DRACULA RISING.pdf

8/21/2019 DRACULA RISING.pdf

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DRACULA RISING

by

Matthew Paul Spizuco

Matthew Paul Spizuco

745 Fremont Lane

Mount Laurel NJ 08054

Email: [email protected]

Home: 856.727.1023

Cell: 609.458.4363


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FADE IN:

EXT. ABBEY - DAY

On Screen: London 1875

A sharp breeze whips about the dilapidated old abbey. Leaves

invade vacant windows.

INT. ABBEY MAIN FOYER - SAME

Great cobwebs flap like ghostly banners above dust laden

floors. Three paths of footsteps lead from the front door.

INT. HALLWAY TO CHAPEL – MOMENTS LATER

Disturbed dust fills beams of sunlight from high windows.

PROFESSOR ABRAHAM VAN HELSING, 58, leads the way. DR. STEWART

PARKER, 32, and ROBERT OWENS, 35, follow.

Van Helsing carries a black bag. Owens and Parker wear

pistols on their hips. Owens sports a Winchester rifle.

PARKER

Renfield was quite adamant about

the chapel, Professor Van Helsing.

VAN HELSING

Then it is there we shall find him!

Owens’s hand slips into his jacket. He caresses the hilt of a

large holstered Bowie knife.

INT. CHAPEL – MINUTES LATER

They enter the large shell of a chapel. No pews. A fallen

rafter lies before the altar. The Moon shines through a large

hole in the roof.

Ten large shipping crates sit near the rear entrance.

The men surround the crates. Owens eyes the shadows. Van

Helsing takes note.


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VAN HELSING

You are correct to be wary, Mr.

Owens. Dracula is here and possibly

aware of our trespass.

Van Helsing checks the shipping label on one of the crates:

Port of origin: VARNA/ BULGARIA

Destination: LONDON

Contact: Mr. Renfield/ 31 High Street

Contents: Soil Samples/ 3 of 10

VAN HELSINGThere should be ten.

Parker does a quick count.

PARKER

They are all here, Professor.

Van Helsing removes hammers and nail removers from his bag.

VAN HELSING

We must bless the dirt within theseboxes. Cleansing them of his

corruption will deny him their use.

Van Helsing stands ready with a vial of holy water. Owens and

Parker pry the first crate open.

Van Helsing splashes a cross upon the dark soil.

A chorus of angered squeaking erupts from the shadows

OWENS

What is that?

VAN HELSING

Dracula’s minions attempt to

distract us from our task.

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OWENS

If that’s supposed to put a fright

in me, Professor, I’m ashamed to

say it's working.

VAN HELSING

There is no shame in fear, Mister

Owens. It is an emotion given to us

by God’s design, and therefore

deserving of our admiration.

Owens keeps the Winchester aimed towards the shadows. He

follows Van Helsing and Parker to the next crate.

Owens and Parker open the crate. Van Helsing blesses the soil

contained within.

Van Helsing points to a crate at the far end of the bunch.

VAN HELSING

That one is next.

The squeaking from the shadows stops.

Van Helsing's eyes narrow on the crate.

VAN HELSING

We have found him.

Rats charge at the men from the shadows.

OWENS

Go!

Van Helsing and Parker rush to the crate.

Owens picks off the rodents with rifle shots, but the rats

keep coming. He looks around and up, to see the rotten

crossbeam that was connected to the fallen rafter.

He shoots into the crossbeam and kicks away the rats swarming

his boots. The rotten wood explodes with every impact.

OWENS

Stewart! Shoot the beam!

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Parker fires his pistols at the crossbeam.

The crossbeam shatters. The beam and pieces of wall crash

down about the men. The rats scurry away.

VAN HELSING

Aha! Their master’s power is

weakened during the day! Fear for

their lives was enough to break his

dark grip on them!

Owens reloads his Winchester.

OWENS

And how long before that dark grip

is reestablished?

A wave of bats descend into the chapel through the hole in

the roof.

Owens fires several shots, blowing apart his targets, before

the bats encircle and engulf him.

Parker fires randomly into the black mass.

Van Helsing grabs Parker's arm.

VAN HELSING

Hurry! We must not fail!

Owens swings with the rifle. His bloody face briefly visible

behind flapping wings.

Parker yells as a bat bites his neck. He throws the creature

to the floor and stomps on it. He hurries to join Van

Helsing, dodging bats and reloading his pistol.

Owens’s arm extends through the enveloping mass, clutching

his bloody Bowie knife. He falters and falls.

Van Helsing, covered with bats, falls to the ground.

PARKER

Professor!

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Parker swats bats off Van Helsing.

Van Helsing slaps a vial of holy water into Parker’s hand.

VAN HELSING

The crate, Dr. Parker. It is our

only chance.

Parker dashes the last few yards to the crate. Bats swarm

him. He fires through the bats and into the crate.

Parker drops his pistol. He fumbles forward, through the

angry swarm, to the crate. He drops to his knees and smashes

the vial onto the lid. The fluid drains into a bullet hole.

An inhuman roar of pain fills the chapel.

The bats flee the way they came.

The crate explodes, knocking Parker on his back.

DRACULA emerges; a towering demonic creature with a mouth of

blood stained sharp teeth.

Dracula grabs Parker with a clawed hand. He draws him near

his gaping mouth.

Owen's Bowie knife flies into Dracula's chest. Dracula drops

Parker. He faces his new attacker.

Parker stretches to reach his pistol.

Owens stands, swaying, covered in blood. He collapses.

Dracula turns back. Parker aims his pistol at his face.

Parker fires, blowing out the side of Dracula's head. Dracula

turns back and roars.

Van Helsing lays wide-eyed and bloody on the ground.

VAN HELSING

You must sever the head!

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Parker shoves the pistol into Dracula's chest. He grips the

Bowie knife and fires.

The force knocks Dracula back over the crate.

Parker jerks the knife free.

Dracula lunges up from the floor.

Parker swings the Bowie knife, slicing through the front of

Dracula’s neck. Black blood gusts forth.

Dracula drops to his knees, clutching his throat.

Parker steps around him. He swings the knife. The blade cuts

through the undead flesh.

Dracula’s head and the body hit the floor. They quickly

decompose into steaming vile puddles.

Parker rushes to Owens. He turns his friend over.

PARKER

Hold on, Robert! We’ll get you back

to the hospital!

Owens offers a weak smile.

OWENS

Funny, I remember...telling fellows

that...at Gettysburg.

Owens dies.

Van Helsing tends his wounds with a handkerchief.

VAN HELSING

It is over.

DISSOLVE TO:

INT. VAN HELSING HOME – STUDY – NIGHT

On Screen: London 1892.

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Books and paintings line the walls of the comfortable room.

An older, grayer Professor Van Helsing sits behind a large

ornate desk.

BRAM STOKER, 45, sits across from the professor, taking

notes. Several sheets of paper have escaped his grip and lay

on the floor.

VAN HELSING

It is over.

Stoker finishes his notes.

STOKER

Incredible.

VAN HELSING

Indeed. So now you know the tale of

my encounter with the vampire

monster, Vlad Dracula.

STOKER

If I may ask, Professor, what

became of Dr. Parker?

VAN HELSING

The good doctor accompanied his

friend’s body back to the United

States of America. I believe he has

a family of his own there now.

Van Helsing allows Stoker to make a quick note.

VAN HELSING

Now if you would excuse me, Mister

Stoker, it is late.

STOKER

Of course, Professor Van Helsing.

Your patience has been more than I

hoped for. I am in your debt.

Stoker gathers his notes.

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VAN HELSING

Such praise is unnecessary. It is

important for fellow researchers to

share our knowledge.

INT. FRONT FOYER - SHORT TIME LATER

Van Helsing escorts Stoker to the front door. A small cough

from the staircase distracts them.

Van Helsing and Stoker turn to see ROBERT, 6, standing on the

bottom step. The young boy wears a nightgown.

VAN HELSING

And what are you doing up this

late, young man?

ROBERT

I had bad dreams. There was a scary

man. He woke me.

Van Helsing affectionately rubs his grandson’s head.

VAN HELSING

I see. Well, the dream is gone and

you must return to bed.

ROBERT

Who is that?

He points to Stoker who stands by the door.

VAN HELSING

A colleague of mine. Robert, say

hello to Mister Bram Stoker.

ROBERTGood evening, Mister Stoker.

STOKER

It is a pleasure to make your

acquaintance, Mister Van Helsing.

Robert smiles.

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INT. ROBERT’S BEDROOM - SHORT TIME LATER

Van Helsing tucks Robert into bed.

ROBERT

What if the scary man comes back?

VAN HELSING

He will not. I will see to it. In

fact, I have something for you for

when you are scared.

Van Helsing reaches into his pocket.

VAN HELSING

I was going to wait until yourbirthday, but perhaps now is as a

good time as any.

Van Helsing hands Robert an ornate silver crucifix on a

chain. Robert gently touches a figure attached to the cross.

ROBERT

What is that?

VAN HELSING

It is a griffin. The enemy of

dragons and all things evil. It is

also the symbol of the Van Helsing

family. It is your symbol, Robert.

ROBERT

Mine?

Robert’s eyes grow large with awe and wonder.

VAN HELSINGYes.

Van Helsing helps Robert put on the crucifix. He tucks Robert

back under the blankets.

VAN HELSING

Now sleep. Good dreams will come.

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Van Helsing strokes Robert’s hair.

INT. CELLAR - SHORT TIME LATER

Once a wine cellar, now a library. Shelves of books from many

cultures. Crucifixes scattered about the room. Heavy double

doors draped with garlic and rosary beads dominate the far

end of the room.

