This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
FOURTH DRAFT
------------------------------------------------------
THE RESSURECTION
FADE IN
EXT. TORONTO SKYLINE - NIGHT
Faint music plays over the raw spectacle in sight: the modern
skyline of Toronto, Canada. "Wake up Little Suzy" by the Everly
Brothers echoes out into the cold wintry night.
We are flying like a bird over the panoramic view of the busy yet
eerily quiet Ontario City. Smoke gently bellows out from the vast
skyscrapers dominating the screen.
A variety of buildings can be seen; square-shaped sky-blocks;
monolithic hotels like the Hilton; smaller, squatter black hexagonal
shapes; and huge roof-bound cranes idle for the moment.
We then fly past the tallest free-standing structure in the world,
the Canadian National Railway Tower, (CN Tower for short), a 1,815
foot giant syringe aimed heavenly, a symbol of the city's hopes and
aspirations.
The music grows gradually louder and louder...building to a
crescendo...
The camera begins it's descent, swooping past cigarette-lighter style
buildings, their light shining out like a homing beacon...but to
what? Lower and lower we descend...building floors rushing by in a
blur...we reach ground level.
EXT. STREET - TORONTO - NIGHT
Two sewage workers stand over a manhole cover. Walt is a portly,
cheery man. Harvey is thin, and elderly.
WALT
Into the shit we go again, Harvey.
HARVEY
Uh-huh.
WALT
Here, help me get this cover.
The two men juggle with the heavy manhole cover. Walt grazes his
hand on the cover. Blood breaks to the surface.
WALT
Aaah! Should have worn gloves.
HARVEY
Uh-huh.
INT. SEWAGE TUNNELS
Dark and watery, the two men's flashlights cut through the black.
WALT
Can't see anything wrong with these tunnels.
HARVEY
Uh-huh.
The men continue down the tunnel. Walt's battery begins to flicker.
WALT
Hold on, Harvey. My lights going down.
Harvey walks on in front of Walt. Walt's light goes out. He fumbles
about looking for a new one.
WALT
Damn Korean torches!
In the distance, we hear the dropped sound of Harvey's torch.
WALT
Hey, Harvey? You okay?
Nothing.
WALT
Harvey?
The faint sound of footsteps coming toward Walt brings a lump to his
throat.
WALT
Harvey?
Walt quickly crams in his batteries. He flicks his light on - right
into the oncoming Harvey!
WALT
Jesus! You scared the piss outa me.
Harvey is breathless. Nervous.
WALT
What's wrong?
Harvey points along the tunnel.
HARVEY
A body!
INT. SEWAGE TUNNEL - FURTHER ALONG
Walt's flashlight flickers around the tunnel. Harvey holds onto
Walt's arm.
WALT
Hey, get off my arm! You a fairy or
something?
HARVEY
I aint never seen a dead body before.
Walt's light catches the body in it's glare. All we see is a white
hand lying down.
HARVEY
Do ya think he's been murdered?
Walt leans over the body. A single drop of blood from his cut hits
the body's mouth.
WALT
Dunno. Looks as if it's just happened.
Better call 911.
INT. CITY MORGUE
Clinical white. The morgue is silent and still. A surgical table
and a medical equipment tools trolley take centre-stage.
Screeching sound of a stretcher-trolley can be heard in the
background.
In the foreground a bored, overweight, underpaid pathologist sucks
his pen and stares into space. Night-time can be very lonely and
dull in the morgue. The stretcher-trolley arrives, pushed by an
assistant wearing a Toronto Blue Jays baseball cap. The deathly
still cargo remains under raps.
PATHOLOGIST
Glad to have someone to talk to tonight, Ken.
What have you got for me tonight? Another
stiff?
ASSISTANT
Fresh one.
PATHOLOGIST
What caused it?
The two men lay the body on the surgical table.
ASSISTANT
You're the expert. Found him in the sewer.
Lost a lot of blood. They sent it down here
because they said it was weird.
PATHOLOGIST
Weird? Let's take a look.
They uncover the sheets revealing a handsome, ashen faced, blonde man
in his early 20s. His lips are blood-red, but there is clearly no
life left in the body.
ASSISTANT
Poor guy.
PATHOLOGIST
I'll just do a surface check. Listen I'm
really thirsty. Will you get me some coffee?
ASSISTANT
Sure, boss.
The pathologist begins to run over the dead man's skin,
while the assistant leaves the room to make coffee. The
pathologist opens the body's eyes - lifeless. He pulls
at the cheeks and rubs over the back of the neck. He
finds two abrasive marks on the victims neck.
He releases his hands from the neck and strokes his chin.
The pathologist turns his back on the body and rummages
through his work-tools. A squeak is heard.
The pathologist's eyes widen and he slowly turns back
around to face whatever made the noise. Slowly,
deliberate and awaiting something unusual. As he bears
down on the body he relaxes: Nothing has changed.
The pathologist returns to his tools. He selects a large
gleaming scalpel and feels it in his hands. He turns
around once more to the body. Nervously holding the
scalpel in his hand he twitches and hovers over the
victim. He first touches the torso of the body but
decides against an incision, instead moving across to the
shoulder, and then tentatively up towards the place he
knows he should have begun: the neck.
The scalpel grazes the skin of the neck, just at the
point where the marks are. Again no cut is made. The
pathologist is merely probing. An eerie silence
dominates the room. This is a place of alienation, for
sure.
The pathologist prods again at the neck and this time
just as he is about to cut into the neck, a hand grabs
the shoulder of the pathologist! He gives a shriek and
slams the scalpel into the neck of the body.
ASSISTANT
Hey, I didn't mean to frighten you. I
thought you heard me coming.
The assistant holds two steaming warm cups of coffee.
PATHOLOGIST
I just got a little shaken. Oh no look what
I've done.
ASSISTANT
Well that guy aint gonna mind.
PATHOLOGIST
I've stabbed the poor guy! I never do that.
Never.
ASSISTANT
I guess it aint his lucky day.
The pathologist removes the scalpel from the dead body's neck and
takes his coffee, gulping it down.
ASSISTANT
Whoa! Steady! Are you okay?
PATHOLOGIST
I think I heard something move.
ASSISTANT
Might be something upstairs. Like a cat or
something.
PATHOLOGIST
Maybe, but this whole thing bothers me. I
mean look….
The pathologist points out the two puncture marks on the body's neck.
ASSISTANT
Eh? Count fucking Dracula or what!
PATHOLOGIST
Puncture marks. Strange.
The assistant recklessly leans over the body to stare in fascination
at the two marks.
ASSISTANT
I mean do you think this is... you know?
PATHOLOGIST
What?
ASSISTANT
Well do you think this guy has been bitten?
PATHOLOGIST
Bitten? By what? An animal?
ASSISTANT
No, you know, bitten by a -
A new, deathly cold voice interrupts.
DEAD BODY
- Vampire?
The dead body's eyes awaken. From under the white covers a strong
ancient hand swiftly reaches up to the head of the assistant, like an
eagle surveying its prey. There is nothing he can do.
The assistant tries to wriggle free, but it is a no sale. He is
helpless, like a fish in the claws of a bird. The frenzied assistant
screams in terror as he is held in a vice-like grip by the dead body.
The body pulls down the assistant towards its mouth. Death is not
far now. Unseen fangs rip into the assistant's neck, red-hot red
blood streams down the shirt of the assistant. His face changes from
terror to a catatonic state. He is captivated, entranced, even
enjoying having the very essence, the very life-blood being literally
sucked out.
The dripping blood forms a contrast on the white floor, a red island
in a sea of white.
At the medical equipment trolley, the cowering pathologist cannot
move. His cup of coffee falls to the floor, smashing into a thousand
pieces.
The pathologist's hand shakes violently as he tries in vain to pick
up another scalpel from the dish in front of him. But he knows it
will have no effect.
The body arises, throwing the bloodied assistant to the ground. The
arisen body picks up the blood-stained scalpel that was driven into
his own body so horribly. With a condescending look the scalpel is
thrown away.
Meet Florin, an aristocratic vampire, sexually ambiguous, and a very
good bloodsucker. The eyes of the newly awoken Florin fixate on the
quivering pathologist. He is next.
The vampire's fangs are visible now, dripping with blood, and his
face shows only pleasure, fulfilment and pure unadulterated joy. The
vampire smiles and grins; slowly opening and closing his eyes in an
unending cycle. Deep breaths are taken. Florin has awoken! {
Florin stands upright, a full six feet, towering above the
pathologist, who drops to his knees in panic. Florin glides over,
walking effortlessly as only the Un-dead can.
EXT. STREET - NIGHT - LATER
Florin walks coolly down a busy Toronto street. He stands out with
his white, frilly shirt, and old fashioned trousers. He's like a
modern Lord Byron. Passers-by stare at him. He ignores them.
EXT. SQUARE - NIGHT
Florin comes to a square in the heart of the city. He seems lost.
He looks around and around.
FLORIN
Where am I?
He sees a news-stand. A man puts a couple of coins in and takes one.
Florin stands over it. He reads the newspaper headlines.
FLORIN
Toronto? Toronto? Far from home. So far.
Florin looks once more at the busy street life of the town. He sees
a beautiful, innocent blonde girl walking all alone. She is wearing
a distinctive pink and white striped skirt.
FLORIN
Some things never change.
Florin walks after the girl. We see him talking to the young girl.
She seems impressed by his good looks. We know she is doomed.
EXT. BURNER'S FIELD - MORNING
Five large transport container trucks turn off a dirt track and into
a wide-open grass field.
The truck convoy continue to cross the barren landscape called
Burner's Field, a waste ground owned by the City and used for special
events.
The trucks have unusually long carriages and there are no windows
except for the tinted windscreens.
The side of the trucks bear foreign markings and writing on their
side, the only English translation can be found at the back:
{BUCHAREST CIRCUS
The de-accelerating trucks form a unnatural circle as they come to a
halt, their noisy, oily engines still running.
The leading truck's driver's door opens, and a very dark looking man
steps out, wearing sunglasses. He is very serious in his purpose,
and is not the type of person you would like to see angry, with a
large haggard scar winding its way down his left cheek.
He views the bare-land in front of him, and gives a quiet, knowing
nod to the other members of the group.
At the same instant, all the engines are silenced. This man commands
total respect. He is a leader of some kind, but we don't know what
of...yet.
INT. GRIFFIN'S OFFICE
Two men are sitting in a sunlight lit room, hazy smoke not long
departed. The men sit like a formal interview, all body language
strict and verging on anti-social.
The interviewer sits over his unkempt desk: important and unimportant
files and papers scattered all over.
The interviewer, clicking a gold pen constantly, the man with his
back to the window is Dr. Peter Griffin, a bespectacled psychologist,
with a drink and smoking addiction. Griffin is intelligent, but a
continual under-achiever. The one redeeming feature of Dr Griffin is
his voice. It is soothing, assured, and ultra-confident. It moves
along at a slow formal pace.
The other man, the interviewee, is a black middle-aged executive, who
is clearly stressed out with the obsessive tapping of his fingers on
his seat's arm.
GRIFFIN
Okay, let's take this from the top, Mr.
Rogers. Oh do you mind if I smoke?
Mr. Rogers shows no objections. Griffin puts away his gold pen and
lights up a very dirty high tar cigarette.
GRIFFIN
Where were we...oh, yes. You say the other
night, while you were out you saw...let me
get this absolutely word for word...you saw a
man biting into a girls neck?
MR. ROGERS
Yeah. It was like out of a dream. He turned
round and looked straight at me with deep
burning eyes.
GRIFFIN
What did you do?
MR. ROGERS
I ran!
GRIFFIN
What did the girl look like?
MR. ROGERS
She was young, around seventeen. She was
blonde, pretty - a real cheerleader. She
even wore a sexy pink and white striped
skirt. Pure jail bait.
GRIFFIN
And the man?
MR. ROGERS
Early twenties. He too was blonde. But he
looked like something outa an act.
GRIFFIN
Pardon?
MR. ROGERS
His clothes were like a costume. Like some
actor in a Sherlock Holmes movie.
Griffin gives a huge smile and puffs away on his cigarette.
GRIFFIN
What do you think you saw?
MR. ROGERS
I saw a man eating a girl. No peck. A full
vampire bite.
GRIFFIN
Vampires? Who said anything about vampires?
MR. ROGERS
Look I know what I saw. Do you think I am
off my head?
Griffin coolly puffs away on his cigarette.
{GRIFFIN
No I don't, Mr. Rogers. However I also do
not think you saw a vampire. I mean, do you
really believe in vampires? Honestly, there
is a perfect scientific explanation for what
you saw. In fact it is more a social reason.
The two people were just a little eccentric
in their stimulation exercises, and instead
of a traditional love-bite, the guy went a
little too far, and broke the surface of the
skin. Tell me, was the girl screaming, or
showing any signs of discomfort?
MR. ROGERS
No. I can't say that she did.
GRIFFIN
Is it possible that she was even perhaps
enjoying the experience?
MR. ROGERS
Well... I suppose so.
GRIFFIN
There you are. Simple facts of life. You
see young people are always a little more
outrageous than the generation that came
before them, until there is a puritan
cleansing generation that regresses the
disgusting cycle that we humans seems to
indulge ourselves in constantly.
Griffin pauses for a moment. He swivels round in his chair to look
out to the Toronto skyline. He points out with his cigarette, like a
lecturer attending a blackboard.
GRIFFIN
Look out at the city, Mr. Rogers. That
should be your comfort. People like you and
I are still in the majority. Be thankful for
that. People who are decent, hard-working
and who don't sleep around. People who have
families, pay their taxes. People who have
dignity and self-respect. On the other hand,
there are the deviants from society's norms.
What can we do? We have to nurse them back
into the ways of civilisation, without which,
we would be cast back into a dark age of
total chaos and anarchy. Like the postal
service gone bad.
Mr. Rogers chuckles to himself. He stands and shakes hands with
Griffin.
{MR. ROGERS
Thanks, Dr Griffin. I feel a lot better.
Griffin smiles.
{GRIFFIN
It's all part of the service. Thank you Mr.
Rogers, for coming. Just leave your details
with my secretary and we will conduct a
follow up interview in a couple of weeks
time. Take care now. Bye!
Mr. Rogers leaves the room. Griffin swings round in his chair.
GRIFFIN
Vampires! Hah!
