
I wouldn't say that it's a date. I
would call it more a...brother and
sister hangout.
Marco thinks about this for a moment.
VANIA
Marco, think about it. Ever since you
have arrived here, you haven't got
the chance to exit the house, not
even for a smidge of time. Think
about it.
Marco still thinks about this for a moment.
VANIA
What do you say?
CUT TO:
INT. TOWN STREETS. LATER.
Marco and Vania are walking together.
The two notice a park. They walk there.
INT. PARK #2.

The duo arrives at the park. They sit on the swingers. They
decide to swing around.
VANIA
Tell me something about you.
Who were you, when you were little.
MARCO
Uh, i can’t remember much.
VANIA
That’s alright. From what you
remember. I’m not asking you to tell
me the whole thing. Just, tell me
what you remember.
MARCO
Well, I was a skinny boy. I didn’t
had a lot of friends in that time. It
cost me to socialize with people. I
was the one who always got bullied at
school.
VANIA
You were bullied?
MARCO
Yeah. I couldn’t defend myself. It
still happened to me now. All the
time my Dad talked to me, and said
stuff.
VANIA
What kind of stuff?
MARCO
He said: You are my son. You want to
become a man? You must defend
yourself. I don't want my son to
become in a weak faggot! You fucking
pussy!
VANIA
How cruel. Did you hate him?
MARCO
All the time.
VANIA
Look, we don’t have to talk much
about it. Let’s talk about something
else. What about your family? What
can you tell me about them?
MARCO
My family? I never knew much about my
family.
VANIA
You don’t have to describe every
member of your family. Just --
describe me to your parents. Your Mom
and Dad. Who are they? Who were they?
MARCO
My Mom and Dad. Uhhh, let’s see.
He takes a moment to talk about his life.
MARCO
My Dad was a cop. Was. He got fired
for insulting the others and for
drinking a lot. The only person who I
could talk to was My Mom. It was just
the two of us, against this little
depressing piece of work known as
Earth. One day, we were on the car,
and we --
MARCO doesn’t speak. Maybe this is something that concerns

him. We can tell from his expression that he doesn’t want to
talk about it.
VANIA
You don’t want to say it? Alright.
Fine for me.
MARCO
I lost my Mom in a car accident.
Vania is stunned and shocked just by hearing those words.
MARCO
It was just the three of us in the
car. I was on the backseat, Mom and
Dad were on the front seats. We were
going on a trip to spend some time
together. Then, the truck came and
crashed on her. And it killed her.
MARCO has tears in his eyes.
MARCO
My Dad didn't stop saying "Why didn't
you save her?! Why didn't you save
her?!" And I could've done it. I
could have saved her. I could have
yelled at Dad to stop the car, I
could have told them that there was a
truck coming. I could have saved her.
And I didn't.
He begins to cry.
MARCO
I didn't! I --
Vania comforts him. The two embrace as Marco keeps crying for
his Mom.
MARCO
If i wasn't so fucking silent, i
would have saved her. It's my fault.
I killed her.
VANIA
Don't say that.
MARCO
I loved her. I loved her with all my
heart.
VANIA
I know. I know.
Sniff.
MARCO
I kept living with Dad the next few
months. And one day, he -- He arrived
late to the house, and he -- he -- He
died.
Vania is stunned by those words. She can't believe what she

just heard. "Died"?? How??
Marco breaks the embrace. Marco looks at Vania.
MARCO
He killed himself with a gun. After
what happened, I went to live with my
UNCLE, who became my legal guardian.
We moved here and the constant abuse
started. And that’s all I have to say
about that.
Vania is on silence.
VANIA
Oh.
Vania then dries Marco's tears with her fingers. Her fingers
that include this almost-long and obviously sharp nails.
VANIA
Hey, it's alright. It's alright. I'm
here now. You can keep crying if you
want. I won't judge you.
MARCO
Thank you.
CUT TO:
INT. STREET. LATER.
Vania and Marco walk together. Then, she stops and looks at a
tall building. Marco notices she’s looking at the tall
building. He walks to her.
MARCO
What? What is it?
VANIA
It’s this thing. It’s so tall. I don’t know what is it.
MARCO
That’s a building.
VANIA
A building?
MARCO
Yeah, a building.
VANIA
Well, what do you do with it?
MARCO
You don’t do stuff with it. I mean, you do.
VANIA
What do you do with it?
MARCO
You know, you build it, you create either various homes in
there or you create an office there.
VANIA
Office?
MARCO
Yeah, an office.
VANIA
What’s that?
MARCO
It’s a place where people work their asses in there. From the
morning to the evening.
VANIA
That sounds boring.
MARCO
Yeah, it sounds boring.
Vania can’t stop admiring how tall the building is. Then, she
has an idea.
VANIA
Want to fly with me?
MARCO
What do you mean?
VANIA
Here’s what I’m gonna do. I’m gonna climb that wall with you
and we’re gonna jump out of that rooftop and we’re gonna fly.
MARCO
Okay. You’re crazy.
VANIA
Get on my back.
MARCO
What?
VANIA
On my back. Get on my back now.
Marco doesn’t know what to do. He gets on Vania’s back. Marco