An older Dr. Parker looks up from his reading at the sound of

FOOTSTEPS on the stone steps.

EDWARD VAN HELSING, 39, and MONSIGNOR THOMAS GARNER, 33, also

turn towards the steps.

Van Helsing comes down the steps into view.

EDWARD

How did it go, father?

VAN HELSING

I told him the story and he has

left. Now we can continue our work

in peace.

Van Helsing walks to a table of bottles. He pours a brandy.

PARKER

You told him everything, Abraham?

VAN HELSING

I revealed enough details to aid

him if he is a seeker of knowledge

and enough fallacies to protect us

if he is something else.

GARNERThe bishop will be pleased to hear

that, Professor Van Helsing. He was

tiring of Mister Stoker’s requests

for an audience with you.

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VAN HELSING

Not at all, Monsignor. The

cooperation of the church has been

essential to our endeavor.

Van Helsing empties his glass. He faces the double doors.

PARKER

He has been quiet.

VAN HELSING

No, he has not. He reached out to

Robert tonight.

Edward turns pale with shock.

EDWARD

Robert? Is he okay? What did that

monster do to my son?

VAN HELSING

The boy is fine, Edward. He only

had a bad dream. I put him back to

bed. He is fine. I promise.

Edward sits, shaken and angry.

EDWARD

This is madness! Complete and utter

madness! We should end it. Put a

stake through that demon's black

heart and end all of this!

VAN HELSING

No. We can not.

Edward stands before Van Helsing.

EDWARD

Why? Tell me why, father. It's been

nearly twenty years and we are no

closer to finding the secret to

that abomination's origin or

discovering a cure for his curse!

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VAN HELSING

But we will, my son! We will. Until

that time we are tasked with

guarding mankind against his evil.

PARKER

And what of Robert? How do we

protect him?

Van Helsing ponders the question.

VAN HELSING

We will train him.

Edward chokes on the news.

EDWARD

He's only six years old!

VAN HELSING

He is old enough to be touched! He

must learn the truth of his dreams

and how to resist their false

promises. He will train his

children as well, as they will

train theirs, if necessary.

EDWARD

Dearest Lord, will it ever end?

Van Helsing sets down his glass and proceeds to the doors.

INT. STOREROOM - MOMENTS LATER

Rosary beads, garlic, and crucifixes hang on the walls. A

limestone sarcophagus sits in the middle of the room. A large

silver crucifix sits atop it.

Van Helsing approaches the sarcophagus.

VAN HELSING

Is that all the strength you have

left, corrupting the dreams of a

sleeping boy?

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Van Helsing draws near.

VAN HELSING

Or has reason left you and you are

just reaching out by instinct,

looking for a mind to be twisted to

your bidding?

There is a buzz, like whispering. Van Helsing sways. He

shakes it off and smacks the sarcophagus.

VAN HELSING

Dare not tempt me! My mind is

closed to your lies!

The buzzing stops.

VAN HELSING

Your fate is sealed. Vlad Dracula

shall never again walk the Earth.

INT. LIBRARY - MOMENTS LATER

Van Helsing closes the doors.

PARKER

We will find the answer, Abraham.

GARNER

Indeed we shall. The church is

receiving cultural records from

missions around the world. One of

them will hold the clue we seek.

VAN HELSING

I know my friends. I know.

Van Helsing looks at his grief stricken son.

VAN HELSING

Come, Edward. Come see your Robert

sleeping soundly and go to bed

knowing he is safe.

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Father and Son walk up the steps.

CUT TO:

INT. SUBWAY PLATFORM – NIGHT

On Screen: New York City - Present Day

COMMUTERS and CLUB-HOPPERS wait for the train. The platform

lights go out. Overly dramatic screams from Club-hoppers

interlace with more colorful exclamations.

INT. CLOSED SUBWAY TUNNEL - LATER

Strings of maintenance lights come to life. Rats shriek in

protest at the invading brilliance.

Tarp-covered equipment flanks old warped tracks.

Two flashlight beams slice the shadows. LLOYD, 45, and NICK,

48 advance through the tunnel. They wear subway maintenance

uniforms. Lloyd has a large tote bag slung across his back.

Lloyd spots water running from a crack in the wall.

LLOYD

You gotta love it! They run powerlines through a waterlogged

shithole like this and wonder what

happened when the lights go out.

Nick grunts in agreement.

Lloyd spots a metal numeric marker by the tracks.

LLOYD

We’re at forty-two.

Nick pulls a folded tunnel map from his back pocket.

NICK

The junction room's around here

somewhere.

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EXT. JUNCTION ROOM - MOMENTS LATER

Flashlight beams fall on a ladder and equipment piled next to

a steel door.

INT. JUNCTION ROOM - MOMENTS LATER

The door opens with a squeal. Nick reaches for the light

switch. It doesn’t work.

Lloyd sets down the tote bag with a metallic clank.

Flashlights reveal a makeshift web of conduits and power

lines. The beams creep towards the back wall.

LLOYDSon of a bitch. What happened here?

The room’s electrical breaker box hangs by the few cables

that didn’t snap when the back wall caved in.

Lloyd and Nick approach the dangling breaker box, kicking

chunks of debris out of the way.

Nick jerks open the box, causing debris to fall onto Lloyd.

LLOYDBe careful! You’ll bring the whole

fucking ceiling down on us!

Lloyd examines the damage to the wall. His flashlight beam

disappears into a long cavity. The cavity ascends at a steep

angle and then appears to open into a larger space.

LLOYD

Hey. I think this goes somewhere.

Lloyd pitches rocks into the cavity. Most impact the sides,

sending dirt rolling onto him. Lloyd pitches one more rock.

The echo of it ricocheting off stone rings clear.

LLOYD

There's a room up there.

Nick walks over. He aims his flashlight into the cavity.

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NICK

Probably an old smugglers cellar.

Too close to the tunnel to have

been mapped.

LLOYD

Go grab the ladder. Let's check it

out. What the hell? We're working

overtime anyway.

INT. CAVITY - SHORT TIME LATER

Lloyd climbs the ladder. Every brush with the walls brings

showers of dirt. His flashlight beam spies an opening.

LLOYDYeah! There's something here!

INT. LAIR OF THE DRAGON – A FEW MINUTES LATER

The flashlight beam precedes Lloyd through the hole in the

wall. Lloyd sweeps the room with the light. He’s amazed by

what he sees.

LLOYD

Son of a bitch.

Dirt and mildew obscure the ornate tiled floor. Religious

symbols and charms from all beliefs decorate the walls.

A heavy iron gate decorated with a crucifix seals off a

passageway blocked with stone and debris.

An Egyptian limestone sarcophagus sits in the center. The

cover has been partially dissolved by water dripping from the

ceiling. A silver crucifix sits atop the sarcophagus.

Lloyd calls down into the cavity.

LLOYD

Nick! Get your ass up here! You're

not going to believe this shit!

Bring up the light bag!

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Lloyd hears a low buzz, like whispering.

LLOYD

Hello? Is someone there?

SHORT TIME LATER

Lloyd flips the switch of the heavy duty work lights, filling

the chamber with brilliance. Nick stays by the cavity. He

shakes his head.

NICK

This is wrong, Lloyd. Let's get out

of here before we're fired for

desecrating a tomb.

Lloyd pats him on the arm.

LLOYD

Fired? No one knows this place

exists, and even after we report

it, no one knows what's in here.

Lloyd picks up the silver crucifix.

LLOYD

This shit is pure silver! I know

the guy who can fence it. We're

going to make out big time!

NICK

We shouldn't be here, Lloyd.

Lloyd doesn't hear Nick. He caresses the sarcophagus.

LLOYD

There's more inside. We just haveto open it up.

NICK

There’s nothing in there but a dead

guy. Come on. It's time to go.

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LLOYD

No!

Lloyd throws the silver crucifix at Nick.

NICK

Hey!

Lloyd pulls out his hammer. He frantically smacks the

sarcophagus lid.

LLOYD

Help me open this up!

Lloyd smashes the hammer down. The cover stone splits.

NICK

Jesus Christ, Lloyd, I don't know

what the hell's wrong with you but

I'm outta here!

Nick climbs back on to the ladder. He starts to climb down.

Lloyd tears at the rough stone pieces, staining the limestone

with his bleeding hands.

Lloyd pushes off the last chunk of stone.

LLOYD

I did it!

Nick pauses on the ladder, only his face visible.

Silver-laced dirt fills the sarcophagus. Lloyd clears away

the soil. He uncovers a wooden coffin. He leans over it.

LLOYD

Master.

A waxy white arm bursts through the coffin. Tight flesh hugs

bones and veins. Clawed fingers rip Lloyd's throat open.

Blood spills into the coffin.

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NICK

Shit!

INT. CAVITY - CONTINUOUS

Nick slips and falls down the ladder.

INT. JUNCTION ROOM – MOMENTS LATER

Nick scrambles out of the room.

INT. LAIR OF THE DRAGON - MOMENTS LATER

Lloyd's drained body crashes against the wall.

Something breaks free of the sarcophagus.

INT. DISCONTINUED TUNNEL - MOMENTS LATER

Nick runs in a blind panic.

A fast moving INDIVIDUAL slams into Nick, knocking them both

to the ground.

Nick stares up into wild red eyes set into a pale ancient

face. Long black hair clings to lean neck and shoulders. Nick

beholds DRACULA.

NICK

God help me!

Dracula opens his mouth to reveal long fangs and sharp teeth.

He clamps down on Nick’s neck and sucks eagerly.