INT. GRIFFIN'S SECRETARY'S OFFICE
A hassled woman in her 40's chats away non-stop into her phone. The
connecting door opens, and Peter Griffin walks in.
GRIFFIN
Anything for me Nancy?
NANCY
Mr Randal called, said he wanted you to take
two of his clients this week, Gordon and
Hague.
GRIFFIN
Randal? That slimy piece of seaweed?
Lumbering me with all his leftovers! Must be
a free bar at the country club.
Nancy gestures to Griffin. Someone is coming.
The outside door opens, and in steps Mr Randal, senior partner of
Randal Associates, a man in his fifties, with a waistline that is a
memento of too many business lunches.
RANDAL
How's my boy?
GRIFFIN
Okay, Mr Randal.
RANDAL
Ted. Always call me Ted, Peter. I hear
you've been doing well recently, put your
personal problems behind you. Maybe my gamble
on you has paid off.
GRIFFIN
It was good of you to take me on.
RANDAL
Your Uncle Toby was a good man. But what's
this about you still not having a regular
home? Living in a hotel?
GRIFFIN
I like it there, sir.
RANDAL
Oh, I can't be inviting you to the club if
you live in a hotel. You do like golf, don't
you?
GRIFFIN
Er...yes.
RANDAL
Listen, did Nancy remind you that this week
you'll be taking two of my patients?
GRIFFIN
Yes. She did.
RANDAL
Good girl, Nancy. Still not got dementia
yet? Must be a record. I have to dash,
urgent meeting. See you later, Peter.
GRIFFIN
Bye, Ted.
Peter turns to Nancy and stares into space.
INT. SERENO HOTEL - RESTAURANT
Griffin is at lunch at a very upmarket, expensive Sereno hotel
restaurant. The tables are all full, full of businessmen conducting
power deals.
A new entrant makes his way cockily across the room to Griffin's
table. A tall bronzed figure with long black hair so dark that it
has the blue shine Oriental gentleman have.
Daniel Navajo, mega-bucks lawyer of Native American descent.
Handsome, rich, intelligent: the foremost rising star of the Canadian
legal system- when Navajo speaks everyone listens. His exceptional
mind helped him break free of the class system, and now like a true
hypocrite, Navajo mingles with the in-crowd daily.
GRIFFIN
Hi Daniel!
NAVAJO
Hello there, Dr Griffin. How was surgery
today?
GRIFFIN
I had a guy who saw a vampire today.
Navajo sits down and beckons the hassled waiter.
NAVAJO
I heard something like that, too.
The scurrying waiter rushes over to aid the superstar lawyer. Navajo
immediately turns on his celebrated charm and supreme confidence.
His tone now smacks of superiority. Navajo is in his element.
NAVAJO
Something quick. I don't have much time for
food today. I'm settling the Tradini divorce
case. I'll have what the good doctor is
having.
WAITER
Of course, sir. And to drink?
NAVAJO
Mineral water. What else?
The beleaguered waiter shoots off at a hundred miles an hour. Navajo
is satisfied.
NAVAJO
It's great being rich and powerful, don't you
think? You could have had the same wage
packet as me if you hadn't been kicked out of
law school.
GRIFFIN
That was a long time ago, and I didn't think
you'd remind me of it, again.
Navajo gives off a mocking, sneering laugh.
NAVAJO
Anyway, there are such things as vampires,
you know.
GRIFFIN
Oh come on! This isn't some superstitious
Indian crap again, is it? Next thing you'll
want me to set up a help line for Ogopogo or
offer a reward for the head of a Sasquatch!
NAVAJO
You may laugh. But there are things a lot
older than man.
The worn-out waiter returns almost on the run, with a glass of
mineral water for Navajo. Griffin can see Navajo is serious.
GRIFFIN
What do your people know about vampires?
Navajo sits back and folds his arm sceptically, as if preparing for a
debate. And he loves debates, because he always wins.
NAVAJO
My people?
GRIFFIN
You know, Native Americans.
NAVAJO
Lets not go into that.
Griffin is taken aback by the apparent raw nerve he has touched.
GRIFFIN
Okay. I didn't know it meant that much to
you.
Daniel Navajo relaxes a little, but for the first time there is sweat
on his well manicured brow.
NAVAJO
What did your parents do for a living, Peter?
GRIFFIN
My father was a teacher and my mother was a
nurse.
NAVAJO
My father, my real father, died on a
reservation at the age of twenty-six. My
mother was so traumatised that she put me up
for adoption. I was only about three at the
time.
GRIFFIN
I'm sorry.
NAVAJO
I tried to look her up. She died a few years
later, after I had been adopted by Dr Lang's
family. Fate has given me a chance, an
opportunity to make a life for myself. If I
don't make the most of it... I'd been better
off dying in that reservation too.
GRIFFIN
But don't you see that's why the Indian
community look up to you?
NAVAJO
They despise me. People listen to the media
and believe the lies that they spread. I am
in a no win situation. Let's just eat our
meal and forget it, okay?
INT. BOOKSHOP
Inside the specialist dealer book shop, a wall of books, dusty and
old surround an old man with white hair. He is the shop owner, and
flicks through a book on the occult. The sound of the wind is heard.
The owner looks up and in front of him stands Florin.
OWNER
I didn't hear you come in.
FLORIN
I am in search of a book.
OWNER
This is a book shop, so you've came to the
right place.
Florin is not amused.
FLORIN
The book in question is very, very old. And
very precious to me. You may know it by
these names.
Florin hands over a yellow, worn piece of paper. The owner's face
drops.
OWNER
Why yes! The omens were true! Sire, the
book is here! It only arrived a few months
ago, brought by those savages.
FLORIN
Indians?
The owner bows his head at his master.
FLORIN
I wouldn't worry about them.
EXT. BOOKSHOP - NIGHT
Florin emerges from an antiques bookstore clutching a green tattered
book. The Book of the Un-dead. He's delighted with himself. Florin
walks down the street a group of Native Indians block his path.
FLORIN
Excuse me, I wish to pass.
Silence.
FLORIN
What do you want? Money?
INDIAN
We know who you are. We know what you are.
We have been waiting.
Florin glances at his book. He dare not let it fall into their
hands. Florin summons his powers but nothing happens. He
concentrates and tries again. In vain. The Native Indians grow
menacing.
INDIAN
Your strength deserts you in our presence,
vampire. You will come with us.
Florin makes a traditional run for it. The Indians are slightly
dumbfounded before giving hot pursuit.
EXT. STREET - NIGHT
Florin hightails it down a street, clutching the sacred
book. The Indians lag behind him.
FLORIN
If it falls into their hands it is all over.
EXT. ST ANTHONY'S CHURCH - NIGHT
Florin, racing down the street can hear the Indians coming after him.
He has to hide the book somewhere. Florin arrives outside the grand
deserted church of St Anthony's. The church is like a giant brown
wedding cake, only it is showing its age
FLORIN
What great irony.
The vampire slips inside the church, unnoticed. The Indians race
past the church.
INT. ST ANTHONY'S CHURCH
Inside the damp, wooden church Florin passes a crucifix. He shakes
his head.
FLORIN
Silly religion.
He sits on a pew. Florin flicks nostalgically through the book.
FLORIN
The Book of the Un-dead.
Florin taps his newly acquired book.
FLORIN
They can't find you. Not when we are so
close.
Florin hides the book under one of the pews. Florin disappears once
more.
In the background, an old priest pops his head out from his hidden
vantage point. He uncovers the book. Startled, he begins reading.
EXT. BURNER'S FIELD - NIGHT
The trucks are being unloaded. Everyone works without rest.
A giant of a man slams huge nails into the ground to secure the tents
being erected. A small boy runs around the populated site with his
sling.
An old gingerly man, who has a crumbly stick as a walking aid,
settles on a director's chair after long hard work. Hardly a second
passes until Thwack! The little boys slingshot has taken it's first
victim! Right on the backside!
The old man gives a yell and waves his stick in the air at the young
rascal. The small boy runs away laughing but runs straight into the
man with the scars.
The man with the scars, the leader, holds the boy for what seems like
forever. What is he going to do? His eyes do not lie often if at
all. The little boy doesn't like this game...he is becoming
frightened.
The scarred man's name is Radul. Radul lifts the boy playfully into
the air. His eyes are full of happiness. His mouth breaks into a
delightful smile. The boy smiles too.
RADUL
You be careful young one. Do not scare the
old people.
A sound is heard from what seems like the stars. Radul places the
little boy down, back on terra firma. He looks up at the sky as we
see and hear the movement of what appears to be bats.
INT. SERENO HOTEL - BAR - LATER
Griffin stands at a hotel bar, his tie loosened slightly, with two
empty glasses of beer at his side. He takes a large swig of ale, to
forget what has been a stressful day.
On a television set above the head of the elderly barman the news
begins on channel TMN-4.
A pretty female news-hound reporter silently mouths off her story.
She is standing outside the City mortuary. Daphne Garnier, a sultry,
intelligent, beauty, yet as hard-nosed and independent as they come.
Griffin is captivated by her. He looks at his half-empty pint glass
and back at the screen. He sure needs a relationship at this point
in his life, after his wife left him.
He gestures to the barman for the same again. On the screen an image
of a bat appears. Griffin spits out the dregs of his pint.
BARMAN
What's the point me getting you another drink
if you don't like that one?
GRIFFIN
No, the TV! The TV! Turn it up!
BARMAN
All right all right!
The sound volume increases, and the full story can be heard.
DAPHNE
Police are refusing to comment on the
apparent bite marks found on the two victims.
The major questions remain: what caused the
brutal attacks on the pathologist and his
assistant; and where did the body they were
examining go?
An image of a young girl - a cheerleader - flashes up on screen.
Griffin shakes his head.
GRIFFIN
The girl.
DAPHNE
Added to this mystery the body of young
Eileen Kay, and something strange is going on
in Toronto. This is Daphne Garnier reporting
from outside the City Morgue for TMN-4 news.
Griffin clasps the hand of the barman who is in the act of pulling
Griffin's next beer.
GRIFFIN
Forget the beer.
BARMAN
What?
GRIFFIN
Just put it on my tab. Room 27.
Griffin gets up and leaves, leaving the barman scratching his head
and holding a half-full pint glass.
INT. TMN-4 NEWS HQ - OFFICES
Griffin, slightly off balance after his drinking session, races
through the hectic open-plan office of news network. Tired
journalists give the dishevelled Griffin the once over.
Griffin arrives at Daphne Garnier's office. He knocks on the door.
A voice from inside can be heard.
VOICE (O.S.)
Come in.
Griffin, apprehensive and nervous, walks in.
INT. DAPHNE'S OFFICE
The girl on the TV in the Hotel bar, Daphne Garnier is hunched over
her desk reading.
Daphne knows someone has just come in. She knows how to take her
time and be cool. She looks up and says nothing. Who is this guy?
Her expression is both of earnest and impatience.
DAPHNE
Excuse me. Do I know you?
GRIFFIN
Miss Garnier, I was listening to your story
and I agree with you.
DAPHNE
Listen, I do over ten stories a day. What
are you talking about?
GRIFFIN
Vampires! The vampires at the morgue!
Daphne laughs and returns to reading her articles.
DAPHNE
I knew there would be a crank or two. I
should never have went for that angle.
GRIFFIN
What are you talking about?
DAPHNE
There are seven other major networks in this
city. We are number one only because we play
on people's fears and entertain them. You
know?
GRIFFIN
Let me start from the top. I'm Dr Peter
Griffin. I'm a psychologist.
DAPHNE
Pleased to meet you, I'm F. Scott Fitzgerald.
Griffin scowls at her lack of respect for a man who has spent years
of his life in research and laboratories. Years of exams and hard
work.
GRIFFIN
I have had several cases of people claiming
to have seen vampires and vampire attacks.
DAPHNE
It's just silly season. It will be
werewolves next week and aliens the week
after.
GRIFFIN
How do you account for the deaths at the
morgue?
DAPHNE
I don't know. The police said it could be a
thousand things. A drunken fight, gay lovers
having a tiff, or simply a prank that went
wrong.
GRIFFIN
Or that young girl? One of my patients saw
her being attacked!
DAPHNE
Maybe he did it.
Griffin decides to try a different approach, a more human side. He
slowly and with perfect manners moves closer to Daphne. He is still
not happy with her flippant attitude, but tries a smile, to ease the
confrontation.
GRIFFIN
Don't you find it all really weird? I mean
you don't really believe that it was some
kind of prank, do you? Where did the body
go? Get up and walked did it?
Daphne's journalistic senses can smell the recently consumed alcohol
from Peter's clothes.
DAPHNE
And you don't really believe that it is
vampires do you? How much have you had to
drink? I'm asking you to leave now.
GRIFFIN
No. I want to know everything you found out
today.
DAPHNE
I'm calling security. Good night!
Daphne reaches under her desk and presses an alarm button.
EXT. TMN-4 NEWS BUILDING- DUNDAS STREET -NIGHT
A giant 6ft 5 security guard throws Peter out into the street.
Peter turns to make his way back in, but the guard blocks his
entrance to the revolving doors and emphatically crosses his arms.
He is a human no-entry sign.
Griffin makes his may down the lamp-light street. His head folds
down and his whole manner returns to one of self-pity.
EXT. DESERTED PATH OFF DUNDAS STREET - NIGHT
Griffin ambles on by, taking a short-cut through a less travelled
path, kicking stones and empty cans lying on the street.
The disillusioned psychologist pauses for a moment and leans on a
lamppost for support.
Griffin can feel the booze coming back to haunt him. He holds his
tortured head for a moment.
GRIFFIN
What was I drinking?
A few coughs makes him feel slightly better, but he has to lean over
just in case.
When his head is cleared, he stands upright once more. But
everything is not the same.
Peter is startled by the sight that greets him. A young fair-haired
man is standing at his side. The young man is wearing a long,
demonic black cloak with a white frilly shirt. Eccentric? Certainly.
Peter is puzzled. He never heard this guy come anywhere near him.
We recognise this man as Florin. Florin the vampire! Griffin rubs
his eyes and smiles pleasantly at the young man.
GRIFFIN
Good evening.
There is no answer.
GRIFFIN
I must be on my way. See you later.
Still no reply from Florin, who stands, towering above Griffin, his
eyes beginning to fixate on Griffin.
Something inside Peter tries to tell him something is not right. A
voice form the recent past echoes to Peter, warning him.
