DRACULA RISING

by
Matthew Paul Spizuco

Matthew Paul Spizuco

745 Fremont Lane
Mount Laurel NJ 08054
Email: kermit05@comcast.net
Home: 856.727.1023
Cell: 609.458.4363

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!
Owenss 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.

2.

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 HELSING
There 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 these
boxes. 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
Draculas minions attempt to
distract us from our task.

3.

OWENS
If thats supposed to put a fright
in me, Professor, Im ashamed to
say it's working.
VAN HELSING
There is no shame in fear, Mister
Owens. It is an emotion given to us
by Gods 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!

4.

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 masters 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.
Owenss 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!

5.

Parker swats bats off Van Helsing.

Van Helsing slaps a vial of holy water into Parkers 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!

6.

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
Draculas 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.
Draculas 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! Well 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.

7.

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
friends 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.

8.

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 grandsons 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.
ROBERT
Good evening, Mister Stoker.
STOKER
It is a pleasure to make your
acquaintance, Mister Van Helsing.
Robert smiles.

9.

INT. ROBERTS 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 your
birthday, 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?
Roberts eyes grow large with awe and wonder.
VAN HELSING
Yes.
Van Helsing helps Robert put on the crucifix. He tucks Robert
back under the blankets.
VAN HELSING
Now sleep. Good dreams will come.

10.

Van Helsing strokes Roberts 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.
GARNER
The bishop will be pleased to hear
that, Professor Van Helsing. He was
tiring of Mister Stokers requests
for an audience with you.

11.

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!

12.

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?

13.

Van Helsing draws near.

VAN
Or has reason
just reaching
looking for a
your bidding?

HELSING
left you and you are
out by instinct,
mind to be twisted to

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.

14.

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 power
lines 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
Were at forty-two.
Nick pulls a folded tunnel map from his back pocket.
NICK
The junction room's around here
somewhere.

15.

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 doesnt 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.
LLOYD
Son of a bitch. What happened here?
The rooms electrical breaker box hangs by the few cables
that didnt 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.
LLOYD
Be careful! Youll 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.

16.

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.
LLOYD
Yeah! 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. Hes 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!

17.

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 have
to open it up.
NICK
Theres nothing in there but a dead
guy. Come on. It's time to go.

18.

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.

19.

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 Nicks 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, but
stumbles 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.

20.

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 Nicks 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.

21.

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 aint 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
Ill...Ill be over here...if you
need anything.
Dracula picks up a copy of the days 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.

22.

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...

23.

INT. BABY BEDROOM CONTINUOUS

A BABY cries in its cradle. Its heart races like a birds...
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 dcor. French doors lead to a balcony with
an expensive view of Central Park.
INT. HALLWAY CONTINUOUS
Walls adorned with framed photos and articles, including:

24.

Professor Van Helsing sitting in his study with Young Robert

on his knee, circa 1890.
ADULT ROBERT in a British officers uniform outside a street
caf. 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.

25.

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 Nicks 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.

26.

MICHAEL
Sleep tight, mom. I'll see you
tomorrow.
Michael walks back to his bedroom.
CUT TO:
EXT. CLOTHING STORE NIGHT
High-end mens 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 plasticcovered mens 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! Hows the drive?
BARRY
Sucked like always.

27.

EXT. BACK OF TRUCK - MOMENTS LATER

Remy and Mike transfer clothes to the first rolling bar.
INT. RECEIVING - MINUTES LATER
Barry sits at Mikes desk, looking at a porn magazine. Mike
wheels in the first rolling bar.
MIKE
Hey, I think thats the issue with
your wife in it.
Barry smirks.
BARRY
I 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
Arent you supposed to be unloading
my truck? I dont 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.

28.

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. Thats
the Masters first lesson.
Remy eats the cockroach.
INT. DOCK PREP AREA - MOMENTS LATER
Mike wheels another rolling bar across the prep area.
MIKE
Hey Remy! Wheres the other bar!
Barry cant 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!

29.

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 Barrys 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.

30.

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.

31.

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 used
books 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,
arent you?
Dracula smiles.
DRACULA
There are few older.
ANYA
Well, cool. Im Anya.

32.

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 dont feel rushed. The
night 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 Barrys 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.

33.

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.
BALARD
Please 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.
BALARD
Yes, 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

34.

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. Its the
ultimate vampire novel.

35.

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
Im such an idiot. Youre 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 open
mind. 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.

36.

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.
DRACULA
Perhaps not. You have been very
helpful to me this night.
ANYA
Thanks.
Dracula sets the book aside. He motions to a nearby chair.

37.

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. Im from Florida. I came here
for school, but that didnt work
out so now I work here. Its 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

38.

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.
REMY
All is as you commanded, Master.
A sarcophagus surrounded by candles waits at the far end of
the crypt.

39.

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. ANYAS 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

40.

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 youd
want to join me for breakfast. I
have some extra time this morning.
ANYA
I dont think that's a good idea.
BRAD
It'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:

41.

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 nights
robbery and double homicide.

42.

Remys 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 Mildreds name.
BALARD
The griffin. The enemy of dragons
and all things evil.
MICHAEL
Yes. Its my mothers 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
Im not familiar with many of my
mothers friends.

43.

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 dcor. 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.

44.

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 Roberts training.
Edward is in assistance but dread
shrouds 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 Draculas 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.

45.

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.
MILDRED
This 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 what
can 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

46.

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.

47.

INT. ANYAS 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. ANYAS 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. ANYAS 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:

48.

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 made
the decision to bury him and leave
New York. After a while I thought
it was just another dream.

49.

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 for
finding escape as madness continued
to claim him.
Balard clicks on the tape recorder.
BALARD
Please, Michael. Every detail.

50.

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.
BALARD
Good. 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.

51.

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

52.

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, unzip
a tote bag filled with wooden stakes.
MICHAEL
Wooden stakes?
Sinelnikov takes one. The long smooth stake has black tape
wrapped around the handle.
KEET
Its 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.

53.

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.
BALARD
That'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

54.

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 our
apartment 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.

55.

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 Balards 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.
BALARD
This 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.

56.

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 someone
asked 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!

57.

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 not
trespassing.
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.

58.