is now like a backpack to Vania.
VANIA
Are you ready?
MARCO
No.
VANIA
I like that enthusiasm. Alright, here we go.
Vania jumps high, Marco screams. Vania begins to climb the

building. Marco holds on tight to her. A moment of Vania as
she climbs the building. They finally arrive
TO:
INT. BUILDING - ROOFTOP. SAME.
They finally arrive. They stand there. Marco is no longer a

backpack to Vania. Marco looks at his town on the rooftop of
the building. He is amazed.
MARCO
Whoa.
VANIA
Yeah. Whoa. Are you ready to fly?
MARCO
Yeah. I’m ready.
VANIA
Alright then.
Vania then carries Marco like when a mother carries her baby
in her arms. Not literally, it’s just a reference.
VANIA
Do you trust me?
MARCO
Yeah.
VANIA
Alright then, LET’S FLY!
She jumps out of the rooftop and jumps on the streets, she
jumps higher. Marco screams and yells and laughs.
ON VANIA AND MARCO:
They’re both flying. Vania jumps on the roofs of the houses

while Marco yells, screams and laughs of excitement. A moment
of them flying and jumping on the roofs of the houses.
INT. OTHER STREET. SECONDS LATER.
Vania and Marco arrive on the street. Marco pants. His hair is
messy. He laughs. He slowly lands on the ground.
MARCO
Are we on another planet?
VANIA
(laughs)
No. We’re on the same Earth as always.
Marco and Vania look at each other. Then, they laugh.
CUT TO:
EXT. THE RED HOUSE - LATER.
Vania and Marco return to the house. They see the family
returning to the house as well. David notices Vania and Marco.
DAVID
Ah, there you guys are!
VANIA
Hey.
DAVID
What have you been doing out? You
could have been caught or something.
VANIA
We were just walking and talking.
That's all,
(to marco)
right?
MARCO
Yeah. That's right. Walking and
talking.
DAVID
That's good. Now, come. Enter the
house. It might be cold for you,
Marco.
MARCO
Weather's fine for me.
They all enter the house.
CUT TO:
INT. SUPERMARKET. THE NIGHT LATER. NIGHT (OBVIOUSLY)
Vania and Marco are searching for food for Marco.
VANIA
What do you think? What should we buy from here?
MARCO
I’m still thinking.
VANIA
You have been thinking it for over 6 fucking minutes.
MARCO
I know that---
Then, a HAND GRABS HOLD ONTO MARCO’S SHOULDER. He turns, and

gasps, scared, as he sees....
....HIS OWN UNCLE!
UNCLE
Here you fucking are! Come on!
He tries to drag him out of the supermarket. But he refuses.

He tries again, and Marco refuses again.
MARCO
No! Stop! Leave me alone!
UNCLE
You are grounded, did you hear me?! You will never leave the
house again! Did you hear me?! I’m gonna beat the living shit
out of you, you little fucking useless prick---
VANIA
Hey!
The two stop and turn to an angry Vania, walking to them.
VANIA
Leave him alone, right now.
UNCLE
Who is this? Is this your new mommy? Is this your new bitch?
Then, VANIA BEGINS TO STRANGLE UNCLE! UNCLE tries to breathe,

but he can’t. Vania keeps strangling him. All the people in
the supermarket watch them, shocked and scared and horrified.
VANIA
Let go of him, RIGHT FUCKING NOW!
UNCLE lets go of Marco. Vania lets go of UNCLE’s neck. Vania

grabs Marco by the hand and, with him, storms out of the
supermarket.
MARCO
But Vania, the food.
VANIA
We’ll come back tomorrow.
CUT TO:
INT. NEIGHBORHOOD #2 - SAME.
The street is quiet and solemn. Nobody is around, except for

somebody. Mateo. He walks alone, wearing the
supermarket-bought vampire mask on his face.
Then, he turns to a house, where he sees....