MR. ROGERS (O.S)
It was like out of a dream. He turned round
and looked straight at me with deep burning
eyes.
Suddenly, like Archemedes leaping from the bath exclaiming 'Eureka',
the truth of the situation slowly dawns on Peter. This is the
vampire! It may not be, but how can he take a chance!
Florin notices a change in his impending victim's face. He moves
closer.
Peter reacts taking the vampire unawares and strikes a full 100%
agony blow to the vampire's groin.
GRIFFIN
We're all still the same there I guess.
Florin howls and drops the floor in writhing agony.
Peter makes a run for it, streaking down the deserted street. He
looks back but there is no sign of Florin.
As he turns his head to face the way he is running he is met by
another terrifying sight! - Florin!
GRIFFIN
Oh Shit!
FLORIN
There is no escape for you.
GRIFFIN
What do you want?
FLORIN
Your blood.
The vampire lets out a sneer to chill the coldest of hearts. His
vampiric teeth are now in full view. Florin licks his lips once
more.
Peter looks round him and notices a dustbin lid. He grabs the lid
and attempts to hit Florin, but the ancient vampire easily blocks a
pitiful move.
FLORIN
I have been devouring worms like you for over
2,000 years. Do you really think you can
escape me?
Florin lunges forward grabbing Peter in a lock. The vampire's head
bobs up and down grappling for position. Preparing for a position to
suck the life-blood out of Peter.
The two men are instantly lit up by a flashlight. A police officer
calls down the path to the two men.
OFFICER
What in Sam Hill's going on? What kind of
fags are you?
Florin temporary releases Peter from the death embrace, but still has
an arm locked with Peter.
OFFICER
Are you two deaf? What's going on?
Griffin sees this as his last desperate opportunity.
GRIFFIN
This guy's a vamp-
Florin covers Peter's mouth.
FLORIN
I picked up this guy and he won't let me
touch him. But I know he really wants it.
That's why he's so frisky.
Florin looks at Peter's terrified eyes as they get even more worried!
OFFICE
Okay. Let's see some ID.
The officer arrives at the two men.
FLORIN
I don't have any official identification, but
I do have dental proof.
OFFICER
What do you mean?
FLORIN
Let me show you.
Florin's teeth shine in the flash-light as he attaches himself to the
officer's neck like a limpet.
Peter is free and scrambles away down the path.
The officer screams and fumbles for his gun. He removes it from the
holster and fires. It works! Florin lets go and falls to the
ground.
The officer attends to his bloody neck. He is becoming very
emotional, and starts crying.
OFFICER
What is happening here?
Florin picks himself up from the ground, and dusts himself for
effect. There are no apparent long term affects of the bullet.
FLORIN
Now, where were we?
EXT. YONGE STREET - NIGHT
An unbelieving Peter Griffin emerges from the path, out into Yonge
Street. We can hear nervous high-pitched screaming from the path
behind him. Then the screaming stops.
Peter quickly hails a cab. A taxi drives up in an instant. Wasting
no time, Peter leaps into the cab.
INT. CAB
The driver without looking round is demanding business.
DRIVER
Where to pal?
GRIFFIN
Anywhere, just get moving quick!
EXT. YONGE STREET - NIGHT
The cab shifts into first gear and accelerates off. A few seconds
later Florin emerges from the path. His mouth only reddish, not
bloodied, adjusts his cloak, raising the collar further up, hiding
the solitary blood-stain on his open shirt.
He surveys the busy spectrum in view. A city of night lights. Happy
couples in love going to the movies, teenagers hanging out, beggars
begging.
No sign of Griffin, his intended victim. Florin compares his attire
with that of a group of youths who pass him staring. He knows he
does not fit in here. But he has his duties.
INT. NAVAJO'S PENTHOUSE
Daniel Navajo is relaxing in his million dollar penthouse, high in
the Toronto skyline.
The flat has large windows looking out onto the balcony and the
panoramic view of Toronto. A large stereo television is on playing
an old black and white Jimmy Cagney movie.
Navajo rests his head on his football-shaped sofa, surrounded by four
cats, each a different colour; a ginger tomcat; a grey fluffy
Persian; a black Manx; and a striped grey and white stray-cat.
A buzzer sounds. Navajo holds his hands up in disbelief. Resigned,
he marches over to the intercom link.
NAVAJO
Who is it?
GRIFFIN (O.S.)
It's me. Peter.
NAVAJO
It's almost midnight. Can't it wait whatever
it is?
INT. NAVAJO'S PENTHOUSE - LATER
Navajo's face is a picture. Peter Griffin has just relayed his story
to the lawyer, but he isn't buying it. Griffin is at the edge of his
seat, clearly upset about something. Navajo is back on his sofa
looking extremely fatigued.
NAVAJO
Peter, I think you're taking this a little
too far now.
GRIFFIN
You don't believe me. I don't believe me.
But it did happen.
NAVAJO
You wanted it to happen, so it did. In your
mind.
GRIFFIN
Oh I know where this is heading. I came to
see you because I've known you for a long
time. I thought you would believe me. Your
supposed to be my friend.
NAVAJO
That's what I'm doing. Would anyone other
than your friend let you into their flat at
this unearthly hour? I tell you what I'll
do. Tomorrow I'll look up the police records
and let you know what is going on. Okay?
Navajo gets up throwing off one of his cats. He is tired and wanting
some sleep.
GRIFFIN
Thank you. Oh just one more thing.
Navajo stops in his tracks.
GRIFFIN
Can I stay here tonight?
NAVAJO
Who am I? Your mother?
Navajo points to the cat infested sofa.
NAVAJO
It's the only pussy you'll be getting
tonight!
The two men laugh as we move out through the glass to the exterior.
EXT. NAVAJO'S PENTHOUSE - NIGHT
Whining and flapping its wings outside the penthouse is a large,
crusty black vampire bat. It has been watching, and listening to the
conversation; it flies off into the night.
INT. ST ANTHONY'S CHURCH
Florin, the bat once more, flies in through an open skylight into the
church. He makes for the pew where his book is stored. To Florin's
anger the book is gone!
Florin looks at a letter board which identifies the priest's name as
Father Malcolm.
FLORIN
Father Malcolm. Well you're a lucky man.
One more night you shall live. Dawn will be
up soon. But tomorrow I shall come back for
what is mine!
INT. POLICE PRECINCT
A large, friendly desk sergeant sits behind his desk like God,
passing sentence on mortals. Griffin storms into the Police
Precinct, bustling a hooker out of his way to become first in the
desk sergeant's view. A prematurely grey haired priest stands at the
back of the room.
GRIFFIN
Are you the man to see?
DESK SGT
About what?
HOOKER
Hey I was here first!
GRIFFIN
I was attacked last night.
HOOKER
So was I.
DESK SGT
What happened?
The Hooker continues.
HOOKER
This guy I was with-
DESK SGT
Not you...him.
The Sergeant's wily old finger points to Peter.
GRIFFIN
You're never gonna believe this but I was
attacked by a vampire. There I said it. Go
on. Laugh.
The priest's ears prick up like a rabbits.
DESK SGT
No I do not find it funny. I think people
like you should stop wasting our valuable
time.
HOOKER
Hear hear. Weirdo.
Peter droops his head down in defeat. He makes for the door, passing
directly in front of the priest. When Griffin leaves, the priest
follows at his back, a few seconds later.
INT. SECRETARY'S OFFICE
Griffin bursts into Nancy the secretary's office, looking flustered
and angry. Nancy is wondering where he has been.
NANCY
You're late.
GRIFFIN
It's okay.
NANCY
You've missed Mr Gordon.
GRIFFIN
Mr Gordon?
NANCY
One of Mr Randal's clients.
GRIFFIN
Oh, no. Listen, just start from where we
should have been, okay.
INT. GRIFFIN'S OFFICE
Peter fixes his tie while drinking lots of water. His hangover is
awesome as he prepares for his first, if late, patient of the day.
Griffin flicks his com switch to talk to his secretary.
GRIFFIN
Okay send him in.
The door opens and prematurely white haired priest enters.
GRIFFIN
Mr Truman?
PRIEST
No, my son. I am Father Malcolm, of the
Order of Messina. I am here to offer my
services to you.
GRIFFIN
What? I'm not a very religious man, father.
FATHER MALCOLM
I was at the police station. I believe in
vampires. Do you?
The priest voice trails off.
GRIFFIN
Last night I escaped the clutches of one of
those bloodsuckers!
FATHER MALCOLM
You have seen a vampire?
GRIFFIN
At close range. Too close for comfort.
FATHER MALCOLM
Vampires are very real, my son. They have
been among us much longer than people care to
remember, yet still they doubt their
existence.
GRIFFIN
Why are you here to see me?
FATHER MALCOLM
We who know the truth must purge our time of
this ancient evil.
GRIFFIN
I saw a vampire, granted, but what can I do
about it? I'm not some vampire policeman who
can handcuff a bat.
The priest bows his head, accepting the truth. He turns for the
door, but stops and hands out a card to Peter.
FATHER MALCOLM
You must join me in stopping their evil.
GRIFFIN
What?
FATHER MALCOLM
We must end their lives.
GRIFFIN
Wait a moment, Father. I'm not driving
stakes through peoples hearts or anything.
Father Malcolm seems sad. He makes a sign of a cross. The priest
leaves.
GRIFFIN
What sort of thing is happening here?
The phone rings. Griffin picks it up not knowing what to expect.
GRIFFIN
Hello you're through to Dr Peter Griffin, who
is it this time? Yeti hunters? Time
travellers? Or perhaps Elvis?
The friendly voice of Daniel Navajo breaks the silence.
NAVAJO (O. S.)
I have been checking the police records.
Guess what? There have been twenty-nine
reported cases of actual physical vampire
type encounters in the past week! That's not
all. I've checked other police databases
from Europe. Similar incidents happened in
Europe, beginning two years ago in
Bucharest, Romania.
GRIFFIN
That's vampire country.
NAVAJO (O.S.)
Yeah but the spate of bite 'n' blood killings
and injuries moved on to Vienna, Paris and
then London. Records show it stopped for a
brief spell before surfacing again in Lisbon,
then across the Atlantic to Caracas. This
wave of attacks then continued in Detroit.
Now it seems it's Toronto's turn.
GRIFFIN
What happens in each city?
INT. NAVAJO'S OFFICE - LATER
The conversation continues in Navajo's wall-to-wall carpeted office.
Navajo is seated while Griffin stands with his hands behind his back
leaning on the wall.
NAVAJO
Each of the attacks revealed puncture marks -
traditional vampire trademarks. The killing
spree only lasted for a couple of weeks in
each city, before moving on. But here is the
really interesting bit.
Griffin sparks into life.
GRIFFIN
What?
Navajo rises from his chair and gives a characteristic neck twitch
before embarking on a typical Daniel Navajo five star courtroom
performance.
NAVAJO
This morning, I came across two reports from
two different police departments. One was
from Caracas and the other form Paris. They
noticed that when the attacks were occurring,
lots of graves were being unearthed and
abandoned caves and mine-shafts were being
opened.
GRIFFIN
So?
NAVAJO
Graves, mines, caves opened!
Peter is lost and shakes his head.
GRIFFIN
You've lost me.
Navajo is getting carried away, lost in the drug of performing.
Perhaps he is starting to believe!
NAVAJO
They're looking for something!
GRIFFIN
Looking for what?
Navajo smiles with joy. He is hooked on this story.
NAVAJO
I don't know!
GRIFFIN
Great.
Navajo's smile evaporates.
NAVAJO
You're not going to let it go now are you?
GRIFFIN
What else can I do?
NAVAJO
Twenty-nine attacks in Toronto- and that's
only registered attacks. Have a guess how
many survived?
GRIFFIN
Twenty-eight?
NAVAJO
Three.
GRIFFIN
If people knew that would cause major panic.
Navajo gestures a correct finger.
NAVAJO
Exactly. They've kept it quiet. However,
Daniel Navajo, Toronto's greatest lawyer just
happens to have an IQ of 170 and a
photographic memory.
GRIFFIN
You have the names of the people who
survived?
NAVAJO
Of course, Peter! This is me we're talking
about here.
GRIFFIN
Sorry.
NAVAJO
All have been bitten, and all lived past the
twenty-four hour cut-off that the doctors
have placed on this phenomenon, as they
describe it. But listen, before we do
something about this, we've got to know
exactly what we are dealing with here.
GRIFFIN
'We'?
NAVAJO
As I was saying, we have to learn everything
we can...if we are going to defeat them.
Peter reels back in horror. His cowardice coming to the fore.
GRIFFIN
Hold it. Defeat them? That's the second
time today someone's volunteered me for some
kind of vampire-killing crusade.
NAVAJO
Second time?
GRIFFIN
Some old priest came in and asked me if I
would join his band of merry vampire-killers
or something.
NAVAJO
Cool! Let's go and see this guy. He's bound
to know more about it than us.
GRIFFIN
I'm not sure.
NAVAJO
Peter, It's up to us.
Peter is does not commit himself at first. His hesitation is caused
by too many drinks and a life of irresponsibility. Perhaps this is
an opportunity to redeem himself...
GRIFFIN
I don't like things like this. I like my
cushy office and my annoying patients.
NAVAJO
Peter, you saw a vampire. Are you a liar and
a coward?
GRIFFIN
The card says we can find him at St.
Anthony's Church. Let's go.
EXT. ST. ANTHONY'S CHURCH - DAY
Navajo and Griffin dressed in their suave executive suits arrive at
the home of Father Malcolm, St Anthony's Church.
The two would-be adventurers climb the short steps to the main door
and find the door open.
NAVAJO
Do we go in, or wait?
GRIFFIN
We wait.
Navajo pushes the oak door wide open and disappears inside.
INT. ST ANTHONY'S
Streams of sunlight light up the rotting benches and general
dilapidated state of the old church. At the altar, Father Malcolm
wearing ceremonial robes, is praying. He is interrupted by the
squeaking of the men's shoes and looks up.
FATHER. MALCOLM
Ah, my son! You have come. Earlier than
even I thought, but nevertheless you are
here, and with a friend?
NAVAJO
I'm Daniel Navajo, the best lawyer in Canada.
GRIFFIN
Canada?
NAVAJO
Canada.
The priest beckons them in, and ushers them to close the door behind
them, which Navajo does.
FATHER MALCOLM
How can I be of assistance?