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.
MICHAEL
The 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.
SINELNIKOV
Grander. Very large crucifix.
Sinelnikov takes the map. He folds it and stabs his finger at
a red marked parish labeled, "Merciful Heart."
SINELNIKOV
There!

59.

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 drivers uniform.
REMY
Good evening, folks. Lovely night
for a carriage ride.
YOUNG MAN
Sorry pal. Maybe next time. No cash
for it tonight.
REMY
That is a shame. Ill tell you
what, good sir. Since this is my
last night, Ill do it for free.
The Young Man stops.
YOUNG MAN
Free? Whats 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!

60.

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 Cleopatras 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. Im glad we did this.

61.

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. Remy
holds 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?
SINELNIKOV
This way.
INT. ALTAR MOMENTS LATER
Michael stands before the altar. The message on the wall:
GOD WAS HERE BUT LEFT!"
Sinelnikov huffs.

62.

SINELNIKOV
Desecration! I would gladly deliver
Gods 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?
MICHAEL
I'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.

63.

REMY
They are as you wished...Master.
Remy's voice trails off as rustling sounds surround them.
Dracula strokes the large horses 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.

64.

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?

65.

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!

66.

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!

67.

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.
BALARD
Michael! 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.

68.

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? I
can 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 you
need to know for now.
Dracula runs down the corridor.
Balard bounds downs the steps.

69.

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.
INT. SUBWAY CAR 1 CONTINUOUS
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 1
Hey! 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!

70.

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.
INT. SUBWAY CAR 3 CONTINUOUS
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.

71.

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 not
involve 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.

72.

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 with
his 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 vampires 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.

73.

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 see
them! 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.

74.

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. ANYAS CAR - SAME
Anya listens to the radio. Leftover Chinese and video rentals
in the passenger seat.
She hears a buzz over the music. Her eyes flutter.
EXT. ALLEY - SAME
Draculas eyes swirl black and red.
DRACULA
I need you. Find me.
EXT. ANYAS CAR INTERSECTION - CONTINUOUS
Anyas car waits at a red light.
INT. ANYAS CAR CONTINUOUS
The buzzing returns. It blocks out all sound and thought.

75.

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 park
near 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...?

76.

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.
DRACULA
Help 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.
ANYA
What 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.

77.

Anya slashes Draculas wrist. Fighting another wave of pain,

Anya drinks Draculas blood.
Powerful seizures knock Anya to the floor. Spasms dance
through her limbs. Her eyes dilate and contract. Streams of
black and red invade her pupils. Sweat soaks her clothes.
Anya's body and mouth lock in a silent scream. Everything
stops. Anya collapses . Her final breath finds freedom.
Anya dies.
EXT. ALLEY - SAME
Remy pulls up on a delivery bicycle. He scours the alley.
REMY
Master! Im here, Master! I heard
your call!
Remy tosses garbage cans aside.
REMY
Master! Where are you?
Remy stops. He listens.
REMY
Master, I hear you. You're weak.
Yes...Yes! I hear you!
Remy rides off.
REMY
Im coming, Master!
INT. ANYAS APARTMENT - SHORT TIME LATER
Draculas wounds heal. Color returns to his skin. He breathes
deep and long.
Anyas dead eyes stare out the window. Her body abruptly
convulses. She lays still, and then licks her lips.

78.

EXT. ANYAS LIVING ROOM WINDOWS MOMENTS LATER

Anya's silhouette passes by the window.
INT. BRAD AND JANET'S APARTMENT BEDROOM MOMENTS LATER
Janet waits in bed, thumbing through a magazine.
JANET
Come to bed, Brad. It's late.
BRAD (O.S.)
Just getting us a snack, Janet!
INT. KITCHEN CONTINUOUS
Brad pours champagne into flutes. A tray holds chocolate
covered strawberries.
INT. HALLWAY A FEW MOMENTS LATER
Brad heads down with the treats. The bedroom goes dark. He
sees Janet roll away from him.
INT. KITCHEN A FEW MOMENTS LATER
Brad sets the tray down and pours out the champagne.
BRAD
Why do I fucking try?
A light knock at the front door.
INT. LIVING ROOM CONTINUOUS
Brad opens the door. Anya stands there. Her unbuttoned shirt
reveals cleavage and belly button.
Brad swallows hard.
ANYA
I decided to take you up on that
offer of a bite.
Anya walks in. Brad closes the door.

79.

BRAD
I...That's great, but...
He lowers his voice.
BRAD
Janet just went to sleep.
Anya steps close.
ANYA
Then you'll have to be quiet.
Anya puts her hand between his legs. Brad gasps in pleasured
surprise as Anya fondles him.
ANYA
I never realized how hot blood
could feel.
Brad stands, aroused and speechless.
ANYA
How hot can we get your blood, poor
suffering Brad?
Anya kisses Brad.
INT. BEDROOM LATER
Janet wakes, fully alert and alarmed. She rolls over.
Anya stands naked in the doorway. The kitchen light frames
her body.
Frankie looks up from his dog bed. A glance from Anya sets
him back down, whimpering quietly.
JANET
Anya, what are you doing here?
Where is...?
Anya approaches the bed. She purrs her words.

80.

ANYA
Why didnt you tell Brad the truth,
Janet? He loved you. He would do
anything to make you happy, even
share you with your girlfriend.
Anya's glowing eyes transfixes Janet.
JANET
I didnt...I...
Anya stretches catlike across bed towards her.
ANYA
It doesnt matter. Brad got what he
needed. Now it's poor suffering
Janet's turn.
Anya moves very close. Janet's breathing quickens.
ANYA
What do you want, Janet? What do
you want so much you can taste it
on your lips?
Anya lightly licks Janets lip. Janet quivers.
ANYA
Brad had no idea of the fire within
you. No one ever has, until now.
They kiss. Fierce. Passionate.
INT. ANYAS APARTMENT - LATER
Dracula snatches the throat of the Person leaning over him.
Dracula opens his eyes to see Remy struggling for breath.
REMY
Master...I...found...you!
You...called...me!
Dracula pushes him away.

81.