Dracula desiccated body renews as he feeds. His flesh

stretches and softens.

Dracula shoves the corpse aside. He attempts to stand, butstumbles onto his hands and knees. He cries out in feral pain

and confusion.

Dracula lays on his back. His eyes dart about at every sound.

The wild abandon in his eyes gradually gives way to

recognition.

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Dracula speaks. His voice harsh and raw.

DRACULA (ROMANIAN)

Who am I?

Dracula stands, slowly. He appears to be mid-thirties, tall,

handsome, muscular.

He searches his memory for answer. Realization bursts forth.

He cries out in English.

DRACULA

VAN HELSING!

Hundreds of giant rats converge around Dracula. They screech

and bite at one another.

Dracula walks down the tunnel. The rats clear a path. He

gives them a wave. They swarm onto Nick’s corpse.

Dracula crosses into shadow. He emerges as a large black bat

and flies away.

INT. SUBWAY TUNNELS – MINUTES LATER

Dracula maneuvers through the subway tunnel. He flies into

the path of an approaching train.

He rockets to the tunnel ceiling and watches the inexplicable

machine with flickering red eyes.

INT. SUBWAY PLATFORM 1 - SHORT TIME LATER

A TIRED COMMUTER glances up from the Sports page as a large

black bat flies into the station from the tunnel.

The bat circles the Commuter and then darts up the stairs.

The Commuter shrugs and returns to his paper.

EXT. SIDEWALK – NIGHT - CONTINUOUS

Dracula flies out of the subway entrance.

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He lands in human form and stares awestruck at monolithic

buildings ablaze with light. He listens to the symphony of

sound that fills the city night air.

DRACULA (ROMANIAN)

What land is this?

Dracula spots a newsstand at the street corner.

EXT. NEWSSTAND – MOMENTS LATER

Dracula scans the magazine covers. He speaks in English.

DRACULA

English.

GRUFF ATTENDANT, 58, takes notice of his naked customer.

GRUFF ATTENDANT

Hey! This ain’t no library so

unless you have cash shoved up

your...

Dracula faces the Gruff Attendant. His eyes swirl a menacing

red and black.

Gruff Attendant retreats to the far end of his stand.

GRUFF ATTENDANT

I’ll...I’ll be over here...if you

need anything.

Dracula picks up a copy of the day’s New York Times.

His eyes widen at the date on the page.

STREET COP (O.S.)

Hey, Tarzan!

Dracula glances over at a New York City STREET COP.

STREET COP

Let me guess. Loincloth at the dry

cleaners? Okay pal, put the paper

down and come here.

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Dracula drops the paper. He ignores the Street Cop and walks

around the corner.

STREET COP

Hey!

The Street Cop pulls out his nightstick and runs after him.

EXT. STREET CORNER – CONTINUOUS

The Street Cop rounds the corner, to find no one. He calls

out to a PEDESTRIAN across the street.

STREET COP

Hey pal! You see a naked guy come

around here?

The Pedestrian gives the Street Cop a strange look. The

Street Cop looks under parked cars.

A black bat vanishes into the night sky above him.

EXT. SKY - CONTINUOUS

Dracula as a bat soars above a nonstop bustle of humanity.

He flies towards the Empire State Building.

EXT. EMPIRE STATE BUILDING – MINUTES LATER

Dracula stands atop the building. He surveys the surrounding

urban landscape.

He closes his eyes and listens. A sound rises above the din;

the rush of blood...

EXT. STREET – CONTINUOUS

A MAN crossing the street dodges a cab. His heart rate

quickens...

INT. BEDROOM – CONTINUOUS

LOVERS lost in the throes of passion. Blood surges through

their bodies...

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INT. BABY BEDROOM – CONTINUOUS

A BABY cries in its cradle. Its heart races like a bird’s...

INT. LIVING ROOM – CONTINUOUS

An ELDERLY COUPLE snuggles on the couch. Their hearts beat

slow and steady.

BACK TO SCENE:

EXT. EMPIRE STATE BUILDING – CONTINUOUS

Dracula sways to the hypnotic heartbeats.

DRACULA

I am awash in life.

He steps off his perch and disappears into the darkness.

EXT. OLD VICTORIAN CHURCH - LATER

The cathedral sized church stands dark in a rundown

neighborhood. The city skyline glows in the background.

Planks shield some windows. Chains bar the doors.

A large black bat flies around the building. It flies down to

the back of the church.

EXT. CHURCH BACK DOOR - CONTINUOUS

Moonlight illuminates the padlocked back door. Dracula walks

up to the door. He jerks the padlock open and enters.

CUT TO:

INT. APARTMENT – LIVING ROOM – NIGHT

Spacious. Elegant décor. French doors lead to a balcony with

an expensive view of Central Park.

INT. HALLWAY – CONTINUOUS

Walls adorned with framed photos and articles, including:

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Professor Van Helsing sitting in his study with Young Robert

on his knee, circa 1890.

ADULT ROBERT in a British officer’s uniform outside a street

café. He stands with the assistance of a new cane. The

handwriting reads:

Paris 1919

God Save the Queen

Robert

Society page article. June 21, 1936, “PRESTIGIOUS VAN HELSING

FAMILY MOVES TO NEW YORK FROM LONDON.”

Society page article. January 13, 1977, "Heiress Mildred

Helsing to Marry Financial Tycoon Richard L. Ross in Summer

Wedding Gala."

New York Times article. May 12, 1988, “ROSS MANOR TO BE

RAZED. Mildred Ross Donating Site for New City Park.”

INT. MASTER BEDROOM – CONTINUOUS

Antique furniture. Vacant bed. Medication bottles populate

the end table. A walker stands alone.

INT. GUEST ROOM – CONTINUOUS

Open suitcase on the ottoman. A pressed black suit hangs on

the closet door. A black arm band sits on the dresser beside

a crumpled airline ticket and the silver griffin crucifix.

MICHAEL ROSS, 32, sleeps in bed. Eye lids flicker. He dreams.

INT. DREAM - HALLWAY – CONTINUOUS

Michael walks past the framed photos, now displaying decayed

corpses and articles dripping with blood.

INT. DREAM - LIVING ROOM – CONTINUOUS

An opening waits in the middle of the living room floor.

Michael descends the stone steps.

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INT. DREAM - CORRIDOR - CONTINUOUS

Michael approaches the crucifix gate. He looks in his hand.

He holds a dragon headed key. He unlocks the gate.

INT. DREAM - LAIR OF THE DRAGON - CONTINUOUS

Candelabras illuminate the pristine chamber. Michael stands

before Dracula's undamaged sarcophagus. The silver cross

glows upon it.

Michael jumps at a slumping sound. Lloyd and Nick’s bodies

lay against the wall, covered with feeding rats.

Michael looks back at the sarcophagus; now in its present

smashed state.

Michael turns to run out, but now he...

SMASH TO:

INT. DREAM - OLD VICTORIAN CHURCH – CONTINUOUS

...stands before an dusty altar shadowy church.

A large crucifix once hung on the wall. The message, “GOD WAS

HERE BUT LEFT” painted in its place.

A sound behind him. Michael turns. Dracula stands there. He

slashes Michael's throat with a clawed hand.

BACK TO SCENE:

INT. BATHROOM – MOMENTS LATER

Michael splashes cold water on his face. He steadies his

breathing. His hands still shake.

INT. HALLWAY - MOMENTS LATER

Michael walks past the framed photos. He pauses at an old

elegant studio photography of Mildred Ross. He smiles.

25.


27/118

MICHAEL

Sleep tight, mom. I'll see you

tomorrow.

Michael walks back to his bedroom.

CUT TO:

EXT. CLOTHING STORE – NIGHT

High-end men’s fashions. Closed for the night. The squeaking

of a bat cuts through the night sky.

EXT. LOADING DOCK

REMY, 24, slender, lackluster, waits as BARRY, 35, heavyset,good ole' boy, unlocks the back of the truck.

Barry slides open the door to reveal rows of hanging plastic-

covered men’s apparel. He grabs papers from a folder taped to

the inside wall.

He slaps the papers into Remy's hand.

BARRY

Manifest. Coffee?

REMY

Inside.

Barry pats Remy on the shoulder and walks inside.

INT. DOCK PREP AREA – MOMENTS LATER

Barry crosses the open prep area as MIKE, 21, crashes through

Receiving's doors with two rolling bars.

MIKE

Yo Barry! How’s the drive?

BARRY

Sucked like always.

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EXT. BACK OF TRUCK - MOMENTS LATER

Remy and Mike transfer clothes to the first rolling bar.

INT. RECEIVING - MINUTES LATER

Barry sits at Mike’s desk, looking at a porn magazine. Mike

wheels in the first rolling bar.

MIKE

Hey, I think that’s the issue with

your wife in it.

Barry smirks.

BARRYI wish.

INT. BACK OF TRUCK - MINUTES LATER

Remy continues transferring suits. A shadow falls upon him. A

loud buzzing fills his ears. He stops, and stands entranced.

REMY

Yes.

INT. RECEIVING - SHORT TIME LATER

Barry still ogles the magazine. Mike smokes a cigarette.

BARRY

Aren’t you supposed to be unloading

my truck? I don’t want to spend the

whole night here on my ass!

MIKE

Relax. Remy can pick up the slack.

Dude's a freak anyway.

INT. BACK OF TRUCK - SAME

Remy stands before Dracula.

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REMY

I understand what you offer and

what you demand, and I will serve.

Dracula nods and walks out of the truck.

Remy slides to the floor. He picks up a cockroach.

REMY

There is strength in blood. That’s

the Master’s first lesson.