The two men walk closer to Father Malcolm, who in turn commences
walking to meet them halfway up the aisle.
GRIFFIN
We want to know everything there is to know
about vampires.
FATHER MALCOLM
That covers a very wide topic.
NAVAJO
Begin with their origins.
Father Malcolm clears his nicotine stained throat.
FATHER MALCOLM
Back when the world was new, there were two
warring factions; the faithful and the
faithless. The first vampire, the One, was
one of the faithless. No-one knows how or
why he came to be. He was the greatest of
all vampires and encouraged the growth of his
kind. Eventually, he was defeated, never to
be heard of again....
NAVAJO
Where did you learn about all this?
The priest opens up a green book -- the Book of the Un-dead and
begins reading from it.
FATHER MALCOLM
I saw a vampire fitting the description of
the one who attacked you, Dr Griffin, hiding
this book - the Book of the Un-dead - in my
church.
NAVAJO
Does he know you have it?
FATHER MALCOLM
I'm not certain.
GRIFFIN
So what about vampires like the one that
nearly had my neck?
FATHER. MALCOLM
All vampires are descendants of the One.
Vampires have special powers, but they rely
on blood for their power. It is their life
source, just like the living.
GRIFFIN
Special powers?
FATHER MALCOLM
Well, vampires can be very persuasive and use
devilish influence to seduce the weak minded.
They can take the form of animals, most
commonly bats; they can even direct the
weather.
NAVAJO
Bats? Direct the weather? Come on. That
would mean they would be invincible.
FATHER MALCOLM
Not invincible. They have their limits too.
In this book it keeps banging on about how
important blood is to their strength, so if
they are wounded or haven't fed for some
time, their blood level is weak, their powers
will be low.
GRIFFIN
That's maybe why I could scrap with the one
that attacked me. But he was still pretty
strong for a weak vampire.
NAVAJO
What about the rules in the movies?
FATHER MALCOLM
Much of what is popular culture is true;
they live from sunset to sunrise; garlic and
Holy water are lethal.
GRIFFIN
What about crucifixes?
FATHER MALCOLM
This book is older than the New Testament,
therefore it would have no relevance to them.
But the most important value is faith. We
must believe in what we do.
NAVAJO
But what about killing them? You know, doing
them in? Ending their shitty- sorry,
Father...ending their paltry lives?
FATHER MALCOLM
There are only three tried and tested ways to
kill a vampire: to drive a stake through
their hearts; exposure to the ultra-violet
rays of the sun; and lastly decapitation,
destroying the flow of blood.
GRIFFIN
You said this great vampire, the One, just
vanished. Where?
FATHER MALCOLM
No-one really knows, but Aztec legend speaks
of a powerful vampire who came to the New
World to create more followers. He
terrorised villages for years, until he grew
bored and left for the North. The story ends
with the vampire's capture.
NAVAJO
Captured by who?
FATHER. MALCOLM
The Aztecs never said. I presume, if the
legend is true, it would be native Indians.
But even if it is true, it may not even be
the One.
NAVAJO
I wonder...{
EXT. WARD'S ISLAND - NIGHT
The wind howls across a featureless landscape. A jeep drives up to
the edge of a rocky coastline cliff. A staircase winds its way down
to the stony grey beach, with punctual stops for entry to the caves
below.
Florin is revealed as the driver, attired now in a suit, not the old
Victorian cloak. He is accompanied by two other vampires; Pierre
and Esteban.
Pierre is small and mousy, with a general air of defiance. He is not
happy being a vampire, and is relatively new to the 'business'.
Esteban is more regal, thick strong dark Latin looks and a temper to
match. He is like Florin, a very old and experienced bloodsucker.
They get out the jeep and head down the staircase.
FLORIN
I never imagined that this was the place.
Here? Of all the places we have searched.
Here? How silly vampires we are!
ESTEBAN
What of the Book, sire?
FLORIN
That meddling priest has taken it. He cannot
know what it means. Fear not, Esteban. We
shall have the book back in good time.
Esteban nods in approval, but Pierre is not so amused.
FLORIN
What is the matter with you, Pierre? The
greatest day in the history of our kind is
upon us...and you show lack of respect and
disinterest?
Pierre remains silent.
FLORIN
Pierre? Our time of waiting is at an end.
The day of the vampires is at hand! We shall
conquer, rule, rape- we shall be immortal!
ESTEBAN
We already are.
Florin ignores Esteban's comment and puts his arm 'round Pierre, to
help him make up his mind.
FLORIN
Pierre, how old am I?
The worried Pierre struggles to find his whispery voice.
PIERRE
About 500?
Florin gives out a hearty laugh.
FLORIN
I am over 3,000 years old. 30 centuries, 3
millennia. Do you know how hard it is to
remember where you saw your kind's master
being entombed a thousand years ago? Just as
I awoke from my own imprisonment, so shall
the Great One arise to claim his rightful
place as the supreme ruler of this pitiful
world.
The three vampires make their way to the rusty staircase and begin
descending the winding steps until they pause at a platform showing
the way to a dark unused cave.
Florin switches on a flashlight (the one used by the police officer?)
and leads the way inside, followed by Esteban and lastly by the
unsure, cowardly Pierre.
INT. BEACH CAVE
Florin's beam from the flashlight reveals a tortured structure of
rock and whirl masses. The group move deeper inside the cave until
they discover a large thatched box. Is it a coffin? Florin's
worried expression turns to delight.
FLORIN
This is it! I have come home my master. At
long, long last.
Florin scrambles up to the thatched coffin like a giddy schoolboy and
playfully taps on its surface. He closes his eyes in total
satisfaction. He calms himself and then he turns to the others.
FLORIN
Esteban! Pierre! Sent forth he message that
Lord Florin has located the tomb of our
master. Arrange for a gathering. Every
vampire from Greenland to New Zealand must
come to witness the resurrection. Our time
has come…
INT. ST ANTHONY'S CHURCH - FATHER MALCOLM'S CHAMBER
Father Malcolm sits in a wooden chair and reads a book. He sips a
cup of hot chocolate and eats a biscuit. A flutter of wind is heard.
Standing before him is Florin.
FATHER MALCOLM
I knew you would come.
FLORIN
What could you possibly know?
FATHER MALCOLM
I know why you are here.
FLORIN
You do? Good. That shall save us both time.
Give me the book and I shall spare you life.
The priest hands over his book. Florin looks at the title: "A Tale
of Two Cities" by Charles Dickens. Florin screams like an animal.
FLORIN
Where is it?
FATHER MALCOLM
I don't have it.
FLORIN
You are so foolish. So eager to die.
Florin waves a long pointed finger at the priest. Father Malcolm is
nervous.
FLORIN
Have the book returned, or you will meet thy
maker.
In a flash, he's gone. The priest looks shattered.
INT. GRIFFIN'S HOTEL ROOM
Peter lies in his bed reading the ancient book of the Un-dead.
GRIFFIN
This is so weird.
EXT. YORKVILLE DISTRICT - DAY
The quiet of the leafy, affluent district of Yorkville is rudely
awoken by the roar of Daniel Navajo's crimson Toyota Carolla sports-
car, an athletic machine for the un-athletic.
The Toyota draws up at a detached old-fashioned 2-bedroom house, with
a Swiss-style roof.
Navajo, Griffin, and Father Malcolm climb out of the Japanese sex
machine and make their way tentatively up the path to the door.
GRIFFIN
This is the first survivors house?
NAVAJO
I have a photographic memory, remember?
FATHER MALCOLM
Let us be careful here, my friends.
Navajo chaps on the door. After a long, uneasy silence, the door
opens, revealing a red-haired siren. Tall and statuesque, her name
is Rina. She is wearing an outrageous scarlet dress, with a scarlet
choker around her neck...hiding puncture marks?
Navajo's eyes light up. This is a babe, he thinks to himself.
However the way she moves is like in a dream. A trance-like state
for sure.
RINA
How can I help you?
NAVAJO
We are investigating the apparent attacks on
people by crazed tricksters pretending to be
vampires, can we come in?
Rina puts her left hand to the choker and closes her eyes in ecstasy.
RINA
Vampires?
Rina closes the door for good. The men look at each other in
disarray.
GRIFFIN
Who's next?
EXT. TRAILER PARK - DAY
The trailer park is derelict and decaying. Grass is over-long and
spreading like wildfire throughout the concrete.
The three men are at the open door of a blonde wearing a silk night-
dress, even though it is only lunch-time. We see Father Malcolm
mouth the word "Vampire", and the response is similar to Rina. Wham!
The door rattles closed.
INT. NAVAJO'S CAR
The intrepid vampire hunters are dejected and out of sorts. Navajo
is discussing what their new tactics should be with their final
survivor/witness. Dr Peter Griffin is in the front passenger seat,
playing with his lucky gold pen. Father Malcolm sits in the back not
saying anything.
NAVAJO
Don't mention vampires. Keep it simple.
This is our last chance.
Peter's clicking of the pen is very irritating.
NAVAJO
I do wish you would stop that.
GRIFFIN
It was my first anniversary present from
Jill. Does it annoy you?
NAVAJO
Yes.
GRIFFIN
Okay I'll put it away.
NAVAJO
Thank you.
Peter puts away his gold pen in his inside jacket pocket.
GRIFFIN
Are you gonna go and see the Indians at the
reservation, to find out more about this One
character?
NAVAJO
I told you before I don't like going back.
I'm treated like an outcast.
Father Malcolm, who has been sitting quietly in the back seat
observing, makes his presence felt.
FATHER. MALCOLM
This duty is above self-pride. It is up to
us to save our world... from an evil so
nameless and ancient, that it is
unspeakable... no words can describe what
would happen if it were unleashed again.
Navajo looks long and hard at the road as he drives with great
determination.
NAVAJO
The office will never let me live it down if
I go.
GRIFFIN
The office! Oh, no! Can I borrow your
mobile?
NAVAJO
Sure.
Navajo hands over his cordless cellular phone.
GRIFFIN
Nancy, it's me, Peter.
NANCY (O.S)
Where are you? I've tried you all day!
GRIFFIN
Listen, I can't come in today, I'm busy, can
you suspend all my engagements?
NANCY (O.S)
Randal's been looking for you too. You
missed Mrs Hague this morning. That's both
of his clients you weren't here for. He
wants to talk to you ASAP.
GRIFFIN
Just cancel all my patients for a while,
okay?
NANCY (O.S)
He's not gonna like it.
GRIFFIN
Thanks, bye.
Peter hands Navajo back the phone.
NAVAJO
Everything okay?
Griffin ignores the question.
GRIFFIN
Who is the next survivor?
NAVAJO
A Miss Daphne Garnier.
Griffin cannot believe it. Peter is astonished. He must help, he
cannot make any mistakes here.
EXT. DAPHNE'S APARTMENT BLOCK - DAY
The Toyota drives into the apartment car park. Griffin, Navajo, and
Father Malcolm leave the car and enter the building.
INT. DAPHNE'S APARTMENT BLOCK / EXT. DAPHNE'S APARTMENT
A green painted door bearing the name Garnier suffers three loud
bangs on its surface from Dr Peter Griffin, Navajo and Father Malcolm
looking on.
Daphne Garnier answers the door wearing a housecoat. She has no
choker...the vampire marks are clearly visible.
GRIFFIN
Can we talk to you in private, Miss Garnier?
Daphne is acting like in slow-motion. The same trance state visible
in Rina and the blonde caravan girl is in effect here too.
DAPHNE
What is it that you want?
GRIFFIN
Remember what we talked about in your office?
Daphne's face is blank.
DAPHNE
No. Who are you?
GRIFFIN
You don't recall?
DAPHNE
I am busy. I have matters to attend to.
Navajo interrupts.
NAVAJO
Why have you not been to your work for the
past two days, Miss Garnier?
After a long deliberate pause, Daphne continues.
DAPHNE
I have a cold.
FATHER MALCOLM
There is no evidence of this. Can we come in
and help you?
DAPHNE
Are you a doctor?
FATHER MALCOLM
No. I am a messenger.
DAPHNE
From who?
FATHER MALCOLM
The One.
Daphne's eyes whirl round, she has trouble catching her breath...the
shock is total. Daphne falls to the ground in a faint.
Griffin racing to her aid, helps her up to her feet.
GRIFFIN
She's okay... just fainted.
NAVAJO
Let's go in.
FATHER MALCOLM
We are not invited. This is an intrusion.
GRIFFIN
You're the one who said life as we know it is
at stake here. I don't think anyone would
mind if we took a few risks and broke a few
laws.
NAVAJO
Hey...I haven't made my mind up yet. Just
remember that, Dr Griffin!
Navajo adds his considerable strength to support Griffin in taking
Daphne into her apartment.
INT. DAPHNE'S APARTMENT {
Daphne's apartment is a colourful kaleidoscope of red, yellows,
greens, and blues. Pictures of her family adorn the walls and one
large photograph of her and a young fellow graduate hangs above her
old brick fireplace.
Father Malcolm can be heard moving around in the kitchen, urgently
trying to rustle up a tea cure for the still unconscious Daphne.
Navajo is browsing through her books while Griffin cradles Daphne in
his arms, holding her close to him on her sofa.
Peter stares lovingly into Daphne's eyes. This takes him back to the
good old days before his divorce. Navajo, using his million-dollar
lawyer instinct notices this immediately.
NAVAJO
Hey, getting a little too familiar, aren't
we?
GRIFFIN
I'm only trying to help this girl.
NAVAJO
How long is it since she left?
GRIFFIN
We broke a year and a half ago.
NAVAJO
Well just don't make any more mistakes. You
drink too much for your own good.
Peter is not at all happy. This is a personal attack from his so
called friend.
GRIFFIN
No, I think the great lawyer has finally got
something wrong. I drank too much. Past
tense. Arriverderci, sayonara, auf
wiedersen, dossividanya, adieu, good-bye.
NAVAJO
Touchy! I am only trying to help.
GRIFFIN
Well keep your nose out. Some things are
private domain, although I guess lawyers
don't know that.
NAVAJO
That's fucking rich coming form a
psychologist. A voyeurs job if ever there
was one!
GRIFFIN
At least I am making a contribution to
society's ills instead of feeding off it!
Father Malcolm enters with a tray of tea. Four cups of peace.
FATHER MALCOLM
Arguing will not help our cause. We must put
aside childish things. We must be men of
steel, men of iron will and commitment.