....A LITTLE GIRL, WATCHING HIM ON THE WINDOW OF THE MAIN ROOM
OF HER HOUSE.
Mateo freezes and looks at her. He waves at her. From inside

the mask, he smiles. Even though we can’t see it.
INT. LITTLE GIRL’S HOUSE - MAIN ROOM. SAME.
The little girl waves back at him, slowly, creepily.
LITTLE GIRL’S MOM (O.S)

Andrea!
The little girl turns.
LITTLE GIRL
Yes, Mommy?
LITTLE GIRL’S MOM (O.S)

Time to go to bed, alright?
LITTLE GIRL
Ok, Mommy.
She turns back to the outside, where she notices that: MATEO
IS GONE. She wonders, and she closes the curtains of the main
room. She walks to her room.
INT. THE RED HOUSE - VANIA’S ROOM. DAY.
Vania is sleeping under the bed sheets of the bed. Then, Marco
quietly enters the room. He walks to the bed and gets inside
of it. He sleeps with Vania.
CUT TO:
INT. HOUSE #2 - BEDROOM. NIGHT. LATER THAT DAY.
A WOMAN is sleeping on the bed.
INT. HOUSE #2 - MAIN ROOM. SAME.
A MAN is sleeping on the couch of the main room, with covers

covering his non-naked body.
WE slowly turn to the window and see nobody in there. We
slowly turn back to the Man and we see him sleeping. We slowly
turn back to the window and see A SHAPE OUTSIDE THE HOUSE.
It’s DAVID. Red eyes of fury. We turn back to the sleeping
Man.
WOMAN
Bob?
The Man, BOB, doesn’t brisk. He doesn’t wake up. She tries
again.
WOMAN
Bob?
No answer. Bob is still sleeping. Then, she throws a pillow to

Bob, who briskly wakes up. He turns on the light and sees his
Wife, Mary, awake.
David, who used to be in the window, is now gone. Vanished.
BOB
Yeah? What is it?
MARY
I heard something outside.
BOB
You’ve heard something? Like what?
MARY
Like a walking sound. Like if someone was walking in our
garden.
BOB
It’s probably the neighbors.
MARY
Can you please go out and check who’s outside?
BOB
It’s probably just a drunk person.
MARY
Fine, fuck it then. I’ll see who it is.
BOB
No, no, no.
MARY freezes. Bob rises from the couch and walks to the main
door.
BOB
I’ll see who it is. Go back to bed.
MARY
Are you sure?
BOB
Yes, I’m sure. Go back to bed.
EXT. HOUSE #2. SAME.
Bob walks outside. He walks to the garden.
BOB
Hello?
And no answer. He tries again.
BOB
Is there anybody here?
But no answer whatsoever.
As he walks deep into the garden, he comes across the light

sensor. The light illuminates above him.
Then, THE NEIGHBOR’S DOG BEGINS TO BARK OUT LOUD. Bob gasps.
As he realizes it’s just the dog from his fucking neighbors,
he scoffs.
BOB
Stupid fucking retard--
Then, DAVID APPROACHES AND ATTACKS BOB. The dog’s barking

intensifies. David stabs his fangs on Bob’s neck. He screams
in pain.
CUT TO:
INT. HOUSE #2 - BEDROOM. SAME.
Mary is awake. She doesn’t hear the screaming outside. She

can’t hear the screaming. She’s still awake.
Then, she rises from the bed, puts a robe on and walks to the
door. She exits the room.
CUT TO:
INT. HOUSE #2 - MAIN ROOM. SAME.
Mary walks down the staircase.
MARY
Bob? Bob? Are you there?
Silence.
Then, she freezes. She senses that somebody is watching her.