Remy eats the cockroach.

INT. DOCK PREP AREA - MOMENTS LATER

Mike wheels another rolling bar across the prep area.

MIKE

Hey Remy! Where’s the other bar!

Barry can’t wait--

Dracula strides into the prep area.

MIKE

Whoa, dude!

Dracula grabs Mike by the neck. He snaps it like a twig and

tosses the body aside.

INT. RECEIVING – MOMENTS LATER

Barry looks up as Dracula bursts into the department.

BARRY

What the fuck?

Dracula bares long fangs.

Barry scrambles into his windbreaker. He pulls a handgun from

a shoulder holster.

BARRY

Bite this, asshole!

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Barry fires the handgun.

The rounds rip into Dracula's abdomen and side. The impacts

momentarily stagger him. His skin absorbs the splattered

blood. The wounds close.

Barry's mouth falls open.

BARRY

What...?

Dracula leaps. He knocks Barry down behind the desk. A short

scream, terrible ripping, and blood splashes across the wall.

INT. BACK OF BARRY'S TRUCK – LATER

Remy deposits Barry and Mike's plastic-wrapped bodies.

INT. RECEIVING - SAME

Remy empties Mike and Barry’s wallets. He stuffs cash and

credit cards into his pockets.

Dracula finishes dressing. He looks sharp.

DRACULA

You know what to do.

REMY

Oh yes, Master.

DRACULA

Go.

Remy grabs Barry's truck keys and runs out.

EXT. ALLEY - SHORT TIME LATER

Remy drives Barry's truck onto the street.

Dracula steps out from the alley. He crosses the street and

merges with the shadows.

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EXT. SIDEWALK - LATER

Dracula walks past shops and clubs. PEDESTRIANS unconsciously

move clear of his path like prey avoiding a predator.

INT. TOWN CRIER USED BOOK STORE - LATER

Worn upholstered chairs. Coffee maker with complimentary

cups. Mellow New Age music playing.

ANYA, 21, shelves books behind the counter. She turns as the

front door opens.

Dracula stands with a confident aristocratic stance.

A mixture of fear and attraction washes over Anya.

ANYA

Hi. Welcome to Town Crier.

Dracula walks up to the counter. His demeanor relaxes

slightly, disarming Anya.

DRACULA

Thank you. I have only just arrived

here. I am not accustomed to seeing

so many people so late at night.

ANYA

Well, welcome to New York, the city

that never sleeps.

DRACULA

What a fascinating place.

Their eyes meet. Anya feels a flush rising in her cheeks.

ANYA

I love your accent. Where are you

from? If you don't mind me asking.

DRACULA

Romania.

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ANYA

Cool. What brings you to New York?

DRACULA

Let us just say, an unexpected

change in plans.

INT. READING SECTION - MOMENTS LATER

Open space with an eclectic selection of furniture. A harried

looking GRADUATE STUDENT works on a research paper.

Anya shows Dracula around

ANYA

We have a wide selection of usedbooks and free coffee to help keep

you going.

DRACULA

I wish to read the history of the

past hundred years.

ANYA

Our history section isn't as large

as I'd like, but you'll find it at

the end of the aisle.

DRACULA

You have been very kind. My thanks

are yours, Lady...?

ANYA

Lady? Wow. You are Old World,

aren’t you?

Dracula smiles.

DRACULA

There are few older.

ANYA

Well, cool. I’m Anya.

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DRACULA

A lovely name. Please call me Vlad.

The flush in her cheeks returns.

ANYA

Okay, Vlad. Can I get you anything

else? Coffee?

DRACULA

No. My thirst has been sated for

the night. Thank you, Anya.

ANYA

Good luck finding something you

like, and don’t feel rushed. Thenight is young.

DRACULA

What a wonderful sentiment. Indeed,

the night is very young.

Anya walks up front. Dracula walks along the aisles pulling

books from the shelves.

EXT. BACK ALLEY - NIGHT

Remy walks away from the shadow draped truck.

INT. BACK OF TRUCK - SAME

Flames spread across Mike and Barry’s plastic wrapped bodies.

EXT. SUBWAY ENTRANCE – NIGHT

Taped off crime scene. Flashing lights from police cars,

ambulance, and Animal Control sweep across surrounding trees

and buildings. POLICE OFFICERS keep the growing crowd of

ONLOOKERS back.

Modest car pulls up. MONSIGNOR FRANCIS BALARD, 54, gets out.

Balard approaches a YOUNG POLICE OFFICER manning the tape.

Balard hands the Officer an ID card.

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BALARD

I am Monsignor Francis Balard. I

was contacted by Inspector Murphy

about a desecrated grave site.

The Young Police Officer nods. He pulls up the tape for

Balard to enter the crime scene.

INT. LAIR OF THE DRAGON - SHORT TIME LATER

Balard steps around the sarcophagus, carefully avoiding

evidence markers and CRIME INVESTIGATORS.

He gingerly taps a BUSY INVESTIGATOR on the shoulder.

BALARDPlease let me know when I can bless

the site. I understand this is a

crime scene and an unusual one at

that, but it is also hallowed

ground and must be again.

BUSY INVESTIGATOR

Will do, Father.

BALARD

Thank you.

Balard moves back against the wall. He closes his eyes and

recites a small prayer to himself.

INT. BALARD'S PARKED CAR - SHORT TIME LATER

Police lights flash across the windshield. Balard talks on a

cell phone.

BALARDYes, it is the Lair of the Dragon.

(Shakes his head) No. There's

nothing to be done tonight. I need

to notify the others and the night

is his element. All we can do at

the moment is pray, for wherever

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Dracula walks tonight, death will

surely follow.

INT. TOWN CRIER - NIGHT

Anya noshes on a cookie. Deep rolling laughter fills the

store. Curious, Anya goes to investigate.

INT. READING SECTION - CONTINUOUS

Dracula sits in a large arm chair, surrounded by books and

magazines. He laughs again, and turns a page in Stephanie

Meyer's "Twilight."

Anya grins at the sight.

ANYA

Find something entertaining?

Dracula looks up from the book.

DRACULA

Oh yes. I found this book on a

table. Lady Meyer has many

interesting ideas on what it is to

be vampyre. I would welcome the

opportunity to discuss the matter

with her in greater detail.

ANYA

Yeah, well, the Twilight series is

more like softcore teen porn than

horror. For vampires, give me "I Am

Legend" and "Dracula" any day. The

original books, not the movies.

The comment catches Dracula off guard.

DRACULA

Dracula?

ANYA

“Dracula” by Bram Stoker. It’s the

ultimate vampire novel.

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DRACULA

I am not familiar with it.

ANYA

Hold on. I'm sure we have a copy in

the Classics section.

Anya steps away.

INT. CLASSICS SECTION – MOMENTS LATER

Anya grabs the paperback off the shelf.

INT. READING SECTION – MOMENTS LATER

Anya hands the book to Dracula.

ANYA

I’m such an idiot. You’re from

Romania. You know all about the

real Dracula. You'll probably find

this insulting.

Dracula looks at the Bela Lugosi inspired cover illustration.

DRACULA

I will try to read it with an openmind. Thank you again, Anya.

ANYA

Anytime.

Anya leaves, pleased with herself.

EXT. OLD VICTORIAN CHURCH – NIGHT

The church stands in darkness.

INT. BACK FOYER – SAME

Remy closes the door Dracula earlier forced. He clicks on his

flashlight.

A hallway intersects the foyer.

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INT. ALTAR – MOMENTS LATER

Remy walks past the altar. His flashlight beam slides across

the message, “GOD WAS HERE BUT LEFT!”

REMY

Yes, but now the Master has come,

and his will be done!

Remy cackles and runs to a door past the altar.

INT. TOWN CRIER – READING SECTION – NIGHT

Anya carries books to be shelved. Dracula sits pensively. The

closed copy of "Dracula" in his lap.

ANYA

Done? Wow. You read fast. What did

you think of it?

Dracula places the paperback on a pile of other books.

DRACULA

I am amazed by people's ability to

label elements of a world and God

they can not understand in such

simplistic terms of good and evil,

without accepting their own vices

and sins. After the passage of so

many years, the human soul remains

flawed and delusional.

ANYA

Yeah, well, I liked it. Maybe

vampires just aren't your thing.

DRACULAPerhaps not. You have been very

helpful to me this night.

ANYA

Thanks.

Dracula sets the book aside. He motions to a nearby chair.

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Anya shrugs.

ANYA

I can spare a few minutes.

Anya sits.

DRACULA

I find myself in a world very

different from the one I knew.

ANYA

New York can be intimidating.

DRACULA

You grew up here?

ANYA

No. I’m from Florida. I came here

for school, but that didn’t work

out so now I work here. It’s okay.

The boss is cool and I like the

night shift. Daylight's overrated.

All the real fun happens at night.

INT. FRONT COUNTER - CONTINUOUS

A MAN waits by the register with several books. He dings the

counter bell.

INT. READING SECTION

Anya frowns at the sound of the bell.

ANYA

Oh well. Duty calls.

DRACULA

I must depart as well.

Dracula also stands. Anya blushes at his sudden proximity.

ANYA

Well, thanks for stopping by. You

know where to find me if you need

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anything, Vlad. I know my way

around the city.

DRACULA

Indeed I shall, Anya.

Dracula exits. Anya stands smoldering.

EXT. OLD VICTORIAN CHURCH – LATER

Clouds part, bathing the church in moonlight.

EXT. CHURCH - SAME

Dracula smoothly scales the stone wall.