REMY
Thank you...Master.
Dracula stands.
DRACULA
Where is Anya?
REMY
You were alone, Master. The door
was open when I arrived.
DRACULA
Wait here.
INT. BRAD & JANETS APARTMENT - MOMENTS LATER
Dracula walks into the living room. Brad and Janets dead
naked bodies lay draped over the coffee table. Anya sits in
the lounge chair. Her feet rest on Janet's back. She
scratches Frankie behind the ears.
ANYA
Youre looking better, Vlad.
Dracula approaches slowly. His eyes fixed on the transformed
young lady. Frankie growls. Dracula pauses, and then takes
another step.
Frankie leaps at Dracula. Dracula snatches Frankie by the
neck. He holds the struggling animal aloft.
DRACULA
As do you, Anya. How do you feel?
Dracula crushes Frankie's throat and tosses the dog over his
shoulder. It smacks the wall and drops to the floor, dead.
ANYA
I feel great. I have energy and
strength and that pimple on my ass
is finally gone. Vampirism is great
stuff. You should package it.

82.

DRACULA
Not everyone reacts the same way.
Some become mere beasts. Others, so
much more. How did you know to
drink my blood?
ANYA
Every vampire movie has the curse
in it. I was going to die anyway
from my neck being torn open.
Seemed like a good time for
desperate measures.
Anya's pauses. Her expression softens.
ANYA
I died, didn't I?
Dracula nods.
DRACULA
Yes. You have crossed into the
realm of everlasting shadow. You
are no longer a being of Earth,
Heaven or Hell. You walk alone now.
ANYA
I always felt like I was living in
the shadows. Now it's official. I
don't know how I'm going to tell
mom and dad about this.
DRACULA
This is an unfortunate incident,
Anya. I did not willingly create
you so you are free of my control.
I can not permit you to exist.
ANYA
You can't permit me to exist?
Correct me if I'm wrong, Vlad, but
you almost ceased to exist tonight,
didn't you? If it wasn't for me,
you'd be dust by now.

83.

Anya gets up.

ANYA
It's a whole new world that you
have no idea about. We have rifles
that can blow your head off from a
mile away and bombs that can level
this city in seconds. Can you
survive that? Want to try?
Anya walks to the window. She looks out at the city.
ANYA
We don't have to fear monsters like
you anymore, we are the monsters.
Dracula sits in the opposite matching chair.
DRACULA
What do you propose?
ANYA
A simple deal. You help me with
what I need to know to live in your
world, and I'll tell you what you
need to know to live in mine.
Anya sits back in the chair.
ANYA
And if you don't mind me asking, do
have a grand plan?
DRACULA
I will return home.
Anya cocks an eyebrow.
ANYA
It won't be the same. Your castle
is a tourist attraction, complete
with gift shop.

84.

DRACULA
My people still exist and there are
old ones who will remember me.
ANYA
Cool. Well, I can help with that.
Travel is a lot faster these days.
What about what happened tonight?
Who's after you?
DRACULA
I was attacked by agents of the
Vatican and Van Helsing.
ANYA
Professor Abraham Van Helsing?
DRACULA
His descendent.
ANYA
Okay, that is very cool. Maybe I
can help with that too. Does that
work with you?
Dracula considers Anya. He nods.
DRACULA
It has been a long time since I
relied on another's help but it is
the best course of action.
Dracula glances at Brad and Janet.
DRACULA
You have fed well. Now you will
need rest. If you survive the
coming battle, you will have earned
the right to exist.
ANYA
I think that goes for both of us.

85.

EXT. NEW YORK CITY - DAWN

The first dawning rays slip between the buildings.
EXT. STREET - SAME
Dracula and Remy walk past a parked police car.
DRACULA
You have been helpful to me and
there is much you may learn, if you
prove yourself as useful as the
young Anya.
REMY
I feel the strength you have given
me, Master, and I strive to earn
your final blessing of the blood.
INT. POLICE CAR CONTINUOUS
FEMALE OFFICER slips her coffee. She eyes Remy and Dracula
walking by. She nudges her partner, MALE OFFICER.
FEMALE OFFICER
Hey! Thats him.
MALE OFFICER
Who's him what?
Female Officer taps the computer keyboard. Remys warrant
appears on the screen.
FEMALE OFFICER
Remington! Call it in. I'm on him!
Female Officer exits the car.
EXT. DELIVERY ALLEY - MOMENTS LATER
Dracula and Remy walk into the shadows of the alley.
EXT. DELIVERY ALLEY MOMENTS LATER
Female Officer waits. Male Officer arrives.

86.

MALE OFFICER
Back up is on the way.
FEMALE OFFICER
Let's do it.
Pistols in hand, they enter the alley.
EXT. SQUARE A FEW MINUTES LATER
The delivery alley opens into a large loading dock square.
Remy strolls around in the middle of the square, twirling a
broom stick.
The Police Officers enter the square. They spread out,
keeping their guns aimed at Remy.
REMY
You are not so clever. We knew you
were watching.
MALE OFFICER
I need you to put the stick on the
ground and place your hands behind
your head.
Remy just smiles and whistles a tune to himself.
FEMALE OFFICER
Where is the individual that was
with you, sir?
Remy stops. His expression turns serious, dark.
REMY
Why, behind you, of course.
Female Officer turns. Dracula blocks the delivery alley.
Remy giggles.
MALE OFFICER
Okay now, nobody move.

87.

With lightning speed, Remy throws the broom stick, hitting

Male Officer in the neck. He collapses. His pistol skids to a
halt at Remy's feet.
FEMALE OFFICER
Shit!
Remy dives to the side. Female Officer fires twice. Both
shots miss. She turns back to see Dracula rushing her.
Female Officer shoots Dracula in the chest. He collapses.
Male Officer tries to get up. Remy leaps over him. Male
Officer swings his nightstick, hitting Remy in the leg.
Remy hits the pavement, shoulder rolls and jumps up.
FEMALE OFFICER
Freeze or I'll shoot!
Female Officer has Remy in her sights. Remy stops.
Male Officer gets to his feet.
REMY
As you wish.
Dracula stands up behind Female Officer.
MALE OFFICER
Behind you!
Female Officer turns. Dracula dashes forward and grabs her.
His gaze paralyzes her.
Male Officer rushes Dracula.
REMY
Freeze, Copper!
Remy pulls the handgun from the back of his pants.