The two old friends come to their senses.
NAVAJO
I'm sorry Peter. I was only trying to help.
Sorry.
GRIFFIN
I apologise also. I guess it's the lack of
sleep.
Daphne stirs in Griffin's arms. A lazy eye opens. Daphne shoots up
and screams her head off.
DAPHNE
Aaaaargghh!
Peter lets go of her.
DAPHNE
You! What are you doing here?
GRIFFIN
You remember me?
Daphne slaps Peter full in the face.
DAPHNE
Yes, you pervert! Get out of my house or I
will phone the cops this time!
The soothing tones of Father Malcolm takes over.
FATHER MALCOLM
Miss Garnier, you have had a very troublesome
experience. We are here to help. The marks
on your neck must surely worry you as much as
they worry us?
DAPHNE
Marks? What marks?
Daphne feels her neck. Her eyes widen in sheer horror.
DAPHNE
What is this? Who did this? Was it you
Griffin?
Daphne sprints over to a mirror and for the first time sees her
vampire bites.
FATHER MALCOLM
You have been bitten by a vampire and are
under his spell.
DAPHNE
Right that's it. Out. The whole lot of you.
FATHER MALCOLM
Wait! Your soul is in the balance here. The
vampire who bit you wanted you to live, not
die. We must help you and find out why he
did not totally drain you.
Daphne looks baffled and perplexed. She holds her head in her hands.
FATHER MALCOLM
Have you had any weird or unusual dreams
lately?
Suddenly everything comes into place for Daphne. She stops her full-
out assault on the three men, and her attitude becomes more friendly,
but she still feels something in her telling her to resist.
DAPHNE
Maybe.
FATHER MALCOLM
Tell the truth Daphne. Your soul, your very
being is at stake. Have you had any dreams
that involved a recurring theme?
Reluctantly Daphne speaks the truth.
DAPHNE
Yes.
FATHER MALCOLM
What happened?
DAPHNE
In my dream I am alone in my office at night.
Then from nowhere this fair haired guy, a
real beautiful man, appears and we kiss.
GRIFFIN
Fair hair? That's got to be the guy who
attacked me along the path!
FATHER MALCOLM
Then what, Daphne? Continue.
DAPHNE
I don't remember much else. Except that he
keeps beckoning to me and repeats the same
line over and over.
FATHER MALCOLM
What line? What line, Daphne?
DAPHNE
He says "I will come for you, Daphne. I will
come for you."
FATHER MALCOLM
I knew it. You are in grave danger, Daphne.
This vampire has marked you for a purpose. I
don't know what, but we are here to help.
Daphne looks over at Peter's innocent eyes.
GRIFFIN
Daphne, we are here to help you. And
everyone else too....
INT. DAPHNE'S APARTMENT - LATER
Father Malcolm is finishing off relaying their experiences to Daphne.
FATHER MALCOLM
And then I mentioned the One, and you
fainted, coming out of the trance.
DAPHNE
I don't believe this story.
Once again, Daniel Navajo's expertise shows. He moves into
persuasive mode.
NAVAJO
Phone up your work. You have not been at
work for nearly two full days. Can you
account for those missing 48 hours of your
life?
Daphne eagerly lifts the telephone receiver and dials her work
number.
DAPHNE
It's Daphne Garnier here -
Daphne listens to the voice on the other side of the
phone for a few seconds, hardly believing what she has
just heard. She grimly places the receiver down without
saying good-bye to the other person.
DAPHNE
Okay, something is going on. I believe you.
What can I do to help?
INT. TMN 4 NEWS HQ
Daphne is staring at her computer, scanning the Internet,
effortlessly and tirelessly searching for a connection.
DAPHNE
Clues they said. Use your journalistic
instinct they said. Find out where they
might be hiding...wait this is interesting.
Daphne clicks on the icon.
DAPHNE
(reading from screen)
Circus. Bucharest circus! Over the past two
years they have been to Vienna, Paris,
London, Lisbon, Caracas and Detroit. Now
Toronto!
INT. NAVAJO'S PENTHOUSE
Griffin, Navajo, and Father Malcolm are in deep discussion trying to
convince Daniel to go to see his Native American relatives.
NAVAJO
I don't want to go.
FATHER MALCOLM
We need to know how your forefathers could
defeat 'The One'. It won't be for the eyes
and ears of any passer-by. You are a Native
American. You are one of them. It is only
you who can go.
NAVAJO
Doesn't your magic book tell you?
FATHER MALCOLM
I told you, most of it is indecipherable. It
only tells basic laws and rules in Latin.
The rest is some other language.
GRIFFIN
He's right.
NAVAJO
You might need me at the circus.
FATHER MALCOLM
We can look after Daphne just fine.
NAVAJO
What about those vampires?
GRIFFIN
We'll handle them. We need you to go.
They'll only see you.
The mobile phone rings. Navajo answers and hands it to Griffin.
NAVAJO
It's for you.
Peter takes the phone off Navajo.
GRIFFIN
Hello?
RANDAL (O.S)
Where have you been all week?
GRIFFIN
Mr Randal?
RANDAL (O.S)
I don't know what kind of stunt you're
pulling Griffin, but if you're not in
tomorrow, then that's it. No future
partner...no job.
GRIFFIN
I can't come in.
RANDAL (O.S)
What? I'm giving you one last chance and
even then you spurn me? That's it! I knew
you were trouble. Expelled from law school,
divorced, alcoholic. Your Uncle Toby must be
laughing his head off at me. You're fired.
Randal hangs up. Peter, astonished and yet relieved replaces the
phone.
GRIFFIN
I've just been sacked.
There is a moments silence, Peter is bemused. Daniel
looks long and hard at his friend. Navajo finally
realises that in order to succeed everyone has to make
sacrifices.
NAVAJO
I'll go.
EXT. ST ANTHONY'S CHURCH - NIGHT
Father Malcolm exits the front door of the church, carrying a
satchel. Peter and Daphne sit in a white Ford. The priest gets in
the car. Watching the whole episode is Florin and his two sidekicks.
EXT. BURNER'S FIELD - NIGHT
Car headlights cross the old field, heading for a red and white tent,
surrounded by large transport trucks, the same trucks we saw at the
start.
The circus is in town. The white Ford of Daphne's pulls up at the
busy car park. Circus music is loud in the background, the ambience
and joy of the circus is infectious. Tens of average Canadian
families stream in for the 8 o'clock performance of the Bucharest
Circus.
Daphne, Griffin, and Father Malcolm, who is dressed casually, get out
of the Ford and amble their way up to the circus tent.
INT. CIRCUS TENT
Bright lights and noisy children characterise the scene that greets
the adventurers. In the ceiling of the tent, the acrobat trapeze
artists swing from side to side. defying gravity and death with no
apparent trouble.
Griffin, holding drinks and popcorn returns from a food stall and
sits next to Daphne, seeking an opportunity to get to know her
better.
GRIFFIN
You okay?
DAPHNE
Yes. What took you so long?
GRIFFIN
It was really busy.
DAPHNE
The show's almost over.
GRIFFIN
I'm not too bothered. I get bored at the
circus. I only like the clowns.
DAPHNE
How childish.
GRIFFIN
Want some popcorn?
Griffin holds up a jumbo-sized bag of delicious, tasty popcorn.
DAPHNE
No thanks.
GRIFFIN
I couldn't help but notice back in your
apartment, the graduation photograph.
DAPHNE
Yes?
GRIFFIN
Was that your boyfriend?
DAPHNE
My brother.
The master of ceremonies arrives in the ring for the final time this
evening, accompanied by the entire troop behind him, and some of the
animal stars; lions, tigers, horses, and elephants.
As we move closer to the master of ceremonies we notice something
familiar. A scar. It is Radul! His scarred face is his dominant
feature. He wears a gypsy waistcoat and a head-scarf, not the
traditional top hat and tails. Radul speaks confidently and with the
air of authority, as always. He would make a perfect vampire.
RADUL
Ladies and gentlemen, boys and girls, our
show is coming to an end.
If you would be as so kind to safely make
your way to the exits and please do not rush.
Thank you and good night!
Peter is not amused at the tone and wording of Radul's speech.
GRIFFIN
Safety? Hah! Not that when those Rumanian
bloodsuckers are draining the life out of
poor innocents.
Daphne ignores Peter and turns to Father Malcolm, who is busy reading
a book while clutching a tattered old brown satchel.
DAPHNE
What's the plan now, Father?
FATHER MALCOLM
I was reading their book for that. In my
satchel I have weapons for us to use on the
vampires.
GRIFFIN
Why don't we wait for Daniel to come back.
That way there will be more of us.
DAPHNE
Yeah.
FATHER MALCOLM
Daniel is gathering information on how to
defeat the One. We must take care of the
remainder of his army...and as Daphne
cleverly discovered, this circus looks most
likely to house those evil soldiers.
DAPHNE
Every place that Daniel said the vampire
killings occurred, the circus were there at
the same time. Coincidence, I think not.
And it is my neck on the line.
GRIFFIN
That was a poor joke, Daphne.
FATHER MALCOLM
When the people start to leave, we shall
investigate the premises and seek out the
vampires resting places, and we shall leave a
present of our own.
The clever priest has in his hands a couple of bulbs of smelly
garlic.
GRIFFIN & DAPHNE
(together)
Garlic?
Father Malcolm grins at his doubting flock.
FATHER MALCOLM
I told you before popular culture was
correct.
EXT. CIRCUS TENT - NIGHT
Tearful children nag at their tired parents who want to go home as
the crowd disperse, leaving the circus.
Against the flow of bodies leaving, three pairs of feet move the
other way...coming relentlessly toward the tent entrance. It is the
vampires! Florin, Pierre, and Esteban.
INT. CIRCUS TENT
The arena is empty. The seats that were occupied by Peter Griffin
and his friends are empty.
A young circus teenager looks around briefly at the now vacated
audience and shouts back something in Rumanian to a behind the scenes
worker. The teenager dims the lights and exits.
From below the empty seats, the three hiding intruders, Peter,
Daphne, and Father Malcolm appear. Father Malcolm clutches his
satchel for dear life.
FATHER MALCOLM
I will look around backstage. The two of you
go together and check out the trucks. Here.
The priest opens his satchel and hands Peter two stakes, and hands
Daphne a rusty old crucifix.
FATHER MALCOLM
God be with you.
With no time for conversation, the priest elopes off behind the
curtain...into the unknown. As Daphne and Peter prepare to go back
out the front exit they hear someone coming.
Enter Florin, Esteban, and Pierre. Daphne and Peter duck back down,
hiding behind the seats once again.
GRIFFIN
It's him! The vampire who attacked me!
DAPHNE
It's the same one as in my dream! What are
we going to do?
GRIFFIN
Keep down and keep quiet. They might just
pass through.
DAPHNE
And if not?
INT. BACKSTAGE TENT
Backstage is like an old gym hall with small partitions. The curtain
that leads to the main tent is drawn. On the other side of the tent
is a set of large double doors, which are part of an old horse-drawn
carriage altered specifically for the circus.
Workers carrying boxes and performers undressing do not notice their
uninvited guest. Father Malcolm stealthily slips past two
unsuspecting female dancers and sneaks up to the set of double doors.
He tries the doors, but they are locked. He too hears someone
coming. Looking around for a place to hide, he notices an open box.
Without further thinking, the priest jumps into the box...dropping
his satchel! A group of Rumanians swagger by, talking and laughing
in their native tongue.
A balding fat Rumanian leans on the box containing the priest, with
his feet dangerously close to touching the satchel. From the back of
the room Radul emerges. He is furious! Radul gesticulates madly
obviously angry at something or someone. The group of Rumanians
break away, returning to work.
Breathing a welcome sigh of relief, Father Malcolm silently rises out
of the box and picks up his trusty satchel giving it a pat for good
luck. He returns to the double doors and attempts to pick the lock
with his yellow screwdriver.
INT. CIRCUS TENT
Florin and his aides march down the stairs ignoring Peter and Daphne.
When the reach the centre of the tent they disappear through the
curtains and into the backstage area. Peter leaps up.
GRIFFIN
Malcolm!
INT. BACKSTAGE TENT
Florin as always leads the way. He does not worry about people
seeing him, and charges across the tent. There is no sign of Father
Malcolm. The double doors of the old horse carriage flap with the
wind. He is inside!
INT. HORSE CARRIAGE
In the renovated and extra large horse carriage, the priest spots
what seems like a coffin. Plucking up all his courage, he removes a
bulb of garlic from his satchel and slowly opens the wooden box come
coffin's lid. Nothing. just work tools.
Father Malcolm accidentally slams the lid back down on the tool kit.
Wham! Thud! He knows that if there is anyone outside they will know
someone is where they shouldn't be.
INT. BACKSTAGE TENT
Florin's ears home in the sound. He sniffs the air.
FLORIN
Fee Fi Fio Fumb I smell the blood of a
priest!
He points to the carriage and summons his men. Esteban darts across
to the double doors of the carriage, hardly containing his
enthusiasm. Pierre stands at the back, not wanting to get involved.
FLORIN
Open the doors.
Esteban kicks open the doors to reveal the snooping priest holding a
crucifix aloft and reciting ancient prayers. Florin is amazed.
FLORIN
My what have we here? A man of the cloth?
Father Malcolm. Please put that silly thing
away. You obviously haven't read that book.
No-one notices the main tent curtain move behind them. Daphne and
Peter slip in. They want to help but what can they do?
DAPHNE
We have to help him.
GRIFFIN
We have to get help. He has all the stakes
and stuff.
DAPHNE
You have two stakes.
GRIFFIN
There are three of them!
Florin commands Esteban to take away the satchel.
FLORIN
Esteban, remove this pathetic individual of
his satchel... a vampire murdering kit I
presume? Oh, you wouldn't be stupid enough
to have my book on you would you?
Esteban holds up the green book. The Book of the Un-dead. Esteban
hands it to his master.
FLORIN
Oh, you are! I applaud your dumbness.
FATHER MALCOLM
You will not succeed.
FLORIN
Succeed? I will and I shall. You on the
other hand are finished. Unless you wish to
join us?
Esteban grapples with the priest and the superior strength of the
vampire forces Father Malcolm to release his last hope.
FATHER MALCOLM
I will never join you! Our Lord's good
people shall destroy you and the One forever!
Florin's face turns even whiter than a dead 3,000 vampire's should
be.