EXT. BELL TOWER - CONTINUOUS

Dracula enters through the top of the bell tower.

INT. HALLWAY – MOMENTS LATER

Candles illuminate the hallway. Dracula passes the back door,

displaying a new padlock.

INT. CRYPT ENTRANCE – MOMENTS LATER

Dracula descends the steps.

INT. CRYPT – MOMENTS LATER

Candles. Empty alcoves house shadows and spider webs.

Remy bows as Dracula passes.

A rack of plastic wrapped clothing stands against a wall.

REMYAll is as you commanded, Master.

A sarcophagus surrounded by candles waits at the far end of

the crypt.

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EXT. NEW YORK CITY SKYLINE – MORNING

The morning sun peers through the skyscraper landscape.

EXT. BROWNSTONE – SAME

Anya climbs the front steps. The front door opens. BRAD, 28,

wearing jeans and a T-shirt, exits with a large dog on a

leash. JANET, 26, dressed for the office, follows.

BRAD

Morning, Anya!

ANYA

Morning, Brad. Hi, Janet. Hi

Frankie!

Anya scratches Frankie behind the ears, provoking furious

tail waging.

Janet regards Anya coolly.

JANET

Busy night at the book store?

ANYA

The usual.

Anya enters the building. Brad closes the door behind her.

JANET

You need to change for work. Play

doorman later.

Janet walks off without a goodbye kiss. Frankie drags Brad in

the opposite direction.

INT. ANYA’S APARTMENT - MOMENTS LATER

Nice furnished two-bedroom. Framed classic horror and science

fiction posters populate the walls.

Anya flops on to the sofa. She drifts off to sleep.

SHORT TIME LATER

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Anya jumps at a knock. She wipes a bit of drool off her mouth

and stumbles to the door.

INT. BROWNSTONE FOYER - MOMENTS LATER

Brad stands minus Frankie. He smiles.

BRAD

Hi, Anya. I was wondering if you’d

want to join me for breakfast. I

have some extra time this morning.

ANYA

I don’t think that's a good idea.

BRADIt's just breakfast.

ANYA

It was the last time too, but I was

tired and stoned, and you were cute

and married, and that's one sin I

don't want to repeat. Sorry.

BRAD

I just like talking with you.

ANYA

Talk with your wife, Brad. Things

will get better.

BRAD

Really? When?

Anya has no answers. She shrugs and closes the door.

INT. ANYA'S APARTMENT - CONTINUOUS

Anya walks back to the couch. She spots the blinking light of

the answering machine on the end table.

Anya hits "PLAY" and flops back down.

The message begins:

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KATE (V.O.)

Hi, Anya. It's Aunt Kate!

ANYA

Hi, Aunt Kate.

KATE (V.O.)

I hope everything is well. Listen,

hun, I was talking with your mom

the other day and she told me about

you taking a break from Columbia.

ANYA

That's one way to put it.

KATE (V.O.)Since you're not in school any

more, I'm sure you'll want to get

out of old dirty New York and head

back to sunny Tampa!

ANYA

Fuck the sun.

KATE (V.O.)

Since that's the case, your uncle

and I decided to put the apartment

back up for sale. Give us a call so

we know when you're moving out. We

love you! Bye!

Anya groans and covers her head with a throw pillow.

INT. MILDRED'S KITCHEN – MORNING

Michael drinks his coffee and fixes his tie. Local NEWS plays

on the television.

ANCHOR (V.O.)

Police continue their search for

Remington Murphy for questioning in

connection with last night’s

robbery and double homicide.

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Remy’s employment photo appears on TV.

ANCHOR (V.O.)

Anyone with information on his

whereabouts is urged to contact

police immediately.

EXT. CEMETERY - LATER

A line of cars follows a black hearse into the cemetery.

EXT. ROSS MAUSOLEUM - SHORT TIME LATER

MOURNERS insert cones of flowers along the walls.

INT. ROSS MAUSOLEUM – CONTINUOUS

Michael stands at the head of Mildred's sarcophagus, next to

her loving husband Richard's sarcophagus. Mourners file in to

set a flower on Mildred's grave. Michael offers his thanks.

Monsignor Balard enters. He gently brushes the flowers from

the crest below Mildred’s name.

BALARD

The griffin. The enemy of dragons

and all things evil.

MICHAEL

Yes. It’s my mother’s family seal.

BALARD

I know. My condolences, Michael. I

am Monsignor Balard.

They shake hands.

BALARD

I knew your mother quite well.

MICHAEL

I apologize, Monsignor Balard, but

I’m not familiar with many of my

mother’s friends.

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BALARD

I am not surprised. It has been a

long time since you last saw me. I

have something for you. If you

don't need it now, you will soon.

Balard hands Michael a dragon headed key. Balard leans in.

His words for Michael alone.

BALARD

The nightmares have returned,

haven't they? He has awaken.

Balard leaves Michael stunned. Mourners clear a way for

Balard to exit. He pauses at the doorway.

BALARD

Mildred was a remarkable person,

Michael. Her death is felt further

than you can imagine.

INT. LIBRARY – MILDRED'S APARTMENT - NIGHT

Rich wooded décor. Scientific texts and treatises. Michael

thumbs through papers from Abraham Van Helsing's desk.

Pencils and old receipts end up in the garbage.

Michael removes an old lock box from the bottom drawer.

Something rattles inside. Michael's finger glide along the

shield shaped keyhole.

Michael takes the dragon key from his pocket. He inserts the

key and unlocks the box.

A remote door opener sits inside. Michael presses the button.

A click sounds from the bookcase. A section of the bookcase

swings out.

Michael swings opens the bookcase. A large box of wood and

iron sits in a small alcove.

Michael sets the box down on the coffee table. He gently

opens the lid. Old journals and notebooks fill the box.

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Michael removes the top book. He opens to the first page:

VAN HELSING (V.O.)

Evil waits in still shadows and

dances in tortured dreams. Abraham

Van Helsing. Third of September.

Eighteen seventy-four.

MUCH LATER

Michael lies on the couch, shoes off, sleeves rolled up,

absorbed in the journal.

VAN HELSING (V.O.)

We continue with Robert’s training.

Edward is in assistance but dreadshrouds his heart. I understand his

fear. Though Edward was older, did

I not experience the same when

Dracula touched him?

Michael skips ahead a few pages.

VAN HELSING (V.O.)

Robert displays a strong mental

resistance to Dracula. I credit his

artistic ability. The boy channels

his fear through his drawings. The

level of detail suggests the power

of Dracula’s intrusion. Robert

shares his drawings with me alone.

He recognizes the images would

haunt his father.

Sheets of paper slip free from the journal. Michael picks up

Robert's drawings: lifelike images of surreal landscapes,

nightmarish creatures, rosary beads and garlic, the silver

crucifix atop Dracula's tomb, and Dracula.

Dracula leers from the page. Robert's pencil captured the

intensity of Dracula's gaze.

44.


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Michael breathing quickens. His hands tremble as his eyes

lock on Dracula's unblinking gaze...

DISSOLVE TO:

INT. YOUNG MICHAEL'S BEDROOM – 1986

YOUNG MICHAEL, 8, dreams terrible things. His limbs jerk

under the sheets. He screams and grabs for his throat,

fighting off unseen attacks. Mittens protect him from harm.

MILDRED ROSS, 38, and RICHARD ROSS, 46, rush into the room.

Mildred scoops Young Michael into her arms. Richard holds the

boy's arms until he calms down.

MILDRED

Michael! Wake up! It's only a

dream! Please, wake up!

Michael wakes. Body tense. His eyes dart around the room.

Frightened. Confused. He collapses in Mildred's arms.

Mildred cradles her son. Tears wet her face. She speaks low

but intensely to Richard.

MILDREDThis is enough! No Van Helsing has

ever suffered like Michael. That

monster has gone insane and it's

taking our son's mind with it.

Well, I won't let it!

Richard covers Michael with an afghan.

RICHARD

I feel the same, Mildred, but whatcan we do? Your family has always

been the guardians of his tomb.

MILDRED

So what? Even when I was a girl,

there were researchers and Papal

officials coming to study him. That

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stopped years ago. If the Church

has forgotten or no longer cares

about that abomination, then

neither do I.

RICHARD

Okay. How do we end it? Will you go

down there and finish him?

Fear replaces Mildred's anger.

MILDRED

No. No, I can't go. He'll know it's

me. I can't go through that again.

Mildred rocks her son. An idea forms.

MILDRED

We'll bury him. We'll seal the

passageway and tear the house down

on top of him and move far away.

Then we can have a normal life,

just as Michael deserves.

RICHARD

What will we tell Father Balard?

MILDRED

He'll know where to find that

monster if he wants, but for the

Van Helsing family, Dracula's

nightmare ends tonight!

Young Michael lies awake in his mother's arms, eyes open,

ears alert.

BACK TO SCENE:

INT. LIBRARY – CONTINUOUS

Michael sits on the couch, head in hands, surrounded by

journals and drawings, and memories.

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INT. ANYA’S APARTMENT – NIGHT

Anya sleeps on the couch. A dirty plate, fork and knife on

the floor. Candles around the room provide the only light.

Pounding at the door wakes Anya. She stumbles to the door.

She opens it, Dracula steps inside.

ANYA

Vlad, what are you...?

Dracula pulls Anya into his arms. He kisses her. Anya kisses

Vlad back, hard, passionate. She rips his shirt open.

INT. ANYA’S APARTMENT – VERY SHORT TIME LATER

Anya straddles Dracula on the couch. Their naked bodies

glisten in the candle light.

DRACULA

I need you, Anya. I need your

strength. Your passion. Your fire!

