Based on characters and story by Matthew Baucco and David Johnson

Copyright: 2009

daj@davidandrewjohnson.com www.davidandrewjohnson.com


TEASER FADE IN: INT. ABANDONED SUBWAY TUNNEL -NIGHT Drip, drip, drip as water falls into a DARK PUDDLE. Suddenly, the water splashes as a nasty RAT scurries across it. The camera pans across the dank dark surroundings and settles on GRANDMA and GRANDPA ATWATER. They are comforting their five year-old granddaughter, JENNY, who whimpers as she sleeps fitfully in the murky filth. GRANDMA (whispering) The poor dear, at least she's sleeping now. Oh, Henry, I'm so frightened. What do they want with us? Why do they torture us so? GRANDPA Shhh, Ellie. I don't know, I just don't know. But we have to stay strong, dear. For Jenny's sake if nothing else. GRANDMA I know, I know. You read about these things in the papers. I never thought anything like this could... Grandma comfort shadows Latina, breaks down and cries softly, Grandpa moves to her. Neither notices a dark figure moving out of the behind them, MARIA CACADOR. She is a striking dressed in stylish black clothes. GRANDPA There, there, dear. MARIA So touching. If I could cry, I just might be moved to tears. GRANDPA You're a monster! Why are you doing this to us? What do you want? MARIA I suppose I'm just a mad, impetuous fool. GRANDMA Please, we need something to eat. At least for the girl.


MARIA (stoops over the girl, stroking her hair) Hmm. You may be right. We can't have the poor darling wasting away now, can we? Such a lovely little lady... Oh, my. She seems to have cut herself, hasn't she? Maria smiles and licks her lips lasciviously as she peels away the strip of Grandma's dress that was used to dress the little girl's wound. Without a sound, JEAN ST. GERMAINE seems to glide up behind her. Maria. JEAN

MARIA Jean! You're back at last. JEAN None too soon, by the looks of it. Come. GRANDPA Wait! The food! Please, have mercy. MARIA Hold your tounge, old fool. Jean tosses a PACKAGE wrapped in butcher paper to the ground in front of the cowering old couple. JEAN There, Mr. Atwater. We will leave you to eat in peace. Jean takes Maria by the arm and whisks her away from the Atwaters with supernatural speed. MARIA You are too kind. JEAN I am practical. They must have sustenance. MARIA And me? Am I to remain in this hole forever? JEAN The tunnel serves our purpose, and the Father's.


MARIA (frustrated) Arrrgh. I escape that prison only to cower here in this... place. I grow weary of this waiting with the rats. I want blood, Jean. I, too, have hunger. JEAN Go then. Kill and sate yourself. I will remain here to watch the child and her grandparents. MARIA A meaningless kill will bring me no satisfaction. I have sweeter cravings. JEAN Atwater is not to be touched. Be patient. MARIA Do not speak to me of patience! I will have my revenge, Jean. And it will be sweet. END TEASER MUSIC and INTRO VOICE OVER There are some areas of the human mind, and indeed of the world we live in, that were never meant for investigation. There are always those who delve into the darker worlds of knowledge, and many pay with their sanity for their interest. Some of these unfortunates are taken in by the Hayward Foundation, an organization that studies paranormal experiences and their effects on humanity. It is cases such as these that are sent to a restored mansion in a small coastal town in Maine, a center for the care and study of the insane. Since the 1920's this place has been known as...The Hayward Sanitarium. ACT ONE FADE INTO:


INT. SHERIFF'S OFFICE -DAY SHERIFF TRUMBLE opens his office door and walks out into the station house with AGENT RYAN and AGENT GRAF. The station is packed with law enforcement personnel going about their business. The Sheriff's few DEPUTIES are scrambling about trying to deal with them. SHERIFF TRUMBLE Well, I hope you can learn something from them sanitarium files, boys. You did get copies to the marshalls, right? AGENT GRAF (nods)


SHERIFF TRUMBLE Fine, fine. You can tell your people to drop 'em by the storeroom. AGENT RYAN I'm not exactly sure they will all fit. SHERIFF TRUMBLE Well, they've cleared it out and set up some copiers in there. They'll tell you where to stack the boxes. It's a whole operation. AGENT RYAN (looks around the room) This breakout is really bringing them out of the woodwork. A lot of different agencies have ties to the Sanitarium in one way or another. I can't believe some of the psychos they've got locked up in there. AGENT GRAF (mutters sarcastically) If they could keep them locked up, that is. AGENT RYAN (ignores the comment) Sheriff, what's it like having a place like that in your backyard? SHERIFF TRUMBLE Huh. Well, I don't suppose you spend much time thinking about it, really.