As she turns to the dark corner that leads to the kitchen, we
see....
....TWO DEMONIC RED EYES staring at her. They’re like two red
cat pupils. But very fucked up cat pupils.
Mary watches this, paralyzed. Gasping. Breathing for air. She

can’t even move.
Those two demonic red eyes keep watching her. Staring at her.
Looking at her. Peeking at her.
MARY
Hello--?
Then, THE WINDOW BREAKS! She screams. A BABY begins to cry

from inside the house’s baby room.
Something is thrown to the house’s main room. She slowly

approaches it.
It’s a body.
She turns it around and gasps as she sees that it’s BOB’S
BODY. With severe cuts on his face, his tongue cut off and his
two eyeballs removed.
Mary watches this, paralyzed, shocked, terrified, horrified.
Then, MARIA APPEARS FROM BEHIND HER, and, WITHOUT MAKING ANY
SORT OF NOISE, STABS MARY ON THE BACK. Mary gasps.
Maria retrieves the kitchen knife out of Mary and begins to

stab her again. Over and over and over. Until Mary is thrown
to the ground. Hurt and paralyzed.
The baby keeps crying upstairs.
Then, OUT OF THE DARKNESS, MATEO, VINKO and LUNA APPEAR.
The dog’s barking continues outside. Then, he whimpers and we

can hear some breaking noises outside. The dog is dead, killed
by David.
David walks inside the house. Now there’s Luna, Vinko, Mateo,
Maria and David who are watching the hurt Mary.
The baby keeps crying. Mateo looks upstairs. He walks to the

stairs.
MARY
No. No, no, no, no, no, NO! LEAVE MY BABY ALONE, YOU FUCKING
PSYCHO--!
Then, MARIA slits Mary’s throat. Blood erupts everywhere, like

when a volcano wildly erupts. Maria begins to suck on Mary’s
blood, instantly killing her.
INT. HOUSE #2 - BABY’S ROOM. SECONDS LATER.
Mateo enters the baby’s room. He finds the baby, crying and
screaming like hell.
Mateo looks at the baby. And he just smiles at her. The baby
is a she, by the way.
He begins to take the baby with his hands and he dances

maniacally with the baby. He dances with the baby in such a
dangerous way.
He laughs, she cries.

Then, Luna approaches the room.
LUNA
Mateo. Put her down.
Mateo stops dancing.
MATEO
But she likes me.
She doesn’t.
LUNA
I know what you’re planning to do. And I know what you’re
thinking of doing. So, please, stop it, alright? Just stop it.
We’re not like this.
MATEO
And what do you think we are like? Huh? What do you think
we’re like? Look at us, we’re fucking bloodsucking beasts!
That’s what we fucking are! And I'm gonna prove it to you.
He turns to the crying baby. He drools. We can clearly notice

that he is both hungry and thirsty.
Now, we only focus on Luna, and we hear how MATEO DEVOURS,

KILLS, EATS AND SUCKS ON THE BABY’S BLOOD! It is so painful to
hear as it is so gruesome to hear. The baby screams and cries
for her life. But nobody can help her now.
Luna watches this, shocked, horrified, paralyzed, terrified of

her own little brother.
CUT TO:
INT. STREET. LATER.
Maria, David, Vinko, Mateo and Luna are walking back to the
house. They all have their mouths cleaned, with no blood
splattered on them.
Luna walks behind Mateo.
LUNA
Why did you do it?
MATEO
Do what?
LUNA
That.
MATEO
What?
LUNA
That.
MATEO
That what?
LUNA
I thought you knew.
MATEO
Luna, please explain yourself. I don’t want to ask you the
same thing anymore.
LUNA
Why did you killed the baby?
MATEO
Good question. I’ve got another question for you: And why not?
LUNA
What do you mean by that?
MATEO
Luna, look at me. Look at our family. Take a look at yourself.
You know what we are? We are not fucking humans, alright? We
are fucking monsters. We are condemned to be monsters for all
eternity. I killed that baby because she wouldn’t stop fucking
crying. I tried to stop her crying by playing with her. And as
soon as it didn’t worked, I....I just did what i had to do,
alright? Does that answer your question?
LUNA
I don’t know. I want a sincere answer this time--
MATEO
(scoffs)
How sincere do you want me to be? I already gave you my best
and most sincere answer to that case. So, why don't you just
stop complaining about our nature and just fucking get over
with it?
LUNA
You’re making me afraid of you.
MATEO
Good. It’s good that you’re afraid of me.
LUNA
I think it’s a bad thing--
MATEO
Luna, please. For my sake, for your sake, for the sake of the
family and everyone around, please....shut the fuck up for
once.
LUNA
All i’m saying is that you shouldn’t have killed that baby.
That’s all.
MATEO
Baby or not, that little shit deserved to die anyway. Let
those words sink in.
LUNA
You could have stopped it--
MATEO, angry, turns at her. Luna stops. Both come face-to-face