Pleasure cascades through Anya. She opens her mouth revealing

long fangs. Anya sinks them into Dracula's neck.

BACK TO SCENE:

INT. ANYA’S APARTMENT - DAY

Anya wakes on the couch, sweating, breathing hard, clutching

the throw pillow. She stands, lightheaded and off balance.

ANYA

Whoa. Good dream.

Anya stumbles. She kicks the plate and silverware. The knife

slides under the couch. She stumbles down the hallway. The

bathroom light comes on. A shower starts.

CUT TO:

47.


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INT. MILDRED'S APARTMENT - FRONT DOOR - LATER

Doorbell rings. Michael opens the door. Monsignor Balard

stands there.

MICHAEL

Hello, Father Balard.

BALARD

So you do remember me, Michael.

MICHAEL

I'm not sure what I remember. Come

in. Let's talk.

INT. LIVING ROOM – MINUTES LATER

Balard sits on the couch. Michael hands him a coffee and sits

across from him.

BALARD

I take it you used the key?

MICHAEL

Yes. What does it all mean, the

journals and drawings?

Balard sips his coffee.

BALARD

Dracula, the real life monster,

exists and is loose in our world.

Do you know about how he was

imprisoned?

MICHAEL

I remember the night my mother madethe decision to bury him and leave

New York. After a while I thought

it was just another dream.

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BALARD

I understand Mildred wanted to

protect you. I prayed her plan

would work, truly, I did.

MICHAEL

So what now? Am I supposed to

become a vampire hunter, run

around, battling the undead?

Balard smiles.

BALARD

Nothing so Hollywood.

Balard sets a mini tape recorder on the table.

BALARD

All I need from you is to tell me

about your dreams.

MICHAEL

My dreams?

BALARD

All Van Helsings shared a mental

bond with Dracula. It's the result

of exposure to his dream attacks.

MICHAEL

But I didn't have much exposure. We

left New York when I still a kid.

BALARD

True, but Dracula's assaults on you

were very powerful. I believe they

may have been a last chance forfinding escape as madness continued

to claim him.

Balard clicks on the tape recorder.

BALARD

Please, Michael. Every detail.

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INT. FRONT FOYER – LATER

Michael opens the door. MONSIGNOR SINELNIKOV, 58, a

mountainous stern looking man stares down Michael. A nasty

jagged scar runs down the side of his neck into his collar.

He holds several long postal tubes.

MICHAEL

Monsignor, I think it's for you.

Balard comes to the door.

BALARD

Michael, allow me to introduce

Monsignor Sinelnikov.

Michael and Sinelnikov shake hands.

Sinelnikov hands the tubes to Balard. He speaks in a strong

Ukrainian accent

SINELNIKOV

The maps.

He walks inside and hands Michael his coat.

BALARDGood. This will give us an idea of

what we're dealing with.

SINELNIKOV

Where is Deacon Keet?

BALARD

Traffic.

SINELNIKOV

Of course.

INT. DINING ROOM – MINUTES LATER

Balard unrolls the street map across the table. The map

displays a number of red and green squares.

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SINELNIKOV

I marked open and closed locations.

BALARD

Michael's dream suggests a closed

church. Let's begin with them.

Balard circles a grouping of red locations with a marker.

Michael watches and shakes his head.

MICHAEL

This really can't be happening.

Sinelnikov huffs.

SINELNIKOV

Your mother was a noble woman from

a proud lineage, but she was

foolish and naive to isolate you.

MICHAEL

Hey, watch you say about...

Sinelnikov pulls down his collar to show Michael the nasty

scar. He unbuttons his shirt. The scar runs into three others

crossing the Monsignor's chest and across his abdomen.

The sight leaves Michael speechless.

SINELNIKOV

There are worse terrors in this

world than the evil men do, Michael

Ross. Until you have faced such

horrors, mind the words of those of

us who have.

Sinelnikov gives Michael a good look before buttoning up.

Balard continues studying the map.

BALARD

Dracula had to escape through the

subway. Assuming he'd find the

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nearest exit, I've selected these

parishes for our search.

Sinelnikov fixes his shirt.

Doorbell rings.

Sinelnikov grins.

SINELNIKOV

Ah, the young one has found his way

after all.

INT. DINING ROOM – MOMENTS LATER

Balard, Sinelnikov, and Michael watch DEACON KEET, 24, unzipa tote bag filled with wooden stakes.

MICHAEL

Wooden stakes?

Sinelnikov takes one. The long smooth stake has black tape

wrapped around the handle.

KEET

It’s oak. I figured a hardwood

would be best.

Sinelnikov holds the taped end up inquisitively to Keet.

KEET

Two-sided tape, for extra grip.

Sinelnikov snorts.

SINELNIKOV

Polished oak. Two-sided tape. In

Ukraine, we sharpened tree branches

to battle vampires. In America, you

go to the Home Depot.

Keet picks up a case from the floor.

KEET

And I brought these.

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Keet opens the case to reveal a pistol and six darts.

SINELNIKOV

Deacon Keet, tranquilizer darts

will have no effect on Dracula.

KEET

I am aware of that, Monsignor.

These are filled with holy water.

BALARD

Holy water?

SINELNIKOV

You plan to inject holy water

directly into Dracula?

BALARD

It may hurt him, a lot. It could

give us an edge.

Sinelnikov slaps Keet on the shoulder.

SINELNIKOV

You are a surprisingly dangerous

man, Deacon Keet. It is good.

BALARD

Okay, let's get ready. We only have

a couple of hours before nightfall.

Sinelnikov and Keet clean up. Michael goes to Balard.

MICHAEL

I'm coming along.

BALARDThat's not necessary. You've

already given us the information we

need. Your part in this is done.

MICHAEL

You're kidding, right? You crash my

mother's funeral, you tell me Count

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Dracula is alive and well and

running around New York City, and I

share some mental link with him,

and then you invite the undead

hunters club here to use ourapartment as a war room. How can I

miss what's coming next?

SINELNIKOV

Let him come, Francis. He is a Van

Helsing. It's in his blood. I would

have been surprised if he didn't

want to see the beast for himself.

MICHAEL

I served two tours overseas. I've

seen bad things. I can follow

orders and take care of myself.

Balard nods.

BALARD

Very well, Michael. Just make sure

you follow my orders. No wartime

horror can match the devastation

Dracula unleashes.

INT. HALLWAY - ANYA'S APARTMENT – DAY

Anya locks the door and heads down the hallway. Janet walks

up the hallway. They meet.

ANYA

Hi, Janet.

Janet smiles. Her demeanor warmer than this morning.

JANET

Hello, Anya. Working tonight?

ANYA

Night off. Thought I'd grab dinner

and a DVD or two. I'm in a horror

movie mood for some reason.

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Anya sniffs the air.

ANYA

That's a nice scent.

Janet smiles.

JANET

Thank you. A girlfriend gave it to

me. Have a nice evening, Anya.

ANYA

You too.

They continue on their way.

EXT. CLOSED CHURCH 1 – LATE AFTERNOON

Monsignor Balard’s car sits out front of the old closed

church. Shadows run long across the pavement.

INT. CLOSED CHURCH 1 - ALTAR - CONTINUOUS

Monsignor Balard reads a blessing from the bible. Finished,

he sets a small crucifix on the altar.

BALARDThis house has been reclaimed in

the name of our Lord. Evil will

find no sanctuary here.

Sinelnikov blesses himself.

SINELNIKOV

Amen.

INT. OLD VICTORIAN CHURCH - CRYPT - EVENING

Dracula sleeps naked in the sarcophagus. He breathes deep and

opens his eyes. He sits up.

Remy waits nearby. He bows to Dracula.

REMY

Good evening, Master.

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A WAIF, 13, stands next to Remy. The girl wears too much

makeup and too few clothes. She stares in a drugged haze.

REMY

I brought you a tasty young snack.

Dracula approaches the girl. He glides his finger along her

skin. It feels wrong.

DRACULA

Your blood is poisoned.

Dracula turns over her arm; track marks and dark bruises.

DRACULA

You will suffer. You will die.

The Waif hears Dracula through her haze. She looks to him

with lost eyes. Her voice barely registers.

WAIF

Help me?

Surprised, Dracula considers the child.

DRACULA

It has been ages since someoneasked for my help. Yes. I will

grant it this one time. I will

spare you the agony to come.

Dracula rests his hands on her face. He snaps her neck with a

sharp twist.

The Waif, now a lifeless rag doll, collapses.

Remy apologetically rushes to Dracula's side.

REMY

Master, I...

Dracula backhands Remy into the wall.

DRACULA

I hunger and you bring me disease!

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Remy stays on the floor.

REMY

I am sorry, Master! There are so

many scents! I got confused!

DRACULA

Remove her. Then we hunt.

REMY

Yes, Master!

EXT. CLOSED CHURCH 2 - NIGHT

Michael, Keet, and Balard wait in the church's entrance.

Sinelnikov talks with two POLICEMEN on the street. The

officer's car strobe flashes across the church.

EXT. POLICE CAR – CONTINUOUS

OFFICER 1 inspects Sinelnikov's identification. OFFICER 2

stands nearby.

SINELNIKOV

So as you see, officer, this is

Archdiocese property, so we are nottrespassing.

Officer 1 hands back Sinelnikov's papers.

OFFICER 1

Kind of late to be inspecting old

buildings, Monsignor. Isn't that

something you'd want to do during

the day?

SINELNIKOV

The politics of the Archdiocese are

not that simple. I was told today

if our restoration recommendations

are not submitted to the committee

tomorrow morning, our budget will

be cut, again! It's dirty politics.