88.

REMY
You really shouldn't leave these
things laying around. Someone could
get hurt.
Remy shoots Male Officer in the head. He dies.
REMY
See?
Sound of approaching sirens.
EXT. DELIVERY ALLEY - SAME
Police car heads down the alley. Lights and sirens blasting.
EXT. SQUARE CONTINUOUS
Remy unloads the rest of the clip at the police car.
REMY
Welcome to the party, pal!
INT. BACKUP POLICE CAR CONTINUOUS
Remy's barrage shatters the windshield. A head shot kills
PASSENGER OFFICER.
DRIVING OFFICER yells into the radio.
DRIVING OFFICER
We're taking hits! Officer down!
Officer..!
Two shots to the chest kills Driving Officer.
EXT. ALLEY CONTINUOUS
The police car crashes into the wall. Silence.
EXT. SQUARE CONTINUOUS
Remy dances in celebration. He admires the handgun.

89.

REMY
Damn, that felt good! Now I
understand the NRA!
Dracula caresses Female Officer's neck.
DRACULA
Strength. Courage. Passion. This
world indeed has much to offer.
Dracula's fangs penetrate her flesh. Female Officer swoons.
EXT. ALLEY LATER
Dracula and Remy walk from the alley.
OFFICER 3 (O.S.)
Freeze!
Heavily armed POLICE stand behind barricading cars. Remy and
Dracula face an assortment of handguns and shotguns.
BARRICADE OFFICER'S voice booms over the loudspeaker.
BARRICADE OFFICER
Put your weapons on the ground and
your hands above your head! Now!
Remy looks to Dracula. He nods.
BARRICADE OFFICER
Last time! Put your weapons down!
Remy slowly sets the handgun on the sidewalk. He gently kicks
it towards the Officers.
EXT. BEHIND THE POLICE BARRICADE - CONTINUOUS
Scurrying sounds build from sewer gratings. Nearby Police
Officers keep looking back at the building noise.
OFFICER
What is that?

90.

Hundreds of cat-sized rats surge out through the gratings.

They leap onto the Police Officers, tearing through uniforms.
The Police Officers turns their attention to the rats. They
fire wildly into the horde. Crazed panic breaks up the ranks.
Officers fall. The rodents rip open their faces and necks.
EXT. ALLEY CONTINUOUS
Remy laughs and does his little dance again.
REMY
Eat them up, boys!
DRACULA
Come.
Remy follows Dracula. The rats part before them.
INT. MILDRED'S APARTMENT LIVING ROOM LATER
Michael hands Keet a drink.
KEET
Thank you.
He drinks with shaking hands.
Sinelnikov finishes on his cell phone. He puts it away.
SINELNIKOV
Monsignor Balard is in surgery.
KEET
So, what do we do now?
SINELNIKOV
Do? We continue the search. Dracula
is still out there.
KEET
But we failed.

91.

SINELNIKOV
No. We lost a battle but we fight a
war, and in war, only the final
outcome matters.
KEET
Monsignor Balard may die.
SINELNIKOV
Another truth of war. Good men die.
Michael downs his drink.
MICHAEL
Yeah. That's right.
The living room phone rings.
Michael answers.
MICHAEL
Mildred Ross residence.
ANYA (FILTERED)
Wow, that sounded so professional,
Mikey. I bet you would make a
really good butler.
MICHAEL
Who is this?
INT. ANYA'S APARTMENT - SAME
Anya stretches out on her couch. Dracula walks around the
apartment; looking at the movie posters and flipping through
the pages of Anya's graphic novel collection.
ANYA
Oh, let's just say we have a mutual
friend. Well, maybe mutual isn't
the right word, since you and your
friends tried to murder him
tonight. Although, again, I don't
know if murder is the right word.

92.

You have to be living to be

murdered, right, Mikey?
Silence.
MICHAEL (FILTERED)
How did you get this number?
ANYA
Wasn't hard. Mama Ross apparently
didn't believe in unlisted numbers.
MICHAEL (FILTERED)
What do you want?
ANYA
I'm so glad you asked.
INT. MILDRED'S APARTMENT MINUTES LATER
Michael hangs up the phone. Deet and Sinelnikov stand nearby.
SINELNIKOV
Well?
MICHAEL
They want to meet.
KEET
They?
MICHAEL
It was a girl. She sounded lucid
and fully aware of what's going on.
SINELNIKOV
Dracula does not take female
servants. She must be his new
bride. The first of many.
KEET
It's a trap.

93.

SINELNIKOV
It matters not. It is our duty to
confront this fiend and end his
demonic tyranny before it engulfs
the entire world!
Sinelnikov puts down his glass and walks away.
SINELNIKOV
We must prepare!
Keet steps closer to Michael.
KEET
This isn't your fight, Michael. You
don't have to come.
MICHAEL
My family locked him away for over
a hundred years. He wants justice.
This ends tonight.
KEET
How can you be so sure?
MICHAEL
She told me.
EXT. CENTRAL PARK BELVEDERE CASTLE - LATER
Belvedere Castle sits atop Vista Rock, offering a sweeping
view of the Great Lawn below.
Michael, Sinelnikov and Keet walks up the path to the Castle.
They wear long jackets. Keet opens his jacket and checks the
dart pistol and wooden stakes hanging within.
MICHAEL
The girl on the phone thought this
would be a bitchin' place to meet.
Sinelnikov snorts.

94.

SINELNIKOV
Bitchin'? The Prince of Darkness
has lowered his standards. He was
known to corrupt the virtues of
many of Europe's most refined and
devout daughters.
MICHAEL
Well, refined and devout daughters
can be hard to come by these days.
EXT. BELVEDERE CASTLE FRONT DOOR - SHORT TIME LATER
Michael turns the knob. The door opens.
Michael looks around, and then takes out his dart pistol.
Sinelnikov and Keet do the same.
They enter the Castle. The door closes behind them.
EXT. BELVEDERE CASTLE - ROOF SHORT TIME LATER
Michael, Sinelnikov, and Keet step out from the peaked tower.
A city ablaze with light surrounds them.
Dracula waits across the roof. He also wears a long jacket.
DRACULA
Good evening, Michael Van Helsing.
MICHAEL
It's Ross. Times change.
DRACULA
So I have learned.
Sinelnikov and Keet spread out. Their dart pistols fixed on
Dracula. Michael stands alone. His pistol held to his side.
DRACULA
Again, you do not prepare to attack
me. Why? What makes you different
from the hunters you stand with?