The Hayward name has just always been a part of the geography around here, one way or another. (searching) I suppose we just mind our own business in these parts. AGENT RYAN So you think it's perfectly normal living next door to a madhouse packed with lunatics who think they are the walking dead? AGENT GRAF Homicidal lunatics. AGENT RYAN Well, not all of them are convicted killers. AGENT GRAF Convicted serial killers. AGENT RYAN (has had enough) Well it would creep me out. SHERIFF TRUMBLE Well actually... Just as Trumble is about to go into a long-winded story, DEPUTY MORRIS rushes up waving some papers in his hand. DEPUTY MORRIS Just came over the wires from down south... shots fired at the Boston waterfront... SHERIFF TRUMBLE Morris, what do we care about that longshoreman riff-raff at a time like this? DEPUTY MORRIS The FBI sent it... to them. AGENT RYAN Let's see... Ryan deftly plucks the papers the papers away and glances through, handing pages to Graf. AGENT RYAN Says here three men fled harbour police... they might match up


against Atwater, Cardamon and O'Brien. AGENT GRAF Thank you for your time and assistance, gentlemen. It's been an absolute pleasure working with you. SHERIFF TRUMBLE You don't mean to tell me that you honestly... AGENT RYAN (OVER HIS SHOULDER) We'll be in touch. CUT TO: EXT. CITY STREET OUTSIDE ST. JOHN'S MISSION -DAY DERMOTT O'BRIEN and DR. RICHARD ATWATER make their way down a street in a depressed inner city slum. The day is cold, grey and bleak, and they have been out too long in it. DERMOTT Man, my feet are killing me. Wakefield and I may wear the same size suit, but these shoes are another story. ATWATER How much farther is this place? DERMOTT Just up there, on the next block Among the desolate boarded-up windows, run-down shops and liquor stores that crowd the littered block, the MISSION is an unassuming, plain red brick building that at once vaguely resembles a school, a church, and a fortress. As they get closer, there are several homeless and destitute people -some drunk, some down and out, and some out of their minds. Atwater stares as they walk past MICHAEL, a tall homeless man in a tattered and grimy black overcoat who lurks in the shadows of an alley next to the building. He clings to the corner and watches them pass with haunted eyes. He suddenly shouts Repent! MICHAEL

They stop, turn and look at him. MICHAEL


(whispers harshly) Repent. Repent. The end is at hand. But it's not too late. He stares intensely at them and then suddenly drops his eyes, turns to the brick wall and begins examining it, ignoring them completely. DERMOTT laughs shortly to himself, shakes his head, and smiles. DERMOTT Think he could use a shrink, doc? Come on. They continue up the street past a filthy hobo with a long beard and grey hair with an uncontrolled tick, he may eye them suspiciously or stare completely through them, it is impossible to tell the difference. Closer to the door, there is a small group of winos standing around smoking, some are very drunk and some are also belligerent because the mission won't let them in until they are sober. Dermott grabs Atwater and pulls him past to the heavy metal and glass door and opens it. INT. MISSION FOYER -DAY They pass through the door into a small foyer that serves as a lobby with a few mismatched old chairs and some dog-eared ancient magazines strewn about. The mission is worn and institutional in appearance, but clean and stark. Hand-made posters decorate the walls and a bulletin board with announcements pinned to it. There is a desk. The ATTENDANT stands near it, intently looking out the windows at the group outside. ATTENDANT How's it going, guys? ATWATER It's been better. ATTENDANT (turns to them)


(sizes them up, returns his gaze to the window, then, as if to himself) You can say that again. DERMOTT Come on Doc, This way. They walk on. Past the foyer is a long hallway that


continues back and a flight of stairs up. They walk down the hallway and turn into a room with racks and boxes of used clothing and other thrift shop items. A couple of bums are looking for coats. Dermott heads straight to the boxes of shoes and starts pawing through them. DERMOTT Ugh. Wingtips. ATWATER So you really want to spend the night here? DERMOTT They wouldn't take kindly to us sleeping at the library. Got any better ideas? ATWATER Not really. DERMOTT We're about as hot as it gets right now, Doc. The coppers will probably show up here sooner or later, but we might get away with hiding in plain sight. (takes out a pair of shoes) These aren't bad. ATWATER You're not going to wear those? DERMOTT Nope, too small. Damn. We might be safe from your girlfriend and her kissing cousin for a while here too. Popular theory holds that vampires and religion don't mix. ATWATER I'm not so sure about the whole cross and holy water bit. DERMOTT You've already accepted the existence of vampires and witchcraft. Can't you get your head around this? It's just the other side of the same coin. But... ATWATER


FATHER SHEA (O.S.) Someone must have put something in the sacramental wine, because I'm seeing things. Is that Dermott O'Brien? DERMOTT And one more thing, I know the priest who runs the place. Figures. ATWATER