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OFFICER 1

Yeah, we know how that works.

Officer 2 nods in agreement.

OFFICER 1

Still, I suggest you wrap it up for

tonight, Monsignor. You don't know

what kind of people you can find in

these old buildings late at night.

Sinelnikov's tone darkens.

SINELNIKOV

Oh, I know officer. I know.

EXT. CHURCH ENTRANCE - MOMENTS LATER

The police car drives off. Sinelnikov joins Balard, Keets and

Michael at the large doors.

SINELNIKOV

It went well.

Balard pulls out the map. He reviews the remaining targets.

MICHAELThe church in my dream was bigger,

grander, than what we've seen.

There was more detail around the

altar. A very large cross had hung

on the wall, but it's gone now.

Something is written in its place.

Sinelnikov considers Michael's words.

SINELNIKOVGrander. Very large crucifix.

Sinelnikov takes the map. He folds it and stabs his finger at

a red marked parish labeled, "Merciful Heart."

SINELNIKOV

There!

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EXT. CENTRAL PARK – NIGHT

YOUNG MAN, 21, and YOUNG WOMAN, 19, walks hand-in-hand.

A horse-drawn carriage nears. Remy pulls the carriage

alongside the couple. He wears the driver’s uniform.

REMY

Good evening, folks. Lovely night

for a carriage ride.

YOUNG MAN

Sorry pal. Maybe next time. No cash

for it tonight.

REMYThat is a shame. I’ll tell you

what, good sir. Since this is my

last night, I’ll do it for free.

The Young Man stops.

YOUNG MAN

Free? What’s the catch?

REMY

No catch, sir. Like I said, it's my

last night working the carriages

and while my shift is over, I'm not

ready to turn in yet. It's just too

nice out.

YOUNG WOMAN

It would be romantic.

Young Woman squeezes the Young Man's hand and presses against

him. She whispers something in his ear. His eyes widen.

Young Man turns back to Remy.

YOUNG MAN

Okay, you got a deal!

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REMY

Splendid!

EXT. CENTRAL PARK – THE OBELISK PLAZA – LATER

The carriage enters the plaza. Spotlights bathe the massive

granite structure.

Remy plays up his tour guide role.

REMY

Behold Cleopatra’s Needle! Carved

in 1500 BC from a single block of

granite, it was presented to the

United States as a gift by Egypt

in...

Remy quickly reads the Driver's blood stained note pad.

REMY

...1879. Seventy-one feet tall, it

was transported across the Atlantic

and the city in one piece!

YOUNG WOMAN

I didn't know this was here.

REMY

Many New Yorkers have no idea what

wonders their city holds. No idea

at all.

EXT. OBELISK - CONTINUOUS

Dracula crouches atop the needle, watching the carriage.

EXT. CARRIAGE - CONTINUOUS

Remy stops the carriage. The Young Man and Young Woman admire

the giant bronze crabs that support the obelisk.

YOUNG WOMAN

This is fun. I’m glad we did this.

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YOUNG MAN

Yeah, this is all right.

Remy looks up. He smiles.

REMY

Indeed. Now the real fun begins.

Dracula lands on the back of the carriage. He punches Young

Man in the chest, knocking him out of the carriage.

Young Woman has time for a short scream. Dracula pulls her

close. He bites her neck. Her scream becomes a soft whimper.

Remy jumps on top of the Young Man. He stabs him in the neck

with a knife. Blood squirts from the severed artery. Remyholds down his arms and slurps the blood.

INT. VICTORIAN CHURCH – SIDE ENTRANCE - NIGHT

Flashlights slice the darkness. Monsignor Sinelnikov leads

the way through the large dusty foyer. Hallways leads to the

back and front of the church.

KEET

Monsignor Sinelnikov, how long has

Merciful Heart been closed?

SINELNIKOV

Three decades. A majestic tribute

to God left to dust. If it is not a

sin, it should be.

MICHAEL

Where is the altar?

SINELNIKOVThis way.

INT. ALTAR – MOMENTS LATER

Michael stands before the altar. The message on the wall:

“GOD WAS HERE BUT LEFT!"

Sinelnikov huffs.

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SINELNIKOV

Desecration! I would gladly deliver

God’s wrath upon the cretins who

find humor in such vileness.

MICHAEL

This is it. Just like in my dream.

Michael stumbles back a step.

Balard and Keet catch Michael. They help him sit in a pew.

Sinelnikov hands Michael a flask.

SINELNIKOV

Drink. It will clear your head.

Michael takes a drink. He chokes on the harsh alcohol.

SINELNIKOV

Smooth, yes?

Michael nods between coughs. He hands back the flask.

BALARD

Michael?

MICHAELI'm fine. This is just a lot to

take in for one night.

BALARD

Do you want to wait here for us? We

have to inspect this church.

MICHAEL

No. I'm good. Let's do this.

Michael stands slowly. He nods to Balard.

EXT. CENTRAL PARK – WOODED AREA - LATER

Remy arranges the bodies of Young Man, Young Woman, and the

undressed Carriage Driver. Dried blood plasters his face.

Dracula stands by the carriage horse. Remy joins him.

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REMY

They are as you wished...Master.

Remy's voice trails off as rustling sounds surround them.

Dracula strokes the large horse’s muscular neck.

DRACULA

A proud strong beast. I would have

ridden you well in days long past.

The young horse happily flicks its ears.

REMY

Master, what is that sound?

DRACULA

Come.

The horse follows Dracula out of the woods. Remy waits a few

moments. Rats rush out of the grasses and begin tearing into

the dead bodies. Remy yelps and runs after Dracula.

EXT. CENTRAL PARK - PATH - MOMENTS LATER

Remy exits the trees. Dracula hands him the horse's reins.

DRACULA

Release him.

REMY

Master?

DRACULA

He will suffer a lifetime of

restraint and servitude. Tonight,

he runs free.

REMY

Yes, Master.

Remy removes the harness and reins. The liberated horse bobs

his head and gallops off into the darkness.

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REMY

A noble act, Master.

Dracula sways a little. He rubs his temples.

DRACULA

My strength has not fully returned.

I must rest. Summon a coach for me.

REMY

A coach? Yes, Master. A coach.

Right this way, back to the street.

Remy takes off the carriage driver's jacket, wets it in a

puddle, and uses it to scrub the blood off his face.

INT. BACK DOOR – VICTORIAN CHURCH - SAME

Sinelnikov and Michael examine Remy's new padlock. Michael

picks up the padlock's discarded box from the floor.

MICHAEL

Someone's recently been here.

SINELNIKOV

Da.

Keet's voice resounds down the hallway.

KEET (O.S.)

I found something!

INT. CRYPT – MINUTES LATER

Large candles burn along the walls. Michael, Balard,

Sinelnikov, and Keet stand before Dracula's sarcophagus.

Michael inspects the hanging attire.

MICHAEL

These are good names. How does a

vampire who's been locked away

since the 19th century know about

modern mens' fashions?

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SINELNIKOV

Dracula is a chameleon. He must

have already claimed some weak

willed pawn to help him blend in

with his prey.

Balard sets down his pack.

BALARD

That is all very interesting,

Monsignor, but we have work to do.

Balard takes out a bible and small silver crucifix.

EXT. VICTORIAN CHURCH - LATER

A taxi drives off, leaving Dracula standing on the sidewalk.

INT. VICTORIAN CHURCH - SHORT TIME LATER

Balard, Michael, Sinelnikov, and Keet exit the crypt

entrance. They pause at the sight of a shadow-draped FIGURE

standing between the pews.

DRACULA

Good evening.

BALARD

I'm sorry, my son, but this is

archdiocese property. You will need

to find shelter elsewhe...

Michael grabs Balard's arm.

MICHAEL

Wait.

Michael steps forward. He switches the flashlight to lantern

mode, illuminating the front of the church.

Dracula stands revealed.

MICHAEL

You! You're the one from my dreams

and the journals! You're Dracula!

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Balard pulls Michael back.

Sinelnikov and Keet draw their dart pistols and take aim.

Dracula stands firm.

DRACULA

Your weapons mean nothing to me.

SINELNIKOV

Your time on Earth is over, demon!

We are returning you to Hell!

MICHAEL

No! Wait!

Sinelnikov and Keet fire their darts.

Sinelnikov's dart flies past Dracula's ear. Keet's dart hits

Dracula in the left side.

Dracula screams and drops to one knee.

MICHAEL

Wait!

Sinelnikov shoves Michael back into Balard.

SINELNIKOV

Get him back!

Dracula leaps back into the pews, disappearing into the

shadows. He falls to the floor and crawls beneath the rows.

Sinelnikov and Keet reload their pistols. They slowly advance

from the altar.

Balard takes out his pistol. Michael struggles to get up.

BALARD

Stay down, Michael!

MICHAEL

What are you doing? You can't shoot

someone in cold blood!

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Balard turns on Michael, eye to eye.

BALARD

Dracula isn't a man! He can't be

reasoned with! He's a monster!

Dracula roars. He stands up, ripping out a section of the

pew. Sinelnikov and Keet fire their pistols.

One dart hits Dracula's thigh. The other hits his abdomen.

Dracula throws the section of pew.

Sinelnikov pushes Keet out of the way. The section smacks

Sinelnikov's shoulder, knocking him to the ground.

Dracula leaps over the pews to the back of the church. He

limps to the chained doors.

Michael and Balard rush to Sinelnikov.

SINELNIKOV

I'm fine. Check the Deacon!

Balard rushes over to Keet. Michael races after Dracula.

BALARDMichael! No!