95.

MICHAEL
I want to know why I had to grow up
with you in my nightmares. Why did
my mother have to bury you to
escape you? Why have you plagued my
family for generations?
Dracula laughs.
DRACULA
It was not my plan.
MICHAEL
Then whose was it?
Dracula glances at Sinelnikov.
DRACULA
Ask him. Perhaps he knows the truth
behind the myths of me.
SINELNIKOV
The only truth I know is you're a
vile creation of Hell and the
sooner we send you back to its
fiery depths the better!
DRACULA
Hell had no hand in my fate. I am a
creation of the Vatican's cowardice
and betrayal.
Sinelnikov tightens his grip on the pistol.
MICHAEL
Wait!
SINELNIKOV
Michael, this monster killed
Monsignor Balard and untold others.
We must end his reign of terror.

96.

MICHAEL
I know what he's done. My family
has suffered the longest from him,
and I will learn why!
Sinelnikov nods and steps back.
Michael turns back to Dracula.
MICHAEL
Tell me. What truth?
DRACULA
I did not abandon my kingdom for
some foolish quest of love or
conquest as your ill written
fantasies proclaim. I was taken.
MICHAEL
Taken?
DRACULA
Taken.
DISSOLVE TO:
EXT. ROMANIA - DRACULA'S CASTLE - 1875 - DAY
Bright sunshine bathes the dark towers and empty ramparts.
DRACULA
Abraham Van Helsing
would be weakest on
hour of the longest
then he attacked my

knew my power
the brightest
day. It was
stronghold.

EXT. DRACULA'S CASTLE - FRONT GATE - SAME

A battle rages. Abraham Van Helsing leads a company of rifle
toting MERCENARIES through the gate. They gun down the
lightly armed GYPSY DEFENDERS.

97.

DRACULA (V.O.)
He murdered without hesitation.
None had dared to invade my borders
before. Van Helsing dared much.
INT. DRACULA'S CASTLE - HALLWAY - LATER
Rough hands pin a beautiful ivory skinned BRIDE to the floor.
She screams as a hand presses a crucifix against her
forehead, searing the flesh, weakening her.
Abraham rips her dress off. He sets a wooden stake between
her breasts and hammers it through her heart.
DRACULA (V.O.)
My beloved brides fought valiantly
but in the end, were destroyed.
Her death scream rattles the walls.
INT. DRACULA'S CASTLE - CRYPT - LATER
Abraham tosses handfuls of silver dust across the simple
wooden casket sitting alone in the dark dank chamber.
Mercenaries enter the Crypt with chains, wood and tools.
DRACULA (V.O.)
I could hear them working, sense
the joy in their thoughts, smell
the acid of the silver they laid
around me, trapping me.
EXT. DRACULA'S CASTLE - FRONT GATE - LATER
Abraham watches several large Mercenaries load Dracula's
chained coffin onto a large horse drawn wagon. More rifle
toting Mercenaries stand guard.

98.

DRACULA (V.O.)
Abraham brought me to London for
his experiments and the children of
his offspring brought me here.
BACK TO SCENE:
EXT. BELVEDERE CASTLE ROOF - SAME
Michael, Sinelnikov and Keet stand enthralled by the tale.
ANYA (O.S.)
That is, indeed, a tragic tale.
Michael, Keet and Sinelnikov turn.
Anya and Remy stand in front of the stairwell. Anya wears a
sundress and boots. She smiles. Her fangs clear to see.
ANYA
I cried the first time I heard it.
Remy eyes fix on Sinelnikov, sizing him up.
ANYA
Professor Van Helsing, I presume?
So nice to speak to you in person.
SINELNIKOV
So you have acquired minions? It
will be of no matter.
ANYA
Minions? Please, call me Lady Anya.
I like the sound of it.
Keet's eyes drift along Anya's form and revealing cleavage.
He looks away, blushing.
Anya notices.
ANYA
Having dirty thoughts, are we? It's
okay. It's part of my unnatural

99.

allure. I don't mind. I like to

play with my food and you look
absolutely tasty.
Anya walks towards Keet.
Sinelnikov pulls out a crucifix. He steps forward,
brandishing it before Anya's face.
SINELNIKOV
Back, witch! You have nothing to
offer the living but death! Your
soul is lost!
Anya yelps. She spins and kicks the crucifix from
Sinelnikov's hand. It goes over the wall.
SINELNIKOV
Now!
Keet and Sinelnikov turn and fire their darts at Dracula.
Dracula flinches. He holds out his hand in defense. The darts
hit his long jacket and bounce off, harmless.
Anya laughs at Sinelnikov's stunned expression.
ANYA
Like I said, Vlad, you can find
anything in New York, even Kevlar
lined coats.
Keet pulls a stake. He charges Anya.
Anya sidesteps the clumsy attack. She doesn't see the belt
knife in Keet's other hand. He slashes her arm.
Anya screams. The wound sizzles.
Keet shows her the bloody crescent blade.

100.

KEET
You're right, Lady Anya! You can
find anything in New York, even
silver bladed knives!
Anya backs away from Keet.
ANYA
Oh, you're good. This is going to
be the learning experience I need.
Remy advances on Sinelnikov, slowly, purposefully.
SINELNIKOV
You think to best me, little man?
You are but a lap dog.
Michael and Dracula face off, forgotten by the others.
DRACULA
Do you believe what I have said?
MICHAEL
I don't know. It doesn't really
matter at this point, does it?
Dracula grins.
DRACULA
No. I suppose it does not.
Dracula brandishes his fangs and leaps at Michael.
Michael drops to one knee, takes aim and fires the dart
pistol. The dart flies past the billowing flaps of Dracula's
jacket and strikes him in the leg.
Michael dives to the side. Dracula smacks into the roof,
holding his smoking leg.
REMY
Master!
Remy runs at Michael, but a powerful punch from Sinelnikov
sends him flying back.