FLORIN
What do you know of the One?
FATHER MALCOLM
Enough to know that he shall be destroyed!
FLORIN
How wrong you are. The One is soon to rise
again!
Father Malcolm lashes out with a bulb of garlic he was hiding,
clattering Esteban in the face. Esteban holds his face in agony,
steam gushing out...his excuse for flesh being eaten away by the
healing power of good of the sacred bulb.
Florin is at Father Malcolm's throat in an instant, but instead of
using his teeth, he outstretches a blue veined hand, which develops
into a monster claw. Florin's claw tears across the priest's throat,
blood streaming out.
Florin now licks the dying priest's blood up with his tongue. His
eyes are bulging red and evil. He makes animal grunting and
panting...clearly vampires can be more disgusting in appearance than
we imagine...Florin let's the dead priest's body fall unceremoniously
to the ground with a chilling thud.
At the curtain Daphne let's out a scream.
DAPHNE
Noooooo!!
Peter slaps his head.
GRIFFIN
You've done it now.
Florin turns round, claws outstretched, his total appearance changed.
His head has a veined texture and his vampiric teeth are now the full
length...like jaws of a wild beast...dripping with blood after a
frantic feast.
Esteban's face is half melted and poor Pierre cowers in the corner.
Florin recognises both Peter and Daphne.
FLORIN
You! And you! What a good little vampire I
must have been. A chance to settle old
scores.
Peter throws a bulb of garlic at Florin, but it deflects off a box
and strikes the unfortunate Esteban on the other side of his face.
A sizzling noise coming from the burning reaction of the garlic and
Esteban's flesh results in his head exploding, sending bits of matter
everywhere. Daphne is covered in Esteban's brains.
DAPHNE
Aaaarrrgghhh!! Yuk!
The headless Esteban staggers over to the curtain. Peter takes one
of his two stakes and plunges it deep into the vampires heart.
GRIFFIN
Yeeeeeaaaassss!!!!
The vampire catches fire and burns into dust. Florin stands on top
of a larger box now sarcastically applauding.
FLORIN
Well done. Let's hear it for the boy. Okay
you can rub out Esteban, but can you take on
Lord Florin?
Daphne wiping off Esteban's remains gives Peter a reassuring smile.
GRIFFIN
I beat you before. I can do it again.
Florin backs away.
GRIFFIN
Hah! Scared eh?
Pierre too, scrambles to Florin's side. The heavy sound of feet is
coming this way, into the tent. In a puff of smoke both Florin and
Pierre transform into bats and vanish as quickly as a match blown out
by the wind. Peter now hears the approaching army and holds Daphne.
GRIFFIN
Sounds like hundreds of them. I think this
is it.
DAPHNE
Oh Peter!
The army arrive through the curtain. An army of men all with the
same steely look in their eyes. The leader sees Peter and Daphne but
we can't see his face. Peter stands in front of Daphne brandishing a
stake.
GRIFFIN
All right then! Come on!
The leader comes into the light...it is Radul. Radul moves
menacingly close to Griffin and Daphne. Peter lunges at Radul, but
the older man is too nimble and disarms Peter, sending him tumbling
to the floor. His thick Rumanian accent sends a shiver down Daphne's
spine.
RADUL
Who are you? What are you doing here?
GRIFFIN
Come on vampire...finish it!
RADUL
Vampire?
DAPHNE
You bloodsucking bastards! You killed Father
Malcolm!
Radul is taken aback. He throws the stake away and rushes to the
corpse of the white haired priest and inspects the cause of death.
RADUL
How dare you accuse me of that! I am no
vampire.
DAPHNE
Liar!
RADUL
Believe me, nothing could be further from the
truth.
GRIFFIN
Yeah, right. As soon as our backs are
turned, crunch. Neck candy time.
RADUL
I think you are both quite mad.
DAPHNE
You are Rumanian?
RADUL
Yes.
DAPHNE
Bloodsucker!
RADUL
Does my accent frighten you so bad? Let me
explain.
INT. RADUL'S TENT
Radul, Peter, and Daphne are sitting in a candle lit tent, almost
shrine like, around a hand crafted wooden table of inestimable value.
Radul's face is more friendly, more informal. He is at pains to put
the two young people at ease. Radul lifts up a pot of steaming black
coffee.
RADUL
Coffee?
DAPHNE
Okay.
Peter ignores Radul, who in turn pours out two cups without causing a
scene. Radul clasps the cup of coffee tightly as he begins his
story.
RADUL
You seem very nervous and unsettled by what
you saw in there. I can see that you have
your neck covered, Miss. I think I know why.
DAPHNE
I was bitten by a...a...a....
GRIFFIN
...vampire.
RADUL
Then you are in trouble, Miss. The vampire
who bit you will soon have total control over
you.
GRIFFIN
How do we stop that?
RADUL
By killing the vampire forever.
Daphne feels her neck. A cold harsh wind seems to blow around the
room.
GRIFFIN
So you aren't a vampire?
RADUL
No I am not.
DAPHNE
But you have been in all the same cities as
the vampires...at the same time.
RADUL
Yes that is 100% correct. And I am glad too.
You see our circus is merely a front.
DAPHNE
For vampires?
RADUL
No, no, no, no, no. We are vampire hunters.
We seek out vampires and send them to eternal
rest.
Daphne gulps down her coffee and finishes it.
RADUL
More coffee? And you sir?
Peter nods and so too does Daphne. Radul refills the glasses.
RADUL
We have followed this particular group for a
couple of years. They were in some sort of
hibernation and then they awoke. We gathered
together our most trusted people...friends,
family, religious men...and we tracked them
down. We have enough holy weapons to put an
end to a vampire army.
DAPHNE
What about this One character.
Radul drops his cup to the floor in shock. The cup splinters into
pieces.
RADUL
The One? This is more serious than even I
imagined. The One is the greatest of all
vampires. He is evil through and through.
My people will search for their lair, the
circus will be postponed. As for you Miss,
you should lock yourself away for a
while...regain your strength until we can
locate and destroy the taker of your blood.
Daphne looks at Peter. She is terrified.
GRIFFIN
I'll look after you.
RADUL
Leave your address with me...but do not tell
anyone else where you are going...for the
vampire who let you live will come back for
you.
DAPHNE
Why?
RADUL
He either wants you for a sacrifice...
GRIFFIN
Or?
RADUL
He wants you to join his kind.
Daphne is shivering with dread.
DAPHNE
I don't feel too good.
Daphne gets up and heads out to the toilet. Peter faces up to Radul.
GRIFFIN
What does that mean? She's scared enough
already.
RADUL
A vampire bite, if it does not kill you,
changes you. Their blood is in her. It is
like a disease...watch her carefully....
GRIFFIN
How long till she turns into a vampire?
RADUL
Who can say?
GRIFFIN
Once she turns...is that it?
RADUL
You care for her very much, don't you?
GRIFFIN
I don't know. I think so.
RADUL
Then you must know that when she turns she is
lost forever.
GRIFFIN
Even if we kill the vampire who bit her?
RADUL
Yes. I am afraid so.
EXT. CIRCUS TENT - NIGHT
Daphne is crying at the door of her car. Peter comes out and stops
in his tracks.
GRIFFIN
Hey! Come on!
He moves closer and cuddles her, trying to comfort the
reporter.
GRIFFIN
Everything will be okay. I promise.
DAPHNE
I don't want to die! I don't want to be like
them!
GRIFFIN
You won't be doing anything other than having
a good nights sleep, and resting. then when
Radul and his men have done their
business...everything will be back to normal.
Daphne wipes her eyes and climbs in her car, turning the engine.
Peter looks up at the moon in the night sky. He is wondering where
it will all end.
EXT. INDIAN RESERVATION - NIGHT
Daniel Navajo is standing outside a log cabin, with chanting heard
from inside. He looks a little weary, dressed immaculately in a
designer suit.
The cabin door opens and an old, old Native American sage
beckons to Daniel.
OLD MAN
Come.
INT. CABIN
The Old Man sits at the fire in his rocking chair, his
ancient legs covered by a brown animal skin rug. He
smokes a pipe coughing violently in between puffs.
Daniel tries to break the silence.
NAVAJO
That will do you no good. Bad for your
health.
The Old Man does not stir.
OLD MAN
How old are you?
NAVAJO
I'm thirty years old.
OLD MAN
How old am I?
NAVAJO
In your sixties, seventies?
OLD MAN
I am one hundred and three.
Navajo cannot believe it.
NAVAJO
You look amazing!
OLD MAN
I have not much time left to breath, so I
take pleasure as often as it is right. Not
to excess. Do you understand?
NAVAJO
Yes.
The Old Man sternly looks over at Daniel.
OLD MAN
No! You do not understand. have not found
peace with yourself yet. You must if you are
to triumph.
NAVAJO
I am here to talk to you about -
OLD MAN
- vampires.
Navajo is stunned.
NAVAJO
How do you know?
OLD MAN
At my age, reading behaviour is an art form.
And besides, one of your friends did
telephone.
The Old Man holds up a mobile phone and smiles.
OLD MAN
We knew they would return. We had their
book.
NAVAJO
The Book of the Un-dead?
OLD MAN
We placed the book in a place they would
find. This would alert us to their presence.
NAVAJO
Do we need the book?
OLD MAN
To defeat the Great Vampire you must be at
one with yourself. You are running away from
who you are.
NAVAJO
Who am I?
OLD MAN
You a Sioux.
NAVAJO
Yes, yes. But about the vampires?
OLD MAN
You do not listen! The Great Vampire was
entombed by our people. A brave medicine man
conjured a spell to end the suffering. We
still have the spell written down...
The Old Man leans over and reveals a withered manuscript,
its pages long since white.
OLD MAN
The incantation is here. It is important to
see it is used correctly.
NAVAJO
I will. Where is the tomb?
OLD MAN
The place they call Ward Island. Good luck
Daniel Navajo.
Daniel takes the manuscript into his hands and stares in
disbelief.
EXT. WARD'S ISLAND - NIGHT
The top of the cliff. Hundreds of car and motor-cycle
headlights shine in the night.
A pair of crates are strung together creating an ad hoc
stage. Crowds of widely differing people wait in
attendance...Orientals, Blacks, Bikers, WASPS, Latinos,
White collar, Blue collar...you name it...they are there.
A lone figure walks to the crates - Florin! He stands on
his temporary podium and addresses the masses, holding
the Book of the Un-dead in his ancient hands.
FLORIN
Friends, Romans, Vampires! Lend me your
fangs! Tonight is the night we take back
what was ours! Here in my hands I have our
most sacred book. Without it we could never
revive our saviour. Our lord and master, the
One, the Greatest of Our Kind is stirring...
but he needs blood! Gallons of it!
Florin begins to move more freely on his stage.
FLORIN
Tonight we must take to the skies in our
thousands... we must gather our sacred
virgins whose sacrificial blood shall break
the ancient seal of the tomb... and the One
shall be among us once more! Death to all
those who stand in the way!
Florin raises his hands in a triumphant finale. In an
instant all the audience are gone.
A glance at the eerie full moon reveals where...hundreds
of black vampire bats silhouettes fly off on a course
heading to the city lights of Toronto!
INT. GRIFFIN'S HOTEL ROOM
Peter and Daphne enter Peter's room. It is shambolic,
books, towels, clothes, everything on his bed or the
floor.
DAPHNE
This is were you live?
GRIFFIN
My ex-wife left me and kept our house in
Buffalo. I got a new job here, back home. I
checked in here and have never moved out.
DAPHNE
How long ago was that?
GRIFFIN
About six months or so.
Daphne begins tidying up.
GRIFFIN
Please it's okay. I like it this way. It
has an authentic "man in crisis" look, don't
you think?
Daphne just smiles.
GRIFFIN
I'm sorry for being a jerk at the offices.
DAPHNE
No need to apologise, I should really. You
were right.
GRIFFIN
I was. I wish I wasn't.
DAPHNE
Poor Father Malcolm. Hey it's stuffy in
here.
GRIFFIN
Yeah it is. Listen, make yourself
comfortable, watch TV or something, just
rest. I need to change and have a shower.
DAPHNE
In that order? That will be fun. Can I
watch?
GRIFFIN
It'll cost you.
DAPHNE
How much?
GRIFFIN
Ten bucks.
DAPHNE
Now don't price yourself out of the market
honey.
GRIFFIN
Okay twelve bucks.
They both laugh, Peter moves into the bathroom, Daphne
moves over to the window and opens it to let some air in.
INT. BATHROOM
Peter is undressing while looking at the mirror.
GRIFFIN
She called me honey.
INT. GRIFFIN'S HOTEL ROOM
Daphne stands in front of the window looking out into the
night sky. The flapping of wings is heard. Quietly at
first...then louder...louder...louder.
Daphne hears a voice calling her.
VOICE (O.S)
Daphneeeee!
Daphne looks all around but no-one.
INT. BATHROOM
Peter is singing away in his shower, he can't here a
thing.
INT. GRIFFIN'S HOTEL ROOM
The voice calls again to Daphne.
VOICE (O.S)
Daphneee. Come to us. Come and celebrate
our day.
Daphne feels something is not right. There is someone
behind her. In a flash she turns full round and Florin's
instantly recognisable face is there to greet her.
INT. GRIFFIN'S HOTEL ROOM - LATER
Peter emerges from the shower to greet an empty room.
GRIFFIN
Daphne? Daphne?
Peter looks everywhere. No sign of the reporter
anywhere. Dejected and inconsolable he heads for the
open window, the cold night air rushing in.
GRIFFIN
I'm not finished yet. I will come for
you Daphne.
INT. GRIFFIN'S HOTEL ROOM - LATER
A fully dressed Dr Griffin answers a chap at his door.
Daniel Navajo enters clutching a tattered old volume of
paper. He sees Peter is clearly upset.
NAVAJO
What's wrong? Where's Father Malcolm
and Daphne?
GRIFFIN
Father Malcolm is dead. Vampires got
him. Daphne is...I don't know where.
They must have took her. Radul said
she will become one of them...unless we
can stop them.
NAVAJO
Radul?
GRIFFIN
The circus aint full of vampires. It's
full of regular nine to five vampire
killers. Radul is the boss...he's a
real mean son-of-a bitch. And you?
How did it go?
NAVAJO
This manuscript has the same spell that
put that monster in his tomb all those
years ago.
GRIFFIN
Great. All we need to know is where
they are.