with each other.
MATEO
Look at me. What do you think you’re looking at?
LUNA
A vampire?
MATEO
Wrong answer.
LUNA
An immortal being?
MATEO
Wrong.
LUNA then has her answer.
LUNA
A monster?
MATEO
That’s right. I’m looking at another monster too as well. So
please, why don’t you just accept your nature for once? It’s
fun being a vampire. It’s fun to kill people. One day you’ll
understand it and you’ll wish to not have said those things to
me again.
LUNA
What things?
MATEO
“I hate to kill people”. “I hate to be a vampire”. “Why can’t
we just be normal for once?”. Those things.
(silence)
If you don’t want to be a monster just like me, then fuck you,
alright? Just fuck you. Get over with it and just move on with
your life.
(scoffs)
And by the way, you could have stopped me from eating that
fucking baby. Who’s the monster now, huh?
Mateo turns and walks off. Luna stays there.
LUNA
I don’t even have a life!
Silence. Luna begins to walk to the family.
CUT TO:
INT. THE RED HOUSE - BEDROOM. DAY.
Maria and David are laughing.
DAVID
Remember back at 79 when we
slaughtered that family in the snowy
town?
MARIA
Yes, i remember.
DAVID
How they were screaming, like "Oh no,
somebody help us".
Both laugh. Maria looks at David, David looks at Maria.
DAVID
What?
MARIA
Let's make a baby. Right here, right
now. The two of us. Let's do it.
DAVID
Uh...
MARIA
Come on.
DAVID
I don't know. Don't you think that
four is already enough?
MARIA
I want more. More babies.
DAVID
Why?
MARIA
So i can be a mother with a million
kids.
DAVID
I think four is already a million
kids for me.
Maria pretends to look upset. Then, David, convinced, slowly

touches Maria's leg with his hand. He touches it on a
delicate, slow, seductive way. Maria reacts to this with a
blush. David looks at her, she looks at him. The two approach
their faces to each other --
-- and they kiss. They do it slow at first, then the kiss

intensifies. It becomes into something much stronger, deeper,
fantastically erotic.
As David is laying his back on the pillow, he sees how MARIA
sensually sucks on his fingers. Over and over again. Then,
David grabs her by the cheek. The two have their faces
flushed. Their eyes sparkle when they meet each other. They
kiss. Their lips touch. They start to devour each other as
Maria sits on the lap of David. Then, they look at each other.
MARIA
I want you to fuck me.
DAVID
What if the kids wake up?
MARIA
Then let’s try to not make a sound.
The two kiss again. David, quickly, throws Maria to the bed
and starts devouring her, while she reacts with a soft
pleasure, eyes closed, mouth open. They’re ready to do it.
They start to fuck. With passion. They try not to make a
sound.
EXT. BEDROOM. SAME.
Through the keyhole of the door, Luna watches the scene. She
slowly backs away. She is now in shock. But at the same time,
in confusion. She backs off slowly.
CUT TO:
INT. THE RED HOUSE - MAIN ROOM. HALLOWEEN NIGHT. NIGHTS LATER.
Marco is switching through the channels. In almost every

channel, a different horror movie is shown. It’s Halloween
night, of course.
Vania is watching the window. She sees with wonder and

curiosity how all the kids are disguised as many things.
They’re walking with adults and some are walking with
teenagers.
VANIA
Kids.
MARCO
I’m sorry?
VANIA
There are kids outside the house. They’re doing something.
They’re disguised as something.
MARCO
It’s Halloween.
VANIA
Hallow-what?
MARCO
Halloween.
VANIA
Halloween? What’s that?
MARCO
It’s basically a celebration.
VANIA
A celebration? A celebration of what? What are those kids
celebrating?
MARCO
Well, i don’t know if it’s a celebration. It’s more like a way
to show the spirits of Halloween that we’re still respecting
the rules.
VANIA
What do you do in Halloween?
MARCO
You basically disguise yourself as anything and you go out to
ask for some candy in a stranger’s house.
VANIA
That’s it? That’s the whole purpose of Halloween?
MARCO
Yeah. That’s the whole purpose.
He then finally arrives on a channel, showing the film CHILD’S