101.

SINELNIKOV
Not so fast, dog.
Remy jumps up and strikes back. His punches surprise the
Monsignor. Remy steps back, ready for more.
Sinelnikov wipes blood from his lip. He smiles.
SINELNIKOV
Is that all you have?
Equally entertained by the fight, Remy attacks. The two punch
and pull at one another.
Dracula springs forward, slashing Michael across the chest
with a clawed hand.
Michael yells. He reaches into a pocket and tosses out a
handful of silver dust.
Dracula leaps over the glistening arc. He lands in front of
the tower exit. Dracula rushes down the stairs.
Michael races after him.
Keet forces Anya into a corner. He slashes the space between
them with stake and knife.
Anya leans against the wall, cradling her bloody arm in pain.
ANYA
Please, show mercy. He made me into
this thing. I didn't mean to. I was
going to die. Please.
Keet pauses. He lowers his guard.
KEET
I...
ANYA
Ha!
Anya drops. Her feigned pain forgotten. She kicks Keet's legs
out from under him. Keet falls. His weapons bounce away.

102.

Anya pounces on him.

ANYA
You're gullible but damn cute. Do
you read? I bet you do. Why didn't
you come into the book store before
all of this? Maybe we could have
found happiness together.
Anya licks Keet's lips.
ANYA
Well, at least we have tonight.
Keet struggles, but Anya holds him fast. She grinds her hips
against his.
ANYA
Yeah, that's it. Heat up the blood.
Damn, you feel good. Oh so good.
Yeah, right there, baby boy!
Sinelnikov bear hugs Remy. Ribs snap. Remy rams his forehead
into Sinelnikov's. He drops Remy.
Remy clenches Sinelnikov's neck. He chokes the Monsignor.
Sinelnikov knocks Remy's arms aside. He lift Remy up and
slams him down hard.
Remy digs his fingers into the roofing. He tears free a
section and smacks Sinelnikov in the groin. Sinelnikov
doubles over.
Remy kicks Sinelnikov, then stops and looks around.
REMY
Master?
Sinelnikov gets up, leaning against the wall for support.
SINELNIKOV
Your keeper fled like a beaten cur!
Remy grabs Sinelnikov and shoves him over the wall.

103.

Remy runs down the stairs.

REMY
I'm coming, Master!
EXT. BELVEDERE CASTLE ROOF - OUTSIDE LEDGE - SAME
Sinelnikov holds the ledge with both hands. A fatal drop lies
beneath him. He strains to pull himself up.
INT. BELVEDERE CASTLE HENRY LUCE NATURE OBSERVATORY - SAME
Dracula throws a table from behind nature displays and
mounted animal skeletons. Michael ducks. The table crashes
against the wall.
Michael dashes across the room. He fires a dart. Dracula
deflects it with his coat.
Dracula grabs a microscope. He leaps over a display case and
throws it at Michael. Michael dodges just in time.
The microscope shatters a glass case. A large shard cuts
Michael's face.
Michael throws a glass vial from his pocket at Dracula. The
glass vial breaks against a skeleton's leg, splattering holy
water on Dracula.
Dracula yells from burns on his face and hands.
Michael loads and fires another dart. It hits Dracula in the
collar. Dracula screams and pulls the dart out.
Michael takes cover behind a display case and reloads.
INT. BELVEDERE CASTLE SECOND FLOOR - SAME
Remy runs in. He looks around the dark floor.
REMY
Master?
He turns to continue downstairs but spots a sign on a closet
door, "Hiking Supplies. Authorized Personnel Only."

104.

EXT. BELVEDERE CASTLE ROOF - MOMENTS LATER

Anya's fangs glide along Keet's neck.
ANYA
It feels so good to hold back, but
I'm weakening. I need you now.
Keet has one arm free. He reaches frantically for anything.
He finds a deflected dart. He stabs Anya in the neck.
Anya screams. She rolls off Keet. He scrambles away from her.
Anya writhes in pain. Her neck blackens and cracks. She pulls
out the dart. Blood flows down her neck.
She roars up at the Deacon.
ANYA
You bastard! I'll rip off your..!
Sinelnikov's boot hits Anya's face, sending her tumbling.
Sinelnikov helps Keet up.
KEET
Thanks.
Keet retrieves his knife and stake. Sinelnikov loads a dart
into his pistol. They face Anya.
Despite her agony, Anya stands and smiles.
ANYA
Two at a time? Okay boys, I'm game.
Let's do this!
Keet swings the knife wide. Anya slips under his arm. She
rakes Keet's side with clawed fingernails.
Sinelnikov thrusts the stake into Anya's shoulder, and
withdraws.
ANYA
Ow! That hurt!

105.

Anya turns and kicks back. She misses.

SINELNIKOV
Let us end your dark existence,
child. Release your tainted spirit
into God's care. There may be still
hope for your redemption.
ANYA
Redemption at the end of stake? No
thanks, preacher man.
Anya rushes Sinelnikov but turns on a dime and leaps at Keet.
Anya punches Keet in the face. Keet falls.
Sinelnikov fires. The dart hits Anya's leg. She falls.
Anya pulls out the dart and jabs it into Keet's hand. Keet
rolls away.
Anya gets on hands and knees. Sinelnikov kicks her in the
ribs, throwing her on her back.
Anya grasps Sinelnikov with her legs. She flips him over.
Anya staggers up. Keet throws silver dust into her face. She
claws at her eyes.
ANYA
I'm blinded, you bastard!
Keet punches Anya across the face. He keeps at it.
KEET
This...is...for...Monsignor Balard!
Anya stands helpless before Keet's attacks.
INT. BELVEDERE CASTLE HENRY LUCE NATURE OBSERVATORY - SAME
Michael jumps clear as Dracula smashes a display. Michael
swings around with a stake. It rips across Dracula's neck.
Dracula backhands Michael. He crashes into a table.

106.