NAVAJO
Ward's Island. We must go to Ward's
Island.
GRIFFIN
Why?
NAVAJO
That's where the One is...
INT. FLORIN'S HIDEOUT
Florin stands warming his hands next to a glowing fire.
The room is bare...except for a solitary chair. Daphne
glides into the room. Florin smiles, charming to the
last.
FLORIN
I am glad you have joined us.
DAPHNE
I have no choice. Tell me, why do you
warm your hands? I can no longer feel
cold or warmth?
FLORIN
A force of habit, my dear. We vampires
cannot feel such physiological
stimuli... except pain. Pain is what
makes this universe expand. Pain and
suffering. Nothing else.
DAPHNE
You don't have to be a vampire. At
least you don't have to kill people.
Florin laughs out loud. He looks at Daphne with disdain.
FLORIN
My young vampire, do you not
understand? We have no choice. We
need blood to survive! I did not like
it at first... but it is better than
death. You even get to like it.
Daphne is disgusted at Florin. She slaps his face. The
vampire merely laughs and grabs her hand. He places a
soft, romantic kiss on her hand.
DAPHNE
Why me?
FLORIN
Why not?
DAPHNE
Have you no humanity?
FLORIN
The human part of me died centuries
ago. But even with all their
frailties... humans do not realise how
lucky they are.
DAPHNE
Why do you help the One? You could be
a force for good!
FLORIN
I am beyond help my dear. Beyond
redemption... and almost beyond
death... but I am not beyond suffering.
The so called Almighty took away my
greatest possession. My beloved Kara.
DAPHNE
Was she your wife?
FLORIN
Yes. She died young... and I sold my
soul to Satan. Then I became a
vampire... thanks to the One. You too
will thank me.
DAPHNE
Never!
Florin's eyes glow hypnotically.
FLORIN
Oh, but you will, my dear... you will!
EXT. WARD ISLAND - ROADS - NIGHT
Navajo's Toyota leads a caravan of trucks - Radul's men -
along the windy deserted roads of Ward Island which lead
to the cliff top home of the vampires.
INT. NAVAJO'S CAR
Daniel is continuing his conversation with Peter.
GRIFFIN
Do you know where you are going? Radul
and his men are finding it hard to keep
up!
Navajo returns to the topic at hand.
NAVAJO
They have to use sacrificial blood to
awaken the One. We have to use the
sacred scriptures.
GRIFFIN
What does it do?
NAVAJO
How long have you known the Greatest
Lawyer in the World?
GRIFFIN
Eh?
NAVAJO
Trust me. It'll work.
Peter is astonished by the transformation in his friend.
He is also rather saddened by the cocky Navajo's demise,
replaced by a more thoughtful sensitive person.
GRIFFIN
What did that old boy say?
EXT. WARD ISLAND - CLIFFS - NIGHT
The convoy approach distant fires over the cliff
tops...the sound of cheering is heard...there is a
concert-style atmosphere present. It is the sound of
excitement...it is the sound of vampires.
EXT. CLIFFS - NIGHT
Florin stands atop a constructed stage, with his back to
an altar/shrine: the thatched coffin-tomb of the One.
Florin is flanked by Pierre and Daphne! Twelve virgins
dressed in white are held off-stage by more vampires.
The eager crowd are baying for blood shouting and
cheering in vile anticipation of what is to come.
EXT. CLIFFS - NIGHT
The vampire hunters begin their preparation. The
shutters of the truck containers are opened...one, two,
three, four, and the fifth.
Large wooden crates are carried from off the back of the
trucks, placed down at ground level. Radul stands at the
huddle of crates...his loyal men gather round.
RADUL
This is it men. Let us assemble our
tools for tonight we fight with the
devil!
The men cheer. Radul's little boy, Dimitri, sneaks out
from the back of one of the trucks and comes along his
fathers side.
RADUL
What are you doing here? This is no
place for you son!
DIMITRI
I want to be like you, father.
The men cheer again.
RADUL
Quiet! You will only encourage him.
No you will stay here! That is final,
Dimitri.
Reluctantly, young Dimitri moves back to behind the
trucks. He begins fumbling in his pockets.
Radul oversees his men putting together their arsenal. A
young man sharpens wooden stakes with his Bowie knife...
...a strong, muscular man opens up a heavy brown sack,
full of wooden darts and a colleague slams another brown
sack down to the ground. It is opened, containing
blowpipes!
...a wiry grey haired man hands out crossbows to a line
of fit youths...
...a customised bazooka is filled full of wooden
bullets...
...the only girl present distributes aerosols marked with
a "No Bats" sign on it...
...Dimitri brings out from his pocket his weapon and
loads his sling with a small stick...
...Radul himself helps three other men unloading a pool-
cue style rack of long steel swords...
...Daniel reads over the manuscript once more and then
places it in his shirt pocket and then is handed a sword
by an unseen hand. At first he refuses and tries to hand
it back, bit again the sword is thrust upon him.
Reluctantly he accepts...
...Peter is like a kid with a new toy as he holds a long
fur covered spear, a Zulu relic...
...at last they are ready. The thirty or so men assemble
together...Radul, Peter, and Daniel stand apart from the
rest.
RADUL
We are here to kill all of them.
Remember they are not human...they are
evil! Strike hard and true. Let's go!
Peter turns to Radul.
GRIFFIN
It's just occurred to me. Have you
ever killed anyone, by mistake, who
wasn't a vampire?
RADUL
Sure! Lots of times!
Radul gives Peter a confident wink.
GRIFFIN
We are in deep, deep shit.
EXT. CROWD - NIGHT
The secret army of vampire hunters make their way
silently into the back of the crowd, infiltrating the
heart of the evil.
Daniel and Peter can't get past a large blonde bearded
biker vampire who seems drunk, stamping and hollering
every move on stage.
EXT. STAGE - NIGHT
Florin asks for the One's tomb to be moved closer to the
edge of the stage.
Six strong vampires lift up the coffin and place it with
reverence at the edge of the stage.
Florin now asks for the first virgin to be brought on.
Kicking and screaming, the first girl is dragged on by
two ferocious looking men.
EXT. CROWD - NIGHT
Peter looks in terror at the stage as he recognises
Daphne. Radul arrives nearby.
GRIFFIN
It's Daphne. She's one of them!
NAVAJO
Shoosh!
GRIFFIN
Then that is it. She is one of the Un-
dead?
RADUL
It would appear so. Even if you kill
her blood taker, she will still be held
in their spell.
GRIFFIN
Can you be sure?
RADUL
No-one has ever returned to human form
once they have changed.
Griffin looks at the tomb. It gives him and idea.
GRIFFIN
What if we kill this One character? He
started it all. If we kill him, maybe
they will all change back?
RADUL
I cannot say. The One has never been
killed. He has always been here.
NAVAJO
Whatever we're going to do we had
better do it quick. That first girl is
going to get it soon.
Peter tries to push by the drunk biker. He turns and
snarls.
EXT. STAGE - NIGHT
Florin's fangs are out in force as he grabs the quivering
virgin by the neck and holds her over the tomb.
EXT. CROWD - NIGHT
The drunk vampire biker isn't letting Peter past.
GRIFFIN
Excuse me. I want to get down the
front.
BIKER
Don't we all want to get down the
fucking front.
The biker sniffs the air. He does not like what he
smells. The biker turns to leather-clad seductress next
to him.
BIKER
Can you smell that?
Peter starts to worry.
SEDUCTRESS
What?
BIKER
It's like... like... like human flesh!
The biker stares straight at Peter.
SEDUCTRESS
You're right. But where?
BIKER
Him!
The bearded biker pushes his hand right into Peter's
face. With lightening reflexes Radul draws his sabre and
rams it into the dark heart of the biker. The biker
spins round and looks at Navajo, spitting blood all over
him. Radul gives out his war cry!
RADUL
Death to the Un-dead!
A tremendous roar from Radul's men lifts the hearts of
Peter and Daniel.
EXT. STAGE - NIGHT
Florin's teeth are at the first virgin's neck when the
sound of the commotion prevent him from beginning. He
looks up at the crowd. It is mayhem!
EXT. CROWD - NIGHT
Radul stabs one vampire through the heart then swivels
round in a glorious flowing movement and chops another
one's head clean off!
Peter faces his first vampire with his spear. The
vampire is agile and easily jumps over Peter's frail
attempt at stabbing.
The vampire cheekily waves his fingers as if to say "tut,
tut". Another sword comes right through his chest,
driven from behind...by Navajo!
NAVAJO
Easy! It's easy!
GRIFFIN
I'm not so sure. There are hundreds of
these guys!
The seductress, fangs fully shown latches onto the back
of an unsuspecting vampire hunter.
He tries to wriggle free, but her fangs plunge into his
flesh...but it is the last action she ever will do -
Radul's trusty sabre collects her heart, ripping it right
out of her skin. Radul grabs his fellow by the hair.
RADUL
In God's name.
The veteran vampire killer chops off the victims head,
freeing him from eternal hell. The wily old vampire
hunter has his trademark stick at his side as he is set
upon by three vampires, all females.
WILY OLD MAN
Girls! Girls! I'm an old man.
The three vamps laugh and fight over who is first. The
first one leaps forward, but as she descends to the
ground, the old man's stick catches her, her body falls
helpless...and turns to dust.
The other two leap at the same time...the old man ducks
and the two clash heads. A stronger, younger circus man
fires two crossbow shots straight through their hearts.
WILY OLD MAN
Thank you!
An oriental vampire grabs Peter's leg and tries to take a
bite. Peter whacks the vamp with the wrong end of his
spear. The oriental vamp comes to his feet. His fangs
ready to pounce...but they fall out!
GRIFFIN
Oh no you don't!
Peter wastes no time and rams home his spear... into the
heart. Blood spurts everywhere...onto the spear...onto
Peter's shirt.
The veteran blowpipe men fire their holy darts up into
apparently the sky. The darts rain down on an
unsuspecting gang of bronzed vampires.
One female vampire has a circus man between her
thighs...she bites his throat out...we see her with human
flesh in her mouth. She chews vigorously on the flesh
when she hears a whistle. She looks round but there is
no-one.
VOICE (O.S)
Lower.
She looks down...it is the little boy, Dimitri - Radul's
son! The vampire looks down in pity at Dimitri who can
be no older than eleven.
FEMALE VAMPIRE
It is past your bedtime little one.
DIMITRI
I can stay up late if I want.
FEMALE VAMPIRE
Everyone needs permission.
Her fangs glare in the moonlight.
DIMITRI
Here's my permission!
The little Rumanian whips out his sling and with a shot
David would have been proud of, his holy slingshot smacks
the female vampire in the leg!
FEMALE VAMPIRE
Good shot but not good enough.
DIMITRI
Best of three?
This time when he lets fire another slingshot the female
vampire is a witness at her own funeral...the power of
the slingshot is so great that the vamp's heart flies out
of her back and lands on the floor...only to be stamped
upon by another vampire.
Young Dimitri punches the air in delight. Radul spots
his son from across a burning fire. Radul sprints over
to his son's side.
RADUL
I told you to stay put.
DIMITRI
I couldn't stay there. I must help you
father.
RADUL
You are a brave boy, Dimitri. I am
proud of you. Now go back. Please.
DIMITRI
Okay father. I promise.
Dimitri darts through the clutches of a karate kicking
vampire and heads off back to the haven of the trucks
where we see some men are guarding the trucks.
The karate kicker comes across Radul. The kicker takes
up a karate stance. Radul refuses to acknowledge the
stance. The kicker is furious. His fangs turn into the
jaws of a wild animal.
Radul presents forth his sabre. The karate kicker leaps
in the air, a flying kick aimed directly at Radul's
scarred head. With a cool side-step and the flash of the
blade, Radul takes the kicker apart at the waist. The
upper half of the vampire's body tries to get up, but
Radul merely shakes his head in disgust before plunging
his blade through the heart.
All around it seems the vampires are winning...screams
are common...Radul's men fall by the wayside...one, two,
three, four, five...we see young and old men fall in
bloody heaps.
Radul tries to make his way to the stage but is faced
with a gauntlet of vampires. They all goad him taunting
him to come on. Radul brandishes his sword and charges!
The gauntlet laugh at first, but how wrong can they be?
Radul speeds through the gauntlet, alternating from
slicing one vampire's head off on the left to spearing
his counter-part on the right through the breast-plate.
Left, right, chop, chop. Left, right, chop, chop. Left,
right, chop, chop. Where six vampires stood, none
remain. Their bones burn up and disintegrate.
Radul notices the carnage and calls to his men back at
the trucks.
EXT. TRUCKS - NIGHT
The men left guarding the trucks quickly jog to the
largest of all the trucks.
They remove the cover and lo behold lies a giant fire
hose...water blessed by God!
The hose revolves round to the correct firing position
and begins sprouting holy water over the scene.
EXT. CROWD - NIGHT
The magnificent spray of the fire hose launches into the
air and begins its fall to Earth. Drops of what seems
like rain lands on the battle site. Vampires begin to
burn. It comes to the aid of many...
Daniel locked in a struggle with a disgusting, warty, fat
brunette watches with relief as her face begins to melt.
As she panics, her hands outstretch towards Daniel who
neatly side-steps the crumbling corpse.
NAVAJO
That's an improvement.
EXT. STAGE - NIGHT
Florin cannot believe his eyes. All his work going down
the drain!
FLORIN
Pierre! The tomb! Get it out of here
now!
PIERRE
What about the virgins?
FLORIN
Never mind that now! That is holy
water. It may damage the master! Take
some men and stop those idiots from
spraying the water!
The vampires holding the twelve virgins are ordered to go
with Pierre. The girls run for their lives.
Pierre and four of the men transform into vampire bats
and take to the skies. Daphne remains at the back of the
stage, back in a trance.
EXT. CROWD - NIGHT
Five vampire bats whoosh over the struggling Peter's
head. As we move closer in we can see why Peter is
struggling.
Peter faces a nimble Latino vamp. He swoops but it
misses. He thrusts - again same effect. He charges: no
chance. Peter accidentally slips on a wet patch on the
floor and slices clean off the Latino's whole arm.
GRIFFIN
Sorry!
The one-armed Latino punches Peter in the stomach sending
his spear crashing to the floor. The vamp stands over
Peter's helpless body.
Instead of finishing him off the Latino challenges Peter
to a wrestling match! Peter sits up and jostles with the
one-armed Latino.