EXT. VICTORIAN CHURCH – CONTINUOUS

Dracula smashes through the chained doors. He rolls down the

church steps. He gets up and runs down the street.

Michael appears in the doorway. He chases after Dracula.

EXT. ALLEY – A FEW MINUTES LATER

Dracula runs down a narrow alley. Michael follows.

EXT. STREET – SUBWAY ENTRANCE - MOMENTS LATER

Michael runs out of the alley. He see Dracula leap over a

parked car and down into the subway.

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INT. SUBWAY STAIRWAY - MOMENTS LATER

Dracula pauses on the steps. He rips his shirt open. Black

blood bubbles from the puncture hole. The surrounding flesh

blackens and cracks. He staggers on.

INT. SUBWAY STATION – STAIRCASE – MOMENTS LATER

Michael charges down the steps. He reaches the bottom and

turns the corner. Dracula grabs Michael by the throat and

pins him to the wall.

Dracula's hand shakes. Sweat beads across his skin.

DRACULA

What do you seek, Van Helsing? Ican smell the ancestry in your

blood. Why did you tell them to

wait? Why didn't you try to kill me

as well?

Michael stares into red swirled eyes.

MICHAEL

I...I want to know the truth of all

of this.

Balard's voice echoes down the stairwell.

BALARD (O.S.)

Michael! Are you down there?

Dracula releases Michael. He falls the ground, gagging.

DRACULA

You may claim victory for this

battle. That is all the truth youneed to know for now.

Dracula runs down the corridor.

Balard bounds downs the steps.

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MICHAEL

I'm okay.

Balard pulls a wooden stake from his jacket.

INT. SUBWAY CAR 1 - MOMENTS LATER

Dracula enters the subway car. A lone FEMALE PASSENGER exits

the car upon seeing him.

Dracula leans against a pole. Pain evident on his face.

INT. SUBWAY CAR 2 – CONTINUOUS

Balard forces his way through the closing doors. He spots

Dracula two cars forward.


Dracula sees Balard approaching. He heads to the next car.

INT. SUBWAY CAR 3 – MOMENTS LATER

Four ROWDY TEENAGERS have the car to themselves. Dracula

enters. He yanks TEENAGER 1 out of his seat.

TEENAGER 1Hey! What the fu...!

DRACULA

Who drives this coach?

The Others watch stunned.

TEENAGER 1

What? The driver? He hangs in the

first car! That way!

Dracula drops the boy and continues on. The Teenager waits

until Dracula has left.

TEENAGER 1

That's right, fucking crack head!

Run away!

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TEENAGER 2

You check out the fucking fangs?

TEENAGER 3

My sister has a pair like those.

Her fucked up Goth friends wear

them all the time.

TEENAGER 2

Man, your sister is a piece of ass.

TEENAGER 3

Fuck off! That's my sister.

Teenagers 1 and 2 smile at Teenager 3's growing rage.

TEENAGER 1

Hell, yeah, she's a piece! And your

mom! She's fucking hot too!

TEENAGER 3

Hey, fuck you, assholes!

TEENAGER 2

And your dog! What a hot bitch! I'd

pound that tail all night long!

Teenager 3 jumps on Teenager 2. Fists start flying. Teenager

1 laughs his ass off.

INT. SUBWAY CAR 4 – MOMENTS LATER

Dracula continues his advance.


Balard enters the car. He passes the fighting Teenagers.

INT. ENGINEER CAB – MOMENTS LATER

Dracula stares deep into the ENGINEER'S eyes.

DRACULA

Do not stop.

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The Engineer's pupils expand as Dracula overrides thought.

ENGINEER

I will not stop.

INT. FRONT CAR – MOMENTS LATER

Balard enters the car. He halts, wooden stake in hand.

Dracula stands at the front of the car. A MOTHER and CHILD

sit nearby. The Mother pulls the Child close.

Dracula looks at the Child and then back at Balard.

BALARD

This battle is between us. Do notinvolve the innocent.

DRACULA

There is no innocence.

Dracula snatches the Child. The Mother screams.

Dracula hurls the Child at Balard.

Balard catches the Child. The force knocks him down. The

Mother rushes to help, impeding Balard's attempt to get up.

BALARD

No!

Dracula forces the subway car doors open.

INT. SUBWAY PLATFORM – CONTINUOUS

The train speeds through the station.

INT. FRONT CAR – CONTINUOUS

Dracula smiles at Balard and steps through the doors.

Balard runs after him.

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INT. SUBWAY PLATFORM – CONTINUOUS

In defiance of the laws of physics, Dracula steps onto the

platform as if from a stationary train.

Further down the platform, Balard dives through the doors. He

hits the hard concrete, rolls across the platform and slams

into a garbage can.

The train exits the station.

Dracula approaches Balard's still form.

Balard faces away from Dracula. Blood trickles from his nose.

He spots the wooden stake a few feet away. He slowly pulls a

pouch from his jacket pocket. He loosens the pull string withhis fingers.

Dracula stands over Balard.

DRACULA

This is your end, Holy Man.

Dracula reaches for Balard.

Balard rolls over. He flings the open pouch at Dracula. A

fine glittering cloud envelops the vampire’s face.

DRACULA

SILVER!

Dracula falls back. The metallic particles sear his skin.

Balard drags himself up. He punches Dracula, again and again.

Dracula stumbles about in shock. Smoke hisses from his face.

A PERSON enters the platform, sees the fight and runs away.

Balard grabs the garbage can. He swings it around and hits

Dracula across the face. Dracula crumbles to the ground.

Balard retrieves the stake. He kicks Dracula onto his back

and kneels on his chest. He grips the stake in both hands.

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BALARD

For your crimes and with the

blessing of our Holy Father, I

consign you to damnation!

Balard raises the stake.

POLICEMAN (O.S.)

FREEZE!

Balard looks up. A POLICEMAN stands across the platform. His

pistol aimed at Balard.

POLICEMAN

Put the weapon down and back away!

Keep your hands where I can seethem! Do it now!

BALARD

You don't understand! You don't

know what this creature is!

POLICEMAN

Last time, pal! Put it down!

Balard quickly considers the situation. He makes a choice.

Balard thrusts the stake high to impale Dracula.

The Policeman fires once.

The bullet blasts through Balard's upper chest. The wooden

stake goes flying.

Balard collapses on top of Dracula.

The Policeman keeps his pistol ready. He advances.

POLICEMAN

You! Stand up! Slowly!

Dracula's flesh absorbs Balard's flowing blood.

DRACULA

Yes.

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Dracula pushes Balard off. He stands on shaky legs.

The Policeman keeps his pistol up.

POLICEMAN

Slowly. Keep your hands where I can

see them.

Dracula strikes, knocking the pistol away and smacking the

Policeman in the forehead, knocking him unconscious.

EXT. SUBWAY ENTRANCE – SHORT TIME LATER

Dracula walks down the street. He wears Balard's jacket

pulled tight around his body.

EXT. ALLEY – SHORT TIME LATER

Dracula leans against the wall. He breathes deep, labored. He

fights to concentrate through ragged coughing fits.

DRACULA

Anya...Find me.

INT. ANYA’S CAR - SAME

Anya listens to the radio. Leftover Chinese and video rentalsin the passenger seat.

She hears a buzz over the music. Her eyes flutter.

EXT. ALLEY - SAME

Dracula’s eyes swirl black and red.

DRACULA

I need you. Find me.

EXT. ANYA’S CAR – INTERSECTION - CONTINUOUS

Anya’s car waits at a red light.

INT. ANYA’S CAR – CONTINUOUS

The buzzing returns. It blocks out all sound and thought.

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EXT. INTERSECTION – MOMENTS LATER

The light turns green.

INT. ANYA'S CAR – CONTINUOUS

Anya sharply turns the wheel and floors it.

EXT. INTERSECTION – CONTINUOUS

Anya cuts across two lanes, drawing honks from other cars.

EXT. ALLEY - LATER

Dracula sits against the wall. Anya runs up to him.

ANYA

Vlad? Jesus Christ, what happened

to you? Were you mugged?

DRACULA

Help me.

Anya helps Dracula up.

ANYA

I don't know why I decided to parknear here, but you must have one

hell of a guardian angel.

INT. ANYA'S APARTMENT - LATER

Anya stumbles through the door. Dracula hangs on her side.

She kicks the door closed.

ANYA

You're a lot lighter than you look.

Anya helps Dracula lay down on the couch.

ANYA

Is there anything I can do? Should

I call any...?

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Anya's words are caught in her throat as Dracula's eyes swirl

black and red.

ANYA

Vlad.

Dracula's fangs elongate. He grabs Anya's arm.

Anya tries to back away.

ANYA

No!

Dracula pulls Anya to him.

DRACULAHelp me.

Dracula bites Anya's neck.

Anya struggles but her resistance wanes. Her eyes roll back.

Dracula's grip eases.

Anya breaks free. She falls to the floor.

Dracula passes out.

Anya kicks away from the couch. Blood rushes from the wounds

on her neck. Pain spasms through her body.

ANYA

Shit!

Anya lunges onto Vlad. She pushes his lips back, revealing

the long fangs, slowing receding back into his gums.

ANYAWhat the fuck..?

Another bolt of pain sends her to the floor. Blood squirts

out between her fingers. She gasps for breath.

Anya spots the knife from lunch. She stretches to reach it.

Her fingers tickle the handle. She has it.

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Anya slashes Dracula’s wrist. Fighting another wave of pain,

Anya drinks Dracula’s blood.

Powerful seizures knock Anya to the floor. Spasms dance

thro

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