FATHER SHEA is at their side. He takes Dermott by the arms and squeezes his shoulders warmly, looking him in the eye. Shea is a big, powerful man, like a heavyweight boxer. He has a keen eye and a hard smile. FATHER SHEA Brother James told me you were back here. (looks him deeply in the eye) I heard about your escape from the sanitarium. Are you well? DERMOTT Well enough, Father. Thanks to him. This is Dr. Richard... FATHER SHEA Atwater. Right. I'm Father Peter Shea. Is Cardamon with you, too? DERMOTT Uh, no. Long story. FATHER SHEA Probably not that long if you skip the part about the wharf shooting. ATWATER What are we, front page news? Jesus ChriHe stops short at the Father's raised eyebrow. DERMOTT Father Shea has a way of knowing about things. FATHER SHEA One does hear a great deal in a place such as this. But not everything. Put Cardamon on a ship


then, did you? Atwater looks nervously to the bums picking through coats. ATWATER Maybe we should talk about this in a more private setting. FATHER SHEA You've nothing to fear within these walls, Doctor. But we could be more comfortable. Have you found a pair yet, Dermott? Dermott holds up a pair of worn black boots. FATHER SHEA Then let's go. It's almost dinner time. EXT. MISSION YARD, DAY They walk out, Father Shea pats the bums on the back as they pass. A side door takes them to a courtyard. Much more than it seems from the street, the mission is serval buildings, including a stone church. The courtyard is packed dirt and stone from heavy traffic. Any plant life is brown and leafless. The setting sun cuts through the grey clouds and casts a red glow as they walk towards the soup kitchen. FATHER SHEA The law was here looking for you already. They will be back, of course, but you will be able to pass the night in peace, should you wish to stay with us. ATWATER Thank you, you're very kind. They come to a pause near a statue of the Virgin Mary. FATHER SHEA This is a place of sanctuary, Doctor. And you are clearly in need. DERMOTT You're right there. We have more to worry about than the cops, Father. FATHER SHEA Given your history, that doesn't surprise me. Who's after you, then?


DERMOTT The doc's daughter and parents have been pinched by a couple of vampires. ATWATER Dermott! He'll think we're nuts! FATHER SHEA Vampires? Must be from out of town, we cleared the last ones out of here years ago. What!? ATWATER

DERMOTT (businesslike, ignores Atwater) Then you haven't heard anything? FATHER SHEA No, but we'll see what we can find out. ATWATER Wait a minute, you cleared them out? FATHER SHEA (smiles kindly) I'm sure Dermott can explain in due time. How did you run afoul of them? DERMOTT She was a patient in the sanitarium, Maria Cacador. FATHER SHEA Ah yes, the so-called "Vermont Vampire." The accounts were so outlandish, we never gave her much credence. She's really undead? DERMOTT It would seem so. The Doc hypnotized her and I guess she ended up spilling a few too many beans. There's some link between the vampires and Morrow Industries. Dermott pulls some papers from his overcoat and hands them to Father Shea. DERMOTT


We've been reading up on the company. They don't leave much of a paper trail, but what we could find looks pretty nasty. FATHER SHEA (leafing through) I'd say so. Chemical weapons, biological agents... quite a portfolio. Deadly and diversified. DERMOTT Aye, their tentacles seem to reach everywhere. FATHER SHEA Indeed. Very, very interesting. There's two of them you say? Have you seen the other one? ATWATER Yes. He threatened to turn my little girl into a vampire. The strain ATWATER is under is obvious. FATHER SHEA puts a hand on his shoulder and gives him a comforting smile. FATHER SHEA Well, we'll have to see about that then, won't we? ACT TWO EXT. SANITARIUM GROUNDS - SUNSET The sanitarium was once the mansion of home of the Hayward family, an impressive gothic structure set back in the woods on the high ground outside of the tiny seaside hamlet of New Bistol. HALLEY BROOKS and JOHN AJEMAN walk along the rocky wooded bluffs above the crashing ocean waves, discussing their situation. In the background, the sun sinks slowly behind the sanitarium, peeking through the gathering clouds. AJEMAN Yeah, the tape cuts out when the fireworks began. My recorder shorted out, along with everything else electrical in the room. I can't even begin to describe it. HALLEY Unbelievable. AJEMAN


I can't say anything is unbelievable anymore. One thing is certain, Atkin's death was not of "natural causes." HALLEY So it's safe to assume that the Fraternitas Trinacrea is still very much active. AJEMAN And probably safe to assume that we are anything but safe if we keep chasing them. HALLEY Jesus. What have we gotten ourselves mixed up in? AJEMAN Something a lot more serious than documenting cold spots in old houses. HALLEY draws to a stop and looks JOHN in the eye. HALLEY John, what if there is a member of the Fraternitas working some hidden agenda here? AJEMAN At the sanitarium? (his eyes widen and he forcibly exhales at the thought) Now that's really scary. From what Atkins said about initiates collecting souls to amass power and knowledge, the inmates would be perfect fodder. HALLEY It would go a long way to explaining the things that have been happening around here lately. I wonder if Richard and Justin unknowingly stumbled onto something. AJEMAN Heaven help them if they did. CUT TO:


INT. MISSION SOUP KITCHEN Beneath a gory crucifix on the wall, ATWATER and DERMOTT wash dishes with the cleanup crew. A DISHWASHER supervises the clean up. DISHWASHER Yessir, yessir. You got the hang of it now. 'Round here everyone pitches in. We'll be through this in no time. ATWATER Many hands make light work, huh? DISHWASHER Yessir, yessir.(shouts O.S.) You make sure that food's wrapped up good before you put it away. (back to Atwater) 'Scuse me. He departs to help pack up the leftovers. ATWATER Thought he'd never leave. I have an MD and a PhD, I know how to wash dishes. DERMOTT You missed a spot. ATWATER Shut up or I'll soak you. DERMOTT Go soak yourself, and don't forget to wash behind your ears. They don't let grimy lads into vespers. ATWATER Hah. Me in church. DERMOTT Care to bet on a lightning strike? ATWATER Listen to you, you're pretty funny when you aren't all whacked out of your head. DERMOTT Don't let it get around, I have a reputation to keep.


ATWATER Which keeps growing daily. You've got to tell me about Father Shea. What was all that stuff about vampires? DERMOTT Father Shea and the brothers here follow a rather rare and forgotten order. They kept a bit closer with some older orthodox and traditions -- they're monks, warrior priests. They tend to keep tabs on the occult and other more nasty things most people are better off not knowing about. Seriously? ATWATER

DERMOTT Seriously. They're a fairly secretive lot. The Knights of St. John the Hospitaller were crusaders, you know, then there's the conspiracy theories of the Templars and all that bullshit. But this one is real, doc. I suspect the order journeyed from the Holy Land north to the Carpathians and became clandestine sometime after the second crusade. We've known each other since school, but since taking his vows, Shea's always been careful to steer clear of any specifics with me, given my research interests. ATWATER Naturally. But it sounds like he's willing to help us. DERMOTT Oh, he'll help us if he can, but even a devout atheist such as yourself must know what these kinds of blokes think about those who help themselves. CUT TO: EXT. ST. JOHN'S CHAPEL (NIGHT) The moon rises above the small stone chapel. The simple stained glass windows are dimly lit from within. It looks


spooky. INT. ST. JOHN'S CHAPEL FATHER SHEA and the BROTHERS sing the vespers, in Latin. The chapel is lit by multitudes of candles, smoke from incense fills the air, the trappings and religious furniture have a Byzantine flair to them. The ICONS that adorn the walls are at once beautiful and grotesque, disturbing. The FACES seem to stare straight into ATWATER, who sits uncomfortably in the back with DERMOTT. As Dermott follows the service completely by memory, Atwater takes particular note of the STATIONS OF THE CROSS, their stylized depictions convey the violence in an unsettling way. The candle light flickering across them plays tricks on ATWATERS eyes, which widen as FIGURES seem to actually move and look back at him. CUT TO: INT. ABANDONED SUBWAY TUNNEL JEAN walks slowly but purposefully down a dark tunnel, his foot steps splish and splash in the standing water. MIST begins to rise around his feet as he walks, curling around his legs like tentacles. He draws to a stop, the mist enshrouds him, obscuring everything and then drawing back to form cavern walls. The clouds swirl and form shapes like wolves and bats and rats which seem to disappear as soon as they materialize. JEAN Father, are you with me? A pair of glowing RED EYES appear in the mist in front of and slightly above Jean's line of sight. The deep, hollow voice of the DARK FATHER answers him. DARK FATHER The time draws near. You have done well. JEAN I fear for our gambit's success. DARK FATHER Fear naught, my child, for we are fear. JEAN By the blood, Father. By the blood. CUT TO:


INT CHAPEL NARTHEX - NIGHT As THE BROTHERS pack up the chapel after vespers, BROTHER JAMES leads DERMOTT and ATWATER into a small staging area behind the altar where robes are hung and other religious furniture is kept. BROTHER JAMES So it's vampires? Hard to get rid of them. Haven't had any around for a while. While he is talking, Brother James opens a tall and ornately carved wooden WARDROBE. He draws some odd costumes to the side and reaches deep within. He looks upward as he operates some mechanism by feel and then steps inside and disappears. ATWATER and DERMOTT look at each other in surprise for a moment until James pokes his head out and says, BROTHER JAMES Well, don't just stand there. Come on. ATWATER But I forgot my winter jacket. DERMOTT (Heading in) Huh? ATWATER (heading through) Chronicles of... Nevermind. They pass through and emerge into... INT. ARMORY Brother James is lighting LAMPS. As the dim lights come up, Dermott and Atwater see rows of LONG PIKES, SPEARS and SWORDS gleaming in racks along the walls of the close room. There are suits of CHAIN MAIL and WHITE ROBES with the red cross of the Templar and SHIELDS with other coats of arms representing various orders of religious and crusading knights. They are not replicas. Brother James draws an ornate SWORD from a sheath and displays it with a close, subtle flourish effortlessly indicating his vast proficiency with the weapon. BROTHER JAMES This one is tempered with silver, it