At first Peter does well pressing home his two limbbed
advantage. But then the Latino finds some super-human
strength from nowhere and pushes Dr Griffin's arm to the
deck. Falling water streams down the Latino's
face...steam shoots off...he rolls over and Peter can
reach his feet. Peter quickly handles his fallen spear
and pokes it tenderly at the Latino.
GRIFFIN
No hard feelings?
The psychiatrist pushes in the spear so hard that the
Latino is pinned to the ground. Before the Latino turns
to dust, Peter kick the Latino: his dead body spins
around and around like a roulette wheel then crumples
away to nothing: poof!
EXT. CROWD - NIGHT
More vampires are dropping in flames, burned by the holy
water. A long, dark haired vampire crashes in ashes at
Peter's feet. The 'holy rain' cleanses the ground
turning the grass into mud.
Peter stands up in the rain washing his bloodied face in
the water. Then the rain stops.
EXT. TRUCKS - NIGHT
All the fire hoses have stopped. The dead bodies of the
guards litter the area. Pierre chews on a guardsman's
neck, the ripe flesh discarded at the sound of a child.
Peter looks up at the stage and can see the evacuation.
Navajo and Radul clamber over to his side.
GRIFFIN
Their leaving!
Radul taps his sword.
RADUL
They are going nowhere.
NAVAJO
Have you still the manuscript?
GRIFFIN
Yes.
NAVAJO
Let's make for the stage!
EXT. STAGE - NIGHT
Florin, Daphne, and two vampire strongmen are alone on
the stage. Florin, now clutching the Book of the Un-Dead
in his hands, looks up as Pierre returns.
FLORIN
Good work Pierre. We shall make a
vampire of you yet.
Pierre gives a blood-stained grin. In the distance we can
hear the sound of rotating blades - a helicopter!
EXT. SKY - NIGHT
A small sea helicopter comes over the horizon, equipped
with a winch. It begins its landing sequence.
EXT. CROWD - NIGHT
Peter is at the foot of the stage steps. He turns to
Radul.
GRIFFIN
A helicopter! What do they need that
for?
RADUL
They are moving the One. We must act
swiftly or we have lost.
EXT. STAGE - NIGHT
Florin ushers the two remaining strongmen to lift up the
tomb. They carry it in their arms as they head for the
sound of the helicopter. Florin turns to Daphne.
FLORIN
Coming my dear?
DAPHNE
Yes, my master.
Florin is startled at the sight of Peter, Radul, and
Navajo, all on the stage.
FLORIN
Well, well, well. I thought you all
had more intelligence.
RADUL
Your time is short, Florin.
FLORIN
My old adversary Radul. Have I not
told you your father died horribly at
my hands before? Oh yes. I think I
have. And I have an even better
surprise now. Pierre!
Pierre drags on Dimitri from behind the curtains.
RADUL
Dimitri! Let him go! I beg you!
FLORIN
He is my insurance. We shall load the
One's tomb on our helicopter and we may
then let him go. Adieu!
Florin marches past the three men followed by the
strongmen carrying the coffin, then Pierre with Dimitri,
and lastly Daphne.
GRIFFIN
Daphne! Daphne! It's me! Peter!
DAPHNE
Peter?{
GRIFFIN
Listen Daphne, I love you!
DAPHNE
What?
Daphne's trance begins to disappear.
DAPHNE
What?
GRIFFIN
I love you!
Daphne moves closer to Peter. She embraces him. Then
without warning, her fledgling fangs come to the fore.
RADUL
No!
Radul catches Daphne just in time and punches her in the
face.
GRIFFIN
What?
RADUL
She's a vampire!
Daphne is out cold.
NAVAJO
They're getting away.
EXT. HELICOPTER - NIGHT
The evil coffin is being carefully loaded onto the
chopper.
EXT. STAGE - NIGHT
Griffin looks at Daphne and realises this is it.
GRIFFIN
Come on! We've got to stop them.
RADUL
But Dimitri, my son!
GRIFFIN
Wait till they're about to put him on
the chopper then fire a dart at the
vamp!
NAVAJO
What about Daphne?
GRIFFIN
We'll have to leave her here.
RADUL
Let's go!
EXT. HELICOPTER - NIGHT
Pierre and Dimitri are waiting to get in the helicopter.
The rotor blades begin turning again...the noise is
deafening.
As Pierre tries to move the helpless youngster -
Peeoouuww!! A wooden dart pierces his heart! Pierre
drops Dimitri who rushes away. Pierre attempts to climb
back into the chopper, but leans too far out - Slice!
His head comes clean off the rotor blades. The torso and
legs collapse to the ground and incinerate.
INT. HELICOPTER
Florin looks impatiently at the pilot.
FLORIN
Up! Move it!
PILOT
We're too heavy.
FLORIN
What?
PILOT
This is only a small 'copter. That
thing must way a ton.
FLORIN
My two men could carry it!
PILOT
They must be really strong.
In the back of the chopper the two strongmen nod in
agreement.
FLORIN
Right. You two out!
They two men look at Florin in disbelief.
FLORIN
Out!
Reluctantly they step out.
FLORIN
Up!
PILOT
Okay!
EXT. HELICOPTER - NIGHT
The helicopter begins its slow ascent. Peter scrambles
onto the landing gear just as it takes off. The two
strongmen rush at Peter trying to stop him.
Radul spears the first one through the back, then with
incredible power he throws the first one onto the second
one. The two strongmen stand upright together...skewered
by Radul's sword. The two bodies evaporate...leaving the
sword to fall to the ground. Navajo looks up at Peter in
the sky.
NAVAJO
It should have been me! Good luck!
Radul is joined by Dimitri.
RADUL
Good luck! Your our only hope!
EXT. HELICOPTER - NIGHT
Peter waves hopefully back at his friends.
EXT. GROUND - NIGHT
Radul is thoughtful for a moment. He then turns back
with Dimitri, followed by Navajo.
RADUL
We must return to Daphne and mop up the
remainder of the evil.
EXT. HELICOPTER - NIGHT
Peter clings on for his life as the helicopter heads over
Toronto Inner Harbour.
INT. HELICOPTER
The pilot is becoming restless.
PILOT
What's in that thing anyway?
FLORIN
It is not your concern. I'm paying you
aren't I? I told you that you would
see odd things. You better hope I
don't get angry, because when I am
angry, my bite is worse than my bark.
The pilot takes his orders and buttons his lip. Florin
leans over the casket and lifts the lid, just ever so
slightly to peer in on his master. We only get a
glimpse, but it is evil and wicked... a green-blue
skinned bald monster, thankfully asleep.
PILOT
Where to?
EXT. SKY - NIGHT
The helicopter passes over land, the city! The
Harbourfront Centre is close at hand, and just a little
further is the awesome CN Tower.
The helicopter speeds on towards the two landmarks.
EXT. HELICOPTER - NIGHT
Peter is now safely on the landing gear. He tries
opening the door quietly but it won't budge. The window
is his only chance. Plucking up his courage, and
wrapping his jacket around his arm, he smacks the window.
The glass shatters.
INT. HELICOPTER
The glass catches the pilot and Florin's attention.
PILOT
What the fu...
FLORIN
The good doctor!
Peter acrobatically vaults in through the window.
FLORIN
What now, Dr Griffin? How do you
intend to defeat me?
Florin's transformation begins. His eyes go blood red...
his teeth become fierce snapping jaws... his hands change
into blue-veined talons... his face swells up into a
monstrous blue contortion... this is the real look of a
vampire!
Peter, shocked and horrified at this transformation,
backs off next to the Great One's tomb.
FLORIN
Get away from there!
GRIFFIN
No.
FLORIN
I warn you!
GRIFFIN
What are you gonna do? Eat me?
Florin flies into a full vampire rage. His claws
tighten, his muscles strengthen. Peter takes a deep
gulp.
EXT. STAGE - NIGHT
Two circus men are sweeping up the dusty remains of the
defeated vampire army. Radul, Navajo, and young Dimitri
make their way up onto the stage...to Daphne's crumpled
heap.
NAVAJO
Is she okay?
RADUL
I think so.
Navajo leans down to check. Daphne's eyes come to life
and she sinks her teeth into Daniel's neck. Daniel lets
out a scream for help before crashing to the
ground...dead.
Daphne rises to her feet. Radul draws his sabre. Daphne
hurtles at Radul but misses him and snatches Dimitri.
RADUL
Let him go!
EXT. CN TOWER - SKY - NIGHT
The helicopter is high in the night sky approaching the
CN Tower.
INT. HELICOPTER
The monstrous Florin races round the tomb after Peter who
keeps the monster at a safe distance.
Florin leaps over the tomb but misjudges his jump and
whacks the pilot in the head, knocking him out. Instead
of leaning forward, the pilot is tangled with Florin,
forcing him back and the helicopter up.
EXT. HELICOPTER - NIGHT
The helicopter is climbing up in the sky. It hovers
directly over the CN Tower.
INT. HELICOPTER
Florin can't free himself from the pilot. Peter searches
frantically for any sort of weapon in his possession. He
fingers an object in his jacket pocket...his gold pen!
Florin sneers at the pen and lunges at Peter, but still
cannot quite get free.
FLORIN
What's that supposed to be?
Peter kisses his pen for luck and throws it like a knife
straight at Florin. The pen strikes the vampire in the
chest, but Florin is still very much alive. But red-
vampiric blood swells up and starts gushing out.
FLORIN
Missed. Hah-hah. You missed my heart.
GRIFFIN
Who says I was aiming there?
Peter kicks open the door. Wind rustles in...and from
the helicopter we can see the point of the CN Tower!
Blood still drips from Florin's wounds.
Peter moves to the other side of the cockpit takes a firm
grip with both hands before kicking the pilot violently.
The pilot rolls over...the force of gravity sends Florin
flying to the open door but he grabs hold of the roof.
EXT. CN TOWER - NIGHT
The helicopter swings to one side high above the CN
Tower.
INT. HELICOPTER
Florin cannot get back in the helicopter as it begins to
career out of control. He desperatley clings to the
fluttering Book of the Un-Dead.
FLORIN
I can change now... did you think you
could win?
GRIFFIN
Florin... you're wrong. I have wounded
you... your powers are weaker than you
think.
Florin moves dizzingly. He tries to hide his pain and
weakness.
FLORIN
You have not won yet.
Florin holds a page open from the wind swept Book of the
Un-Dead. He fanatically begins to read out an ancient
passage in a long dead tongue. Eerie green mist begins
to form at the side of the tomb. Florin gives an evil
laugh, chilling Peter to the very bone.
GRIFFIN
Two can play at that game.
Peter carefully walks over to behind the tomb. He brings
out the dusty old manuscript. Peter looks up and down
the script. He tries to form the words, but it's not
coming out right!
FLORIN
You are a bumbling fool! See my Master
awakes!
Inside the tomb something utterly hideous begins to stir
in amongst the green mist.
GRIFFIN
You need virgin blood!
Florin stares directly at Peter.
GRIFFIN
You've got the wrong guy, pal!
FLORIN
You cannot escape the truth!
Florin laughs devilishly. Peter is in a panic. Florin
tries a swipe at him with his claws, but misses. Peter
is still out of reach of the trapped Florin. But Florin
is beginning to free himself.
GRIFFIN
(to himself)
Try again! Try again!
Before Peter can read out the incantation, the helicopter
rocks again - the paper falls on top of the tomb.
GRIFFIN
Oh shit!
But an unexpected thing happens. The paper sets fire to
the tomb.
FLORIN
No! No!
Peter jams himself in behind the tomb and with a
Herculean effort kicks the tomb slightly, moving it
towards the open door.
GRIFFIN
Catch!
The tomb of the Great One zooms out of the helicopter
door taking Florin with it.
EXT. CN TOWER - NIGHT
Florin falls fast, frantically flapping his arms. But
he can not change. The sharp apex of the CN Tower rushes
up to meet Florin, the 3,000 year old vampire...and
spectacularly impales him on the giant construction.
The fiery tomb of the Great One heads Earthwards until it
explodes lighting up the Toronto night. The explosion
blows away Florin's dusty residue forever.
EXT. STAGE - NIGHT
Radul and Daphne are locked in a stalemate. However with
the death of the Great One, a reaction takes place.
Daphne lets Dimitri go and falls helpless to the floor.
Radul races over Daphne's fallen body and is about to
strike when Dimitri cries out...
DIMITRI
No papa, no! Look!
Daphne's face returns to her normal look...devoid of the
evil that once was there. Radul makes a sign of the
cross.
RADUL
Thank the Lord!
INT. HELICOPTER
Peter is still at the back of the downward heading
helicopter when the pilot begins to come round.
GRIFFIN
Hey! Wake up! Wake up! Land this
fucker!
The pilot open his eyes. He gives one distrusting look
at Peter and then views the city streets rushing up
quickly. A simple adjustment of his hand and the
helicopter levels off.
EXT. SKY - NIGHT
The helicopter regains its balance and turns back heading
the way it came.
EXT. STAGE - NIGHT - LATER
The helicopter lands next to the stage. Daphne, Radul,
and Dimitri rush out to meet Peter.
RADUL
You did it!
GRIFFIN
I sure did.
RADUL
What about this pilot?
GRIFFIN
Oh don't worry, he's human. Daphne?
Daphne!
Peter embraces Daphne.
GRIFFIN
You're okay!
DAPHNE
It's all over.
GRIFFIN
Where's Daniel?
Everyone is silent.
RADUL
He's dead.
GRIFFIN
What happened? How...?
DAPHNE
It -
Radul looks at Daphne and quickly interrupts.
RADUL
There was a vampire hiding out over
there. He attacked Daniel, but we got
him. There was nothing we could do.
Daphne mimes "Thank-you" to Radul.
GRIFFIN
Oh Daniel, my friend. I'm so sorry.
DAPHNE
Peter. What is going to happen now?
GRIFFIN
I think I'll have to sign you up as a
patient...for close examination.
DAPHNE
I think I can handle that.
GRIFFIN
What about you Radul? What now?
Radul hugs Dimitri. Clearly he loves his family.
RADUL
Werewolves.
Everyone laughs. In the background the helicopter's
whine increases, as it prepares for take-off. The group
all turn to see the helicopter off and wave. The chopper
rises slowly, powerfully into the Toronto night sky.
FADE OUT
86
Return to SimplyScripts.com
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.