PLAY.
MARCO
Oh sweet! Chucky!
Vania turns her head to Marco, who’s watching the film Chucky.
Vania sits on the couch next to him.
VANIA
What are we watching?
MARCO
Well, it’s this film about an innocent-looking doll who’s
possessed by the spirit of a serial killer.
VANIA
Possessed? Jesus, that sounds interesting.
MARCO
Trust me. It is.
They watch the film together.
MARCO looks at Vania, who looks focused as she watches the

film.
MARCO
Want to do something with me?
Vania turns at Marco, wondering.
VANIA
Do something? Do something like that?
MARCO
Explore what Halloween is.
CUT TO:
INT. NEIGHBORHOOD. SECONDS LATER.
Vania and Marco are walking in the neighborhood. Marco is

teaching Vania what Halloween is. The neighborhood is full of
disguised kids, who are disguised as anything. Monsters,
pirates, clowns, witches, vampires, werewolves, ghosts, etc.
MARCO
You see, one of the main rules of this tradition is to always
wear a costume.
VANIA
Wear a costume. What’s the next rule?
MARCO
Uh, i don’t know. “Never go alone”, I guess?
VANIA
And is it like a game?
MARCO
What do you mean a game?
VANIA
You know, like, whoever gets most candies wins the tradition?
Is that what Halloween is all about? A game?
MARCO
No, it’s not a competition game. It’s more like a festivity.
VANIA
Festivity, got it. You know all the things about humans more
than we do.
MARCO chuckles.
MARCO
I mean, of course, look at me.
Both chuckle.
CUT TO:
INT. NEIGHBORHOOD #3. SAME.
The rest of the members of the family are walking in another

neighborhood. There are some kids who are disguised as many
things.
Mateo looks around everywhere he can. He sees this thing

called Halloween.
Then, THE SAME LITTLE GIRL WHO HE SAW NIGHTS AGO stumbles on
him. Her toy pumpkin with candy inside falls off her hand,
landing on the ground. Mateo realizes this.
LITTLE GIRL
Oh, crap! I'm so sorry about it.
MATEO
No, no, no. It’s fine. It’s okay. Don’t worry about it.
He picks up all the candy and puts it on the pumpkin toy. The
Little Girl helps him too.
LITTLE GIRL
Sorry, I don't usually stumble with a lot of people like that.
MATEO
Hey, I already said it’s fine. You don’t have to worry about
it, alright?
There seems to be an innocent moment between this older

vampire and this little girl. Truth is that Mateo isn’t like
this. He doesn’t behave like this that much when he’s around
kids.
The Little Girl and Mateo look at each other for a moment. He
smiles at her.
MATEO
What are you supposed to be?
LITTLE GIRL
A fairy. What are you supposed to be?
MATEO
A vampire.
LITTLE GIRL’S MOM

Andrea.
Both Mateo and The Little Girl turn to see The girl’s mother
walking to them. She grabs her hand.
LITTLE GIRL’S MOM

(to mateo)
I’m so sorry. She usually don’t talk to strangers that much.
MATEO
It’s alright. I already told her it’s okay. She doesn’t have
to apologize for anything.
LITTLE GIRL’S MOM

Good.
(to her daughter)
Let’s go.
The Little Girl and her mom walk out. The Little Girl turns to
Mateo.
LITTLE GIRL
Bye, vampire!
Mateo smiles. He waves goodbye at her. He turns to his family

and walks off with them.
This clearly shows that Mateo is not good with babies, nor
with women, nor with humans. He’s only good with children.
They are more innocent than most humans.
CUT TO:
INT. THE RED HOUSE - NIGHT. MONTHS LATER.
ON SOUNDTRACK: IN THE STILL OF THE NIGHT by THE FIVE SATINS.
The audio of the scene is muted. Inaudible. The music starts

speaking for us. The images are filled with music.
Then, the family starts to dance. It's like a slow waltz. But
it's still beautiful.
Vania invites Marco to dance, which he accepts. The two start

to dance. They smile as they look at each other. Vania
blushes.
Vinko invites Mateo to dance with him, which he (Mateo)

refuses. Vinko then starts to dance with Luna. Now there's a
vampire family, and a human boy, dancing in pairs.
Mateo watches this scenario. Then, he smiles. It looks like he

had never done it before.
CUT TO:
A MONTAGE OF:
As the song progresses, we get to see a montage of:
Marco, who's now coexisting and living with the family of

vampires. As the montage and the song keep progressing, we
see:
- Marco growing up in the house.
- The family, living and coexisting with each other.
The song and the montage come to an end, as we...
SMASH TO:
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Ivo Byrt&#39;s FAMILIA (English Version)