is fairly effective. But you still need to stake them once you've cut the head off, of course. ATWATER (Parrots quietly) Cut the head off... BROTHER JAMES (looking down the blade) Yes. Some swear by decapitation. We haven't been able to verify that really. But stuffing the corpse with garlic and wolfsbane is actually necessary, though. Not a superstition there. We're collecting a supply from the garden for you. ATWATER (Clears throat) Ahem. DERMOTT The blade is spectacular. Even to untrained eyes like ours. BROTHER JAMES (looks at them sideways and quickly sheaths the sword) I see. Firearms, then. What caliber? Dermott reaches within his coat and pulls out his BLASTER, a sawed-off double-barrelled shotgun with the stock removed so it is a hand cannon. DERMOTT Twelve gauge. BROTHER JAMES I believe we can provide suitable ammunition for this. Brother James goes to a large gun cabinet and unlocks an antique but perfectly maintained pad lock, inside various antique and more modern GUNS, from matchlocks to machine guns, are displayed neatly. He takes a substantial handful of SHELLS from a drawer and gives them to Dermott, who loads up. Perfect. DERMOTT

BROTHER JAMES Again, the shot is silver. You have


stopping power, but you'll need to drive the stakes through their hearts to bring the true death. Brother James hands Atwater a LEATHER BAG. Atwater reaches in and pulls out a smoothly finished wooden STAKE. Brother James continues to pull items out of the drawers and cabinets and hands them to Atwater who stuffs them in the bag one after the other. He pauses to look at a leather belt with CRYSTAL FLASKS like grenades. BROTHER JAMES You can fill them at the font in the sacristy. CUT TO: INT. ST. JOHN'S CHAPEL ATWATER submerges the crystal vials in a stone FONT of holy water. He is not comfortable. ATWATER Holy water. FATHER SHEA appears behind him. FATHER SHEA Have a little more faith, Doctor. You knocked and this was the door that was opened. ATWATER I am not a religious man, Father. Far from it. I am a man of science, of reason. I never asked for any of this to happen. FATHER SHEA None of us really know what we're asking for, or even when we are asking. Few are aware enough to recognize the path they are on. We all need faith, in each other, in the seen and unseen. ATWATER I'm sorry father, there is no god. I don't just believe it, I know it. FATHER SHEA Oh, but I assure you, I know there is a god. And not just one, there are many. As a man of science, you


know that there is knowledge beyond your scope, that still escapes your scientific definition. Science tends to say this is just undiscovered territory. But, perhaps you might consider faith and belief as forces of nature, forces that connect our natural world to other supernatural worlds. But, really, that's not why I came. I believe I have other information of a more pressing nature for you. DERMOTT and BROTHER JAMES come walking down the aisle. ATWATER You know where my family is? FATHER SHEA Perhaps we have a lead. James, do you remember just the other day when we were remarking about the increase in stabbings and thought how strange was the sudden popularity of knives among the south neighborhood gangs? BROTHER JAMES Ah, yes. Of course. They're feeding. FATHER SHEA I talked to a fellow who sometimes resides under an overpass in the area. (gestures O.S.) Michael, would you come here please. MICHAEL, the scary crazy homeless guy from the alley shuffles in, his posture is odd, he is hunched over perhaps deformed. He twitches and has a tick. His long, matted hair partly obscures his face and he doen't make eye contact. DERMOTT and ATWATER exchange a glance. FATHER SHEA From what I gather, Michael has seen some comings and goings from an old access tunnel in one of the more deserted areas of town south of here. I expect that they've got your family in some sort of subterranean lair... Storm drain junctions get quite large near the water, or an old subway tube. DERMOTT Sounds cozy. Can you point us in the


right direction? FATHER SHEA I think we can do one better than that. Michael, are you still willing to guide these men? MICHAEL (twitches and mutters to self) Yea, though I walk through the valley of the shadow of death, I shall fear no evil. DERMOTT I suppose that's a yes. ATWATER Well what are we waiting for? Let's get going. ATWATER slings the bag over his shoulder and starts pushing Michael for the door. BROTHER JAMES Mind your haste, Doctor. Midnight is fast upon us, and the beginning of the feast of St. George. DERMOTT We haven't a moment to lose. Thanks for everything. FATHER SHEA You're welcome. Go with God, Dermott, and keep your wits about you. Father Shea presses a CRUCIFIX into Dermott's hand. DERMOTT looks touched for a moment, then a wry smile cracks his lips. He trots for the door and calls over his shoulder. DERMOTT I'll be seeing you boys... In this world or the next! FATHER SHEA and BROTHER JAMES share a look: Heaven and Saints preserve them. ACT THREE EXT BAD NEIGHBORHOOD, EMPTY STREETS -NIGHT MICHAEL shuffles ahead of ATWATER and DERMOTT.