Bruised and blooded, Michael still holds the stake. He grabs

a broken table leg. Both weapons pointed at Dracula.
Dracula holds his neck. Blood runs through his fingers.
DRACULA
My compliments, Michael Ross. You
put up a worthy fight. At least you
have the courage to face me
yourself and not hide behind the
force of others.
Dracula removes his hand. A lattice of healing tissue seals
the neck wound. Michael tries not to look worried.
REMY (O.S.)
Infidel!
Remy dives onto Michael. They crash to the floor.
Remy pistol whips Michael with a flare gun, stunning him.
REMY
No one harms the Master!
Dracula leaps into the fray.
EXT. ROOF - SAME
Keet kicks Anya down. Her eyes swollen shot. Knife wounds
lace her arms. Yet, she senses a presence through her pain.
Anya calls out to the night.
ANYA
Come to me!
Sinelnikov tosses Keet a stake.
SINELNIKOV
Finish her!
Keet pulls Anya up by the hair. He holds the stake.

107.

ANYA
Come to me!
KEET
You can stop yelling, vampire! I'm
here to end your suffering.
Anya smiles.
ANYA
Not you. Them!
Sudden screeching. Bats swarm the rooftop, enveloping Keet
and Sinelnikov.
Keet releases Anya. She slices his leg with a swipe of her
hand. He falls and crawls away from her.
Anya leaps on Keet. She sinks her fangs into his neck,
ripping open arteries. She rinses her eyes with his blood.
She spots Keet's stake.
Sinelnikov swings at the bats. He plucks several from the
air, dropping their crushed bodies at his feet.
The bats suddenly disperse, revealing Anya standing in front
of Keet's body. She holds Keet's stake.
ANYA
Here!
Anya pitches the stake. It impales Sinelnikov through the
heart. He falls back, dead.
ANYA
Now you know how it feels.
A cry of madness from behind. Anya turns. Keet, pale and
bloodied, rushes her with another stake.
Anya releases one short yell as the stake pierces her chest.
They stand, trembling, eye to eye. They mutter final silent
words and then slip to the roof and die side by side.

108.

INT. FIRST FLOOR - SAME

Remy flies across the room. He hits the wall and crashes
unconscious to the floor.
Dracula turns back to Michael, recovering from Remy's
assault. He leans against a table.
DRACULA
My apologies for the interruption.
It would seem the rules of
honorable combat between men have
been forgotten in this new age.
Michael shakes his head clear.
DRACULA
Do not fear. I will not fight an
unprepared opponent.
MICHAEL
That's generous of you considering
my family history.
DRACULA
You're a pawn in this drama as much
as I. Neither of us wished this.
Nevertheless, here we are.
Dracula walks among the displays.
Michael picks up the stake and the broken table leg. He moves
into the displays, keeping them between Dracula and himself.
MICHAEL
You said the Vatican's betrayal was
responsible for your creation. How?
Dracula pauses.
DRACULA
Once, long ago, I stood as one of
God's great defenders. It was I,

109.

Vlad Dracul, of the Order of the

Dragon that held back the armies of
Islam and taught its hosts to fear
the wrath of the one true God!
MICHAEL
What happened?
Michael moves slowly around Dracula.
DRACULA
The Pope feared victory would make
me more powerful than himself. He
held back his support. He let my
armies be overwhelmed, my people
crushed and myself taken prisoner.
Dracula faces Michael.
DRACULA
Are you ready?
MICHAEL
Let's do it.
Dracula leaps at Michael. Michael throws the stake. It
strikes Dracula's shoulder. Dracula crashes into a display.
The wound blackens and cracks. Dracula pulls the stake out.
It glitters. Dracula drops it.
DRACULA
Silver!
Michael runs up to Dracula. He smacks him across the face
with the table leg.
Dracula backhands Michael, knocking him into a display case.
The case breaks apart.
Remy stirs on the floor.
Michael picks up a steel rod. He swings at Dracula, misses.

110.

Dracula swipes at Michael, ripping his shirt open, revealing

the griffin crucifix. Dracula turns away, repulsed.
Michael digs the last of the silver dust from his pocket.
Dracula turns back, enraged. Michael throws the dust in his
face. Dracula gasps. He falls against a heavy wood table.
Michael jumps on the table. He holds the rod high and jumps
off. The impact drives the rod through Dracula's shoulder,
pinning him to the table.
Michael rolls across the floor. He gets up, breathing hard,
and picks up the stake.
Dracula claws at his burned face and the steel rod. He
wheezes and thrashes in panic.
Michael holds the stake over Dracula, when a flare smacks him
in the back. The projectile springs across the floor, casting
off flaming phosphorous. Wooden displays catch fire.
Remy stands against the wall. He loads another flare.
MICHAEL
Are you insane! This whole place is
going to go up!
Remy screams and fires. The flare ricochets past Michael,
spreading more flames. The fire spreads quickly.
Flames leap up between Michael and Remy. Michael retreats
towards a window. He spots Remy trying to reach Dracula
through the flames.
EXT. BELVEDERE CASTLE MOMENTS LATER
Michael crashes through a window. He rolls on the ground to
smother his smoldering clothes.
INT. FIRST FLOOR - SAME
An inferno. Remy struggles to pull out the steel rod.

111.

REMY
Master! You must change! Master!
Flames lick his legs.
EXT. BELVEDERE CASTLE MOMENTS LATER
Michael sits on the ground, exhausted. Remy's screams merge
with the growing roar of the fire.
Michael gets up. He starts to walk around the castle.
MICHAEL
Monsignor Sinelnikov! Deacon Keet!
Remy smashes through the front door. Engulfed in flames, he
holds something close to his body.
Remy has strength for one agonizing word.
REMY
Master...
Remy throws his arms open. A large bat flutters free and
drops to the ground. Remy dies, consumed by fire.
Michael looks at the bat laying still on the ground.
MICHAEL
Youve got to be kidding me.
The bat flies at Michael's face. Claws dig into Michael's
flesh. Sharp teeth rip at Michael's neck.
Michael throws the bat to the ground. Michael grabs a flaming
piece of debris.
MICHAEL
Come on you...Whoa!
Michael turns back to face a large black wolf.
The wolf pounces on Michael, knocking him over, and continues
on, running into the park.

112.

Michael chases him.