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Ivo Byrt&#39;s FAMILIA (English Version)

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Even though it's not mentioned, this film takes place in

modern day America. THE VAMPIRES IN THIS SCREENPLAY DON'T LOOK

Based On The Vampire Stories Developed By

A white wall. It's almost decomposing. Like if we're inside of

On the wall, we see nothing but a drawing. We see six figures,

On top of the male monster figure, we see the message:

On top of the female monster figure, we see the message:

On top of the oldest monster figure, we see the message:

On top of the oldest monster figure, we see the message:

On top of the first youngest monster figure, we see the

On top of the youngest monster figure, we see the message:

On top of the drawing, we get to see the clearest message,

is strongly pouring on us, and on the dark night. Lightning

The DREADFUL, MOANING, HOWLING WIND is now BLOWING.

EXT. COP CAR. SAME.

INT. COP CAR. SAME.

THROUGH THE COP CAR WINDSHIELD,

the car's driving through a dark, rainy night. Rain strongly

LUIS (ON RADIO)

LUIS (ON RADIO)

Then, he sees some floodlights on a crime scene, on a quarry.

INT. QUARRY. SAME.

ANDRES arrives. THE COP CAR arrives to A CRIME SCENE on a

INT. COP CAR. SAME.

THROUGH THE WINDSHIELD,

Andres pulls over the car next to an ambulance. A group of

He RUSHES OUT of the car, into --

INT. QUARRY. SAME.

-- TORN BODY PARTS! TORN LEGS, TORN ARMS, A TORN TORSO, A

The lights flash on a blurry way. Then, A HAND -- floats on

Then, A BODY -- OF A TEENAGER floats on us. A LIFE-LESS

Then, THE BODY is being dragged to the surface by a couple of

The BODY of the TEENAGER is being put on a small boat as TWO

Andres and Luis are devastated, shocked, horrified by just

INT. MORGUE. LATER.

OUTSIDE OF THE ROOM, THE MOTHER OF THE TEENAGER watches

INT. HOSPITAL HALLWAY.

ANDRES and LUIS walk to a coffee spot. They start ordering

He pulls a cigar from his pocket. He's about to light it. A

ANDRES walks out.

EXT. HOSPITAL. MOMENTS LATER.

FRONT OF HOSPITAL - WIDE SHOT.

ANDRES exits the hospital. It stopped raining like a while

ANDRES stops and lights a cigar. He smokes, the smoke is

WE SLOWLY MOVE, like CRANE UP to THE NIGHT. And from the

INT. SNOWY NORTH TOWN. NIGHT.

The wind is slowly and softly blowing. That serves as an

So quiet. So peaceful. So beautiful. Bathed in the most

Anyways, where were we?

Snow is slowly falling to the town. This looks like a peaceful

The small graveyard with the tombstones are also covered in

Told you it wasn't Christmas.

INT. HOUSE. SAME.

ON THE LIVING ROOM, we see a big window that makes us look at

Then, VROOOOOOOM! A BLACK FIGURE! A SHADOWING FIGURE! It

INT. HOUSE - PARENTS'S ROOM. SAME.

A MAN and A WOMAN, probably on their 40s, obviously HUSBAND

INT. HOUSE - MAIN ROOM. SAME.

EXT. HOUSE. SAME.

He opens it, and sees nothing. He wonders. He walks outside.

He turns and sees THE SAME SHADOWING FIGURE WE SAW AT THE

INT. HOUSE - MAIN ROOM. SAME.

The HUSBAND is THROWN inside the house. He grunts. He sees how

The HUSBAND starts to stand up. The SHADOWING FIGURE then

Ivo Byrt's FAMILIA (English Version)

Ivo Byrt's FAMILIA (English Version)