ATWATER I'm not sure what we're going to do. You've got a gun, maybe the sight of the stakes and holy water and other trappings will strike a chord with Maria's delusion. It could offer an advantage. DERMOTT What? Are you still trying to cling to the "rational explanation?" ATWATER Evaluating Maria's psychoses is one thing, but this other guy... DERMOTT He's a vampire, doc. ATWATER "Vampires" or not, they're definitely kidnappers and they have my daughter. Maria Cacador is a remorseless psychopath who's killed dozens of people, and she's got my little girl. I'm calling the police. ATWATER starts to head for a nearby pay phone, Dermott grabs him. DERMOTT Call the cops? Are you out of your bleeding mind? ATWATER Coming from you, I don't know how to answer that. We can now really see Dermott for the first time, undrugged. Devin wants him because Dermott really walks in the rift. He's been there. He knows. Not only has the fog has lifted, he's almost got it all figured out. DERMOTT (Grabs ATWATER and starts screaming at him) Damn it man! Don't you get it? It's REAL. It's ALL real. That IS the only rational explanation. The boogey man was always under your bed. You didn't just imagine it. I know, and without any doubt, because he's been trying to set up camp in my freaking head. Vampires, witches,


deamons, the monks, whatever, that's just the beginning. This is no war between good and evil, it's everyone for themselves. I know that, I've seen it with my own eyes. Why else do you think he's picked me? Why do you think they picked you? ATWATER (Grits his teeth) Right now, I don't care why and I don't have time. All I know is, I have to do everything I possibly can to save my daughter's life. That is the only thing that matters. I can't just go in there and face down a serial killer. For God's sake. Look at me, I'm no vigilante. DERMOTT is about to say something more, but he stops short and thinks and then lets go of ATWATER. DERMOTT (sighs) All right, make the call and let's go. If you ever want to see your daughter alive again, we've got to get there before the cops. EXT. OVERPASS -NIGHT MICHAEL runs down the empty street in a shuffling gait with a wild look in his eyes. He casts a quick glance over his shoulder to see that DERMOTT, who is far behind, can see him and he leaps over the guard rail, disappearing into the darkness. Dermott runs up to the place where he jumped and comes to an abrubt halt, breathing audibly. He looks back and breathes and exasperated sigh as ATWATER comes running up. DERMOTT Is the cavalry on the way? ATWATER I think the dispatcher thought I was crazy. DERMOTT Hah. Fancy that. Come on. DERMOTT and ATWATER leap over the guard rail and stumble down the steep slope in the darkness. They come to the



bottom and look around the graffiti and garbage that has collected at water's edge. MICHAEL slips into a sewer grate. ATWATER just goes in after him but slows once he is in the tunnels. Spooky descent into darkness as the light from the opening shrinks behind them. MICHAEL is far ahead and soon disappears in the darkness. There's no catching him, so they keep venturing forward. The walls are dripping, rats scurry. They creep slowly through the twisting tunnels. It is scary. ATWATER I don't see him at all anymore. DERMOTT Just keep going forward. ATWATER I don't think there's any worry about the cops. No one will ever find us down here. Right, Dermott? Dermott? While Atwater is talking, a pair of HANDS just comes out of the darkness and grabs DERMOTT and pulls him into the shadows silently. ATWATER turns around and he is gone. He becomes very quiet, his eyes wide. Completely tense. He continues forward, looking behind him nervously. The tension keeps building. The darkness is closing in around him. Soon, He comes to a somewhat large area with a number of different tunnels out in different directions. GRANDPA, GRANDMA and JENNY are there. JENNY is dilerious, she needs help in a bad way. ATWATER rushes to them and they all embrace. He looks at JENNY, lying in GRANDMA's lap, putting his hand on her forehead and examining her. ATWATER (takes her pulse) It's so weak. She's so cold. How long has she been like this? GRANDMA Who knows son? We don't even know what day it is. ATWATER We've got to get out of here, right now. Can you walk? GRANDPA Walk? We'd better run, son. ATWATER gathers JENNY in his arms, they get up and head for the tunnel where Atwater entered. MARIA is standing there


nonchalantly. She's been watching them. MARIA At last, the prodigal has arrived. I thought you'd never get here. It isn't nice to keep a lady waiting. ATWATER Maria, this has gone far enough. Now... MARIA Oh, we're just getting started, darling. Now that you're here. ATWATER I am taking my daughter and my parents out of here, Maria. Stand aside. The police are on their way. MARIA (walking coyly towards them) Oh, Richard, you're so adorably delicious. I could just eat you alive. GRANDPA We can take her together, Richie. We've got to. Before the other one comes back. MARIA (hisses) You doddering old fool. That's the problem with you humans. You need the wolves to cull the young, old and weak from the herd. Hmmm. Young, old... Which one does that make you, Richard darling? GRANDPA makes his move and tries to grab MARIA. In the struggle, which isn't really, GRANDPA suffers a heart attack and slumps, clutching his chest. GRANDMA runs to him, starts wailing and crying and screaming. GRANDMA Oh, dear God, no! No, no, no! Don't leave me, please don't die! I'm not ready! MARIA sighs audibly and slowly crosses to GRANDMA. She reaches down and grabs her by the throat, digging her