EXT. CENTRAL PARK - SHORT TIME LATER
Michael runs through the woods. He pauses, unsure where to
go. He hears a crash of metal nearby. He runs towards it.
EXT. DRAIN COVER MOMENTS LATER
A storm drain cover lays on the ground in pieces. Michael
enters the drain.
INT. STORM DRAIN TUNNEL MINUTES LATER
Michael walks through ankle deep water. Small work lights
illuminate the tunnel.
INT. STORM DRAIN TUNNEL - STORM PIPE MINUTES LATER
Michael walks past the rungs leading up to the storm pipe. A
clank from above draws his attention. He climbs the rungs.
Michael pauses at the top. He eases his head through the
opening, when a subway train charges overhead.
The tunnel shakes. The sound deafens. Michael attempts to
cover his ears. He loses his grip and falls. He grabs another
rung and holds on.
The train passes.
MICHAEL
SON OF A BITCH!
Michael climbs back up.
INT. SUBWAY TUNNEL MOMENTS LATER
Michael exits between the tracks. He spots a fresh foot print
in the dirt. He follows it down the tunnel.
INT. DISCONTINUED TRACK - A FEW MINUTES LATER
Michael examines the freshly broken boards sealing off the
connecting line. He climbs through the boards.

113.

INT. CLOSED TRACK A FEW MINUTES LATER

Work lights reveal spare rails, crates, and a two-man
maintenance car. Thick spider webs cover everything.
Giant sewer rats scurry around the equipment. A few take note
of Michael and then continue with their rat business.
The rats suddenly stop and run off, leaving Michael alone.
Michael feels the presence. He looks up.
Dracula hangs from the ceiling. He falls at Michael.
Michael jumps clear. Dracula lands on his feet. He grabs
Michael and throws him into a crate, smashing it.
Michael lands beside an old crowbar. He grabs it and swings,
sinking the hooked end into Dracula's neck.
Dracula yells. He slashes Michael across the chest.
Michael jerks the crowbar free. He drops down and swings,
shattering Dracula's knee. Dracula falls.
The large rats return. They form a vicious protective circle
around Dracula. Michael backs up quickly.
DRACULA
Feast.
The rats charge Michael.
Michael runs down the tunnel. The rats gaining.
Michael jumps on the maintenance car. Rats follow. Michael
kicks them down.
Michael spots Dracula struggling to stand, on the tracks.
Michael hits the large "IGNITION" button.
The maintenance car comes alive.
Michael pushes the throttle to "FULL." The car jerks forward.

114.

Dracula turns to see the maintenance car speeding towards

him. He spreads his arms. Bat wings begin to form.
The maintenance car slams into Dracula, propelling him back
through the boarded up entrance.
The maintenance car continues a short distance and hits a
track barrier. The car flips over, tossing Michael through
the entrance.
INT. SUBWAY TUNNEL - MOMENTS LATER
Dracula lays on the subway tracks. Pale and battered. A
jagged piece of board protrudes through his abdomen.
Michael lays against the far wall by the track. Blood runs
down his face. His leg lays broken and twisted.
MICHAEL
Dead yet?
Dracula pulls the wooden spear from his body.
DRACULA
Death is your master, not mine.
A subway train appears from around the bend.
Michael presses himself against the tunnel wall.
Dracula snarls at the brilliant headlight, and then propels
himself off track at Michael.
Dracula presses himself against Michael. His hand clutching
Michael's throat. The train's steel wheels pass a foot away.
The subway vanishes down the track. Silence returns to the
tunnel. Neither Dracula nor Michael move. Their eyes locked.
DRACULA
What will you do now?
Michael struggles, briefly, in vain. He stops.

115.

DRACULA
Now I see the fear in your eyes. I
know the fear. I felt it for years
untold, locked away, starving,
tortured, by Abraham Van Helsing.
Dracula releases Michael's throat. Michael gulps air.
DRACULA
The Vatican believes my destruction
will save the world. From what? I
know the world you have built in my
absence. Wars as brutal as those
fought in my time. Jungles and seas
laid waste in ways I could not
imagine. The very oceans threaten
to drown your cities. The End of
Days is indeed coming but due to
your actions not mine.
Dracula leans closer.
DRACULA
Let your leaders know Dracula walks
the Earth once again and if mankind
wishes to preserve its dying
dominion over this world, they will
cease their crusade against me. Do
you understand?
Michael nods.
MICHAEL
I'll tell them.
DRACULA
Good, and so they know what the
future will hold for humanity if
they defy me, show them.
MICHAEL
Show them wha..?

116.

Dracula strikes, sinking his fangs into Michael's neck.

SMASH TO:
EXT. JFK AIPORT - LATER
Planes roar overhead. Taxis and family cars drop off
departing PASSENGERS.
INT. JFK AIPORT - GATE - SAME
The gate displays a flight departing for London, England.
The GATE ATTENDANT smiles at Dracula. Her eyes reflecting the
black and red swirling in his.
GATE ATTENDANT
Enjoy your flight, sir.
Dracula nods and heads down the jetway, walking unnoticed by
the other PASSENGERS and the FLIGHT CREW.
EXT. JFK AIPORT - RUNWAY - SHORT TIME LATER
The trans-Atlantic flight lifts off.
INT. AIRPLANE - FIRST CLASS CABIN - SHORT TIME LATER
Dracula glances out the window at the night sky.
He looks down at the Federal Air MARSHAL's identification.
DRACULA
You will arrange lodging once we
arrive in London. There are tasks I
need you to perform before I can
return home. Now that I am free,
she will be looking for me.
MARSHAL
It will be as you say, Master.

117.

Dracula hands the ID back to the Marshal.

DISSOLVE TO:
INT. UNDERGROUND CORRIDOR - A FEW WEEKS LATER
Monsignor Balard, his arm in a sling, walks alone. His
footsteps echo off the centuries old stones.
He stops at a reinforced steel door adorned with a silver
crucifix. Two armed VATICAN GUARDS flank the door.
A Vatican Guard slides open a narrow view slot and steps
back, his rifle at the ready. The other Guard does the same.
Balard takes a deep breath and approaches the door.
BALARD
Michael?
CLOSE ON: Narrow View Slot
Michael lunges at the door. A heavy chained collar holds him
back. A chained straight jacket secures his arms. His eyes
blood red. His fangs long. He screams, enraged and wild.
And screams...
And screams...
FADE TO BLACK