fingernails in and lifting her to her feet. MARIA You old hag. Will you please shut the hell up? MARIA stares meancingly into GRANDMAS eyes. Then she throws her hard against the stone wall behind her. GRANDMA slumps down on top of GRANDPA's body. MARIA turns towards RICHARD. MARIA Finally. Some peace. I don't know how you could grow up with a shrew like that for a mother, Richard. RICHARD (whispering, tears) Oh my god. Oh no. MARIA (so smug, so happy) What? What's that you say? Are you trying to pray, darling? Just when I thought you couldn't get any sweeter. She crosses to him and strokes his cheek. Touching the tears, looking at them curiously on her fingertips. Then she directs her gaze at Richard and her eyes go vacant and hard just before she deals him a savage blow. ATWATER and JENNY fall to the ground. MARIA picks ATWATER back up to his feet and hits him again. and again. and again. ATWATER falls to the ground, bleeding. MARIA gasps, and her eyes open wide as she licks her lips. MARIA Finally. Oh, Richard. You smell... so... good. She sits astride him, falls into a longing gaze and touches the blood with quivering fingers. She brings her bloody fingers to her lips and rubs them. Her eyes half close and then become wanton. MARIA I know you've wanted this as much as I have. KABOOOOM. MARIA is shot in the back and jolts violently, falling off of ATWATER. As she falls, DERMOTT is standing there, still pointing the hand cannon with a smoking barrel. Dermott doesn't look good, he's taken a beating and can barely stand, but he's alive and kicking.


ATWATER drags himself to his feet, sputtering. He grabs the bag, pulls out a stake and limps a bit over to MARIA's bloody body. ATWATER I never wanted this. Any of this. You're evil, Maria. MARIA And still the sweet talk. DERMOTT Do it Doc. How do you like your stake, bitch? MARIA You pathetic man. He can't kill me. He couldn't hurt a fly. That's why you need me, Richard. To make you more. No... Yes. RICHARD MARIA

DERMOTT God damn you. JEAN appears from the shadows above them. MARIA uses the moment to whomp on ATWATER and leaps to her feet. ATWATER is out cold. JEAN Too late. Already damned. MARIA (laughing) Ha. Wonderful. Jean, you can have that one. But, this one is all mine. And you thought you'd kill me, you puny little thing. JEAN Actually Maria, darling, he thought right. What? MARIA

JEAN I've been asked to inform you that the corporation has made some hard


decisions. Unfortunately, your services are no longer required. MARIA How dare you? JEAN No, how dare you? This vendetta of yours. You thought to give him the blood? Mr. O'Brien, please, go ahead, do your worst. She makes a last lunge at DERMOTT and he blows her face off with the other barrel. BOOOOM. DERMOTT Decapitation. Swear by it. DERMOTT is out of shot, puts his hand in his POCKET slowly. JEAN knows he has the advantage. ATWATER is messed up, slowly coming around. Face off time. JEAN Now, what am I going do with you two? Mr. OBrien, please. You can't reload fast enough. DERMOTT pulls his hand out of his pocket. He's holding the CRUCIFIX. A smile spreads across JEAN's poker face. He still looks supremely confident, but he doesn't make any moves. JEAN How quaint. I haven't seen one of those in years. DERMOTT can't read him. JEAN inhales sharply and smiles wolfishly. JEAN I love the smell of fear. Face off is over. Here he comes. Oh, Shit. DERMOTT

JEAN lunges and is intercepted by MICHAEL, who appears from no where and repels him with power and grace, a warrior's move. JEAN is flipped and rolls into a corner but lands on his feet, back to the wall. He comes up unsure of what hit him, on full alert ready for combat. MICHAEL circles backwards. Standing at full height, he is a suddenly a surprisingly huge and meanacing presence. His


tangled hair not obscuring his face, we see he is boyish, clean shaven. He looks like Michaeangelo's David, evokes thoughts of renaissance statues. His skin even seems to glow, smooth like polished marble. He is serene, but there is no doubting the fire in his eyes. He is ready for battle. JEAN Who are...? You dare to... MICHAEL stares through him. Shock and disbelief spread across JEAN's face, he recognizes Michael and looks suspiciously at him. He clearly respects him. JEAN Why are YOU here? MICHAEL You can't have these two. JEAN (sneeringly) The father bids me. You would be wise to stand aside... JEAN flies through the air with a snarl and attacks MICHAEL, His fangs are bared and nails tear at him like claws. He is feral, vulpine, undoubtably a vampire. The attack is beastly, sudden and savage, he crawls and writhes all over the tall man tearing at MICHAEL's skin and clothes until he finally casts him off and throws him to the ground. JEAN lands again on his feet in a feral crouch, fangs beared and hissing. MICHAEL steps on an old piece of 2x4 lumber, smoothly flips it up into the air with his foot and catches it in midair. He cracks it sharply against the wall so it splinters to a point and starts spinning it around like a bo staff as if it weighs nothing and moves in gracefully to attack. JEAN takes a brutal beating with multiple blows to the body and head until he is backed into a corner and can't get up. MICHAEL looms above him, poised to run the wood through JEAN's CHEST. MICHAEL You are old, but not nearly old enough. You know nothing, cast out. There is more at stake here than you and your brood could possibly comprehend. JEAN Would you go to war over these pathetic humans? MICHAEL


And you would know defeat yet another time. Tell your master, the fallen ones and their children are commanded to stay away. JEAN Of course I will. JEAN is beaten, bloody, and pissed. Mist begins to rise and swirl around his legs. JEAN Until we meet again, avenger. JEAN flies away into the dark and disappears with a whooosh. DERMOTT picks up the WOODEN STAKE and plunges it into MARIA's CHEST. He starts spreading the WOLFSBANE on top of her. What... ATWATER (COMING TO)

DERMOTT crosses to where ATWATER has fallen. As he stoops to aid him, he sees a white FEATHER with blood spattered on it in the muddy puddle on the ground. He looks towards MICHAEL, who has resumed his previous seemingly insane posture, his torn coat arranged to conceal what may appear to be a hunched back. DERMOTT Easy, Doc. Looks like your guardian angel's got you covered. He looks up, but MICHAEL is gone. Instead, AGENT GRAF and AGENT RYAN are running down one of the access tunnels, flashlights moving up and down. AGENT GRAF Freeze! FBI! DERMOTT Sure, sure. We're frozen. No cops, just two G-Men? AGENT RYAN (looking around) Yeah. Well, honestly, Metro PD thought it was a crank call. AGENT GRAF notices MARIA'S BODY AGENT GRAF What the hell?


ATWATER Hell is exactly what it is. DERMOTT Would you believe it was self defense? AGENT GRAF Self defense? You stabbed her with a stick and covered her in weeds in self defense? AGENT RYAN (with Atwater's parents) The old lady still has a pulse. The guy is gone. ATWATER Oh, god. Jenny. He crawls over to her. AGENT GRAF Not so fast, Doctor. DERMOTT Check her neck for bites. What? AGENT GRAF

ATWATER No. I don't see anything. DERMOTT Good. Look, guys. You may not believe me, I have a lot of respect for you. So I'm going to level with you. This is how this goes down: You've got to get them to a hospital. And we have to get to the Sanitarium. AGENT GRAF (laughing) How is that going to happen? DERMOTT We need to get there as soon as possible or there will be Hell to pay. Literally. Don't ask me why that's important, Doc, but it is. I can feel it. We need to find Haley.


AGENT GRAF You guys are bonkers. DERMOTT smacks him upside the head. DERMOTT Look boyo, you're going to have to come along, so pull your head out of your ass. It isn't important that you believe me, but it is vital that you do what exactly as I tell you. Bring the body of the vampire. Keep the wolfsbane and garlic packed around her. We have to dispose of it properly or she'll come back. ATWATER But, my daughter, my mom. Help them. AGENT RYAN Ok, we'll take care of it. Seriously? Seriously. AGENT GRAF AGENT RYAN

They all look at each other for a long moment. DERMOTT and ATWATER turn and take off. AGENT RYAN pulls out his cell phone and starts dialing. AGENT GRAF looks at him incredulously. AGENT RYAN They're not going to run away, they told us they're headed. We'll follow it through and collar them there. INT. DR. HAUPTMAN'S OFFICE DR. KARL HAUPTMAN and DR. SUTCLIFFE disucss the situation at hand in Hauptman's office. HAUPTMAN This reaction is far too extreme. Once the authorities apprehend Atwater and Cardamon, we'll see there's a rational explanation for all of this. SUTCLIFFE Karl, you of all people should know that the foundation is only partly interested in 'rational


explanations.' HAUPTMAN But, the sanitarium. Closing the sanitarium. It is... unglaubisch. SUTCLIFFE Yes. The decision is final. The last of the inmates should be relocated by the end of the week. We're having some issues getting some placed, but it will all work out. You've had a long and distinguished career, Dr. Hauptman. You have a lot to be proud of as you move on to retirement. HAUPTMAN But, the sanitarium is the first, the foundation was born here. SUTCLIFFE All things must end when their time comes. HAUPTMAN (to himself) No, not all things end. OUT MUSIC CREDITS

Sign up to vote on this title
UsefulNot useful